WEBVTT 00:00:00.000 --> 00:00:02.779 Welcome to this custom -tailored deep dive. We're 00:00:02.779 --> 00:00:04.860 jumping right into an incredibly rich dossier 00:00:04.860 --> 00:00:07.040 you shared with us today. We really are, and 00:00:07.040 --> 00:00:09.380 there's a lot to unpack here. Yeah, if you're 00:00:09.380 --> 00:00:11.300 fascinated by the intersection of contemporary 00:00:11.300 --> 00:00:14.619 art, psychology, and, well, just the absolute 00:00:14.619 --> 00:00:17.859 subversion of everyday objects, you are in for 00:00:17.859 --> 00:00:20.679 a ride. Definitely. Our mission today is to dig 00:00:20.679 --> 00:00:24.359 into the career and the, honestly, mind -bending 00:00:24.359 --> 00:00:27.320 philosophy of Pao Guo Shao. We're working from 00:00:27.320 --> 00:00:29.339 the biographical texts and exhibition histories 00:00:29.339 --> 00:00:32.100 you provided. Right. He's a renowned Polish installation 00:00:32.100 --> 00:00:35.539 and object artist, a sculptor, designer, scenographer. 00:00:35.799 --> 00:00:39.219 And we are going to explore how his work actively 00:00:39.219 --> 00:00:42.679 rewires how we perceive reality. We're talking 00:00:42.679 --> 00:00:46.179 everything from massive kinetic art to... Pieces 00:00:46.179 --> 00:00:48.240 that literally ended up on the runways of Paris 00:00:48.240 --> 00:00:50.219 Fashion Week. It's a brilliant collection of 00:00:50.219 --> 00:00:51.840 notes you've put together for us to analyze. 00:00:51.920 --> 00:00:54.240 And to set the stage here, we need to establish 00:00:54.240 --> 00:00:56.119 that we aren't just looking at static aesthetics 00:00:56.119 --> 00:00:59.380 today. No, not at all. We are exploring how art 00:00:59.380 --> 00:01:02.560 operates as a psychological mechanism. The central 00:01:02.560 --> 00:01:05.000 theme running through Wuschel's work is deeply 00:01:05.000 --> 00:01:08.299 rooted in this concept of design thinking. Which 00:01:08.299 --> 00:01:10.340 means something very specific in his world. Exactly. 00:01:11.290 --> 00:01:14.230 In his specific philosophical framework, design 00:01:14.230 --> 00:01:16.870 thinking isn't about, you know, product development 00:01:16.870 --> 00:01:20.049 or corporate strategy. It refers to the human 00:01:20.049 --> 00:01:23.489 mind's inherent ability to create and rely on 00:01:23.489 --> 00:01:25.969 mental simulations. Mental simulations. Yes. 00:01:25.969 --> 00:01:28.450 We are constantly generating internal models 00:01:28.450 --> 00:01:31.010 to navigate our relationships and to construct 00:01:31.010 --> 00:01:34.109 our fundamental perception of reality. We sculpt 00:01:34.109 --> 00:01:36.329 reality in our minds before we even touch it. 00:01:36.719 --> 00:01:39.319 Okay, let's unpack this. Because his entire background 00:01:39.319 --> 00:01:41.200 seems perfectly engineered to figure out how 00:01:41.200 --> 00:01:43.760 to disrupt those exact mental models. It really 00:01:43.760 --> 00:01:45.879 does. Looking at his origins from the texts, 00:01:46.120 --> 00:01:48.299 Woeschel graduated from the Faculty of Sculpture 00:01:48.299 --> 00:01:50.420 at the Academy of Fine Arts in Poznań, Poland. 