by Andredottir & Bobek Denmark

$1.700 Incl.0% VAT

1 in stock

Insured Delivery: $170
Est delivery: Feb 4th, 2022
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Dimension LxWxH (cm): 40x30x46
Limited Editions Material : Aluminum, polished aluminium, Silver
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“Illusions” is an aluminum stool with twisted wood structure.

Additional information

Weight 10 kg
Dimensions 45 × 35 × 51 cm
Dimensions LxWxH (cm)

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About the designer

Andredottir & Bobek

We would like to introduce our works as Artsigns - (art- designs) It is a term that aims to acknowledge that our work makes a solution from an artistic as well as a design based ideology. We find our self in an area where borders of such two concepts are fused and we would like to describe, not only for ourselves but for our generation that art and design are going into a new era. In addition to our work with handmade sculptures, furniture and products.  We also use experimental prototypes, 3D modelling and renderings as an important part of the work process. We highly think of the level and quality for our final work and that\'s why it is important to work and approach form to an idea with visuals that make sure that structure and stability are balanced. We find great interest in exploring materials and it is for both of us, base for imagination. We have a passion for the handcrafted and therefore, is learning, investigating and understanding a big part of our work. With both of our backgrounds in the arts, ceramics, and furniture and wood, this comes naturally. Whether it is on-off, functional design concepts or sculpture.

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.