Rambling
My work today reflects the search for maturity in the way I approach the creative process in the conception of the object. The process that previously started with the research of forms and the construction of a symbolic narrative around them, today seeks to find and relate such forms and symbolisms with a deeper understanding of what it means to be human, Brazilian, to create in this country, the responsibilities that it brings and where the references intersect, permeate and load the subjectivity of my gaze. So, I think that:
Forms are not always just forms. It is necessary to know how to read, feel, interpret and use them. I refer mainly to the functional tradition of the peoples - native or diasporic - who inhabit the territory and shape the culture which I inherited and which makes up my references. Here, form follows not only a material function, but also a symbolic one.
Here, the conception of the object is often loaded with meaning. Attributing symbolic value to an object does more than simply continue a tradition. The ritual of creation is important and establishes a position: attributing depth to the creation of an object confronts the harmful banality of a consumerist production logic. The aim is to create durable objects with an immaterial value greater than their material value.
The intention, therefore, is also to exercise creation as a language. Functional design is an essential element of a people's identity and, when culturally aware, it becomes a fundamental tool in proposing new paths and in registering contemporary themes through artistic creation.
Bad design is anachronistic.
Opulence and exclusivity, expressed in an object through rare or scarce materials and inaccessible values, have nothing to do with the demands imposed on global society in this century.
The bad creator is self-centered.
Awareness is needed in the age of image and influence;
I believe that creative work must increasingly be associated with the idea of building the common good.
It is necessary to inaugurate a new era in product design, where projects are based on principles that go beyond aesthetic or pure functionality. It is imperative to also commit to truly meet the demands of the times in which we live.
It is impossible to create objects without thinking how they fit into the socio-environmental context of the world they will be part of.
It is inconceivable not to be responsible for the materials used, their origin, destination and purpose.
It is impossible to live and produce on this planet aiming for profit only and just serving a single portion of the population.
It is possible to build a fairer, healthier world, and at this time, design and art are fundamental tools in proposing new paths and new perspectives. Therefore, it is important to speak to everyone and make yourself available - to open up.
The world demands the dissolution of the ego of the avant-garde.
The dialogue needs to be dehierarchized.
There is still time.
The intention, therefore, is also to exercise creation as a language. Functional design is an essential element of a people's identity and, when culturally aware, it becomes a fundamental tool in proposing new paths and in registering contemporary themes through artistic creation.
Bad design is anachronistic.
Opulence and exclusivity, expressed in an object through rare or scarce materials and inaccessible values, have nothing to do with the demands imposed on global society in this century.
The bad creator is self-centered.
Awareness is needed in the age of image and influence;
I believe that creative work must increasingly be associated with the idea of building the common good.
It is necessary to inaugurate a new era in product design, where projects are based on principles that go beyond aesthetics or pure functionality. It is imperative to also commit to truly meet the demands of the times in which we live.
It is impossible to create objects without thinking how they fit into the socio-environmental context of the world they will be part of.
It is inconceivable not to be responsible for the materials used, their origin, destination and purpose.
It is impossible to live and produce on this planet aiming for profit only and just serving a single portion of the population.
It is possible to build a fairer, healthier world, and at this time, design and art are fundamental tools in proposing new paths and new perspectives. Therefore, it is important to speak to everyone and make yourself available - to open up.
The world demands the dissolution of the ego of the avant-garde.
The dialogue needs to be dehierarchized.
There is still time.
My work today reflects the search for maturity in the way I approach the creative process in the conception of the object. The process that previously started with the research of forms and the construction of a symbolic narrative around them, today seeks to find and relate such forms and symbolisms with a deeper understanding of what it means to be human, Brazilian, to create in this country, the responsibilities that it brings and where the references intersect, permeate and load the subjectivity of my gaze. So, I think that:
Forms are not always just forms. It is necessary to know how to read, feel, interpret and use them. I refer mainly to the functional tradition of the peoples - native or diasporic - who inhabit the territory and shape the culture which I inherited and which makes up my references. Here, form follows not only a material function, but also a symbolic one.
Here, the conception of the object is often loaded with meaning. Attributing symbolic value to an object does more than simply continue a tradition. The ritual of creation is important and establishes a position: attributing depth to the creation of an object confronts the harmful banality of a consumerist production logic. The aim is to create durable objects with an immaterial value greater than their material value.
Bernardo Alves is a self-taught designer living in Rio de Janeiro, Brazil.
With a focus on furniture design, his multidisciplinary approach is deeply related to anthropological and visual arts references.
