In Nonfoux, in 1982, we started out heavily influenced by the Scandinavian tradition of glass and design in general, in which form and function take a leading position, or at least an equal position relative to any notion of beauty. Design implies these two components, and we felt that it was crucial to proceed within these defining boundaries. Simplicity of form and freshness of expression shaped the ideas with which we experimented.
We were convinced, and remain so, that any worthy object of functional use requires creativity of form first. We also grasped the idea of repetition in its very best sense. That is, repetition as disciplined training, even as an aesthetic approach to learning: a kind of yoga, in which skills are continually absorbed.
These works represent studio designs over the years, and although we ceased producing this body of work in 1997, we continue to accord it the same high value we always have.