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“Moiré” is a collection of mirrors which play with imperfect alignments, a small displacement, rotation, or difference in period to make interference patterns occur, leading to the impression of a three-dimensional effect.
Moiré patterns are not really there, they are an optical illusion created in the image in your eye. A slight motion of one of the objects creates large-scale changes in the moiré pattern. These patterns can be used to demonstrate wave interference, but also the illusion of a three-dimensional depth in the relationship between human, object, and motion.
Studio Kajsa Willner is a cross-disciplinary business working with designing products on commission and for studio production, visualizing spatial installations, as curator and exhibition architect and with initiating new projects in collaboration with other organizations or partners.
Her studio sets out to playfully challenge conceptions of what design is and should be, creating products and interiors that introduce new ideas and concepts into everyday life.
Kajsa Willner has an international experience and holds a bachelor degree in furniture and industrial design. After finishing her studies in Italy Kajsa moved to the Netherlands to gain some work experience. She returned to Sweden and founded Studio Kajsa Willner in Malmö 2013.
Studio Kajsa Willner has exhibited at Liljevalchs, was nominated for Young Swedish Form 2014/15, and won bronze in the A’ Design Award in 2017. In 2016 Kajsa was awarded an artist-in-residence by Konst in Halland at the Centre of Polish Sculpture in Oronsko. Later in 2019 Kajsa Willner and Swedese will launch their collaboration on site specific furniture pieces commissioned for the re-opening of Hallands Konstmuseum, curated by Jenny Nordberg.
The style of Studio Kajsa Willner is characterazied by the meeting between minimalism and naivism with a penchant for the unconventional.
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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