Pleated Table Lamp

by Joseph Algieri United States (US)

7.500 Incl.0% TAX

1 in stock

Insured Delivery: 750
Est delivery: Mar 19th, 2022
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Dimension LxWxH (cm): 25x36x61
Unique Pieces Material : ceramic, glazed ceramic
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Description

The “Pleated Table Lamp” is made of hundreds of extruded clay pieces, fired to vitrification, and finished with automotive paint. It is one-of-a-kind.

This lamp is wired for the US, but can be modified for Europe.

Additional information

Weight 9 kg
Dimensions 30 × 41 × 66 cm
Dimensions LxWxH (cm)

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About the designer


Joseph Algieri

Joseph Algieri is a ceramicist, lighting and home designer. Based in New York, his practice has spanned several different types of media, notably expandable foams and clay. Joseph’s work relies heavily on deconstructing and dissolving form, repetition, and expanding upon materials to their limit in a comedic fashion. His work has gained recognition from T Magazine to Architectural Digest, along with a growing audience of art lovers and designers combined.

Curated by

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.