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In The Studio With Andres Reisinger

Andres Reisinger is an interior and 3D graphic designer hailing from Buenos Aires, Argentina. After four years of being the co-founder of “sixnfive,”  Reisinger mixed his talents with contemporary culture to create his own studio and start doing special commissions. He started creating in 3D in order to make his dreamscape designs without real-world limitations. The multitalented artist has worked with some of the biggest names in interior and furniture design, as well as had his work displayed all over the world in special exhibits. Initially featured on our Instagram, Milk was able to get an inside look into the artist’s studio in Barcelona. Resinger typically starts his day fasting until lunch in order to maintain focus in the studio, whether its creating soft pink chairs you could get lost in or rooms that seem like they jumped out of your imagination.

What is a day in the studio like? What is your process like? Who or what is your inspiration?

I have tried many different routines and I found the one that makes me happy,  is to keep myself productive. I have been practicing fasting until noon for almost 3 years now. I do not consume any calories until lunchtime. That keeps me focused and attentive, it saves me a lot of time, and t’s also just good for your body. In terms of work, I have been using 3d software for more than 10 years now, so for me, it’s really natural to directly sketch in 3D. In this process, I find a variety of outputs, some of them are not expected. I try to always use the process to highlight the end result. This is a kind of inspiration for me, my own process.

You just won the YG17 award in November, what was that night like? What does this award mean to you?

Some of my favorite designers and directors had won it in the past. In my case, I saw it as a personal measure of advancement in my career. I totally enjoyed meeting many talented people during YG17. That made me feel more and more inspired to work even harder this new year.

You work a lot with bright/ soft colors, is that something you’ve noticed? Is it intentional?

I like to think of it as the color does not fill the shape, it actually changes the shape. But beyond that, I just feel when it works for me. When what I see transmits something, peace or a kind of uncomfortable truth. My creative process is closely linked to trial and error. During that process I usually have pleasure and suffer, all at the same time. I know what to expect during that process, many days under a creative tension where you do not find what you are looking for until one day you see it, you stumble upon it playing. You have to be very careful not to let it go. Each of my worlds and products are the result of this exploration, this arduous process of trial and error that has as its maximum expression the search for an imperfect image that generates emotions. Of course, I can not stop until I get it. I can spend days and even months in this process.

Can you talk more about the exhibition you have going with 1stdibs?

1stdibs invited me to curate an exhibition in which they were showcasing 50 beautiful interior designs of the year. I wanted to express immersively the creative process that designers passed by when creating these rooms. Walking through this exhibition you will feel the euphoria from the brainstorming, the dizziness from the progress and the stillness of the final physical exploration.

Your work is so unique, do you see it ever becoming more accessible? Or are you more comfortable with it as fine art, something to look at?

I feel very challenged by the idea of creating accessible work. In my first attempt to this I have teamed up with Julia Esque and we have developed a new series of mirrors that deforms reality called “So Glad To See You Here”.

What does it feel like to see your designs come to life?

I have a hunger for exploring and developing my ideas. When I have reached that goal in my digital work I knew that my next challenge was to stop imagining and really start building the world as I see it. I stumble upon problematics, boundaries, edges and all kinds of blocks while working with the physical world. That’s something that empowers my process, which asks for my attention and improvisation. That feeling when a musician or performer feels when they are playing live.

What do you like to do to get out of the work head-space?

It depends on my adenosine levels. But I like to switch between playing guitar, practicing calisthenics, running and reading books, I feel especially attracted to books about nutrition.

Do you have a favorite project? Or was there one that was difficult for you to execute but paid off in the end?

The one project that shifted my career to a whole new level was “Complicated Name For the Show”. The presentation consisted of three commissioned designed objects within an original context also envisioned by me. It was an amazing experience working with such a big name as Chamber Projects. I would also say “Plastic Rain”, my first personal project formally exploring a new retail experience. At that time it was a bit prophetic, but it’s exactly what marketing is looking and shifting-to nowadays. Traditional marketing simply doesn’t cut it anymore. Plastic Rain is my proposal for experiential marketing. Experiential marketing directly involves customers, inviting them to experience brands in-person rather than putting them in the position of an observer and hoping that traditional marketing efforts will resonate with them or be memorable.

What are you working on now? 

In February I will be doing a new exhibition in Copenhagen, Denmark. March-September 2020 I will be exhibiting a sculptural object at Design Museum Gent in Belgium. I will be presenting a collection of lamps sometime during the year, and a couple of other things they don’t allow me to tell at the moment hehe.

Images courtesy of Enric Badrinas.

Stay tuned to Milk for more studio visits. 

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