"Royal Green" Egg Vessels Collection

by Mari JJ Design

1.350

1 in stock

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Dimension LxWxH (cm): 12x12x18
Material : Gold, Porcelain
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Description

The idea of the “Egg Vessels Collection” was to create a conversation piece with an interactive aspect. These porcelain vessels are designed with simplicity in mind and inspired by the timeless “egg-like” shape. The “Egg Vessels” are made in four different sizes and consist of ten various collections. Each collection has a story and is hand-painted in gold.

“Royal Green” is inspired by the interiors of European and Asian royal palaces and porcelain painting. The use of reverse decoration plays with the concept of traditional decoration on porcelain and its heritage. It uses expressive brushstrokes that can be found, for example, in Cy-Twombly paintings. White strokes on the green surface are complemented by the traditional yet contemporary gold finish.

Each set in the “Egg Vessels Collection” has a story to its designed decoration.
Each Porcelain Vessel is divided into two separate pieces and is given the possibilities of:
– ”Mobile decoration”: changing the decor by turning the bottom or a top part of the object
– ”Mix and match”: choosing between ten different collections and easy assembling together separate pieces
– ”Art piece with an use”: the object can be disassembled into a bowl or container
– “Simple design”: compact design ergonomic in transportation, easy access to the inside of the vessel, light in self-assembling and carrying.

The “Egg Vessels” are made as limited collections.

Additional information

Weight 3 kg
Dimensions 40 × 35 × 35 cm
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About the designer


Mari JJ Design

Mari JJ Design was founded in 2010 in Stockholm Sweden now based in Oslo Norway. Creating ceramics mainly porcelain design objects and jewelry. Works are uniquely designed pieces that are handcrafted from the start to the finished product. Mari JJ Design is using the finest porcelain often hand-tinted and decorated. Artist, designer, and curator Maria JJ Juchnowska takes her inspirations from Scandinavian minimalism and sophisticated European art and culture. Cooperating with luxurious brands and companies in Europe, Asia, and the USA including Meissen GmbH in Germany, Franz Collection Ltd. in China and Taiwan. Participated in international exhibitions, fairs, and competitions: Ventura Dubai, Wanted Design in New York, Talente International Craft Fair in Munich, Der Berliner Salon Vogue Salon with Meissen GmbH, International Jingdezhen Porcelain Fair with Franz Collection in China, British Ceramics Biennial in the United Kingdom, Munich Creative Business Week and many others. Laureate of international competitions: \"Future Lights\" The European competition organized by Ceramics and its Dimensions, Nachtmann Design Competition Germany and Sweden, Artzept International Design Award Milan, Chouftouhonna Feminist ArtFestival, Tunis Tunisia, Make Me! Łódź Design Festival. Member of organizations: IAC International Academy of Ceramics Norske Kunsthåndverkere, Norske Billedkunstnere, Artaxis International Ceramic Artist Association Laureate of international competitions: \"Future Lights\" The European competition organized by Ceramics and its Dimensions, Nachtmann Design Competition Germany and Sweden, Artzept International Design Award Milan, Chouftouhonna Feminist ArtFestival, Tunis Tunisia, Make Me! Łódź Design Festival. Maria Joanna Juchnowska is a member of organizations: IAC International Academy of Ceramics Norske Kunsthåndverkere, Norske Billedkunstnere, Artaxis International Ceramic Artist Association

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.