"His practice approaches materials as active systems rather than tools. 'I stopped seeing materials as isolated objects and started understanding them as parts of a system that activates space and the body,' he tells designboom. This approach is currently reflected in Forms Without Briefs, Rigalo's exhibition at The Great Design Disaster in Milan, on view until December 30th. In recent months, clay has become central to his practice."
"Raw, unstable, and time-bound, it collapses drawing and building into a single gesture, forcing the maker into constant dialogue with the material. 'Clay never gives itself completely. You don't decide. You negotiate,' he says. The openness of the material, until the final, irreversible moment of firing, reinforces a way of working grounded in uncertainty, correction, and presence. designboom discusses with the designer his early years on Olympic-scale construction sites, his recent immersion in clay, and his commitment to process over outcome."
Harry Rigalo works between design and sculpture, creating objects that read as furniture, relic, or offering. He understands materials as active systems that activate space and the body. Clay has become central to his practice because it is raw, unstable, and time-bound, collapsing drawing and building into one gesture and requiring continuous negotiation until firing. Early work on Olympic-scale construction sites provided embodied knowledge of weight, tension, and structure through fatigue, repetition, and failure. Rigalo values process over outcome, embracing uncertainty, correction, and presence in making.
Read at designboom | architecture & design magazine
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