Instagram Story Save

Perched on one of my favorite pieces- the very early Tenreiro 1930’s Art Deco Amadeo Maciel Chair.

The works geometric marquetry on the backrest with 5 exotic indigenous woods is a precise hallmark expression of Tenreiro’s modernist craftsmanship and tailored touch. Originally commissioned by Amadeo Maciel for his residence in Patos de Minas, the piece was produced during Tenreiro’s tenure at Laubisch and remained in theMaciel family for generations.

Tenreiro, the father of Brazilian modern design, brought a real material intelligence to his work, which was restrained, precise, and deeply considered.

With Niemeyer, he shifted the design paradigm and aesthetic discourse in Brazil toward lightness, clarity, and a quieter kind of elegance and sophistication.

Carpet: @doris_leslie_blau

Our exhibition, in curatorial partnership with @ulyssesdesanti runs through May 20 at @53w53.

#BrazilianModernism #joaquimtenreiro #collectibledesign

Perched on one of my favorite pieces- the very early Tenreiro 1930’s Art Deco Amadeo Maciel Chair.

The works geometric marquetry on the backrest with 5 exotic indigenous woods is a precise hallmark expression of Tenreiro’s modernist craftsmanship and tailored touch. Originally commissioned by Amadeo Maciel for his residence in Patos de Minas, the piece was produced during Tenreiro’s tenure at Laubisch and remained in theMaciel family for generations.

Tenreiro, the father of Brazilian modern design, brought a real material intelligence to his work, which was restrained, precise, and deeply considered.

With Niemeyer, he shifted the design paradigm and aesthetic discourse in Brazil toward lightness, clarity, and a quieter kind of elegance and sophistication.

Carpet: @doris_leslie_blau

Our exhibition, in curatorial partnership with @ulyssesdesanti runs through May 20 at @53w53.

#BrazilianModernism #joaquimtenreiro #collectibledesign

Perched on one of my favorite pieces- the very early Tenreiro 1930’s Art Deco Amadeo Maciel Chair.

The works geometric marquetry on the backrest with 5 exotic indigenous woods is a precise hallmark expression of Tenreiro’s modernist craftsmanship and tailored touch. Originally commissioned by Amadeo Maciel for his residence in Patos de Minas, the piece was produced during Tenreiro’s tenure at Laubisch and remained in theMaciel family for generations.

Tenreiro, the father of Brazilian modern design, brought a real material intelligence to his work, which was restrained, precise, and deeply considered.

With Niemeyer, he shifted the design paradigm and aesthetic discourse in Brazil toward lightness, clarity, and a quieter kind of elegance and sophistication.

Carpet: @doris_leslie_blau

Our exhibition, in curatorial partnership with @ulyssesdesanti runs through May 20 at @53w53.

#BrazilianModernism #joaquimtenreiro #collectibledesign

Precisión, Quietly Undone: Lucas Simões, Irene Cattaneo, and Manfredo De Souzanetto. CROSSINGS. @53w53

#brazilianmodernism #contemporaryart

Precisión, Quietly Undone: Lucas Simões, Irene Cattaneo, and Manfredo De Souzanetto. CROSSINGS. @53w53

#brazilianmodernism #contemporaryart

Precisión, Quietly Undone: Lucas Simões, Irene Cattaneo, and Manfredo De Souzanetto. CROSSINGS. @53w53

#brazilianmodernism #contemporaryart

Precisión, Quietly Undone: Lucas Simões, Irene Cattaneo, and Manfredo De Souzanetto. CROSSINGS. @53w53

#brazilianmodernism #contemporaryart

Up in the Clouds, figuratively and literally, in our CROSSINGS exhibition at the iconic Jean Nouvel tower @53w53 is Italian Artist Irene Cattaneo’s NUVOletto Bed (2024), complemented by @savoirbeds and @pratesi.official

Inspired by the famous silver bedhead made by the artist Alexander Calder for the American art collector Peggy Guggenheim Cattaneo’s homage to her favorite foreigner in Venice uses curves of hand-welded iron to turn Calder’s concept into a cloudy sky with solid Murano glass inserts, a motif the artist Irene Cattaneo continually revisits. The work is titled NUVOletto which means “little cloud” in Italian, while a capital L emphasizes how this word already holds within it letto, the Italian word for bed.
📸 @joeinstakramm
This piece, originally commissioned with @lostudio_nadjaromain, exemplifies the artists rich exploration of craftsmanship, history and storytelling.

