Panorammma’s poetics oscillate between disciplines while focusing on a crucial point of contemporary sensibility: the expanding pathology of the concrete, the alienation of everyday life, and the space that abstraction occupies in the social sphere.
Maika Palazuelos (designer and director) initiated Panorammma during the confinement with the intention of creating a permeable and open platform for design exploration.
With an artistic background, Maika initially conceived Panorammma as an extension of her personal practice.
Identifying in expressive domestic objects a possibility for them to compete with and extend our everyday narrative by inserting themselves into it. They become trojan horses for artistic discourse by disrupting and reframing the mundane, opening up the possibility of altered states of life.
Panorammma’s poetics oscillate between disciplines while focusing on a crucial point of contemporary sensibility: the expanding pathology of the concrete, the alienation of everyday life, and the space that abstraction occupies in the social sphere. Panorammma’s designs delve into these themes by exploring past visions of the future and creating the myth of memory. Building on our past and personal experiences through new visual narratives.
Panorammma does not seek to create objects that exist apart from everyday experience as museum pieces but as objects to be lived and used.
These objects require a commitment on the part of the viewer so that, as a user, they facilitate the fulfillment of their objective tasks. Activating them by sitting on them, eating with them, drinking from them, turning them on, turning them off, caressing them, sleeping with them, and waking up to them. Allowing these objects to affect our behaviours intimately and to be affected by them.
Panorammma pursues the creation of objects that generate fissures from which fantasy spills into our reality and informs an imaginative play, a scenography from parallel fiction. Pseudo props. Panorammma creates actors whose presence and performative ability can create in our domestic spaces unusual scenarios. Testimonies of a refusal to live ordinarily.
Fisherman Chair reveals itself as foreign, almost alien-like. The piece seems to have been recovered from the bottom of the ocean on a lost planet. It is generative in the sense that it accidentally opens a narrative. An object that generates a fissure from which fantasy spills into reality. Informing an imaginative play and creating a scenography from a parallel fiction.
Fisherman Chair is part of a limited series of unique objects that integrate the use of upcycled electroplating rods. These rods, regularly used for submerging metal items into chrome baths, pile up residue through the years, which results in heavy conglomerates of copper, nickel and chrome. Byproducts of an industrial process but which remit to organic coral-like formations.
In the studio, we have been concerned about recovering these discarded rods from chrome plating workshops for over a year. The material is difficult to work with because it is a conglomeration of different metals which cannot weld together. The material’s limitations, in a sense, dictated the object's form. We could only work with the rods by creating rudimentary joints. This made for an uneven object, a crooked chair, with a coral texture and industrial shine. A chair that acts as a pseudo prop and opens narrative paths unwrapped into an entire storyline.