A seat and its double: on one side it encloses and protects, on the other it opens up and welcomes. A clear ambivalence
which artificially separates form and content, images and concept. The original name, hood, evoked this double function.
The impact is intense, and everything is a game of contrast: the three-dimensional seat seems to imply the
two-dimensionality of a drawing, the overlapping colours do not divide but complement, tension is not alleviated but
stabilised. Clarissa is a dynamic easychair, ready for action but open to relaxation, a temporary suspension of
activity. A combination of competition and collaboration, provocation and aesthetics.