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Estimated production time: 7 weeks
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The “Black Lotus” contemporary, minimalist coffee table is defined as ‘art with function’. It consists of only three pieces that are held together by interlocking geometrical cuts without additional bracing.
Hand-picked solid oak slabs with natural wood pattern and flaws. Black satined finish. Removable glass vessel in white and crystal clear mouth-blown glass. Limited Edition of 25.
Showcased during The Venice Glass Week 2019, at exhibition venue “Cave In Time” in San Marco Venice, Italy.
mouthblownglass, Oak wood, Solid Wood
"Negro" (Black), black and white
Sabine Mezkaze Berzina (b.1988) is multi-media artist, furniture and interior designer. Previously working with furniture brands Molteni&C and Zanotta, before opening her own design studio in 2015, she has been long developing her artistic skill and vision practising various materials with masters of craft. Working individually or alongside artisans she has developed Collection Experimental - a selection of art and design items that has already been exhibited internationally, as well as added to private collections worldwide. Design practice of studio Experimental merges philosophy of life with practicality and rational approach. Each of interior objects are created with high artistic value that carry encoded message. Experimental aims for transforming artistic expressions into functional design items and ensuring the presence of depth and poetic plane, while creating an interior space as singular aesthetical Universe.
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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