Photo by Sean Michael Beolchini
May 01 2015
Ana Kraš is a woman.
Not many people know what quince is.
Failure is to make a bad salad.
Tomorrow, I will know.
The notion of celebrity is being actively redefined by a mainstream increasingly in favor of art and authenticity over glitz and glamour. In the millennial world, the Eameses are as fondly remembered as the Beatles, mainstream teens idolize Cy Twombly and William S. Burroughs, and low-key Ana Kraš has become a pop star in her own right. She’s a furniture designer, an art director, an illustrator, a photographer, a model—credentials that make her a contemporary Venn diagram of authenticity and good taste.
Kraš’ dichotomous childhood in Serbia was at once creatively liberating and marred by economic and political instability. After a brief stint as a fashion model in the US, Kraš returned to her home country to study at the University of Arts in Belgrade. Fascinated by objects and their creation, she focused her studies on interior architecture and furniture design. Her senior project, Hug Chair, debuted at Salone del Mobile in 2008.
Kraš’ artistic work embodies a childlike sentimentality that can be found in everyday objects. Her style blends abstracted forms with vivid color and handmade flourishes that lend an air of inclusivity, and its calculated yet gently messy precision makes it all the more elegant. She produces her Bon Bon lamps one at a time by hand. She shoots analog film exclusively. She illustrates in pastel and pencils.
She collaborated with RETROSUPERFUTURE in 2011, creating drawings and patterns for their Panama sunglasses. In 2013, she was commissioned by Süddeutsche Zeitung to create a DIY folding pop-up side table. More recently, she designed a limited run of varsity jackets for Band of Outsiders, each with unique patterning, hand-embroidered by Kraš.
Kraš is impossible to pigeonhole, and it is precisely this inability to pin her down that makes her the object of such intrigue.