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“Raitūzai” is a collection of home accessories – mirrors and candle holders – created using unique waste material derived from a collapsed building. The main details of these objects are gypsum-like pieces that were used to decorate ceilings at the beginning of the 20th century. They are now transformed into new objects. Each piece is unique by its cross-section and surface that changed over the years. It is a collection where 20th and 21st centuries blend into a new objects, connecting past, present, and, hopefully, future.
Care: Remove dust regularly with a dry or damp cloth. In order to keep the pieces in good condition, we recommend not using chemical or abrasive products on them.
Upcycling & reuse
20th century gypsum, Mirror
white with pigmented layers
Evelina is a product designer based in Vilnius, Lithuania.
She sees the object through materiality and the concept of transformation. Evelina is searching for different materials and processing techniques. Applying them to everyday objects, creating the opportunity to see them from a different perspective.
Designer creates her personal collections as well as developing products for home accessories and furniture brands. Her projects are always based on an awareness of function and rationality, combined with a poetic and emotional dimension.
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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