| RARITY_WOMEN ONLY
Presented by Verardo, Rarity_Women Only is a new female project which, through the production of a limited and numbered quantity of pieces, has the aim of talking about the creativity of women in design and art.
Contemporary female designers and female artists interpret the times we are living in and enact their intuitions that are the result of sensitivity, energy and sense of beauty, changing the perspective itself of the objects presented, objects with a soul and that are capable of talking about who you are, rather than products that simply talk about what you possess.
Objects that take shape in handicraft workshops and that allow you to relive concepts such as limitedness, manual skill, uniqueness, in full contrast with the rules of mass production, interested mainly in quantities. On the other hand, it is the way women work that distinguishes then from men.
The female way of reasoning is rarely linear and straight; rather it is variable, with frequent second thoughts and changes of direction. It is never rigid like a male's, it comes from the heart, not from the wallet. It wants to laugh and have fun, it doesn't want to seem serious at all. Words like beauty, empathy, sharing, love, pleasure, passion draw sublime figures on a woman's horizon while in a typically male situation these concepts are simply cancelled.
Put down this way, it would seem a rather unprofessional approach but, to work for pleasure and with passion generates results that are, to say the least, surprising.
Empathy – Monica Graffeo
Fillliis a rather generous and slightly overweight rocking chair that rocks back and forth, but also up and down. It is a romantic object that is born from an apparently chaotic combination of metal rods painted to match the woollen cloth-upholstered seat. The idea is to transmit the feeling of being seated amidst the branches of a mulberry tree...
Plisse' is a folding armchair with a seat resting on a metal structure made of spokes. The upholstery fabric has been designed like a garment and is pleated to emphasise the folding chair concept, and also because I wanted to design a haute-couture garment and so I involved handicraftsmen who build handmade moulds to pleat fabrics.
Gum is a transformable coffee table: its height and shape change by rotating the upper top and deciding at what height and with what shape you want it. The shiny upholstery fabric stretches and twists plastically at will.
Sharing – Pamela Lindgren
Collection Lowpixel-Images: bench, sofa table, divider, image
Today's hi-tech level of living with its distinctive high-resolution images and manipulated nature made me think of the mythic idea of the far East in the 18th Century, the lacquer work, the chino series and disciplined nature as in a bonsai tree. My approach is to use today's techniques and reduce them to something that recalls old craft techniques and methods, combined with today's techniques. By reducing the resolution of the images they become abstract, shapes and contrasts give the images the appearance of a pattern. I have used the pattern and turned it into a digital drawing, which has been programmed into a machine that cuts out the images. In this way, the low resolution images leave a long lasting fingerprint of their appearance, a time document of today.
Change – Paola Palma
Le cose: Drawer unit and chest
Le cose contain strongly emotional stories, styles, lives, behaviours and ways of perceiving things. Le cose include possible approaches to stories. Stories generate excitement, sadness, questions, thought, objects that automatically make memories surface. The memory, a voice that knows the past, is preserved for us in our objects. Le cose near and far, bodiless voices, floating between artfulness and sharing. The female nature preserves an innate, intimate, duality: an outer being and an inner creature, one that lives in the upper world and another that lives in a world that is not easy to discern. The paradox of the twin nature of women is that when one is colder, the other is warmer. When one puts away, the other wants to carry on looking. When one is more lingering and involved in a relationship, the other can be icy cold. These two layers of femininity are separate yet joined elements that combine in thousands of ways.
Emotion – Kiki Van Eijk
"For Rarity I designed a series of furniture that creates a setting together. The products have a female touch, because of the tactile fabrics I designed with strong graphics, blown up patterns and because of the soft matt coating used on the metal construction. Also the icons used in the textile design refer to tools and knick knacks you can find in a women's drawer".
Dress up your lamp! Change your lampshade according to the mood you're in…or you'd like to be in. You can choose from 3 different designs and you can make it a "hanging" or a "standing" lamp.
