View All Designers
Designer · São Paulo, Brazil
Designer · Paris, France
Designer · Brussels, Belgium
Designer · Milan, Italy
Viewing 1 - 4 of 4 members
No Pieces in the cart.
1 in stock
DOWNLOAD CATALOG (PDF)
DOWNLOAD TIER SHEET
BUMPS 2.0 is a glazed porcelain carafe. It’s created with plastic balls being freely moved around the surface of the base model. This allows for me to transform the object in a similar way that a 3D programme would, but it is 100% analogue.
Technique: slipcasting porcelain
14x14x20
1
Porcelain
2019
Cobalt Blue
Designer and curator representing a generation of ceramists for whom the technological process in ceramics is deliberately and consciously disrupted by the designer in order to achieve a form that shows a relationship between process and performance. Szwed is involved with utilitarian design as well as conceptual work and education in the field of industrial design. His works are a collage of technical knowledge, sensitivity and creativity. more: https://arkadiuszszwed.com/
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.
