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In the pressure series, Tim Teven uses material deformation under extreme pressure as a tool to design.
The deformation of metal by exerting pressure leads to exciting technical details, as well as new optical and haptic qualities.
The Pressure vases are made of steel tubes which are pressed in under extreme pressure. Exposing the tubes to up to 45 metric tons of pressure makes them yield and beautiful folds appear, making the normally hard and cold material look soft and tangible. The folds do not only change the appearance of the metal tube but also hold in the bottom disc, giving the tube its function as a vase.
Tim Teven (1993), dutch designer, graduated at Design Academy Eindhoven in 2018
A technical and material driven approach to design together with hands on way of working allows him to play and create in an experimental way. In many of the works the production proces is used as a tool to design and a leading aspect to shape the final outcome and function of the object.
Treating materials in an unconventional way to rethink the process of making, allows him to find surprising techniques which then can be translated into a functional yet interesting object. Teven works from his design studio based in Eindhoven founded in 2018, where all the objects are hand made with industrial craftsmanship.
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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