Cactus lamp

by Carol Gay Brazil

$1.922 Incl.0% TAX
Insured Delivery: $192
Est delivery: Feb 4th, 2022
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Made to order

Estimated production time: 4 weeks

Dimension LxWxH (cm): 31x47x38
Material : Glass, Marble
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Description

This lamp is created from the experimentation with the craft process of glassblowing and of the result from other processes already made on this material. The raw material used is glass, it doesn’t contains lead in it composition, its recyclable and uses an electric oven, without CO2 burning. The base is made in white gray Brazilian marble, labored in fillets and assembled one by one by hand. The lighting, done by LED, enriches the form of the cristal outlining it and illuminating the marble, highlighting its veins and nuances. The result are unique pieces where weight, lightness and transparency act out together.

Additional information

Weight 13.5 kg
Dimensions 36 × 52 × 43 cm
Dimensions LxWxH (cm)

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About the designer


Carol Gay

Carol Gay was born in Sao Paulo in 1976. She graduated in the year of 2000 at Mackenzie University in Architecture and Urbanism program. from 1999 to 2000 she took part in the “ Construction of the Object” workshop at MUBE “The Brazilian Museum of Sculpture”, with the designers Fernando and Humberto Campana  this experience was the genesis of her current work. She has her works published on several design books including the Bloom Brasil Saboroso and Bloom Brasil Fé both from the trendsetter Lidewij Edelkoort. A hands-on experience, performing constant artisanal skills, and the permanent search for new materials have become essential features of my 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.