Lionel Jadot Seating
Belgian
Lionel Jadot is as much an inventor as he is a designer. The Brussels-based furniture maker and tinkerer defies categorization with a body of work linked only by the use of repurposed materials. His one-of-a-kind chairs, statement-making tables and eclectic lamps overflow with personality and charm. Jadot is also an interior architect known for creating energetic spaces with a retro yet futuristic feel.
Jadot comes from a long line of custom furniture designers and was born in Belgium in an apartment above a design studio. As a child, he would walk through the family workshop every day after school, picking up the scrap material to experiment with in his room. He took over the family business when he was just 18, and the self-taught Jadot reveled in the freedom to create whatever designs he wanted.
At his eponymous atelier, Jadot works on projects for private homes as well as restaurants, bars and hotels. While his designs and interiors can look chaotic at first glance — with his stone chairs and imposing Organic Modern-style tables of marble and wood — the disparate elements come together in a harmonious balance underpinned by quality and craftsmanship.
In 2019, Jadot also established Zaventem Ateliers in the village of Zaventem outside of Brussels. The former industrial space has become a hub for a community of established and emerging designers and artists.
Jadot's creations are regularly exhibited at design fairs and events in Brussels and around Europe. In 2020, his Crushed Seat (2018) was presented by Todd Merrill Studio director Dallas Dunn at the Brussels Collectible Design Fair. His work was once again exhibited at the Collectible Design Fair 2021 with Antwerp-based Everyday Gallery. Jadot has also expanded into Milan, Italy, with a project called Baranzate Ateliers, which enjoyed a strong showing at Milan Design Week 2022.
On 1stDibs, find Lionel Jadot seating, tables, lighting and more.
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Creator: Lionel Jadot
Functional Art 'SLV Chair' by Lionel Jadot, Belgium, 2021
By Lionel Jadot
Located in Antwerp, BE
Design Miami; Art Design; Art Basel; Atelier Lionel Jadot; Everyday Gallery; Contemporary; Belgian Design; Belgian Art; Chair; Functional Sculpture; Artwork; Collectible Design; Ever...
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2010s Belgian Organic Modern Lionel Jadot Seating
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Contemporary Chair by Lionel Jadot 'Lost Highway' Belgian Art and Design Basel
By Lionel Jadot
Located in Antwerp, BE
Design Miami; Art design; Art Basel; Atelier Lionel Jadot; Stools; Everyday Gallery; Contemporary; Belgian design; Belgian Art; Chair; Seating; Functional Sculpture; Artwork; Collect...
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2010s Belgian Organic Modern Lionel Jadot Seating
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Metal
Functional Art Chair / Throne "Left at the End of the Corridor" by Lionel Jadot
By Lionel Jadot
Located in Antwerp, BE
'Left At The End of the Corridor' conversation piece by Lionel Jadot for Everyday Gallery, 2020
Collectible Design / Functional art, Lionel Jadot for Everyday Gallery, Belgium 2020
Born in Brussels in 1969, Lionel Jadot is an interior designer, artist, designer, filmmaker, adventurer. But all at once, preferably. Lionel Jadot is firing on all cylinders. ‘I never throw anything, I pick up everything. Not having a green thumb, I’m trying cuttings, weddings against nature. I never forget a line.’ He’s inviting us in subtle, off-beat worlds, on the edge of reality. Its material is made of dilated time. A wandering spirit, he seeks a protective balance in a hostile world. It is his constant questioning: what happens to the place where we live? For Lionel Jadot, everything is object, everything is history. He draws from other places, other times, and seeks what’s linking them. He sews, stitches, unpicks, blends materials, combines eras. He will enshrine some wood essence
in metal, some mineral in a plant, the old in the new. ‘I take extra care to the joint between two materials.’ With him, there is always some play in the parts, as in a piece of machinery. From a kingdom to another, he provokes organic, viral growths, generating energy. Linking past and future, he never forgets a line. ‘I accumulate them.’ He’s inviting us in subtle worlds, off-beat, on the edge of reality. Are we in 1930 or in 2030? Both, no doubt. Its material is made of dilated time.
