Plastic Furniture

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...

MoMA Modern Italian original Grillo folding telephone launched in 1966 by Marco Zanuso & Richard Sapper. The telephone was manufactured in Italy by Siemens. Vintage push buttons Phon...

Early production P40 lounge chair designed by Osvaldo Borsani for Tecno, Italy, 1950s. The lounge, with an extendable footrest, is designed to recline and can be set in several posit...

Tony Paul designed metal frame tilt back chair. Black metal frame with wire metal mesh back and upholstered in its original black vinyl and a refreshed...

An unlikely material takes on an iconic form. Strength and durability, sculpted with fragility and elegance. Form and function in one. Dimensions: Diameter 48 in. (121.9 cm), height 30 in. (76.2 cm). Weight 80 lbs. (36.3 kg) Finish color options: white stone natural stone aged stone key stone...

Shiny or matt figerglass lamp. As envisioned by the great master, Umberto Riva, the A.D.A. lamp takes shape, as often occurs, from other forms. Then, little-by-little, during the de...

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...

"Sopovria SO is a diaphanous object, whose contours dissolve and melt with the surroundings. We can spot its hidden soul, balanced between transparency and color. Zoomorphic shapes c...

A polyester and velvet (on the back) pillow showing a contemporary horse heads with horesebit an belts.The main colors are blu and red. It's available in other colors, which you can ...

The typical table lamp of the seventies given new form and color. The Cindy lamp with a conical lampshade and rounded teardrop base comes in a broad range o...

Set of 4 vintage glass lights in blue glass. Made by Design Light A/S, Denmark, in the 90s. These have gone out of production today. A cosy light, perfect for a kitchen, a comfortabl...

Exceptional collection of tableware and objects born out of the collaboration between Maurizio Cattelan and Pierpaolo Ferrari’s magazine and the Italian design company Seletti. Black humor dipped in pastel colors. Seletti wears Toiletpaper...

Umbrella stand Italy around 1970s Original condition.

Colony armchair with metal base varnished is offered here in black, however, also available in white, silk grey, dusty grey, intense blue or bronze. Th...

A stunning set of Milo Baughman Scoop dining chairs newly reupholstered in high-end Arc-Com Atmosphere Caribbean Fabric: Woven Arc-Com Stai...

Modern, colorful and fun round box that can be used as a decorative element on a coffee table, desk or nightstand. Serving double duty as a storage box or as a candy bowl. They loo...

This so-called world's most avant-garde trash can comes from Italy. The brand of this spaceship is called SOLDI DESIGN! It is an ecological design brand founded in 2008! With the phi...

Very cool mid century vibrant turquoise acrylic on canvas painting in the style od Damien Hirst, 1970's, original brushed chrome frame.

Also suitable for use in outdoor settings, the Orgone bench was designed by Marc Newson. This chaise lounge has fluid lines and is made entirely of glossy lacquered fiberglass. The a...

The Hi pad chair, and accompanying Hi pad stool, are the result of a production process that represents the perfect balance between technology and artisan...

The Hi pad chair, and accompanying Hi pad Stool, are the result of a production process that represents the perfect balance between technology and artisan...

Easy to stack, to a maximum of 6 pieces, the Tate chair designed by Jasper Morrison is part of a range that includes chairs and stools. This series has a ba...

A sculptural spun fiberglass table by Russell Woodard. Made of rigid bands of off-white fiberglass. Would look great indoors or outdoors. Custom ...

Modern, colorful and fun round box that can be used as a decorative element on a coffee table, desk or nightstand. Serving double duty as a storage box or as a candy bowl. They loo...

"P 180" armchair for RIMA, 1968. Aluminum casting, fiberglass, padding covered in fantasy fabric.Manufacturing brand on the base. Gastone Rinaldi In 1948 Gastone Rinaldi (Padua ...

A nice pair of rolling office or desk chairs By Herman Miller USA, 2000s A nice pair of rolling office or desk chairs By Herman Miller USA, 2000s Measures: 18" W x 19" D x 3...

Thierry is a family of highly characteristic occasional tables that make an inspired use of colour. Each table can have 3 or 4 different colours and can be assembled in various ways....

Collectible toy - Concorde 1 plane - 1970s Electric guided Joustra Edition Measures: L 59 x P 27 x H 13 cm Sheet metal and plastic Circa 1970 C...

Zanotta Poker Card Table in Double Top White Plastic Laminate and Green Baize Leather by Joe Colombo Double top in 9/16” thick , white layered plasti...

Vase-sculpture by DygoDesign A majestic and harmonious design of unprecedented charm, this precious sculpture is defined by sinuous lines twirling into a soft and soothing "S" sha...

