Farrago Design Inc

Discover the Sand Collection's exquisite Pushpa Carved Bone End Table Pedestal, a true celebration of nature's beauty and artistic craftsmanship. This unique table is crafted from wo...

Part of the Little Man Series by Steven Colucci - Mixed media / Acrylic and chalk. Steven Colucci was born to an Italian family in the South Bronx, near Yankee Stadium. His father owned and operated the dry cleaning service used by New York Giants. Colucci remembers sharing dinners with legendary athletes like Tucker Frederickson, Rosey Grier, Jim Brown and Frank Gifford. At 12 years old, he was diagnosed with severe dyslexia and forced to enroll at New York University Reading Institute, a small-private school in the East Village. During his years at NYU Reading Institute, he was encouraged to express himself through painting; he became particularly in representing movements through paint and carefully studied the works of John Marin, Jackson Pollock and Willem de Kooning. After finishing the program at NYU Reading Institute, Colucci returned to William Taft high school in the Bronx, and remained focused on painting and won a scholarship to the School of Visual Arts. After graduating with the B.A. in painting, he moved to Paris to continue his studies in art and movement. It was in Paris that he began to study pantomime and ballet under the tutelage of world-famous movement artist Etienne Decroux. Decroux worked with him honing his talent, until he was discovered by Marcel Marceau in the late 70s. Marceau had few protégés, and Colucci quickly became one of them. For the next decade under Marceau’s instruction, he developed his own artistic voice and style. In the 1980s, he moved back to New York where he developed a dance and mime program, which offered one-on-one workshops with the world-renowned dancers and musicians like Martin VanHamel, Kevin McKenzie, Dennis Koster, Gerald Busby and more. He brought his workshop to numerous colleges across the United States including Bard College, nationally recognized for its prestigious arts program and the Philadelphia Art Museum. Ronal Wilford, President of Columbia Artists Management, recognized Colucci’s work as high art. Between 1980s and 1990s he was asked to collaborate with various dancers and artists including Alvin Ailey, Melba Moore, Royal Ballet of Flanders, Julio Iglesias...

Made of solid wood and topped with camel bone chips, this mirror frame adds a calming magnificence to any space. Each chip is hand carved in small hexagons to align with the convex w...

Step closer and let the beat of the Tabla Table resonate through every crafted curve and angle of this exquisite end table. Drawing inspiration from the timeless rhythm of this famed Indian percussion instrument, the Tabla End Table harmoniously merges cultural reverence with ultramodern aesthetics. Its wood foundation, the unique form sets the stage for what can only be described as a symphony in wood and bone. The angular bone chips, meticulously arranged atop this base, sing a silent visual sonnet with their tonal pattern as a soundscape. The tables sculptural essence is more than mere form; it's a dance. A quiet sway in spaces that transforms static interiors into dynamic stages where light and shadow pirouette across its rhythmic surface. Honored with the illustrious NY Cottages & Garden Innovation in Design Award (IDA), it stands as a testament to design and craftsmanship. But the Tabla's Resonance isn't just about grand accolades or its stunning aesthetics. Its also adaptable. Custom sizes mould it to your space's unique demands. And with an array of exquisite materials—from the deep allure of horn to the shimmering touch of Penn shell...

Resembling its namesake, the Tabla which is an Indian percussion drum, this end table flaunts a sculptural form. Thus Award winning table is made with a wood base and topped with angular bone chips to create a tonal pattern on a rhythmic form. The combination brings quiet movement to any space from modern to traditional. Winner of the NY Cottages & Garden Innovation in Design Award (IDA). Custom sizes available. Available in horn, Penn shell...

Bringing the abstractions in nature into furniture, this end table plays with light and shadow. The hexagonal camel bone chips that are individually mounted on a wood surface create...

Made of solid wood and topped with camel bone chips, this mirror frame adds a calming magnificence to any space. Each chip is hand carved in small hexagons to align with the convex w...

Made of solid wood and topped with camel bone chips, this mirror frame adds a calming magnificence to any space. Each chip is hand carved in small hexagons to align with the convex w...

Discover the Sand Collection's exquisite Pushpa Carved Bone End Table Pedestal, a true celebration of nature's beauty and artistic craftsmanship. This unique table is crafted from wo...

The Serenity Drum End Table/Stool stands as a tangible testament to life's finer pursuits. It isn’t just a piece of furniture; it's a narrative meticulously carved in wood and narrat...

An elegant take on modern Baroque. Made with bone chips that are hand carved one piece at a time to form intricate patterns, it is then topped with vi...