00:01:50.840 --> 00:01:52.879 Right, but he clearly didn't just stay in the 00:01:52.879 --> 00:01:56.060 traditional lane of, say, clay or marble. No, 00:01:56.079 --> 00:01:59.579 he works across this massive array of mediums, 00:01:59.579 --> 00:02:02.540 installations, kinetic sculptures that incorporate 00:02:02.540 --> 00:02:05.560 actual movement, photography, drawing. Yeah. 00:02:05.620 --> 00:02:07.400 But the term that really caught my eye in your 00:02:07.400 --> 00:02:10.020 notes was scenographer. Yeah, that's a crucial 00:02:10.020 --> 00:02:13.000 one. How does a background in theatrical or environmental 00:02:13.000 --> 00:02:17.030 design play into building physical objects? Well, 00:02:17.069 --> 00:02:19.270 scenography is the ultimate key to understanding 00:02:19.270 --> 00:02:21.569 his approach here. A traditional sculptor might 00:02:21.569 --> 00:02:24.449 be concerned only with the object resting on 00:02:24.449 --> 00:02:26.650 a plinth in a white room. Like a statue in a 00:02:26.650 --> 00:02:29.610 museum. Exactly. But a scenographer is concerned 00:02:29.610 --> 00:02:32.490 with the entire spatial narrative. They design 00:02:32.490 --> 00:02:34.870 the environment, the atmosphere, the context 00:02:34.870 --> 00:02:37.189 in which an object exists. So it's about the 00:02:37.189 --> 00:02:39.270 whole room, not just the thing in the room. Precisely. 00:02:39.270 --> 00:02:41.349 So when Woeschel transitions into kinetic art 00:02:41.349 --> 00:02:43.650 and mixed media installations, he's applying 00:02:43.650 --> 00:02:46.969 that scenographic mindset. refuses to let the 00:02:46.969 --> 00:02:49.330 viewer remain a passive observer in a neutral 00:02:49.330 --> 00:02:51.930 space. He makes you part of it. He does. He uses 00:02:51.930 --> 00:02:55.629 form, unexpected textures, and movement to alter 00:02:55.629 --> 00:02:58.129 the physical space. And that forces the viewer 00:02:58.129 --> 00:03:01.050 into an active, often uncomfortable relationship 00:03:01.050 --> 00:03:03.490 with the object. So to relate it back to design 00:03:03.490 --> 00:03:07.169 thinking, he's basically hacking our visual heuristics. 00:03:07.409 --> 00:03:09.789 That's a great way to put it. Like we rely on 00:03:09.789 --> 00:03:12.830 mental shortcuts to process complex visual data 00:03:12.830 --> 00:03:15.090 so we don't get overwhelmed just walking down 00:03:15.090 --> 00:03:18.189 the street. But Wuschel seems to build objects 00:03:18.189 --> 00:03:20.960 specifically designed. To short circuit those 00:03:20.960 --> 00:03:24.080 shortcuts. He weaponizes our own survival mechanisms 00:03:24.080 --> 00:03:27.680 against us in a way. Wow. Your brain relies on 00:03:27.680 --> 00:03:30.259 those heuristic shortcuts to categorize the world 00:03:30.259 --> 00:03:32.539 quickly and efficiently based on past experiences. 00:03:33.039 --> 00:03:35.919 You see a familiar shape. Your brain runs the 00:03:35.919 --> 00:03:38.620 simulation and you move on. Right. I see a chair. 00:03:38.780 --> 00:03:40.280 I know it's a chair. I don't have to inspect 00:03:40.280 --> 00:03:43.379 it. Exactly. Woshel deliberately invites that 00:03:43.379 --> 00:03:46.020 familiar simulation only to completely shatter 00:03:46.020 --> 00:03:48.680 it using unexpected materials, scales and contexts. 00:03:49.360 --> 00:03:52.219 He forces a state of cognitive dissonance. You 00:03:52.219 --> 00:03:54.060 have to abandon the short. You have to stop, 00:03:54.199 --> 00:03:56.879 recalibrate, and actively process what is actually 00:03:56.879 --> 00:03:59.080 in front of you rather than what your brain assumed 00:03:59.080 --> 00:04:01.479 was there. And that aggressive recalibration 00:04:01.479 --> 00:04:04.219 has clearly struck a nerve globally. Oh, absolutely. 00:04:04.520 --> 00:04:06.780 Looking at the timeline and the exhibition history 00:04:06.780 --> 00:04:10.039 you provided, he is not just a regional phenomenon. 00:04:10.120 --> 00:04:14.110 His work has traversed the U .K. Turkey, Austria, 00:04:14.509 --> 00:04:17.370 the Netherlands, Ireland. It's a massive footprint. 