Up in the Clouds, figuratively and literally, in our CROSSINGS exhibition at the iconic Jean Nouvel tower @53w53 is Italian Artist Irene Cattaneo’s NUVOletto Bed (2024), complemented by @savoirbeds and @pratesi.official

Inspired by the famous silver bedhead made by the artist Alexander Calder for the American art collector Peggy Guggenheim Cattaneo’s homage to her favorite foreigner in Venice uses curves of hand-welded iron to turn Calder’s concept into a cloudy sky with solid Murano glass inserts, a motif the artist Irene Cattaneo continually revisits. The work is titled NUVOletto which means “little cloud” in Italian, while a capital L emphasizes how this word already holds within it letto, the Italian word for bed.
📸 @joeinstakramm
This piece, originally commissioned with @lostudio_nadjaromain, exemplifies the artists rich exploration of craftsmanship, history and storytelling.

Up in the Clouds, figuratively and literally, in our CROSSINGS exhibition at the iconic Jean Nouvel tower @53w53 is Italian Artist Irene Cattaneo’s NUVOletto Bed (2024), complemented by @savoirbeds and @pratesi.official

Inspired by the famous silver bedhead made by the artist Alexander Calder for the American art collector Peggy Guggenheim Cattaneo’s homage to her favorite foreigner in Venice uses curves of hand-welded iron to turn Calder’s concept into a cloudy sky with solid Murano glass inserts, a motif the artist Irene Cattaneo continually revisits. The work is titled NUVOletto which means “little cloud” in Italian, while a capital L emphasizes how this word already holds within it letto, the Italian word for bed.
📸 @joeinstakramm
This piece, originally commissioned with @lostudio_nadjaromain, exemplifies the artists rich exploration of craftsmanship, history and storytelling.

Up in the Clouds, figuratively and literally, in our CROSSINGS exhibition at the iconic Jean Nouvel tower @53w53 is Italian Artist Irene Cattaneo’s NUVOletto Bed (2024), complemented by @savoirbeds and @pratesi.official

Inspired by the famous silver bedhead made by the artist Alexander Calder for the American art collector Peggy Guggenheim Cattaneo’s homage to her favorite foreigner in Venice uses curves of hand-welded iron to turn Calder’s concept into a cloudy sky with solid Murano glass inserts, a motif the artist Irene Cattaneo continually revisits. The work is titled NUVOletto which means “little cloud” in Italian, while a capital L emphasizes how this word already holds within it letto, the Italian word for bed.
📸 @joeinstakramm
This piece, originally commissioned with @lostudio_nadjaromain, exemplifies the artists rich exploration of craftsmanship, history and storytelling.

Up in the Clouds, figuratively and literally, in our CROSSINGS exhibition at the iconic Jean Nouvel tower @53w53 is Italian Artist Irene Cattaneo’s NUVOletto Bed (2024), complemented by @savoirbeds and @pratesi.official

Inspired by the famous silver bedhead made by the artist Alexander Calder for the American art collector Peggy Guggenheim Cattaneo’s homage to her favorite foreigner in Venice uses curves of hand-welded iron to turn Calder’s concept into a cloudy sky with solid Murano glass inserts, a motif the artist Irene Cattaneo continually revisits. The work is titled NUVOletto which means “little cloud” in Italian, while a capital L emphasizes how this word already holds within it letto, the Italian word for bed.
📸 @joeinstakramm
This piece, originally commissioned with @lostudio_nadjaromain, exemplifies the artists rich exploration of craftsmanship, history and storytelling.

Up in the Clouds, figuratively and literally, in our CROSSINGS exhibition at the iconic Jean Nouvel tower @53w53 is Italian Artist Irene Cattaneo’s NUVOletto Bed (2024), complemented by @savoirbeds and @pratesi.official

Inspired by the famous silver bedhead made by the artist Alexander Calder for the American art collector Peggy Guggenheim Cattaneo’s homage to her favorite foreigner in Venice uses curves of hand-welded iron to turn Calder’s concept into a cloudy sky with solid Murano glass inserts, a motif the artist Irene Cattaneo continually revisits. The work is titled NUVOletto which means “little cloud” in Italian, while a capital L emphasizes how this word already holds within it letto, the Italian word for bed.
📸 @joeinstakramm
This piece, originally commissioned with @lostudio_nadjaromain, exemplifies the artists rich exploration of craftsmanship, history and storytelling.

