"Ignorance is Bliss" Oval Plate

by Agne Kucerenkaite Netherlands

80 Incl.21% VAT
Insured Delivery: 7
Est delivery: Nov 4th, 2021
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Made to order

Estimated production time: 2 weeks

Each variation may differt Dimension LxWxH (cm): 19x12x3
Open Editions, Unique piece Material : Porcelain
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Description

Since the Industrial Revolution, ignorance and negligence have generated overloaded landfills in our throw-away culture. Metals are crucial to our world, and, unfortunately, a non-renewable resource. “Ignorance is Bliss” is an ongoing project about reincorporating the value of metal waste by applying it as a pigment from industries such as drinking water supply and soil remediation companies into new valuable products and methods. The colors are retrieved purely by using pigments from waste. In this project, surprisingly, the more contaminated the raw material, the more vibrant the designed objects are.

Each piece is hand-crafted and fired in a unique reduction gas oven, comes with its own charming irregularities. All ceramic pieces are food safe.
Please inquire about other available pieces and colors.

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About the designer


Agne Kucerenkaite

Agne Kucerenkaite is a material designer from Vilnius, Lithuania, who graduated in Design Academy Eindhoven and currently based in the Netherlands. Agne enjoys working with raw materials, transforming them into valuable products, methods, and systems, seeking interaction between design, society, industry, and environment. Her design process is characterized by in-depth research, experimental approach, and hands-on practice, motivated by historical and sociocultural contexts. Technical investigation of seemingly unattractive and industrially driven processes that she finds to be the most interesting source of unexpected links and associations, drive her design work.

Curated by

Currently there exists a group of designers who have reintroduced the vitality of craft into Turkish design. Their work is a continuation of the craft techniques adapted to contemporary fabrication. Importantly, they have also reorganized the symbolic potential of local Turkish craft, working directly with craftspeople who are more centrally involved in the creation of these designs. Designers working as collaborators with these craftspeople invigorate design and, at the same, using the means of handcraft, rejuvenate the symbolic import of design through a focus on gesture, form, and technique revealing a latent symbolism organically driven through process. This focus on touch leads to another feature of Turkish design: the imperfect gesture. Gestures ranging from the perfect to the imperfect are an important factor in the final form of an object. They determine the shape and contours of objects in their realization, and have an underlying iconic potency. For thousands of years, the performance of the hand in cutting, shaping, molding, and chiseling materials was the key factor in the final form of many objects. The hand’s capabilities and limitations guided the process in which function was realized, and also resulted in the aesthetics and stylization of the object, generating what can be described as “latent symbolic force”. The aesthetic and stylistic symbolism connects the object to its maker and designers giving a sense of authorial identity and originality to each work. The designer and craftsperson collaboratively and cooperatively realize this design, thus connecting to the symbolic potential of craft and objects. With geometry and pattern as a basis, form is realized within the material production of design, its techniques, and material constraints, resulting in what we can loosely term as the idiom of Turkish design in this synthesis of symbol and craft.