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Estimated production time: 4 weeks
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This collection of fruit bowls by Emirati designer Shaikha Bin Dhaher and Spanish designer Adrian Salvador Candela embraces the natural qualities of leather. As a permeable material, leather becomes very flexible when wet – it can take on any shape, as though, once again, it has come back to life.
The sculptural, curvilinear forms of this collection take inspiration from desert dunes and the smooth folds in draped women’s veils.
These fruit bowls combine natural leather and subtle Talli weaves, creating a dialogue between two crafts and cultures.
The colours and textures of the leather, which are transformed naturally by water and sunlight, also evoke images of weathered hands weaving Talli threads in perpetual meditative movements.
Light brown and silver
36x36x55, 46x46x20, 47x47x28, 48x48x18, 59x59x29, 70x70x31, 72x72x46
Cotton Thread, Vegetal Leather
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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