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RODRIGO PINTO (1988-)

Gueridon
From the series “Tierras Hipnopómpicas” (Hypnopompic lands)
Manufactured by Rodrigo Pinto
Santiago de Chile, 2020
Produced in exclusive for SIDE GALLERY
Concrete consisting of marble grains, stone carbonates, copper slags and white cement. Ceramic with embedded bronze enamel


Measurements:
90 cm diameter x 75 cm heignt
35,43 in diameter x 29,53 in height

Edition
Unique piece

Concept
“Tierras Hipnóticas” (Hypnopompic lands) is the materialization of constant dreams about territories in wear and tear by post-apocalypse. The question that is repeated during the creation of each piece, prior to the materialization, is how could looke like the place we inhabit or the objects we inhabit after total destruction.
The textures and contours of each object reflect the wear and chaos that would influence each body. It is like observing the model of a schizophrenic story, where every detail tells the possible state of things.

Exhibitions
Exhibited at Casavells - Side Gallery, Season 2020

Fairs
Exhibited at Collectible Fair, Mar 04 2020 - Mar 08 2020

Designer image

Rodrigo Pinto was born in 1988 in Santiago, Chile, where he graduated in Industrial Design in 2015. Alongside he university degree, he engaged in informal studies with artisans of various specialties experimenting and learning with an array of materials and techniques. He took a special interest in ceramics during his university years. In 2012 before studying in Santiago, he was awarded a scholarship for a pre-graduate course in Advanced Object Design at NABA, Milan. After completing his studies in Chile in 2015 he applied for an internship with Spanish designer and artist Nacho Carbonell, it was this internship that pathed the way to a year studying in Eindhoven, Holland in 2016.

Returning to Chile in 2017, he opened his first workshop in Santiago. The studio focuses on the construction of furniture and utilitarian objects with sculptural characteristics and with an introspective link between the human, the material and the piece under construction. The idea is to find a way to materialize and bring to life each piece with their own formal concepts of a possible post-apocalyptic Earth.

Rodrigo Pinto's pieces are fragments of his imagination influenced by dreams that overwhelmed his childhood; post-apocalyptic dreams riddled with information that he uses today for the development of his projects. Each piece is like an archaeological object loaded with nobility by taking advantage of the intrinsic characteristics in each material, ceramics combined with bronze among others.

As his use of ceramics progressed, Pinot realized that each and every stage in the life of the material contributes to the development of the piece and thus presents something new to each project. Accidents and errors contribute as much to the final piece as planed precision.

An underpinning concept of Rodrigo’s work is his intention to free objects from their inertia, to release them from them from the dictatorship of the pure utilitarianism. He believes sculptural objects should allow confrontation and be free to interpretation from all angles and opinions.



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