Curatorial

Infinitas

"A designer knows he has achieved perfection not when there is nothing left to add, but when there is nothing left to take away" (de Saint-Exupéry, A., 1939, pp60.)

The piece Infinitas was designed to express fluidity in form and explore the idea of simplistic perfection. The organic nature of the curves of the piece looks to be perfect, however on a closer inspection it is clear that these curves are intertwining and are by no means perfect. Yet it is the imperfection that makes this piece perfect. The simplistic design in the form of an infinity symbol has no need for extra ornament; its simplicity enhances its aesthetics.

Inspiration for this piece was taken from two precedents, one modelling straight lines and the other fluid form. Firstly, a piece by Kazimir Malevich, a Russian painter and art theoretician who was a pioneer of geometric abstract art and played an important role in the Suprematism art movement. this piece challenges the viewer to look with unobjective eyes to see the purest form of feeling. Inspiration came from the simplicity of this piece because as de Saint-Exupéry said; perfection is achieved when there is nothing left to take away. (1939)

The second precedent image is a piece by Zaha Hadid, an Iraqi-British architect whose style can be described as contemporary, organic and innovative. The Vortexx Chandelier brings together organic lines and fluidty in curves which created a foundation for the design  Infinitas, whose curved lines have a raw beauty to them.

 

Straight line precedent image: Malevich, K. Black square. (1915).

Fluid form precedent image: Hadid, Z. Vortexx Chandelier. (2005)

References:

Hadid, Z. (2005). Vortexx Chandelier. [Photograph]. Retrieved from http://www.enlightermagazine.com/projects/vortexx-light-zaha-hadid

Malevich, K. (1914). Non-objective Composition. [Oil on canvas]. Retrieved from http://en.wahooart.com/A55A04/w.nsf/Opra/BRUE-8DP8ZK

de Saint-Exupéry, A. (1930). Terre des home. France. Éditions Gallimard.