Domingos Tótora x 艺术 | 循环交织

▲‍Domingos Tótora Works

Domingos Tótora

是巴西米纳斯吉拉斯州南部曼蒂奎拉山脉中一个名叫

Maria da Fé

的小镇的居民，他在完成学业后回到了家乡，选择纸板（回收材料）作为他作品的基础，在艺术和设计之间进行了探索。他精心制作的作品包括花瓶、水果碗、中心装饰品和家具，灵感来自大自然的原色，如树皮、石头和泥土。他的作品的纹理捕捉到了光与影的交织，与穿越山谷的强烈阳光交相辉映。

Domingos Tótora, a native of Maria da Fé, a town nestled in the Mantiqueira Mountains in southern Minas Gerais, Brazil, has returned to his hometown after his studies, choosing cardboard (recycled material) as the cornerstone of his work, which navigates between art and design. His exquisitely crafted pieces include vases, fruit bowls, centerpieces, and furniture, drawing inspiration from the primary colors of nature, such as tree bark, stones, and earth. The texture of his objects captures the play of light and shadow, echoing the intensity of sunlight as it traverses the valleys.

Tótora的原型是通过一个同时进行的过程开发的，在这个过程中，概念和执行齐头并进，从原材料到经济和社会方面，在各个层面上相互补充。在Tótora的作品中，废弃的纸板与水和胶水混合在一起。由此产生的纸浆形成了一种“新材料”的基础，这种材料在强度方面接近木材。

Tótora's prototypes are developed through a simultaneous process where conception and execution go hand in hand, complementing each other on all levels, from raw material to economic and social aspects. In Tótora's work, discarded cardboard is mixed with water and glue. The resulting pulp forms the basis for a "new material" that approaches wood in terms of strength.

设计师在注意到他所在城市的超市里有大量废弃的纸板后，构思了这种材料。由此产生的作品是家具、物品和雕塑，由当地工匠在

Domingos Tótora

的指导下手工制作的。他的作品通过可持续的过程创作，是巴西倡议的一个主要例子，该倡议促进工艺，为弱势群体创造收入，同时尊重环境。它解决了社会和环境方面的问题，这是当代设计评估的关键考虑因素。

The designer conceived this material after noticing the large quantity of discarded cardboard from supermarkets in his city. The resulting pieces are furniture, objects, and sculptures handcrafted by local artisans under the guidance and direction of Domingos Tótora. Created through a sustainable process, his work is a prime example of initiatives in Brazil that promote craftsmanship to generate income for disadvantaged populations while respecting the environment. It addresses social and environmental dimensions, which are crucial considerations in contemporary design evaluation.

Tótora曾荣获2010年巴西住宅博物馆家具类设计奖，可持续设计TOP 21奖，他的作品被伦敦设计博物馆选为2011年最佳作品之一-- 2011年英国保险设计奖。2022年，

Domingos Tótora

的作品

“mago Sculpture”

入

围LOEWE基金会工艺奖决赛。

Tótora has been honored with the Design Award from the Museum of Brazilian House 2010 in the furniture category, the TOP XXI Award for Sustainable Design, and his work was selected as one of the best of 2011 by the Design Museum in London - Brit Insurance Designs of The Year 2011. In 2022, ' mago Sculpture’by Domingos Tótora was one of the finalists of the LOEWE FOUNDATION Craft Prize.

在成立于2005年的工作室中，Tótora在开发原型的同时也在制作作品。工作的美不仅仅在于最终的结果。它体现在它的创造理念和对环境的尊重。对他来说，可持续发展应该是一种实践，而不仅仅是一种演讲。它的生产过程是100%的手工和纸板完全重复使用。近年来，其作品的独创性和优雅性在多个展览中得到了认可。

In the studio founded in 2005, Tótora develops prototypes simultaneously for the production of the pieces. The beauty of work is not just the end result. It manifests itself in its philosophy of creation and respect for the environment. For him, sustainability should be a practice and not just a speech. Its production process is 100% manual and the cardboard is fully reused. In recent years, the originality and elegance of his creations have been recognized in a several exhibitions.

