Vase No. 16

by Kolektiv DVA Slovenia

512 Incl.22% VAT

1 in stock

Insured Delivery: 42
Est delivery: Nov 4th, 2021
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Dimension LxWxH (cm): 20x14x34
Unique piece Material : Glazed stoneware
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Description

Kolektiv DVA uses traditional pottery-making techniques to make their minimalist aesthetics come to life in the form of beautifully handcrafted accessories for the modern home.

“Vase No. 16” is as much a piece of abstract art as it is a place to display your flowers. The vase is carefully made of durable stoneware handcrafted to perfection using the coiling technique. While the outer surface is left untreated and raw, the inside is glazed to ensure the vase is watertight.

Each piece is entirely handmade and hand-glazed and can therefore have slight differences in appearance, bringing a unique and hand-crafted character to the object.

Additional information

Weight 5 kg
Dimensions 50 × 40 × 30 cm
Dimensions LxWxH (cm)

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About the designer


Kolektiv DVA

Kolektiv DVA is a group of artists from Slovenia, currently living and working in Ljubljana. A few years ago, they’ve decided to leave their comfy office jobs and took a leap of faith. They dedicated their time and life to Pottery Making. 

 

Now, they proudly present the results around the globe. The passion and dedication put into designing and making each item, is obvious. They are using traditional pottery-making techniques to make their minimalist aesthetics come to life. Finally, less is not only more but less is everything you need!

 

They are involved in every aspect of production - from designing to building the items, so they have control over the quality of materials used and final results. Their goal is to create less in order to give you more!

Curated by

Currently there exists a group of designers who have reintroduced the vitality of craft into Turkish design. Their work is a continuation of the craft techniques adapted to contemporary fabrication. Importantly, they have also reorganized the symbolic potential of local Turkish craft, working directly with craftspeople who are more centrally involved in the creation of these designs. Designers working as collaborators with these craftspeople invigorate design and, at the same, using the means of handcraft, rejuvenate the symbolic import of design through a focus on gesture, form, and technique revealing a latent symbolism organically driven through process. This focus on touch leads to another feature of Turkish design: the imperfect gesture. Gestures ranging from the perfect to the imperfect are an important factor in the final form of an object. They determine the shape and contours of objects in their realization, and have an underlying iconic potency. For thousands of years, the performance of the hand in cutting, shaping, molding, and chiseling materials was the key factor in the final form of many objects. The hand’s capabilities and limitations guided the process in which function was realized, and also resulted in the aesthetics and stylization of the object, generating what can be described as “latent symbolic force”. The aesthetic and stylistic symbolism connects the object to its maker and designers giving a sense of authorial identity and originality to each work. The designer and craftsperson collaboratively and cooperatively realize this design, thus connecting to the symbolic potential of craft and objects. With geometry and pattern as a basis, form is realized within the material production of design, its techniques, and material constraints, resulting in what we can loosely term as the idiom of Turkish design in this synthesis of symbol and craft.