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Drawing and frame together create a new connection here. The swing is attached to the top of the recessed frame and comes out of the paper.
A carefully arranged chaos of unique chairs tumbles down thus forming a pattern. The pattern we know; haughtiness that invariably comes before the trap. It is an even more spatial version of Babels end with in this case three layers. The confusion and dynamics are reinforced by the shadows that change depending on the light source(s).
Does it look like this when for example the Tower of Babel III collapses?
(Not for sale)
A common school chair with a recess in the back as a handle. And a colleague with a striking mustache who has delivered art projects for almost thirty years at hundreds of schools throughout Noord-Brabant and a little bit beyond. By combining both I created the Mustache Chair with the mustache as a handle.
The three-point backrest of Cees Braakman’s chair SB02 for Pastoe gives it human traits through the three circles. Eyes and nose or eyes and mouth, just how you represent it. The disc of round wood with which the screw openings are concealed can grow back and compared to my earlier Pinocchio it has a real nose that has actually grown.
The SB02, designed by Cees Braakman for Pastoe, with the characteristic circles in the backrest, offers plenty of opportunities to associate with. These circles hide the attachment for the backrest. However, they also form a face for those who look slightly differently. If such an opening is stopped with a round wood, Pinocchio actually appears automatically.
If chairs can walk, run and rest, they might also be able to think, right? In the pencil drawings Comic, I am not a chair and Telepathy, the comic language clearly finds its entrance into my work. In this work, which is part of an unspecified series, we look at the thoughts of Mart Stam‘s S31. Is he thinking about his own school days?
If chairs can walk, run and rest, they might also be able to think, right? In the pencil drawings Comic, I am not a chair and Telepathy, the comic language clearly finds its entrance into my work. In this work, which is part of an unspecified series, we look at the fantasies of a graceful armchair by Thonet, whose thoughts turn to Rietveld’s sturdy crate chair.
The proverbial Babylonische confusion of tongues results in too much leeway in the carefully stacked chairs of the Tower. This leads to decline and collapse that we are witnessing here.
I used the cutting technique, which I first applied in Rietveld and later on in Descendants, again to gain extra depth, a wonderful effect.
A paradox has been created by providing Cees Braakman’s SB02 with ten instead of three fixings for the backrest, and placing it behind bars. This creates a kind of Gordian knot or ouroboros-like impossibility.
See also the drawing Update from 2019. This creates a login look similar to a telephone.