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Spanish creative studio LAS ÁNIMAS launches KERU, a collection of unique pieces made of solid resin. These sculptural vessels follow the creative path of the Spanish artistic duo, in a process that mixes material experimentation and traditional ways of crafting. Each one of these totems has been designed inspired by ancestral cultures, hand-made through a lost mould technique and patterned using a palette of acid tones that decontextualize them.
Their reflections, translucency, and melted look resemble that of blown glass, but it’s in the volume, textures, and the craftsmanship involved in their manufacture, where the value, charm, and magic of these artworks lies. The KERU vessels are conceived as functional talismans. Their energy flows from their duality between art and usage, shamanic power and objectual reality. Each one of the shapes and colour combinations is unique, unrepeatable, and limited to a numbered series of 8 units.
LAS ÁNIMAS is the Spanish creative studio founded by Trini Salamanca and Pablo Párraga, based in the southern city of Seville, Spain. Increasingly grabbing international attention, their work has a strong symbolic and mystic feature and runs along the diffuse boundaries between art and design. The language of LAS ÁNIMAS is based on minimalist, geometric, and iterative patterns where materials-shapes-textures experimentation leads to a retro-futuristic aesthetics and deeply evocative iconography.
Amber, dark green
LAS ÁNIMAS is a creative studio based in Seville (Spain).
Their work includes symbolic, tribal and esoteric elements, and arises from the expressive need of sharing an aesthetic universe; a dreamlike parallel world full of visions; of architectural references, both historical, fictional and coming from images underlying popular culture; hardwired to the unconscious and collective memory.
Using a language of geometric and iterative patterns, they experiment with materials, shapes and textures, to develop an iconography of retro-futuristic, transgressive, ceremonial and deeply evocative aesthetics.
As a result of this altered field of view where sumptuousness and magic gather, high sensory impact pieces of ceremonial character emerge.
Their creative universe encompasses references as distant as Science Fiction, tribal cultures, distortion of reality, cybernetics, duality, experimental electronic music or architectural brutalism; an imaginary that links with the elements of their personal environment, readapted and projected from their very own insight.
Their creative body includes pieces of furniture in limited editions, sculptures, interventions and unique objects; everything designed and created by themselves; a symbolic universe full of emotions that lead to a spiritual mood lost in time.
Works conceived as totems that challenge functionality and form: latches that open secret trapdoors to higher states of consciousness, connected with mythology, ancient ceremonies, imaginary rites, sacred symbols and spirituality.
Along this process, the conception, creation and evolution of each work resembles a ritual of exploration, of alchemy, of experimentation at their studio / laboratory with materials and forms until the pieces finally emerge. Their personal concerns join the influx of Seville, Andalusia and Spain; Its culture, art, folklore, technical processes and artistic tradition are present, mixed, assembled, fused in one way or another in each one of their pieces.
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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