The eye goes hand in hand with the ear. ‘When I walk into a place, I listen to the good (or bad) it does to me. An ineffable feeling.’ He recreates mutant buildings, like the future Royal Botanique, a 5 stars hotel housed in the Church of the Gesu, a former convent behind a 1940 façade. He talks about a ‘hotel object’, which he holds and turns around in his hand.
A wandering spirit, he’s flirting with retro-futurism. The Jam, another hotel, is intended for urban travelers, fans of swiftness, fluidity and hospitality. He designs interiors as a set of objects: a motorcycle cut in concrete becomes a bar counter. He finds gothic cartoon echoes, from the likes of Moebius, Alejandro Jodorowsky, Enki Bilal, sets from Garage Hermétique and Blade Runner, a protective balance in a hostile world.
Discovering Jadot’s little cosmos of collected and accumulated goods, it becomes clear that every element has its own story. I tried to collect them and in turn, devour them in the coming paragraphs. But first: the show is best experienced seated, barring the distinction between object of use and object of attention, they invite for different types of conversation. The seats, chairs, thrones all make us think of our own physical comportment, and of how the seat lends grandeur to the person sitting on it, by crowning its presence. The crackling floor, the felt walls and the diffuse light slow you down into an oddly absorbing environment, in which you are left puzzled.
In the eclectic collages of objects, bits and pieces collected all over the world come together in ways practical, and logical, though possibly only in the artist’s mind. All his finds eventually seem to fall into place. Starting with the mere conception of a chair, rather than with a set-out plan or sketch, the works are intuitively construed out of an archive that one can only imagine the dimensions of. Things forgotten by others, precious for him, were all once designed for their own purpose. Here they find their fit as a base, a closing system or a balancing element.
The first piece that opens the exhibition, the most throne-like of all seats in the show, builds around a chair of his grandmother, protected by mops, and harassed with bed springs. As you enter the space, you pass by a shell leaning over a yellow seat that stems from his old Mustang, and find a white stool piece with Mexican leather dog training whips— the white building blocks of which turn out to be dried molding material, as found and broken out of a bucket by workers every morning. Further, the stone piece that reminds one of the stone age, is indeed made of 400 million old rocks, and the soft seats are lent from construction, where these strokes of textile carry up the heaviest goods. In the corner — but as you walk this walk please be seated on any of the thrones and experience the work for a moment— the green fluffy cover is made by XXXX who remakes cartographies of warzones, one of which is here mounted on a flexible fishing chair. On an experience level, the conversation chair enhances self-confidence, while putting you literally in a good spot with the person you’re conversing with. The lamp perfectly shows the playful Cadavre Exquis...
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'Sit in My Valley II' Sofa by Lionel Jadot, 2020
By Lionel Jadot
Located in Antwerp, BE
Sit in My Valley II Sofa by by Belgian artist Lionel Jadot, renowned for his unique assemblage of various historical elements into captivating and uni...
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2010s Belgian Post-Modern Lionel Jadot Seating
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Lionel Jadot Stools Everyday Gallery, Belgian Art and design, Contemporary
By Lionel Jadot
Located in Antwerp, BE
Lionel Jadot; Stools; Everyday Gallery; Contemporary; Belgian design; Belgian Art; Gesmonite;
Presented at Art Basel 2021, Everyday Gallery is thr...
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21st Century and Contemporary Belgian Modern Lionel Jadot Seating
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Functional Art Chair / Throne "'Spring Swab" by Lionel Jadot
By Lionel Jadot
Located in Antwerp, BE
Collectible design / Functional art, Lionel Jadot for Everyday Gallery, Belgium 2020
Born in Brussels in 1969, Lionel Jadot is an interior designer, artist, designer, filmmaker, adventurer. But all at once, preferably. Lionel Jadot is firing on all cylinders. ‘I never throw anything, I pick up everything. Not having a green thumb, I’m trying cuttings, weddings against nature. I never forget a line.’ He’s inviting us in subtle, off-beat worlds, on the edge of reality. Its material is made of dilated time. A wandering spirit, he seeks a protective balance in a hostile world. It is his constant questioning: what happens to the place where we live? For Lionel Jadot, everything is object, everything is history. He draws from other places, other times, and seeks what’s linking them. He sews, stitches, unpicks, blends materials, combines eras. He will enshrine some wood essence
in metal, some mineral in a plant, the old in the new. ‘I take extra care to the joint between two materials.’ With him, there is always some play in the parts, as in a piece of machinery. From a kingdom to another, he provokes organic, viral growths, generating energy. Linking past and future, he never forgets a line. ‘I accumulate them.’ He’s inviting us in subtle worlds, off-beat, on the edge of reality. Are we in 1930 or in 2030? Both, no doubt. Its material is made of dilated time.
