After graduating cum laude from IED (and taking an honorable mention for the Compasso d’Oro award in 2011), three years of experience with Marcel Wanders in Amsterdam and a return to Italy in 2015, he opened his own studio and began to work on many collaborations, from Moooi to Falper, Alessi to Fiam, Mongardo to Pianca: this is the background of Simone Bonanni, a (very) rising design talent, who with Orme has attempted to get away from the traditional schematics of the discipline, taking a path of emotions and fantasy.
Orme by Simone Bonanni @ Pianca & Partners
There are many subtractions and many additions in these mini-installations presented by Bonanni in the spaces of Pianca & Partners, all moving in the direction of harmony that naturally bonds the object to the context. Friulian in spirit (his way of narrating reflects the region’s genteel character), Bonanni has chosen the forms of everyday life to raise them to the status of an object-subject to observe, but not to touch. Kandinsky, unless one knows better, seems like a sculpture, offspring of that father of Abstraction, but instead it is a faucet: precisely this abstraction is the guideline that leads to its creation, of a tap that would (and does) work perfectly in a living area.
Duet is a double ring that becomes a pair of rings: from the banality of the form, with a small operation of addition, it reveals an object that leaves a vibrant mark on the gaze.
Mezzaluna is a small mincing knife, but with an apparently simple subtraction it becomes a brilliant, refined sculpture.
Mezzaluna,Orme by Simone Bonanni @ Pianca & Partners
And then Mosaici, Volumi, Theo, Obon, Hana, Domenica and Kyoto, objects and furnishings with a true story and a minimum common denominator consisting in the delicacy of the lines, the true fil rouge of the style of Simone Bonanni.
Kyoto, Orme by Simone Bonanni @ Pianca & Partners
Photo credits © Andrea Martiradonna
