Spencer Hope is a product designer and artist studying at Kendall College of Art and Design (KCAD) in Grand Rapids, MI. Originally from Washington state, his background working in the creative field began in the fine arts in 2018 while employed by the Walla Walla Foundry. At the Foundry, Spencer worked with sculptures being cast and finished for artists such as Jim Dine, George Condo, KAWS, and more. During this time, Spencer also co-operated a collaborative art studio with painter and sculptor Kyle Bond, named “Chrysalis Studios.” In this space, he and others explored themes of existentialism and anti-establishment philosophies through a wide range of traditional and experimental media. Since moving to Grand Rapids, MI in 2021, Spencer has committed most of his creative efforts and time to the study of product design. He has developed product concepts in areas such as office furniture, technology, lighting, automotive, fashion/eyewear, and more. He has contributed to his institution at KCAD by leading the Product Design Club, organizing industry-expert visits, design competitions, and other events. He is also more broadly involved through Student Council, and is passionate in the advocacy for the well-being and promotion of students and faculty. Through meaningful design and the making of quality things, Spencer hopes to influence the world around him and beyond, by inspiring others and challenging the status quo. Through empathy and advocacy for sustainability, accessibility, and equity, design can direct our systems and cultures into a more positive future.
In this project, entitled “Gentrified”, I have challenged what we view as the built environment. Businesses fail, close their doors. New shops move in, update, and redefine the community. The tide changes as buildings and commerce are replaced. In the interim, boarded up places and businesses are marked, tagged, and graffitied. Until it is transformed, and those voices are muted, traded for new glass and highly priced merchandise. By creating and utilizing tagged and vandalized OSB as structure and aesthetic, the piece demands the viewer to accept this material as intentional and permanent, whereas we might typically see it as a sign of dilapidation, gentrification, or even crime. Faux fur, an imitation of opulence and luxury, is used to upholster the thick cushions upon it. When seated, the user can comfortably lounge, resting only inches above the tagged structure that it is built upon, and see only fur.
