The piece is a materialization of what crafts represent for me: the self-realization in the vocation turned into work, and the consequence of dedication and time invested in a creative endeavour that brings joy. From a conceptual perspective, the piece is an articulation of a creative process that praises labour and pays homage to the hand-made; and a display of possibilities and alternatives to the wasteful, standardized, and impersonal that the industrial and mass-produced can many times be.

Among the different concerns this project approaches, there’s the quality of crafts as a medium for discovery and exploration of vocation, which can often generate a big sense of agency, personal improvement, and realization as a reward for the endurance and perseverance required for learning and training skills. That, in conjunction with the body awareness and connection that come with practice, can make of crafts excellent vehicles for personal growth, understanding, and expression. The chair doesn’t claim to generate any of that for others than myself, but it rather aims to contribute with the dissemination of crafts, offering a testimony of the possibilities that come with creating through similar standpoints.  

This is a statement in favour of simple ideas and pure handiwork, in opposition to over-the-top technologization, gear dependence, and the abuse of resources. But ultimately, it’s also not so much about the piece itself, but about a way of making things consciously as many people do around the world, and just trying to give that visibility through design.