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SIZED FOCUS

A BETTER FEELING is a product-based company created in 2018. The PUR_ABF_01 chair is a collaborative project between A BETTER FEELING and industrial designer Sebastian Kommer. It features a sleek aluminum beam frame contrasted with carbon-based wooden plate.

, 2022
A BETTER FEELING + Sebastian Kommer

Aluminum + foraged poplar burl wood
W 17.3 x D 15 x H 24.4 inches

ABF01SI

 (From the exhibition The World Theater), 1985
Paul Ludick

Lacquered wood, chain link fence
H 37 x W 18 x D 18 inches
(Seat 17 inches)

MHG09SI

Terence Main's work redefines the boundaries between art and design. The biomorphic elements of his works recall the fossilized remains of ancient creatures and vegetation. Overall, they often have the look and feel of natural phenomena rather than crafted objects. Looking outside the boundaries of classicism, Main responds to the rich material of primitive art with furniture that intimates the power of animist belief throughout human culture. One of his sinuous benches suggests a forgotten path or the spine of an extinct animal; the ambiguity of its place in the natural order augmenting the sense of desuetude and revealing the patterns in which this natural order is manifested. Main's work seems to exist within the generative and destructive cycles of nature.

Main's work is in the permanent collections of the Metropolitan Museum of Art, Brooklyn Museum of Art and the Cranbrook Academy of Art Museum, among others, and has been featured in numerous publications and exhibitions worldwide, including: Modern Furniture, The Metropolitan Museum; Art and Application, Turbulence, NY.

"My objects have always been about redefining the boundaries between art and design. The process is a personal idea history oriented "gut and soul" exploration in a territory that I have created for myself. I've married form and function, fact and fiction and art history with design history. My new objects have evolved to become more sculptural and texture based.

Cast aluminum
H 34.75 x W 18 x D 18.5 inches

MHG04SI

Over a prolific career spanning five decades in three artworld hotbeds—Venice, CA, SoHo and The Hamptons, NY—Gloria Kisch (1941–2014) developed a delightful yet rigorous body of work encompassing early minimalist paintings on canvas, large scale public art installations, and later floral sculptures, mobiles and furniture works – for which she is mostly known. Born in New York City to German immigrants, Kisch earned a BA from Sarah Lawerence and her masters from Otis College of Art and Design, where she studied alongside Bas Jan Ader and Barry Le Va. In the 1970s Kisch joined an intimate circle of feminist and post-minimalist artists living and working in Venice Beach, CA. She participated in the inaugural exhibition at Womanspace, Judy Chicago’s cooperative run feminist gallery which later became the Women’s Building, held landmark exhibitions alongside Bruce Nauman, Ed Ruscha, Kenneth Price and Richard Diebenkorn, and landed impressive solo presentations in museums, and large public art commissions when she transitioned from painting to sculpture. In 1981 Kisch returned to New York, set up a studio in the East Village, and began working with metal—primarily stainless steel for its permanence and ability to withstand the outdoors. Under the wing of Rick Kaufmann, Kitsch ventured into the realm of functional sculpture, how two solo exhibitions at Kaufmann’s iconic SoHo gallery Art et Industrie—a unique outpost known for showcasing radical design coming out of Europe and a platform for new talents in America. In 1991 she was included in a monumental group show titled Art and Application at Turbulence Gallery which placed her Functional Sculptures alongside art and design world luminaries Vito Acconci, Richard Artchwager, John Chamberlain, Wendel Castle, and Gaetano Pesce.

Aluminum, stainless steel
64 x 24 x 14 inches

GK02SI

Born October 31, 1953 in New York City. He is a fifth generation furniture maker. Joined the NYC gallery, Art Et Industrie in SoHo, in 1980, remaining with the gallery until its close in 1997, and was one of five core members who, during the 1980s and 90s, reinvigorated the artist-designed furniture genre in the USA. His furniture has been featured editorially in more than one hundred publications internationally; was selected for the redesign of the executive offices of Rolling Stone Magazine in New York, and was used as set decoration in the seminal 80s Hollywood film, Wall Street.
Howard Meister's art work has been exhibited and collected (as part of their permanent collections) by many museums and corporations worldwide; The Metropolitan Museum of Art (New York), The Art Institute of Chicago, The Brooklyn Museum, Queens Museum, The Art Museum of Rhode Island School of Design, The American Craft Museum (New York), The Beaux Arts Museum (Montreal, Canada), The Hudson River Museum, The Palm Beach Museum (Florida) as well as museums in North Carolina and Texas. Howard received the Metropolitan Home Design 100 Award in 1990 (Exhibited at the Citicorp Atrium, New York and Elements of Style). Howard has participated in exhibitions both collective and individual in New York City, Tokyo, London, Paris, Detroit, Osaka, Toronto, Chicago, San Francisco, Northampton, and Austin.

Since 1997, he has worked primarily in digitally manipulated photographic images and artist's books. Meister now lives in rural Massachusetts with his wife, Paula Zindler RN. They have a daughter, Caitlin, who is a voice over artist and photographer.

Metal, coyote fur
H 37 x W 16 x D 16 inches

MHG01SI

Aluminum, stainless steel
42 x 17 x 39 inches

GK01SI

C&D SERIES of 100. Each piece uniquely assembled from North American construction debris endemic to the rural building practices in the northeastern region. Namely the use of materials such as American chestnut (a critically endangered species), white oak, and pine. Rough cut lumber, saw banded 2x4s, oxidized steel pipes and scrap metal sheets. Topped by rubber castings from the R.A. WORKSHOP mold explorations.

