Manga is a means of expression with a high degree of flatness and abstraction, composed of a series of lines. We could say that manga comics are deeply rooted in Japanese culture, since they can be traced back to Ukiyoe prints developed during the Edo period (1603-1868 A.D.).

These works are the result of adapting the strong symbolic nature of manga comics to furniture design. Manga consist of a series of frames on a single sheet of paper that creates a sequence. Similarly, the chairs are placed on square stages, each one conjures up a sense of story, and each with a design element from manga. For example, a “speech bubble” or “effect line” are added to visualize sound or action. Or emotional symbols from manga, like “sweat” or “tears”, are formed so that a sense of story and character can be felt.

Graphic designers use paper as a medium to express their ideas.

This medium is approached from a different angle, using hand-work and a 3D printer to create outlines that represent paper without actually using paper itself.

Some of the outlines display rounding, while others show signs of the paper having once been folded.

In another, when the paper is torn away, the torn section appears to have feathery layers with fibres.

By focusing on the finer details and carefully representing them in the outlines, the work captures the unique essence of paper that we have all felt at one time or another.

The collection is developed into 3 categories. The first, 28 sheets of A1-sized posters with outlines measuring 3mm thick are suspended in space, with torn or folded pieces scattered throughout. The second, multiple series of large postcard-sized paper with 1mm-thick outlines each show five different stages within the process of that paper being modified in some way. The third, outlines are used in the same way to represent 3D
objects that are made of paper, such as paper bags, milk cartons, paper cups, and origami figures. An animated film that provides hints about what the outlines represent plays in the room in an attempt to stimulate the imaginations of visitors.

The title of the exhibition – un-printed material – is a play on the term “printed material” that alludes to the concept of the designs.

Using the incredible stone-processing techniques of the Italian manufacturer, Marsotto, the collection includes a bench, console table, and shelf.

To accentuate the texture of the material, an exquisitely expressive stone called bardiglio nuvolato was selected for its intricate marbled pattern of multiple shades of grey. Laid out in a staggered pattern similar to bricks, the stacked “mass” creates a sense of solidity. The surface was concurrently processed with with other engraving motifs to demonstrate light and soft textures of elements like rain ripples, curtains swaying in the breeze, and the wrinkles of a pillow. Both the assembly and polishing were done by hand.

The interplay of the three elements—the character of the stone, the brick-like layering pattern, and the surface texture—led to a design that blurs the boundaries between opposing qualities such as heaviness and lightness, and rigidity and softness.