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“Just Bones” focuses on developing a strong, natural material from animal bones. The bones are ground and their various qualities used to develop and create a material that is similar in strength to MDF.
Today, a large proportion of animal carcasses are disposed of after slaughtering, thereby wasting valuable raw materials like bones.
“Just Bones” is an example of how various opportunities are hidden in our immediate environment. By exploring familiar materials from different perspectives, new opportunities for utilization can be found.
Valdís Steinarsdóttir graduated from the Iceland University of the Arts with a bachelor’s degree in product design in 2017. She works in Iceland as an independent designer, mainly focusing on material experiments by recycling organic matter. In her work, she seeks to engage in a dialogue with her audience and strives to find unique solutions to social and environmental issues.
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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