00:04:17.750 --> 00:04:19.649 You see his pieces popping up at the Center for 00:04:19.649 --> 00:04:22.389 Art and Media Karlsruhe in Germany, then making 00:04:22.389 --> 00:04:26.149 waves at the Watu Art Festival, the Kunsten Festival 00:04:26.149 --> 00:04:29.250 Watu in Belgium. Right. He's showcasing at the 00:04:29.250 --> 00:04:33.050 WK Project Tram in Vienna, the 2015 Zoom Festival, 00:04:33.250 --> 00:04:35.949 and as we mentioned, even infiltrating Paris 00:04:35.949 --> 00:04:38.250 Fashion Week. What's fascinating here is not 00:04:38.250 --> 00:04:40.930 just the geographic spread, but the caliber of 00:04:40.930 --> 00:04:42.930 the company he's keeping in these spaces. Yeah, 00:04:42.949 --> 00:04:45.110 the names in the dossier are huge. When you look 00:04:45.110 --> 00:04:47.170 closely at the curator's choices in your notes, 00:04:47.329 --> 00:04:49.370 Waschel is frequently exhibited alongside some 00:04:49.370 --> 00:04:51.449 of the most provocative heavyweights in contemporary 00:04:51.449 --> 00:04:53.810 art. We are talking about the elusive street 00:04:53.810 --> 00:04:56.750 artist. Banksy. Banksy, yes. And we're talking 00:04:56.750 --> 00:05:00.089 about the profoundly visceral Belgian sculptor 00:05:00.089 --> 00:05:02.350 Berlin de Bruycker. Which makes sense with the 00:05:02.350 --> 00:05:04.649 fleshy, uncomfortable materials. And perhaps 00:05:04.649 --> 00:05:07.230 most tellingly, the legendary performance artist 00:05:07.230 --> 00:05:10.670 Marina Abramovich. The list also includes Tracey 00:05:10.670 --> 00:05:13.610 Emin, Erwin Worm, Lihui, and Franz Ackermann. 00:05:13.730 --> 00:05:16.750 That is an absolute... powerhouse lineup. It 00:05:16.750 --> 00:05:19.149 reads like a syllabus for modern art provocateurs. 00:05:19.350 --> 00:05:22.149 It really does. What does it tell us that curators 00:05:22.149 --> 00:05:25.209 are actively placing his physical objects in 00:05:25.209 --> 00:05:29.029 the same rooms as someone like Abramovich? Her 00:05:29.029 --> 00:05:31.370 medium is usually her own physical endurance 00:05:31.370 --> 00:05:34.050 and audience discomfort. She's a making static 00:05:34.050 --> 00:05:36.589 sculptures. I think it validates the psychological 00:05:36.589 --> 00:05:39.490 weight of Wuschel's work. How so? Well, Abramovich 00:05:39.490 --> 00:05:41.910 is famous for stripping away the social conventions 00:05:41.910 --> 00:05:44.310 between artist and audience, right? She forces 00:05:44.310 --> 00:05:46.829 a deeply uncomfortable raw interaction. Yeah, 00:05:46.850 --> 00:05:49.149 the staring contest, the physical vulnerability. 00:05:49.310 --> 00:05:52.290 Exactly. And Banksy subverts institutional authority 00:05:52.290 --> 00:05:54.829 and societal norms through immediate recognizable 00:05:54.829 --> 00:05:58.029 street -level shocks. By placing Wuschel in that 00:05:58.029 --> 00:06:00.589 exact same dialogue, curators are recognizing 00:06:00.589 --> 00:06:03.350 that his installations carry that same paradigm 00:06:03.350 --> 00:06:05.269 -shifting energy. He's playing the same game, 00:06:05.329 --> 00:06:08.170 just with different tools. Exactly. He isn't 00:06:08.170 --> 00:06:10.670 making polite objects to match a sofa. He is 00:06:10.670 --> 00:06:13.269 building physical confrontations that question 00:06:13.269 --> 00:06:16.050 the very nature of modern existence and material 00:06:16.050 --> 00:06:19.290 value. And that desire to confront and expand 00:06:19.290 --> 00:06:21.689 the dialogue really seemed to accelerate for 00:06:21.689 --> 00:06:24.089 him around 2009. A very important year in the 00:06:24.089 --> 00:06:26.149 timeline. The notes highlight a pivotal move 00:06:26.149 --> 00:06:28.660 to London that year. And it wasn't just a change 00:06:28.660 --> 00:06:31.120 of address. It was a massive expansion of his 00:06:31.120 --> 00:06:33.740 sensory toolkit. He started diving heavily into 00:06:33.740 --> 00:06:36.279 the art of design. Yeah, but even more intriguingly, 00:06:36.300 --> 00:06:39.300 he began exploring sound. He started collaborating 00:06:39.300 --> 00:06:42.660 with Dr. J. Milo Taylor. Who was deeply entrenched 00:06:42.660 --> 00:06:45.060 in sound research and creative action. Right. 