A new carpet made with traditional techniques. Completely handmade. The flower pattern used in the dress up! Lamp is translated into a carpet with strong graphics. The colours are strong and vivid and this strengthens the high-low contrast.
A new carpet made with traditional techniques. Completely handmade. The scissor pattern used in the dress up! Lamp is translated into a carpet with strong graphics. The colours are strong and vivid and this strengthens the high-low contrast.
A bench matching with your favourite dress up! Lamp. You can choose the pattern either in the off-white version or in the colourful grey-pink-green version.
A bench matching with your favourite dress up! Lamp.
Beauty – Georgia Russell
Art collection: Grampa, Sky Italy, Caracteres, Metaphysique
I was delighted to be invited to show in rarity and have created works which reflect Milan's opulent, musical and vibrant profile. I have created a group of works using particularly strong and passionate compositions, clearly inspired by Italians!
Monica Graffeo was born in 1973 in Pordenone, she attended an experimental classical secondary School and then the Italian School of Design of Padova, school-leaving certificate in 1995 and specialisation in 1996. She started to work and initially collaborated with Fausto Boscariol and then with Gabriele Centazzo of Valcucine. In 1998 she started to work freelance and began her collaboration with Kristalia. From 1996 to 2004 she worked with the Italian School of Design of Padova, first as Master assistant and then as methods and research teacher for four years.
2001 – A stamp showing the Free chair produced by Kristalia was published for the "Italian Design" series.
2003 – The Boum chair system, produced by Kristalia, received the first prize for Young&design 2003. Some projects were exhibited at the Donna&Design exhibition for the Furniture Exhibition in Pesaro.
2004 – The Mints chair, produced by Arflex International, received the second Young & Design 2004 prize. The design of a chocolate was exhibited in Perugia for the Eurochocolate 2004 festival.
2005 – The Lazy Mary chaise longue, produced by Disguincio, won the top ten Promosedia Prize and the Good Design 2005 prize. She was a visiting professor at the IED of San Paolo, Brazil.
2007 – Her Lazy Mary, Sgased and CU are exhibited at the Triennale exhibition in Milan.
My name is Pamela Lindgren, I am an industrial and product designer. I live and work in Göteborg, Sweden. I graduated from the School of Design and Crafts, Göteborg University in 2004. "Design for all", social design and environmental design are some of the areas in which I work. "Design for all" is a philosophy that aims to improve the life of everyone through design that includes services and products that everyone needs to use. Everybody should be able to participate on as equal terms as possible. Social design involves all aspects of ethics, including conditions for the employers in the country or factory where the products are manufactured. It also involves developing and manufacturing products and services in a sustainable way and with the least possible impact on the environment. I have participated in workshops, seminaries and exhibitions in all of these areas.
My participation in Verardo's rarity project is to reflect on time and how we see it; I also find it interesting that this project involves only female designers.
Activities involving arch. Paola Palma go from design to architecture, to lighting technology planning. She has collaborated with Assarredo (Materassi group), I.C.E. (Foreign Trade Institute), Samp (Furniture Exhibition, Pesaro). She has designed exhibition areas and stands for Curvet, Arca Cucine, Morfeus, Gruppo
Marazzi, Sitti. She has designed furniture and objects for Zeritalia, Arca Cucine, Cetra (China External Trade Development Council): Pan Air Elettric, Elan Vital, Hoyo Foundry, Top Eight, Polygon, Asian Pacif, Ariba (Shanghai), Sitti, Ariete, Mares, Seac Sub. As well as for Ceramiche Flavia (Bitossi group), Pampaloni and Terrepicene.
1987 1st prize in the Future Form Contest, Germany
1990 certificate of merit in the 1st Artistic Ceramic, Capraia and Limite
1994 2nd prize in the Young & Design in Milan
1996 International Gran Design Prize, Pesaro
2002 1st prize ex-aequo, contest for a typical bedroom in a 4-star beauty farm hotel, indetto da Villa Eden (Merano).