The eye goes hand in hand with the ear. ‘When I walk into a place, I listen to the good (or bad) it does to me. An ineffable feeling.’ He recreates mutant buildings, like the future Royal Botanique, a 5 stars hotel housed in the Church of the Gesu, a former convent behind a 1940 façade. He talks about a ‘hotel object’, which he holds and turns around in his hand.
A wandering spirit, he’s flirting with retro-futurism. The Jam, another hotel, is intended for urban travelers, fans of swiftness, fluidity and hospitality. He designs interiors as a set of objects: a motorcycle cut in concrete becomes a bar counter. He finds gothic cartoon echoes, from the likes of Moebius, Alejandro Jodorowsky, Enki Bilal, sets from Garage Hermétique and Blade Runner, a protective balance in a hostile world.
Discovering Jadot’s little cosmos of collected and accumulated goods, it becomes clear that every element has its own story. I tried to collect them and in turn, devour them in the coming paragraphs. But first: the show is best experienced seated, barring the distinction between object of use and object of attention, they invite for different types of conversation. The seats, chairs, thrones all make us think of our own physical comportment, and of how the seat lends grandeur to the person sitting on it, by crowning its presence. The crackling floor, the felt walls and the diffuse light slow you down into an oddly absorbing environment, in which you are left puzzled.
In the eclectic collages of objects, bits and pieces collected all over the world come together in ways practical, and logical, though possibly only in the artist’s mind. All his finds eventually seem to fall into place. Starting with the mere conception of a chair, rather than with a set-out plan or sketch, the works are intuitively construed out of an archive that one can only imagine the dimensions of. Things forgotten by others, precious for him, were all once designed for their own purpose. Here they find their fit as a base, a closing system or a balancing element.
The first piece that opens the exhibition, the most throne-like of all seats in the show, builds around a chair of his grandmother, protected by mops, and harassed with bed springs. As you enter the space, you pass by a shell leaning over a yellow seat that stems from his old Mustang, and find a white stool piece with Mexican leather dog training whips— the white building blocks of which turn out to be dried molding material, as found and broken out of a bucket by workers every morning. Further, the stone piece that reminds one of the stone age, is indeed made of 400 million old rocks, and the soft seats are lent from construction, where these strokes of textile carry up the heaviest goods. In the corner — but as you walk this walk please be seated on any of the thrones and experience the work for a moment— the green fluffy cover is made by XXXX who remakes cartographies of warzones, one of which is here mounted on a flexible fishing chair. On an experience level, the conversation chair enhances self-confidence, while putting you literally in a good spot with the person you’re conversing with. The lamp perfectly shows the playful Cadavre Exquis...
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2010s Belgian International Style Lionel Jadot Seating
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'The King of Tiébélé' Assemblage Chair, with Backrest from Tiébélé, Lionel Jadot
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Located in Antwerp, BE
'The King of Tiébélé' chair is a functional art piece and collectable design that features a frame attributed to Philippe Hiquily, a seat from a Pontiac 72, pocket spring seat from Lionel Jadot's grandfather’s workshop, a backrest made from a traditionally patterned woven motorcycle cover from Tiébélé in Burkina-Faso, and a headrest in the style of mountain decor...