00:06:45.660 --> 00:06:47.660 Woeschel was also working with Austrian artists 00:06:47.660 --> 00:06:51.100 Andreas Herrer and Leo Reigler. He spent a few 00:06:51.100 --> 00:06:53.360 years absorbing all this auditory and collaborative 00:06:53.360 --> 00:06:56.079 research before eventually moving back to Warsaw 00:06:56.079 --> 00:06:59.540 in 2012. Where he currently lives and works yes. 00:06:59.740 --> 00:07:02.120 The inclusion of sound research is a brilliant 00:07:02.120 --> 00:07:03.959 evolution. Why do you think he needed sound? 00:07:04.399 --> 00:07:07.240 Well, think about it. If your entire artistic 00:07:07.240 --> 00:07:09.839 philosophy is based on disrupting a viewer's 00:07:09.839 --> 00:07:12.560 mental simulation of reality, relying solely 00:07:12.560 --> 00:07:16.120 on visual and tactile cues has limits. Because 00:07:16.120 --> 00:07:18.240 I can just close my eyes. Exactly. You can close 00:07:18.240 --> 00:07:21.100 your eyes or look away from a sculpture. But 00:07:21.100 --> 00:07:25.000 sound is invasive. It fills the room. It occupies 00:07:25.000 --> 00:07:27.199 the space in a way a physical object cannot. 00:07:28.009 --> 00:07:30.350 By collaborating with researchers like Dr. J. 00:07:30.449 --> 00:07:32.949 Milo Taylor, Wuschel was figuring out how to 00:07:32.949 --> 00:07:35.629 make his cognitive dissonance inescapable. Wow, 00:07:35.810 --> 00:07:38.110 inescapable art. When you combine a visually 00:07:38.110 --> 00:07:40.509 disruptive kinetic object with a meticulously 00:07:40.509 --> 00:07:43.170 researched auditory component, you completely 00:07:43.170 --> 00:07:46.509 override the viewer's sensory processing. Okay, 00:07:46.569 --> 00:07:49.370 here's where it gets really interesting. Because... 00:07:49.660 --> 00:07:52.040 Even without the audio, his physical manipulation 00:07:52.040 --> 00:07:54.839 of materials is just staggering. The materials 00:07:54.839 --> 00:07:56.660 are the core of it. I want to dive into one of 00:07:56.660 --> 00:07:59.139 the most striking works detailed in the dossier. 00:07:59.199 --> 00:08:01.199 It's an installation called Spirit of Ecstasy. 00:08:01.339 --> 00:08:05.220 Now, just hearing that name, your brain probably 00:08:05.220 --> 00:08:08.959 runs a very specific mental simulation. The piece 00:08:08.959 --> 00:08:11.839 is a full -size, one -to -one scale Rolls -Royce 00:08:11.839 --> 00:08:14.420 car. Complete with the famous Spirit of Ecstasy 00:08:14.420 --> 00:08:16.899 emblem right there on the bonnet. It is the ultimate 00:08:16.899 --> 00:08:19.899 unquestionable symbol of Western wealth. elite 00:08:19.899 --> 00:08:22.660 engineering, and status. The mental model for 00:08:22.660 --> 00:08:24.699 a Rolls Royce is one of the most rigid in our 00:08:24.699 --> 00:08:26.759 cultural consciousness. You see that grill and 00:08:26.759 --> 00:08:29.259 you instantly know what it means. Right. It represents 00:08:29.259 --> 00:08:32.399 bespoke craftsmanship, exclusivity, and a very 00:08:32.399 --> 00:08:35.360 specific type of untouchable luxury. It is literally 00:08:35.360 --> 00:08:38.220 designed to be revered. It is entirely designed 00:08:38.220 --> 00:08:40.820 for reverence. But then Rochelle pulls the rug 00:08:40.820 --> 00:08:44.240 out. This entire life -size luxury car isn't 00:08:44.240 --> 00:08:46.860 made of steel, leather, or polished chrome. No, 00:08:46.860 --> 00:08:49.879 not at all. He constructed the entire thing out 00:08:49.879 --> 00:08:52.600 of thousands upon thousands of cheap Chinese 00:08:52.600 --> 00:08:55.500 toys. It's incredible. It is a monumental luxury 00:08:55.500 --> 00:08:58.419 vehicle built entirely from inexpensive, mass 00:08:58.419 --> 00:09:01.100 -produced plastic. Let's analyze the economic 00:09:01.100 --> 00:09:03.639 and psychological clash happening in that piece. 