There are those who the virtual world gives vertigo. This is not the case of Andrés Reisinger, who grew up with his eyes on a computer screen. As he explains, his parents —mother a chemist and father a professor of comparative anatomy— bought him one when he was six years old so that he and his brother could spend more hours at home and keep them away from the street, in the suburbs of Buenos Aires where did they live.
He declares himself a son of the internet “marked by the tide and the merengue of the medium”. He fed on networks like Tumblr, where a multitude of individuals from anywhere act as curators, giving visibility to what they like without knowing its origin, since the sources were lost along the way. “That’s where that fragmentation was generated in my generation and those that follow me. There are no longer linear stories. The story is broken, or perhaps it no longer interests you, or it bores you, ”he points out. Although, also as a child, Reisinger was a disciplined classical guitar student among adults, at the Moron Municipal Conservatory. Born in 1990 in Argentina, he studied graphic design there and shortly after came to Spain, founding a studio with his name in 2018.
Today it attracts the interest of collectors, prestigious brands and art galleries. And he has exhibited at the Moco Museum in Barcelona, ??the Palazzo Strozzi in Florence, the Faena Art in Miami or Christie’s in New York. From the beginning, his images have been linked to interior design, architecture and furniture. To the point that some have materialized. Like the Hortensia armchair, with exuberant petal upholstery, the Pollen rugs for Moooi or the Too much, too soon lamp-sculptures. One of his latest works is the new digital art series for the Gris Dior Gallery platform, inspired by the fragrance.
And it is that at the time that Reisiger studied graphic design at the University of Buenos Aires, many of his professors were architects. Teachers who proposed to reflect on light, volume, circulation or the use of space. And as in an artistic intervention, all this modifies the way in which we perceive the environment. “It was the craziest architects who were in design. Experienced as expanding borders to universes with fewer limits and fewer civic responsibilities ”, he clarifies.
After chatting with him, I discard the provisional title of the article: From digital art to the real interior. Well, Reisinger makes it clear that for him anything that causes you an experience is real. As he already noted some painting genius, he remembers. “It can be an image, a word. Emotions change the way you see the world. And they are not tangible, but they are real. There is an etymological confusion of words, between the real and the physical, ”he points out.
In the Reisinger universe, one color stands out, pink. He perceives it as more neutral than white, which he sees as forced. Well, nothing is really white. He associates it with the pale pink of the skin, of the lips. “I feel more natural, organic, effortless.” He always starts working with this color as a base to build his images. The Pink Reisiger has already been registered in the US.
His jump from the digital to the physical arose from confusion, something that he confesses he likes extremely. Reisiger sought that tangibility in the digital work starring the voluptuous Hortensia armchair. Organic materiality that the viewer felt and wanted to touch. “This pushed Hortensia to the physical plane. I was just a channel,” she asserts. A Belgian collector thought it was a piece to sit on, and commissioned a copy. It was 2018. It was a before and after for him. A breakthrough in his work. The collector did not ask. He did not clarify, and got down to work.
The creation process lasted a year. To produce it, he assembled a team of eight people. It had the collaboration of the textile designer Júlia Esqué, a laser cutting, sewing, upholstery workshop… “Everything very dismembered. And in the end it worked. I owe it to the University of Architecture that made us think about how to carry out projects”. Its limited edition of 15 Hydrangeas is now part of collections around the world. They are the original pieces revalued after the signing of the prestigious Dutch firm Moooi, which now also produces the armchair in series.
Another of his star projects is Pollen, from which drifts have emerged. The origin is found in his idea of ??ecosystem, of comparing this mechanism of flowers with what happens in collecting. “I wanted to involve collectors who had my work. Pollinate their works to create new ones”. The expression in images has become a sublime chromatic explosion. And it has reached the house of Dior. For this brand he has imagined a transmutation from the olfactory to the visual. With a collection of five pieces of digital art, one per perfume, for the Gris Dior Gallery platform. Christian Dior himself was a great lover of flowers and his garden, he recalls.
Reisinger meets me in his studio in Barcelona. Although he has just moved to Madrid, he keeps one foot in each city. He recently became a father and in the capital he has more family support, which he values ??in this new stage of life. In the Poble Nou studio -designed by his good friend, the designer and interior designer Isern Serra- everything looks polished and tidy. Qualities that the artist himself exudes. He asked her for a kind of canvas to work on, a neutral place. “I needed the space to be as museum-like as possible. And let it change. I get bored fast. I did not want a space outside of temporality. Nor does it rub against the pieces themselves”. Although he exudes his own style and has chosen materials that he appreciates as timeless and noble. Stainless steel is one of them, applied to the emphatic spiral staircase that connects the two floors.
Vintage furniture collector, his favorite period is the 60s. In music too. “I like to look there. It was a very strong decade. A lot of creatively relevant things came up that changed the culture.” He feels great admiration for that period. In design, he considers that they were the first pieces thought of as clear expression triggers, beyond function. “If you only pay attention to the fact that a design is transportable, carries less material, etc., it is very boring. I want that when I sit in that room I propose something different. And sitting there the conversations will also be other”.
