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Their pieces are an obvious sign that the two creators tackle this material in very different ways. It is both a confrontation and a dialogue between different authors who work with two very different points of view, two ways of approaching the piece. Each piece has its own characteristics and strengths, and each one is a sort of declaration of principles, a letter of identity that defines its author. Even though at first glance the pieces of each one are clearly recognisable, with a perfectly distinct visual language, upon taking a closer look the two authors have much in common. They are both in some way interested in the interaction of the piece with the user and the effect this has on the space in which they meet. The light, shiny pieces of Anastassiades, polished to the point that they look like mirrors, contrast with the rough, matt, dark piece of Anthonioz.

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A few years ago, Droog Design presented a series of objects in which the consumer participated in achieving their final appearance. These included a metal bucket that was sold with a hammer, so that by hitting the bucket you could form the shape of a seat. At first glance, some of the pieces made of metal and designed by the Fredrikson Stallard studio –such as the “Crush” console or the “Tokyo” table– recall that radical piece. And yet intrinsically, while being equally experimental, they have very little in common.  That impulsive and passionate, even aggressive act of man against metal, the struggle resulting in an irregular and unpredictable piece, has nothing to do with how Ian Stallard and Patrik Fredrikson confront their work. In their case, these metal pieces are the result of a construction process that does indeed include their own manual work, but which are in addition to the latest technologies they use so that their control over the piece is strict, methodical and thorough.  The two designers feel admiration and special attraction for art, particularly the freedom of action that it allows. However, although it may seem contradictory, if that is the case, this freedom is used to exercise a control leading them to define, exhaustively, each and every one of their details. There is something adventurous in their constant attraction to new techniques and materials, a kind of pleasure in the challenge it means to work in the face of the unknown. Because these two designers are not the types to give up easily, their commitment to their designs is such that once they choose a path, they fight to the end to achieve their aims.

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Many of the pieces within ‘Fluids’, which comprises tables, a mirror, a chair, chandeliers and a sofa, encapsulate a sense of immediacy through the actions of shattering and smashingbutheld, in a serene and suspended state. The duality and contradiction between chaos and control has achieved, within ‘Fluids’, a visual language that juxtaposes the calm with thedisrupted, the fissures and fractures with the smooth and the stable – ‘Fluids’ is  bridal dress collection of work which sits on the edge between two worlds; pivoting between two states of play. Archaicf orms are created but always under strict control.

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Von Pelt is a collective based in Berlin made up by designers, creative and craftsmen from different countries. Somehow, their members are anonymous, changing depending on the project, which is carried out wherever required by the product. The only name that transcends is that of its founder, designer, and spokesperson, Desirée Mejer. Their pieces are characterised by the value of the craftsmanship and their uniqueness, made with handmade traditional methods.  In their search for cultural roots and the best craftsmen, they worked the brass in tin workshops in Pedraza and found the best potters in Seville. The exhibition includes cupboards/bureaus, mirrors and pieces of pottery that have been created with rich and elaborate “ideological” aesthetics, essentially experimental and laden with irony. The show is formed by two sharply contrasting series, defined by the qualities of their materials: brass and ceramics.

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Contrary to what one might think, a designer like Álvaro Catalán de Ocón, who has chosen the path of self-production, from small editions and work on the brink of being handcrafted, never felt tempted to explore this aspect of design, where the freedom is absolute, where there are no potential customers, and where meeting functionality requirements is not mandatory. Therefore, when Machado-Muñoz requested a collection to be edited in a limited series in order to investigate the possible connection between his work and art, Álvaro responded by confronting the task in the most literal way possible, using sculpture as the main character but at the same time, taking a “sui generis” detour to question the sculpture/lamp or sculpture/furniture dichotomies in two projects which were different and had a new point of view along their path. These projects kept his interest in tact in regards to revisiting processes that come from the practice of industrial design and resulted in something unexpected, clever, and surprising at the same time.

Machado-Muñoz gallery has chosen to present the work of two authors in its first exhibition; the Cypriot Michael Anastassiades and the Frenchman Philippe Anthonioz. Two creators who are said to be positioned halfway between design and art but who are both quite reluctant to accept the labels that try to classify them In his Works, Anthonioz applied to bronze his particular cubist view and a very personal use of geometry, which he explores with clean and clear lines. At the same time, his work – a constant exploration of the limits between the object and the sculpture- is organic, delicate, and expressionist. Michael Anastassiades Positioned between fine art and design, his work aims to provoke dialogue, participation and interaction. He creates objects that are minimal, utilitarian and almost mundane yet full of a vitality one might not expect. The meeting point between the two that the art gallery directors want to point out is their common interest in a very primitive and contemporary material such as metal.

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When Machado-Muñoz requested a collection to be edited in a limited series in order to investigate the possible connection between his work and art, Álvaro responded by confronting the task in the most literal way possible, using sculpture as the main character but at the same time, taking a “sui generis” detour to question the sculpture/lamp or sculpture/furniture dichotomies in two projects which were different and had a new point of view along their path. These projects kept his interest in tact in regards to revisiting processes that come from the practice of industrial design and resulted in something unexpected, clever, and surprising at the same time. In these projects, the designer was invited to transgress, to break rules, to push back borders, to operate at the edge of his discipline, and to invade the paths of art itself. It was a new challenge, and, in Álvaro’s case, it was the first time the ban was lifted, the first time he could take off the corset imposed by his strict industrial design training the ban was lifted, the first time he could take off the corset imposed by his strict industrial design training, which prepared  him to provide solutions to specific problems. Imagination is a fundamental ingredient in any process that is as physical as it is mental, to the extent that implementation is almost as important as the piece itself.

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