Artists throughout the ages have channelled their experiences in love — of the unrequited, fulfilled, unfulfilled, sweet or bitter variety — into their work. Whether it’s literature, verse, film, theatre or fine art, or even a pop song, love and relationships have been the muse to many an iconic work.
But Chilean-born, New York-based designer Sebastian Errazuriz has taken this inspiration — quite literally — a step further. His latest project, 12 Shoes for 12 Lovers, picks up on one defining trait from each of his 12 previous relationships and is typified in a breathtaking pair of heels. These take the shape of a honeycomb (for Natasha, a woman as sweet as they come), a giant splash (for “crybaby” Alexandra) a gilded shoe whose heel is held up by a figure of a man (for “gold-digger” Alison) and even a sharp stiletto that turns into a weapon (for “the boss” Rachel).
Not only is each shoe a visually striking piece of art, it is also completely functional and one-of-a-kind. Seen together though, they offer a stunning commentary on romantic and sexual relationships and the power play between two people who are attracted to each other. Small wonder then, that ever since the works were unveiled at the prestigious Art Basel fair in Miami in December, art lovers and enthusiasts and the international press haven’t been able to stop raving about Sebastian’s work.
“I think 12 Shoes for 12 Lovers caught the audience’s interest because of the way it mixes art and design. There is a strong personal, intimate component that allows people to connect. Obviously the voyeur-ism factor has something to do with the success of the project. I think people were also impressed by the creativity and the quality of ideas and execution,” Sebastian says.
A question viewers of 12 Shoes for 12 Lovers have had is why Sebastian chose the medium of the shoe to express the traits of the women in his life.
“Women are very specific about their shoes and these constitute a small reflection of their taste and personality,” he explained, adding, “Of course, my project would never attempt to define anyone with a particular shoe. Each one is just a small exercise to illustrate fondly and playfully a particular characteristic of our relationship.”
That defining characteristic is brought out not only in the shoes, but also in text that accompanies each. It highlights one instance (an incident or behaviour) in Sebastian’s interactions with each of the 12 women, and presents in words, what the specific shoe expresses through its shape. The words (even more than the shoes) lay bare what the artist/designer felt about each of these women. But while he’s protected the identities of all the women, he hasn’t covered up his own. Sebastian says staying honest, even at the risk of making himself vulnerable, was an important for 12 Shoes for 12 Lovers to work.
What also helped the project work was new technology, and Sebastian says working with digital files and 3D printing was a vital part of seeing his idea realised. “The idea was to create digital sculptures on 3D programmes that could then not only be used to fabricate one off shoe-sculptures that could be purchased by an art collector, but also have the potential to be turned into injection plastic moulds. The shoes where printed in PET plastic and are all functional, but I envisioned them as little sculptures. They are creative exercises that are not tied to requirements of any sort,” he says.
Those who have followed Sebastian’s work know that 12 Shoes for 12 Lovers isn’t the only project where he’s effectively turned every preconceived notion about objects and design on its head. “Tree Table”, “Piano Shelving” and a “Boat Coffin” are just some of his designs that have made the art world sit up and take notice. Was perceiving the “everyday” differently, a process Sebastian trained himself to follow? “I was raised in Chile, so a large part of my education was influenced by Catholicism. It has been a difficult, but liberating process for me to accept that I did not believe in God anymore. This first rebellion against authority and preconceived truths became a part of my process… I am also driven by the idea of mortality, self-awareness and the absurdity of life,” he said.
Up next for Sebastian is an exhibition that will be held at the Storefront for Art and Architecture in New York and also several solo shows (details for which will be posted on www.facebook.com/sebastian.errazuriz). That means a lot of work, but the artist/designer couldn’t be happier. “It may sound like a cliché,” he says, “but art and design, these two words mean my life.”