, From Construction Debris Series, 2022
Rich Aybar, R.A. Workshop

Casted Urethane rubber, American chestnut, American pine, oxidized steel
H 80 x W 36inches (approximately)

RA05SI

The collection of gold tone incandescent objects in Richard Aybar’s breakthrough exhibition 

 are not a product of postmodern alchemy, but formed from organic primordial ooze. Cast in rubber, Aybar’s rocking chair, lamps, vases and innovative love seat table, assume elementary and historicized shapes that accentuate their raw materiality. His functional and tactile designs invite us to marvel at their resistant, resplendent, and sumptuous textures. Suspended in captivating amber silhouettes, Aybar’s collection provokes our inherent attraction to this mysterious polymorphic substance triggering our associations with both the materiality and iconography of his chosen medium, rubber.

Our physical and visual engagement with Aybar’s pieces signal a complex semiotic discourse present in his work. This collection of enigmatic objects simultaneously highlights and obfuscates the social and design histories behind Aybar’s unexpected material choice. Materiality is the central theme of Aybar’s design narrative. Rubber with its myriad of forms and functions, when applied to art and design, assumes distinctly Baroque tropes as a dynamic, decadent, and duplicitous substance. Subverting design canon, Aybar manipulates this organic and industrial material in provocative ways, delving into the uncertain intersection of commodity and aesthetics.

, From Amber Alert Series, 2019
Rich Aybar, R.A. Workshop

RA01SI

Shozo Michikawa (Japanese, b. 1953) is a ceramic artist based in Seto, Japan where he has maintained a studio since 1975. Michikawa creates expressive gestural sculptures inspired by nature, his native Japanese landscape, and steeped in centuries-old ceramic techniques. First acknowledging the traditional wheel-thrown vessel, Michikawa pushes the form to its extent, scratching and scoring the surfaces as well as twisting the structures along their central axis. The resulting works are quietly powerful sculptures with subtle traces of functionality. 

Michikawa has exhibited widely in Japan as well as internationally. His work is included in many important public and private collections including the Shimada City Museum, Japan, Victoria and Albert Museum, London, Los Angeles County Museum of Art, and Philadelphia Museum of Art.

Natural ash sculptural form, 2020
Shozo Michikawa

Stoneware, Anagama firing
H 27 x W 8.5 x D 8.5 inches

HB01SI

The House of Puiforcat joined forces with Bruno Paillard, renowned winemaker and oenologist from the Champagne region, to design the Champagne collection: a beaker to extol the aromas of the nectar, a bucket to keep the champagne cool and a line of accessories to heighten the tasting experience

Sterling silver
212 fl. oz x D 8.6 x H 12 inches

HP02SI

Loup Sarion (b. 1987, Toulouse, France) studied at Beaux arts de Paris (2010-2015) and Cooper Union, New York (2013).

Recent solo and duo exhibitions include: Saliva, Berthold Pott Gallery, Cologne; Cannibal Canyon, M+B, Los Angeles (w/ Daniel Boccato); Socrates Sculpture Park, New York; Milch in meinen augen, Kunstverein Heppenheim, Germany; Tuff Titties, Sorry We’re Closed, Brussels (w/ Al Freeman); Chapo, C L E A R I N G, New York (w/ Harold Ancart); Everybody is somebody’s secret, Berthold Pott Gallery, Cologne; Smooth like an alibi, Formatocomodo, Madrid; Langue Pendue, SpazioA, Pistoia, Italy.

Recent group exhibitions include : Carl Kostyál, Sweden; Galleria Continua, Les Moulins, France; NOIRE gallery, Milano, Italy; Espace 251 Nord, Liège, Belgium. In 2021, he founded MARROW, an experimental design project with Rafael Prieto.

Beeswax, charcoal, urethane, plywood
14 x 16 x 27 inches

LS01SI

A Southern California native born in 1962, the acclaimed fashion designer Rick Owens displays a demanding and singular aesthetic in fashion. His original vision plays on material. Owens lives and works in Paris, but the dark, minimalist style of his designs was created in the United States when he started out making bespoke furniture for his bunker-style loft in Los Angeles. Working with craftsmen of the highest caliber, he has developed a collection of pieces that express his signature style in cut, volume, and plan. His designs evoke original furniture through archetypes. There are a number of typologies: the ceremonial chair Curial, the Trident chair with its structure, and the Halfbox armchair crafted from a chest. Through his choice of subtle and rare materials, Owens suggests the beauty of nature and develops a contrasting palette of black and white that confirms his taste for the monochrome. He juxtaposes values to compose three-dimensional pieces that fully reflect his own style. Through fashion, design, and furniture, he cuts and shapes a transversal and global universe.

RO01SI

Kristina Riska (Finnish, b.1960) is one of Scandinavia’s foremost contemporary ceramic artists and a senior member of the Arabia Art Department Society in Helsinki.

Riska has been exploring, defying, and redefining the traditional tenets of ceramic sculpture since the 1980s. Her unorthodox, large-scale works, inspired by nature and the properties of light and shadow, embody her rigorous and physical approach to her work. Riska begins the conceptualization of her works on paper, her designs ultimately coming to fruition spontaneously as she works. Her process is a foray into the unknown; with each unplanned, instinctive manipulation of the clay, she establishes a non-physical “internal” space. She describes this space as a repository for her qualities of quietude, serenity, and concentration. Her unique ceramic sculptures are astounding in their technical prowess; their impressive scale is matched with equal delicacy; the artist creates forms that seemingly defy gravity and the constraints of the ceramic process. Her craftsmanship is evident as well in the beauty of her glazes, given the limitations of firing such monumental objects in the kiln.

In 1986, Riska exhibited at the Gallery Bronda, which could be considered her first critical success. On display were a series of vessels so large that the installation proved quite difficult. The State Art Collection purchased two works from the show, spurring a career in which she has been well recognized in her home country and abroad. In 1991 Riska exhibited jointly with the architect Kimmo Friman at Gallery Kluuvi. By this time she had abandoned all the traditional tenets of pot making - her curvaceous, imbricated, porous forms were recognized with prestigious accolades, including the State’s Suomi Prize in 1995 and a silver medal at the International Ceramic Contest in Mino, Japan in 2002.

