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We Want To Know That The Human Being Was There - FOKUS No.2, 2005
We Want To Know That The Human Being Was There - FOKUS No.2, 2005
By Kristian Kastoft
A strong compassion for objects, their context and how they are perceived is
immediately sensed when Danish Crafts meets the man behind the store for
a talk about craft and identity in a quiet place at the usually very noisy and
hectic fairground at AMBIENTE in Frankfurt. And to Murray Moss there is no
doubt that objects and designs are part of what we chose to communicate
about Our identity.
In New York the moss shop intentionally looks like a museum, with
everything locked behind glass or raised onto platforms. When the talk Is
about his store and the concept Murray Moss elegantly and in a modest way
tums the subject into a more philosoflcal discussion.
And when speaking of the fragility of objects Mr. Moss touches the very core
of the importance of craft today. That objects can be a relief and a comfort
to us in our hectic and somewhat brutal every day life. And that objects are
not only carriers of identity but may be a catalyst for educating and
civilizing our behaviour even.
"It's because I feel the wond is so brutish and my life in the wond being a
modem, contemporary person, I am in a brutal world, and my behaviour is
modified. I become less brutish when I drink from a fragile glass, because
for one minute my behaviour has to be modified, so that I don't break this
fragile object. And I think this was always the reason behind these fragile
objects. It was to civilise us, to make us more elegant. To make us more
graceful.
And so I can come down from my brutal day by engaging myself physically
with a small object of great fragility. And the exercise I have to go through
in order to engage with that object, drink something from it or eat
something from it, that intimate action. I have to become a different person.
And it's cheap with that ability to do it. And a good thing. And that's why I
think there's a fashion again for those objects, because we need to come
down."
When speaking about craft Murray MosS has very strong ideas. According to
him the word craft is becoming much more Inclusive and the definition, the
connotation and the meaning of craft is changing.
"1 would imagine, most people think of craft as something made by hand...
almost like a folk art. But is craft also something made by a machine? Few
people would probably consider, for example a paperclip as a piece of craft,
but it is crafted. That is maybe why the so-called American Craft Museum
changed its name, because the old definition of it was too narrow. For what,
in fact, it has evolved to. I think craft is no longer seen as the opposite of
industry. That industry and craft have somehow had a truce, and that we
now have a new understanding, which is industrial craft."
Murray Moss believes that we are now living In a new peliod where the
previous predominant focus on technology has shifted into a focus where
craft has large potential. And that this development has been a rather
drastic and extreme development taking place only Within the past decade.
"There was a sort of love affair between a new generation of designers and
technology, capabilities and possibilitIes in material. So for example less in
wood, more In plastics, more in carbon fibres, more in resin. And factories
were following the interest of the designers and began to produce, as we all
know, much more plastic, much more new material. The technology and the
material was being embraced by the designers and that was leading uS into
these creative products. Things that were man made and almost nostalgic,
things that were materials that were historic, like wood, like glass, became
sort of less important in the market place. Because there was an excitement
about this new kid on the block, which was the commercial use of what had
been prior to that almost exclusively military use of materials like carbon
fibre. What has evolved since then is a kind of rediscovery, be!;ause now the
technology is accepted. And so, there is no longer the need to sort of
celebrate it, because it is just understood to be there. And so now it is
almost like the next generation of designers ten years later is so comfortable
with the technology that it Is no big deal. What is lacking, what is missing in
the diet, has been eVidence of the human hand, which has always been in
products since forever. But we went away from It for a little bit, and people
are feeling hungry again for some eVidence of the human being."
And the Industry is now embracing the Idea that an otlject would have
evidence of human hands. That it is no longer an ideal to have something be
considered beautiful because it Is beyond the capability of a human being.
"There Is a reversal from the Idea that something is beautiful because it's
made by a machine and could not possibly be made by a human. That was
Our machine-age ideal, which began in 1930s. We began to celebrate what
was objects that could not possibly have been made by a human and
therefore were somehow super products or more beautiful. Beyond our
capabilities. Bigger than us. And there's a tremendous reversal of that now.
Objects which in fact are not only of materials beyond us and of the new
,-- technologies, but also still come from a human being. Whether the human
being made the object or made the machine that makes the object, we want
to know that the human being was there."
"They are both. They are much more. And so they are insisting that we, the
industry that they work with and the consumer, change our ideas about
what craft and design is, because they are not interested in being one thing
or the other. They want all of it!"