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 incorporate their visual vocabulary: capitals, meander friezes, waves, antique busts, and amphora...
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 incorporate their visual vocabulary: capitals, meander friezes, waves, antique busts, and amphorae with battle scenes. Aricò chose terracotta for its ordinary nature—"a material that appears very poor, with which one can create magic," he told designboom—as well as for its raw color and irregular thickness, which he celebrates rather than corrects. The pieces are shaped using handmade molds, which explains why no two are exactly alike: the shade and surface finish vary from one item to the next. The designer intends them for a terrace, garden, or conservatory as much as for a living room or entryway. However, Seletti does not provide any information regarding glazing, frost resistance, or water tightness; for outdoor use, a sheltered location remains the prudent choice. All pieces in the series share the same clay, which allows them to be grouped together without worrying about variations in finish.
This particular stool is the pink version. The shape remains the same, with the head serving as the seat and the fluted base as the pedestal; only the color is applied to the terracotta. Dimensions: W 33 × D 31 × H 45.5 cm.
Three finishes exist for this model: raw terracotta, blue, and pink. The pink and blue versions are sold at the same price, while the raw terracotta is slightly cheaper.
The design's origins
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 inspiration motif by motif: the Dorico vase cites the Doric order, the Greca vase the meander frieze, the Onda vase the outline of a wave, the statues reference the Riace bronzes, and the head vases revive the ceramic head tradition of Caltagirone. As for the capital, it no longer tops anything; it serves as a base or pedestal. Together, they form an archaeological repertoire treated without solemnity, which the publisher presents as contemporary irony.
