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Estimated production time: 8 weeks
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Praised to be the king of gods by ancient Phoenician and Carthaginian civilizations – which spread over the Mediterranean sea from the 8th to 2nd centuries BC – Moloch Ba’al was considered the symbol of purifying fire, fertility, and ambivalent power of light (soul) and darkness (flesh).
From the dawn of time the spirit turned into obscurity with its transformation into matter.
Moloch is usually portrayed as a human character with bull head, sitting in its throne.
TOTEMIC, SOLEMN, AUSTERE, DARK, AND CRYPTIC.
Massive silhouettes of apparent roughness and simplicity contrast with finely handcrafted wooden surfaces of accurate ergonomic angles and CNC milled brass fittings. The seat, a massive solid wood slab, seems to float over the floor, cantilevered under the armrests, which move forward from the rear legs/columns. A lower balustrade distributes the load, giving the whole structure its architectural essence. The distribution of forces, angles, and counterbalances at the joint between the base and the back rest make the main body of the armchair seem to levitate above the ground.
Each piece is numbered out of a 8 units, limited edition.
Black, Brass, GOLDEN
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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