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Umbral represents a liminal state; a state of transition.
The language of form of this object is both descending in search for the earth and ascending into the air, while a combinatorial play of mass and void seem to communicate something going on inside: a building or a demolishing of some sort. Umbral is about ‘the place in between’, seemingly awaiting what will happen next, but has not yet occured.
Liminality as a concept connects to the basic human condition of ephemerality, the notion that nothing lasts forever. Yet this object is trapped trough its materiality, unable to build up, nor demolish itself. Perpetually.
MAIN MATERIAL 100% oak
HANDMADE IN BELGIUM size 360 x 360 x 420 mm
charlotte anne declercq (1989) is a multidisciplinary design artist based in antwerp, belgium.
trying to capture the essence of materiality and formal language, she aims for refined sensuality in showing the passionate struggle of form with mass trough thoughtful juxtapositions of color, texture and volume.
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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