What would you choose to own in a future where you don’t have to own anything?’
Expanding on the concept of flexible future living, Sorrel Madley explores new economic models, imagining a scenario in which anything can be rented and therefore (almost) nothing is owned. With My toothbrush, Madley explores the idea of a post-ownership world where the last owned objects hold a special sentimental value and connection with their owner. Fiercely questioning the ethical implications of our consumerist society, the project plays with the freedoms that would be gained and lost in a future without a need for ownership.
EXHIBITED AT DUTCH INVERTUALS 'EQUILIBRIUM CITIES'
DURING DUTCH DESIGN WEEK 2021. Click HERE
Time is often something stored, and then brought back to the surface through objects and memories. This ‘Time Machine’ visualises the timespan of Sorrel Madley's creative endeavours. A cowboy hat rests opposite a miniature toilet, adorned with a shrimp. Plaster casts mimic ceramic finishes. Rough meets smooth, fragile joins firm. It is a cabinet of experiences, which can be moved, rearranged, forgotten and rediscovered from moment to moment. The colours and details aim to capture the viewers’ attention, deliberately overstimulating their brain in order to slow down and expand their experience of time.
“To lengthen time, fill it, if you have the chance, with a thousand new things” (Jean-Marie Guyau)
EXHIBITED DURING DUTCH DESIGN WEEK 2020. Click HERE
FEATURED IN DAMN MAGASINE ISSUE 77 'On Joy and Happiness'
WHAT DOES GOOGLE
Google enables us to ask any question, any time. What happens when you try to use to google to understand yourself? ‘What Does Google Know’ visualises the results of googling a birth defect, revealing uncomfortable and confusing results. Traversing the pages of google the film reveals a distinct hierarchy of whose voices dominate internet discussion. What truth lies in these internet results remains unclear. The never ending information giving an addictive illusion that the answer you seek is just on the next page.
Made with funding from DGI PODCASTS
CLICK HERE FOR FACE FILTER
PASSWORD : SORREL
We live in a society where it has never been easier to edit and curate our own image. Platforms such as Instagram provide photo editing tools, as well as face filters which can completely alter and manipulate our facial features. Creators behind these tools seem to stare the growing diverse beauty movement in the face and say; ‘Beauty is not about self-confidence, self worth or personality. Beauty is youthfulness, large eyes, full lips and flawless skin.’
What if this tool which seems to reestablish cliched beauty standards could be used to revolutionise who and what is represented in society?
A FUTURE FOR FISH
With so many alternatives to meat, why is there such a lack of fish substitutes when the fish industry creates parallel environmental issues? The project experimented with ways in which the experience of eating fish could be replicated. In collaboration with Anna Diljá Sigurðardóttir We focussed primarily on nutritional value and fish texture, providing an alternative which is both aesthetically and nutritionally very similar to the real thing. This project was part of the Embassy of Food during the Dutch Design Week 2017.
DIMENSION AIR DINING EVENT
Performed at Mediamatic Amsterdam
An event in collaboration with Mediamatic Amsterdam to provide a three night fine dining event. The project involved 18+ people and ran all sides of the event, including dishes, choreography, sound lighting and marketing.
A research into developing a technique to allow complete freedom when creating ceramic shapes. The concept was born from a desire to translate sketches directly into objects, and push the boundaries of conventional ceramic mould making. The technique uses sewn together fabric that is used as a mould. This process enables the casting of both plaster and clay. In current development are moulds that are easily removable and reusable.
An applied research group project to take on the newly developed digital platform of High Fidelity. We designed alter egos and 3D scanned these to create avatars. In this way we were able to meet other users and conduct our research. We were primarily focussed on understanding how public space is used differently in the virtual world and who is using it. During our research we were able to do in-world interviews and even participate in meetings held by Philip Rosedale, the CEO of High Fidelity, and other members of the team. As a result we presented our findings in a book and created a video depicting our transgression into this virtual world
After receiving an email from my grandfather to inform me he had found a new girlfriend. I used a trip home to try to rationalise my feelings towards this new relationship.