Herman Hershel Kahan (XX-XXI) abstract acrylic on canvas, 2021, signed with artist's monogram lower right, signed and dated on canvas reverse, unf...

The tone shelf is inspired by the traditional colors of Korea, especially "Hanbok," which is a traditional Korean dress for formal occasions. Here, those traditional colors are made into art furniture with a modern sensibility, in Korean jade and sky blue. The tone of the blue gives an elegant and dreamy vibe. As artisans dye each piece of acrylic by hand, the tone in this piece is completely different from that of a mass-produced product, and as such, has its own value as a limited artwork. Wide spaces between the shelves can fit large...

Claretta bold chair is available here in the aniline structure with matching foam seat cushion. It is also available for custom orders in the solid ash stru...

Primitive Chair designed by Newanderthal for Superego Editions. All made by hand as a sculpture in polyurethane painted with a special paint to obtain a resistant and soft effect li...

Antique siphons from France from the years around 1900. The bottles are made of thick heavy blue and turquoise glass and closures made of tin. In the cap of the blue bottle is stam...

Jetsons is a comfortable way to sit. Jetsons is a hammock, it's a chaise-longue, it's a throne, it's a nest, in the same time it's dynamic and modern. Swivel seat. Fiber-glass struct...

This pair of table lamps, model Microlight, were designed by Ernesto Gismondi for Artemide, during the 1990's. It is a very technical design of the 90s. This flexible table lamp is p...

Alekos Fassianos Estate and Carwan Gallery present the first retrospective of the late artist’s design works. Carwan Gallery will replicate new, small e...

This collection of lucite jewel toned sculptures in orange, red, sapphire blue and purple are two pyramids and one abstract form. They glisten with gorgeous colors and make a great s...

Vintage wrought iron Hivo Van Teal chandelier featuring handcrafted juicy blue lucite and twelve handmade gold gilt paper shades that are still in the...

Coffee table, handmade in transparent acrylic colored with an innovative technology. The material is made through the fusion of three plates, one of which partially cured center. ...

A round ice bucket designed by Paolo Tilche for Guzzini in the 1970s. Plastic and metal.

Pumo is a brand-new multi-purpose container that recalls the shapes of the traditional Apulian object of good omen, now revised for Kartell with a multi-faceted lid, also ideal as a ...

Coffee table, handmade in transparent acrylic colored with an innovative technology. The material is made through the fusion of three plates, one of which partially cured center. ...

Gianfranco Legler, set of two chairs, 1960s. Dimensions: H=80 cm; W=50 cm; D=53 cm; Height seat= 45 cm.

The haven pouf is a contemporary pouf with a simple, soft idiom. The haven pouf can be used in any room in the home as an extra seat or to put up your feet ...

The Kabuki floor lamp is injection molded. The sophisticated injection technology used makes it possible to crate a woven structure similar to lace with a unique perforated surface t...

Collectible toy - Concorde 3 plane - 1970s Electric guided Joustra Edition Measures: L59xP27xH13cm Sheet metal and plastic Circa 1970 Canned I...

This is three-seated Lem sofa, upholstered in the listed fabrics. Please note that this product does not include the Lem Ottoman. Francesco Beghetto graduated in Industrial Desi...

This car can accommodate 4 children Its patina is superb For a unique decoration!  

Portaombrelli Killer Blu di Qeeboo - Design - Condizioni: Nuovo con scatola originale Measures: h cm 65 x cm 38 x cm 35. Killer Blue Umbrella Stand...

Eero Aarnio made the first prototype of the Pastil chair out of polystyrene, which helped him to verify the measurements, ergonomics and rocking ability. ...

Fabulous vintage MCM a.k.a. mid-century modern ice bucket blue vinyl with white plastic lid and chrome ring knob by Morgan & Company Bucket Brigade. Bea...

Taste the glance of a Luxurious way of Comfort. A pill to cure the lack of color, delicacy, creativity and fun (its fringes will never stop moving and dancing). And, of course, ...

This fantastic mid century painting French of the Cote d'Azur in a Blue Frame, was painted around 1960. It has a great look and you can in...

Elevated above four legs, the Orgone table by Marc Newson is made of fiberglass with a poplar fiberglass insert. The silhouette is evocative of a surfboar...

A tribute to flexibility, Cuba 25 sofa by Rodolfo Dordoni is part of a collection of linear elements with removable covers, that includes two and three-se...

Sharing round blue is a unique multiples edition of Art with Heart collection of recto-verso photo frames by Laura G Italy. It is beautiful wherever you look at it, its surface is d...