View All Designers
Designer · Zürich, Switzerland
Designer · São Paulo, Brazil
Designer · Warsaw, Poland
Designer · Madrid, Spain
Viewing 1 - 5 of 5 members
No Pieces in the cart.
1 in stock
DOWNLOAD TIER SHEET
PROCESS: Up-cycled blue beer bottles from Nomi 4s Resource Centre, cleaned, crushed and wedged into recycled clay together with ashes and slag from BOFA waste-to-energy plant. The piece is slab-buildt and covered in two types of glazes, fired to 1260 °C.
The Wasteland Project is nonfinite project in which Annelie Grimwade Olofsson collect and experiment with industrial byproducts and waste materials through a combined process of theoretical research, applied experimentation and artistic narration, in the creation of objects, which challenges our perception of material value and the human role as consumer.
Since the industrialisation of human society, humankind has become a geological force to be recon with, evidently capable to rival those of Earths own systems. As the global population increases so does the consumption of goods, and the creation of waste, which threatens earths ecosystems and by default our own existence.
The objects can be seen as material manifestations, unlike theoretical works that discuss but do not create Anthropocene objects.
Ashes, Glass, Kiln Slag, Kronenbourg 1664 Blanc Beer Bottles, Recycled Clay
Ceramics and Stoneware
Black, Blue, Green, Pink, White
Annelie Grimwade Olofsson (1991) is exploring the correlation of industry, society, and environment from a material point of view, working on the intersection of art, design, and activism. She uses applied experimentation and to elicit impacting experiences and imagine future possibilities, contemplating environmental and social issues in the aim of fostering human relation to Earth. The primary objective of her projects is to spread knowledge, create awareness, and challenge rigid belief systems regarding value, and how it’s interlinked with materials, the economy and political agendas.
The body of work in this collection consists of pieces by Greek designers of the mainland and the diaspora, or international professionals who live and work in Greece. As a common theme we tackle the elusive notion of “Greekness” and how this transpires through the work of seemingly diverse and distinct individuals. In our attempt to define “Greekness”, we aim to raise questions about how this plays out in the work presented.
How do Greek designers view their identity? Is it through their effort to decipher their heavy heritage? Is form important in order to achieve a predisposed classic elegance, or is a philosophical disposition towards shape more poignant? Could it be simply a resourcefulness and DIY ethic to make up for the absence of design infrastructure?
How do Greek designers based abroad deal with their background? Could it be that they simply ignore it in order to finally free themselves? Is there a certain amount of innovation necessary in order to channel it into the new environment?
Finally, how do foreign designers see their work influenced by their Greek surroundings? Is it the reference through the use of noble materials such as marble or the abundance of natural light that makes their work unquestionably Greek? Or could it be something else they were seeking when they decided to move here, something abstract like humour or drama? Could their arrival finally mean a departure from Greek heritage’s self-reference?
The pieces that we present might seem ill-matched, but they share an important core element. They are confident in their narrative of a personal story of identity, that is either at peace or against the Greek archetype. Through this communication, they all describe a culturally mature and vibrant scene that is finally extroverted and coming of age.
The Curated Platform forContemporary Collectible DesignInstagram | Facebook | Pinterest
Copyright 2022 © Adorno ApS
Please confirm you want to block this member.
You will no longer be able to:
Please allow a few minutes for this process to complete.