RIMASÙU — Interview
Interview with RIMASÙU, a Paris based studio specialized in graphic design and photography.
Dennis Moya: Hello Adrien and Maxime how are you?
Adrien & Maxime: Hi! We’re quite fine right now. We’re just back from a two months residency in the French West Indies, already missing the people and the sun!
DM: Can you introduce yourselves?
A&M: We’re a young creative studio based in Paris, recently graduated from Les Arts Déco and working mostly with graphic design and photography. We share our time between working on commercial projects, especially on the field of art, culture and fashion, and constructing a personal research about contemporary olfactory art.
DM: Where does your interest in graphic design and photography come from?
A&M: Our work is based on curiosity. It’s the reason it could appear so various or multidisciplinary, we explore a new context for each project and give a visual reaction to it. We believe that graphic design and photography are tools. That’s why we always jump between design fields, using also type design, painting, installation and even olfactory design. It’s a way for us to communicate or transmit something; focusing on the solution we’re excited about. We’re not obsess by creating something “new”, we’re just looking for a sincere answer in a specific context.
DM: How did you come to start up the studio?
A&M: The idea of a studio appeared naturally. We met back in school and for long time we’ve been teaming up. At some point during our exchange (at ECAL and KABK), we were Skyping so often that we felt like being in both school together. After that, we started considering ourselves as a duo, doing internship together and a mutual graduating project. Then the studio was obvious, mostly an official thing, a name and structure.
DM: Can you explain to us one of your projects?
A&M: As we said, beside our commercial work, we’re dedicating our time to a research about the smell. During our last year of study, we started to explore the synaesthesia link between image and odour, wondering how to talk about a sensitive feeling using visuals.
Looking back then, we weren’t especially comfortable with scent, not much educated. But almost immediately, we discovered how broad the world of smell is and how few designers use it. Early, we had the chance to work with International Flavors & Fragrances, having an infinite amount of extract, natural and synthetic odor, but most of all exchanging and working with perfumers.
Recently, we created an olfactory triptych from an image: the point was to mix field and perception, building bridge between sensation. As a starting point, we designed an image, using photography, exploring the limit of evocation. We wanted to loose the perfume maker, building a set in which matter, composition, color and shape were hard to apprehend for itself, especially in an olfactory way. Basically, a mix of organic, mineral, glass and fluid object. From that piece, we worked with Domitille Bertier, the perfumer behind “Midnight in Paris” from Van Cleef & Arpels, to build an olfactory translation. Using a simple composition, she built a narrative interpretation, a strong arrangement of odor, a perfume as piece of art. We wanted this relation to end with the shape, the container, and make it part of the narration. Then we worked with Jeremy Maxwell-Wintrebert, a French glass blower, to conceive and realize with us a piece of glass, a sculpture containing the fragrance and giving to it a spatiality. This triptych has been exhibited at the new Grand Musée du Parfum in Paris for a temporary exhibition.
DM: Do you have a designer and a photographer that you admire?
A&M: Of course, we admire many designers, nourishing our vision by their approach or their style. As a studio, we both have different references and looking in many directions.
But recently, we had the occasion to meet many talented designers with whom we worked or really looking for. We love Nolan Paparelli typographic approach, his strong graphic eye, and his font “Everett” is one of our classics. Our website has been programmed by Romain Cazier, a digital designer with such a great eye on detail and subtlety. We really respect the designers Dach & Zephir for their practice and aesthetic, sharing their vision of culture and context, loving working with them. We’re also looking for an occasion to work with Louise Desnos, a photographer with such a romantic eye; and we find really inspiring the kind of initiative Nicolas Polli have, carrying project like YET magazine with nothing but his style and energy. The young scene of design is so high-spirited right now, we could only focus on them.
DM: Is there a book which opened your eyes about design?
A&M: We don’t feel we got our eyes open in one specific book; we’re really attracted in moving, seeing, meeting new people and contexts. We’re attached to the “moving” aspect of an art practice and we’ll do our best to keep changing the space we evolve. But if there is a book that was a recent game changer, it would be “L’Art Olfactif Contemporain” from Chantal Jaquet. This collective book, resulting from a French seminar about the scent, tries to define its position in the art world. It’s really specific but it gives a new vision on art and opening a really exciting door.
DM: The last word…
A&M: Thanks Ligature for your interest in our work, we hope we will meet you back soon!