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Art
Love The Sign: Ieva Petersone canvasses, classics of international design

Ieva Petersone canvasses, classics of international design

Born in 1984 in Jelgava (Latvia), the artist Ieva Petersone studied at the Academy of Fine Arts of Riga and collaborated with the Italian painter Marco Petrus, “with whom she shares a twentieth-century architectural aesthetic, via internal rather than external spaces. She has exhibited from the Baltic Sea to the Strait of Sicily and back again, her first solo show was held in Pantelleria in 2006” (Camillo Langone, Eccellenti Pittori/eccellentipittori.it). She has lived in Milan since 2010.

“An original artist with clear, decisive ideas who presents inanimate environments that don’t speak of the presence of mankind but of its absence” (Tullio Cardozo/eccellentipittori.it).

1925 B3
Wassily chair Model B3 designed in the 1920s for the painter Wassily Kandinsky by Marcel Breuer, the director of the wood workshop at the Bauhaus in Dessau. Revolutionary materials for its time, it was the first chair made of steel tubes; leather and Cordura fabric. Produced continuously for more than 90 years.

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Breuer Wassily / 2012 olio su tavola, cm 15×19.5

1957 SELLA
Designed by brothers Achille and Pier Giacomo Castiglioni. A key symbol of Italian and international design throughout every era. Designed as a “phone stool”, in years when the phones were wall mounted and phone calls could last for hours. Made entirely from industrial elements: a real leather racing bike saddle with clamp and steel rod, mounted on a hemispherical cast iron base which creates an effect of “always standing”.

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Cocktail / 2011, olio su tela, cm 70×90

1962 FLOS ARCO
Designed by brothers Achille and Pier Giacomo Castiglioni. “We were thinking about a lamp that shines light onto the table. They already existed, but you had to walk around them. To leave enough space around the table, the base had to be at least two metres away. Which is how the idea for the Arco came into being: we wanted to make it with commercially available parts and we found that curved steel piping worked well. Then there was the issue of the counterweight, we needed a heavy weight to support everything. Our first thought was concrete, but then we chose marble because the same weight took up less space, giving us a better finish and a lower cost. In the Arco nothing is decorative, even the bevelled edges of the base have a function, which is to not knock against us; even the hole is not a flight of fantasy, but is there to allow you to lift the base more easily” (interview with Ottagono, 1970).

1962 FLOS ARCO

1962 FLOS ARCO

1971 OMKSTACK
Chair “with holes” in a tubular structure, seat and back in perforated steel sheets. Stackable, suitable for outdoor spaces but with an elegant and balanced shape, also perfect for indoors. Designed by Rodney Kinsman, one of the great English furniture designers of his generation.

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Kinsman-Omkstak / 2012 olio su tavola, cm 15×19.5

Alessandro Di Giacomo
All photos courtesy of Ieva Petersone/ievapetersone.com