"Bird" Jug

by Faissal El-Malak

360 Incl.0% TAX
Insured Delivery: 36
Est delivery: Dec 25th, 2021
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Made to order

Estimated production time: 3 weeks

Dimension LxWxH (cm): 28x15x33
Open Edition Material : Ceramics, glazed ceramic
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Description

This collection started with a series of contemporary motifs inspired by the narrative and talismanic qualities of traditional Palestinian embroidery commissioned by El-Malak to Beirut based Studio Kawakeb.

Here these designs are interpreted in ceramics where the embroidery motifs are used for their binding qualities to attach the layers of earth to each other draping shapes from a larger volume to create shapes themselves inspired by historical.

The ceramics are made in Dubai by Xeina Al Malki. These pieces are made to order.

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About the designer


Faissal El-Malak

Faissal El-Malak is a Palestinian designer who was brought up between Montreal Canada and Doha Qatar. He trained as a fashion designer in Paris’ Atelier Chardon Savard and recently moved back to the Gulf, finally settling in Dubai in September 2014. El-Malak has been working on developing his contemporary Middle Eastern design identity by bridging traditional artisan work with modern design.

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.