In the recently published Au Courant Vol. 02 (early and pre-order editions of which have already sold out - studio editions will be released next week) there is a moody photo-editorial espousing the merits of using brass as an alternate to the omnipresent marble objects constantly vying for our attentions.
And yet, with the metallic finish of Yang Kai Mei's Rolling Days tabletop mirror piece set against the undulating 'hills' of Taiwan's Hualien marble district, the everlasting stone is nonetheless beguiling as always.
Created as part of the Lo Studio Della Pietra initiative where marble artisans and designers who use the material are invited to work closely with Serpentinite and Taiwanese white marble, the piece follows Moreno Ratti's lead by crafting what seems to be a wafer-thin object from a rather dense stone.
Ratti, an Au Courant Daily Journal favourite, took a more reinforced approach to crafting a lightweight work from the former kind of marble sandwiched around a 1cm thick sheet of aluminum. The resulting Giotto table is a strengthened form of his joinery-style marble work, where seemingly complex items are cut with water jets into paper-like, interlocking parts to form bowls, lamps, tables, art objects and such.
This approach also works with Lien Chinho's A Table Series; conversely, Chang Chialing's Split Marble Collection makes bold use of the weightiness of the marble slabs, as inspired by the initial sawing process used to quarry marble. A work of aesthetic dissonance, the collection is at once roughly layered and smooth to the touch with an angular finish.
See the work below, and learn more about Lo Studio Della Pietra and the collaborating artists here.
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