The Waiting Room (Faber Finds)
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Each piece is handmade and unique. Maria Ten Kortenaar To Maria Ten Kortenaar , porcelain is a medium that allows her to express what she perceives, feels and experiences in everyday life.
Through porcelain, she is able to translate her impressions into artworks. Happiness, sunsets, rainy days and landscapes that she observes in real life all find their way into her artwork. The titles are links to her personal memories. There are two different layers to her work. The visible layer: to emphasise the many colours in her works, Maria chooses to keep the form as simple as possible, choosing the cylinder. Her cylinders are built up from smaller fragments.
To draw the attention of the viewer, she disturbs the pattern just slightly. This uneasiness catches the eye. There is harmony and there is disharmony, created with a rhythm. The emotional layer: the colours and composition tell her story, while the white porcelain serves as the blank sheet of paper on which her story is written. It is her aim to translate our inner life in such a way that it becomes visible to others. La Fucina di Efesto forge has hammered life back into the old stone walls of a recently renovated stable that belonged to a Benedictine Order as far back as La Fucina has established itself as a meeting place for traditional, innovative research and experimentation.
The studio works on a large range of designs such as sculptures, interior and exterior designs as well as prototypes. The studio bridges a path between mastered traditional techniques and innovative, state-of-the-art metalworking equipment.
As from , La Fucina di Efesto has dedicated itself to research and experimentation in fields concerning iron and metals with great passion and skill. The research of La Fucina di Efesto gives a concrete and visible shape to the knowledge of matter and its transformational principles. Thus, the experimentation applied to metal sculpture and design goes through unexplored creative techniques. As part of its Studio Collections , La Fucina di Efesto examines many metal sculptural and pictorial properties. The workshop seeks to combine aesthetics with functionality by drawing inspiration from ancient workmanship and testing a common language for sculpture and self-made design.
This giant orchid made from stainless steel and bronze was shaped on a forge fire with a silver alloy. A rippling pattern was created by forging several pieces of metal with different compositions together. The sculpture has been finished with a mirror polish. This giant orchid made from stainless steel, bronze and copper was shaped on a forge fire with a silver alloy. Alessandro Rametta Italian master metalworker Alessandro Rametta is a self-taught sculptor. He is inspired by the infinite expressive possibilities of metal, the distant memories that reverberate through the matter, the familiarity of a material that holds ancient secrets.
Alessandro works in an intuitive manner, developing his own refined techniques while experimenting on the subjects that he believes to have the highest expressive potential to explore.
Alessandro founded La Fucina di Efesto over 20 years ago and has since been creating works for renowned artists and designers, including sculptures for collections in Italy and around the world. Alessandro places special importance on transferring knowledge and teaching, and places much emphasis on creative ethics. Completely handcrafted, each brass cord is fitted with precision. The shape of the Filigree Mirror is a traditional one in Portuguese culture and art.
A true work of art, this luxurious mirror plays tribute to Boca do Lobo's core values: heritage and craftsmanship. Furniture designers and manufacturers Boca do Lobo strive to encourage sensational experiences by creating beautiful pieces passionately handcrafted in Portugal by master artisans who love what they do. Their designers possess an undeniable talent for composing pieces that stir emotions. Boca do Lobo artisans' knowledge, accumulated over years of experience, is imparted with love through their craftsmanship.
A dynamic process of innovation, within both technology and design, forces Boca do Lobo to continually reinterpret the brand. No detail or element is overlooked as they offer the very best pieces at the frontier between design and art. Filigree is a delicate jewellery technique used to work precious metals. Skilled artisans painstakingly solder tiny beads and twisted threads to create striking motifs, evocative of an intricate lace-like pattern.
Boca do Lobo Furniture designers and manufacturers Boca do Lobo strive to encourage sensational experiences by creating beautiful pieces passionately handcrafted in Portugal by master artisans who love what they do. He masters several jewellery techniques, predominantly the delicate filigree technique.
Trained in the North of Portugal, his art represents a fine narrative in a new generation of artists. Rui emphasises his creative expression and his designs are essential for the development of fine art. As an artisan developing high value jewellery concepts, his knowledge is perceived as equivalent to the preciousness of the materials his works are made from. She wanted to build a piece larger than she had ever built before. She added segment after segment until the final shape materialised. Consequently, she had quite a few problems fitting it into the kiln.
During the firing, she was impatient to see the final result and upon opening the kiln found a large pile of broken fragments.
Patience, experience and the joy of experimentation form the basis of this series. Claudia Biehne builds her porcelain sculpture by assembling numerous pieces of intricately worked porcelain.
Seasonal Catalogue Jan–Jun by Faber and Faber - Issuu
Claudia Biehne builds her porcelain sculpture by assembling numerous pieces of intricately worked porcelain piece by piece. Porcelain is worked in a modern way articulating her signature. Claudia takes great pleasure in experimenting and is simply curious to discover and push the limits of what is possible.
Her works draw inspiration from and reflect natural marvels and developments, because she finds in nature the archetype of all creations and the cradle of experience. The porcelain studio located in the former cotton-spinning mill in Leipzig, is open to visitors. Gathering Places Grammar of Ornament - India ii was created as part of a collection of works that build upon an ongoing interest in the pattern book "The Grammar of Ornament" by Owen Jones.
Looking specifically at plates 49 to 55 covering Indian Ornament, this new collection reflects on those motifs and patterns in relation to recent travels in South West India, re-interpreting these experiences to create playful and intriguing ceramic forms and surfaces. She combines studio-based practice with site-specific projects. Frances uses drawing and ceramics to explore and interpret languages of ornament from different cultures, places and periods in history. From her Edinburgh studio, she creates ceramic objects using clay as a canvas on which to build surfaces of inlaid line, coloured glaze and enamel decals.
The relationship between making and drawing is essential to these explorations, with ceramics as an ideal material to push between the two states. She lives and works in Edinburgh. The works are hand shaped on a lathe. An alabaster block is placed on a lathe that rotates the stone at controlled speeds. The surface of the alabaster is then slowly chiselled off using the power of the rotation against the chisel. The finished bowl is then sculpted by hand and finally polished using traditional techniques. Her works enhance the qualities of the materials she works with and demonstrate the transparency of alabaster.
Gloria started to work with alabaster from an early age. Her works have a feminine style and distinguish themselves with elaborate floral motifs and carved embroideries. The considerable experience that Gloria has gained over many years permits her to realise increasingly complex objects. Her works also draw from the professional knowledge of two master artisans in Volterra, turner Cerone Homer and ornament worker Gazzanelli Renzo. Gloria has been awarded a number of prizes throughout her career such as the Gremigni Award.
She has participated in numerous exhibitions both in Italy and internationally. She stumbled upon this material quite by chance and found that she was attracted to it as a counter option to traditional textiles that share numerous similarities as well as differences with feathers.
Feathers are soft and translucent and can be transformed into soft surfaces. She develops and invents new skills and techniques in order to provide a very personal, innovative vision of feather work for the luxury, fashion and home decoration industries. This experimental and technical approach to feather work gives life to extremely visual pieces with sometimes very surprising purposes.
She is both an artisan and designer. Since , she has been working with passionate clients such as collectors, interior designers and highly demanding fashion houses or luxury brands. Juliette uses the vessel form as a canvas on which to explore how we experience our emotional and physical place in the world and how we negotiate the interface between the physical world that surrounds us and the intangible worlds of emotion, belief, thought, language and memory.
Focusing particularly on lines and thresholds, her vessels explore notions of function rather than function itself. These are hand shaped using traditional techniques. Seams are integral to her work and are made using silver solder.