HB06SI

Chris Fusaro is a Canadian industrial designer. He studied product design before earning a bachelor’s degree in sculpture from Concordia University. After working for a number of artists like Jon Rafman and Gaetano Pesce, he started his own practice in 2019.

Building on his formative experiences as an industrial designer for other artists, his practice aims to mediate art and industry. Using function as the premise for applied form, his designs acknowledge yet defy their convention. His work is the result of studying and emphasizing the formal qualities found in objects that reveal their structure, materiality or fabrication. He demonstrates values for both industrial production and craft, focusing on singular forms and techniques that distinguish his works from the mass made. Fusaro lives and works in Montreal.

Anodized aluminum
L 79 x W 28.5 x H 32 inches

CF01SI

AR02SI

AR01SI

Born in 1903, Charlotte Perriand exudes the optimism and energy of the 20th century in her life and her work. As a young designer in the studio of Le Corbusier, Perriand absorbed the values integral to his architecture for modern living: a commitment to function, a focus on simple harmonies of form and color, and a joyous embrace of technology. Bending machine-age materials like steel and aluminum into her iconic Chaise Longue and luxurious Fauteuil Confort; Perriand created above all design for living. In Perriand's world, life is lived through design; and good design allows freedom of movement and harmony of the spirit with the environment. Her many designs for storage units, free-form desks and pre-fabricated houses seem whimsical at first; though they stem from her participation in utopian planning movements of the early 20th century. Each design has a positive role to play in daily life: streamlining work, facilitating order, and fostering independence or community as the situation demands. While Perriand celebrated the role of technology in modern living; her enthusiasm was inflected by an abiding interest in the natural world. Her dwellings are optimized for sunlight on a summer morning or cooling breezes in the afternoon. An avid outdoorswoman and traveler, Perriand often searched for design solutions in the materials and craft traditions of the regions where she worked; an approach enriched by her travels to Japan and Indochina during the forties. Isolated from European technology by world war; she turned to paper, bamboo and ceramics, reassessing her work in light of the serene minimalism of Japanese aesthetics. Accordingly, Perriand's interiors are never simply rooms filled with objects. They are spaces full of light and air where work and play are carried on in accordance with the rhythms of the life and nature.

PE02SI

James Brown was born in Los Angeles, California in 1951. Brown studied at Immaculate Heart College in Hollywood, California, in the Print Department founded by Sister Mary Corita. In 1972, Brown transferred to Paris to study at the Ecole des Beaux Arts; he remained in Paris for 7 years. In 1979, Brown moved to New York, where he was grouped with other artists such as Keith Haring, Kenny Scharf, Donald Baechler and Jean-Michel Basquiat. Although Brown is best known for his painted abstractions and experimental prints, he has a long history with other mediums including ceramics, bronze, textiles, and artist books. In 1995, James Brown moved to Oaxaca, Mexico, where he and his wife founded the Carpe Diem Press, inviting leading artists and writers to create limited-edition books. His work is in various public collections including LACMA, The Getty Institute, MOMA NY, the Metropolitan Museum of Art NY, the Whitney Museum NY, Musée Georges Pompidou Paris and the Tamayo Museum in Mexico City. Before James and his wife Alexandra Brown died on February 22, 2020, they lived in Mérida, Yucatán where they worked for the last 17 years.

JHDB01SI

- 1 of only 40 carbureted examples
- One of only 328 examples built
- Largely original and offered from a prominent collection
- Outfitted with factory toolbox; includes owner’s manual and tonneau
- Signed by the legendary Valentino Balboni

Lamborghini has a history that is built upon a legacy of exotic, mid-engine supercars. In the 1980s, the firm tested the luxury, all-terrain vehicle market and the potential to apply it to military-grade applications. The idea was pioneered in 1977 with the Lamborghini Cheetah prototype with the hopes of securing a US Army contract. The rear-engined, one-off prototype showed promise but it was too exotic for the American military.

In 1981, at the Geneva Motor Show, Lamborghini unveiled a further design study based on the Cheetah, the LM001. The LM001 also had a rear-engine placement, and consequently suffered in handling and rear interior space. Lamborghini's principal, Patrick Mimran, assigned ex-Maserati engineer Giulio Alfieri to design a new concept that would address these short-comings. The result of his work made its debut in 1982. It was coded with serial number LM0002 and utilized the same V-12 engine from the Countach. With a front-engined layout, it had better handling and weight distribution, and allowed the rear cabin to be properly trimmed for six passengers. It rode on specially designed Pirelli Scorpion run-flat tires and was fitted with an early GPS navigation system.

The LM002 was officially introduced in production form at the Brussels Motor Show. It was a rugged SUV fitted with a broad array of luxuries, including leather interior, tinted windows, a high-fidelity sound system, and air-conditioning. Production continued through 1993 with just 328 examples produced.

This particular LM002 has seen limited use during its existence. It has been well maintained throughout its life, and retains its original Acapulco Blue paint and gray leather interior with wood accents. In 2011, Valentino Balboni, long-time test driver for Lamborghini, signed the car's dashboard.

This SUV has is factory-optioned toolbox, tonneau, and owner's manual. Power is from a V-12 engine fitted with six Weber carburetors. The 455 horsepower produced by the engine is sent to the rear wheels via a five-speed manual gearbox. At all four corners are ventilated disc brakes.

The car offered here features the desirable 

 wheels and is one of just 40 carbureted versions of the 328 examples built in total. The car is offered in exceptionally strong original condition, and was formerly the property of two notable American automobile collections.

