Touching different types of surfaces may incur certain emotions. This was the conclusion made by the psychologists in a recent empirical study. –emotional perception
“Experiment: The researchers looked at how humans react to what they see or hear. This fresh research has helped to create the first ever database of textures, the tangible perception of which is associated with happiness, fear, surprise, disgust, anger, or sadness. Marina Iosifyan and Olga Korolkova invited 108 people aged from 18 to 47 to carry out their analysis. Each of the participants were blindfolded and asked to touch different unknown surfaces one after another with one hand.”
The results of the research demonstrated that soft surfaces are generally associated with pleasant emotions, while rough surfaces – with unpleasant feelings. However, this is not always true. For instance, plasticine is soft, but is associated with disgust. And while glass pebbles might be hard, they are actually associated with happiness.
1. Touch&space (light)
Hiromi Tango, Sixth Sense (detail), 2018, textile and found material installation
why people are drawn to touch artworks in the first place. Sometimes it is to validate their expectations about a works materiality; at other times it is to feel a connection with an artist, or a period in history.
For young audiences in particular, the impulse to touch and interact is strong, and the understanding of why the ‘no touching’ rule exists is less developed. Transversely, exhibitions like tactile can create an early experience of pleasure and inclusion in an art environment. “Given free reign in the space, her tactile exploration was intuitive, her hands and eyes collaborating in gaining a rich understanding of the unusual environment… As I run my hand over each nodule I am struck by how many of them there are, and the way they are lovingly hand stitched and glued. “…..there emerges a rich resonance with phenomenological principles of bodily awareness outlined by philosophers such as Maurice Merleau-Ponty, in particular the touchant/ touché phenomenon: if I touch my right hand with my left hand, I am simultaneously aware of the sensation of touching and of being touched. I experience my body from both the inside and the outside, and the sensation of touch allows me to gain knowledge of the edges of my body, the point where I finish and the world begins.
 Maurice Merleau-Ponty, Phenomenology of Perception, trans. Colin Smith, Routledge, 1945, p. 95.
 Edoardo Fugali, The role of tactility in the constitution of embodied experience. Retrieved 11 May 2018,
Mushroom Ghost, Umbrella Ghost, Conversation With Plates, all 2018;
Masako Miki, Shapeshifters at CULT Aimee Friberg Exhibitions and MATRIX 273 at the Berkeley Art Museum, a viewer encounters large felt-covered soft sculptures in colors like turquoise, fuchsia, and bright yellow. It’s hard not to smile when confronted by these anthropomorphized figures, with their witty combinations of bulbous bodies and furniture-like, spindly legs. Yet there is more to the work than the immediate visual impact: a viewer is drawn toward, and in some cases through, the figures, taking in subtleties of narrative and meaning.
The kanji characters for yōkai mean something like “bewitching/attractive/calamity” paired with “apparition/mystery.” With their colors, softness, and originality, the yōkai do bewitch and attract. They’re multiple things with multiple identities; sometimes they’re animals, sometimes humans, and they can also be deities.”…..the viewer becomes aware of blurred boundaries as well. There are abstract images painted directly on the wall and the concrete floor: ovals dots and long arms with hands that frame and interact with the sculptural figures that have been produced in vivid, cheerful primary colors. “it bring a feeling of connectedness and empathy.”
“it doesn’t do anything if nobody visits there, so the visitors fulfill the purpose,” she said. Miki thinks of the MATRIX show as a playground where the yōkai are hanging out and waiting for people to visit. “If you don’t know who you are, it’s very difficult to find happiness because you don’t know what makes you happy.”
Available at: https://fanyi.baidu.com/#en/zh/
“not thinking is good, it allows you to directly breathe in life.” Neto transforms the art experience into a multisensory, interactive event that invites us to connect with our senses in their pure state. Neto’s oeuvre is sensorial in its essence. He explores aesthetics and science, the body and its substances,and the concept of art as a living organism. The exhibition introduces the spectator to certain areas of instability, and then provides moments of calm and reconciliation with the self. surfaces your body can sink into, prominent figures to embrace, and fantastic environments to smell and feel. There is the idea that some forms of knowledge can only be gained through the body, its senses and movements.
These mobile hammocks have binoculars and compartments with spices, encouraging visitors to observe, breathe deeply, empty their mind, and enjoy with all their senses.
In 2014, the artist showed “The Body that Carries Me”, This cooperation accentuated Neto’s work in the path of “appreciation of the sensuality of being, the unity of bodies and nature, the celebration of life, and a search for deeper forms of union and correspondence.”
[With artist Ernesto Neto to the right, Três Cantos e Uma Dança (Treveste), 2017, Cotton voile crochet ]
Sonambulinos― ‘little sleepwalkers’. Some objects invited the viewer to hug them, rest their head or insert their arms into bodily cavities. Here button orifices are joined by a twisted umbilical cord. these visceral qualities conjure up associations with the human body.
Neto wants viewers to feel free to look, touch and smell – the artist is also motivated by a drive to infuse his works with humanity. Neto aims to create an equally absorbing, boundary-blurring experience for his audiences, soliciting interaction and multisensory engagement from viewers of his engrossing biomorphic sculptural environments; he seeks nothing less than to create and to tap into a universal language of the senses.
The Brazilian artist Ernesto Neto’s new sculptures called “Slow is Good.” The sculptures were hand crocheted by a group of women in a small village in Brazil. they hang from the ceiling and are filled with small plastic balls at the bottom. people can sit and admire at the structures and their vibrant colors or just enjoy a walk within its form. The sculptures are very soothing to hangout in and you’ll be tempted to take a nap. Slow is definitely good….. Neto learned crocheting with his grandmother and great aunt and has since used it not only aesthetically, but also to convey intimacy. He takes the apparently fragile sewed threads to the edge of their physical capacity by stretching and extending them, shaping the works. Neto’s way of proposing an encounter with your inner self. Part of his success comes from his ability to produce sensations that are not usually found in our adult, urban lives. It is an art that asks the viewer to slow-down, walk gently, and feel the delicate instability of his filled nets.
Neto does not load his pieces with academic or social subtexts. He keeps them purposely open for the viewer to interact with them: the final component of the piece is you and your own conscious limitations. Neto’s works are not just soft-sculpture, not only mere fun adult-playgrounds, but represent your experience of a moment, an idea of landscape, an impulse, a feeling, an enigma meant to be sensed in the flesh.
How does play function in your work? Is it the essential element that makes the complex issues it brings up pleasurably apprehensible?
Navedenga fully exists by itself as sculpture which can simply be looked at like any traditional sculpture, but it is in the interaction with people that it shows other levels of itself. Interaction provides a more intimate relationship between the artwork and the viewer. When people climb into new pieces for the first time, I watch new aspects of the works being born. Also, when someone decides to get inside of a piece, they have another level of experience through the atmosphere created by these unexpectedly organic bodies. I believe that as living human beings we have a particular body in time, a kind of island in a cultural-physical world with skin as the border or limit.We can talk about deep things in a pleasurable way, in an easy language, thinking through our pores. We have to valorize pleasure time, as well as contemplation time, so that we can feel its reality.
Viewers are invited to mould and sculpt the 1.5 cm thick pile of the carpet, facilitating an experience of the work that is both tactile and visual…The interactive quality of the carpet works is integral to the artist’s conception of a painting by a public that inscribes its own individual response in a material way into the work’ .