Stainless Steel Mirror

by Theodóra Alfreðsdóttir Iceland

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  • This is an Open Edition
    How is this defined? A series of pieces that are not restricted by any predetermined volume limit. Each item is meticulously produced by the designer or in collaboration with skilled local artisans, resulting in a limited quantity of unique pieces. If stated, each item may exhibit slight variations due to its handcrafted origin.
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Description

Three types of stainless steel mirrors, in three different colours: silver, black onyx, and champagne.

These functional sculptures are born from simple three-dimensional sketches out of paper, that then were translated into experimentation with the properties of stainless steel sheets.

The first mirror to be developed in the series was the square, which started off as a challenge to transform a mirror-polished sheet into something with a bit more character, without adding or subtracting from its original form – therefore creating no waste. The design utilises how easily these sheets can be bent and manipulated and how different surface treatment changes their appearance and function.

Each of the mirrors is laser cut and folded twice, and then the brushed section is finished off by hand.

The project aims to increase general interest in the production of objects, make the understanding of materials and their transformation more accessible and increase knowledge of our immediate environment. This connection to the production of everyday objects aims to raise awareness and respect for resources and be reflected in increased consumer responsibility.

Dimensions LxWxH
Weight (kg)

1.5

Production Year

Material

Discipline

Color

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Design Class

Variation

Rounded Square, Square

About Theodóra Alfreðsdóttir Visit Showroom →

Theodora is an Icelandic product designer based in London. She holds a bachelor’s degree in product design from the Iceland Academy of the Arts and a master’s degree in Design Products from the Royal College of Art in London in 2015. Theodora’s work revolves around the narrative an object can inhabit and exploring ways of objectifying that narrative. She's interested in the way an object can act as documentation of it’s manufacturing process; a record of what went on between the machine, tools, craftsman and material as well as it can communicate it’s origin and former life. That often leads to discovery of unexpected qualities as well as it gives the user a subtle opportunity to reconsider our material world and explore value in a different way.
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