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2010s Belgian Post-Modern Lionel Jadot Seating
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Functional Art Chair / Stool "Plaster Whip" by Lionel Jadot
By Lionel Jadot
Located in Antwerp, BE
"Plaster Whip" sculpture by Lionel Jadot
A stool made of leftover plaster vats from a molding company, scrap metal, leather whips from the 1950s and a bodybuilder’s belt from the 1930s
Collectible Design / Functional art , Lionel Jadot for Everyday Gallery, Belgium 2020
Born in Brussels in 1969, Lionel Jadot is an interior designer, artist, designer, filmmaker, adventurer. But all at once, preferably. Lionel Jadot is firing on all cylinders. ‘I never throw anything, I pick up everything. Not having a green thumb, I’m trying cuttings, weddings against nature. I never forget a line.’ He’s inviting us in subtle, off-beat worlds, on the edge of reality. Its material is made of dilated time. A wandering spirit, he seeks a protective balance in a hostile world. It is his constant questioning: what happens to the place where we live? For Lionel Jadot, everything is object, everything is history. He draws from other places, other times, and seeks what’s linking them. He sews, stitches, unpicks, blends materials, combines eras. He will enshrine some wood essence
in metal, some mineral in a plant, the old in the new. ‘I take extra care to the joint between two materials.’ With him, there is always some play in the parts, as in a piece of machinery. From a kingdom to another, he provokes organic, viral growths, generating energy. Linking past and future, he never forgets a line. ‘I accumulate them.’ He’s inviting us in subtle worlds, off-beat, on the edge of reality. Are we in 1930 or in 2030? Both, no doubt. Its material is made of dilated time.
The eye goes hand in hand with the ear. ‘When I walk into a place, I listen to the good (or bad) it does to me. An ineffable feeling.’ He recreates mutant buildings, like the future Royal Botanique, a 5 stars hotel housed in the Church of the Gesu, a former convent behind a 1940 façade. He talks about a ‘hotel object’, which he holds and turns around in his hand.
A wandering spirit, he’s flirting with retro-futurism. The Jam, another hotel, is intended for urban travelers, fans of swiftness, fluidity and hospitality. He designs interiors as a set of objects: a motorcycle cut in concrete becomes a bar counter. He finds gothic cartoon echoes, from the likes of Moebius, Alejandro Jodorowsky, Enki Bilal, sets from Garage Hermétique and Blade Runner, a protective balance in a hostile world.
Discovering Jadot’s little cosmos of collected and accumulated goods, it becomes clear that every element has its own story. I tried to collect them and in turn, devour them in the coming paragraphs. But first: the show is best experienced seated, barring the distinction between object of use and object of attention, they invite for different types of conversation. The seats, chairs, thrones all make us think of our own physical comportment, and of how the seat lends grandeur to the person sitting on it, by crowning its presence. The crackling floor, the felt walls and the diffuse light slow you down into an oddly absorbing environment, in which you are left puzzled.
In the eclectic collages of objects, bits and pieces collected all over the world come together in ways practical, and logical, though possibly only in the artist’s mind. All his finds eventually seem to fall into place. Starting with the mere conception of a chair, rather than with a set-out plan or sketch, the works are intuitively construed out of an archive that one can only imagine the dimensions of. Things forgotten by others, precious for him, were all once designed for their own purpose. Here they find their fit as a base, a closing system or a balancing element.
The first piece that opens the exhibition, the most throne-like of all seats in the show, builds around a chair of his grandmother, protected by mops, and harassed with bed springs. As you enter the space, you pass by a shell leaning over a yellow seat that stems from his old Mustang, and find a white stool piece with Mexican leather dog training whips— the white building blocks of which turn out to be dried molding material, as found and broken out of a bucket by workers every morning. Further, the stone piece that reminds one of the stone age, is indeed made of 400 million old rocks, and the soft seats are lent from construction, where these strokes of textile carry up the heaviest goods. In the corner — but as you walk this walk please be seated on any of the thrones and experience the work for a moment— the green fluffy cover is made by XXXX who remakes cartographies of warzones, one of which is here mounted on a flexible fishing chair. On an experience level, the conversation chair enhances self-confidence, while putting you literally in a good spot with the person you’re conversing with. The lamp perfectly shows the playful Cadavre Exquis...
Category
2010s European Lionel Jadot Seating
Materials
Leather, Plaster
Functional art Throne / Chair "Black Caterpillar" by Lionel Jadot, 2020
By Lionel Jadot
Located in Antwerp, BE
Collectible Design / Functional art, Lionel Jadot for Everyday Gallery, Belgium 2020
The chair made with scrap metal laser cuts and a prototype element of one of Lionel’s coffee table, the legs are made with the pantograph of a drawing table from the 30s, hung on an inked piece of Japanese wood from the 19th piece of furniture.
