Pau Brasilies

by Kiyoshi Yamamoto

6.000 Incl.0% TAX

1 in stock

Insured Delivery: 600
Est delivery: Nov 4th, 2021
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Dimension LxWxH (cm): x127x150
Unique piece Material : Cotton
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For years, I have collected wood material from nations that have been colonized by European powers. The motive for this tapestry comes from a painted Pau brazil tree.

After being first discovered in 1500 by Portuguese explorers, the trees and their wood became highly coveted and traded throughout Europe for the red dye they produced. Considered a valuable commodity, it was the preferred red dye of luxury textile manufacturers. The species has been exploited by collectors, known as brasileiros. It also provides an immensely valuable, and almost indestructible, timber used to manufacture bows for stringed instruments, for construction, and to make traditional hunting tools. The extensive collection and export of the dyewood from Pau brazil trees has resulted in the loss of large areas of forest and the enslavement of local people.

The tapestry is woven by a digital jacquard technique that gives me the possibility to experiment with yarns, colours, and texture.

Additional information

Weight 1 kg
Dimensions 140 × 15 × 15 cm
Dimensions LxWxH (cm)

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About the designer

Kiyoshi Yamamoto

Curated by

Currently there exists a group of designers who have reintroduced the vitality of craft into Turkish design. Their work is a continuation of the craft techniques adapted to contemporary fabrication. Importantly, they have also reorganized the symbolic potential of local Turkish craft, working directly with craftspeople who are more centrally involved in the creation of these designs. Designers working as collaborators with these craftspeople invigorate design and, at the same, using the means of handcraft, rejuvenate the symbolic import of design through a focus on gesture, form, and technique revealing a latent symbolism organically driven through process. This focus on touch leads to another feature of Turkish design: the imperfect gesture. Gestures ranging from the perfect to the imperfect are an important factor in the final form of an object. They determine the shape and contours of objects in their realization, and have an underlying iconic potency. For thousands of years, the performance of the hand in cutting, shaping, molding, and chiseling materials was the key factor in the final form of many objects. The hand’s capabilities and limitations guided the process in which function was realized, and also resulted in the aesthetics and stylization of the object, generating what can be described as “latent symbolic force”. The aesthetic and stylistic symbolism connects the object to its maker and designers giving a sense of authorial identity and originality to each work. The designer and craftsperson collaboratively and cooperatively realize this design, thus connecting to the symbolic potential of craft and objects. With geometry and pattern as a basis, form is realized within the material production of design, its techniques, and material constraints, resulting in what we can loosely term as the idiom of Turkish design in this synthesis of symbol and craft.