The Deer

by Oana Tudose

2.500 Incl.0% TAX

1 in stock

Insured Delivery: 250
Est delivery: Jan 6th, 2022
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1 In stock and ready to ship The frame is not included. The piece is signed on the back.
Dimension LxWxH (cm): 80x2x120
Unique Pieces Material : Beech wood, felted wool
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Description

The piece is part of a series entitled “Fragments of a Forest”. By using a discarded material, Oana Tudose creates images and personifications of her childhood forest as they exist in her memory, but also in the local archaic rituals and mythological characters. Tudose’s childhood forest becomes a sacred place where memory and imagination could co-exist. The deer embodies a memory.

The piece is entirely handcrafted using reclaimed sheep wool which was hand died with natural plants and acid dies.

Additional information

Weight 5 kg
Dimensions 30 × 30 × 30 cm
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About the designer


Oana Tudose

Oana Tudose (b. 1987, Romania) graduated Piet Zwart Institute interior architecture and retail design master’s degree and has worked independently at the intersection of space, design, and visual art since 2014. Her works explore different mediums such as textiles, painting, drawing, and poetry while researching themes of mysticism, mythology, and identity. Her current textile paintings stem from ongoing research of the place where she grew up: Gorj region of Romania. By using a discarded biodegradable material, she creates images and personifications of her childhood forest as they existed in her memory but also in the local archaic rituals and mythological characters. The childhood forest becomes a sacred place where memory and imagination could co-exist.

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.