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Stacked - Vase 12

Stacked – Vase 12
by Benjamin Foucaud France

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Stacked - Vase 12

This is One of a kind
How is this defined? A singular and unparalleled creation, existing in only one instance with no intention of replication. It may also refer to an original prototype. Conversely, a set of pieces displaying variations in attributes, such as shape or color, within the same collection, falls under the category of an open or limited edition.

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Description

The stacked series by Benjamin Foucaud poses a question about the fetishism of the object as well as the honesty of the contemporary vision of craftsmanship.
These sculptures are made up of utilitarian objects, turned by hand, assembled randomly to become objects of desire.
Stripped of their main utility, each part dissolves into a whole, betraying its primary function in order to survive. Leaving the viewer to decide whether this is a good or bad thing?
Letting expression the tensions between popular crafts and artistic crafts, subsistence crafts and decorative crafts.
It is also a reflection on serendipity and chance in the act of creation. All pieces are first turned by hand without preconceived ideas, without plans, not as parts of a whole. Then the pieces are left aside in the workshop in a pile of pieces that the designer is asked to organize or not to organize.
Thus each piece is improvised and remains unique. Sometimes slightly unbalanced, with traces of accidents, breaches, scratches which impact the controlled and perfect finish, to remind us that imperfection is perhaps one of the only freedoms still existing for the hand which created them.

Hand turned oak wood, shellac and oil finish. Suitable for dry flowers.

Dimensions LxWxH	37x37x56cm (15x15x22'')
Weight (kg)	12
Production Year	2024
Material	Oak Wood
Discipline	Wood & Cabinetmaking
Color	Natural Oak Wood, Oak Wood
Design Class	Unique Pieces

About Benjamin Foucaud Visit Showroom →

I’m a human, born in 1980. After years as a creative director for major brands, I trained as an artisan cabinetmaker to learn about my hands and body as other forms of power, freedom and thoughts. Project after project, the practice of gestural know-how has transformed into the practice of a thought as manual work obliges and requires us to think about our relationship with the world and its reality. Today, I put the ideas of art, creation, design and craft to the test of my Humanity, investigating their social, cultural and aesthetic concepts, their aesthetics, their myths and their memory and their industries to make visible their corruption and their beauty. Consequently questioning our values, our beliefs, our paradoxes, our artifices and our realities. Exploring the tensions between chaos and logic, beliefs and rationalism, reality and utopias, chance and control, violence and beauty. Leaving the tensions between craftsmanship and art, functionality and aesthetics to the theories of the past century. Seeking to define myself without the words Design, Art and Craft and avoiding reducing my aesthetic to an essence, I refuse to define myself categorically to accept being like the world around me : unpredictable, plural and ambivalent. I refuse to stick to a signature style and embrace several bodies of work that toughtfully make sense in relation to my own life, environment and encounters, and question the relationship to freedom and individuality of a world where everything must be formatted to be a commodity. I’m trying to be a fearless energy between nothingness and something in front of me that celebrate humanity and life.