Above: Graphic designer Andrés Reisinger’s rendering of his Daring chair, offered on dreamy, remoted terrain.
As a toddler rising up in Buenos Aires within the Nineties, the graphic designer Andrés Reisinger was obsessive about video video games. However as an alternative of enjoying them, he wished to create the worlds wherein they happened. Now based mostly in Barcelona, he’s turn out to be an Instagram sensation designing dreamscapes: hushed, surreal areas the place it’s at all times magic hour and nothing is ever misplaced. These visually soothing, digitally rendered fantasies are each hyperreal and unreal—uncanny valleys for ELLE DECOR readers. Past their pastel perfection, they’ve a barely jarring tranquillity that matches the second: At a time when so many residences have been left abandoned, Reisinger’s are populated not by individuals however by meticulously imagined furnishings.
Reisinger has been creating ethereal areas, as rendered on social media and in adverts for corporations like Microsoft and Cassina, for a number of years. However they’re tailored for the pandemic, and Reisinger’s recognition exploded final spring, when NFTs—non-fungible tokens, or distinctive, collectible digital variations—of his digital furnishings have been auctioned for $450,000. In a 12 months with out contact, they underlined the literal worth of the intangible.
After the soothing vacancy of his digi-worlds, which felt like areas to carry our grief, the method of molding actual furnishings out of leather-based, material, and metal was energetic—and messy. “After I began, I didn’t know how one can nail two items of wooden collectively,” Reisinger says. However after a 12 months of trial and error, collaborating with artisans in each Buenos Aires and Milan, his chubby, Instagram-famous Hortensia chair for the Dutch design model Moooi was lastly made flesh, in molded foam wearing hundreds upon hundreds of laser-cut pink petals.
Furnishings that was glimmering and eerie in renderings turns into playful however difficult in actuality, eliciting feelings in shorthand. Reisinger feeds midcentury fashionable icons by a millennial-pink processor and refracts them by a cute neotenic lens, like design Child Yodas. His smooth, billowy Hortensia is one half ASMR, 5 elements Pierre Paulin. His TimeTable, a flat aircraft cantilevered over a big gumball, might be Memphis Milano for the Wing. Tangled, an ergonomic yellow noodle of a chair, pays homage to Terje Ekstrøm. Like Andy Warhol, Reisinger toys with popular culture and nostalgia; with gentle and area, like James Turrell; with colour, like Luis Barragán; with the unimaginable structure of desires, like Giorgio de Chirico. The allusions are seemingly limitless but in addition visually spare, like a well-curated Instagram grid.
The bridge between the digital and the bodily, the imagined and the true, the peerlessly composed and the imperfectly difficult, excites Reisinger. When, after working with 3D software program for over a decade, he reached its limits, he realized the problem was to “cease imagining and begin constructing.”
For him, dreamscapes and unimaginable objects aren’t only a fad: they’re a necessity. “We create the world we wish to stay in,” he says. “Generally you first must push past the bounds of the bodily to get there.”
Along with the Hortensia, 5 of Reisinger’s NFTs got limited-edition bodily counterparts, together with Matsumoto, a Pepto-Bismol-colored plywood bench, and Abba, a pink workplace chair with a three-tiered seat. In September, Reisinger launched three new items at Salone in Milan in partnership with Nilufar Gallery: the Sophisticated couch, a Mylar gut that have to be continually rearranged; the big Daring chair, which, by its dimension, encourages its sitter to take up literal and metaphorical area; and the Crowded Elevator, a metal deck chair overflowing with a bubblegum-soft cushion that straddles the road between consolation and suffocation.
There’s a shiny superficiality to Reisinger’s digital work that speaks to the floor method we interact with a lot content material on-line. However his bodily designs, surreal and a bit off, alchemize their referents to trace at our personal absence in a world we inhabit an increasing number of nearly. It’s a pattern Reisinger desires to counter: “I’m within the area the place the digital and the true worlds meet,” he says. “However I’m not attempting to make a chair that’s lovely or will match into your colour scheme. Consolation isn’t the objective. I would like individuals to react to the objects of their atmosphere, be challenged, change their conduct.”
Like many this 12 months, Reisinger sought to reimagine the skin world to higher go well with the long run. He compares his furnishings, extracted from the digital realm and positioned in bodily area, to the rocks astronauts introduced again from the moon. It lives in a DMZ between what’s and what might be. “His genius lies in [mining] the dream world,” Nilufar’s Nina Yashar says. Because the pandemic ebbs and we reemerge burdened with an expectation of renewal but determined for rejuvenation, Reisinger’s designs remind us that we too would possibly make actual among the desires we had whereas we have been locked away.
Gabriella Fuller is a author based mostly in New York Metropolis and the cofounder of Vivamus, a midcentury furnishings gallery.
This story initially appeared within the November 2021 challenge of ELLE DECOR. SUBSCRIBE
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