View All Designers
Designer · Copenhagen, Denmark
Designer · São Paulo, Brazil
Designer · Madrid, Spain
Designer · Zürich, Switzerland
Viewing 1 - 4 of 4 members
No Pieces in the cart.
1 in stock
DOWNLOAD CATALOG (PDF)
DOWNLOAD TIER SHEET
The lamps in the “A FLANC DE FALAISE” series draw their graphic language from the quarries from which they were extracted, combining geometric precision and the free expression of the material itself.
The light comes out of a crack crossing the block and freely orients itself by rotating the stone. The external treatment of the brass echoes the fragmented aspect of the stone.
Each piece is unique, due to its manufacturing process. The pieces are nevertheless reproducible, but will always be unique as the stone always breaks in a different way.
blued steel, Limestone
Graduated from the Ecole Boulle – Paris in craftmanship, Maxime Bellaunay explores the relation with the object and places raw material at the heart of his research. He will bring out the textures and surfaces of objects, in order to highlight their raw and primitive state.
He founds part of his formal approach on the cracking of materials, in order to release their essence and reveal their original aspect. Through this random process, a dialogue is created between human action and the way in which nature will regain control over it.
Through a sensitive and minimalist aesthetic, Maxime develops a singular language that he translates into his creations: furniture, objects, and lighting. He produces unique pieces or edited in small series, resulting from his collaborations in France and Japan.
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 Design.Instagram | Facebook | Pinterest
COPYRIGHT 2021 © 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.