Hundreds of hexagonal buffalo Horn chips are individually mounted to create a striking beehive marquetry pattern on the solid wood drum form to make this table. Serene elegance. Al...

Step closer and let the beat of the Tabla Table resonate through every crafted curve and angle of this exquisite end table. Drawing inspiration from the timeless rhythm of this famed Indian percussion instrument, the Tabla End Table harmoniously merges cultural reverence with ultramodern aesthetics. Its wood foundation, the unique form sets the stage for what can only be described as a symphony in wood and bone. The angular bone chips, meticulously arranged atop this base, sing a silent visual sonnet with their tonal pattern as a soundscape. The tables sculptural essence is more than mere form; it's a dance. A quiet sway in spaces that transforms static interiors into dynamic stages where light and shadow pirouette across its rhythmic surface. Honored with the illustrious NY Cottages & Garden Innovation in Design Award (IDA), it stands as a testament to design and craftsmanship. But the Tabla's Resonance isn't just about grand accolades or its stunning aesthetics. Its also adaptable. Custom sizes mould it to your space's unique demands. And with an array of exquisite materials—from the deep allure of horn to the shimmering touch of Penn shell...

The Nima round floor lamp makes a stunning statement with its soaring solid wood conical base and intricate bone marquetry pattern. The light illuminate...

This handcrafted end table/stool offers tranquility to any space. Hundreds of hexagonal bone chips are individually hand shaped and mounted on a wooden drum form to create this harmonious tone-on-tone patterned stool...

Made of wood and then tessellated with hundreds of sustainably sourced, hand carved hexagonal bone chips the Arena stool or end table flaunts a subtle tone-on-tone pattern. The top is decorated with contrasting inlay horn, which can be replaced a custom monogram...

Made of wood and then tessellated with hundreds of sustainably sourced, hand carved hexagonal bone chips the Arena stool or end table flaunts a subtle tone-on-tone pattern. The top i...

Inspired by a 3D puzzle, the dune table is handcrafted of solid wood covered in hundreds of triangular, handcut camel bone/horn chips. The playful poured re...

Hundreds of hexagonal buffalo horn chips are individually mounted to create a striking beehive marquetry pattern on the solid wood drum form to make this table. Serene Elegance. Al...

Named after the architectural marvel of the Nima Sand Museum in Japan, the Nima Floor Lamp from Farrago Design's Sand Collection embodies a harmonious blend of geometric form and org...

Made of cast aluminum this pyramid shaped floor lamp stands as an icon in any space. It is made by handcarving foam and then sand cast in aluminum. Its is then finished in different...

Inspired by a 3D puzzle, the dune table is handcrafted of solid wood covered in hundreds of triangular, handcut camel bone chips. The playful poured resin p...

Made of wood and then tessellated with hundreds of sustainably sourced, hand carved hexagonal bone chips the Arena stool or end table flaunts a subtle tone-on-tone pattern. The top i...

Organic & beautiful as a sea-reef. The Nerine is made of sculptured cast-aluminum. The form is made using recycled styrofoam and is sand cast. It supports a handsome hardwood seat ma...

Bringing the abstractions in nature into furniture, this end table plays with light and shadow. The hexagonal camel bone chips that are individually mounted on a wood surface create...

Master craftspeople meticulously tesselate thousands of sustainably sourced camel bone chips to create a subtly nuanced tone-on-tone pattern. The top is decorated with contrasting ho...

This mirror frame is made of horn, wood and brass. Brass inlays of random widths and lengths are inlayed on the black horn bringing in a sense drama and movement. These brass inlays ...

Solid wood curves coated with creamy camel bone chips give this piece its name. Fitted with a frosted glass top that connects the handcrafted crescents, the Cheesecake Table is delec...

Named after the Japanese pyramid museum, this floor lamp boasts a strong shape accented by a diagonal arrangement of camel bone chip. Lamp shade not included. Size: 7" width x 7" ...

The Splendor Chest showcases the mastery of traditional bone inlay, featuring hand-carved camel bone flowers arranged in a precise diamond grid across its surface. Each flower is met...

This mirror frame is made of horn, wood and brass. Brass inlays of random widths and lengths are inlayed on the multitone black horn bringing in a sense drama and movement. These bra...

Classic contrast. Cattle horn is carefully placed over a wood frame by hand to make this exotic end table. The top is inlayed with horn and camel bone chi...

The crème dining table is handmade of solid wood and tessellated with camel bone to form a herringbone tessellation. The herringbone pattern run along the curves of the base making i...

A celebration of nature, the Passion Lilies table integrates contrasting materials into one exquisite heirloom piece. Camel bone is handcut and inlaid to form a graceful floral patte...

