"After the rain" Vase

by Lili Gayman

340 Incl.0% TAX

1 in stock

Insured Delivery: 34
Est delivery: Dec 18th, 2021
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Dimension LxWxH (cm): x10x36
Unique Pieces Material : Stoneware
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Description

“Sometimes the forest has a plant tissue so tight and diversified that it seems false, unreal, the illusion of a setting or the reconstitution of a botanical garden.”
Journal du Rio Negro – Vers le naturalisme intégral, Pierre Restany, 2012

“After the rain” is a set of stoneware vases inspired by tropical forests, their verticality, the ubiquitous humidity. Of different dimensions but always presented in tubular forms, they evoke trunks of trees, stipes of palms or stubble of bamboos.

The treatment of color is done in the manner of watercolor, in transparency, as if they were faded. The shimmer and shine of their surfaces appear watery. The set shows the humidity and persistent wetness of tropical forests.

The vase is a body for the bouquet it welcomes. Together, they constitute a fictional tree. Each vase is a unique piece, hand-crafted by the designer.

Additional information

Weight 3 kg
Dimensions 20 × 20 × 45 cm
Dimensions LxWxH (cm)

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About the designer


Lili Gayman

Lili Gayman is a french designer born in 1984. She currently lives and works in Paris. She designs objects, furnitures, spaces and patterns for different contexts and supports. Through her minimal and playful creations, Lili Gayman questions the ordinary with humor and poetry to create the unusual and surprise. Her objects have great freedom of use. Each of them is an experience to be discovered and requires time, a movement, an immersion, a gesture. Lili Gayman develops projects with french and foreign publishers as L’Atelier d’exercices, Ligne Roset, Roche Bobois. 

Curated by

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.