BIG-GAME realizes the Heritage in Progress collection. Faced with the mark of this unaccomplished fact, we have to admit that forcing heritage to progress and placing it in working order, to use Picassos terms, requires working as seriously as a child plays. Heritage slides over time and it is through that
play that they invite us not to let ourselves be possessed by it, but rather to consciously try always carrying it away. And by this movement brought to constant perpetuation, one questions the meaning of ownership. The traditional hunting trophy amidst the paintings and velvet curtains has always seemed to want to pass for a decorative object, that is, with a subjective utility. And yet this object imposes itself with such force that any uncertainty about its
essential purpose is quickly erased : power. BIG-GAME introduces this object into the functional universe of design, thus acknowledging its utilitarian role, and the way in which the object is handled, works as a symbolic reversal. The form is recognizable, but this time, it is no longer a living being transformed into an object by the irreversible, but rather an inert object that is brought to life through the imaginary. In carrying out this alchemy, BIG-GAME recaptures the system of building wooden models for children, which exist as helicopters, dinosaurs or any other form subject to childhood fascination. In their hands, the legs of the table, recalling the columns of a temple, will have to merge into their modernist essence : the trestle, devoted, as all industrial objects, to the dogma of rapidity. Then, the lampshade of the bourgeoisie is presented to the building site lamp and together they give birth to a light with a regenerated gene. In addition, the cut-out silhouettes of high cultureÕs ambassadors are transformed into coat pegs and so are covered, as mirrors in certain mourning homes. They thus learn humility ; obliged to disappear into the nobility of function. These material traces of our history are no longer binding us into the self-identify cation with our ancestors. From the heaviness of these objects and their social codes, only the essence and formal reminiscence is preserved. Therefore, while they may be converted into nomads by their symbiosis with the pragmatic industrial object, in exchange to the often planned obsolescence, they simultaneously provide roots and encouragements to settle down. With Heritage in Progress, BIG-GAME maintains an equally temporal and social discourse on hybridity, in which they feed todayÕs urgent reconsideration of progress. What follows will tell us, whether they consider that their design should outline the vulnerable temerity of a reply to the burning questions they pose humorously.