00:09:03.899 --> 00:09:07.289 On a macro level, from 20 feet away, The form 00:09:07.289 --> 00:09:09.389 dictates your reaction. You think Rolls -Royce. 00:09:09.669 --> 00:09:13.190 Luxury. Value. Exactly. Your brain runs the shortcut. 00:09:13.450 --> 00:09:16.110 But as you step closer, the structure shatters 00:09:16.110 --> 00:09:18.509 into its constituent parts. And you see a plastic 00:09:18.509 --> 00:09:21.309 dinosaur or a cheap water gun. And you are confronted 00:09:21.309 --> 00:09:25.389 with the exact opposite of bespoke luxury. Disposable, 00:09:25.389 --> 00:09:28.009 mass -produced, anonymous plastic. The later 00:09:28.009 --> 00:09:31.120 implications alone are wild to think about. You 00:09:31.120 --> 00:09:33.860 have the concept of a hand -built elite vehicle 00:09:33.860 --> 00:09:37.779 colliding with the reality of globalized factory 00:09:37.779 --> 00:09:40.240 line toy production. That is the core of the 00:09:40.240 --> 00:09:42.919 cognitive dissonance. By building the ultimate 00:09:42.919 --> 00:09:46.159 symbol of Western excess out of the very materials 00:09:46.159 --> 00:09:49.679 that fuel our disposable global economy, Woshull 00:09:49.679 --> 00:09:52.970 is holding up a deeply critical mirror. He's 00:09:52.970 --> 00:09:55.809 making us look at what we value. He forces the 00:09:55.809 --> 00:09:58.350 viewer to confront the absurd structures of value 00:09:58.350 --> 00:10:01.070 we've created. Why do we revere the shape of 00:10:01.070 --> 00:10:03.889 the car but discard the toys? It's a brilliant 00:10:03.889 --> 00:10:07.070 physical manifestation of modern economic hypocrisy. 00:10:07.210 --> 00:10:09.450 And pulling off a physical manifestation of that 00:10:09.450 --> 00:10:12.149 scale is no small feat. Not at all. The dossier 00:10:12.149 --> 00:10:14.230 makes a point to mention that realizing a monumental 00:10:14.230 --> 00:10:16.830 project like Spirit of Ecstasy requires serious 00:10:16.830 --> 00:10:19.389 institutional backing. This was brought to life 00:10:19.389 --> 00:10:20.970 with the support of the Art Stations Foundation 00:10:20.970 --> 00:10:23.509 of Grazina Kuchik. You don't just engineer a 00:10:23.509 --> 00:10:25.529 life -size car out of thousands of loose toys 00:10:25.529 --> 00:10:28.289 without incredible logistical support. No. And 00:10:28.289 --> 00:10:29.669 you need a foundation that actually believes 00:10:29.669 --> 00:10:32.259 in the disruptive power of the vision. The backing 00:10:32.259 --> 00:10:34.600 of a major foundation underscores how seriously 00:10:34.600 --> 00:10:36.740 the art world takes his philosophy of design 00:10:36.740 --> 00:10:39.980 thinking. But his ability to fuse heavy historical 00:10:39.980 --> 00:10:43.360 concepts with entirely unexpected jarring materials 00:10:43.360 --> 00:10:46.200 is perhaps even more pronounced in another piece 00:10:46.200 --> 00:10:48.159 you shared with us. I was hoping we'd get to 00:10:48.159 --> 00:10:51.220 this one because it feels like the absolute centerpiece 00:10:51.220 --> 00:10:54.100 of his subversion. We're talking about a 2011 00:10:54.100 --> 00:10:57.320 installation titled Look at Me. The new Capital 00:10:57.320 --> 00:11:01.200 Line Wolf? Yes. Curated by Jan Moyart and shown 00:11:01.200 --> 