Making her debut with the collection Squaring the Square (2009), Shano gives an alternative solution to the geometric problem of tiling an integral square using only other integral squares. Her take on the puzzle involves woolen cloth, artificial leather, fake fur, jacquard metallised-fibre fabric and post-digital warnings as in the “error – please restart” inside joke which adorns one of the Squaring the Square pieces. Each of the pieces deconstructs itself in quadrilateral structures of fabric – almost exclusively, and the metallic tones spiked with opaque magenta hues render a fizzy touch to the futuristic whole construction. The result is a clear hint at the golden ratio – which anticipates some of the ambitious motives that she would tackle through her next collections.

Her next endeavor, Hexapelerine (2010) folds itself by the intricate structures of the hexaflexagon, a geometric function discovered by Arthur H. Stone in Princeton 1939, a 2D paper hexagon; with more then two sides which can by turn become its outward surface or disappear inside while hexaflexagon is folded.

By ‘The Iteration (Grid)’ and ‘The Iteration’ diptych, Shahno aims to the immutable core of the spatial, stretching its limit from perceivable three-dimensional to Multiverse. Here does Shahno integrate Fractal Cosmology theories, engineering the multi-directional reflection of an allegedly multi-directional, infinitely self-replicating universe. ‘According to the theory, there is a hierarchical organization (or nesting) of matter – from the elementary particles to the clusters off galaxies, with three main levels: atomic, astral and galactic.

Keeping up with the high-concept cosmology, the collection mirrors the space-time continuum on all levels of manifestation where proportion is the only criteria to a limitless configuration of modular forms. ‘Models of the collection represent a variety of matter levels in the universe. All pieces’ patterns are composed of the one repeating basic element – the square divided by diagonals – an elementary particle, but each model has a different scale and number of particles involved.’ – explains Shahno in a complementary plead to the collection.

As it plunges deeper into the concept, her pieces are somewhat darker, puzzle-like playful and highly intuitive managing to conceive designs of their own intelligence. Or we would better say designs which are, in themselves, post-intelligence.

You can follow Lisa Shahno’s blog for more inspiration, thoughts and sketches which are, trust us, a visual feast by themselves, and you can check her collections out on the website. While you’re at it, don’t miss Polyamond, her 2012 collection of accessories, and Polyomino, a puzzle-like manifest of interactivity bringing together ideas of Lisa Shahno and Aroha Silhouettes (Vancouver, Canada). If Iteration was an essential look to the macrocosm, Polyamond is strikingly introspective and direct, translating her signature fractal vortex to a more visceral surface of the diamond. ‘Are people the same inside? If you take the sharp knife and carefully cut the body would it be the same inside as your friend’s or neighbor’s one? Or if someone would cut your bag, would you feel the pain when others see the materialization of your hidden desires?’ This should get you thinking for a while.

And somehow that’s what Shahno’s pieces do to you. More than being a three-dimensional frame for the body, her pieces aim to ultimately blow your mind.

By Simona Mantarlian

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