Abrigo Credenza in Cabreúva wood – With artisans from Brazil

by YANKATU Brazil

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    How is this defined? A set of pieces produced in a predetermined quantity, typically no more than 30, and uniquely numbered either on the item itself or on the accompanying certificate of authenticity. Although generally uniform in design, slight variations may exist due to the handcrafted nature of the pieces.
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“I like these moments of sharing, where without realizing we learn at the same time that we teach, whether by words, looks, or demonstrations. Unfortunately, this face-to-face exchange was interrupted by the pandemic, but with the help of Kulikyrda, me and women from Kaupüna village were able to carry out them at a distance. Through video lessons, I learned the technique of weaving a mat and, in São Paulo, using cylinders of solid cabreuva instead of buriti stems, I wove a mat that became the door of a buffet.”

With a design also inspired by the oca structure, the “Shelter Credenza” represents the family – the shelter – where everyone protects themselves from the cold and rain, where they get together to sleep, where the young women go to their seclusion, and is also the place that keeps intact the traditions, identity, and culture of the Mehinako people.

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Maria Fernanda Paes de Barros is a designer, visual artist and researcher, founder of Yankatu - Design with Soul. With a degree in business administration and interior design, Maria Fernanda has worked in the field for over 20 years. She migrated to furniture design in 2014, creating Yankatu, a design studio through which she carries out projects with social impact alongside Brazilian artisans. The encounter with the art world happened naturally in 2020 when the search for the appreciation of Brazilian artisans and their knowledge generates a growing discomfort regarding invisibility and lack of knowledge about the reality of Brazilian cultural traditions. Her work is based on relationships that go beyond the gaze and are established on mutual trust and admiration. His production spans a long timelessness and also a continuity, resulting from the privilege and fluidity of the otherness of established relationships. It is in the power of art that she finds the way to share her learning, activate the gaze and listening of others, seeking to generate in them the same discomfort she feels and, in this way, encourage them to act. It is through a relational aesthetic that she aims to join forces because the reaction of the other, the spectator, is essential for the realization of her art, which does not end with the created object but rather expands into the immaterial and impalpable field. Her production involves various materials without settling on anyone, despite her familiarity with solid wood. It goes from clay to feathers with the same lightness that conveys strong messages in a poetic way.
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