In the series 9 Mirrors designer Ron Gilad suggests that the mirrored image contains a hypocrisy which reflects only our exterior selves. He is asking us to contemplate a more complex and poetic possibility of reality. The title, like the nine lives of a cat, represents the possibility of inner lives or the soul of the mirror.
Ron Gilad‘s mirrors are simple rectangular wooden frames that have been injected with stories. The reflection of the spectator is no longer only objective but contains more than the present. The functional aspect becomes secondary; the cords over the glass, the voided gilded frames and the bronze sconce in front of the user’s face are not here to decorate the mirrors. Some of the mirrors contain historical references combining the present with the past; a reference to other lives besides our own. Others play with structure, distorting our perception of the mirror as an object.
In almost every aspect of his work Gilad investigates scale and he plays with it in order to examine the boundaries of our perception. From a design point of view, scale is finding good proportions. Gilad ignores the right proportions, going to an extreme that might lead to absurd and ironic situations.
The collaboration with Dilmos Gallery led Gilad to explore the artistic and cultural past of Italy. In his mirrors, he incorporates antique Venetian fabrics, Byzantine mosaics made in Ravenna, hand sculpted figures modeled after classic Roman sculptures, while maintaining his own artistic authenticity. For him, the act of quoting the past has two roles, giving respect to it and serving his urge to playfully redefine it.
About Ron Gilad
Born 1972 in Tel-Aviv, Israel
Lives and works in New York City.
Ron Gilad’s hybrid objects combine material wit with aesthetic play. They sit on the fat, delicious line between the abstract and the functional. His works deal with the relationship between the object and its function, questioning our perceptions.
Varying from one-off to limited editions and production pieces, the works have no “expiration date” and reside in both public and private collections worldwide. Gilad asks unceasing questions in 3D form and fabricates answers that create an arena for fertile doubt.
Metaphorically, Gilad is a linguist, creating his own language. He learns the origins of “words” and develops new “synonyms
Dilmos Gallery was started in 1980 as an exhibition space for designer furniture.
The articles selected were intended to be the most representative examples of modern design, side by side with furniture made by firms representing the contemporary style of the eighties.
There was also an area for holding exhibitions and the result was that directly Dilmos started interacting more with the world of design, choosing personally which designers to work with and their articles.
This commitment was the fruit of a growing awareness of the value and poetical significance of objects: a profound interest Dilmos Tthat led to deal with articles essentially distinguished by a strong communicative and narrative force.
Since 1985, when an exhibition dedicated to Alessandro Mendini was held, Dilmos Gallery has increasingly tended to choose designers and articles that philosophy to fully express where each piece of furniture is a representation and at the same time on key to the designer is deeper thoughts, a way of communicating and interacting with the world.
Hence an object and communicates that merely not functional but not just a symbolic object-subject, a silent emblem of our hyper-communicating society either: this is the aim of research Dilmosis, which is constantly working, debating and striving to outdo itself.
No uniform stylistic design can be seen in the articles found at Dilmos, the consistency can not be seen in the designers over whose work has been displayed these years but rather in the interactions and the mutual desire to treat the articles at home or animating a space as that virtually receive its elements and thoughts, through their great storytelling ability, and transmit its poetic intentions.
The languages of the many designers are therefore, because the gestures and thoughts of many are each one, but that does not Mmean that they are incommunicable.
This is the thinking behind some experiences of Dilmos Gallery is while working to make it possible for languages and poetries to communicate with each other.