The visual in the Miro Designroom advertisement in our last issue caught the attention of many of our readers. In fact, while we were preparing the magazine for print, we felt that there was something different about it and wondered about the house and the materials used in the image. No one can explain this effect better than Ms Münevver, therefore, before we leave you with this article based on the product Ibla shown in the picture, we would also like to wish Miro Designroom the best of luck in its new home.

Written by Architect, Münevver Özgür Özersay
Founding Director and Individual Project Sales Coordinator at Miro Designroom

 

What Goddess Ibla tells us with her ceramic Images

Ibla is actually an excuse. Yes, it’s true. I will tell you about Ibla later on in this article, but now I guess I’m more preoccupied with the power of an object; a visual image. The things I want to share with you revolve around it.  I am questioning the fact that I have been under its spell for the last couple of days. Maybe it’s because I came across this image on social media.

I came across this material on Instagram around the end of September. It was definitely September because I clearly remember the disappointment I felt after learning the Cersaie Exposition, taking place in Bologna, Italy had been cancelled again due to the pandemic. We were really looking forward to going this year, as we do every year. I try to follow the social media accounts of our manufacturing business partners (especially on Instagram) as much as I can. If you take a look at Ceramiche Piemme’s page you will understand why. Amongst the many similar posts, there is an image of a ‘flame’ which stands out and draws your attention. The Word ‘IBLA’ is written on the right side of the image, it is the only post with print. This post is a gateway! A flying carpet! A passage to another world through the lens of a stranger’s camera. You may not believe me and say I am exaggerating. Well, you are absolutely right. But you won’t know until you try. You can only understand me if you take a look at the post.

Our Miro will be entering its 14th year in January 2022. For so many years we have been encountering and finding new materials and products. All of them are beautiful and unique. We have numerous products that appeal to different purposes, different needs and different budgets. We find and like some of them at expositions and others we come across as photos. For the most part, we approach photos sceptically and ask for samples. When the samples are delivered, we get the feel of the material and examine them closely. Especially the ceramics. Caressing the surface with your finger-tips helps you understand the texture better. This is how we get to know our materials. It’s a very refreshing feeling. How can I explain it? It’s like a hand and a glove. The close fitting feeling you get when you put your hand inside a glove. Or, it’s like putting on clothes. Clothes cover a body and become a part of it. There is very close contact.Moreover, the feelings of a person wearing an outfit are different from people looking at the outfit from the outside. For one there is a tactile feeling and for the other there is a visual feeling. There is a similar relationship and sensory bond between the human body, material and space. Both visual and tactile. Even auditory as well. Some materials even have a certain smell and taste.

Coming back to Ibla. At least three people working at Miro were attracted to the visual photo of Ibla completely unaware of each other’s tastes in style. They felt a visual bond with the material just by looking at the representation of it.

We were surprised that this representation could even surpass the truth in the sense of those (in other words us) who perceived it. Just like we were by the photo of the Afghan Girl taken by a photographer named Steve McCurry years ago and printed on the cover of the June 1985 issue of National Geographic.

The Afghan girl, Şarbat Gula (Şerbet Güle) had been orphaned because of the war and Steve McCurry took her photo while she was in a refugee camp in Pakistan. Later this photo was printed on the cover and many people were enchanted by the image. This enchantment wasn’t about the life of a 13 year old girl. İt was more about the actual photo. McCurry not only captured her spirit but also presented many contrasts very effectively, such as the girl’s beauty against the ugliness of her situation and her being so little against the large problems she faced. The intensity of these contrasts and dimensions of the photo have gained a lot of attention since it was published.

This is the similar enchantment I felt when I looked at Ibla’s images. I hesitated when faced with such contrast and intensity, then felt the urge to look into her eyes. I saw an asphalt black rock flirting with greys, whites and beiges. I visualised the new energy it could add to an old villa with its depth and mystery. I understood that not black, but darkness, could also be stylish.  I read the pain, tension and explosions brought by volcanic rocks in the past on her face. I heard a Sicilian goddess (Ibla) singing with fire and lava on an orange blossom (Ibla Zagara Flower) and how she cried out while giving birth.  I also heard the consoling lullabies of women humming while patiently embroidering lace onto rocks (Ibla Tombolo).

It felt as if I had almost touched the eyes of the Goddess Ibla whom we assume lived centuries ago. I witnessed how crafts and art are intertwined through the image which expressed the authenticity of the product so well. I went on a journey into the unknown with its video. By focusing on the restoration of a historical building (Villa Ibla) I then found a way to add contemporary ideas into the interior design. I imagined and felt the inclusiveness, courage and combination of tactile and visual sensations which could create the perfect oratorio for the interior design. I finally realised that this product was not a simple surface coating, as we could feel the immense depth of warmth reflected when used as an essential building element in the design.

Just like that, the visual representation of Ibla brought about a mixture of feelings and ideas caused by the contrasts, grace, superficiality and depth in the image. The embossing on the surface, the way it shines and the colours made me feel asphalt and fire.

Until we meet again with new metaphors, symbols and materials. Stay safe and happy. Good bye.

Traditional embroidery “Tombolo” & “Zagara” flower