The cross-oceanic collaborative exhibition, Transatlantic Creative Exchange will be returning to Wanted Design Brooklyn for its second edition, which will occur from May 17-23, 2017. After a successful run in 2016, the creative exchange is set to display exceptional prototypes and pieces which were designed by five selected French-American Designers and manufacturer duos.
This demonstration is organised by the founders of Wanted Design, Odile Hainaut and Claire Pijoulat as a component of the French-American programme Oui Design that joins forces with the Cultural services of the French Embassy.
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The idea of this project came about as a sharing opportunity regarding the close-held Franch values of creativity and the so popular Savoir Faire, in addition to the involved parties having a stronger creative bond when it comes to the world of design.
The five participating French-American duos are selected based on overlapping interests, geographic diversity and desire to engage in creative collaboration. The goal of Transatlantic Creative Exchanges is to push both designer and manufacturer to shift paradigms, explore technique and innovate boldly as a unified transatlantic design team. Thanks to the project’s open philosophy of freedom of expression and virtually non-existent commercial guidelines; designers, artisans, fabricators and manufacturers are all free to collaborate, exchange and interweave their personal perspectives and experience into collaborative expressions of sublime design.
Constance Guisset and Uhuru
“The idea in the project, which I designed specifically for Uhuru, was to join our strengths to create a perennial collection. It was about combining organic materials, a deep yearning for softness and Uhuru’s know-how in terms of rough wood and metal techniques.” – Constance Guisset
David Weeks and Atelier Pinton
‘’Design is so often about problem solving, but this project was more about image making. Working in two dimensions is seemingly restrictive, but if you think about it, it’s limitless; if you’re drawing something by hand, it can be whatever you want it to be and can come in as many patterns, shapes, colors or overlays as you’d like. I wanted to challenge the process, but at the same time to make something respectful to the heritage of the manufacturing at Ateliers Pinton … Their process is so tried and true. Their technology has evolved but is rooted in the same methods of generations past. That sort of honesty is what we strive for at our shop in New York.’’ – David Weeks
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David Hughes and Fondation d’enterprise Hermès
“As a glassmaker I was honoured and eager to work with crystal. The sharing of knowledge and expertise that happened during the residency is to me what glassmaking is all about. Much of the work made during my time there was in homage to the culture of Saint-Louis-lès-Bitche and Saint-Louis crystal … I don’t speak French so most of our communication was through the act of making – glass whether cold or hot has its own language. From the factory to the forest that surround Saint-Louis I was given a glimpse into a history of glassmaking and a chance to learn, share and make in that history.” – David Hughes McNabb
Jason Miller and La Manufacture Cogolin
“My hope is that I can find a way to make something that feels contemporary and handmade from machinery that uses technology from the 19th century. Instead of trying to push the limits of complexity La Manufacture Cogolin looms can handle, I have radically simplified the design of the weaving. The interest will come from how the weavings are cut and sewn together. I have been looking at a lot of Navajo textiles as a reference’’ – Jason Miller
Pauline Deltour and Corning Museum of Glass
“At the studio, we watched a lot of video demonstration of the glass blowing technique known as caneworking, as a means to add coloration and embed motifs into glass, I was inspired by the transference of this method and chose to explore its potential in this project’’ – Pauline Deltour
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Source: Wanted Design