Magna Graecia is a terracotta collection designed by Antonio Aricò for Seletti and presented at Maison&Objet in January 2023. The name refers to the Greek cities of Southern Italy, and the pieces borrow from their vocabulary: capitals, meander friezes, waves, antique busts, and amphorae with ...
Magna Graecia is a terracotta collection designed by Antonio Aricò for Seletti and presented at Maison&Objet in January 2023. The name refers to the Greek cities of Southern Italy, and the pieces borrow from their vocabulary: capitals, meander friezes, waves, antique busts, and amphorae with combat scenes. Aricò chose terracotta for its ordinariness—"a seemingly very humble material with which you can create magic," he told designboom—and for its raw color and irregular thickness, which he celebrates rather than corrects. The pieces are formed in handmade molds, which explains why no two are exactly alike: the shade and surface finish vary from one example to the next. The designer intends them for use on a patio, in a garden, or on a porch, just as much as in a living room or entryway. However, Seletti provides no information regarding glazing, frost resistance, or watertightness; for outdoor use, a sheltered location remains the prudent choice. All pieces in the series share the same clay, allowing them to be grouped together without worrying about variations in finish.
The Caraffa reproduces the silhouette of an antique pitcher, with a fluted body, coiled handle, and pinched spout, in the pink version of the collection. Dimensions: W 23.5 × D 19 × H 28 cm.
Where the design comes from
Magna Graecia refers to the cities founded by Greek colonists on the coasts of Southern Italy and Sicily starting in the 8th century BCE. Aricò, who was born and is based in Calabria, draws on this region motif by motif: the Dorico vase cites the Doric order, the Greca vase the meander frieze, the Onda vase the wave pattern, the statues refer to the Riace Bronzes, and the head vases draw on the tradition of Caltagirone ceramic heads. The capital no longer sits atop anything; instead, it serves as a base or pedestal. Together, they form an archaeological repertoire treated without solemnity, which the publisher characterizes as contemporary irony.
