Curieaux is influenced by two Japanese design principles.
An aesthetic based on transience and imperfection. It’s the sense that an object that has a tangible history, including all the damage and modification it has undergone over the years, is preferable to a perfect, brand-new object devoid of any such character.
Wabi-Sabi encompasses a distaste for symmetry, and has been described as the beauty that is imperfect, impermanent and incomplete. Many of the pieces from which Curieaux objects are composed are left deliberately unpolished and unrepaired, to promote and savour their years of use.
Kintsugi translates as “golden joinery”, and it describes the Japanese art of repairing broken pottery not to produce an invisible mend, but with lacquer mixed with powdered gold or other precious metals in order to bring attention to the repair.
Kintsugi regards breakage and repair not as something to disguise, but as something to celebrate as part of the history of the object. The stapled dish shown here is from Nanking, repaired in the mid 18th century.
The objects that make up the Curieaux collection have been collected from a wide range of sources, and joined together to form harmonious new creations.