MSP01SI

Illya Goldman Gubin is a Ukrainian Jewish multi-disciplinary artist based in Berlin, with strong ties to conceptual art and fashion. His work ranges from paintings and sculptures to furniture and clothing. The artist transforms paradigms, materials, space, and time into works that invite beholders to reflect and feel.

Aluminum, fiberglass, epoxy resin
H 11 xW 8 inches

IGG01SI

Claudia Girbau is a designer from Barcelona living and working in Milan. With a background in fashion; after graduating from Central Saint-Martins and the Royal College of Art in London, she started working at Prada as a womenswear designer. Starting the pinasaan series in 2019, she has since presented her work at Collectible Fair (2020), Salone del Mobile in Milan and Dutch Design Week in Eindhoven (2021).

CG01SI

Klaus Jürgen Schmidt (b. 1982, SA) navigates fashion and visual art as an undivided cultural world. He has created textile works and contemporary ceramic objects for Magliano, Andre Walker, Jordanluca, Hussein Chalayan and Martine Rose. His Ceramics have featured in Vogue and Acne Paper.

KSJ01SI

KSJ02SI

Lacquered wood, chain link fence
H 33.75 x W 17 x D 17 inches

MHG10SI

British-Canadian Philippe Malouin holds a bachelor’s degree in Design from the Design Academy Eindhoven. He has also studied at the École Nationale Supérieure de Création Industrielle in Paris and University of Montreal. He set up his studio in 2008 after working for English designer Tom Dixon. Philippe has also taught at the Royal College of Art in London between 2012-2015. His diverse portfolio includes tables, rugs, chairs, lights, art objects and installations. Philippe’s client list includes: Vaarnii, De Sede, Iittala, Nike, Please Wait to be Seated, SCP, Marsotto Edizioni, Resident, OTHR, HEM, Ace Hotel, Matter-Made, Established & Sons, Roll & Hill, 1882 ltd., Kvadrat, Umbra Shift, IZÉ, Aesop. He has recently won the Wallpaper* Magazine ‘designer of the year’ award. He has also been named President of the Jury at Villa Noaille’s Design Parade in France. Philippe Lives and works in London, where he operates his design studio.


Steel, textured polyurethane coating
W 13.78 x D 62.99 x H 5.91 inches

PM03SI

GMB01SI

Lacquered wood with Gucci straps
H 50 x W 47 x D 23 inches

MHG06SI

Pierre Chapo was first interested in painting, but his encounter with a shipbuilding carpenter in 1947, introduced him to wood and woodworking, and led to architectural studies at the École nationale supérieure des Beaux-Arts in Paris. After traveling through Scandinavia, Central America and working for a year in the United States, he returned to Paris and pursued his interest in wood, crafting furniture mainly out of solid oak, elm, ash or teak with a double concern for contemporary design and traditional know-how. He opened a gallery on boulevard de l’Hôpital in the 13th arrondissement of Paris, where along his own creations, he displayed the work of other craftsmen or artists such as Isamu Noguchi with whom he shared a sculptural and organic approach to design. It is in his studio of Clamart that he realizes his first models: the L01, says Godot, Ordered by Samuel Beckett, table T01 or stool S01. From the 1960s, he contributed to numerous projects led with Charlotte Perriand, Serge Mouille and Georges Jouve. nfluenced by the work of Charlotte Perriand for the Alpine ski resort of Les Arcs, his participation in the 1967 Société des artistes décorateurs’ show brought him a bronze medal. That same year he moved to Gordes, near Avignon in Provence, and started his furniture business, producing his own bold, rugged designs anchored in tradition. Along his steady work on design he also gave lectures in France and abroad, on cabinet-making, joinery, wood, tradition, creation and sincerity. In 1983, Pierre Chapo was diagnosed with Lou Gehrig’s disease and died in 1987, shortly before his sixtieth birthday.

MHG08SI

Courtesy of the artist and Peter Freeman, Inc. Photography by Nicholas Knight.

Matt Mullican was born in 1951 in Santa Monica, California and lives and works in both Berlin and New York. Mullican was recently awarded the second ever Possehl Prize for International Art and will open a related solo exhibition in Lübeck in October 2022. He earned his BFA from the California Institute of the Arts in Los Angeles in 1974, and has exhibited extensively internationally since, using colors and symbols to create a unique and personal language, often referring to corporate logos, street signs and historical monuments. Through experiments carried out under hypnosis, he has endeavored to achieve a new definition of "reality". Mullican has been represented by Peter Freeman, Inc. since 2005 and has mounted three solo exhibitions at the gallery in New York, most recently in 2020. Other recent exhibitions include Matt Mullican: A chart between 5 worlds, MARe/Museum of Recent Art, Bucharest, Romania (2021); Matt Mullican, Musée des Arts Contemporains au Grand-Hornu (2020); Between Sign and Subject, de Young Museum, San Francisco (2019-2020); Banners, Skulpturenhalle, Thomas Schütte Stiftung, Neuss, Germany (2019); Representing the Work, NC-arte, Bogotá, Colombia (2019); The Feeling of Things, Pirelli HangarBicocca, Milan (2018); The Sequence of Things, Camden Arts Centre, London, England (2016); and Nothing Should Exist, Kunstmuseum Winterthur, Switzerland (2016). Mullican retired in 2018 from his professorship at Hochschule für bildende Künste Hamburg in Germany. He has also taught and lectured at Columbia University; The School of Visual Arts; the Rijksakademie in Amsterdam; The London Institute; and the Chelsea College of Art and Design.

Oil stick on canvas
72.25 x 48 inches (183.5 x 121.9 cm)

MM02SI

HB05SI

Cast aluminum and Saint-Gobain glass
H 13.39 x W 62.99 x D 22.44 inches
Base: H 12.91 x W 32.68 x D 17.72D inches

MHG02SI

Oak & oak veneer
H 31.5 x W 78.74 x D 20.87 inches

MHG12SI

Bent sheet steel, wood, aluminum
W 87 x D 23 x H 60 inches

GMB02SI

LS GOMMA is a contemporary design studio that works across lighting, furniture and homewares. Seeking new materiality within the domestic realm and production techniques that question existing furniture typologies. Objects are rooted in function but designed to incorporate an inherent gesture that extends beyond this.

