The visual directions for Grit are intentionally direct. Negating romance and all traditional archetypes of femininity, there is a defined sense of brute strength, stoicism and bravery.
Materials lack pretention and simplicity is admired with a focus on quality and integrity. Resources that initially caused pollution are explored in their raw state. At its core though is a revival of industrial techniques and skill.
Heavyweight chunks of rock and stone become the focal point when elevated by refined glass and metal. Despite their apparent contrast, there is an effortless relationship when these two materials are balanced together.
In Jesper Eriksson’s collection; Coal-Post-Fuel, A New Social Relation, coal is transformed from fuel into furniture and is made desirable in combination with polished glass.
Oxidised and waxed aluminium reveals a 300 million year old Jasper stone at its core in Pierre De Valck’s minimalist cabinet.
Molten rock inspires as materials mimic the undulations of densely flowing lava.
Appearing as if liquified through extreme heat then left to cool, Milan Pekar's glazed stoneware is molten in its appearance.
Indicative of molten rock, artist Fernando Mastrangelo hand-sculpts black sand onto gold mirror capturing the essence of lava in its solidified state.
The malleable and primitive exterior of the ZTISTA chairs by Victoria Yakusha are the outcome of steel frames roughly covered in a composite of flax rubber, wood chips, cellulose and clay, meant to reflect the charm of natural imperfection.
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Image credits from top:
© Colour Hive | Jessah Amarante, photo Andy Liffner | Jesper Eriksson | Pierre De Valck | Bloc studios x Tableau, photo Michael Rygaard | Atelier Sohn | Milan Pekar | Fernando Mastrangelo, photo Benjamin Hochfelder | Victoria Yakusha, photo Koen Van Damme