Up in the Clouds, figuratively and literally, in our CROSSINGS exhibition at the iconic Jean Nouvel tower @53w53 is Italian Artist Irene Cattaneo’s NUVOletto Bed (2024), complemented by @savoirbeds and @pratesi.official

Inspired by the famous silver bedhead made by the artist Alexander Calder for the American art collector Peggy Guggenheim Cattaneo’s homage to her favorite foreigner in Venice uses curves of hand-welded iron to turn Calder’s concept into a cloudy sky with solid Murano glass inserts, a motif the artist Irene Cattaneo continually revisits. The work is titled NUVOletto which means “little cloud” in Italian, while a capital L emphasizes how this word already holds within it letto, the Italian word for bed.
📸 @joeinstakramm
This piece, originally commissioned with @lostudio_nadjaromain, exemplifies the artists rich exploration of craftsmanship, history and storytelling.

Up in the Clouds, figuratively and literally, in our CROSSINGS exhibition at the iconic Jean Nouvel tower @53w53 is Italian Artist Irene Cattaneo’s NUVOletto Bed (2024), complemented by @savoirbeds and @pratesi.official

Inspired by the famous silver bedhead made by the artist Alexander Calder for the American art collector Peggy Guggenheim Cattaneo’s homage to her favorite foreigner in Venice uses curves of hand-welded iron to turn Calder’s concept into a cloudy sky with solid Murano glass inserts, a motif the artist Irene Cattaneo continually revisits. The work is titled NUVOletto which means “little cloud” in Italian, while a capital L emphasizes how this word already holds within it letto, the Italian word for bed.
📸 @joeinstakramm
This piece, originally commissioned with @lostudio_nadjaromain, exemplifies the artists rich exploration of craftsmanship, history and storytelling.

Up in the Clouds, figuratively and literally, in our CROSSINGS exhibition at the iconic Jean Nouvel tower @53w53 is Italian Artist Irene Cattaneo’s NUVOletto Bed (2024), complemented by @savoirbeds and @pratesi.official

Inspired by the famous silver bedhead made by the artist Alexander Calder for the American art collector Peggy Guggenheim Cattaneo’s homage to her favorite foreigner in Venice uses curves of hand-welded iron to turn Calder’s concept into a cloudy sky with solid Murano glass inserts, a motif the artist Irene Cattaneo continually revisits. The work is titled NUVOletto which means “little cloud” in Italian, while a capital L emphasizes how this word already holds within it letto, the Italian word for bed.
📸 @joeinstakramm
This piece, originally commissioned with @lostudio_nadjaromain, exemplifies the artists rich exploration of craftsmanship, history and storytelling.

Up in the Clouds, figuratively and literally, in our CROSSINGS exhibition at the iconic Jean Nouvel tower @53w53 is Italian Artist Irene Cattaneo’s NUVOletto Bed (2024), complemented by @savoirbeds and @pratesi.official

Inspired by the famous silver bedhead made by the artist Alexander Calder for the American art collector Peggy Guggenheim Cattaneo’s homage to her favorite foreigner in Venice uses curves of hand-welded iron to turn Calder’s concept into a cloudy sky with solid Murano glass inserts, a motif the artist Irene Cattaneo continually revisits. The work is titled NUVOletto which means “little cloud” in Italian, while a capital L emphasizes how this word already holds within it letto, the Italian word for bed.
📸 @joeinstakramm
This piece, originally commissioned with @lostudio_nadjaromain, exemplifies the artists rich exploration of craftsmanship, history and storytelling.

There is a lineage of artists who understood that nature is not backdrop but protagonist. Rousseau painting his jungles from imagination into something more alive than reality, Bosch conjuring a garden so lush and strange it tips into revelation.

Sculptor Erin Sullivan works in that same current.

Her banana leaf sconces begin in wax, move through lost-wax casting, and arrive in bronze. A process that holds the intimacy of the hand while reaching for permanence. The central rib, the fine parallel veining, the slight curl at the edges: all of it translated from something ephemeral and tropical into a material built to outlast us. Like Rousseau’s impossible fronds or the teeming flora of Bosch’s paradise panel, the leaves feel hyper-real, more themselves than the thing that inspired them.

The two are subtly distinct, as they would be in nature. In Sullivan’s practice, nothing is merely decorative. Her objects honor the intelligence and primal elegance of the living world by amplifying the essence of whatever plant, animal, or element inspired them. Tables become altars, mirrors become portals, and here, a wall fixture becomes a small act of reverence. A reminder that the domestic and the wild were never really separate.

