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Crossing Parallels – Basket #180811
This unique piece was made at the encounter of two techniques: rotary 3D printing and traditional coiling.
“Crossing Parallels” explores the interaction between the basketry technique of hand coiling and 3D-printing. Both techniques build objects through the same construction principle, laying one filament—whether natural fibre or melted plastic—on top of another. By making objects at the crossroads between handicraft and digital craft, Amandine David aims to contribute to a more nuanced definition of craft as collaborative practice.
This piece benefited from the contribution and technical mastery of basket weaver Esmé Hofman and 3D-printing artisan Joris van Tubergen.
3D printed PLA, Cotton rope, Cotton Thread
Blue, natural white
Amandine David is a Brussels based designer and researcher whose work celebrates sharing as a methodology and opportunity to redefine design processes.
Her research is located at the crossroad of traditional crafts and digital practices. It usually takes shape in the creation of tools and material experimentation libraries.
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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