Born in Brussels in 1969, Lionel Jadot is an interior designer, artist, designer, filmmaker, adventurer. But all at once, preferably. Lionel Jadot is firing on all cylinders. ‘I never throw anything, I pick up everything. Not having a green thumb, I’m trying cuttings, weddings against nature. I never forget a line.’ He’s inviting us in subtle, off-beat worlds, on the edge of reality. Its material is made of dilated time. A wandering spirit, he seeks a protective balance in a hostile world. It is his constant questioning: what happens to the place where we live? For Lionel Jadot, everything is object, everything is history. He draws from other places, other times, and seeks what’s linking them. He sews, stitches, unpicks, blends materials, combines eras. He will enshrine some wood essence
in metal, some mineral in a plant, the old in the new. ‘I take extra care to the joint between two materials.’ With him, there is always some play in the parts, as in a piece of machinery. From a kingdom to another, he provokes organic, viral growths, generating energy. Linking past and future, he never forgets a line. ‘I accumulate them.’ He’s inviting us in subtle worlds, off-beat, on the edge of reality. Are we in 1930 or in 2030? Both, no doubt. Its material is made of dilated time.
The eye goes hand in hand with the ear. ‘When I walk into a place, I listen to the good (or bad) it does to me. An ineffable feeling.’ He recreates mutant buildings, like the future Royal Botanique, a 5 stars hotel housed in the Church of the Gesu, a former convent behind a 1940 façade. He talks about a ‘hotel object’, which he holds and turns around in his hand.
A wandering spirit, he’s flirting with retro-futurism. The Jam, another hotel, is intended for urban travelers, fans of swiftness, fluidity and hospitality. He designs interiors as a set of objects: a motorcycle cut in concrete becomes a bar counter. He finds gothic cartoon echoes, from the likes of Moebius, Alejandro Jodorowsky, Enki Bilal, sets from Garage Hermétique and Blade Runner, a protective balance in a hostile world.
Discovering Jadot’s little cosmos of collected and accumulated goods, it becomes clear that every element has its own story. I tried to collect them and in turn, devour them in the coming paragraphs. But first: the show is best experienced seated, barring the distinction between object of use and object of attention, they invite for different types of conversation. The seats, chairs, thrones all make us think of our own physical comportment, and of how the seat lends grandeur to the person sitting on it, by crowning its presence. The crackling floor, the felt walls and the diffuse light slow you down into an oddly absorbing environment, in which you are left puzzled.
In the eclectic collages of objects, bits and pieces collected all over the world come together in ways practical, and logical, though possibly only in the artist’s mind. All his finds eventually seem to fall into place. Starting with the mere conception of a chair, rather than with a set-out plan or sketch, the works are intuitively construed out of an archive that one can only imagine the dimensions of. Things forgotten by others, precious for him, were all once designed for their own purpose. Here they find their fit as a base, a closing system or a balancing element.
The first piece that opens the exhibition, the most throne-like of all seats in the show, builds around a chair of his grandmother, protected by mops, and harassed with bed springs. As you enter the space, you pass by a shell leaning over a yellow seat that stems from his old Mustang, and find a white stool piece with Mexican leather dog training whips— the white building blocks of which turn out to be dried molding material, as found and broken out of a bucket by workers every morning. Further, the stone piece that reminds one of the stone age, is indeed made of 400 million old rocks, and the soft seats are lent from construction, where these strokes of textile carry up the heaviest goods. In the corner — but as you walk this walk please be seated on any of the thrones and experience the work for a moment— the green fluffy cover is made by XXXX who remakes cartographies of warzones, one of which is here mounted on a flexible fishing chair...
Category
2010s European Lionel Jadot Seating
Materials
Brass, Steel
Billie Jean Sofa by Lionel Jadot, 2020
By Lionel Jadot
Located in Antwerp, BE
Billie Jean seat by Belgian artist Lionel Jadot, renowned for his unique assemblage of various historical elements into captivating and unique designs.
