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MARROW PROJECT

RELICS OF A SHARED FEAST

MARROW PROJECT

RELICS OF A SHARED FEAST

MARROW PROJECT

Guided by memory and intuition, both the individual and unified practices of Rafael Prieto, founder of creative practice Savvy Studio, and French artist Loup Sarion, probe, play and think with the poetics of functionality. As Marrow, and as part of an evolving design project, the duo has stretched linen over a hand-sculpted skeleton of steel based on a sketched silhouette, creating one-off lamps that reference and rescale bone fragments, “like anatomy for illumination”, they explain.

Ahead of the launch of Ark Kollekt 02, in collaboration with Esse 7, showcasing three alluring light sculptures by Marrow, Ark Journal visited the dual home and studio of Prieto in Manhattan’s TriBeCa, to aptly share an intimate meal in celebration of our partnership.

PHOTOGRPAHY | JOACHIM WHICHMANN

INTERVIEW | CHARLOTTE NOALL

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Having grown up in northern Mexico and Sarion in Toulouse, how have your distinct cultural backgrounds uniquely shaped this project you now share?

Meeting in the middle we would say – New York is such a middle ground for many cultures. We find a physical, emotional and creative space, our own place and the similarities in what we like have been what brought us together to share time and create.

In the process of production, what other individual perspectives and skills did you each bring to the table?

Some skills we already had, some we learned. It’s quite empirical still and that’s the point. We make large-scale drawings and from there we bend, twist the steel, then more movement, more shaping. So from the brain and the sketch to the making, a lot happens and it will form differently, more special, more its own thing.

Memories of dinner parties and relics of shared feasts inspired the Marrow light sculptures. Beyond the literal aesthetic form, how have both your individual and shared experiences around the dining table influenced this first iteration of your joint venture?

The feasts were just excuses to obtain the bones. We would say Marrow goes beyond the table. Bones indeed represent our appreciation of form, an existing beautiful piece, and we reframe its meaning.

You define Marrow as a workshop for metamorphosis, visual riffs, and translations of form. Are there any specific narratives or emotions you aim to evoke through these unique creations?

They make you meditate on the fact that the pieces exist as many other elements by nature. It’s easy to walk around and appreciate the trees but we never stop and understand other smaller pieces, and this aims to make you contemplate not literally on the bones, but the perception of the origin of beauty.

In exploring the concept of design as a threshold practice, how do you navigate the balance between functionality and the ephemeral?

It’s quite beautiful for us, just pushing it to be undefined, and that attracts us as artisans, the dialogue between appreciation for beauty, poetry and function. Why not have them all: the poetic side comes clearer to us because of our process and how we see the pieces, how we draw them, how we scale them and what they mean to us.

As the narrative of this project evolves, how do you envision it continuing to innovate and challenge the dialogue around the object world?

It’s about the space we take on, playing with the object as a sculpture, and a sculpture as a functional piece. We approach the process exploring how we can create work that allows its own ambiguity to be appreciated by its owner, emotionally and physically.

Memories of dinner parties and relics of shared feasts inspired the Marrow light sculptures. Beyond the literal aesthetic form, how have both your individual and shared experiences around the dining table influenced this first iteration of your joint venture?

The feasts were just excuses to obtain the bones. We would say Marrow goes beyond the table. Bones indeed represent our appreciation of form, an existing beautiful piece, and we reframe its meaning.

You define Marrow as a workshop for metamorphosis, visual riffs, and translations of form. Are there any specific narratives or emotions you aim to evoke through these unique creations?

They make you meditate on the fact that the pieces exist as many other elements by nature. It’s easy to walk around and appreciate the trees but we never stop and understand other smaller pieces, and this aims to make you contemplate not literally on the bones, but the perception of the origin of beauty.

Having grown up in northern Mexico and Sarion in Toulouse, how have your distinct cultural backgrounds uniquely shaped this project you now share?

Meeting in the middle we would say – New York is such a middle ground for many cultures. We find a physical, emotional and creative space, our own place and the similarities in what we like have been what brought us together to share time and create.

In the process of production, what other individual perspectives and skills did you each bring to the table?

Some skills we already had, some we learned. It’s quite empirical still and that’s the point. We make large-scale drawings and from there we bend, twist the steel, then more movement, more shaping. So from the brain and the sketch to the making, a lot happens and it will form differently, more special, more its own thing.

In exploring the concept of design as a threshold practice, how do you navigate the balance between functionality and the ephemeral?

It’s quite beautiful for us, just pushing it to be undefined, and that attracts us as artisans, the dialogue between appreciation for beauty, poetry and function. Why not have them all: the poetic side comes clearer to us because of our process and how we see the pieces, how we draw them, how we scale them and what they mean to us.

As the narrative of this project evolves, how do you envision it continuing to innovate and challenge the dialogue around the object world?

It’s about the space we take on, playing with the object as a sculpture, and a sculpture as a functional piece. We approach the process exploring how we can create work that allows its own ambiguity to be appreciated by its owner, emotionally and physically.

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