LAB #5(44) 2008

LAB interview _

covered. Its all a matter of perspective. Your work is on the verge of art and design – was is a conscious decision or you just feel like doing it? What is closer to you? Does this mixture justify itself? In the last years I had try to do a design very close to me, a representation of my self and ideas. I think this idea had been always more related to art that’s why I can imaging my work now is so close to this verge, but my education and way of doing things had been oriented to create designs, that’s why this mixture or confu- sion. Never had been a conscious decision, had been gradually changing, from design engineer- ing to personal or emotional design. When you passed from theory to practice, what was the most unexpected, or difficult? In general to pass from theory to practice is always the hardest point, but also can be the most exiting.I support a lot my self in the experimentation to be able to translate my con- cepts into objects, this process is fascinating and unexpected. I had projects that had been guided by the continuous mistakes during the process, this open the horizons of the projects. The unexpected, the susrpice, plays and help me to give form to the final piece. Did the work with Vincent de Rijk and Joris Laarman influence you? Every experience influence you; but in particular the experience with Vincent help me to develop a large range of practical skill, I learn the “know how” essentials for the way of doing things. I appreciate it very much. With Joris it was I different experience, there I could start using the skills I learned with Vincent, and I had the grate opportunity to ex- perience and see how a young and promising designer was being developped. I remember him as a calm enthusiastic person, always

Кресло для влюбленных, серия Evolution | The lovers chair, 2008

expect the acceptances of every body, this is clear, but I need to thanks the good reaction of people or critics who appreciate my work in one way or an other. I felt very support by my audience, and big public that just sort while ago I didn’t expect. The idea of people understanding what you mean by just seeing your products is highly satisfying. Of course I can imagine people thinking that my work can seemwhimsical, and unpractical, but I think its always depending of your frame works, and the idea each one has about what’s practi- cal. If my message “we can do things different” arrives to people, for me the function can be

self or a reflexion of things I see are happening in this world where we live. I try to not give too many borders to my creativity, I try to empha- size the message and let it free from too many restrictions but at the same time I base them into a traditional way of designing in terms that they always become products, they cover the function for what they had been created, even if this function is giving a feeling, for me this is covering a need. A bit confusing to understand but I like to mix it all. I like to cover all single aspects of my products, every detail, but when you see them from first time without the right way of thinking they can seem roghf and unfin- ished but if you look behind this first judgment you can find the real message and the beauty contained in them. Your work is distinctive for its high conceptual im- portance; you work not only with the shape, but also with ideas as well as sense and content of things. How important is this trait for your work? What do you achieve with the help of it? Well as I was saying the concept or idea is the message I want to transmit, that’s the basic function, the essence of my work. This idea of products telling stories, transmitting feelings or creating a dialog is the Vertebral column of my work. This help me to create a unique selling point, to express my self in my own way. People and critics who talk about your work can be divided into two groups: the ones who are lured by your extraordinary and exciting ideas, and the ones who are puzzled because, as they say, your works are too whimsical, extraordinary, unusual and unpractical. What do you think about it? The direct consequences of doing projects made for dialog is that you will always find discussion, different opinions, different ways of thinking, this are my believes and I can’t

Скамья для общения, серия Evolution | The bench, 2008

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№5 _ 44 _ 2008