This seat is made with 1960s...
Category
2010s Belgian Post-Modern Lionel Jadot Seating
Materials
Copper
'I Studebaker' Assemblage Bench with Wooden and Leather Elements, Lionel Jadot
By Lionel Jadot
Located in Antwerp, BE
Assemblage functional art bench or sofa made from sections of a wooden ceiling installed in a bank by Christophe Gevers in the 1970s, burn-treated by Lionel Jadot, leather shapes are...
Category
2010s Belgian Post-Modern Lionel Jadot Seating
Materials
Wood, Leather
'T-Shink' Sprayed Textile Throne Chair, Lionel Jadot, Belgium, 2020
By Lionel Jadot
Located in Antwerp, BE
The 'T-Shink' functional art throne chair is constructed of elements from wooden moulds which date back to the 1950s and originally used to make stainless steel sinks...
Category
2010s Belgian Post-Modern Lionel Jadot Seating
Materials
Other
'Frozen Culture' Assemblage Video Cassette Lounge Chair, Lionel Jadot, 2020
By Lionel Jadot
Located in Antwerp, BE
The ‘Frozen Culture’ chair is a unique functional art piece with a history. Constructed from a set of 35,000 VHS cassettes that were recorded over the course of 25 years by an indivi...
Category
2010s Belgian Post-Modern Lionel Jadot Seating
Materials
Other
Lionel Jadot, Crushed Seat, BE
By Lionel Jadot
Located in New York, NY
Crushed seat, Jadot’s juxtaposed material assemblage, is a colossal manifestation of his unusual creative process. Constructed of reclaimed MDF that has been painted in vibrant color...
Category
2010s Belgian Lionel Jadot Seating
Materials
Foam, Reclaimed Wood, Paint
Rolling Throne, BE
By Lionel Jadot
Located in New York, NY
Jadot describes his magnificent assemblage chair, embellished with 24-carat gold and hardware elements, as “an enlightened assembly made with disparate elements, a game of collisions...
Category
2010s Belgian Lionel Jadot Seating
Materials
Gold
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"Plexi Shell Throne" is made with a metal seat from a 1972 Pontiac...
Category
2010s Belgian Lionel Jadot Seating
Materials
Metal, Brass
H 48.04 in W 27.56 in D 41.34 in
'Raw Skate’ Folding Seat with Skateboard Elements, Lionel Jadot, Belgium, 2020
By Lionel Jadot
Located in Antwerp, BE
'Raw Skate' is a functional art piece and collectable design made from Lionel Jadot’s long-board (skateboard) which was broken during a fall, an iron-wood board from part of a submer...
Category
2010s Belgian Post-Modern Lionel Jadot Seating
Materials
Other
H 33.08 in W 98.43 in L 33.08 in
Functional art Lounge Chair "Sit in my valley" by Lionel Jadot
By Lionel Jadot
Located in Antwerp, BE
Collectible Design / Functional art, Lionel Jadot for Everyday Gallery, Belgium 2020
'Sit in my Valley'
Artwork tapestry shows the topography of an A...
Category
2010s Belgian Post-Modern Lionel Jadot Seating
Materials
Steel
Heavy Chilling Sofa by Lionel Jadot
By Lionel Jadot
Located in Antwerp, BE
Lionel Jadot 'Heavy Chilling' sofa
Collectible design / Functional art, Lionel Jadot for Everyday Gallery, Belgium 2020
Fit for outside
Born in Brussels in 1969, Lionel Jadot is an interior designer, artist,
designer, filmmaker, adventurer. But all at once, preferably.
Lionel Jadot is firing on all cylinders. ‘I never throw anything, I pick
up everything. Not having a green thumb, I’m trying cuttings,
weddings against nature. I never forget a line.’ He’s inviting us in
subtle, off-beat worlds, on the edge of reality. Its material is made of
dilated time. A wandering spirit, he seeks a protective balance in a
hostile world. It is his constant questioning: what happens to the
place where we live?
