Es una reflexión sobre la ornamentación natural. Una serie de jarrones de cerámica blanca y muy porosa se depositaron en lugares singulares en plena naturaleza y durante un año fueron colonizados por musgos y líquenes creando micropaisajes que evidencian el poder de la naturaleza para apropiarse de lo artificial.
La primera versión fue desarollada en un workshop dirigido por Martín Azúa en la École de Beaux-Arts de Saint Étienne, 1998.
Fotografías: Martín Azúa
Domus December 2000 / Francesca Picchi
Martin Azua, belongs to the school of thought that sees experimental methods as an essential part of design. By that token he radically explores a subject that is a classic for schools of applied art: the relation between ornament and natural forms. ln recent years decoration has been a hobbyhorse of design.
The reaction to ascetic modernism involved cladding the surfaces of objects with abstract signs and chemical colours. When post-modernism of this kind ran out of steam, there was a renewed
Questioning the meaning of signs, focusing on the most ancient cultures or at least on those that appeared not to have been tainted bv the consumer market.
Azua's vases express a radical reflection on the theme of naturally inspired decoration by going to the direct source of all inspiration: nature.Traditional decorative design manuals urged the artist-decorator to reproduce nature, not so much in order to imitate its appearance as to spot the hidden laws that would enable them to establish a new "sense of order". But in Azua's work the 'bearing' theme of decoration is grafted on to another element involved in the changing appearance of things: the patina of time. He has entrusted a series of white highly porous ceramic vases to that through their sensitive surface, registers the erosive action of water and rapidly become colonised by minute living organisms like lichen and moss. Without any interest in style, Azua is looking to carry out similar experiments with such 'natural' decoration in a variety of environments and in different parts of the earth. Its not so much the vase itself that interests him, but the search to embrace surfaces on a larger scale pavements and architectural cladding for example could all be designed in such a way as to accept the action of weather, environment and natural processes.