Frame Shaming Coffee Table

by Sofie Wallenius Sweden

800

1 in stock

Insured Delivery: 80
Est delivery: Feb 18th, 2022
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1 In stock and ready to ship This table is hand made in Sweden. The legs are solid birch, and the table top is painted.
Dimension LxWxH (cm): 60x60x40
Open Editions Material : Birch Wood
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Description

This table is a part of a collection called “Frame Shaming”, which is an exploratory project about how furniture can represent our different personalities and appearances. This project is inspired by body shaming and the quote “what if someone sees that I am humane?”

The “Frame Shaming” furniture is between unbalanced and balanced, between classic and non classic. It is something that is familiar but, at the same time, makes us react. The “Frame Shaming” collection is a comment to the patriarchal structure which has given us unattainable goals that are doomed for us to fail.

The position of the legs causes the appearance of the table to change depending on the angle from which you see it. The thin table top creates a feeling that the furniture is unbalanced.

Additional information

Weight 13 kg
Dimensions 65 × 65 × 45 cm
Dimensions LxWxH (cm)

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About the designer


Sofie Wallenius

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.