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While working with the project “3 to 5 Seconds – Rapid handmade production” in 2014, Jenny Nordberg researched ancient mirror making. The process and outcome was captivating and, since then, Nordberg has worked with this old method of making mirrors.
The process used has its origin in the 19th century and results in a thin layer of silver (Ag) on the glass surface. Not covering the whole surface of the glass, each mirror becomes different due to uncontrollable liquids within the process of making.
Glass, paint, Silver
Jenny Nordberg (b. 1978) is an industrial designer MFA based in the southern part of Sweden, who works exploratory and interdisciplinary to expand the contemporary notion of design, and of the designer. Whether an experimental, conceptual or commercial project, her practice is always driven by a search for alternatives and counter-strategies to irresponsible mass production. Stylistically, her work is characterised by brutalism and minimalism cleverly combined, often leaning on chance as an important element.
Navigating between art and design, her research and studio work focus on how we produce and consume today, how we have done so historically and how this can be done differently in the future. By exploring questions such as these, Nordberg seeks to transform the preconditions of design and encourage it to take a more engaged position.
The research and design studio of Jenny Nordberg mainly works with studio production, small series, limited editions and site or context specific commissions.
Currently there exists a group of designers who have reintroduced the vitality of craft into Turkish design. Their work is a continuation of the craft techniques adapted to contemporary fabrication. Importantly, they have also reorganized the symbolic potential of local Turkish craft, working directly with craftspeople who are more centrally involved in the creation of these designs. Designers working as collaborators with these craftspeople invigorate design and, at the same, using the means of handcraft, rejuvenate the symbolic import of design through a focus on gesture, form, and technique revealing a latent symbolism organically driven through process.
This focus on touch leads to another feature of Turkish design: the imperfect gesture. Gestures ranging from the perfect to the imperfect are an important factor in the final form of an object. They determine the shape and contours of objects in their realization, and have an underlying iconic potency.
For thousands of years, the performance of the hand in cutting, shaping, molding, and chiseling materials was the key factor in the final form of many objects. The hand’s capabilities and limitations guided the process in which function was realized, and also resulted in the aesthetics and stylization of the object, generating what can be described as “latent symbolic force”. The aesthetic and stylistic symbolism connects the object to its maker and designers giving a sense of authorial identity and originality to each work. The designer and craftsperson collaboratively and cooperatively realize this design, thus connecting to the symbolic potential of craft and objects. With geometry and pattern as a basis, form is realized within the material production of design, its techniques, and material constraints, resulting in what we can loosely term as the idiom of Turkish design in this synthesis of symbol and craft.
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