Season 1

Season 1

Animated wood
 of subjects, objects 
and alternative ontologies

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In Amazonian culture, though different corporally, plants and animals are ascribed the status of people. Like humans, plants and animals possess intentionality and agency.

Véio’s practice reveals this sensibility towards nature: he encounters nature revealing the ‘be- coming-human’ of natural plants as well as the ‘becoming-animal’ of human bodies.

Véio walks along the rivers, in his homeland, Nossa Senhora da Gloria, a small village in the North East of Brazil. He gathers wood logs and carries them to his atelier. Over there, he works while rotating, shaving, chipping, shaping, sculpting and painting the branches, finally revealing human-like figures or animal-like shapes latent in the timber.

Véio does not impose figures upon raw materials, but reveals familiar silhouettes and hidden shapes from abandoned pieces of timber through occasional carving and colourful painting. Véio’s unspoiled sight reveals latent affinities between forms while transforming the reality in the simple act of observing it. While re-articulating usual relationships, Véio’s subtle vision discovers in ordinary forms the possibility of becoming something different and unexpected. The bold use of colour, the contamination of materials, and the playful use of pat- terns transform language and shift points of reference to uncover ever-changing possibilities.

Each sculpture reveals familiar silhouettes to the searching eye. As a shaman, Véio brings-to-presence hidden shapes by removing them from the raw material through occasional carving and painting, thereby restoring to the wood a meaning that exceeds pure physicality.

Véio’s sculptures offer insights on alternative ontologies and ways of constructing, dissolving, or transforming traditional dichotomies that continue to powerfully shape our worlds, anticipating the possibility that matter is conceptualised as chronically unstable, inherently undifferentiated, and ultimately practice-dependent.

SEASON 1 at SEE• is curated by Stefano Rabolli Pansera.

Season 1

Design acrobatics of wood 
in dialogue with glass, ceramics,
 brass and melted plastic

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A suspension lamp inspired by the first satellites launched into space. It consists of two borosilicate blown glass tubes, of different diameters, within which there is a second tube acting as a diffuser. The structure is made of brushed brass and LED light is used as indirect light.




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The Enterprise Chair was presented at ABC Art Fair in Berlin as part of the initial public stock offering installation of the New Dirty Enterprises, a project proposed both as a conceptual art work and a revolutionary cause. New Dirty Enterprises is a service that creates support structures, logistics and situations for the integration and re-animation of life into everyday artificiality. The goal of New Dirty Enterprises is the transformation of reality, vivid blue every-colour inhabitations of the planet and a multitude of happy endings through the understanding of the every-topia and the here now and easily available. Comedy with its brother tragedy use all forms necessary; transgression, transcendence and revolution in order to profit from cracks and in-between spaces in the system and enlarge them. Humour as the antidote to dogma and poetry as the antidote to suffering are fundamental. Some representation is allowed for means of seduction.
The Enterprise Chair is made from standard aluminium stock, cut and welded.



UNLIMITED 0/1289grs

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200 Grs. was born out of the idea of using wood off-fall to produce unique pieces serving a multitude of miscellaneous functions. A calculated balance of handwork and machinery produced objects with an inherent sense of authenticity that is fully explored once the pieces reach their end users. Pieces are made by bringing together different types of wood, along with metal and in some instances rubber or cardboard. Among the pieces presented at SEEDS are the clever reinterpretations of a nutcracker, a pencil case, a tape dispenser and a desk organiser. Each piece is, originally, named after its weight.




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Everything is submissive to circumstance. Everything slowly disintegrates. Ultraviolet radiation bleaches colors and deteriorates and decomposes materials. The filtering effect of colors can slowdown this process. The combination of inner and outer form determines this degree of protection: this series of vases is a game between colors.




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During the creation of a series of 60 ‘imagination tools’ Daphna Laurens’ design studio restricted themselves to solely make use of the colour black, intending to fully focus on form. All drawn by hand and later reproduced in metal, the shapes do now function as imaginative tools for the design studio itself as well as for those who are receptive and curious to develop and discover the unfamiliar.
Derived from this shape driven design process, the clips are exemplary of how looking at and working with form can result in functional objects with, nonetheless, a fluent visual appearance.




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With its generous oval form, The Piuma “Feather” table is made of crosspieces of solid maple that are joined in an intricate and precise manner. It is supported by crossed tubular iron legs painted in black with joints and feet elements made of brushed brass.




