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We are giving fans of t.e. one last chance to buy products of the
eponymous t.e. label in Eyck’s studio in Easternijstsjerk, Ropsterwei 14.

Visit us during Pentecost, on Saturday May 18 and Sunday May 19, from 11.00 to 17.00 h.

After these two days the sale of the products through t.e. will end. The designs and projects will be returned to their creators to follow their own path.

Go to projects and products
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t.e. 218

theodora alfredsdottir & daniel durnin

Theodora is an Icelandic product designer based in London. She holds a bachelor’s degree in product design from the Iceland Academy of the Arts and a master’s degree in Design Products from the Royal College of Art in London in 2015.
Her work revolves around the narrative an object can inhabit and exploring ways of objectifying that narrative. She's interested in the way an object can act as documentation of it’s manufacturing process; a record of what went on between the machine, tools, craftsman and material as well as it can communicate it’s origin and former life. That often leads to discovery of unexpected qualities as well as it gives the user a subtle opportunity to reconsider our material world and explore value in a different way.

Daniel Durnin is an Artist and Designer based in London. Having completed an MA at the Royal College of Art in Design Products he has recently graduated from Oxford University's Ruskin School of Art with an MFA.
Durnin's practise is driven by his interests in the self and the relationship with our environment . Art is a catalyst for turning theoretical ideas into a reality. Not confined to galleries and museums his practise engages with a broader public sphere through momentary installations and experiences. 
Durnin's art questions our very notions of ownership, authority and community allowing for momentary redefinitions of our current society.
t.e. 218 subterranean formation

The project is a research led investigation, using the tools, process, and soil / clay to inform the realised object. By allowing the material itself to be extracted and manipulated on site using set tools and processes, the clay informs its own aesthetic, creating a dialogue between the finished aesthetic, history of the location, and the process that was used. The process informs the clay and the clay informs the process. The ‘decoration’ becomes the marker of how and where it was created. This dialogue created between the tensions of the object and its creation allow us to explore the intricacies of the relationship between ourselves and the clay in which the object has been born, to pare back and strip the decoration to its most natural form, our processes will facilitate the clay to express its own identity. Traditionally clay is dug out of the ground, refined and then shaped one way or another by a craftsman. In the finalised object you can therefore often see much of the craftsman and his energy.
The artists wanted to turn this process upside down and remove the individual from the material, where the finalised object is a result of a controlled uncertainty.
t.e. 218read more
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