00:11:04.159 at the Kunsten Festival Watu. I was looking at 00:11:04.159 --> 00:11:06.080 the notes on this piece, and honestly, the sheer 00:11:06.080 --> 00:11:09.279 size of it is one thing, but the material list? 00:11:09.480 --> 00:11:11.600 I couldn't quite wrap my head around it. The 00:11:11.600 --> 00:11:13.879 scale is imposing. It stands at 210 centimeters, 00:11:14.080 --> 00:11:16.799 which is nearly 7 feet tall. Massive. But you're 00:11:16.799 --> 00:11:18.720 right. It's the material composition that truly 00:11:18.720 --> 00:11:21.429 short -circuits the brain. He built this massive 00:11:21.429 --> 00:11:24.809 structure out of acrylic, polyester, fabric, 00:11:25.029 --> 00:11:28.490 jewelry, discarded plastic bottles. Human hair. 00:11:28.590 --> 00:11:31.610 Human hair and rubber teats. Human hair, plastic 00:11:31.610 --> 00:11:34.070 bottles, and rubber teats to build a Roman monument. 00:11:34.669 --> 00:11:36.769 If we connect this to the bigger picture, we 00:11:36.769 --> 00:11:38.850 have to look at the immense historical weight 00:11:38.850 --> 00:11:41.549 of the original Capitoline wolf. The bronze statue, 00:11:41.690 --> 00:11:43.909 right? The ancient bronze sculpture depicting 00:11:43.909 --> 00:11:46.750 a she -wolf suckling the mythical twin founders 00:11:46.750 --> 00:11:50.210 of Rome, Romulus, and Remus. It is a foundational 00:11:50.210 --> 00:11:53.190 symbol of classical antiquity. It's in every 00:11:53.190 --> 00:11:55.850 history textbook. It represents empire, divine 00:11:55.850 --> 00:11:58.970 history, and the fierce nurturing power of nature. 00:11:59.190 --> 00:12:02.789 And crucially, it is rendered in bronze, a material 00:12:02.789 --> 00:12:06.769 meant to be endured. So you have this ancient, 00:12:06.870 --> 00:12:10.250 noble symbol of eternal empire. And Woeschel 00:12:10.250 --> 00:12:12.370 takes that instantly recognizable silhouette, 00:12:12.629 --> 00:12:15.330 blows it up to almost seven feet tall, and just 00:12:15.330 --> 00:12:17.429 completely guts the nobility of the material. 00:12:17.899 --> 00:12:20.779 He replaces the eternal with the discarded, rebuilding 00:12:20.779 --> 00:12:23.740 an icon of classical antiquity using modern trash 00:12:23.740 --> 00:12:26.980 and visceral biological elements creates an incredibly 00:12:26.980 --> 00:12:29.259 jarring new simulation. Let's talk about those 00:12:29.259 --> 00:12:31.600 rubber teats. Think about them. They directly 00:12:31.600 --> 00:12:33.879 reference the mythological suckling of the twins. 00:12:34.120 --> 00:12:36.480 But by using mass produced artificial rubber 00:12:36.480 --> 00:12:39.080 instead of a bronze depiction of a natural wolf, 00:12:39.240 --> 00:12:41.899 he introduces a sharp commentary on modern nourishment. 00:12:42.100 --> 00:12:45.399 Like what feeds us now? Exactly. What sustains 00:12:45.399 --> 00:12:47.779 our society now? It isn't the. The fierce power 00:12:47.779 --> 00:12:51.720 of nature, its synthetic, mass -produced artificiality. 00:12:51.820 --> 00:12:54.720 And the inclusion of the hair. There's something 00:12:54.720 --> 00:12:57.620 so unsettling about taking synthetic materials 00:12:57.620 --> 00:13:00.559 like polyester and plastic bottles and weaving 00:13:00.559 --> 00:13:03.399 in human hair. It's deeply physical. It brings 00:13:03.399 --> 00:13:06.580 this eerie, biological reality to something that 00:13:06.580 --> 00:13:09.500 feels like discarded trash. It pushes the piece 00:13:09.500 --> 00:13:12.200 into the realm of the uncanny. You recognize 00:13:12.200 --> 00:13:14.539 the historical silhouette of the wolf, but you 00:13:14.539 --> 00:13:16.559 are instinctively repulsed by the hair and the 00:13:16.559 --> 00:13:18.559 