chairs

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Lærke Ryom

Furniture designer, Copenhagen 

 Chair In Quilt (2022) is the result of an exploration of the potential within quilt. The familiarity of the material is challenged in the encounter with a furniture piece. As a piece of clothing the quilt wraps itself around the frame creating the shape, aesthetic and comfort of the chair.

Pictures by Peter Vinther

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Grace Prince 

Unsettled Balance 4, 2020 

Stainless steel with satin finish carved and stained poplar wood.

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Low chair by #DestroyersBuilders 

The practice is founded in 2014 and Antwerp & Brussels based.

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Dozie Kanu Chair [xvi] 2022 Steel, found oil canister and wicker

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Candle chair by Sussan Corrales 2023, made for Physical Education III, a group show curated by David Eardley for Pink Essay.

Paraffin, soy wax and cotton string

Emigrating to a new country has been about openness to change, to understand the need of adaptation. The constant variability of the day-to-day has made me more aware of life’s impermanence. In the past, I have focused on how factors like climate and gravity affect objects, for this piece I’m centering on how functionality can bring about physical change. In this piece, I’ve decided to explore the relationship between attachment and beauty, mediated through temporality. By using wax as a metaphor to change, decadence, and memory, I seek to build a bridge between my past, present, and future life.

You can read more here: http://officemagazine.net/pink-essay-physical-education-iii

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Mario Ceroli, Mobili Nella Valle, for Poltronova, 1966

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Net chair by Jun Hashimoto.

‘Net chair’ by Jun Hashimoto has been created out of one sheet of industrial stainless steel mesh, tied with a fine wire. this is the latest in the series which also include ‘thin chair’ and ‘web chair’ – all produced using the same method.

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Charlotte Kingsnorth  

Soft Boulder, hi!breed Chair 2021

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Maria Pergay Pouf Ruban / Ribbon Pouf, 2007 Stainless steel

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Low Chair in Jatoba and Maple Pinstripe 

Designer NJ Roseti

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Peter Murdoch Spotty chair 

United Kingdom / USA, 1963

polyethylene-coated cardboard20 h × 19 w × 18 d in (51 × 48 × 46 cm)

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Like a Tree Breathing through its Spectacles Chair by Isabel Rower, 2018 Bent Laminated Birch, Colored pencil

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Isabel Rower Colored Porcelain Chair 2019 Ceramic 30" x 16" x 17" Colored Porcelain Chair is an investigation of an object being more than itself. Of a chair being a chair but also a chair, a table/ottoman, and a cushion, possessing multitudes of purpose, use, and value. Of a chair being a chair but also a sculpture. Of a sculpture being utile, something supposedly oxymoronic. I have witnessed how there is nothing that isn't moving. How touching is a kind of seeing, and thinking is a kind of kissing. How In the words of the poet Marilyn Nelson “if one has the ear and takes the time, even the front page of the newspaper is laden with sonnets. The back of a cereal box contains songs. Language is an organ, a musical instrument. Which means that even when having an argument we are singing...” (Lewis, Robin Coste. “Broken, Defaced, Unseen: The Hidden Black Female Figures of Western Art.” The New Yorker, The New Yorker, 10 July 2017) Nelson’s beautiful idea of seeing poetry, or rather the poetic impulse, as pervasive in all aspects of life recalls a thought from Ben Lerner’s The Hatred of Poetry. He states how poetry exists in a realm of the virtual. While it is very much real, the act of rendering what is in the depths of the poet must succumb to the bitterness of the actual when attempting to communicate through the harshness of language’s capacity to express. Versus preserving the glimmer of the unreal that is the poem in its most pure truth. Lerner finds that “[he] tended to find lines of poetry beautiful only when encountered them quoted in prose, in the essays [his] professors had assigned in college, where the line breaks were replaced with slashes, so that what was communicated was less a particular poem that the echo of poetic possibility.” (Lerner, Ben. The Hatred of Poetry. Fitzcarraldo Editions, 2017.) This sentiment I'm sure is held by anyone who has ventured to tangibly realize an idea through the conduit of material, of the unfortunate gap between the original impulse and the thing that now sits before you. In working with ceramics I have never become to accustomed to the embrace of failure that is inherent in making something go from being ‘virtual’ into being ‘real’. I’m interested in exploring these gaps between the virtual and real in forms intended for functional. When does furniture, become sculpture? 

Words and photo by Isabel Rower

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Crystal Poem by Isabel Rower Swarovski Crystal Chair 2019 Swarovski Glass Crystals, Stoneware 38" x 17" x 16" Made in collaboration with Alison Sherpa.

Photo from Isabel Rower's website

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Vitamin-B12-Omega-3 Chair by Duyi Han (2021)

“Vitamin-B12-Omega-3” chair is inspired by the artistic form of classical Chinese furniture such as those in temples and imperial courts. It is completely covered in fine silk, hand-embroidered with the molecular geometry of Vitamin B12 (critical to nerve cells) and Omega-3 (fatty acid believed to be good for cardiac health).

As part of Duyi Han’s “Ordinance of the Subconscious Treatment” collection, this piece is considered a device that records human cultural history. It updates the decorative content of classical Chinese furniture and reflects a contemporary belief in the modern scientific side of (mental) health.

The embroidery is done by highly experienced craftspeople in Suzhou, China. The chair is made by experienced professionals at Duyi Han’s collaborative workshop in Shanghai.

Words by Adorno Design

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LOVE THIS ONE SO MUCH!

KATIE STOUT, Bonnet chair 1, 2020

Unique chair made from 3M reflective fabric, vinyl, batting, and organza.

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KATIE STOUT

Bonnet Chair 2, 2020

Unique chair made from muslin, paper pulp, foam and batting.