This is the idea on which Kai Linke, German designer with active exhibitions and collaborations throughout Europe, was based to create his own collection of furnishing accessories, "Roots": simple and hollow objects inside which the artist has sown all kinds of herbs, bamboo and plant bulbs capable of growing quickly even in hostile environments and with a dense network of roots that goes well with the idea of a modern, studied and casual design at the same time.
He is about to end up run over, his mother saves him
There are plants, like the Bamboo, which grow at an impressive rate of almost 70 centimeters a day. Imagine now taking advantage of this lush growth for create original, ecological and durable furnishing accessories, also reducing the costs of material and transport of any piece of furniture.
This is the idea on which Kai Linke, a German designer with exhibitions and collaborations throughout Europe, was based to create his own collection of furnishing accessories, "Roots": simple and hollow objects inside which theartist sowed all kinds of herbs, bamboo and plant bulbs capable of growing quickly even in hostile environments and with a dense intertwining of roots that goes well with the idea of a modern, studied and casual design at the same time.
Although products like these can horrify many green thumbs, it is undeniable that nowadays the environments in which plants are forced to grow are for the most part artificial: offices, homes, urban areas are just a few examples. Linke only makes this fact more evident, enticing us to explore new possibilities.
In a sort of experiment in which the complex relationship between natural development and artificial constraints comes to light, the artist presents us chairs, tables, stools and other furnishing accessories in which the plant develops smoothly overcoming its limits, pushing itself towards the other, giving life to fascinating deformations, enveloping itself around and inside the object in an unpredictable intertwining of grass, flowers, roots, earth and water .
The fact that ultimately the disruptive force of these imprisoned plants can letting the objects be sold is an integral part of the artistic experiment: an invitation to recover the natural world as a source of inspiration and at the same time almost a warning so that it is clear that Mother Nature reacts to our coercions by finding new ways to grow and new ways to adapt, sometimes breaking those same banks in which we forced.
SZ
