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Estimated production time: 4 weeks
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CURTAIN is a minimal space divider. The shape was inspired by the energetic flow of natural sea waves – it is boundless. The structure is designed without any straight lines. Simply connecting the modules and arches in different directions to form a wavy frame that looks like standing fabric. The structure allows changes in direction as well as unlimited extensions. The distorted structure makes it possible to enjoy looking at space with a new and unique perspective.
Didi NG Wing Yin, a designer from Hong Kong who is currently based in Helsinki. He works across the fields between Furniture Design, Spatial Design and Art. His works focus on examining the balance of abstract form and geometry to create his personal graphical language, through interplaying the contrast between materials, texture, shapes, colors and space to form harmonious compositions. With the influences of his multi-national backgrounds, his inspirations consist of the mixture of urban and nature alongside with cultures. His goal is to connect humans and object with contextual creation which allows audiences to enjoy the implied energy flow in his work.
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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