Mount Pug is a mesh-shaped “mountain,” assembly of thin and long 600mm (plywood) pieces as ‘branches.’ By combining the unevenness of each branch to form in hexagon and triangle, the ‘branches’ begin to support each other as if the cells of living creatures. The ‘mountain’ can gain enough strength from it without nails or a bond. Pug is clever and mischievous. It makes full use of the mesh as its nest and plaything. Toys and snacks can also be hung on the mesh.
‘Mixing glazes for my ceramics it suddenly hit me: most of the ingredients I used, were mineral in origin. Dug up from the earth and ground to glaze components and pigments they mysteriously regain their solid state on the surface of the fired pieces, adding durability, colour and brilliance to the work. Apart from the process of transformation, it is the materials themselves that fascinate me profoundly: the rocks, the gems and ores; their geometry, their varying substance densities. Formal and structural elements from the minerals and their geological origin became the basis for my research. Loden turned out to be the logical fabric to use as the basic material for the collection: its rigidity and its visual resemblance to rock, concrete or marble make it a perfect match to my conceptual aspirations. I love the way the edges can be left unhemmed allowing for an impression of raw strength. Obviously the choice for loden created strong friction between the stiffness of the fabric and the demand for elegance and fluid motion. In negotiating this disparity, transition and transformation are essential: stone becomes fabric, modelled to follow the body while it is moving and to turn the figure into sculpture as soon as it comes to rest – suggesting an effortless, casual flow from fashion to art and back again. Several elements taken from the mineral world return into the design. The multifaceted and layered qualities of quartz and agate were the starting point for my investigation of layering different fabrics and expanding the pieces into space. Translating the brilliance and smoothness of some glazes and the matte surface and various tactile qualities of others, I chose a range of fabrics to create this tactile collection.’ Stéphanie Baechler