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Iconoclastic s. m. and f. [from gr. biz. είκονοκλάστης, εκών -όνος «image, icon» e -κλάστης from the  κλάω «break»] (pl. -i). 1. Follower, supporter of iconoclasty. 2. fig. Who exercises a destructive and subversive criticism of the principles, ideas and traditions that govern society.


The ICONOCLASTIC project reworks a classic of Italian artisanal culture such as porcelain and reinvents it according to forms and icons belonging to contemporary culture with the apparent aim of making it an “object of cult.”
It has a strongly eclectic matrix and reworks stimuli from fashion, music, contemporary visual culture in general, modeling them on a classical base: avant-garde and tradition mixed together. 
The authors of the project are the two creative founders of Daamstudio, a Venetian design studio that has been operating for several years both in Italy and abroad. In ICONOCLASTIC they pour the experience gained over years as brand designers & artistic directors for creative and cultural industries.
Their visual imagination, forged through the know-how acquired in the work, is transported in a collection of objects with a high visual impact and strongly symbolic, modelled by a reality operating for decades in the field of artistic porcelain and then spokesman of high Italian craftsmanship.



Being sustainable today is an a priori requirement. Iconoclastic was born as an ideal project, conscious and respectful of the values linked to man and the environment.
It does this starting from the raw material: clay. Poor and noble material at the same time, pure gift of the earth that thanks to water, first, and then fire, is shaped and stabilized in a precious but fragile solid element. There is no polluting interference in this process: only the skilled hands of craftsmen who first model the kaolin, then bake it by means of the plaster mold and finally paint it with natural pigments. It is an ancient process, dating back to the origins of man, perfected around the ‘700 with the various ceramic schools and handed down from generation to generation: this is why only skilled artisans can deal with this process.


ICONOCLASTIC has chosen to rely for the realization of its objects on a company with a deep heritage in the production of Capodimonte and, specifically, to the hands of the sculptor Luciano Cazzola who has fifty years of experience in the field.

A reality well inserted in the artisanal fabric of the area of Nove (VI), specialized in ceramic production.

A way to strengthen local entrepreneurship and perpetuate traditions otherwise destined to dissolve in the innovative fury of the times.



Last requirement in the perspective of a sustainable ethic is the role of time: in this frenetic era, made of frantic production, we care to create “slow” objects, where the waiting time for their realization is an added value and not a discriminating one. Each “piece” in fact requires an adequate processing adjusted to the needs of the raw material and the rhythms of man, not machines. In addition, production takes place to order and in limited editions, so as not to overload an already saturated market of products. Slow objects, because each piece is desired and expected, and finally intended to last and be handed down.

We want to imagine that those who buy a piece ICONOCLASTIC are aware of these values and make themselves part of this movement, in order to collaborate, with an aware purchase, to make this world a better place.

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