Drawing inspiration from his family of bakers, Baietto infuses his work with a sense of craftsmanship that is both tangible and profound, just like any respectable baker would. Case in point: Residual Blueprints. For the latest instalment of The Art of Raw — our very own art series — Baietto created two objects using recycled jeans from our Return Your Denim program. The artist crafted a porcelain room divider and aluminum dining table, both showcasing clear traces of labor. Buttons, stitches, seams, patterns. Details that serve as a tangible archive of the craftsmanship and industrial processes of garments on the verge of their lifecycle.
“The idea of producing collections and taking inspiration from patterns and industrial pasts inspired me,” Baietto told us about his recent visit at our global headquarters. “But also the recycling process and story behind the materials. There is a clear connection between G-STAR’s creative process and mine.” Sitting down inside Baietto’s studio on a freezing winter day, we talked more about his practice, family lore, and the story behind Residual Blueprints.
19 March 2025
Art
Residual Blueprints
A larger-than-life stroller for men. A disheveled raccoon puppet named Teun. These are just some of the peculiar objects you’ll find in Bruno Baietto’s antikraak studio in the heart of Amsterdam East. Blurring the lines between art and product design, while infusing satire and social commentary, the Uruguayan-Brazilian artist and designer is carving out his own path.
Can you tell us a little bit about how you arrived here in the Netherlands and how that shaped work as a product designer?
I came to the Netherlands to study at the Design Academy Eindhoven. I have a mixed background in product design and visual arts, and I wanted to bridge these two practices through the education here. The Netherlands is a good place to host hybrid practices, unlike other countries where there is a strict division between art and design. My practice is very interdisciplinary, looking at design as a source of inspiration and critique. I focus on design methods, the design industry, and the objects themselves, sometimes occupying an art space. It’s split between satirical, critical work and material, introspective work.
I came to the Netherlands to study at the Design Academy Eindhoven. I have a mixed background in product design and visual arts, and I wanted to bridge these two practices through the education here. The Netherlands is a good place to host hybrid practices, unlike other countries where there is a strict division between art and design. My practice is very interdisciplinary, looking at design as a source of inspiration and critique. I focus on design methods, the design industry, and the objects themselves, sometimes occupying an art space. It’s split between satirical, critical work and material, introspective work.
You come from a family of bakers. How does that influence your work?
In a bakery, you produce things from scratch, and the craft is essential. This relates to the work of a designer, where you mix materials to create a final product. The labor and effort behind producing something are reflected in my work.
There’s also the aspect of paying attention to details, like with ingredients when you’re baking something…
Yes, absolutely. The baker's work is a pile-up of actions, and each ingredient and tool have their own labor behind them. This concept of layered labor is something I also reflect on in my work.
How do you combine design and functionality?
Functionality in my work comes from a place of intentional disturbance. For example, a table could be fully flat, but I add objects to it to join the discussion happening on top. These alterations are meant to remind us of what is left behind or meant to be discussed. Even if an object becomes fully unusable, it still serves as a table or room divider with a message.
In a bakery, you produce things from scratch, and the craft is essential. This relates to the work of a designer, where you mix materials to create a final product. The labor and effort behind producing something are reflected in my work.
There’s also the aspect of paying attention to details, like with ingredients when you’re baking something…
Yes, absolutely. The baker's work is a pile-up of actions, and each ingredient and tool have their own labor behind them. This concept of layered labor is something I also reflect on in my work.
How do you combine design and functionality?
Functionality in my work comes from a place of intentional disturbance. For example, a table could be fully flat, but I add objects to it to join the discussion happening on top. These alterations are meant to remind us of what is left behind or meant to be discussed. Even if an object becomes fully unusable, it still serves as a table or room divider with a message.
Can you tell us more about the story behind Residual Blueprints?
My pieces are part of the same story, inspired by G-STAR’s recycling process. The recycled denim loses its manufacturing past when processed, and I wanted to keep this history alive. The room divider, for example, is reminiscent of glass walls from the ‘80s and modernist logic, taking materials used in interior architecture and giving them a central stage.
How were these pieces made?
Both pieces follow the same logic of production. The denim is imprinted on sand for aluminum casting, similar to playing with negative shapes on the beach. The aluminum fills the imprint, creating the final shape. The porcelain tiles are made using molds and hand-pressed porcelain, repeated in a production line mindset.
What challenges did you encounter during the creation process?
Choosing the right denim for texture was challenging, as some materials didn't translate well. The weight of the final pieces was also a challenge to move. The repetition and labor-intensive process were exhausting but essential to the work. The porcelain tiles took quite some time due to the long mold-making process. The aluminum casting was quicker, taking an afternoon for casting and a few days for mold preparation. Overall, the process took a few months.
You created two objects and gave them one name. Was this always your intention?
Yes. From the beginning, I wanted to create two pieces that are somehow talking to each other. And I also wanted to explore casting in different ways.
My pieces are part of the same story, inspired by G-STAR’s recycling process. The recycled denim loses its manufacturing past when processed, and I wanted to keep this history alive. The room divider, for example, is reminiscent of glass walls from the ‘80s and modernist logic, taking materials used in interior architecture and giving them a central stage.
How were these pieces made?
Both pieces follow the same logic of production. The denim is imprinted on sand for aluminum casting, similar to playing with negative shapes on the beach. The aluminum fills the imprint, creating the final shape. The porcelain tiles are made using molds and hand-pressed porcelain, repeated in a production line mindset.
What challenges did you encounter during the creation process?
Choosing the right denim for texture was challenging, as some materials didn't translate well. The weight of the final pieces was also a challenge to move. The repetition and labor-intensive process were exhausting but essential to the work. The porcelain tiles took quite some time due to the long mold-making process. The aluminum casting was quicker, taking an afternoon for casting and a few days for mold preparation. Overall, the process took a few months.
You created two objects and gave them one name. Was this always your intention?
Yes. From the beginning, I wanted to create two pieces that are somehow talking to each other. And I also wanted to explore casting in different ways.