09 December 2016
The beauty of gesture
Cork is a cult piece, a cork stool of disarming simplicity, designed by the English designer Jasper Morrison and edited by the brand Vitra. The sit, which was offered to fifty samples by the furniture editor, was revisited by fifty designers, from the visual artist to the architect, via the fashion stylist. Painted, carved, clothed, Cork is projected into fifty original re-creations. So many unique signed pieces that will go on sale on December 12th, during the nineteenth auction to benefit the association La Source created by the painter Gérard Garouste. The funds allow young people with social problems to develop their confidence through the awareness of their creativity.
The creative act, originally, makes it possible to question about all the possible human conditions. Gérard Garouste carried art where it was not expected, to the depths of the French countryside, in rural areas where children and teenagers between 6 and 18 are bored. How can we make them aware that the future belongs to them, that they have so much wealth in them that only needs to go out, take shape for the collective interest? That they have their role in this vast world and the power to tell who they are?
Far from the international fairs and the market, Gérard Garouste reinvents the field of art in its human potential through this citizen project baptized La Source. Since 1991, more than 30,000 young people have benefited from this original and generous initiative: by participating in artistic workshops on Wednesdays and during school periods, they have practiced painting, sculpture, land-art, choreography, theater , Video, photography, singing, writing and music. They created, manufactured, realized a project. They changed their way of looking at the world and the world.
To achieve this, Gérard Garouste invites artists every year to participate in the adventure through an act of creation allowing, through the auction, to give the funds entirely to the cause.
Here is the result of this impulse of shared and networked generosity. The 2016 series is particularly remarkable. New talents joined the artists of the beginning: designer Férréol Babin, a big fan of technical lighting, designer, critic and cartoonist Clo’e Floirat, illustrator Eric Giriat, classical iconoclastic artist Mathias Kiss, Creative duo Kuntzel + Deygas, Arik Levy transdisciplinary designer, fashion designer José Lévy and interior designer Dorothée Meilichzon. All have joined a majority of prestigious names coming mainly from the field of design and architecture: the Brothers Bourroulec, Hervé van der Straeten, Philippe Stark, Noah Duchaufour Lawrence, or Odile Deck, Jean-Michel Wilmotte, Edouard François, Franklin Azzi …
But in fact, what does the artist say to himself before diverting a cult object such as the Cork stool, created by a contemporary designer known for his attachment to anonymity in life as in his design? It all depends on the relationship that is maintained with the author of the object in question.
The “family” of the Cork
For Guillaume Delvigne, it was not an easy exercise, the designer considering Jasper Morrison as one of his “masters:” I try to take this with a certain distance, not to put too much pressure on myself, Look with humor so that it comes out of something light, “ he confides.
Facing the “family” of the Cork, since the stool exists in several equally refined forms, he has continued in the series idea, developed by Jasper Morrison through ceramic pieces made for Vallauris. He applies to the transformation a method implemented by Morrison in a personal project.
“By cutting the object I amuse myself by decomposing it and re-composing it in order to obtain new shapes. These combinations can sometimes be surprising, although the same parts are always used. I see them as totems, a nod to the work of one of my other “masters”, Ettore Sottsass. “
As for this so « retro” material, how is it approached? “The light and tender aspect of the object made me divert it almost like a game.
With color I reinforce this effect and I more clearly dissociate forms. I decided to cut the object every time the slope changes, in order to obtain pieces of extreme simplicity. In the end there are only three shapes, a large flat cylinder in two copies, two truncated cones and a small cylinder. Everyone now has to own it … “.
Stay at the service of the object
For the cartoonist Clo’é Floirat, the exercise is that of the respectful pirouette. “We think that it is a real playground even if, however, a little slippery! Applying her own signature to a signature-monument is an exercise that requires some humility and some acrobatics. It is a matter of appropriating it without expropriating its original essence for all that. It is a kind of one-way collaboration and I have tried to stay at the service of the object. “The Cork Family stool defies the idea that everyone is made of cork material and reminds us that the design is certainly not an object-image but rather a subject to be lived. “. Taking on the idea of series as well, it has attached itself to the spirit of the series with subtle variations that do not necessarily see at first glance. She makes the object a light satire on the consumer society, “the ass between two chairs” before the embarrassment of the choice it imposes us. “This drawing is an absurd mise-en-abyss of these dilemmas and contradictory arguments – in the face of these possible choices – that lead to the same conclusion. ”
And for an architect like Franklin Azzi, with who we are traveling a Parisian realization while walking on the Berges de Seine, left bank, between the bridge of Alma and the port of Solferino … What does an intervention on object – worship furniture mean?
“It happens that I am confronted with “cult works “on a larger scale, because one of the specificities of my agency is the patrimonial rehabilitation. I think of the Mame printing works in particular, a building in Zehrfuss and Prouvé in Tours, which had to be restructured, restored and modernized. But in fact the Berges de Seine also in a certain way, are so emblematic that they become cults (they are, moreover, classified in the World Heritage of UNESCO!). Faced with these enormous challenges, tackling furniture seems less risky … It is not! I like being iconoclastic, while being respectful. So yes Morrison in latex it may seem subversive, but I have absolutely not touched the original work, and I sign it with a simple business card slid in the elastic, so finally there is a certain distance, a respect of the existing. “
The Cork Family revisited by Franklin Azzi finds itself enclosed in a mesh of elastic recovered from the couriers of Paris …
“This object is resolutely simple, without fantasy, it comes from a work less easy than it looks on the “normality”. It was not a question of making a big gesture to divert it, so I developed a more scientific and creative approach, with numerical simulations, to achieve the desired result. I assumed that cork was a raw material, considered “noble”. To respond to this original object, I also adopted a crude response: courtyard elastics. And finally, what emerges is that the placement of the frames of elastic, their variable tensions and their equally variable tints give the illusion of a noble matter and a rather sophisticated ornamental motif. The circular bases of the object allowed these crossings of frames, inspired by the spirograph but also the wall paintings of Sol Lewitt. I hope that Jasper Morrison does not blame me for having covered it with latex, it must be known that it is reversible! “.
Each Cork, decorticated, shows how designers cudge to give birth to a meaning. From meaning added to meaning, avoiding the contradiction. A story of respect. A return to “the Source”.