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“For a moment, nothing happened. Then, after a second or so, nothing continued to happen.”
– Douglas Adams
The “Deep Deep Voice” mirror was made by the collective Very Very Gold, together with Michel Bussien and Nandi Nobell. It is handmade in Stockholm; each part is cut out and riveted together into a sold satellite dish. The neon light goes right through the metal and beautifully reflects the light. This object is a mirror, a lamp, and a satellite dish.
The material bends light, the shape magnifies sound like a loudspeaker and aims to give the perspective of several realities during one moment of gaze.
Neon Lighting, Stainless Steel
Born in Iran, Farvash is a research-based artist whose practice is deeply rooted within Persian mythologies, histories, and ontologies.
Her practice focuses on transformative processes that span from metamorphic realities to navigating contemporary immigration guilt.
With a background in chemistry, she redefines scientific methods within the realm of material science and art. Creation of materials by studying characteristics, qualities, properties, and behaviors from the smallest material component, nanotechnology, and extends all levels to performance, lectures, and installations.
She holds several patents and received an honors for her cross-disciplinary work. She worked 10 years as Creative Director at Rolling Optics, a hologram start-up where she built up a design research department and made over 2000 future concepts for more than 500 brands such as Chanel, Taittinger, Hennessy, Absolut Vodka, etc. In 2015 she began doing high-security research and future concept for plastic banknotes worldwide.
She holds an MA in contemporary art at RCA (Royal College of art) in London, a second MFA in experience design, and holds a BA in interior architecture from Konstfack, University College of Arts Crafts and Design. She has been teaching regularly at KTH Royal College of Technology, Konstfack, School of Architecture Association London, HDK, etc.
Often the ordinary and visible present becomes vague and forgotten. Analogue experiences have boiled down to a minimum during the last years. We are currently in a situation where much of our regular rhythm was interrupted, the everyday was frozen and almost disappeared for a while. It became particularly evident how the environment we are functioning in, what we have or possess, matters. Layers of the past provide a means to describe the world and rethink the evident. Remembering and untangling the past and the local provides a captivating perspective through types of objects, materials, and methods of making.
The Estonian collection, “Revisiting the Past”, is based on tracking the everyday and the conventional, translating observations, reconsiderations, and hints of the past into contemporary design. More than ever, the future is about rethinking the present and the past, of what we have and need. The past is heavily coded in our future.
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