Basic Chair, 2017.
A prototype of what we understand as a “chair” — an exploration through shape and reality. This study engages with the morphology, use, and function of the object, while also touching on its humanization and latent sensibility.
Influenced by Graham Harman’s Object-Oriented Ontology, the piece questions the role of objects beyond their utility — as entities that possess their own presence, withdrawn yet active.
This chair is less about sitting, and more about sensing. A material reflection on standardized shapes, intuitive gesture, and the irrational ways in which we relate to the things around us.
Basic Chair, showcased during Paris Design Week 2024 at the Boon Room Gallery in Paris. Exhibited alongside stunning works by A-N-D Lights, Dining Table by Rebecca Ackaert, and Sculpture by Léa Munsch.
⧉ Photography by: Studio Brinth
The Chair
"Intelligent furniture does not provide answers; it simply asks the user a question." This project examines the use of an everyday object—the chair—through its morphology, function, structure, and the interaction it fosters with its user. Rational and irrational uses converge, humanizing the object while engaging with spatial theories.
Practical exercises challenge how the body relates to the object, especially when the object itself is absent. The function persists, but the shape transforms. (Text by Gdynia Design Days catalogue)
Exhibited in COAM, curated by Madrid Design Festival, 2017, Madrid, Spain |
Exhibited in Gdynia Design Days, curated by Dorota Stepniak, 2017, Gdynia, Poland.
The tool: Theories of abstraction and geometry.
Photo: Overload Exhibition, Gdynia Design Days.
Curated by Dorota Stepniak.
Reading seat, 2019.
Besides a tribute, it is also conceived as a criticism of the few female references throughout the history of design. Deconstructing it to abstract its form, leaving only the soul, gives rise to a social criticism about common, figurative and stipulated forms and how society perceives them and rejects them from their daily lives if these forms do not fall within their normality.
Rejecting these different forms to the point of granting the uselessness to a being or object useful.
Study about the shapes, the visual tension and balance.
Deconstruction of the LC4, inspired by the first stage of Charlotte Perriand, with a frozen aesthetic and machinist feel, using industrial techniques and materials.
Besides a tribute, it is also conceived as a criticism of the few female references throughout the history of design. Deconstructing it to abstract its form, leaving only the soul, gives rise to a social criticism about common, figurative and stipulated forms and how society perceives them and rejects them from their daily lives if these forms do not fall within their normality.
Rejecting these different forms to the point of granting the uselessness to a being or object useful.
Study about the shapes, the visual tension and balance.
Exhibited in Sisters curated by Sanna Völker, Ox Gallery, 2019 in Barcelona, Spain
Exhibited in IKB 191 curated by Marta Valea, 2019 in Madrid, Spain
Study of the Humanization of Shapes, 2018.
The figurative is abstracted, and the new shape emerge as extensions of the body. These shapes are connected through the search for protection, serving as tools for support and rest, born out of a sense of instability.
⧉ Photography by: Ana Vázquez
⧉ Performance by: María Vela
The prototype was exhibited in Mujer, Objeto, a collective exhibition showcasing the work of 17 emerging women in the fields of design, architecture, and visual arts, all with diverse practices around the creation of objects.
Curated by Claudia Paredes y Teresa Fernandez Pello.
Something to Wait for Something
An exercise to understand how the body responds to waiting.A study of the body’s behavior in moments of pause and anticipation.
