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Amine Eon Amharech for Designer’s Days

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Orig­i­nally named “Sitting-Dying” , A.sis. reduces the scope of duties of chairs, their move­ment, their life…

Sug­gest­ing they are no longer a sin­gu­lar piece of fur­ni­ture, but a sculp­ture of their own, Amine Eon Amharech gives them a soul and con­veys an orig­i­nal idea. Hence the use of nat­ural mar­ble, often a sign of lux­ury and wealth, is here con­ceived as a fin­ished mate­r­ial related to soli­tude, aus­ter­ity, peace and whole­ness. The mar­ble marks the idea of “dis­ap­pear­ance” as opposed to “abstrac­tion”. A con­cept of space, ‘destitute’.

The line is straight, as the ulti­mate denoue­ment. Untied from any acces­sory or orna­ment, since the sin­gle line or point, are at the essen­tial base and result of all analysis.

Echo­ing A. SIS. in the book room of L’Eclaireur Marais Shop at Sévi­gne Street, the walls reflect pho­tographs of Char­lotte Balles­teros + Hubert Marot as a rhyth­mi­cal land­scape: expectance, shift­ing, motion, freeze frame… time stretches, bend­ing itself, and fad­ing into a con­cept of a wire stretched through time and space.
Through these urban or nat­ural land­scapes, altered by the hand of man or left untouched, the pho­tos re-invent “land art” where the body sur­faced, what man does to nature , Nature reflects back to him. The line becomes the “base min­i­mum” of an impal­pa­ble infin­ity, thus gen­er­at­ing a whole field of sym­bolic and spiritual.

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