Hand sculpted in a Brutalist style, this organic table holds a 60" top. The Table is cast of brass using a lost wax technique and is truly a functional piece of Art. Each piece uses ...

The age old Craft of inlay combined with a modern resin pouring technique makes this heirloom piece of a mélange of the old and the new. The inlaid camel-bo...

Step into opulence with the Fleur Cube Table—a symphony of modern design and classic Baroque influences. Craftsmanship takes center stage in the creation of the Fleur Cube. Each face...

The crème dining table is handmade of solid wood and tessellated with camel bone to form a herringbone tessellation. The herringbone pattern run along the curves of the base making i...

This mirror frame is made of Horn, wood and brass. Brass inlays of random widths and lengths are inlayed on the black horn bringing in a sense drama and movement. These brass inlays ...

The crème dining table is the epitome of streamlined sophistication and superior craftsmanship. Handmade of solid wood with silky smooth camel bone marquetry, each twin base holds a ...

The age old craft of inlay combined with a modern resin pouring technique makes this heirloom piece of a mélange of the old and the new. The inlaid camel-bo...

Named after the Japanese pyramid museum, this floor lamp boasts a strong shape accented by a diagonal arrangement of camel bone chip. Lamp shade not included. Size: 7" width x 7" ...

The Ansel Cocktail Table is a striking, sculptural piece that captures natures landscapes—its form inspired by the wind-carved cliffs, striated rock formations, and shadow-play seen ...

The age old craft of inlay combined with a modern resin pouring technique makes this heirloom piece of a mélange of the old and the new. The inlaid camel-bo...

The weave mirror boasts an innovative application of sustainable camel bone. Meticulously carved into a unique concave shape, each chip is hand placed in ...

An elegant take on modern Baroque. Made with bone chips that are handcut one piece at a time to form intricate patterns, it is then topped with vibrant water based colored resin, add...

Fusing Art Deco sensibility with handcrafted technique. This console table is imbued with camel bone chips that are individually mounted to form a herringbone pattern. The table work...

This platter is sculpted out of teak wood. It is then topped with hand carved bone chip to follow the curves of the form. Patterns are then carved in the platter to fill with glossy ...

"La Salute" is a striking oil painting by renowned Italian artist Lazzaro Donati, depicting the iconic Santa Maria della Salute church in Venice. Known for his vivid, expressionistic...

This dynamic mixed-media by James Coignard, exemplifies the artist’s innovative approach to abstraction. A perfect fusion of color aquatint, etching, carborundum, and collage, the pi...

This whimsical and vibrant painting by Joyce Roybal captures her signature style of joyful, childlike wonder. Featuring three stylized figures playing trumpets, the composition is ri...

The Kaliedoscope Mirror is a part of the SAND Collection from Farrago Design. Inspired by the numerous patterns in the Kaleidoscope, this mirror is handcrafted with bone and horn chi...

This striking mid-century abstract painting depicts a seated dancer rendered in a sophisticated cubist-inspired style reminiscent of Pei Yang's work, though attribution remains uncon...

Steven Colucci is a perfectionist. As a painter, he describes himself as “a dictator, a controlling ballet master with a stick,” dispassionately choreographing his composition to achieve the exact result he desires. The paintings of the “Sea Series,” largely completed in 2010, are actually the culmination of 4-5 years of practice for the artist, during which he consistently developed and refined the language and formal elements that visually distinguish the series, sometimes repeating the same image for months until he was satisfied. Colucci’s methods and philosophy reflect his experience with movement as a performing art. While he studied with and admires Vito Acconci, Colucci is no proponent of conceptualism, finding his voice in the intense discipline of traditional forms, explaining, “If you don’t practice art like a classical pianist, every day, you can’t execute your concepts.” After completing his studies at New York’s School of Visual Arts, he moved to Paris, where he studied and performed mime and ballet, working closely with Marcel Marceau, who also painted, and Etienne Decroux, a sculptor as well as the originator of the form “classical mime,” which has roots in the sculpture of Rodin. If the word “sea” in the title of a painting conjures for you images of little easels and landscape canvases featuring sandy beaches, waves, and vast horizons, think again – Colucci’s oceanic visions are experiential, viewing them you are often looking down at the sea, within it, or even dreaming of the ocean. Water, deep or shallow, still or fast-moving, rules how we see light and subjects, as the artist works to reflect what he calls “the spirit, the soul of the water.” In “Deep Blue,” he conjures this anima via a window through levels of roiling currents of rich dark waves and dancing highlights, inviting the viewer to experience the sea as a vibrant and enveloping sensual entity. Colors, too, differ from the subdued palette of the seaside afternoon painter. Often his choices originate in what Colucci describes as the rhythm of color present in Afro-Carribean art and design. In the paintings, these hues express the water’s likeness to the seamless flow of the Dominican culture’s music and dance, which he so enjoys during frequent visits to Upper Manhattan’s El Barrio district, a movement with the melodic line that he so simply and perfectly employs in the delightfully sexy “Swimming with the Fish.” As our bodies, like the sea, are largely water, Colucci’s water visions...

