This game is based on two of the oldest and most basic play activities known: stacking and balancing. People have been playing with these elements since the dawn of time. Both possibilities – standing up or falling over – can be equally exciting.
The first swing was created when one crossed branch was positioned over another branch. Soon after came the balancing scale, the wheel, the ball-bearing, articulated joints…..
This game helps us recapture our primitive sense of experimentation. The pieces are of seemingly arbitrary shapes such as you might find around a carpenter’s workbench. They are the sort of object that is bound to appeal to any neighborhood child, who is certain to see them as something to build with, owing to the material they’re made from (wood) and their form (random geometric shapes).
The building potential of simple objects is something that not only children, architects and engineers have observed; the first abstract artists were quick to capture the tension produced by the juxtaposition of objects and the way in which a certain concurrence could produce sensations and emotions normally associated with other aspects of our lives. The field of abstract constructivism is really a reversion to the simplest and most fundamental of our childhood games, what we called ‘building something’. Often it was something that we could not put a name to, other times it would be a city or a dragon, which after coming to pieces would be rebuilt as a bridge, a cylinder, a triangle….or simply a lot of pieces scattered around on the floor.
Author: Javier Bermejo. Made by: PICO PAO
25 × 23 × 6.5 cm
– Wooden MDF case.
– Pieces made of MDF
– Cylinders beech wood
The tightrope walker balances over the precipice, risking life and limb as he walks over the thinnest of threads. They are not actors; rather, they relive what is essentially their life away from the wire. We are all tightrope walkers, though some more than others. Whether we are aware of it or not, we are all balanced on the edge. That is what they are trying to tell us.
How do you play Tangram?
Tangram is no ordinary puzzle. The placement of the ‘tans’ and the observation of the figures come together to confer an aura of enigma and magic to the game, giving the Tangram its own special place in the world of puzzles and riddles. The possibilities that it provides for our imagination are virtually infinite. Much like when we put together a collage, the individual pieces of a Tangram lose their identity and appear before our eyes, magically, as part of a new form.
Is it an inanimate object or is there something in it that gives it life? Could it be that he reminds us of the messenger boy, the newspaper vendor, the shoeshine or the apprentice of any number of jobs – one who depends on his arms and legs to carry out these menial jobs in order to scrape by? Where does our sympathy for an object come from? Where do our emotions spring from -weak and subtle as they may be – where if not from the emotions of life itself and the spirit that animates it?