Designer furniture by Giuseppe Droggdini

Igor Yurevich Drozhdin • Design and applied art, XXI century
About the artwork
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Date of creation: XXI century
Region: Moscow

Description of the artwork «Designer furniture by Giuseppe Droggdini»

Giuseppo Droggdini

Seen everything in the world
My eyes-- and they're back
To you, white chrysanthemums.
(Hokku. Translator V. Markova)

Indeed, this Japanese poetic miniature has a deep philosophical meaning - there is nothing in the world more beautiful than flowers created by nature, but they are so fleeting. And only a master can make fragile beauty eternal, embodying it in a sculpture, on an art canvas or, like Giuseppo Droggdini, in glass and wood.
I would like to present the works of an interesting contemporary artist of decorative and applied art under the pseudonym Giuseppo Drozhdini. He has become a leading designer of Japanese and eco style working with glass in Russia. In his work he often uses colored bottle glass and simple window glass, having developed his own technological mode of glass baking and creating stained glass and plafonds in the fusing technique. His pixel glass, which has a very coarse texture, is also very interesting.

There's nowhere to get the water out of the vat
I'm going to spill my guts now.
Cicadas are singing everywhere!

The maestro also uses as a basis for his works branch saws and slabs of relic moraine oak, stones, shells, feathers, etc.

Most often at exhibitions we can see his designer lamps and art objects, which are made in a combination of Japanese and eco-style.

Masaoka Shiki "Unexpected Thunder"
Unexpected thunder--
from fright and surprise
i got up from my bed..

As an example, you can take the work "Glass Tree" or "Glass Bonsai". This is a designer lamp made of a branch of a sacred relic oak tree with glass pyramidal lamps made of colored bottle glass baked in the fusing technique at almost a thousand-degree temperature. The lamp is made in a style that combines features of Japanese and eco styles.

Mizuhara Shuoshi's "Tea Flowers."
It's shrouded in darkness,
tea blooms on the spurs of the mountains--
the moonlit night is coming

Japanese style is characterized by restraint and simplicity, harmony, lack of excess, natural textures and materials, understatement and asymmetry, modesty of decorative elements, maximum expression and emphasization of the inner natural idea, completely subordinated to the rhythm of the surrounding nature. Each thing in the Japanese style is unique and inimitable, but from the combination of them with each other as if a symphony of polyphony is born, in which all the sounds are harmoniously combined. Zen Buddhist monks, the inspirers of the Japanese style, were disgusted by the external, eye-catching beauty lying on the surface. The ideas of mysterious beauty "YUGEN" and inner spirituality "USIN", which can not be taught, but can only feel, are its basis. True beauty is hidden inside, so the objects are simple, modest and devoid of pretentiousness. "Yugen" is hidden beauty, mysterious beauty - the most mysterious concept of Japanese aesthetics, difficult to decipher, it is like the subtle shadows of bamboo on bamboo.

Nakamura Kusadao, "The fog has thinned."
The fog has thinned -
and rose up in the sunshine
the black smoke of the volcano

"Yugen" is often understood as an extra-rational comprehension of the sad and temporary beauty of the world and human feelings. In the five-stichi poetry of "tanka," which translates as "short song," the oldest genre of Japanese poetry, the word "yugen" described the poem's deeper meaning, which should only be guessed at; when read, the text offers almost no clues. It is what is hidden beneath the words.

In an invisible deadline
The karma of Destiny lies.
Where's my happiness?
Eyes full of pain.
Feelings dried up a long time ago.

Beauty for Zen philosophers is not connected with the external elegance of form, the external is always transient and imperishable. The deep, essential beauty comes from the heart of the poet and the artist, it is cool, pure, and enduring.

Naito Meisetsu, "Winter Rains."
Winter rains.
Everyone's silent, and just as silent
boat at the dock..

Generally speaking, the Zen Buddhist school does not welcome special reflection and comprehension of the principles of art perception and creation of aesthetic theory, but the encounter with European culture still forced to develop some theoretical principles and convey them in several formulas. One of the most common is the concept of "Wa-kei-sei jiaku". Peace "jyaku" refers to a state of mind that is achieved through constant adherence to the three principles of harmony "wa," reverence "kei," and purity "sei" in daily life.
In Japanese style, and especially as expressed in the tea ceremony and in the classic poetry of tanka, the category of "yojo-janshin" - the unspoken and inexpressible feeling - is important. The word "yojo" translates as the emotional subtext, the unspoken, inexpressible feeling, that which lurks beneath the surface. Another important aesthetic principle in Japan is the notion of "nare" - the traces of time, the patina of time, the patina of antiquity. Within the aesthetics of "nare" is valued, for example, the stone jade with a thick dull luster, "as if a piece of ancient air is stuck in its depths". Japanese paper, which is artisanally made, also lacks luster, its loose surface softly absorbing rays of light, "like the fluffy surface of snow."

Nakamura Kusadao "Snow Outside the Window"
The snow outside the window--
it's already snowed in
the height of a piano

"Nare" - the obvious presence of the light of time in things, cracks, depressions, scuffs, play of texture - what in restoration is called traces of being.

Akutagawa Ryunosuke "Winter Blossoms"
Winterflower blooms.
It's graying through the sparse branches
the sky in the rainy season..

Eco-style has partly almost similar characteristics, but it is more modern and aspires to a careful and harmonious attitude towards nature, the use of natural materials and their recycling. Sometimes it is too practical and flattened, and of course it lacks that sophisticated aesthetic concept. He is just an addition of modernity to the overall ideology of the artist.

Eco-style was originally created to literally "save" the inhabitants of big cities from the tension and negativity caused by the accelerated rhythm of life, as well as pollution of the environment. For the first time this name sounded in 1980 - 90 years, when ecologists began to sound the alarm, raising the issues of water and air pollution, waters of the world ocean, global problems of world warming. More and more often the opinion was expressed that man is not the master of nature, but a part of it, its child.
Man should not fight the forces of nature. One should strive to preserve the environment. Against the background of such statements, ideas about the use of recycled materials were born. For example, eco-style in the interior of the apartment can be created from items that have already been in use. For example, the flooring can be made from wooden crates, previously used for transportation of goods, and furniture from pallets.

At the same time, modern high technology is inseparable from ecological style, because they are aimed at saving and humane treatment of natural resources, for example, LED lights, washing machines and dishwashers that save water and electricity.
The purity of materials and their natural texture, simple lines and shapes are fundamental to eco-style.
Eco style implies the use of natural, pristine materials. These are primarily wood that has retained its natural texture, wild natural stone, glass, forging, ceramics. An important idea is the recycling or reuse of materials.

Russia, unfortunately, lags behind the rest of the world in understanding the problems of ecology and the aesthetic stylistics associated with it. But there is still a living tradition. It is headed by folk art and works of Stepan Dmitrievich Erzya. In 70 - 90 years of the XX century in this style worked Zelenograd artist Albert Kaukin. However, he worked almost exclusively with "wild wood", carving sculptural objects from stumps and textured trunks.

His follower and disciple was Giuseppo Drozhdini (Igor Yurievich Drozhdin), but he began to actively use glass, metal, stone and even biological objects such as dried fish, feathers, shells, cones and much more. Glass became the main aesthetic accent, and wood only serves to support it.
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