Soft Baroque, ‘Primitive Progressive Plinth’, 2016, Etage Projects
Soft Baroque, ‘Primitive Progressive Plinth’, 2016, Etage Projects
Soft Baroque, ‘Primitive Progressive Plinth’, 2016, Etage Projects
Soft Baroque, ‘Primitive Progressive Plinth’, 2016, Etage Projects

The Plinth Project, 2016 - 2017, Etage Projects

NB: The plinth is spinning around its own axis when it is connected to electricity and turned on.

The primitive aesthetic has permeated into contemporary design language as a way of reconnecting ourselves to basic forms of craft in the modern environment. The dancing shelf, the donor skeleton, is the antithesis of this, a gimmick condensed out of the Chinese manufacturing industry, with little relation to the handcrafted. Primitive Progressive Plinth is a dynamic display that re-animates and anthropomorphises the idea of the standardised white cube plinth. The ambition of a plinth is to appreciate the beauty of an artwork, this is a hyper-real version of this function and arguably more high performance. Its twisting and shifting frame makes it mesmerizing and hypnotic.

About Soft Baroque

Working at the intersection of art and design, Soft Baroque is the collaborative practice of Nicholas Gardner and Saša Štucin, both of whom graduated from the Royal College of Art in 2013. The refined, simplified forms of their works reflect principles of midcentury design, but the pieces also veer toward conceptual territory by evoking the malleability of how objects are seen and mediated today. For the visual system titled New Surface Strategies, the London-based duo produces blue textiles and modernist-style furniture, the latter of which is made of simple plywood forms. The blue functions less as a fixed color and more as a skin on which different textures and patterns can be projected, suggesting that the object is both physical and digital.