She is engaged in planning lighting technology for outdoor and indoor areas as well as for roads. In 1987 she collaborated in the lighting project for Michelangelo's David for Targetti Sankey, and for other chambers of the galleria dell'Accademia in Florence, for the new waiting rooms and ticket offices of the S.M.Novella station of Florence as well as working towards the definition of the lay outs of all the Targetti Shops in franchising for Italy and abroad. In 1991, with advanced lighting technology (Targetti Group),as well as the planning Lighting technology, customised lighting equipment was defined and produced to meet specific needs and performances. She has been an out-house consultant for Martini since 2004. She has collaborated as tutor for the "diploma in industrial design" course of the Faculty of Architecture at Ascoli Piceno and as expert on the subject for the interior decoration and architecture course at the Faculty of Architecture in Florence. In 2006-07 she held a course in "fundaments and applications of lighting technology" at the Faculty of Architecture of Genoa, for the specialised degree in "planning and management of events". She has published essays and articles on light, on the formal evolution of lighting equipment referred to its typological and technological transformations and on other topics in national and international reviews.
Kiki Van Eijk has been working in the design field since 2001. Kiki graduated cum laude at the design Academy Eindhoven in November 2000 and became well-known because of her famous "kiki carpet". Now she's working on her own collection which is presented worldwide in galleries and museums in London, Paris, New York, Milan, Cologne, Tokyo, Montreal, Amsterdam, Utrecht, Rotterdam, Eindhoven, Nieuw Rhoden, Brussels etc. She works on projects for companies and institutions such as studio Edelkoort Paris, Design Academy Eindhoven, Centraal Museum Utrecht, Swarovski, Moooi, International Art Centre, Appčl, Gemeente Eindhoven, Wooninc., Picus, Stichting Alice, Kock Consultancy, Forbo Flooring, Vpro,Tv Woonmagazine and many more. Her work is published and sold world-wide. Her work has appeared in publications such as Wallpaper Magazine, Elle Wonen, Harpers Bazaar, Vogue U.K, Elle U.S, View on Colour, The International Design Year Book. By designing with a very personal touch and original ideas, Kiki Van Eijk strongly represents the new generation of Dutch designers. Kiki's work is easily recognizable by her mild and playful designs. Kiki puts multiple layers in her designs.
Concept, material, structure and technique must all be in balance to create a surprising and new design. Her nostalgic approach combined with her poetic and personal style come to life in a wide range of work. By using old and new techniques,applied to an unexpected object, Kiki not only surprises the viewers of her work, but also the manufacturers and craftsman that make her designs.
Georgia Russell was born in 1974 in Elgin, Scotland. She studied fine art at Aberdeen University and the Royal College of Art and is a Visiting Lecturer at universities and art schools. Russell uses a scalpel instead of a brush or pen, and works with obsessive perseverance and patience to make her constructions of cut paper. She has found appropriate materials and utilises their decorative qualities and inherent potential as she manipulates, cuts and transforms books, music scores, newspapers, currency, maps and photographs.
Russell's work with books and ephemera first began in Paris while she was still at the Royal College of Art.
Old books have always seemed to her like sculptural objects that had their own history, 'representing the many hands which have held them and the minds they have passed through'. She resurrects her discovered materials to give them 'a new life and new meaning'.
There is a simultaneous sense of loss and preservation in each work, as she wants to retain and reclaim the past as much as her techniques attack it. Her chosen materials are transformed, sometimes with flamboyant colour and wild cutting, sometimes with discreet play on the subject or title of her printed ephemera. For Russell, her cut-out traceries with their accompanying shadows function as 'membranes of memories': sometimes looking as if they have been disturbed by a breeze or slight tremor, they represent 'our fading recollections of a time, person or place' and hover between object and image. She often utilises the decorative qualities of her found materials in the process of appropriating and manipulating them to form subversively ornamental constructions. She has recently completed a public art commission for the new Jubilee Library in Brighton and her work has been acquired by the Victoria & Albert Museum.
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