Broken Hearts

by Kiyoshi Yamamoto

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Est delivery: Nov 4th, 2021
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Dimension LxWxH (cm): 14x14x27
Unique piece Material : Blown Glass, Metal
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Broken Hearts are for assholes. This is the title of a new series of glassblowing sculptures developed at S12 Center for Contemporary Glass in Bergen municipality in Norway.

I hated the glass. This feeling comes from a traumatic accident in my youth. From there, I got so fascinated with the material and possibilities. That was the start of a research residency at the S12 workshop. The research took me to continue to search for a harmonious relationship with glass. But also to learn values, conditions, and possibilities. Can glass be a tool for healing? And does when color becomes a collaborator? The answer is a colorful assembly of love, fear, and discovery.

There are two definitions of the term “art therapy”. The British Association of Art defines art therapy as a form of psychotherapy that uses art media as its primary modes of expression and communication. In this project, glass has the function as both a healing material and therapy—the immediate access to a complete workshop. The safety of a professional environment gives power and encouragement.

The project focuses on color study, the understanding, and experimenting of glass-color in composition and relation with form and shapes. Mapping the use of glass in the field of Art. It is a direct relation to art-making, craftsmanship, production, and design.

Additional information

Weight 1 kg
Dimensions 35 × 28 × 15 cm
Dimensions LxWxH (cm)

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About the designer

Kiyoshi Yamamoto

Curated by

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.