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India Mahdavi | Achromia

印度·馬達維 | 無色系列

比雷埃夫斯，Polidefkous 39 號，Carwan Gallery Athens | 2022年5月28日 – 8月13日

Carwan Gallery 委託建築師暨設計師 India Mahdavi 創作的一項全新作品，旨在探索無色彩狀態下的形式。

純白是古典主義的標誌之一——至少我們已深信如此。儘管世界各地的博物館中陳列著無數潔白如玉的大理石雕像，但考古學研究顯示，古希臘人和古羅馬人其實習慣將他們的雕像和建築漆上豐富的色彩。深紅、群青、明黃、青綠以及其他鮮豔奪目的色調，常被運用於令人驚嘆的幾何圖案和對比鮮明的配色中。這種原始的視覺效果，與西方視角中所認定的古典理想大相徑庭。本質上，歐洲新古典主義所推崇的「無色」，以及隨後影響了西方「素白」與東方「彩繪」之間二元對立觀念的這種現象，實則源於一場歷史性的疏忽。

“A fantastical version of the East”

A prominent figure in contemporary design, Paris-based architect and designer India Mahdavi uses colour widely and innovatively. Her unique polychrome language has become her signature, widely copied across the world, virally published, and critically acclaimed. Whether it’s an iconic pink-hued restaurant in London or a sprout-green tea room, vivid colour schemes are the defining trait of everything she touches.

The Iranian-born designer’s work is notable for referencing disparate cultures and disciplines, thanks to influences gleaned from a nomadic childhood that led her from the Middle East to New England to Europe. She calls herself “a polyglot and a polychrome”, meaning that she uses many different design languages and loves bringing colours together in brave new combinations. Like a scenographer capturing the perfect frame, her passion for film reveals itself in the cinematic qualities of projects spanning the fashion, furniture, retail, and hospitality industries. Yet, it’s her bold tones and patterns that serve as the building blocks of Mahdavi’s kaleidoscopic world — an antidote to the minimal, monochromatic palette so prevalent in contemporary interiors. About colours, India Mahdavi says: “They are the light and shade of all the Souths I originate from, which have become the expression of the nostalgia of a paradise lost and which animate in me the desire to imagine others.”

The designer has barely lived in the Orient, yet she constantly draws inspiration from there. The polychromy of her work is often interpreted along the polarities of the achromatic West and the colourful East, not only by critics, but also by friends. The artist Adel Abdessemed has described Mahdavi’s work as “a fantastical version of the East that doesn’t exist in the East, a sort of dreamed image”. It is, we could say, a new interpretation of the Orient through her eyes, a re-invention of Levantine aesthetics, the re-telling of a whole chapter in the genealogy of Western visual culture that has faded from collective memory.

A series of objects about the absence of colour

The new commission by Carwan Gallery is a reflection on the link between India Mahdavi’s work and the erasure of colour from classical art and architecture. The challenge given to Mahdavi was to reinvent her most iconic objects and translate them into a ‘contemporary error’ of art history by removing colour from them, resulting in achromia — which lends the exhibition its title.

This counter-intuitive gesture generates a new perspective on her work, just like the erroneous colourlessness of Ancient Greek temples and statues changed our perception of how they were meant to be experienced. The appearance of Mahdavi’s objects changes as soon as their colour is taken away, immortalising them in a ‘historic error’ of interpretation. They underline this specific historic negation, meditating — through its absence — on the power of colour, how it conditions our perception of space, and its psychological impact.

Mahdavi’s virtuosity with colour sometimes overshadows her way with form. One of the aspirations of this commission is to also reveal the formal qualities in her work — an exercise that Nicolas Bellavance-Lecompte, Carwan’s founder, almost imposed on the designer over a whole year of negotiations, pushing her towards a completely new avenue of experimentation that is an essay on the significance of colour. In her work in general, Mahdavi’s approach emerges from a constant research of light revealed by her association of colours and textures. As such, the intervention on the objects designed for this series followed the idea of capturing light — as in the way the grooves on a doric column catch the light — emphasising new textures and sculptural details.

The series of objects is composed of signature pieces designed by Mahdavi over the past two decades, ranging from the iconic Bishop series to the Alber and Diagonal tables, executed in marble. This unique new expression of them being colourless unveils each object’s true lines and geometries. All objects are carved in Pentelic marble, a material chosen by sculptors and architects throughout history for its excellent quality and its white colour that has a golden sheen when hit by sunlight. Each object is handmade in Greece, combining advanced digital technology and craftsmanship at Delta Marmara workshops, on the outskirts of Athens.

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印度·馬達維

法國巴黎

自 1999 年在巴黎開設室內設計工作室以來，India Mahdavi 不斷突破創意諮詢的界限，從設計跨足至建築、場景設計與造型領域。她遊歷世界各地，發展出一套嚴謹且不斷翻新的美學與建築語彙，並體現在她的每一個專案中。她最重要的作品包括倫敦的 Claridges 酒店、摩納哥的 Monte Carlo Beach 酒店等機構，以及如阿爾勒的 Hotel du Cloitre 或巴黎的 Thoumieux 酒店等，她為這些更具私密感的空間注入了獨特的靈魂。憑藉豐富的藝術合作夥伴關係，她近期與 M/M (Paris) 攜手打造了位於巴黎巴士底廣場的 le Café Français，並正與 Joseph Dirand 合作，為 Oetker 集團的 L’Apogée Courchevel 酒店進行設計。

Frame 雜誌終身成就獎，2025 年 Dezeen 獎入圍名單（年度室內設計師）

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電話：+852 3008 5615
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