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Estimated production time: 12 weeks
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The rug model is derived from part of an acrylic drawing from Ana Popescu’s “Shade” series, which explores the connection between light and space. The works stemmed from the interest in how light and shade can transform different scenes into something new. The relation between light and object – which is not constant – is fascinating for Ana, who visually recreates depth using colours, light and shade, and plays with the contrast they make in relation to each other.
To better translate the shades in the rug design, the model is crafted with bamboo silk insertions that create depth and movement.
Manufacturing technique: hand-tufted
Fiber content: New Zealand Wool & bamboo silk
Rug made to order: 10-12 weeks lead time
Available in custom sizes.
80% New Zealand wool, 20% bamboo silk
Launched in 2015, Dare to Rug is the first Romanian designer brand that creates hand-tufted rugs, mixing craft and design inspired by traditional patterns.
Dare to Rug was created by Andreea Batros and Flavia Scînteanu - best friends with a huge passion for design, having the courage to challenge designers and individuals around the world to embrace their love for rugs.
Blending contemporary design with the best materials in the traditional process of creating rugs was their main concern when they imagined Dare to Rug. Their love for inspiring design now stands at the core of their brand.
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.
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