The application of ethnic Indian decoration to modern design icons is at first sight provocative. It is the layering of ornamentation on pieces that originated precisely in the refusal of decoration; the uniting of thought and ideas that were historical opposites. I believe, however, that these objects acquire a new identity as distinctive yet indefinable hybrids, somehow so coherent they make us forget the reasons of the separate initial gestures. An example of how visual language leads its own spirited life.
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