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The “MUDERNISM” collection celebrates prehistoric design icons, glazed with materials extracted from modern wastewater treatment. All pieces are handmade at the designer’s studio in Amsterdam.
All living species drink water, but we as humans elevated ourselves above plants and animals by designing objects in which we give shape to the water before we drink it.
Archaeologists discovered ceramic designs from around 6368 Before Present buried in the Dutch earth. Studio Billie van Katwijk pays homage to this pioneering Dutch design with a reimagining of a classic: the funnel beaker. We glaze the ancient mudshape with the residue of latest scientific explorations.
MUDERNISM is a glaze. The thin layer that separates us from our earliest ancestors.
MUDERNISM consists of the most modern mud that we can distill from water: Kaumera.
MUDERNISM gives you a hyper-prehistoric drinking experience.
We are part of the cycle of water.
We are temporary containers.
We’ve always been and always will be.
MUDERNISM is an ongoing project. Studio Billie van Katwijk is currently researching different by products of the wastewater purification process. Billie also works on site specific projects connecting with local clay, heritage and wastewater.
Conceptual product designer Billie van Katwijk is fascinated by nature: that endlessly shapeshifting, growing, blooming, dying, sprouting, phenomenon. From these natural cycles all sorts of materials emerge. Some are treasured (gold, oil, diamonds) while other materials remain unseen or unappreciated. Billie van Katwijk unravels the beauty of these materials. Slaughterhouse-waste becomes a luxury-leather, a residue from the sewer shows its hidden colors when turned into a glaze. Cremation ashes are transformed in a delicate porcelain.
Van Katwijk believes in showing contradictions and taboos, but she doesn’t judge. Her projects seduce people to think and to engage in a dialogue. “My concepts are completed by the user, with his or her own thoughts.”
Often the ordinary and visible present becomes vague and forgotten. Analogue experiences have boiled down to a minimum during the last years. We are currently in a situation where much of our regular rhythm was interrupted, the everyday was frozen and almost disappeared for a while. It became particularly evident how the environment we are functioning in, what we have or possess, matters. Layers of the past provide a means to describe the world and rethink the evident. Remembering and untangling the past and the local provides a captivating perspective through types of objects, materials, and methods of making.
The Estonian collection, “Revisiting the Past”, is based on tracking the everyday and the conventional, translating observations, reconsiderations, and hints of the past into contemporary design. More than ever, the future is about rethinking the present and the past, of what we have and need. The past is heavily coded in our future.
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