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The new anorexia (c(r)ockery)

During my pregnancy I had the idea to combine a classic floral ornament with embryos. Actually the design was originally made for a sofa. The combination works very well on tableware too.
The colours for this tableware are blue and white. The firing at a very high temperature in the kiln means that the tableware is suitable for frequent washing in the dishwasher.
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New Tableware by Nina Levett
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I will be opening a small shop in Vienna this autumn, therefore I want to proceed with the production of products in the next two months. The main focus of the shop will be on handprinted textiles but there will also be tableware and wallpapers.
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In the last days I made some new tableware. The themes are the same as always: a doll-like woman, at the same time whore, wreck, princess, doll and supermodel (is or wants to be). She eats too much. She eats too little. She feels she should be like this or like this.
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These photos show the work in progress of the making of the porcelain plates. The yellow stickers on the plate are the silkscreen prints that will be heated in the kiln. I work with especially high temperatures. Normally the silkscreen colour is burned at 700 degrees Celsius. I double that heat (going as far as 1250) so that the colour sinks into the plates. I can put up to 6 plates in the kiln each day. The burning takes about 24 hours. The placement of the foils takes up to two hours per plate. Each plate is different.
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This time the plates will be blue (THE classic colour for tableware). I am curious to read your comments,…. cheap isabel marant shoes

Nina Levett’s first design for Ritzenhoff was presented at the Ambiente Messe approximately one week ago. Levett’s new espresso cup of the Spring/Summer Collection 2012 is called “My Little Darling”.  The cup can be bought directly on the Ritzenhoff website for 19,95 EUR by clicking here.

Nina Levett’s first design for Ritzenhoff was presented at the Ambiente Messe approximately one week ago. Levett’s new espresso cup of the Spring/Summer Collection 2012 is called “My Little Darling”.  The cup can be bought directly on the Ritzenhoff website for 19,95 EUR by clicking here.

This collection encapsulates much of what makes Nina’s style so challenging and bold. The work was commissioned in 2009 by Illustrative an organization that showcases fresh, innovative and new design, and Cult Work. The purpose was to celebrate the centenary of the Italian car manufacturer, Alfa Romeo. Nina Levett had spent a month of frantic activity and considerable financial expense to interpret the design brief. In her porcelain she creates a complex swirl of action and movement in which she juxtaposes the hard, metallic, powerfully male automobile against the softer, more sexual and provocative female figures who tangle the design. She explores the car as an extension of male power that impacts forcefully on its environment. Her work fearlessly explores the negative impact of the automobile. For example, if you look

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at the wallpaper she created for this project, she transposed the Alfa Romeo snake logo into a human intestine, expelling faeces. In the accompanying collection of porcelain lampshades, cups and bowls, female figures and phallic cars dissolve into one another and are absorbed into the structure of the object. Ironically, although perhaps unsurprisingly, although Nina worked with many of the unspoken, subliminal values and images that are crucial to the success of car advertising – power, masculinity, sexual dominance and sexual prowess – the explicitness and exaggeration of Nina’s interpretation might have been too bold and unsettling for Alfa Romeo. They withdrew support for the project, leaving Nina considerably out of pocket and demoralised, but artistically invigorated by the design process itself. The project crystallised in her mind the difficulty that she faces when trying to make her frequently difficult work commercial, but the experience also resulted in the birth of a new style of art. The dense, complete coverage of a surface that she created for this project was to reappear in much of the art that followed on from it and has become a hallmark of her design technique.