For Lionel Jadot, everything is object, everything is history. He draws from
other places, other times, and seeks what’s linking them. He sews, stitches,
unpicks, blends materials, combines eras. He will enshrine some wood essence
in metal, some mineral in a plant, the old in the new. ‘I take extra care to the
joint between two materials.’ With him, there is always some play in the parts,
as in a piece of machinery. From a kingdom to another, he provokes organic,
viral growths, generating energy.
Linking past and future, he never forgets a line. ‘I accumulates them.’ He’s
inviting us in subtle worlds, off-beat, on the edge of reality. Are we in 1930 or in
2030? Both, no doubt. Its material is made of dilated time.
The eye goes hand in hand with the ear. ‘When I walk into a place, I listen to the
good (or bad) it does to me. An ineffable feeling.’ He recreates mutant buildings,
like the future Royal Botanique, a 5 stars hotel housed in the Church of the
Gesu, a former convent behind a 1940 façade. He talks about a ‘hotel object’,
which he holds and turns around in his hand.
A wandering spirit, he’s flirting with retro-futurism. The Jam, another hotel, is
intended for urban travelers, fans of swiftness, fluidity and hospitality. He
designs interiors as a set of objects: a motorcycle cut in concrete becomes a bar
counter. He finds gothic cartoon echoes, from the likes of Moebius, Alejandro
Jodorowsky, Enki Bilal, sets from Garage Hermétique and Blade Runner, a
protective balance in a hostile world.
Discovering Jadot’s little cosmos of collected and accumulated goods, it becomes clear that every element has its own story. I tried to collect them and in turn, devour them in the coming paragraphs. But first: the show is best experienced seated, barring the distinction between object of use and object of attention, they invite for different types of conversation. The seats, chairs, thrones all make us think of our own physical comportment, and of how the seat lends grandeur to the person sitting on it, by crowning its presence. The crackling floor, the felt walls and the diffuse light slow you down into an oddly absorbing environment, in which you are left puzzled.
In the eclectic collages of objects, bits and pieces collected all over the world come together in ways practical, and logical, though possibly only in the artist’s mind. All his finds eventually seem to fall into place. Starting with the mere conception of a chair, rather than with a set-out plan or sketch, the works are intuitively construed out of an archive that one can only imagine the dimensions of. Things forgotten by others, precious for him, were all once designed for their own purpose. Here they find their fit as a base, a closing system or a balancing element.
The first piece that opens the exhibition, the most throne-like of all seats in the show, builds around a chair of his grandmother, protected by mops, and harassed with bed springs. As you enter the space, you pass by a shell leaning over a yellow seat that stems from his old Mustang, and find a white stool piece with Mexican leather dog training whips— the white building blocks of which turn out to be dried molding material, as found and broken out of a bucket by workers every morning. Further, the stone piece that reminds one of the stone age, is indeed made of 400 million old rocks, and the soft seats are lent from construction, where these strokes of textile carry up the heaviest goods. In the corner — but as you walk this walk please be seated on any of the thrones and experience the work for a moment— the green fluffy cover is made by XXXX who remakes cartographies of warzones, one of which is here mounted on a flexible fishing chair. On an experience level, the conversation chair enhances self-confidence, while putting you literally in a good spot with the person you’re conversing with. The lamp perfectly shows the playful Cadavre Exquis working method of the crafter. Then the oddest piece, looks like sci-fi mobile, with sliced car seats and architecture ceiling pieces re-used. And almost shy, but blindingly elegant, stand the black caterpillar, the flexible leg...
Category
2010s Belgian Post-Modern Lionel Jadot Seating
Materials
Stone, Aluminum
Lionel Jadot seating for sale on 1stDibs.
Lionel Jadot seating are available for sale on 1stDibs. These distinctive items are frequently made of metal and are designed with extraordinary care. There are many options to choose from in our collection of Lionel Jadot seating, although brown editions of this piece are particularly popular. Many of the original seating by Lionel Jadot were created in the modern style in europe during the 21st century and contemporary. If you’re looking for additional options, many customers also consider seating by Olivier De Schrijver, and Nicolas Erauw. Prices for Lionel Jadot seating can differ depending upon size, time period and other attributes — on 1stDibs, these items begin at $3,387 and can go as high as $23,750, while a piece like these, on average, fetch $13,125.
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