PU Rubber + Wire Mesh / Stainless Steel + Light Fixtures
W 15.7 x D 15.7 x H 45.6 inches

JM02SI

Enameled metal
H 25.375 x W 30.5 x D 30.5 inches

MHG14SI

Jan Dibbets was born in 1941 in Weert, Netherlands; he lives and works in Amsterdam. Dibbets has been included in some of the most seminal exhibitions of conceptual art, including When Attitudes Become Form (Kunsthalle Bern, Bern; Museum Haus Lange, Krefeld; and Institute of Contemporary Arts, London, curated by Harald Szeeman, 1969); 557, 087 (Seattle Art Museum, Seattle, and Vancouver Art Gallery, Vancouver, curated by Lucy Lippard, 1969), Earth Art (Andrew Dickinson White Museum of Art, Cornell University, Ithaca, curated by Willoughby Sharp, 1969), and Information (Museum of Modern Art, New York, curated by Kynaston McSchine, 1970). In 1972 he represented The Netherlands in the 36th Venice Biennale. Since then he has realized solo exhibitions at major international museums including the Musée d'Art Moderne, Paris (1980), Van Abbemuseum, Eindhoven (1980), Stedelijk Museum, Amsterdam (1982, 1986, and 2016), Carnegie Institute, Pittsburgh (1986), Solomon R. Guggenheim Museum, New York (1987), Walker Art Center, Minneapolis (1988), and Detroit Institute of Arts, Detroit (1988), among many others. Important recent solo exhibitions include: Horizons (Musée d’Art Moderne, Paris, 2010; exhibition travelled), 3 x Jan Dibbets (Cultuurcentrum Mechelen, Belgium, 2011; exhibition travelled), and Jan Dibbets: Another Photography (Castello di Rivoli Muso d’Arte Contemporanea, Turin, 2014). In 2016, Musée d'Art Moderne, Paris, presented an exhibition curated by Dibbets: A History of Another Photography: PANDORA'S BOX. Dibbets has been represented by Peter Freeman, Inc. since 2011. His fourth solo presentation with the gallery, Billions of Universes (2022) is currently on view.

Fujicolor Crystal archive paper DPII glued on Dibond
49.25 x 98.5 inches (125.1 x 250.2 cm)

JD01SI

MHG15SI

Steel Side Table (small), 2019
Philippe Malouin

PM02SI

Christopher Stuart is an American artist and designer. His critically acclaimed work - part sculpture, part furniture - is singular in its dramatic expression of minimalism, and bound by an ever curious conceptual rigor. Stuart’s deceptively refined pieces - elegant, spare and striking - play on contradictions: between form and function, extravagance and restraint, design and art.

Stainless Steel
L 72 x D 18 x H 18 inches

CS01SI

Mahogany and metal
H 28.54 x W 94.09 x D 28.35 inches

MHG11SI

Images courtesy of David Lewis Gallery and John Boskovich

John Boskovich (b. 1956, Los Angeles, d. 2006, Los Angeles) received a BFA from California Institute of the Arts (Cal Arts) in 1985. Boskovich’s selected solo and two-person exhibitions include Psycho Salon, O-Town House, Los Angeles, CA; Dead Center / Marginal Notes: John Boskovich, curated by John Neff, Western Exhibitions, Chicago, IL; New Work and the It Series (1990-1996), Rosamund Felsen Gallery, Los Angeles, CA; Boskostudio, artist studio and home, Los Angeles, CA; Rosamund Felsen Gallery, Los Angeles, CA; Rude Awakening, Rosamund Felsen Gallery, Los Angeles, CA; Mike Kelley and John Boskovisch, Rosamund Felsen Gallery, Los Angeles, CA; Rosamund Felsen Gallery, Los Angeles, CA; and Playing with the Truth, Laurie Rubin Gallery, New York, NY among others. Selected group exhibitions include This Brush for Hire: Norm Laich & Many Other Artists, curated by John Baldessari and Meg Cranston, Institute of Contemporary Art, Los Angeles, CA; La Pédida / Perdido, DXIX Projects, Los Angeles, CA; Tongues Untied, curated by Rebecca Matalon, MOCA Pacific Design Center, Los Angeles, CA; Sylvia Bataille, curated by Adam Marnie and Rebecca Matalon, Joan, Los Angeles, CA; Sentimental Education, curated by David Rimanelli, Deitch Projects, New York, NY; Art/Journalism, curated by Lawrence Rickles, Rosamund Felsen Gallery, Los Angeles, CA; The Salon of ‘99, curated by David Rimanelli, The Fifth International, New York, NY; The Unreal Person: Portraiture in the Digital Age, curated by Irit Krygier, Huntington Beach Art Center, Huntington Beach, CA; Harriet Craig, curated by David Rimanelli, Apex Art, New York, NY; Laguna Art Museum, Laguna Beach, CA; Hollywood Satan, Mark Moore Gallery, Los Angeles, CA; Ports of Entry: William S. Burroughs and the Arts, curated by Robert A. Sobieszek, Los Angeles County Museum of Art, Los Angeles, CA; traveled to The Spencer Museum, Lawrence, KS; A Man’s World, curated by Russell Ferguson, Museum of Contemporary Art, Los Angeles, CA; The Moderns, curated by Tony Payne, Feature, New York, NY; Praz-Delavallade, Paris, France; The Camera I: Photographic Self-Portraits from the Audrey and Sidney Irmas Collection, curated by Robert A. Sobieszek and Deborah Irmas, Los Angeles County Museum of Art, Los Angeles, CA; traveled to Akron Art Museum, Akron, OH; Frederiksborg Nationalhistorisk Museum, Hillerød, Denmark; Hollywood, Hollywood, curated by Fred Fehlau, Pasadena Art Alliance, Pasadena, CA; ELAC Art Contemporain, Lyon, France; The Library of Babel: Books to Infinity, curated by Todd Alden, White Columns, New York, NY; traveled to Hallwalls Contemporary Arts Center, Buffalo, NY; Rubin Spangle Gallery, New York, NY; Rosamund Felsen Gallery, Los Angeles, CA; Albany Museum of Art, Albany, GA; Delaware Art Museum, Delaware, MD; traveled to Herter Art Gallery, Amherst, MA; Lamont Gallery, Exeter, NH; University of Missouri Gallery of Art, Kansas City, MO; Self Evidence, curated by Larry Rinder, Los Angeles Contemporary Exhibitions, Los Angeles, CA; Bruce Nauman, Cindy Sherman, John Boskovich, Laurie Rubin Gallery, New York, NY; Rosamund Felsen Gallery, Los Angeles, CA; and Heterodoxy, curated by Meg Cranston, Rosamund Felsen Gallery, Los Angeles, CA, among others. The artist directed two acclaimed films including North (starring Gary Indiana) and Without You I’m Nothing (starring Sandra Bernhard). John Boskovich is included in the collection of the Museum of Contemporary Art, Los Angeles (MOCA LA), Los Angeles, CA.