There is a lineage of artists who understood that nature is not backdrop but protagonist. Rousseau painting his jungles from imagination into something more alive than reality, Bosch conjuring a garden so lush and strange it tips into revelation.

Sculptor Erin Sullivan works in that same current.

Her banana leaf sconces begin in wax, move through lost-wax casting, and arrive in bronze. A process that holds the intimacy of the hand while reaching for permanence. The central rib, the fine parallel veining, the slight curl at the edges: all of it translated from something ephemeral and tropical into a material built to outlast us. Like Rousseau’s impossible fronds or the teeming flora of Bosch’s paradise panel, the leaves feel hyper-real, more themselves than the thing that inspired them.

The two are subtly distinct, as they would be in nature. In Sullivan’s practice, nothing is merely decorative. Her objects honor the intelligence and primal elegance of the living world by amplifying the essence of whatever plant, animal, or element inspired them. Tables become altars, mirrors become portals, and here, a wall fixture becomes a small act of reverence. A reminder that the domestic and the wild were never really separate.

There is a lineage of artists who understood that nature is not backdrop but protagonist. Rousseau painting his jungles from imagination into something more alive than reality, Bosch conjuring a garden so lush and strange it tips into revelation.

Sculptor Erin Sullivan works in that same current.

Her banana leaf sconces begin in wax, move through lost-wax casting, and arrive in bronze. A process that holds the intimacy of the hand while reaching for permanence. The central rib, the fine parallel veining, the slight curl at the edges: all of it translated from something ephemeral and tropical into a material built to outlast us. Like Rousseau’s impossible fronds or the teeming flora of Bosch’s paradise panel, the leaves feel hyper-real, more themselves than the thing that inspired them.

The two are subtly distinct, as they would be in nature. In Sullivan’s practice, nothing is merely decorative. Her objects honor the intelligence and primal elegance of the living world by amplifying the essence of whatever plant, animal, or element inspired them. Tables become altars, mirrors become portals, and here, a wall fixture becomes a small act of reverence. A reminder that the domestic and the wild were never really separate.

There is a lineage of artists who understood that nature is not backdrop but protagonist. Rousseau painting his jungles from imagination into something more alive than reality, Bosch conjuring a garden so lush and strange it tips into revelation.

Sculptor Erin Sullivan works in that same current.

Her banana leaf sconces begin in wax, move through lost-wax casting, and arrive in bronze. A process that holds the intimacy of the hand while reaching for permanence. The central rib, the fine parallel veining, the slight curl at the edges: all of it translated from something ephemeral and tropical into a material built to outlast us. Like Rousseau’s impossible fronds or the teeming flora of Bosch’s paradise panel, the leaves feel hyper-real, more themselves than the thing that inspired them.

The two are subtly distinct, as they would be in nature. In Sullivan’s practice, nothing is merely decorative. Her objects honor the intelligence and primal elegance of the living world by amplifying the essence of whatever plant, animal, or element inspired them. Tables become altars, mirrors become portals, and here, a wall fixture becomes a small act of reverence. A reminder that the domestic and the wild were never really separate.

There is a lineage of artists who understood that nature is not backdrop but protagonist. Rousseau painting his jungles from imagination into something more alive than reality, Bosch conjuring a garden so lush and strange it tips into revelation.

Sculptor Erin Sullivan works in that same current.

Her banana leaf sconces begin in wax, move through lost-wax casting, and arrive in bronze. A process that holds the intimacy of the hand while reaching for permanence. The central rib, the fine parallel veining, the slight curl at the edges: all of it translated from something ephemeral and tropical into a material built to outlast us. Like Rousseau’s impossible fronds or the teeming flora of Bosch’s paradise panel, the leaves feel hyper-real, more themselves than the thing that inspired them.

The two are subtly distinct, as they would be in nature. In Sullivan’s practice, nothing is merely decorative. Her objects honor the intelligence and primal elegance of the living world by amplifying the essence of whatever plant, animal, or element inspired them. Tables become altars, mirrors become portals, and here, a wall fixture becomes a small act of reverence. A reminder that the domestic and the wild were never really separate.

There is a lineage of artists who understood that nature is not backdrop but protagonist. Rousseau painting his jungles from imagination into something more alive than reality, Bosch conjuring a garden so lush and strange it tips into revelation.

Sculptor Erin Sullivan works in that same current.

