Sculpting with Intuition: A Dialogue with Savvas Laz
Sculpting with Intuition: A Dialogue with Savvas Laz
What is your starting point when designing a Trashformers piece? Do you already have an idea in your head or does intuition serve as your guide?
I usually have an idea in my head about what kind of object I want to create, but the final outcome is part of a creative process that relies heavily on intuition and even a degree of randomness. For instance, I might come across a piece of styrofoam that is suitable for a particular construction. The Trashformers are not just a series of objects, but rather a method that offers countless possibilities, uses, morphologies, and combinations. It is more akin to a complex game of sculpting with LEGOs that combines both design and intuition. The magic of sculpting for me lies in the fact that you have to trust the process and let the process guide you most of the time.
While you primarily work with salvaged styrofoam, an inexpensive material produced and discarded in abundance, the ostensible "value" of the material emerges through the act of repurposing. This intricate process relies on the skilled craftsmanship of local artisans and the labor-intensive effort of working the material. Could you elaborate on the significance and role of craftsmanship in your work?
Craftsmanship is the main reason I have chosen to pursue art as a career, and it is an integral part of my work. I am particularly fascinated by "what human hands can create." This interest is not limited to my work as a sculptor, but is also a part of my wider research and interest in the concept of craft. Alongside my artistic practice, I am invested in exploring, discovering, and collaborating with skilled artisans of other techniques and disciplines and initiating a larger dialogue on the subject of craftsmanship through my work. Both ancient and Modern Greece have a long and historical craft tradition and it is important that craftsmen with deep knowledge of their material and technique still exist.
The role of modern design is not only to preserve this tradition, but to take it a step further, to evolve craftsmanship so that it may remain alive and in dialogue with its time. Especially in times of rapid technological expansion, the concept of craftsmanship becomes even more crucial to my practice. It is the details of craftsmanship that lend uniqueness, compared to more automated and standardized processes, and that come to identify culture. It says something about who we are, where we come from, and where we are going.
Are you interested in the intersection of design and architecture, in other words, in pushing the boundaries of the architectural object? How has the Pink House changed the way you approach your work, spatially and conceptually?
Nicoletta Fiorucci is a notable collector and has an exceptional eye for things. I was fortunate to meet her early in my career, and her interest in the environment meant that she immediately understood the design language of the Trashformers and the world I aimed to create. Seeing the development of this series of work, Nicoletta commissioned me to design the interior world of the Pink House in Kastellorizo, following the methods and language of the Trashformers.
Nicoletta Fiorucci is someone who is both familiar with pushing boundaries and creating new dialogues at the intersection of art and design. She gave me a “carte blanche” in this project, allowing me to transition from object-based design into the “world” of the Trashformers. This holistic design approach resulted in even the secondary elements, such as the staircase, flooring, wall treatments, and built-in parts, deriving their form or texture from the Trashformers.
An environment was created in which these sculptural objects gained an even greater significance and meaning. Additionally, I had the opportunity to experiment with different uses, sizes, and forms that I had not tried before (such as beds and bars), as well as different materials and techniques, such as metal casting for the smaller elements such as the doorknobs and lighting fixtures. This further contributed to the evolution of my work and opened a new chapter that is not only about the object per se but also about spatial intervention. I consider the intersection of the two, object and space, to be a significant focus of my work.
Your work is often talked about in terms of repurposing or recycling waste, drawing attention to the impact of styrofoam and other mass-produced materials on the environment. While so much of design is focused on creating new materials and moves in a speculative direction, your work seems to do the opposite. It brings to mind Tony Fry's idea of “defuturing” – the notion that our future is already set in motion by design decisions made in the past, and that designers today should design from the perspective of undoing. Does your work aim to undo and reverse unsustainable design practices?
The Trashformers are born out of our era's excessive consumer culture and a notable lack of environmental awareness prevailing in our society. A crucial aspect of the project revolves around the notion of reusing existing materials and objects to forge something entirely fresh. Employing a meticulous process of assemblage, I source materials from Athens' discarded trash bins, materials otherwise destined for landfills due to the less-than-desirable recycling options, effectively transforming them into invaluable "design libraries" that fuel my creative practice.
There is a significant confusion surrounding the definitions of waste, useless or defective objects, and raw materials in today's society. The abundance of goods and choices often leads the consumer public to view these elements as a single entity, resulting in a particular problem whose consequences are increasingly evident in our daily lives.
An essential source of inspiration for me is Dimitris Pikionis' Acropolis Works. In this project, the architect repurposed materials from a rapidly transforming Athens, salvaging elements like stone from neoclassical buildings of that era, which were being replaced by modern apartment blocks. With the help and contribution of skilled stone craftsmen (where craftsmanship plays a pivotal role), and employing a Tetris-like assemblage method, this project became a work of profound significance for the city of Athens with an enduring legacy for the future. Despite its impact, it appears that its message did not resonate widely with the subsequent era. Nevertheless, we are now witnessing a gradual shift, as new creators embrace similar design practices, with the Trashformers serving as an example of this.
How important is the studio to your practice? Do you recall when you first moved into your studio?
My studio is also my sanctuary. It is the place where I isolate myself and let my thoughts and imagination wander. It is crucial to have a space that inspires creativity and allows for a state of boundless expression. My studio’s neighborhood, Neos Kosmos, is also an important part of my life. The essence of this Athenian neighborhood, with its workshops, small shops, and fellow artists' studios, adds something beautiful to my own studio. It feels like a small village nestled in the heart of the city, with everyday people going about their lives, the local market every Monday outside my studio, exchanging "good morning" with neighbors across the street — it all contributes to creating a unique setting that influences my daily life and practice.
I stumbled upon my studio while wandering the streets of Neos Kosmos. It used to be a motorcycle repair shop with a rusty window display adorned with stickers from various motorcycle companies and spare parts. Choosing this space was an easy decision. Having my own space for the first time and being able to create without constraints marked a significant step and important development in my work.
Savvas Laz is a designer with a true passion for the sensual and the exceptional. He is dedicated to creating bespoke, handcrafted objects that celebrate the superior quality, allure and richness of the arts and crafts.
Storytelling is an essential ingredient in his design process. Historical research in combination with material exploration and impeccable craftsmanship come together to create collectible objects that fuse the extravagant with the minimal, and imbue the everyday with playfulness and pleasure.
After his master’s degree in Civil Engineering,he assisted artist-designer-interior architect Joep Van Leishout at Atelier Van Leishout, in Rotterdam, where he evolved the sculptural side of his practice. He lived in Doha and Berlin, before moving to Switzerland where he graduated with distinction from the Master of Advanced Studies (MAS) in Design for Luxury & Craftsmanship at ÉCAL.
Today his studio is based in Athens’ ancient centre, a historical hotspot of pleasure and play from which he draws endless inspiration.
