Quiet, bright, large openings: the five pieces on display are perfectly domesticated. A dinner table, an occasional table, a console, a vase, a lamp: the names themselves reflect familiar typologies - a little family prevalent in tidy homes.
A gathering of furniture and objects the very sound of which suggests an immutable, perhaps obsolescent order. As if they wanted to whisper in our ear and temper emotions of another order.
Ruyant Writes :
“an image of the icepack in an age of dislocation elicited the initial emotion. The white universality and very texture of Corian © further testify to this. The designer’s perceptions are no strangers to phenomena of an agitated order, a sometimes threatening nature: these pieces are certainly peaceful, but their lines reflect fault lines, like so many echoes of on-going movement. The rhythm produced by the pieces’ design will no longer nurture an immediate connection with the initial polar wonder - or terror, possibly, as natural phenomena now have a flavour of disaster - if you decide differently. Supremacist in its abstraction, this series is primarily the product of a rhythm, or at least a rhythm can be read within it. In its fault lines, resulting from the breaks without which music would merely be the liquid potion distilled in underground car parks; in the cracks which prevent design from remaining a mere trimming added to rather innocent needs.