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瓷器，石制品，木材制成的17个容器，彼此能够相互组成，成为有趣有品质的家居用品。

Porcelain+Stoneware+Wood
Céramiques – 2014

This set is as an inventory of 17 containers, which have begun to stack and store. Each element is a set of pieces compound itself of different materials and of different shapes that can associate or dissociate as required. Each is an expression and composition to discover.

Pieces made by Kristiane Hink – ceramist.

Designer Samuel Accoceberry works on a variety of pro- «Intérieur-Extérieur-Passage».

jects –furniture, luminaires, gallery rooms– with a highly personal approach that manages to create a link between “enhancing traditional and identity-empowered knowhow in the craft field” and “a more contemporary, innovative language”. Samuel Accoceberry prefers sleek forms and lines, so that the “project is self-enhancing, without artifice”.

This work is testimony to his research during his stay in residence in partnership with three artistic craft professionals from Nontron’s Pôle Expérimental Métiers d’Art, after which he presented the “Intérieur-Extérieur-Passage” exhibition.

Designing and developing projects, identifying potential clients and meeting orders are a designer’s daily lot. Respecting specifications and being constantly creative are what make his work special. In this aspect, Sam Accoceberry has proven his worth, with a skyrocket start in the profession. Solicited for furniture, carpets, mirrors, kitchen utensils or technical equipment for Orly airport, he came up with tailored answers. His current concern is with an urban furniture project for the City of Paris.

Award-winner of Nontron’s 5th Designer Residence, Samuel Accoceberry chose to work with ceramist Kristiane Hink, joiner-instrument-maker Benoit Obé and cabinet-maker remarkable collections. If most of the items were conceived as an alphabet, it is the first collection which provides the clearest illustration of this design. The aim was to constitute a range of stoneware, porcelain and wooden utensils, imagined as topographical characters, expressive and in contrasting colours.

Once the alphabet primer was created, you could interactively play with its 17 elements in a myriad of combinations. By dissociating, assembling, superimposing or piling items up, a number of figures were possible, with free creative rein given to the user.

Marianne Brandt’s Bauhaus teapots during the 1920s spring to mind. For a single belly-shape, she proposed several spouts, handles or lids. A combinatory principle that strongly contributed towards forming the bases for design.

The second collection (stoneware + wood) is presented like a domestic landscape, with emphasis on the lids which cap black stoneware pots. They are in fact trays on which the designer places graphic, aerial arcs, arranged in successive planes. The fabric thus formed represents a cluster of dead trees. What economy of means in this small forest, a play between volume and graphics! Beyond their utilitarian functions, these landscaped lids have a role as an object of contemplation with high
emotional and æsthetic value.

Finally, when brought together, the 2 collections form a little theatre of objects whose items, by permutating, affect both the overall landscape and the objects themselves, according to how the items are arranged.

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Samuel Accoceberry

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