"Closet Ostrich. Blue"

by Maret Sarapu Estonia

7.200 Incl.20% VAT

1 in stock

Insured Delivery: 600
Est delivery: Feb 1st, 2022
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Dimension LxWxH (cm): 7,5 x 5 x 3,5, 94 x 73
Material : Glass, Plastic
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Glass object (fusing, cold working) lenticular print of the same object
small glass object 7,5 x 5 x 3,5 cm; lenticular print 94 x 73 cm

These works hide and conceal, but mainly themselves. While they are eye-catching and purposefully beautiful, they are not easily grasped. As the viewer moves in space and time, the pieces, too, change in an instant. Here, glass attaches the world to itself but fragments the surroundings and flings out new reflections and shapes – it is the dynamic nature of beauty that makes it so captivating. There is no hierarchy between big and small, detail and whole – a fragment can become a whole world and the whole world can appear in a shimmer of light, both equally deserving attention.

Additional information

Weight 12 kg
Dimensions 90 × 10 × 110 cm
Dimensions LxWxH (cm)


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About the designer

Maret Sarapu

Maret Sarapu (b. 1978) is a graduate of the Department of Glass Art at the Estonian Academy of Arts (BA 2002, MA 2005). She has taken additional professional courses and been in artist\'s residences both in Estonia and abroad, including Creative Glass Center of America (USA), the Glass Centre of Sunderland University (UK) and GlazenHuis (Belgium) being among the most prestigious ones. Besides having held exhibitions in Estonia, Sarapu has also participated in group exhibitions in Latvia, Lithuania, Finland, Denmark, Russia, Germany, Turkey, USA. Sarapu\'s artwork belong to number of public collections: Estonian Museum of Applied Art and Design (Tallinn, Estonia); Museum of American Glass (Millville, NJ, USA); Museum of Modern Glass Art (Eskisehir, Turkey) etc. Her works have won prizes in national art competitions and are presented in several public buildings.

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.