Sunset/Sunrise

by Jesse Visser Netherlands

10.285 Incl.21% VAT

1 in stock

Insured Delivery: 850
Est delivery: Jan 29th, 2022
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Dimension LxWxH (cm): 75x74x50
Open Editions Material : Aluminium, White Glass
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Description

“Sunset/Sunrise” is a lighting object which is reflects an abstract interpretation of both the sunrise and sunset. The piece consists of a big glass light bulb with a large, solid aluminium panel on both sides of the bulb. These 15 mm thick, anodised reflectors that can stop or steer the light.

Within the concept, the interaction with the “user” – in contrast to the invisible wifi controls that are often implemented in current light sources – “Sunset/Sunrise” requires a physical action to be performed in order to steer or dim the light. The aluminium panels measure 75 cm by 50 cm and have a brushed surface which causes the light to reflect in a particular, diffuse manner. The pulleys are specifically designed and are turned from aluminium which is anodised in the same colour as the panels.

The light bulb is made of opal glass and the cross-sections measures 40 cm.

Additional information

Weight 30 kg
Dimensions 80 × 60 × 70 cm
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About the designer


Jesse Visser

Jesse Visser Designprojects specializes in furniture and lighting objects that engage all the senses. Our desire to innovate production techniques and love for detailing, result in striking statement pieces that are as sober as they are poetic. Jesse Visser Designprojects was founded by Jesse Visser in 2000. After finishing his studies at the Utrecht School of Product Design and the Piet Zwart Institute, Visser focused on creating furniture and lighting objects that go beyond the predictable. Up to this day, his approach is defined by research, craftsmanship and curiosity, leading to outspoken designs that are appreciated by clients such as galleries and architects, business and the industry alike.   Traditional materials, new meanings The studio aims to reinvent and modify conventional combinations of materials and techniques, climaxing into unexpected production processes. Whether it’s aluminum, stainless steel, wood or stone: by reusing familiar materials in a different way, they can suddenly surprise us with a fresh perspective. This practice has resulted in various iconic and commercially successful objects, such as the origami-inspired Alumni-series of chairs or the dynamic Harold cabinet. Here, thin, expanded metal layers are overlayed, creating an intriguing moiré-effect.   Detailing and durability Although strong, autonomous ideas and concepts lie at the heart of Jesse Visser Designprojects, the studio believes in the importance of collaborations. By cooperating with other industry professionals, be it designers, engineers or architects, we can ensure the highest quality. This not only brings out the beauty of our designs – as technical detailing and material structure become all the more pronounced -, but also increases their durability. This way, they can be enjoyed for many years to come.

Curated by

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.