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Barro Negro
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A new chapter in Noé’s exploration of Portuguese crafts, ‘Azulejos’ takes its name from the Portuguese word for tiles – a 500-year tradition whose historical and cultural dimensions are lost in translation.

A personal interpretation of the coast between Brittany and Lisbon, ‘Azulejos’ is a set of three unconventional pieces where long, narrow azulejos, painted and shaped to evoke the changing depth and colours of the sea, lap against a shore of naked black ceramics. The undulating stand-alone wood screens are reminiscent of the structures of boats; the painting is a result of Noé’s free experimentation with colours and materials, a process of letting go and allowing the materials to express their own truth.

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/ May

The Burnt Cork
collection in Noé’s words

When I moved to Portugal in summer 2017, I decided to drive from France alone. It was a 3 day drive during which I sensed a change in my life and the beginning of a new chapter. This road-trip was open to feeling, seeking and finding, eloquently narrated by landscape.  Upon entering the country, I was met by flames, burnt forests and charred black trees. It was a shock to drive into these hills ablaze, the inferno consuming the landscape and leaving behind a world of visible entropy. Hauntingly dark, each spike of burnt wood sticking from the ground where a tree used to be. The power of fire struck me, one of the five elements vital to existence on earth, a keystone to the development of culture. It is a transformer of environments: subtle when controlled and aggressive when wild.  Fire is somehow always beautiful.  Part of me didn’t want to think about this, but I took photos and this experience stayed with me. It made me question my interaction with nature as a designer and as a consumer. I felt it would resurface in the work I was to do here in Portugal.

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