plastic. You want to look away, but you can't. 00:13:18.580 --> 00:13:20.960 It forces you to look at the disposable debris 00:13:20.960 --> 00:13:24.019 of contemporary life and somehow see the shadow 00:13:24.019 --> 00:13:27.159 of an ancient empire within it. It's a masterful 00:13:27.159 --> 00:13:29.700 manipulation of historical memory. It's no wonder 00:13:29.700 --> 00:13:32.539 this piece had such an incredible journey. The 00:13:32.539 --> 00:13:35.700 timeline shows that Look At Me refused to stay 00:13:35.700 --> 00:13:37.820 confined to traditional gallery spaces. It broke 00:13:37.820 --> 00:13:40.000 out. It started at the Watu Art Festival, which 00:13:40.000 --> 00:13:42.259 was shown at the Unit 24 gallery in London, but 00:13:42.259 --> 00:13:44.720 then it made this massive, unexpected leap. It 00:13:44.720 --> 00:13:47.360 went to Paris Fashion Week. This crossover is 00:13:47.360 --> 00:13:49.960 the ultimate testament to how deeply Woeschel's 00:13:49.960 --> 00:13:52.399 design thinking resonates. Because it's a completely 00:13:52.399 --> 00:13:55.320 different context. When artwork effectively hacks 00:13:55.320 --> 00:13:58.840 universal human perception, it cannot be contained 00:13:58.840 --> 00:14:01.970 by the white walls of a museum. It bleeds into 00:14:01.970 --> 00:14:04.649 culture. The installation deeply inspired Polish 00:14:04.649 --> 00:14:08.090 fashion and interior designer Masi Z. And it 00:14:08.090 --> 00:14:10.850 wasn't just a vague mood board inspiration. No. 00:14:10.929 --> 00:14:14.669 The dossier explains that Look at Me became the 00:14:14.669 --> 00:14:18.250 central driving motif for Z's entire fashion 00:14:18.250 --> 00:14:20.389 collection. He actually titled the collection 00:14:20.389 --> 00:14:22.690 after the artwork. It became the identity of 00:14:22.690 --> 00:14:25.679 the show. Zia integrated the physical seven foot 00:14:25.679 --> 00:14:27.860 tall installation directly into the scenery of 00:14:27.860 --> 00:14:30.120 his runway shows. So you have models walking 00:14:30.120 --> 00:14:32.879 past this towering wolf made of hair and plastic 00:14:32.879 --> 00:14:35.100 bottle. Which is an incredible visual. But he 00:14:35.100 --> 00:14:37.820 took it a step further. The striking visual imagery 00:14:37.820 --> 00:14:41.600 of Wuschel's Modern Wolf was literally reproduced 00:14:41.600 --> 00:14:43.899 directly onto the dresses and shirts of the collection. 00:14:44.100 --> 00:14:46.120 This raises a fascinating question about the 00:14:46.120 --> 00:14:49.220 boundaries between high art, commerce, and kinetic 00:14:49.220 --> 00:14:51.659 movement. How do you mean? By printing the artwork 00:14:51.659 --> 00:14:54.419 onto fabric, Wuschel's commentary on perception 00:14:54.419 --> 00:14:57.399 and reality literally cloaks the human body. 00:14:57.879 --> 00:15:00.600 The person wearing that dress or shirt transforms 00:15:00.600 --> 00:15:03.700 into a walking, kinetic extension of the original 00:15:03.700 --> 00:15:06.360 installation. They become the art. It takes that 00:15:06.360 --> 00:15:09.440 jarring, unsettling simulation of the Capitoline 00:15:09.440 --> 00:15:12.700 Wolf and inserts it directly into everyday visual 00:15:12.700 --> 00:15:14.960 culture. You might encounter it walking down 00:15:14.960 --> 00:15:16.720 the street or standing next to you at a dinner 00:15:16.720 --> 00:15:19.240 party. It fundamentally changes how the art is 00:15:19.240 --> 00:15:22.059 consumed. You aren't choosing to walk into a 00:15:22.059 --> 00:15:24.759 gallery to see it. It's just suddenly existing 00:15:24.759 --> 00:15:27.659 in your reality. It proves that the themes Woshel 00:15:27.659 --> 00:15:30.080 is exploring, how we construct reality, how we 00:15:30.080 --> 00:15:33.019 assign value to materials, how we rely on visual 00:15:33.019 --> 00:15:35.879 shortcuts, are incredibly relevant to the fashion 00:15:35.879 --> 00:15:37.840 industry. Because fashion does the same thing. 