As for the lingam, it is impossible not to notice it. The designer describes it as an altar that stands out almost in any home environment: “This is precisely what I was looking for. Masculine strength is too often seen as destructive and violent, traits that unfortunately exist, but I think it is also fair to underline other aspects, and to black and white this vision ”.
At first glance, the zebra pattern that surrounds the Lingam vase appears to be a non-Indian aspect, but Venturini disagrees: “It is a very primitive pattern, the black and white stripes belong to all traditions as firsts. geometric dimensions, almost an archetype. . In the Lingam vase, the lines tend vertically and change in width, turning upwards. I decided to accentuate the movement, suddenly the black remains more concentrated in the lower part, going from dark to light at the top, the black lines narrowing as they approach the top, in a dynamic movement. and winding.
According to the designer, the vase is so basic that it adapts to any space, from a traditional setting to a more contemporary one. Yet the unexpected feature is a small container neatly hidden at the top: “It can be used as a vase, but there is also a hole for the incense sticks. It can be used to hide something, a secret space for pleasure items, from chocolates to precious items, ”he explains.
Venturini now devotes himself to painting the natural world, in particular animals, including domestic ones. He’s never worked on any other Indian-inspired piece, he says – and yet the lifelong fascination with India seems to persist: “I didn’t realize it until present, but one of my last photographed in Jaipur at night, an animal seen in a sacred dimension and in the simplicity of life.