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Makiko Nakamura's ornate ceramics collection '100 years after the party', is a perfect representation of her style; a hardy mix of fantasy and reality which follows a fairy tale narrative with a beauty and the beast feel.
The collection is inspired by a story Nakamura tells about a tea service left behind at the end of civilisation. In the story, seeds land on the disintegrating porcelain by chance 100 years later, consuming the pieces in flowers. By quoting a Victorian style tea set form and putting an excessive but decoration on it, Nakamura created the collection that revokes the primordial desire for decoration of the audience.
Also, by using a ceramic as a material and taking full advantage of the materiality of ceramics, Nakamura succeed to demonstrate the beauty of the material, and her deep standing for the material and its making process enable her to push this collection beyond melancholic story-telling pieces.
This collection is a question for the human's universal and primordial desire for decoration and also praise for the materiality, and regression to the material. Nakamura thinks interior ornament should not be just an object to decorate the space, but stimulate, activate and fuel people's imagination and thoughts.
Through this collection: 100 years after the party, Nakamura tried to imbue the philosophical thoughts and poetic delicacy into our life style.