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“Unborn creatures of light” is a handmade art object using carefully emptied and hardened eggshells as vectors of light. This basic, organic matter, with only the help of light shining through it, turns into porous constellations of stars.
The idea that the universe was born from an egg is shared by nearly all ancient civilisations and cultures, and this project aims to embody this imagery. Every eggshell is unique and each one looks like a galaxy. The title of the work is also a reference to all the realms of existence and possibilities, inviting the viewers to step outside of their reality.
This model is a black circular ring composed of 59 eggshells and LED lights, and is designed to be mounted against a wall, for the viewer to be able to look straight at its details. The piece is best enjoyable in a dark or dimmed room to benefit from all its characteristics.
The process of emptying, cleaning, and hardening the eggshells is very delicate and requires a lot of time and discipline. The designer has also created handmade pieces which allow the user to manipulate the eggshells without altering the work.
Every model is a unique piece. The date stamped on the eggs references the moment the work was produced.
The product is delivered with 59 12V LED lamps. The cord is compatible with regular european 220V sockets.
Eggshells, Powdercoated steel, Resin
Black, Natural color of eggshells
Youmna Geday (b. 1989 in Montreal, Canada) has a background in photography and an ongoing practice as a visual artist which questions origins and genealogy. Her first work as a designer, \"Unborn Creatures of Light\", is an extension of her artistic practice, in which she creates an analogy between the egg\'s symbolic and the creation of the universe.
Youmna\'s interests as an artist and a designer are strongly linked to her Lebanese identity, nourrished by a strong passion for space and the universe. This combination of themes leads her to relate her research to one about different scales of origins.
Often the ordinary and visible present becomes vague and forgotten. Analogue experiences have boiled down to a minimum during the last years. We are currently in a situation where much of our regular rhythm was interrupted, the everyday was frozen and almost disappeared for a while. It became particularly evident how the environment we are functioning in, what we have or possess, matters. Layers of the past provide a means to describe the world and rethink the evident. Remembering and untangling the past and the local provides a captivating perspective through types of objects, materials, and methods of making.
The Estonian collection, “Revisiting the Past”, is based on tracking the everyday and the conventional, translating observations, reconsiderations, and hints of the past into contemporary design. More than ever, the future is about rethinking the present and the past, of what we have and need. The past is heavily coded in our future.
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