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A suspension lamp inspired by the movie “Metropolis”, the structure of which is made of brushed brass. The light source hidden in the metal structure directs upwards and downwards, leaving the rest of the space in a penumbra in the form of a “metropolis”.




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‘Framework Collection’ is a shelving system based on that of lattice constructions; extremely lightweight but stable structures which enable large spans with minimal use of materials. The system, in which construction determines the shape, consists of thin oak slats connected by steel plates and rivets. The addition of glass shelves creates a storage function where the transparent, lightweight nature of the design is reinforced.




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Part of Bakker’s Wood Collection, the TONUS is handmade out of a solid block of wood. Inviting you to its muscular seat, Tonus behaves like a stool, but the way it looks and the feeling of its strange skin under your fingers leads to very different possible perceptions of its peculiar nature. Tonus has also been acquired by Vitra Design Museum and is a limited edition of 6.




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The project explores the changing characteristics of oxidation processes by printing multiple layers of metal powder, acids, base and salt solutions on paper. Every combination results in a new reaction that takes up to four weeks or more to come to its full effect. Fascinated by the slow changes in color and texture thus provoked in the conflicting materials, Edhv started printing metal on wood. The result: a series of simple wooden stools that actually rust.




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An impossible balance at first sight. An asymmetric lamp you have to touch, whether you like to or not. To adjust it and switch it on and off. The will power to use it must be stronger than the fear of disturbing the balance.




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Part of the Bakker’s Wood Collection, the 3DWN1UP chair comprises 5 parts that are taken from one piece of wood. With one seat and four legs, of which one functions as a back rest, it is a strange and interesting “animal”, inviting us to explore and question the simple act of sitting.




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Frame #1 comes from the installation `Masks and Frames´ at the Totem and Taboo exhibition at the Museums Quartier in Vienna 2010. The installation was a precise step in the series of works by Jerszy Seymour that consider the possibility of an 'amateur' society. This works (consisting of the exhibitions 'The First Supper' at the MAK Vienna 2008, 'Salon des Amateurs' at the MARTA Hereford 2009, 'Coalition of Amateurs' at the MUDAM Luxembourg 2009), all used the structurally resistant Polycaprolactone wax as both a physical and metaphorical connection between things, people and ideas. The pieces in 'Masks and Frames' are both made from the residue of these installations, their primary tool for production, the mixing sticks for the wax. These primary tools are then processed into secondary tools: that of the Mask – there to allow the most liberty of our inner libidinal ID –, and the Frame – there as the tool of social construction, as the modernist construction, that by the reheating of the wax can be reconfigured and respond to the transformation of human need and desire.




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Designed by Daniel Klapsing and Philip Schöpfer of design studio 45 Kilo. The Egon Table is a simple and classical tubular table series with different tabletops. It was designed to improve the famous tablebase by German architect Egon Eiermann in the fields of simple production, economical use of material, disassembly, easy mounting and last but not least legroom. The allround-tablebase is coupled with a slick top that includes large-sized drawers.
This object embodies clean, functional style and proves itself to be as essential as it is durable.




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This porcelain water carafe, along with its cup, never looks lost when it stands unused, it seems to perform even as it waits to carry out its function: pouring. Let the big opening of the Jug point upwards to be able to fill it with water. When full, the Jug balances on the table; when empty, you can turn it upside down to cover the cup. Jug takes care of Cup. And you, unable to resist its silklike porcelain, will take care of both.




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The production process of immaculate white porcelain is extremely damaging. One kilo is accompanied by six kilos of waste, the mining changes landscapes once and for all. Colour, texture and structure of the waste are the source of this ceramic series. The abundance and diversity of the residue create an extra dimension of beauty, always in a 6:1 proportion.




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From the Simple et Sauvage collection, this vintage bench is designed to evoke the cross-section of a canoe. Monochromatic strips of nylon are hand woven in the traditional native manner. The colour is a direct representation of the jackets worn by the Royal Canadian Mounted Police. Referring to Canadian history, from the past and the present, it appears ready for the Canadian climate! Nylon webbing and a powder coat make it suitable for outdoor use.




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The Peanut Tray is a solid walnut tray composed of two merged circles, with the final curve suggesting an infinite symbol.