Through the visit to the Mobilier national workshops, it was noticed in the object creation process that the color and material choices has been done according to light, in order to reduce its distorting impact on the objects. Thus, from this observation was born the beginning of my research on the ambivalent relation between light, color, time.
The research subject anchored in the place has been the bearer of a specific discovery to the manufacture: the fadeometer. This is a device used to assess the stability of a color when exposed to light. The concept of bland, which already emerging in the reflection, then is embodied by this instrument.
According to the philosopher François Jullien, In Praise of Blandness « To fade symbolizes a certain balance, an intermediate moment, a transitional stage and always under threat. It is the sensitive expression of harmony. It is a state open to transformation. »
What if, failing to alter, the light revea the passage of time on the objects? By making the hostility of light toward colors an asset in the creation process, we are part of a sustainability approach, by proposing a conception of alteration as an improvement of the object over time.
In addition, it was chosen not to limit the research to doing a colorimetric work, by adding a volume setting to the notion of bland to embellish.
Li vir û wir is a first immersion in the diploma project, as a raw material. It explores the Kurdish landscape and captures people hospitality. The experience in the field allows to confront what is similar and different between in diaspora and in Kurdistan. What remains and what disappears beyond borders?
Kurdî is a support for unexpected reflection on Graphic design and Kurdish language.
In Kurdistan, the stateless status of the Kurds does not make it possible for the language to be standardized or recognized, thus jeopardising its transmission. Yet, it plays a dynamic role in the maintenance of its culture and it is an identity element for the new generation, born far from its roots.