Ceramics designer, Caroline Swift's bare, unglazed bone china collection called 'too good to put in the cupboard' explores the functional contrast between delicate ceramic pieces displayed as art versus their practical role on the dining table.
After leaving her post as head knitwear designer at Benetton, Caroline's movement into ceramics design evolved from her search to find ceramic pieces to feature in a book on food she was compiling. Unable to find what she wanted, Caroline created her own and 'too good to put in the cupboard' was born.
Another exquisitely delicate collection of Caroline's is her 'glass installations', which explores hand-blown spheres of glass and their sculptural possibilities. Tied crudely with raw, dark wires they hang from the wall or the ceiling either in dense groups or on a much larger scale that are balanced to make exquisite and refined compositions of deep, rich colour.
TOO GOOD TO PUT IN THE CUPBOARD
TOO GOOD TO PUT IN THE CUPBOARD AND GLASS INSTALLATIONS
The pendant lights and cabinets of the 'accordion collection' are the result of a collaboration between designer Elisa Strozyk and artist Sebastian Neeb. The combination of wood and textile in an accordion-like folded surface generates a new experience of the material wood. Using this wooden textile allows a free and sculptural form.
We are equally drooling over the throw rug made of timber geometric pieces, with its use of materials in experimental and unexpected ways. Love.
Photography by Sebastian Neeb.
'GREYBLACKBIRCH' WOODEN RUG WITH DYED WOOD PIECES
'MOSTLYRED' WOODEN RUG WITH DYED WOOD PIECES