It’s fair to say that for Aesop, the love of architecture and design is more than just skin deep. Since its founding in 1987, the Australian purveyor of fine skin care has commissioned luminaries such as the Campana brothers, DIMORESTUDIO, Snøhetta, and Frida Escobedo, to name but four, to design its stores, which now number over 200 all around the world. Aesop’s most recent boutique in Rome was conceived by film director and design enthusiast Luca Guadagnino (Call Me By Your Name), who produced custom-made door and cupboard handles which include details replicated from his own apartment.
Given such dedication to excellence in design, it’s all the more surprising that Aesop had never yet produced an actual design object. But now the brand has brought out its first-ever home accessory, an oil burner, designed with its line of scented oils in mind. A joint project between Aesop’s creative director, Marsha Meredith, who is based in New York, and designer Henry Wilson, based in Sydney, the burner took four years to develop. But it wasn’t the geographic distance that dragged out the R&D: since this was Aesop’s first foray into saleable design objects, Meredith and Wilson were bent on achieving nothing less than the perfect symbiosis between form, material, and function.
Wilson, a graduate of the Design Academy Eindhoven, started collaborating with Aesop six years ago, when the company’s founder, Dennis Paphitis, personally commissioned him to design two Aesop stores. Paphitis also mentioned to Wilson over coffee a concept based on an old Greek tradition. “They would burn leftover cooking oil using a wine-bottle cork with a thread poking through it — as the wick burns so does the oil,” Wilson recalled. “The idea was we would mix in essential oil and you’d have a sort of oil candle.” An idea that was great in theory, but which in practice produced an overpowering kitchen smell.
Meredith and Wilson thus began trials for a safe, non-smelly oil burner. Glass and porcelain were quickly dismissed in favor of solid brass, “for its ideal heat-transfer properties,” says Wilson, who also kept pushing for the burner’s irregular shape, which prevents the oil from ever being placed above the heat source. “The piece is only meant to gently heat the oil, not burn it.” The shape also makes for an alluring hybrid between an ancient-Roman oil lamp, a 1970s Vereco bowl, and a teapot warmer. As for the choice of brass — a material that in contemporary design circles risks falling victim to its own success — it’s not the shine that Wilson and Meredith were after. “The more you touch it, the more it becomes dark and gets a really nice patina,” says Wilson, who keeps his oil burner in his Sydney apartment, by the sea. “The salt in the air has completely transformed its color. Whether you want to restore it is entirely up to you. Certainly not me.”
Known for his neo-vitalist views on entelechy, the German philosopher and biologist Hans Driesch was the first person to clone an animal. In his work with sea urchins, he hypothesized that the division of cell embryos would result in the development of distinct parts. Instead, each developed into a complete sea urchin. Ultimately these tests led to the philosophy that a defining characteristic of a machine, as opposed to life, is its inability to function when parts are removed.
In artist Anne Libby’s exhibition Marrow into Moxie at Night Gallery in Los Angeles, these distinctions between life and machine are explored and questioned. Libby’s autonomous freestanding works acutely dissect the narrow space of the gallery, guiding the viewer’s body through a range of tapered, negative spaces. The sculptures, which begin as polyethylene and steel picnic tables, have been rendered technically and cut through by what seems to be a post-digital process. Reductively skeletal, the surfaces of the tables mirror the forms of the folded underside in an almost performative act. Libby refers to the transformation as the creation of “conscripts” in the text that accompanies the show. This militaristic tone is further enacted by the brown monochromatic pieces which march upright across the space in a row.
Despite clear reference to the mechanical, the “tables” are anthropomorphized and scarab-like, at moments, winged. Addressing Driesch’s work, her process of removal displaces function to reveal latent annelid-like creatures that pose as both biotic and machine-like. Libby’s titles include the phrase “Die, Regenerate or Multiply,” blurring the line between the multiple divergent outcomes of an experiment that is scientific or artistic.
Making use of things from the world that bear the imprint of explicit function is thematic here. Libby collages edible seaweed together to make a slicked quilt-like surface which hangs like a camouflage battle flag. Upon closer inspection, the texture of the seaweed begins to mimic the patterns on the tables which begin to reflect the floor plan. The logic deployed is absurd yet rational. Libby does the work for us, and ultimately the artworks appear in traditional object based formats, sculpture and painting.
Leaky Gut Syndrome means just what it sounds like.Â The lining of the intestinal tract becomes more permeable than it should be and therefore can no longer perfectly protect our inner body from the foreign substances of the outside world.Â The inside lining of your gastrointestinal tract (which is the long tube going from mouth to anus), physiologically, is considered outside your body as these tissues come in direct contact with substances (food and non-food â€œediblesâ€�) from the outside world.Â The function of the lining of that tube is to finish breaking down food substances into particles that are so simple that, when absorbed, can no longer be identified by your immune system as having come from outside your body.
Your immune system sees the world in black and white:Â if it is YOU, it does NOT attack; if it is NOT YOU, it DOES attack.
The only way we have to take things from the outside world and make them into our own tissues (without the immune system going crazy), is for the digestive system, including the intestinal lining, to do its job VERY well.
Leakage of imperfectly digested proteins and carbohydrates (sugars), through a compromised intestinal lining, is now known to be a common cause of food and environmental sensitivities.Â Human physiology is such that the final stage of protein and carbohydrate digestion occurs in the cells lining the digestive tract.Â This is important because only amino acids (the smallest particles of proteins) and small sugar molecules (which make up carbohydrates) should enter the blood stream.Â These are the smallest particles of complete protein and carbohydrate digestion that the immune system will not identify as invaders.Â If proteins and large sugar molecules (carbohydrates) do get past the intestinal barrier, your immune system says â€œALERT: FOREIGN INVADER!â€�Â What happens next is a so-called food allergy response which involves a myriad of symptoms.Â The true problem may not be the actual food; rather it is that it went undigested into the bloodstream.
This Leaky Gut Syndrome makes the effects of environmental pollutants even more dangerous.Â Since human physiology has not yet evolved a way to digest the chemicals invented by man, these pollutants â€œleakâ€� through even a healthy intestinal tract. Â A leaky gut allows a greater percentage of these toxins into the bloodstream which can quickly overload the liver.Â And herein lies the problem, especially for women:Â HORMONE REGULATION HAS MUCH TO DO WITH A HEALTHY LIVER and WEIGHT LOSS HAS EVERYTHING TO DO WITH A HEALTHY LIVER.
Healing a leaky gut is first and foremost in handling most female disorders including (but not limited to) PMS, menopausal symptoms, fertility issues, difficult weight loss, mood disorders and autoimmune diseases.
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