SECTIONS (INDOOR + OUTDOOR), 2017 by Guglielmo Poletti
SECTIONS (OUTDOOR), 2017 (detail) by Guglielmo Poletti
SECTIONS (INDOOR), 2017 (detail) by Guglielmo Poletti
SEEDS Operæ 2017
For Operae 2017, SEEDS introduce's SECTIONS - E/REVOLUTION OF A TUBE by Guglielmo Poletti, specially commissioned as part of PHM | Piemonte Handmade. Also being exhibited are works by Marc Dibeh, BCXSY, Campbell Rey, Pietro Russo, Sabine Marcellis, Matteo Cibic, Duccio Maria Gamb
Nov 3rd – 5th 2017
Booth G / 03
The tube is a simple element, but one of great versatility. Taking into consideration the tube’s many uses, Guglielmo Poletti’s most recent pursuit is to play around and alter its forms unexpectedly, to create a new functionality. Since his recent “thesis” project (2016) at Eindhoven’s design academy, the designer has shown an almost obsessive fascination with the ideas of balance and tension. In a previous collection presented by SEEDS, his glass and metal acrobatics gave shape to the precarious balance of these materials by stabilizing them into functioning as a bench and a table: his new work for Operae insists upon this theme with the same effectiveness. For the PHM | Piemonte Hand Made project, the designer has collaborated with the metal masters of the historic company, Berrone di Volvera, to create an unprecedented object that revolutionizes a steel tube’s behaviour through a simple offset of its own sections. Experimenting with the geometric purity of the cylinder, Poletti has come to define the detail around which the whole work has taken shape: once the tube is sectioned horizontally to a depth equal to its diameter, a simple rotation of 90° is enough to stabilize the profile. This results in an emptying of shapes in which the overlap of the vertices is minimised, thus giving rise to a new, seemingly precarious form of balance. And, just so, with an almost non-existent operation — three cuts, one simple rotation and four welding points, without any additional material or component — the tube has become a bench. A second gesture, turning it over, is enough to create, right next to the bench, an integrated side-table whose plane becomes a structural element that ensures the stability of the piece, thanks to its own weight. In Corten and in steel, one conceived for the exterior, the other for the interior, Poletti’s two new pieces retain the strange elegance that distinguishes his previous work: their charm lies in the container, compressed but potentially disruptive, a force that does not unfold out into reality, but rather, immediately manifests itself in the imagination of those who look at or use his objects. There is an almost tangible tension between the simplicity of the lines and the complex revolutions of thought and gestures that have generated them.