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Side table/shelf in casted aluminum.
“I noticed that the shape of mass-produced material inflicted my way of designing. Since that moment, I have tried to break out of those limitations and worked to create my own shapes. In this project, I was able to persuade the only foundry in Norway that casts aluminum into casting in my particular way.
In this project, I made my own sandbox from pallet collars that you normally use to plant flowers or greens. I moved around the sand to make some obstacles for the aluminum and poured liquid aluminum into the sand. And this is when it gets exciting – watching the metal run through the mold, creating its own way. If I see a hole created by the metal’s unexpected path through the mold, I decide whether to pour more to close the hole or stop pouring to keep it. This is a very intuitive and instinct-based way of working. The shapes created in aluminum are then welded together. This time, it became a side table/shelf. If I made it today, it might have become something different.”
20
2021
Aluminum
cast
Unique Pieces
30x20x50
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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