Water

Design today has become a cross-eyed discipline,
capable of looking in many different directions at
the same time. It looks ahead, into the future, in
search of new suitable forms for new sensitivities
and new emotions. But it also looks behind,
capable of retracing its history and rereading its
past. And it looks at the useful, whose meaning
and functions are continuously renewed in an
effort to offer solutions of intelligent immediacy.
But it also ironically gazes over what is
seemingly frivolous and superfluous, knowing
perfectly the mechanisms of art, the game of
provocation that turns into seduction.
Design looks towards technology and invention,
striving to find the perfect clothes to live our
daily life. But it also looks towards the eternity of
materials that does not know age, the weight of
time, the transience of fashions: those materials
are wood, ceramics and glass.
And so here it is: this small collection of objects
made of borosilicate glass - very light and more
resistant than expected - brings together many
of these gazes directed to the four winds.
Just like a rope that draws strength from the
interweaving of many strands, this collection
also reveals its interest in the comparison
of different voices, a polyphony in which to
rediscover the many souls of today’s design.
If we search among shapes, it will not be difficult to
find references to certain repeated accumulations
that recall the fabulous swinging sixties or the
tribute to the late deco elegance, or even the
recourse to the hermetic paradox of art, apparently
useless but capable of forcing us to think. We
can rediscover a certain pleasure in kitsch,
reinterpreted in a cultured and elegant spirit. There
is no lack of freedom of gesture that penetrates
the material, piercing it through with the intent of
showing it rather than violating it. And there is not
even lack of courage to propose simple beauty in a
sound of elegant balance.
Each piece is an unknown factor of the theorem
entrusted with the meaning of designing a new
object. No unknown factor alone is enough to solve
the equation; only when considered together do
they define the changing and unstable contours of
that whole we call design.
It would be enough to rely on the material, get lost
in the reflections of the glass, caress its swellings,
follow with a finger the delicate cords that border
the edges like silk scars; or instead glide with the
gaze on cuts as clear and sharp as rays of light.
After all, the answer to every question can be
found in the making.