design

2012 „UNSTABLE” design for Guy Degrenne Factory / Hódmezővásárhely


2009 "Idyll" series, design for the Herend Porcelain Manufactory

“In my capacity as the designer of the Herend Porcelain Manufacture I have elaborated the series “Idyll” as a result of redesign using the Rotschild pattern as a starting point. One of the most widely known Herend décors, the Rotschild pattern bears witness to the harmony that – at the time when the famous pattern was born – was still the natural environment of mankind. Four pieces of the series represent self-criticism and self-reflexion, referring to the process called “development”, which in fact is a process whereby our days’ man causes damages to his own environment. The mirror, seen on one of the bowls, is a well known symbol of looking in the face of ourselves. It is with the light-mindedness and irresponsibility of jig-saw puzzles that the image of nature presented on the bowl cuts into pieces everything that happens to get in the way of its scissors. As for the scissors and the broken line – well, they represent the combination of the traditional sophisticated manner of Herend with the openness of street-art. This is the concurrence of the traditional Herend style and the mode of expression of our days.”


2007 Net series, design for the Zsolnay Porcelain Manufactory


1997 Services, design for the Herend Porcelain Manufactory

About the development in Herend

Upon request of the Herend Porcelain Manufactory Ltd. I have designed a tea, coffee and mocha set, which I completed later with a set of plates. The manufacturer gave me a free hand in the design. The request was “only” this: to give birth to a characteristic set of Herend, which is modern and contemporary. It is difficult to reconcile such simultaneously formulated expectations that something has to be completely modern and represent a new spirit, but, at the same time, it has to be just like the old one. Before starting the design the task of basic importance was to me to find and draw up the link that is able to join my work to those products, which determine the character of the factory. It was obvious: there is no sense in creating another Baroque set. The technical know-how accumulated in the factory of Herend can fulfil the function of being a bridge spanning over eras, styles and fashions, knowledge that this factory has established and preserved throughout several generations and which, I am convinced, can be the basis of a modern Herend product. The prototype with different decorations has been finished, since then the set has its own life, got into production and it is available in shops. The factory design was a great experience, which is a special slice of the work of design with lots of restrictions and its own particular rules.

About the handles and the pen-and-ink decorations

“While designing the set I used the pattern of a preening bird for the form of the handles. The bird turns back towards its body and puts its beak into its own feathers. The direct presentation is missing, the eyes are left out, the feathers become detached from the body, the line halving the beak disappears and the colours are worn out as well, they do not follow the natural sight, the nature. The framing form and the movement remain stylized. Such dynamic line, the silhouette of the bird appearing in the handles of my set, continues to live in the pen-and-ink decoration as well.”

About the bird and tulip decorations

As for the bird and tulip decorations the departure point was the “scale-work” decoration applied in Herend for a long time, which became known as VH. This decoration was familiar to me only as a sight, as industrial artist I have met it previously, however I have never painted it before. There was a kind of power emanating from this pattern, the tiny items repeated in a monotonous rhythm, the curving foils radiate musicality. I started to draw. When the movement and the rhythm of the lines were in my hand I suddenly realized that I miss the life from this beautiful melody. Then I put a dot in the foil. Not in the middle, but a bit upper, so that to give the bird not only eyes, but also look. Then I traced the lines of the beak. As for the tulip decoration I tried to breathe life into the plants. The zigzag outlines drawn by the closing of the calyx, the corolla and the petals are well-known items. I had to cover the same distance as in case of the bird decoration until these items became decorations.


Own development

2010 Lamp

 

2002 Wave series / Wave dish

 

1994 Coffee set

 

1995 Snake dance series / Fruit hold frame

 


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