45° Hommage to Josef Hoffmann

by SARA SZYBER Sweden

988 - 2.983 Incl.25% VAT
Insured Delivery: 79
Est delivery: Oct 26th, 2021
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Estimated production time: 2 - 5 weeks

Each variation may differt Dimension LxWxH (cm): 150x2x58
Unique Pieces Material : MDF, Mirrorglass, Powder lacquered perforated metal
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Description

Pursuing new methods to ‘interpret the shape of things’, I examine notions like heritage and memory in order to create design objects that can become bearers of meaning and value.

The idea behind these mirrors begins from two starting points – initially my obsession with perforated metal sheets and, in this case, a standard metal product with perforated patterns of squares. The second basic principle comes from my interest in Wiener Werkstätte and the work by Josef Hoffmann, who often used perforated metal in his items like vases, flower stands, and tables. These light saffron yellow wall mirrors are unique pieces (this one is a rectangle body mirror and there is also a smaller, more squared mirror). They are manufactured and powder lacquered in Stockholm, Sweden.

Additional information

Weight 10 kg
Dimensions 165 × 10 × 70 cm
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About the designer


SARA SZYBER

Trained as an interior and furniture designer (University of Arts, Crafts and Design in Stockholm), Sara Szyber explores form related to the interior in her own unique characteristic manner – from furniture and industrial design to the shaping of numerous exhibition and interior architectural projects. She has been involved in a diverse range of work like ”Play!” - an exhibition for children, which toured across Europe (Moscow, Berlin, Belgrade) and the “17 Swedish Designers” exhibition-show throughout USA, Austria and Czech Republic with works exclusively by Swedish female designers. Together with renowned companies such as Design House Stockholm, Nola and NC she has designed a wide range of original, typically Scandinavian style furniture design. As an interior designer Sara Szyber has been commissioned to create the spaces of The Gotland Visitor’s Centre/ Gotlands Naturum, The Swedish Police Museum, The National Museum of Science and Technology and most recently, the interior for visitors and school-classes at The Swedish History Museum. In a pursuit for new methods to ‘interpret the shape of things’, she examines concepts like heritage and memory to create design objects that can become bearers of meaning and value. Sara Szyber’s playful and slightly anarchic urge for the search of new expressions of materiality has for instance been transmitted into the unique collection of tilted “Skew” glasses, in co-operation with the glassworks of Skruf. Her fascination with materials and patterns is the very foundation of how she conceives and creates shape, originating in such work like the Labyrinth wool carpets for Kateha, her collection of clover patterned products in brass and silver plate for Svenskt Tenn and most recently - her Death Proof Cabinet for Misschiefs. Sara Szyber has been granted several awards and grants. In 2019 she received a 2-year working grant from The Swedish Arts Grants Committee for the third time during her career. In 2014 she was elected board member of The Swedish Society of Crafts and Design. She works mainly in Stockholm, Sweden. Welcome to saraszyber.com

Curated by

Often the ordinary and visible present becomes vague and forgotten. Analogue experiences have boiled down to a minimum during the last years. We are currently in a situation where much of our regular rhythm was interrupted, the everyday was frozen and almost disappeared for a while. It became particularly evident how the environment we are functioning in, what we have or possess, matters. Layers of the past provide a means to describe the world and rethink the evident. Remembering and untangling the past and the local provides a captivating perspective through types of objects, materials, and methods of making. The Estonian collection, “Revisiting the Past”, is based on tracking the everyday and the conventional, translating observations, reconsiderations, and hints of the past into contemporary design. More than ever, the future is about rethinking the present and the past, of what we have and need. The past is heavily coded in our future.