This is an Original Mark Dickson painting and can be described as nothing short of a revelation in the realm of contemporary art. As one navigates through his vibrant interplay of colors—pinks, purples, blues, and greens—it becomes evident that his works are a bridge between abstract expression and a deep-seated Coloradan sensibility. From afar, the paintings resonate with the raw energy and abstract impulsiveness reminiscent of Adolph Gottlieb or Mark Rothko. However, upon closer introspection, Dickson's canvas unfolds a symphony, harmoniously blending his intuitive understanding of the Colorado landscapes with an almost Rothkoesque play of color and form. His artistry is a culmination of his academic sojourns, from the bustling art scene of Brooklyn's Pratt Institute to the scholarly corridors of the University of Denver. Yet, what stands out is his capability to transcend these teachings and manifest a unique narrative—one that reflects both the external world and the myriad landscapes of the human psyche. The choice of medium, notably pastel mixed with watercolors, oil washes, and graphite pencil, demonstrates a tactile indulgence in his craft. It's as if he's chiseling his memories, experiences, and observations of the Coloradan terrains and skies into each canvas. For the discerning eye, his works might also evoke the expansive color fields of Milton Avery. Yet, Dickson’s approach, particularly his relationship with color, is refreshingly instinctual, almost challenging the viewer to feel rather than dissect. In Mark Dickson's work, we're treated to an exhilarating dance of abstract brilliance juxtaposed with the tangible and intangible memories of Colorado's landscapes. In a sense, each painting becomes an invitation—to wander, to wonder, and to immerse in the art of profound introspection. The majority medium is pastel and a mixed media of watercolors, oil washes, and graphite pencil. Color is of primary importance to his work. His work shows the influence of artists Milton Avery(who used large areas of color) and Mark Rothko and Adolph Gottlieb (known for their work in the variations of color). Mark is fascinated with color and explores every aspect of its relationships. He feels his use of color is more intuitive versus analytical. Mark Dickson’s paintings, prints and monotypes are represented in private, corporate and public art collections nationally. Pratt Institute, Graduate School of Fine Arts, Brooklyn, New York, 1970 University of Denver, Graduate School of Art, MFA, Denver, Brooklyn, New York, 1973 Denver Art Museum, Colorado Annual, 1967 National Academy of Design, National Audubon Exhibition, New York Joslin Art Museum Exhibition of Colorado artists, Omaha, Nebraska Included in Outstanding and Noteworthy Americans, Bicentennial Edition, New York Chicago Botanical Garden, solo exhibition, North Brook Illinois Colorado Symphony Orchestra Association, limited-edition lithograph commission Broadway South West department store Commission; shopping bag and print. Award of Merit from American Institute of graphic arts, and Award of Distinction: "Creativity 86" Art Direction Magazine, New York Stables Art Center, Taos New Mexico, Artist of Taos Who's Who in American Art, 1990, New York Arts Student's League of Denver, Board of Directors O'Sullivan Art Center, Regis University solo exhibition, Denver Britto Central Gallery, solo exhibition, São Paulo Brazil, 2003 Amarillo Art Museum, permanent collection Amoco Oil Company, Chicago Federal Reserve Bank, Denver University of Colorado, permanent collection, Boulder, Colorado Garnett Corporation headquarters, Arlington Virginia IBM Corporation Miami Florida Las Vegas Federal Medical Center Kirkland Art Museum, permanent collection, Denver Northern Trust Bank, Naples, Florida Planes Art...

This captivating mixed media artwork by Hilary Opperman masterfully combines collage techniques with painting to create a vibrant dreamscape dominated by lush purples and pinks. The ...

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move -- the plié -- and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered -- a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor -- a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum -- the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity -- movement directed inward to the core of one’s self -- a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions -- an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself -- the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to -- or moreso an extension of -- his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat-induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments -- moments that denote a certain frailty -- the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction -- and also the reverse of this -- a unique anthropomorphization of varying states of movement -- that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person -- one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s -- one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...

The Splendor Chest showcases the mastery of traditional bone inlay, featuring hand-carved camel bone flowers arranged in a precise diamond grid across its surface. Each flower is met...