Ceramics is the oldest of artisan forms. The handmade object contains a part of the identity of the person who made it and is described as "the beauty of handmade". In the case of the design object, the designer generates and transforms the idea into a model developed virtually with 3D mathematics, this model is used to; verify, formalise and communicate all the details.The laboratory that produces it, using ancient techniques, adds a value to the object that makes it part of a larger production. It is no longer just a design object but also an object that becomes part of the history of ceramics and also an object of art or applied art. The whole process transforms it into a luxury and high cost product. Today the same form can be simulated and the costs halved, as the manual components are progressively abolished, and the border of perception of the differences is always more subtle. This aspect of my work is both intriguing and compelling.
PORCELAIN AND SILVERPLATE
For the designer the choice of a material to make an object with has a functional purpose but also this choice will produce aesthetic and poetic motifs. The material defines and gives the designed piece an intimate character as it is formed into an artefact: be it an artistic work, design or craft objects. It is interesting to investigate the relationship that is generated when two materials play in a single object and therefore two different design languages are created. The harmonious or problematic juxtaposition of two different materials in a single object requires an element of investigation and innovation. The magic that is generated in this two-way system overcomes the technical constraints of one and the other, and takes the eye beyond the confines of a traditional aesthetic judgment. The object then, requires critical engagement and open mindedness, in order to be understood, as a new, strange and exciting energy has been created.
CRO
CRO is a sculpture-vase which is firmly supported by three feet; it frees its arms into space to evoke the powerful grace of a mysterious winged metaphor. A gesture of reverence and gratitude to Mother Earth, and of belonging to the female gender. CRO is the narration and symbolic representation of the process of mutation from performance through to a material form: the passage from the expression and theatricality of the human body, into the material object form.
Ceramics is the oldest of artisan forms. The handmade object contains a part of the identity of the person who made it and is described as "the beauty of handmade". In the case of the design object, the designer generates and transforms the idea into a model developed virtually with 3D mathematics, this model is used to; verify, formalise and communicate all the details.The laboratory that produces it, using ancient techniques, adds a value to the object that makes it part of a larger production. It is no longer just a design object but also an object that becomes part of the history of ceramics and also an object of art or applied art. The whole process transforms it into a luxury and high cost product. Today the same form can be simulated and the costs halved, as the manual components are progressively abolished, and the border of perception of the differences is always more subtle. This aspect of my work is both intriguing and compelling.
PORCELAIN AND SILVERPLATE
For the designer the choice of a material to make an object with has a functional purpose but also this choice will produce aesthetic and poetic motifs. The material defines and gives the designed piece an intimate character as it is formed into an artefact: be it an artistic work, design or craft objects. It is interesting to investigate the relationship that is generated when two materials play in a single object and therefore two different design languages are created. The harmonious or problematic juxtaposition of two different materials in a single object requires an element of investigation and innovation. The magic that is generated in this two-way system overcomes the technical constraints of one and the other, and takes the eye beyond the confines of a traditional aesthetic judgment. The object then, requires critical engagement and open mindedness, in order to be understood, as a new, strange and exciting energy has been created.
CRO
CRO is a sculpture-vase which is firmly supported by three feet; it frees its arms into space to evoke the powerful grace of a mysterious winged metaphor. A gesture of reverence and gratitude to Mother Earth, and of belonging to the female gender. CRO is the narration and symbolic representation of the process of mutation from performance through to a material form: the passage from the expression and theatricality of the human body, into the material object form.
