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“Yellow Cylinder Containers” (2020-2021)
“In my practice, I work with a theme that moves in and out of time and perishability. I focus on materials and putting a permanent mark on these materials and our time. My work displays traces and marks that show an attempt on perpetual action.
The cylinders deal with putting yet another permanent mark on something that is already man-made, disposed of, and should have vanished. The cylinders are painted and bent old steel plates, bolted together and embossed with angle grinder drawings showing my own attempt to create a permanent mark in our time, an attempt which I expect slowly will keep on changing in degradation by time.
The work as a plant container and thereby container of something living is about the contrast between the man-made and more permanent and the naturally degradable.”
29x29x86, 29x29x57, 29x29x24
4, 7, 10
Metalwork, Upcycling & Reuse
light yellow, steel, Yellow
Low, Medio, Tall
I have no formal education, but have been creating more than ten years.
My work is conceptual and I approach it using many different materials from recycled metal to flora, creating both sculptures, paintings and showcase objects, always focusing on the subject of time and degradability.
In my work, I try to visualize the fear of insignificance, loss of control and degradability.
My pieces are contemporary reminders that everything is on loan.
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.
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