00:15:37.980 --> 00:15:40.360 Fashion is an industry entirely built on shifting 00:15:40.360 --> 00:15:43.279 perceptions, form, and creating new realities. 00:15:43.559 --> 00:15:45.559 So what does this all mean when we zoom out? 00:15:45.980 --> 00:15:48.690 We've looked at the global footprint. The Rolls 00:15:48.690 --> 00:15:51.509 Royce made of cheap toys, the ancient Roman wolf 00:15:51.509 --> 00:15:54.110 rebuilt from human hair and rubber teats, and 00:15:54.110 --> 00:15:56.149 that same wolf becoming literal high fashion. 00:15:56.330 --> 00:15:58.529 It's a broad spectrum. It seems clear that Wo 00:15:58.529 --> 00:16:01.230 Scholl isn't just making commentary. He is actively 00:16:01.230 --> 00:16:04.409 rewiring the mental simulations of anyone who 00:16:04.409 --> 00:16:07.029 comes into contact with his work. He understands 00:16:07.029 --> 00:16:09.799 that humans are meaning -making machines. We 00:16:09.799 --> 00:16:11.840 desperately want the shape of the Rolls Royce 00:16:11.840 --> 00:16:14.340 to signify wealth, and we want the silhouette 00:16:14.340 --> 00:16:17.000 of the bronze statue to signify noble history. 00:16:17.279 --> 00:16:19.879 We crave that familiarity. By giving us the familiar 00:16:19.879 --> 00:16:23.000 forms we crave, but aggressively denying us the 00:16:23.000 --> 00:16:26.240 materials we expect, he refuses to let us sleepwalk 00:16:26.240 --> 00:16:28.559 through our environment. He forces us to pay 00:16:28.559 --> 00:16:30.779 attention. He demands that we wake up from our 00:16:30.779 --> 00:16:33.299 automated mental routines and actively participate 00:16:33.299 --> 00:16:36.320 in the construction of our own reality. In his 00:16:36.320 --> 00:16:39.809 hands, art is an active psychological tool. I 00:16:39.809 --> 00:16:41.730 think that is the perfect distillation of his 00:16:41.730 --> 00:16:44.450 work. We have unpacked an incredibly complex 00:16:44.450 --> 00:16:46.750 and rewarding dossier today. It's been fascinating. 00:16:47.009 --> 00:16:49.649 Seeing how Poway Woshel uses everything from 00:16:49.649 --> 00:16:52.210 sonography and sound research to discarded plastic 00:16:52.210 --> 00:16:55.190 bottles to totally redefine our concepts of luxury, 00:16:55.409 --> 00:16:58.029 history, and form has been a brilliant journey. 00:16:58.370 --> 00:17:00.889 We want to thank you for bringing this incredibly 00:17:00.889 --> 00:17:03.690 rich set of sources to us and for taking this 00:17:03.690 --> 00:17:06.730 deep dive into the intricate, perception -bending 00:17:06.730 --> 00:17:09.569 world of kinetic art and design thinking. As 00:17:09.569 --> 00:17:11.250 we wrap up, I'd like to leave you with something 00:17:11.250 --> 00:17:13.410 to mull over as you navigate your own environment 00:17:13.410 --> 00:17:16.549 today. Let's hear it. Consider the everyday objects 00:17:16.549 --> 00:17:19.730 you might casually throw away. A plastic bottle, 00:17:19.910 --> 00:17:23.910 a broken toy, a stray piece of fabric. If Weschel's 00:17:23.910 --> 00:17:26.230 philosophy of design thinking demonstrates that 00:17:26.230 --> 00:17:28.849 our reality is just a simulation built by our 00:17:28.849 --> 00:17:31.670 minds, how might your perception of your own 00:17:31.670 --> 00:17:33.809 world shift if you started viewing your daily 00:17:33.809 --> 00:17:36.509 trash not as garbage, but as the exact building 00:17:36.509 --> 00:17:38.569 blocks of the next great historical monument?