Q1：你作为一名艺术家和设计师，如何描述自己今天的角色？你希望通过自己的创作传达什么信息？

How would you describe your role as an artist and designer today? What do you aim to communicate through your creations?

DT：通过我的创作，我的目标是挑战艺术和设计之间的区别，借鉴我作为艺术家和设计师的不同背景。我并不拘泥于单一的标签，而是拥抱艺术家、工匠和设计师的角色，探索这个多面领域的无限潜力，在这个领域中，艺术和设计之间的界限是流动的、不断变化的。

Through my creations, I aim to challenge the distinctions between art and design, drawing upon my diverse background as both an artist and a designer. Rather than adhering to a single label, I embrace the roles of artist, craftsman, and designer as I explore the limitless potential of this multifaceted realm, where the boundaries between art and design are fluid and ever-evolving.

通过对废弃纸板的处理，我创作的艺术品与周围环境中的有机形式密切相关。我不是受到自然的启发，而是努力与自然同步存在，认识到所有生物的相互联系。我的艺术过程是一种自然的，甚至是诗意的，从混乱中不断流动的过程，我解构和重组材料，使我的创作充满活力。通过我对物质和自然无限可能性的不断重新创造和探索，我将它们视为在我的工作中被审视和理解的对象。作为一名艺术家和设计师，我试图让我的作品在全球化的世界中充满强烈的归属感和独特性。

Through my manipulation of discarded cardboard, I craft artworks that intimately connect with the organic forms in my surroundings. Rather than being inspired by nature, I strive to exist in sync with it, recognizing the interconnectedness of all living things. My artistic process is a natural, even poetic ongoing flow from chaos, as I deconstruct and reorganize materials to imbue my creations with a sense of vitality. Through my constant reinvention and exploration of the boundless possibilities of matter and nature, I view them as objects to be examined and understood in my work. As an artist and designer, I seek to imbue my work with a strong sense of belonging and the celebration of uniqueness in a globalized world.

Q2：用你独特的材料，你创造了一系列的艺术和设计对象。用同一种材料创作不同作品的过程是怎样的？

With your unique material, you’ve created an array of art and design objects. What is the process like when creating various works from the same material?

DT：这种材料具有不可思议的可塑性，我对它的多功能性印象越来越深刻。虽然我对研究其他材料持开放态度，但回收纸板的可能性尚未耗尽。我经常说，纸板来自木材，而通过我的技术，纸板又回到了它的原点，并因其强度再次成为木材。

This material has incredible plasticity, and every day I am more impressed with its versatility. While I am open to researching other materials, the possibilities with recycled cardboard have not yet been exhausted. I often say that cardboard comes from wood, and with my technique, it returns to its origin and becomes wood again due to its strength.

Q3：你的童年沉浸在大自然中，经常在农场帮助父亲，帮助当地人建造家园。这对你尊重自然和设计自然的想法有什么影响？

You spent your childhood immersed in nature and regularly helped your father at the farm and assisted locals in building their homes. How did that impact your idea of respecting nature and designing with it in mind?

DT：我的童年是一个重要的发展时期，一直影响着我。当我回顾我的过去时，我意识到我今天的艺术语言充满了我在那段时间遇到的形状和纹理，包括峡谷中的红土和定居者用祖传的 Pau a Pique 技术建造的房屋的纹理墙壁。这些墙壁是用压制的粘土在竹格上制成的，用一种叫做Tabatinga的白粘土涂上颜色，需要经常使用红色和赭石的混合物进行润色，以达到不同的色调。我非常喜欢参与把白粘土变成颜料的过程，这种经历对我的艺术发展产生了持久的影响。

The time of my childhood was a significant period of development that continues to influence me. When I look back on my past, I realize that my artistic language today is infused with the shapes and textures I encountered during that time, including the red earth of the ravines and the textured walls of the settlers’houses built using the ancestral technique of Pau a Pique. These walls, made of pressed clay on a bamboo lattice and painted with white clay called Tabatinga, required regular touch-ups using a mixture of red and ocher earth to achieve various shades. I greatly enjoyed helping with this process of transforming white clay into paint—an experience that has had a lasting impact on my artistic development.