I have for some years been interested in the design by the London-based Cypriot Michael Anastassiades and was exited to see his 2015 collection at Euroluce, the biennial exhibition devoted to lighting during the fairs in Milan. And Michael did certainly not disappoint me.
“My collection challenge the perfection of the sphere through the interference of foreign geometries, while maintaining a level of discipline in various balanced compositions”, he explains.
Below the designer is photographed by Hélène Binot, besides his new Mobile Chandelier 9.
Another nice new lamp from Michael is called “Bob” – an inverted tear drop resembling in weight, suspended from a string, that is often used as a vertical reference line. It is a hypothetical tool for building meassurements, other than just a simple pendant that hangs to illuminate a space. With it, Anastassiades progress in his exploration of materials; their qualities and capabilities.The “Bob” familiy comes as pendants, wall- or ceiling mounted. The metal parts are made in brass; either nickel-plated, black patinated or raw polished.
During the fair, Michael Anastassiades also launched three new designs for the italian lighting company Flos. Let’s take a look at Captain Flint, Copycat and Notch:
“I wanted to design a light that had a dual purpose. To be an up-lighter illuminating the space with enough ambient lighting, while at the same time to be rotated and directed down; to become a dim companion for reading. The notion of balance is prominent in this fixture, a cone resting delicately on its point on a rotating horizontal metal rod. The base is in marble, bringing an element of preciousness, stability and presence”, explains Michael Anastassiades
Two spheres just touch each other. One small, in a precious material, placed under the ‘shadow’ of the large one, in illuminated glass.
“I like to think that there is a parallel between lighting and jewelry. They both draw attention and enhance beauty. Or perhaps they help define something essential, marking the focus where things matter most. If you look at the definition of ‘pendant’, it speaks of both worlds: ‘A piece of jewelry that hangs from a chain worn round the neck’ and ‘a light designed to hang from the ceiling”, says Michael Anastassiades. This lamp was one of my top favourites this year.
About Michal Anastassiades
Michael Anastassiades launched his studio in 1994 to explore contemporary notions of culture and aesthetics through a combination of product, furniture and environmental design. Positioned between fine art and design, his work aims to provoke dialogue, participation and interaction. He creates objects that are minimal, utilitarian and almost mundane yet full of a vitality one might not expect.
Anastassiades’ work is featured in permanent collections at the Museum of Modern Art in New York, the Victoria and Albert Museum, the Crafts Council in London, the FRAC Centre in Orleans, France and the MAK in Vienna. Recent solo exhibitions include Time and Again at the Geymüllerschlössel/MAK in Vienna, To Be Perfectly Frank at Svenskt Tenn in Stockholm, Norfolk House Music room at the Victoria & Albert museum in London, Cyprus Presidency at the European Parliament in Brussels, Belgium.
One of the most recent exhibitions explores what Anastassiades calls the “contemporary anxieties of modern Cypriot” entitled Reload the Current Page at the Point Centre for Contemporary Art in Nicosia, Cyprus.
He has designed products with various leading manufacturers including FLOS, Puiforcat, Lobmeyr and Svenskt Tenn. In 2007 he set up MICHAEL ANASTASSIADES – the company to produce his signature pieces, a collection of lighting, furniture, jewellery and tabletop objects. The studio’s philosophy is a continuous search for eclecticism, individuality, and timeless qualities in design.
Michael trained as a civil engineer at London’s Imperial College of Science Technology and Medicine before taking a masters degree in industrial design at the Royal College of Art. He lives and works in London.
Images by Hélène Bines, Michael Anastassiades, Flos and Frank Huelboesmer, text by Katrine Martensen-Larsen
