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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.
150x2x58
10
MDF, Mirrorglass, Powder lacquered perforated metal
2015
Light saffron ice cream
Body Mirror, Square Mirror
Sweden
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
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.
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