STORY
I'm having breakfast by the river, facing the windows of the street. An old man is having a drink. Four or five young people are exchanging phones, looking at selfies just taken with the front camera. The sound of a bell and a bamboopole gets closer, and a small cart stops at the entrance. The old man touches his head, playing with a camera. A boy quietly takes a small gift from his bag and hands it to another boy. The sweaty young man with the cart shouts towards the kitchen to start unloading. A box of tomatoes. The old man's potato chips fall on the ground. The boy who received the gift hugs his friends goodbye one by one, taking three steps and turning back each time, raising hishand higher and waving bigger with each turn. A box of mushrooms. Tourists on the bridge further away always stop to take pictures. A box of leafy green and oily lettuce.
On the abandoned table sit half-empty cups, crumpled napkins, and an ashtray with remnants of cigarette smoke-a scene of disarray. Yet, it is these very items that whisper their stories of life and precious moments. Objects, as often, reveal the passage of time, the contours of existence, intricate interpersonal relationships, and unexpected secrets.
The stack of coffee cups on the young people's table is cleared away as if nothing ever happened. The cart moves on to the next establishment, ringing its bell.
With this initiative, drawing inspiration from the artifacts prevalent in France, Spain around the 15th century and early China, commonstate pres-ents a series of new glassworks. Inspired by the essence of the moment—a subtle fusion of mystery and beauty— dubbed "RIPPLING".
