Konstantin Grcic is now showcasing six of the designer’s finest sculptures shaped out of marble objects in the Galerie Kreo in Paris. The talk is that these six designer masterpieces could also have easily been created for a religious cult.
The six marble objects are part of Konstantin Grcic’s exhibition “Volumes,” showcased at Galerie Kreo through September 10, 2018. Konstantin Grcic is known for industrial products which are described as pared down, simple and minimalist, but these objects are designed in such a way, they may be described also as cult objects, used for religious purpose.
Unlike his usual practice, Grcic has made each object by cutting a block of Bleu de Savoie marble and sandblasting them so that they acquire a rough surface almost as their original state.
The designer has created the objects as a sculptor does, cutting away unnecessary parts from a block of stone to scrap out the beauty underneath — these pieces are objects of abstraction, rather than functionality, of which, the viewers have the final say.
This open-ended question remains: are these objects created for ceremonial rites, or as simplistic abstraction just to keep in a place and to be decided by viewers. This mystery is the main attraction of the exhibition.
While the approach of a designer varies from that of sculptors as they might emerge to be the exact opposite of one another, these pieces remind the audiences of both, but the question lies in its making. Johanna Agerman Ross, in her introductory essay about Konstantin Grcic’s exhibition presented at Galerie Kreo in Paris, remarks that the approach of designers and sculptors is usually exactly opposite. For the sculptors to sculpt they only have to remove the form out of its raw material to shape his object of his desire and imagination from it. But designers choose a different way, they don’t merely subtract or remove, they would rather go for assembling and adding in order to shape their designs.
Each object has two circular holes, just like at the bases of the designer Arco Lamps, so that a broomstick may be fitted in it to ease transportation. Grcic admiringly follows the idea of the Arco Lamps and introduced the holes in his creations, rather jokingly. The utility of these holes is only superficial and questionable as the rod instilled through them can’t bear their weight and the position of the holes are also aesthetic than utilitarian. Grcic’s designs are well known for his Spartan approach for simplicity and strict functionality combining formal strictness with considerable intelligence and humor.
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