Creating a small work of art starting from earth and sand, and from the impurities and dirt they often contain: this is what Canadian designer Marian Bantjes did, who used the materials collected during her travels in Italy for this purpose. around the world. And the result - a poster created for Alliance Graphique International, on the theme of “Coexistence” - is really special and interesting.
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Making a small work of art from earth and sand, and from the impurities and dirt they often contain: that's what the Canadian designer did Marian Bantjes, who used the materials collected during his travels around the world for this purpose. Is the result - a poster created for Alliance Graphique International, on the theme of "Coexistence" - it's really special and interesting.
There are those who, during their travels, buy souvenirs, those who take thousands of photos and those, like Marian Bantjes, collect sand and earth. Thanks to the trips undertaken in the last six years, often to attend conferences, the designer has gradually created a very large collection of different soils, of various textures and compositions, collected in small glass jars.
"I collect sand and dirt from around the world." - he writes bans, recounting his work - “I have been doing it for several years, waiting for the right project in which to use them. And this is the right project. The dirt comes from South Africa, Brazil, Argentina, Thailand, New Mexico, California, Georgia, Philippines, France, Bowen Island, Galiano Island and other places that I don't remember at the moment. Everyone who has seen my poster mentions the Tibetan sand drawings. I'm not that skilled, and my sand is lumpy and bumpy… I can't really say I thought about Tibet when I made the poster. It is simply a question of Coexistence. "
Only a part of the materials collected in recent years by Banjes was used in the poster, which required a long and painstaking work, by hand, to "tame" grains and lumps (using, when necessary, also a mortar and pestle) and place them within the composition.
First of all, the artist drew the decoration in pencil, which uses geometric shapes and letters and is reminiscent of the tradition of mandalas; then, starting from the top left corner and progressively going down to the bottom right corner, Banjes filled the drawing with its sands and lands, studying the best solutions to make such different textures and characteristics coexist.
As happens with traditional Tibetan mandalas, the different components of the decoration were not glued to the surface: after completing the composition, Banjes photographed it and then wiped away the sand and dirt, destroying the original and entrusting the memory only to the film.
Lisa Vagnozzi
Photo Credits: Marian Banjes
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