Her banana leaf sconces begin in wax, move through lost-wax casting, and arrive in bronze. A process that holds the intimacy of the hand while reaching for permanence. The central rib, the fine parallel veining, the slight curl at the edges: all of it translated from something ephemeral and tropical into a material built to outlast us. Like Rousseau’s impossible fronds or the teeming flora of Bosch’s paradise panel, the leaves feel hyper-real, more themselves than the thing that inspired them.

The two are subtly distinct, as they would be in nature. In Sullivan’s practice, nothing is merely decorative. Her objects honor the intelligence and primal elegance of the living world by amplifying the essence of whatever plant, animal, or element inspired them. Tables become altars, mirrors become portals, and here, a wall fixture becomes a small act of reverence. A reminder that the domestic and the wild were never really separate.

There is a lineage of artists who understood that nature is not backdrop but protagonist. Rousseau painting his jungles from imagination into something more alive than reality, Bosch conjuring a garden so lush and strange it tips into revelation.

Sculptor Erin Sullivan works in that same current.

Her banana leaf sconces begin in wax, move through lost-wax casting, and arrive in bronze. A process that holds the intimacy of the hand while reaching for permanence. The central rib, the fine parallel veining, the slight curl at the edges: all of it translated from something ephemeral and tropical into a material built to outlast us. Like Rousseau’s impossible fronds or the teeming flora of Bosch’s paradise panel, the leaves feel hyper-real, more themselves than the thing that inspired them.

The two are subtly distinct, as they would be in nature. In Sullivan’s practice, nothing is merely decorative. Her objects honor the intelligence and primal elegance of the living world by amplifying the essence of whatever plant, animal, or element inspired them. Tables become altars, mirrors become portals, and here, a wall fixture becomes a small act of reverence. A reminder that the domestic and the wild were never really separate.

Kylie Manning’s “Where stubborn memory rummages” carries geological and historical weight. Volcanic ash, cinnabar, malachite, iron oxides layered into surfaces that feel excavated as much as painted. Warm ochres and burnt siennas sweep across the linen in horizontal gestures, broken by passages of deep brown and flashes of cooler grey-white. This is the landscape of memory, not observed but rummaged through, restless, partial, turned over until something surfaces.

Lucas Simões’ “Sleeper” and “CCC” table share that same tension between material weight and luminous surface. The iridescent galvanized finish shifts from pink to gold to green with the light, both futuristic and sensual, a kinetic sculpture you can sit in. The CCC table balances solidity with reflection: stacked, symmetrical, its exposed bolts declaring their own constructive logic, a nod to Oscar Niemeyer’s architectural spirit.

——-

LUCAS SIMÕES
Sleeper Lounge Chair (Iridescent), 2024
Galvanized carbon steel and nylon ties

LUCAS SIMÕES
CCC Round Side Table , 2024
Galvanized carbon steel and pigmented concrete

Part 2: Garden of Desire | After the Garden, on view through summer 2026.

#kyliemanning #lucassimões #contemporaryart

Kylie Manning’s “Where stubborn memory rummages” carries geological and historical weight. Volcanic ash, cinnabar, malachite, iron oxides layered into surfaces that feel excavated as much as painted. Warm ochres and burnt siennas sweep across the linen in horizontal gestures, broken by passages of deep brown and flashes of cooler grey-white. This is the landscape of memory, not observed but rummaged through, restless, partial, turned over until something surfaces.

Lucas Simões’ “Sleeper” and “CCC” table share that same tension between material weight and luminous surface. The iridescent galvanized finish shifts from pink to gold to green with the light, both futuristic and sensual, a kinetic sculpture you can sit in. The CCC table balances solidity with reflection: stacked, symmetrical, its exposed bolts declaring their own constructive logic, a nod to Oscar Niemeyer’s architectural spirit.

——-

LUCAS SIMÕES
Sleeper Lounge Chair (Iridescent), 2024
Galvanized carbon steel and nylon ties

LUCAS SIMÕES
CCC Round Side Table , 2024
Galvanized carbon steel and pigmented concrete

Part 2: Garden of Desire | After the Garden, on view through summer 2026.

#kyliemanning #lucassimões #contemporaryart

Kylie Manning’s “Where stubborn memory rummages” carries geological and historical weight. Volcanic ash, cinnabar, malachite, iron oxides layered into surfaces that feel excavated as much as painted. Warm ochres and burnt siennas sweep across the linen in horizontal gestures, broken by passages of deep brown and flashes of cooler grey-white. This is the landscape of memory, not observed but rummaged through, restless, partial, turned over until something surfaces.