Color Correction Series/AA Bumper Stickers: Screw Guilt

, 1997
John Boskovich

David Lewis Gallery

Oil on mahogany panel in mahogany frame
4.25 x 13.5 in (10.8 x 34.3 cm)

JB01SI

Exploring nature and geometry across metalwork and screen printing, Saunders revisits the shapes of his debut collection with an exploration of neutral color and dying techniques. Pairing freehand screen printing processes with rigid metal forms, the collection captures the spontaneous and accidental bound within precise shapes.

Renfrew Table, 2020
Jonathan Saunders, Saunders Studio

SS01SI

Farrell Hundley is a design collaboration between artist Elliott Hundley (b. 1975) and furniture designer William Farrell (b. 1995). They live and work in Los Angeles, California and have been collaborating since early 2019. They focus on unique bronze furniture.

FH02SI

Kevin Stahl (American, b. 1983) lives and works in Brooklyn, NY. He received his MFA from the School of Visual Arts, New York, NY and his BFA from The University of Michigan, Ann Arbor, MI. Stahl was included in The Brooklyn Academy of Music's BAM Next Wave Art in 2011. He has been included in group exhibitions at Karma, Massimo de Carlo, Coustof Waxman, and more.

Plywood, carpet, subwoofers, amplifiers, car stereo, car battery, power converter, wire, various audio accessories and components
W 70 x D 24 x H 105 in

KS01SI

Aluminum
W 16.5 x D 14.17 x H 18.11 inches

JM01SI

Ralph Dorazio (American, 1922-2004) was a multi-disciplinary artist and part of the New York City avant-garde scene of the 1960s and 70s. Born in Detroit, Dorazio landed in New York City after his discharge from military service in World War II. Upon arriving, he began to study painting and sculpture under the tutelage of Arthur Keissler and Jose De Kreeft. While sharing a 23rd Street studio with his wife Mary for more than 40 years, Dorazio sustained himself with teaching jobs at Pratt University and the Fabrizio Art School. During that time, he would create a massive body of work across many media including paintings, unique musical instruments, set and costume designs for theater productions, as well as the Modernist abstract sculptures poetically rendered in wood and for which he would become most renowned.

Stone, steel
H 26.25 x W 12.50 x D 7.50 inches

HB09SI

Nick Ross (1986) is a Scottish-Swedish designer who presently resides and works in Stockholm. In Scotland, he studied Product Design at Grays School of Art in Aberdeen and afterwards moved to Stockholm, where he continued his training in Interior Architecture and Furniture Design, taking a masters at Konstfack (University College of Arts, Crafts and Design) graduating in 2013. Nick founded his own studio in 2014. His research focuses on the complex repertoire of history, particularly ancient history, where he finds the factors with which to interpret the relationship between the user and contemporary design. Using storytelling as a pretext and applying an always critical approach, Nick Ross is interested in investigating facts and happenings that have determined specific cultural balances; every project comes from the desire to create ideal or real bridges between the present society and that of the past.

Aluminum plate, Rimowa aluminum sheet, rivets
W 17.7 x D 34.6 x H 30.7 inches

NR01SI

HP01SI

Chris Wolston is an American artist and designer based in Brooklyn, New York and Medellín, Colombia. His thoughtfully conceptualized and deliberately fabricated work -- which ranges from furniture and lighting to installation and sculpture -- rigorously blends traditional techniques and materials with a wry, contemporary realism, arriving at an entirely original postmodern aesthetic, imbued with material fluency and environmental urgency.

CW01SI

Pultruded and welded steel
H 28 1/4 xD83 1/4 xW27 1/4 in

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Emerging in the early 1970s, Austrian-born artist Franz West (1947-2012) developed a unique aesthetic that engaged equally high and low reference points and often privileged social interaction as an intrinsic component of his work. While he was known primarily as a sculptor, his body of work incorporated drawing, collage, video, and installation, using papier-mâché, furniture, cardboard, plaster, found imagery, and other diverse materials. By playfully manipulating everyday materials and imagery in novel ways, he created objects that serve to redefine art as a social experience, calling attention to the way in which art is presented to the public, and how viewers interact with works of art and with each other.

