At the table

Henri Matisse :: ‘La Desserte’ (Dinner Table) :: 1896-97

 

 

 

 

 

 

 

 

 

 

 

 

Human beings might not even remember that dressing once had only a functional meaning in their lives – to protect the body from wheather conditions. After this first moment and over the centuries, dressing incorporated other meanings – social, religious, or even ideological and political – to become, as it is today, an act of codes, rituals and cares.

 

The history of eating has followed a similar path – if the purpose of food once was just to ensure survival for human beings, it has gained developments over time and, permeated by economic, social, religious or geographic issues, food has also acquired its codes, rituals and cares.

 

When we look at the evolution of manners and customs, we can also observe another aspect, more subtle but not less relevant: the need for humans to give greater pleasure to mandatory acts which are essential to their existence. As man became conscious of his own existence and gained perception of his tastes and pleasures, he was no longer able to stand endless, mechanical and routine repetition of tasks that did not provide comfort also to his soul. Expanding the meaning of such affairs has become imperative.

 

We can confer beauty and therefore pleasure to any acts and accomplishments of the human being, and to the various ways of relating to them and among ourselves. In the introduction of his book “A beleza salvará o mundo” (Beauty will save the world) – (Ed. Difel, 2011), the philosopher Tzvetan Todorov explains that beauty, be that of a landscape, a date or a work of art, does not refer to anything beyond these things, but makes us appreciate them as such – and therefore, allows us to try the sensation of living full and exclusively the present moment.

 

Being at the table to enjoy a meal is one of the richest and most frequent opportunities we have to experience such a feeling – and it amazes me to see how many men and women waste it daily by relating to food as did our ancestors.

 

At the table, the shape of arranged objects, the taste of a certain food, the encounter with the others, or with yourself, are all possibilities for us to enjoy this fullness – in the words of Todorov, “instant yet infinitely desirable feeling which gives meaning to our existence; thanks to these precious moments, it becomes more beautiful and richer in senses”.

 

Let us, therefore, be attentive and generous with ourselves, remembering every day that every meal is a chance to meet with the beautiful, to give ourselves pleasure and thus to expand the meaning of our existence.

The borders of design

Olive Street nº1 :: byHenzel

 

 

 

 

 

 

 

 

 

 

 

 

 

 

There are objects that, even if produced with high technology, according to a specific project and on an industrial scale, are displayed before our eyes with the power of artwork, unique and manufactured. They take on a “subject” role before the observer rather than mere “objects”, surprising for their originality, touching for their unique beauty and tempting for the ability to subvert existing standards. These objects drive us out of our comfort zones and demand from us a new perspective and a new reflection on what we thought we knew.

 

The rugs created by Henzel Studio are like this – they question, test and transcend boundaries that often persist between design (in this case, interior) and art. The starting point is a fresh look at this object, so familiar (?) to all of us… And the result is invariably stunning.

 

There is no doubt that, without technical excellence and high quality materials, it would be impossible to materialize in wool traits and colors that seem to have come out of paintings, graffiti and watercolors. But if these rugs speak to our soul, it’s because behind the technical excellence and quality materials, another soul is released to them, willing to turn them into a new medium of expression. To do so, it questioned the conventions, overthrew patterns, uses and purposes, and thus redefined not only a new world of colors, images and treatments for this object, but also the relationship we establish with it.

 

Restlessness, nonconformism and passion are key tools to open our minds and our hearts, allowing us to break free to the new. And our soul needs the new – (re)discovering shapes, colors, uses and relationships, we can create and enjoy, every day, new sources of beauty and pleasure.

 

To learn more: www.byhenzel.com

Paint or dye, but love me

 

Paint or dye but love me is the title of this beautiful conceptual project developed in 2008 by John Nouanesing, a young product designer who lives in France. Contrary to what one might imagine, the visual tension created by shapes that seem to be in constant ‘suspension’, and by the vibration of a very intense red, makes it a great pleasure to observe this artwork.

 

John Nouanesing seems to always have the same three guiding principles in his creative process: observation, innovation and irreverence. It is curious to see how each of his conceptual projects is able to tell us a story, making us see clearly the conceptual path traveled, from the very first insight to the final result.

 

These results are not always so beautiful – and not always effectively achievable. But it’s always a delight to see these objects and the entertaining titles assigned to them by John Nouanesing.

 

Learn more at www.johnnouanesing.fr

David Trubridge

Coral lamp :: David Trubridge

 

 

 

 

 

 

 

 

 

 

I first saw David Trubridge’s Coral Lamp at Soho’s DWR in NYC, about two years ago. From classics of the 20th century to contemporary pieces created by talented yet little known artists, the furniture and objects found in these U.S. chain stores are always very well selected, grabbing everyone’s attention for their beauty and elegance, and sometimes – like in this case – also for their innovation.

 

The lamp was placed in a more intimate atmosphere at the back of the store, and the effect of light and shadows created by its full and empty traits was overwhelming. I was also touched by the counterpoint there seemed to be in the essence of that object: how is it possible to obtain a result as delicate and organic from the assembly of a jigsaw puzzle whose pieces are all identical, rationally designed and industrially (re)produced?

 

A quick search on the designer has shed some light on this question: majored in naval architecture in England, lived on a boat for 5 years and then began designing furniture; his wirk uses wood from sustainable plantations and his projects seek to obtain maximum effect from minimum material; in addition, David believes in durability as a key attribute of good design and in art as a driving force of human development.

 

Upon learning this story, I could understand that the pleasure I felt by observing this lamp had not only elapsed from the appreciation of its beautiful shapes or visual effects, but also from the perception of its soul. I believe that the soul, when present in things, talks directly with ours – and this conversation encompasses the reasons for tastes and pleasures we are capable of feeling.

 

To learn more:
 www.dwr.com
www.davidtrubridge.com