"Ihop" Glass Vase

by KunSik Choi Sweden

210 Incl.25% VAT

10 in stock

Insured Delivery: 17
Est delivery: Jan 1st, 2022
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Each variation may differt Dimension LxWxH (cm): 18x18x26, 19x19x26
Open Editions Material : Glass
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Description

“Ihop” is a Swedish word meaning “together”. The vase consists of two parts assembled together. The bottom part is a fixed form created by designed molding and the top part is an organic form that naturally occurs through the glassblowing process. Each vase has a unique top part led by the sensibilities of the glassblower. These two conflicting shapes are attached together and become one vase, visually emphasizing each other’s forms.

Handmade in Sweden

Additional information

Weight 2 kg
Dimensions 25 × 25 × 30 cm
Weight (kg)

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About the designer


KunSik Choi

Kunsik Choi Korean designer, presently resides and works in Stockholm, Sweden   Awards 2020 Wallpaper* Design Awards, Winner of Best Reflection (awarded work : The Mirror) 2017 Core77 Design Awards, Notable Honor (awarded work : Boida table) 2015 Muuto Talent Award, 1st Place Winner (awarded work : Mirrored Mirror) 2015 Awarded Gesällbrev(Möbelsnickaryrket), a Swedish Journeyman’s Certificate as a Cabinet Maker (awarded work : Facet)

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.