West studied at the Akademie der bildenden Künste, Vienna from 1977 to 1982. He began exhibiting his work in the 1970s in Austria and Germany and gained recognition across Europe in the 1980s, with significant shows at such venues as Kunsthaus Zürich (1985), the Neue Galerie am Landesmuseum Joanneum, Graz (1986); Wiener Secession, Vienna (1986); Skulptur Projekte Münster (1987); Kunsthalle Bern (1988); Portikus, Frankfurt (1988); Museum Haus Lange, Krefeld (1989); and the Institute for Contemporary Art, P.S.1, Long Island City, New York (1989). 

The 1990s brought widespread international recognition, and the artist’s work was presented in numerous prestigious venues worldwide including the Austrian Pavilion of the 44th Venice Biennale (1990); documenta IX, Kassel (1992); The Museum of Contemporary Art, Los Angeles (1994); Dia Center for the Arts, New York (1994); Carnegie Museum of Art, Pittsburgh (Carnegie International, 1995); Villa Arson, Nice (1995-1996); and the Städtisches Museum Abteiberg, Mönchengladbach (1996).

A major, mid-career retrospective (Franz West. Proforma) was organized by the Museum moderner Kunst Stiftung Ludwig, Vienna in 1996 (it traveled to the Kunsthalle Basel and Rijksmuseum Kröller-Müller, Otterlo); and solo exhibitions were held at the Kunstverein Hamburg (1996); FRAC Champagne-Ardenne, Reims (1997); The Museum of Modern Art, New York (1997); Fundação de Serralves, Porto (1997). West participated in documenta X, Kassel (1997); and the Rooseum, Centre for Contemporary Art, Malmö, presented a solo exhibition of his work in 1999.

During the artist’s lifetime, he presented several solo exhibitions at David Zwirner, in 1993, 1994, 1996, 1998 (with Heimo Zobernig), and 1999. The gallery further organized an exhibition of the artist’s early work in 2004-2005, and a show in 2014 that focused on work from the 1990s, which was accompanied by a catalogue published by David Zwirner Books, with essays by Eva Badura-Triska, Veit Loers, and Bernhard Riff. Most recently, a solo presentation of the artist’s sculptures and works on paper from 1972 to 2004 was on view in 2019 at David Zwirner, London.

Steel, foam, linen, and cardboard
31 1/2x 86 5/8 x 59 inches

Courtesy of the artist and David Zwirner Gallery


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Maria Sparre-Petersen makes sculptures from recycled container glass, a material that has all the poetic qualities of virgin glass but is much kinder to the planet. She is fascinated by the plasticity and uncertainty of this hybrid material, which is rarely used by studio glassmakers. Sparre-Petersen melts containers in a furnace and then shapes the molten glass into balls, which appear like spherical drops of childhood mystique; she then composes these balls into a pattern which is fused in a frame of high-fired concrete. When heated, each sphere develops a membrane that remains visible as the balls fuse in the kiln, becoming of one piece but appearing distinct, like soap bubbles adhering to each other. An artistic chaos in an ordered array, or graphic elements of liquid mass in a structured frame. Form, pattern, color and light enter into a dialogue and create new stories. In some places, the glass appears matte or translucent — depending on how the light refracts in the material and its depth of the color.

Sustainability is a lifelong passion that Sparre-Petersen pursues with an experimental and socially oriented outlook. She includes the titles of sailor, designer, teacher, Master of Fine Arts and PhD on her CV. Together, these diverse skills paint a straight line to the practice that motivates and inspires Sparre-Petersen today: to spread awareness of recycled glass from a sustainable and ethical perspective. It is a crucial and deeply meaningful ambition, not least because it leaves the virgin materials in the ground, where they belong, and avoids exposing the maker to hazardous substances. 

Furthermore, used glass can be recycled infinitely without losing its material qualities — a capacity that textile, plastic and many other materials lack. The particular material qualities of recycled container glass make for an interesting process. The recycled glass has to be handled differently because it is “shorter” when it is blown, so the glassmaker has to work faster. With this technique it is not always possible to fuse two used window panes because they may be made from different recipes, which means they do not expand in the same way and there- fore develop stress that will cause cracks — immediately or over time. Hence, recycling container glass requires a high level of craftsmanship and technique. And though the challenges of working with recycled materials are greater, so is the satisfaction of cracking the code and knowing that one is making a difference for the planet. Sparre- Petersen is continuously challenged by the specific qualities of the material, which throws up obstacles that she can resolve and also take advantage of. According to Sparre-Petersen, this only makes her conver- sation with the glass more intriguing. The material talks back and sometimes strands the artist on thin ice. This provides new insights, which lead to new methods and techniques that she then can develop and incorporate. Her many studies and experiments have given rise to an aesthetic vocabulary that she could not have arrived at through strategic planning. This is part of the alchemy, when material and idea come together in unpredictable constellations, often rife with contrasts. Like organic playmates in a framework that is only semi-controlled and does not allow for anticipating or planning colors, density, transparency or translucency. The glass artist has to surrender to the will of the material, regardless of experience and technique, which is a beautiful part of the process — a sustainable process that holds good news for a planet under pressure.

HB10SI

Three ceramic peace bongs in plexiglass vitrine with silkscreen text
W 14 x D 33 1/3 x H 4 1/2 in (W 35.6 x D 84.7 x H 11.4 cm)

JB02SI

NIKO JUNE is an active office and creative workshop set up to test the temperature of good objects (1). The production is impulsive and forever flexible (2). The eclectic catalogue exhibits occasion-based small collections alongside one-off pieces created in collaboration (3) with fine talent. Beyond the collaborations is the semi-permanent collection of NIKO JUNE studio wear and gear.

NJ01SI

Working with tubular steel, a ubiquitous material familiar to all, the concept for Renfrew Stool is based on simple geometry. The repetition of a simple square has been used to create a structure that is interlocked to form a cube. This bone white color-way is part of the neutral series designed in 2020. The seat is constructed of six individually upholstered cushions in bone white calf leather.

