Black and Brass Memphis Chairs

Serban Ionescu; Folks Series; Functional Art; Sculpture chair; Armchair; Sidechair; Conversation Piece; Art; Folks 33, 2021 This unique piece was on view in the exhibition "In Order of Appearance" by Serban Ionescu from 20/03/21-24/04/21 in Everyday Gallery in Antwerp, Belgium next to the solo show of Marria Pratts...

Serban Ionescu; Folks Series; Functional Art; Sculpture Chair; Armchair; Sidechair; Conversation Piece; Art; Romania; Folks 31, 2021 This unique piece was on view in the exhibition "In Order of Appearance" by Serban Ionescu from 20/03/21-24/04/21 in Everyday Gallery in Antwerp, Belgium next to the solo show of Marria Pratts...

"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...

Lionel Jadot; Stools; Everyday Gallery; Contemporary; Belgian design; Belgian Art; Gesmonite; Presented at Art Basel 2021, Everyday Gallery is thr...

Rustic; Wabi Sabi; Stool; Four-Legged; France; 1940s; Rustic wabi-sabi wooden stool with a four-legged base and an oval-shaped seat. With its remarkable patina, the design reminds...

Postmodern Memphis style chair, Italy, the 1970's. As a typical characteristic of Memphis, The backrest is highlighted by a fun and elegant pattern. The Memphis Group, also known as Memphis Milano, was an Italian design and architecture group founded by Ettore Sottsass. It was active from 1980 to 1987. The group designed postmodern furniture...

Black brass sculpted brass chair, Misaya. Dimensions: W 54 x L 58 x H 79 cm (seating: 63) Hand-sculpted chair in brass. The translation of Art Nouveau’s whiplash motifs through the ...

Black brass sculpted brass chair, Misaya Dimensions: W 54 x L 58 x H 79 cm (seating: 63) Hand-sculpted chair in brass. The translation of Art Nouveau’s whiplash motifs through the s...

Finishes for this listing: - Black wood frame - Natural Rattan Back - Polished Brass foot rest - Paris Teja Seat Made to Order. For sales with delivery address within European ...

Black brass sculpted chair by Misaya Dimensions: W 54 x L 58 x H 79 cm (seating: 63) Hand-sculpted chair in brass. Misaya emulates Chinese ink paintings through the process of ...

Luc Counter Chair: Black Wood Polished Brass foot rest Seta Leather Cuoio Seat When it comes to Luc bar stool, the playing field is the cross-se...

Introducing the Galleon Chair—a timeless creation by the renowned architects Archer & Humphryes, meticulously handcrafted in Italy. This solid wood chair is not just a piece of furn...