The art in waste and na­ture

Jamaica Gleaner - - BEAUTIFUL HOMES -

FROM TEA ta­bles made of old tyres to stor­age clos­ets made of plas­tic bot­tles, the Mar­rakech cli­mate talks were a study in how waste and nat­u­ral prod­ucts can be a source of art.

This was re­flected in an ex­hi­bi­tion hosted by the Hol­mar­con Group from Novem­ber 7 to 18 inside what was dubbed the ‘In­no­va­tions Zone’.

The tea ta­ble, dubbed the ‘Green Tea Ta­ble’, and the work of Samir Chaoui, of­fer tyres a sec­ond lease on life. The tyre is trans­formed from pol­lu­tant to an eco­log­i­cal dec­o­ra­tion, seat and likely con­ver­sa­tion piece.

Com­posed of a fully up­hol­stered tyre, it is “dressed in an ele­gant wooden mo­saic and dec­o­rated with a del­i­cate Moroc­can touch, with a solid-wood de­sign base”.

The stor­age closet, called ‘Pet 1960’ and cre­ated by Hicham El Madi, ad­vances the dis­cus­sion on waste val­u­a­tion.

“This model is named PET 1960, a mix and com­po­si­tion be­tween wood as a nat­u­ral ma­te­rial and plas­tics. This piece of fur­ni­ture gives a sec­ond life to the bot­tle...”


Among the other pieces on show was a sculp­ture ti­tled ‘La Releve’ that tes­ti­fies to the magic of re­cy­cling and took its cue from the cli­mate talks.

Made of re­cy­cled iron and fab­ric, the man in the im­age is said to rep­re­sent Morocco as an am­bas­sador of the en­vi­ron­ment.

“He holds an um­brella un­der which this event hap­pens, sym­bol­ised by a woman rep­re­sent­ing en­vi­ron­men­tal aware­ness. She is ten­der­ing a sym­bolic rose to present and espe­cially future gen­er­a­tions to take over and work for a bet­ter world,” notes the de­scrip­tion of the work done by Khalid Dar­naoud.


There was also a hand­bag called ‘Safia’, made mostly of or­ganic cot­ton. A cre­ation of Kenza Ben­nani, “its lin­ing is made of glass silk and its fin­ishes in sfifa and braided cords are hand­made in veg­e­tal silk”.

“The idea is to re­visit the Ber­ber flat pouch, gen­er­ally made of em­broi­dered leather, and ap­ply sym­bolic em­broi­dery to it on a fully eco-con­scious ap­proach,” notes the de­scrip­tion.

“The ro­bust­ness of the em­broi­dery sup­ports the fab­ric and trans­forms it not only vis­ually, but also in terms of sus­tain­abil­ity.”

There was also a set of vases ti­tled ‘JIDHR’, done by Younes Duret as part of “how to bring in­dus­try and ar­ti­san to­gether”.

“These vases are de­signed with eco­log­i­cal in­tel­li­gence. Af­ter use, screw your small bot­tle of min­eral wa­ter to the base of the vase. Then, ar­range in there a beau­ti­ful bou­quet of flow­ers. The first vase evokes fem­i­nine curves dec­o­rated with flo­ral pat­terns. The sec­ond, with ver­ti­cal lines, is de­signed with two geo­met­ric shapes of Is­lamic in­spi­ra­tion” reads the de­scrip­tion.

They are made from 3D print­ing from or­ganic ma­te­ri­als, cork, wood and corn­starch, packed in bio­plas­tic.

The pieces were a part of 17 cre­ations de­signed by Moroc­can de­sign­ers. And it was not only the works of art that re­flected the eco-con­scious spirit. The dis­plays and re­cep­tion counter were de­signed us­ing a min­i­mum of ma­te­ri­als, while en­try to the gallery her­alded a world away from the hus­tle and bus­tle of the talks – and it wasn't by ac­ci­dent.

PET 1969 JIDHR The Green Tea Ta­ble.

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