Born in 1976 in Paris, Laurence Bonnel discovered the art of sculpture in 1998, after her Art History and literature courses that revolved around the figure of the artist. The human figure plays a key role in the works of Laurence Bonnel. She creates in particular, architectural silhouettes, almost primitive, which emanates a grand presence. The motif of the human, that of couples and that of the crowd, is recurrent and central in her imagination, and is purified with the formal stylization that immediately evokes the art of Giacometti, or the Cubist bodies of Zadkine.
“Silhouettes without sight, yet expressive. Like the difficult experience of questioning oneself” The Silhouettes express in themselves, their narrative form. They find their transmission through the inner and subjective experience of the spectator. The process of identification takes place: the more one observes the Silhouette, the more one gets into introspection.
“For me, the crystal remains a magical and mysterious matter. During the visit to the Daum workshops, I realized that the work is quite similar to that of the bronze foundry, even though the material is quite the opposite: fragile and unpredictable. Each sculpture, however reproducible, takes life differently, and becomes unique. Thanks to the know-how of Daum, the crystal gives a new meaning, a particular emotion, to my work.”
Kriki, born in 1965 at Issy-Les-Moulineaux, lives and works in Paris. In 1984, Kriki founded a group of painters called Nuklé-Art. With the street and the underground as his art school, he was involved in the beginnings of what is now known as ‘‘Street Art’’. Kriki clearly belongs to the generation whose sensibility expresses itself in Free Figurative Art, which he helps to renew. In 1985, Kriki invented a character, “Fuzz”, a half-robot, half-fetish, polymorphous, omnipresent piece, and a true signature of the artist. Its emblematic head would sit on the shoulders of the Daumot 163 robot.
Kriki describes: ‘‘My passion for robots and robotics in general has always been there. Robot toys in particular, made of silk-screened metal of the 60s have always fascinated me, and it is what I collect. I have always been amazed, moved even, by the sophisticated manual work and the French know-how, which radiates throughout the world. On site, at the Daum crystal manufacturer, I reconnected somehow with passion to the arts and craft, in which I find myself. Moreover, as a painter, the exploitation of the coloured pigments and their richness, speak to me. This part of liberty in the final interpretation of the alchemy of colours, as well as their intensity, simultaneously retained and returned by the crystal, is why I sought to fusion the material with light in designing the Daumot 163.
And if Daumot 163 - and I must admit - is a dream come true, it nevertheless remains that living sign and marker that perpetuates the fusion of contemporary art and the French know-how represented by this Nancy manufacturer, nourished by its many artistic collaborations. I like the idea that a robot, which does not exist in a natural state, embodies technical intelligence, skill, mastery, ingenuity, and even virtuosity that still characterizes the art pieces stamped by Daum today’’.
Since the beginning of his career (a 1990 graduate of Paris’ ENSCI-Les Ateliers, Paris Design Institute), Jean-Marie Massaud has been working on an extensive range of works, stretching from architecture to objects, from one-off project to serial ones, from macro environment down to micro contexts. Major brands such as Axor, Cassina, Poliform, Toyota have solicited his ability to mix comfort and elegance, zeitgeist and heritage, generosity and distinction. For Daum, Jean-Marie Massaud has designed the Kumara vase in ink blue, edited in a limited series of 25. Beyond the purity of the lines, the depth of the ink blue crystal invites us to decipher the cabalistic signs inscribed in the matter. The Kumara is a powerful piece, a crystal block animated by an intense interior life, with an enigmatic character.
“The “pâte de cristal” expresses its qualities in the depth of the matter, hence we sculpted it from within”.
MADELEINE VAN DER KNOOP
Madeleine van der Knoop is a distinguished Belgian sculptor, living and working in Antwerp, Belgium. She is well known for her impressive bird sculptures and possesses a particular talent for reinterpreting these animals with intense realism, transposing what she perceives in the right proportions, while adding a personal touch. The sculptor collaborates once again with the Maison Daum to create the spectacular head of the Royal Eagle, “Aigle Royal” in a limited edition of 375. This particular sculpture reveals the true essence of the fearless eagle, thanks to the various shades of colours created from the unique Daum crystal and the minute details of the piece.
Created and edited by the Maison Daum, the Sand Lion in finely worked crystal reflects the strength and power of this majestic animal, known as the king of the savannah. Its name is a reference to the Sand River that flows through the Sabi Sand reserve at the heart of the Kruger National Park. It attracts the most diverse and concentrated fauna of South Africa, including a high density of lions.
The Kruger Park is the largest game reserve of South Africa.
In honour of the 140th anniversary of the Maison Daum in 2018, the crystal manufacturer wished to reinterpret its renowned iconic lamp, the “Lampe Champignon”. Baptised Résonance and edited in a numbered series, this magnificent lamp of round forms unveils a new contemporary design. It is declined in 4 different colours: Boreal green, ink blue, Paris grey, and rosewood red. In the 19th century, multiplying inventions and patents, Daum would be the first to dress electric light with glass, in association with the artists of the time, such as Majorelle, or the talented designer Henry Bergé, the talented men that established the famous “Ecole de Nancy”.
This collection, a symbol of creativity and savoir-faire, perfectly reflects the work of the “pâte de cristal” of the Daum atelier at Nancy. The frame in champagne-coloured metal, adds a touch of elegance and modernity to this collection. The light allows the crystal to be revealed through its soft and lively colours. Through its LED light, the lamp unveils a shower of bubbles engraved in the lampshade. Loyal to its DNA, the Manufacturer continues to take part in the history of Design.
Each Daum piece is unique by its artisanal manufacturing technique, and by the colours that are never reproduced identically from one piece to another. The “Imprévisible” table exploits the distinctive character of the Daum pieces. Contrary to the controlling of the colours, Daum gives free rein of its unpredictability to the surprise of the alchemy of the colours.
This side table with an unpredictable character reveals itself in two shades of dominant colours: an aquatic tone blending blue and green, and a warm tone in a mixture of amber and rose, recreating the magic colours of a glowing sunset.
The Maison Daum presents the Ginkgo collection in amber. This colour was inspired by the autumn leaves of Ginkgo, as they turn into beautiful golden yellow leaves that persist for several weeks. When the leaves fall, they form a golden carpet around the tree. The fan-shaped leaves, supple and supported by a long stalk, are bright green in spring and summer, before taking a sumptuous golden yellow colour in the autumn, earning its nickname, the tree with a thousand écus (French medieval gold coins).