, 2020
Jonathan Saunders, Saunders Studio

Bone white painted steel, calf leather
18 x18 x 18 in

SS02SI

NJ02SI

Another Bureau of Design is a Melbourne-based studio working across furniture, lighting and object design. The studio utilizes both industrial and handmade production techniques to create design objects informed by the aesthetics of the built environment. With a focus on working with wood, metal, and clay, Abdé explores the inherent qualities of these materials to create functional forms that are at once curious and familiar.

Corner Stool, 2022
Abdé Noumani, Another Bureau of Design

Brushed aluminum
W 16.9 x D 16.9 1 x H 22 in

ABD02SI

Corner Bench, 2022
Abdé Noumani, Another Bureau of Design

Brushed Aluminum
W 16.9 x D 48.43 x H 22 in

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Toogood is a London-based design studio founded in 2008 by Faye Toogood. Faye has a BA in Art History from the University of Bristol, and was Interiors Editor at The World of Interiors for eight years.

Her practice encompasses interior design, homewares, fine art and fashion, and refuses to be constrained by a single discipline or defined way of working.

Describing herself as an outsider whose work defies categorisation, Faye has created a studio which allows a movement between genres. Architects, sculptors, furniture makers and illustrators cross-pollinate on every projects, producing work that is rigorous, poetic and genuinely avant-garde.

Cob composite, steel
W 98.50 x D 39.25 x H 28.75 inches
Edition of 8

Courtesy of Friedman Benda and Faye Toogood
Photography by Angus Mill

FT01SI

Ceramic and Metal
W 28.5 x D 25 x H 15.75 inches

GMB03SI

Console, c. 1940
Attributed to René Coulon

St. Gobain Glass
H 30 x W 40 x D 19.5 inches

MHG05SI

: Le Corbusier was a Swiss born-French architect, designer, city planner, writer and also a painter. Corbusier was trained as an engraver and goldsmith in addition to his extensive studies in architecture. In 1919, Le Corbusier founded the journal 'L'esprit Nouveau' (the New Spirit) where he formulated his ideas of modern architecture based on elemental geometric forms. Le Corbusier placed systems of harmony and proportion at the centre of his design philosophy. He began experimenting with furniture design in 1928 after inviting the architect, Charlotte Perriand, to join his studio. The first results of the collaboration were three chrome-plated tubular steel chairs designed for two of his projects, The Maison la Roche in Paris and a pavilion for Barbara and Henry Church. The line of furniture was expanded for Le Corbusier's 1929 Salon d'Automne installation, 'Equipment for the Home'. In 1943 Le Corbusier developed 'Le Modulor', a system of proportion based on the male figure and the Golden Ratio, used to determine the proportions of units in architecture and technology. It is also the basis of Le Corbusier's work in furniture design. In 1964, while Le Corbusier was still alive, Cassina S.p.A. of Milan acquired the exclusive worldwide rights to manufacture his furniture designs. Today many copies exist, but Cassina is still the only manufacturer authorized by the Fondation Le Corbusier.

: In conjunction with designer Charlotte Perriand and his illustrious cousin Le Corbusier, Pierre Jeanneret created experimental interiors which established their atelier as a leader in modern design. Advocating a new vision of architecture which emphasized order and harmony rather than ornament; the team brought light and air into their buildings through a prodigious use of glass and elimination interior walls. Minimal furniture and sleek design further contributed to a sense of spaciousness and formal purity. Though an avid practitioner of the geometric austerity which defines modern design, Jeanneret often enlivened his furniture with strong diagonals or lighter materials, such as cane and wood. He also brought a humanist perspective to his cousin's utopian doctrines of modern planning.
Late in his career, the designer made a singular contribution to the post-war urban planning movement in the capacity of Chief Architect at Chandigarh, India. Envisioned by the newly independent government as a throughly modern city which could accomodate refugees of Partition; Chandigarh was to offer amenities such as running water and comfortable housing to people of all classes. First under Le Corbusier's direction and then independently, Jeanneret remained at the site for fifteen years until shortly before his death; wrestling with the transition of a traditional society to the modern world and creating many important experiments in urban housing and government building.

 Born in 1903, Charlotte Perriand exudes the optimism and energy of the 20th century in her life and her work. As a young designer in the studio of Le Corbusier, Perriand absorbed the values integral to his architecture for modern living: a commitment to function, a focus on simple harmonies of form and color, and a joyous embrace of technology. Bending machine-age materials like steel and aluminum into her iconic Chaise Longue and luxurious Fauteuil Confort; Perriand created above all design for living. In Perriand's world, life is lived through design; and good design allows freedom of movement and harmony of the spirit with the environment. Her many designs for storage units, free-form desks and pre-fabricated houses seem whimsical at first; though they stem from her participation in utopian planning movements of the early 20th century. Each design has a positive role to play in daily life: streamlining work, facilitating order, and fostering independence or community as the situation demands. While Perriand celebrated the role of technology in modern living; her enthusiasm was inflected by an abiding interest in the natural world. Her dwellings are optimized for sunlight on a summer morning or cooling breezes in the afternoon. An avid outdoorswoman and traveler, Perriand often searched for design solutions in the materials and craft traditions of the regions where she worked; an approach enriched by her travels to Japan and Indochina during the forties. Isolated from European technology by world war; she turned to paper, bamboo and ceramics, reassessing her work in light of the serene minimalism of Japanese aesthetics. Accordingly, Perriand's interiors are never simply rooms filled with objects. They are spaces full of light and air where work and play are carried on in accordance with the rhythms of the life and nature.

"B307" table for Chez Soi café/restaurant, Marseille

, c.1930
Le Corbusier, Pierre Jeanneret, Charlotte Perriand