Lucas Simões’ “Sleeper” and “CCC” table share that same tension between material weight and luminous surface. The iridescent galvanized finish shifts from pink to gold to green with the light, both futuristic and sensual, a kinetic sculpture you can sit in. The CCC table balances solidity with reflection: stacked, symmetrical, its exposed bolts declaring their own constructive logic, a nod to Oscar Niemeyer’s architectural spirit.

——-

LUCAS SIMÕES
Sleeper Lounge Chair (Iridescent), 2024
Galvanized carbon steel and nylon ties

LUCAS SIMÕES
CCC Round Side Table , 2024
Galvanized carbon steel and pigmented concrete

Part 2: Garden of Desire | After the Garden, on view through summer 2026.

#kyliemanning #lucassimões #contemporaryart

Kylie Manning’s “Where stubborn memory rummages” carries geological and historical weight. Volcanic ash, cinnabar, malachite, iron oxides layered into surfaces that feel excavated as much as painted. Warm ochres and burnt siennas sweep across the linen in horizontal gestures, broken by passages of deep brown and flashes of cooler grey-white. This is the landscape of memory, not observed but rummaged through, restless, partial, turned over until something surfaces.

Lucas Simões’ “Sleeper” and “CCC” table share that same tension between material weight and luminous surface. The iridescent galvanized finish shifts from pink to gold to green with the light, both futuristic and sensual, a kinetic sculpture you can sit in. The CCC table balances solidity with reflection: stacked, symmetrical, its exposed bolts declaring their own constructive logic, a nod to Oscar Niemeyer’s architectural spirit.

——-

LUCAS SIMÕES
Sleeper Lounge Chair (Iridescent), 2024
Galvanized carbon steel and nylon ties

LUCAS SIMÕES
CCC Round Side Table , 2024
Galvanized carbon steel and pigmented concrete

Part 2: Garden of Desire | After the Garden, on view through summer 2026.

#kyliemanning #lucassimões #contemporaryart

Kylie Manning’s “Where stubborn memory rummages” carries geological and historical weight. Volcanic ash, cinnabar, malachite, iron oxides layered into surfaces that feel excavated as much as painted. Warm ochres and burnt siennas sweep across the linen in horizontal gestures, broken by passages of deep brown and flashes of cooler grey-white. This is the landscape of memory, not observed but rummaged through, restless, partial, turned over until something surfaces.

Lucas Simões’ “Sleeper” and “CCC” table share that same tension between material weight and luminous surface. The iridescent galvanized finish shifts from pink to gold to green with the light, both futuristic and sensual, a kinetic sculpture you can sit in. The CCC table balances solidity with reflection: stacked, symmetrical, its exposed bolts declaring their own constructive logic, a nod to Oscar Niemeyer’s architectural spirit.

——-

LUCAS SIMÕES
Sleeper Lounge Chair (Iridescent), 2024
Galvanized carbon steel and nylon ties

LUCAS SIMÕES
CCC Round Side Table , 2024
Galvanized carbon steel and pigmented concrete

Part 2: Garden of Desire | After the Garden, on view through summer 2026.

#kyliemanning #lucassimões #contemporaryart

Kylie Manning’s “Where stubborn memory rummages” carries geological and historical weight. Volcanic ash, cinnabar, malachite, iron oxides layered into surfaces that feel excavated as much as painted. Warm ochres and burnt siennas sweep across the linen in horizontal gestures, broken by passages of deep brown and flashes of cooler grey-white. This is the landscape of memory, not observed but rummaged through, restless, partial, turned over until something surfaces.

Lucas Simões’ “Sleeper” and “CCC” table share that same tension between material weight and luminous surface. The iridescent galvanized finish shifts from pink to gold to green with the light, both futuristic and sensual, a kinetic sculpture you can sit in. The CCC table balances solidity with reflection: stacked, symmetrical, its exposed bolts declaring their own constructive logic, a nod to Oscar Niemeyer’s architectural spirit.

——-

LUCAS SIMÕES
Sleeper Lounge Chair (Iridescent), 2024
Galvanized carbon steel and nylon ties

LUCAS SIMÕES
CCC Round Side Table , 2024
Galvanized carbon steel and pigmented concrete

Part 2: Garden of Desire | After the Garden, on view through summer 2026.

