red oak, lacquer finish, LED lighting
Often when working in the studio, there are moments when unanticipated forms materialize. This occurs by imagining a different function for a specific component or playing with arrangements of simple shapes.
steel, brass, ceramic
softly sculpted line transform material and space into form recognizing the body reassuring presence and comfort through the gentile and familiar without the distraction of an accurate depiction of oneself
raw wool, sorted wool, fiberfil
Undefined is an object designed for interior space. It could be a decoration or a furniture depending on the users' imagination. In this object, I’m trying to blur the boundaries between art and design, furniture and sculpture. By naming it “undefined”, I’m trying to eliminate the limitation of definition and free the reading.
'Green Vessel on Carved Wood Block'
stoneware and wood
I’m a grocer. My dad is a grocer and his dad was a grocer. I’m also a ceramicist. For years I tried to separate the two. I thought to master one, I had to surrender the other. It was only when I began to embrace both, I could truly grasp the duality within ceramics itself, as both utilitarian and artistic. As physical commodities with spiritual proclivities. Objects as dimensional as myself.
'2 of 8 (^6R)'
Josephine Mette Larsen
Working predominantly with large-scale abstract ceramic sculpture, small scale prototyping has become an integral part of my process. It is during these shifts in scale that vital information is revealed.
Pliny the Elder, the Roman author and naturalist, may have started the myth of ostriches burying their heads in the ground when he wrote that the birds “imagine when they have thrust their head and neck into a bush, that the whole of their body is concealed.”
cardboard pulp, wood
This chair was designed for two primary sitting positions. In one position, the user can lounge on the form using the "handle" as a backrest. In the other position, the user rides the form as a rocking horse. This object is designed for enjoyment and play. It showcases paper pulp construction.
'Good Morning' (Home Away From Home 4)
repurposed wood, wood glue
Ato (Kwamena Takyi) Ribeiro
Through investigating personal, collective and architectural interior spaces, a more vivid insight into the formation of exteriors can be deduced. This work bore witness to numerous examples of gerrymandering and gentrification around communities ignored by wielders of disproportionate power.
'Land and Body'
My interest lies in the preservation of stark weight, mass, and their sculptural convergence into furniture. Emphasizing opposing ideas of gradual growth and weathering, my works often present a slow storyline along an almost tectonically scaled timeline -one of quiet, humble, and earnest growth.
Form is a response to the infinite. This sculptural object is a physical response to the inherent beauty of the naturally occurring phenomenon of smoke rising.
Cold rolled steel coffee table with black oxide finish.
Sep 18 - 28 Detroit Month of Design
Softhouse is a space for design works of a common nostalgia—an appreciation of material just being material, natural over synthetic, non-gendered objects over highly masculinely machined shelf goods. We want to have these conversations of what it means to be making or showing works like these in Detroit, where the production line started. How can we reflect on processes and trends that happened since the industrial revolution, be selective, and move forward critically. How do we return the sense of care and meaning to objects when having the resources and urgency to work efficiently with tools and machinery.
Emphasizing our daily relationship with material, Softhouse aims to facilitate rethinking of objects. Rather than strictly polished, finished, rigid structures - instead focus is placed on items that are humble at glance but develop personalities and mature with time and interaction. Lumber, clay, metal, fur are used in familiar ways and left with minimal finish. Here, the storyline is favored over the end result, and in both observational and sensual encounters of the works, a softening occurs - their individual identities collectively blurring lines, ideals and functionalities.
Softhouse is an exhibition for design works of a common nostalgia—an appreciation of material just being material, natural over synthetic, non-gendered objects over masculinely machined shelf goods.