Uros Mihic is a designer who works with paper, giving it three-dimensional form through precise folds that give rise to unusual origami objects, some accordion-like and large, as in his model of Milan’s cathedral. Today he is in the studio of Caterina Crepax, amid paper objects of such different form that they might be made of another medium. There are gauzy gowns, lavish with detail, and mannequin-like busts –one that rises out of a two–tiered city, with streets encircling a head that opens up, hollow. For just a moment, their contrasting styles might preclude a joint project. But that swiftly evaporates with the talk of craft: Mihic is intrigued by how Crepax processes the paper to achieve such forms and textures, while she is fascinated by his precision.
“Caterina and I both see paper as a simple material that is very versatile,” says Mihic. “This vision unites us in spite of our different professional paths.” In the coming days, he sketches a series of objects –atypical boxes– that start with the hexagonal grid of origami. Together they develop a sophisticated execution technique since the objects are relatively simple in volume. Both agree that the joint project has gone really well. “I’m creating a product I’ve never done before,” says Mihic, “and Caterina is applying established techniques in a new, innovative way.” Crepax thinks the paper boxes express their two natural inclinations: “They are modular geometric structures that can be combined in a free and creative way,” she says. “It’s been an unpredictable, stimulating meeting.”