#kyliemanning #lucassimões #contemporaryart

Kylie Manning’s “Where stubborn memory rummages” carries geological and historical weight. Volcanic ash, cinnabar, malachite, iron oxides layered into surfaces that feel excavated as much as painted. Warm ochres and burnt siennas sweep across the linen in horizontal gestures, broken by passages of deep brown and flashes of cooler grey-white. This is the landscape of memory, not observed but rummaged through, restless, partial, turned over until something surfaces.

Lucas Simões’ “Sleeper” and “CCC” table share that same tension between material weight and luminous surface. The iridescent galvanized finish shifts from pink to gold to green with the light, both futuristic and sensual, a kinetic sculpture you can sit in. The CCC table balances solidity with reflection: stacked, symmetrical, its exposed bolts declaring their own constructive logic, a nod to Oscar Niemeyer’s architectural spirit.

——-

LUCAS SIMÕES
Sleeper Lounge Chair (Iridescent), 2024
Galvanized carbon steel and nylon ties

LUCAS SIMÕES
CCC Round Side Table , 2024
Galvanized carbon steel and pigmented concrete

Part 2: Garden of Desire | After the Garden, on view through summer 2026.

#kyliemanning #lucassimões #contemporaryart

Kylie Manning’s “Where stubborn memory rummages” carries geological and historical weight. Volcanic ash, cinnabar, malachite, iron oxides layered into surfaces that feel excavated as much as painted. Warm ochres and burnt siennas sweep across the linen in horizontal gestures, broken by passages of deep brown and flashes of cooler grey-white. This is the landscape of memory, not observed but rummaged through, restless, partial, turned over until something surfaces.

Lucas Simões’ “Sleeper” and “CCC” table share that same tension between material weight and luminous surface. The iridescent galvanized finish shifts from pink to gold to green with the light, both futuristic and sensual, a kinetic sculpture you can sit in. The CCC table balances solidity with reflection: stacked, symmetrical, its exposed bolts declaring their own constructive logic, a nod to Oscar Niemeyer’s architectural spirit.

——-

LUCAS SIMÕES
Sleeper Lounge Chair (Iridescent), 2024
Galvanized carbon steel and nylon ties

LUCAS SIMÕES
CCC Round Side Table , 2024
Galvanized carbon steel and pigmented concrete

Part 2: Garden of Desire | After the Garden, on view through summer 2026.

#kyliemanning #lucassimões #contemporaryart

Decadence and Desire unfolds within the garden, the central and most immersive condition of the presentation. Here, desire ceases to be episodic and becomes systemic. Pleasure is no longer experienced but performed, repeated, and multiplied.

Anchored at the center, Irene Cattaneo’s sensual and seductive bronze and iridescent Murano blown glass suspends over a unique work of Vincenzo De Cotiis, reminiscent of Japanese gardens and the reflective metallics of raku ceramics.

Warm, excessive, and seductive the environment invites immersion while subtly denying resolution. Surfaces reflect, bodies fragment, and forms swell beyond proportion.

What initially reads as abundance reveals itself as loop: appetite without intimacy, stimulation without conclusion. Operating as both seduction and exposure the environment makes visible the mechanisms through which desire organizes not only objects, but social and psychological space.

———
IRENE CATTANEO
Calder, 2026
lost wax cast bronze, amber and iridescent blown Murano glass, light fittings

VINCENZO DE COTIIS
DC1914, 2019
Iridescent Cast Aluminum, Brazilian Meteorus Granite, Cast Brass

Part 2: Garden of Desire | After the Garden on view through Summer 2026

________
#contemporaryart #irenecattaneo #functionalsculpture #vincenzodecotiis

Decadence and Desire unfolds within the garden, the central and most immersive condition of the presentation. Here, desire ceases to be episodic and becomes systemic. Pleasure is no longer experienced but performed, repeated, and multiplied.

Anchored at the center, Irene Cattaneo’s sensual and seductive bronze and iridescent Murano blown glass suspends over a unique work of Vincenzo De Cotiis, reminiscent of Japanese gardens and the reflective metallics of raku ceramics.

Warm, excessive, and seductive the environment invites immersion while subtly denying resolution. Surfaces reflect, bodies fragment, and forms swell beyond proportion.

What initially reads as abundance reveals itself as loop: appetite without intimacy, stimulation without conclusion. Operating as both seduction and exposure the environment makes visible the mechanisms through which desire organizes not only objects, but social and psychological space.

