MATALI CRASSET COLLECTION "IN VINO VERITAS"
"The bottle and the cross" - blown glass
bottle 30,5 x 8 cm, cross 33,5 x 15 x1 cm
limited edition 50 ex - signed, numbered
SEPTEMBER 24 - NOVEMBER 22, 2008
For her second solo exhibition at Gandy Gallery, and her first in Slovaquia, matali crasset developed a new project around the topic of wine. In terms of geography, the country of Slovakia is surrounded by Hungarian and Austrian wines.
This project will bring together new objects designed in glass produced in Czech Republic and Slovakia as well as a new series of numeric drawings.
"When in a state of drunkenness, Man is expansive: saying the truth which he could not do on an empty stomach escapes him. But wine is at his image and can not lie either. Since a couple of years, I am interested in the phenomenon of natural wine . As I researched the subject, I was surprised to discover that Rudolf Steiner, founder of antroposophy was the one to set the principles of biodynamicagriculture.
Knowledge, transmission and cultures are intimately linked."
This exhibition brings together a series of glass projects around the archetypal form of the bottle Sometimes the bottle is complete to incorporate the ritual, and is no longer in charge of simply containing, but becomes a participant Simple attributes are enough to transform the bottle into another signification.
In other instances, a dialogue is established, and the bottle departs from its conventional status to become expansive and talkative in the image of wine.
These objects do not belong to the oenological realm, they are to be understood as interpretations of rituals of the symbolic of wine.
A publication will be made at the occasion of this exhibition.
Born 1965, France
Gratuated at les Ateliers, Ecole Nationale Supérieure de Création Industrielle, matali crasset is industrial designer. In agreement with one her emblematic objects, the column of hospitality "when jim comes to paris", she puts a clean methodology in which she questions the evidence of codes that governs our daily life to free oneselves better of it and experiment. Thus she develops new typologies articulated around principles as the modularity, the appropriation, the flexibility, the network. Her worj that has imposed itself from the years 90 as the refus-al of the pure shape, conceives itself like a research in movement, made of hypotheses more than of principles. She collaborates with eclectic universes, from the handicraft to the electronic music, from the textile industry to the equitable trade. Her realizations brought it thus on fields that shed id not suspect, from the scenography to the furniture, from the graphics to the interior architecture.