Craftsmanship and a sculptural use of pleating define Mattijs' collections.
Part of Mattijs van Bergen' collection 'Proserpina' is to be seen at Museum Het Grachtenhuis.
January 27, 2013
winterSALON/2013: Mattijs van Bergen
Mattijs van Bergen (1980), known for his neoclassical designs with distinct colors and refined fabrics, studied at ArtEZ (Arnhem, The Netherlands) and has a masters degree at the prestigious Central Saint Martins College (London). In 2008 he launched his label MATTIJS. According to the British Vogue "One of the most promising young designers."
Craftsmanship and a sculptural use of pleating define Mattijs' collections.
Part of Mattijs van Bergen' collection 'Proserpina' is to be seen at Museum Het Grachtenhuis.
Photo's by: JW Kaldenbach
Craftsmanship and a sculptural use of pleating define Mattijs' collections.
Part of Mattijs van Bergen' collection 'Proserpina' is to be seen at Museum Het Grachtenhuis.
winterSALON/2013: Joris Landman - Ka-boom!!! Flowers!!!
This vase, in the shape of a volcano, is made of pitch-black clay erupting in brightly multi-coloured glaze lava flows. When in use, the flowers it contains resemble smoke billowing out of its crater.
Joris Landman:
“I was inspired by the idea that the Golden Age was a period in Dutch history
of such great advancement in trade, science and art; the exhilarating energy of
living in a time when the world is being discovered and conquered.
For example, Italianised paintings from that period: clumsy Italian landscapes and scenes made by painters who had never actually visited Italy but had access to imported pictures. They remind me of Albrecht Dürer’s ‘Rhinoceros’. Then there is the enthusiastic display of these advancements and their personal benefits, the claiming of bragging rights for being cultured—or just plain wealthy—by commissioning a lavish portrait or an intricate yet unpractical object, to savour in private or to serve as a prop-based conversation opener when callers came.
From these ideas came the image of a pitch-black volcano erupting in brightly multi-coloured lava flows; a sophisticated but naive and embellished representation of an awesome energy. When I started sketching, I saw that the volcano could be a vase with flowers billowing out of its crater. I had never worked with ceramics before and thought that such a design would be inherently ceramic, because it seemed that adding heat to clay until it turns to glass, is a process almost identical to volcanic eruption. To me, this work is an image of eagerness and culmination, of vacuity and overabundance, of power and ineptitude. I would request it to exclusively be used for dried bouquets of the rare flowers found on Miyake-jima.”
For example, Italianised paintings from that period: clumsy Italian landscapes and scenes made by painters who had never actually visited Italy but had access to imported pictures. They remind me of Albrecht Dürer’s ‘Rhinoceros’. Then there is the enthusiastic display of these advancements and their personal benefits, the claiming of bragging rights for being cultured—or just plain wealthy—by commissioning a lavish portrait or an intricate yet unpractical object, to savour in private or to serve as a prop-based conversation opener when callers came.
From these ideas came the image of a pitch-black volcano erupting in brightly multi-coloured lava flows; a sophisticated but naive and embellished representation of an awesome energy. When I started sketching, I saw that the volcano could be a vase with flowers billowing out of its crater. I had never worked with ceramics before and thought that such a design would be inherently ceramic, because it seemed that adding heat to clay until it turns to glass, is a process almost identical to volcanic eruption. To me, this work is an image of eagerness and culmination, of vacuity and overabundance, of power and ineptitude. I would request it to exclusively be used for dried bouquets of the rare flowers found on Miyake-jima.”
Joris Landman (1975) works as an editorial and graphic designer, with a focus on digital media. He completed his Master of Arts at the Rietveld Academie in 1995 and currently lives and works in Amsterdam. Subjects include the emergence and storage of meaning through man-mad signs and signals.
Design Matterz #4 Fashion versus Design
The fourth edition of Design Matterz was fashion orientated. During the Amsterdam Fashion Week simularities and differences between both disciplines were unravelled.
Speakers this evening were Jose Teunissen, Kiki van Eijk, Borre Akkersdijk and Manon Schaap and Gijs Stork of Salon/.
Speakers this evening were Jose Teunissen, Kiki van Eijk, Borre Akkersdijk and Manon Schaap and Gijs Stork of Salon/.
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