ALABE Tables and Benches
A minimal curve can contain an entire idea.
The pieces presented here are not born out of whim or design as ornamentation, but out of the desire for objects to breathe. That they contain a tension in their form: between the firm and the light, between the geometric and the human, between being and moving.
Each table is a presence that does not need to be explained, but which transforms the space by inhabiting it. Its curves are not eloquent: they are necessary.
Narrative
In engineering, warping is the subtle twisting of a surface under certain forces.
In this table, ALABE is the gesture that frees it from stiffness.
ALABE is a table that contains minimal torsion. A leg that barely deviates from the perfect geometry, as if it were responding to an invisible force, as if the wood were remembering that it was once a branch, that it once knew what it was to yield.
ALABE is the will to deviate without breaking.
There is a minimal choreography in it: the memory of a body that adapts, of a thought that is not obstinate, of a matter that yields with dignity.
ALABE speaks of imperfect balance, of beauty that is not symmetrical.
It speaks of how life expresses itself through soft tensions, of how everything that is true tends to warp: time, the face, desire.
That curve is not ornament, it is gesture.
Like the warping of a surface that has felt something.
Like a natural response to the environment.
An internal movement that becomes form.
ALABE does not seek absolute symmetry.
It seeks the tension that creates harmony, the imperfection that gives meaning, the imprint of time on what remains.
In its structure there is rigour, but also freedom.
Like a body that adapts without losing its centre.
The curve at its base does not disorder: it balances.
It humanises.
It reminds us that beauty is not perfection, but that which vibrates with life.
