by studio YOLK Denmark


1 in stock

Insured Delivery: 220
Est delivery: Feb 4th, 2022
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Dimension LxWxH (cm): 30x30x45
Unique Pieces Material : Alder wood
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LOLO is a family of objects, all of which are alike, yet different – like you and me. An abstraction about diversification.

Designed by Morten Linde
Colors selected and hand painted by Pernille Iben Linde
Local artisans have hand-turned the objects in alder wood.

Additional information

Weight 10 kg
Dimensions 35 × 35 × 55 cm
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About the designer

studio YOLK

Studio YOLK art and design. At Studio YOLK everything we create is ONE-OFF and handcrafted. We are a family based studio. Pernille and Morten has lived together for 35 years and two of our three adult children are involved in Studio YOLK. Pernille, Amanda and Morten are from the Royal Danish Academy of Design in Copenhagen. Carl Otto is from the Gerrit Rietveld Academie, fine arts in Amsterdam. Our professional disciplines range from product and furniture design, visual communication, fashion and art. We work individually, interdisciplinary and we work close with skilled craftsmen. There is a story and thought within each object, something that have taken or takes place from the inner depths. Both Pernille Iben and Morten are psychotherapists in addition to there design background. We use our voice as artists and designers to express and explore external and internal conditions that unfold in the present and that create a relevant debate across societies, genders and cultures.

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.