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« Les Coloriés » are a series of 12 preparatory drawings for the realization of ceramic pieces of different sizes. Each drawing is original, numbered from 1 to 12, signed by the artist and framed (white painted wooden frame). Made with colored pencils, they are representations of imaginary worlds where territories seem to be moving. Some are floating, stretching, while others are embracing, dancing or repelling. These abstract landscapes are windows of contemplation where the gaze is lost.
These drawings are part of a more global work in which the designer Lili Gayman is interested in the relationship between an object and its decor and how it can animate an object in a particular way, make it vibrant.
Lili Gayman is a french designer born in 1984. She currently lives and works in Paris. She designs objects, furnitures, spaces and patterns for different contexts and supports. Through her minimal and playful creations, Lili Gayman questions the ordinary with humor and poetry to create the unusual and surprise. Her objects have great freedom of use. Each of them is an experience to be discovered and requires time, a movement, an immersion, a gesture. Lili Gayman develops projects with french and foreign publishers as L’Atelier d’exercices, Ligne Roset, Roche Bobois.
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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