sebastian brajkovic distorts 18th-century forms in sculptural furniture series
 

sebastian brajkovic distorts 18th-century forms in sculptural furniture series

sebastian brajkovic applies his artisanal techniques into his latest series of sculptural benches and chairs, whose iconoclastic, anthropomorphic forms are juxtaposed with a restrained, 18th century aesthetic. the pieces of furniture, which initially seem as they could have been taken out of an enlightenment drawing room, have been distorted, resulting in shapes of sweeps, curls, and curves.sebastian brajkovic distorts 18th-century forms in sculptural furniture seriesall images by thomas stewart

 

 

currently on display at david gill gallery, in a solo show titled the occidental artisan, sebastian brajkovic‘s new group of benches and chairs evoke the bodily experience of his art; having trained with a chinese master, he uses calligraphy to ‘look for shapes.’ the curved forms of banquette, gallivant, lemniscate, möbius, and taotie express the inky brush strokes in three dimensions that speak to a love of materials. the amsterdam-based designer has conceived the seat and the sitter as two bodies interacting, each a reflection of the other. ‘I see the chair as a human shape that holds us,’ he says, ‘I look at a bench and ask, how does it move, where does it turn or twist at the waist?’sebastian brajkovic distorts 18th-century forms in sculptural furniture series

 

 

exploring time, history, fine art and mathematics in his practice, brajkovic’s elegant objects are evocative of ancient worlds and other eras, while anticipating an uncertain future. ‘I like the idea they might have come out of the ground, that the marks of time are visible on their surfaces,’ he explains, ‘perhaps they were discovered on an archaeological dig.’ his works are created by hand, evident in the faintly oxidized patina on the bronze structures of his seats, in the upholstery he fits himself and then sends to couture embroiderers with drawings as guidance, and in the horsehair stuffing he prefers for its sculptural malleability. ‘we don’t want to unlearn our instinctive ways of making and relinquish our souls to the robots,’ he mentions.sebastian brajkovic distorts 18th-century forms in sculptural furniture series

 

 

along with the benches and chairs, three chandeliers, created in murano, see brajkovic working with glass for the first time. each one is made from a cluster of smaller pendent lights, forming matrices that are perfectly balanced yet extravagant and ghostly; relics of another, unidentifiable time. additionally, works on paper provide an insight into his practice and reflect the layering of eastern and western cultures inherent in his identity.sebastian brajkovic distorts 18th-century forms in sculptural furniture series sebastian brajkovic distorts 18th-century forms in sculptural furniture series sebastian brajkovic distorts 18th-century forms in sculptural furniture series sebastian brajkovic distorts 18th-century forms in sculptural furniture series sebastian brajkovic distorts 18th-century forms in sculptural furniture series sebastian brajkovic distorts 18th-century forms in sculptural furniture series sebastian brajkovic distorts 18th-century forms in sculptural furniture series sebastian brajkovic distorts 18th-century forms in sculptural furniture series sebastian brajkovic distorts 18th-century forms in sculptural furniture series sebastian brajkovic distorts 18th-century forms in sculptural furniture series sebastian brajkovic distorts 18th-century forms in sculptural furniture seriessebastian brajkovic distorts 18th-century forms in sculptural furniture series sebastian brajkovic distorts 18th-century forms in sculptural furniture series 

 

 

 

exhibition info:

 

 

name: the occidental artisan

designer: sebastian brajkovic

location: david gill gallery

duration: 13 september – 17 october 2019

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