———
IRENE CATTANEO
Calder, 2026
lost wax cast bronze, amber and iridescent blown Murano glass, light fittings

VINCENZO DE COTIIS
DC1914, 2019
Iridescent Cast Aluminum, Brazilian Meteorus Granite, Cast Brass

Part 2: Garden of Desire | After the Garden on view through Summer 2026

________
#contemporaryart #irenecattaneo #functionalsculpture #vincenzodecotiis

Decadence and Desire unfolds within the garden, the central and most immersive condition of the presentation. Here, desire ceases to be episodic and becomes systemic. Pleasure is no longer experienced but performed, repeated, and multiplied.

Anchored at the center, Irene Cattaneo’s sensual and seductive bronze and iridescent Murano blown glass suspends over a unique work of Vincenzo De Cotiis, reminiscent of Japanese gardens and the reflective metallics of raku ceramics.

Warm, excessive, and seductive the environment invites immersion while subtly denying resolution. Surfaces reflect, bodies fragment, and forms swell beyond proportion.

What initially reads as abundance reveals itself as loop: appetite without intimacy, stimulation without conclusion. Operating as both seduction and exposure the environment makes visible the mechanisms through which desire organizes not only objects, but social and psychological space.

———
IRENE CATTANEO
Calder, 2026
lost wax cast bronze, amber and iridescent blown Murano glass, light fittings

VINCENZO DE COTIIS
DC1914, 2019
Iridescent Cast Aluminum, Brazilian Meteorus Granite, Cast Brass

Part 2: Garden of Desire | After the Garden on view through Summer 2026

________
#contemporaryart #irenecattaneo #functionalsculpture #vincenzodecotiis

An immersive garden of Lola Montes anchors in mythologies and dreamscapes.

Montes’ painting “Ascending Souls” unfolds across six ceramic tiles as a single vision: elongated figures in deep violet, coral, ochre, and gold rising through a field of saturated blue, flanked by palm trees that root the scene in something earthly even as everything else strains upward. The chromatic expressionism is immediate and unguarded, recalling the late El Greco in its elongation of form and its sense of spiritual urgency made visible through color. Montes Schnabel’s brushwork is fast and fluid, and that velocity is essential to the work.

The figures feel caught rather than composed, glimpsed in a rare moment of visibility between states. Her longstanding fascination with the supernatural world gives the piece its particular quality of attention: these are souls in transit, and the painting honors the fleeting instant in which such a passage might be witnessed.

Flanking the painting are two unique Artichoke Mirrors
A hand-carved ceramic frame winds into an oval, its surface textured with the density of twisted vine, punctuated by two artichokes in vivid colors at the crown and base. The object is as much sculpture as looking glass. Montes’ handling of the ceramic is tactile, the marks of the hand visible throughout. The color combination is striking without being decorative: reading as something botanical, autumnal and alive.

Illuminating the installation, carved and painted by hand, the Artichoke Apliques translate a natural form into something between botanical study and ritual object. The artichoke, layered, armored, concealing its heart, is an apt figure for guarded potential. Light emanates from within the form, something alive behind the surface.

———
Part 1 : Formation: the Garden Untouched | After the Garden, on core through July 2026.

#lolamontes #contemporaryart#ceramicpainting #ceramicsculpture

An immersive garden of Lola Montes anchors in mythologies and dreamscapes.

Montes’ painting “Ascending Souls” unfolds across six ceramic tiles as a single vision: elongated figures in deep violet, coral, ochre, and gold rising through a field of saturated blue, flanked by palm trees that root the scene in something earthly even as everything else strains upward. The chromatic expressionism is immediate and unguarded, recalling the late El Greco in its elongation of form and its sense of spiritual urgency made visible through color. Montes Schnabel’s brushwork is fast and fluid, and that velocity is essential to the work.

The figures feel caught rather than composed, glimpsed in a rare moment of visibility between states. Her longstanding fascination with the supernatural world gives the piece its particular quality of attention: these are souls in transit, and the painting honors the fleeting instant in which such a passage might be witnessed.

Flanking the painting are two unique Artichoke Mirrors
A hand-carved ceramic frame winds into an oval, its surface textured with the density of twisted vine, punctuated by two artichokes in vivid colors at the crown and base. The object is as much sculpture as looking glass. Montes’ handling of the ceramic is tactile, the marks of the hand visible throughout. The color combination is striking without being decorative: reading as something botanical, autumnal and alive.

Illuminating the installation, carved and painted by hand, the Artichoke Apliques translate a natural form into something between botanical study and ritual object. The artichoke, layered, armored, concealing its heart, is an apt figure for guarded potential. Light emanates from within the form, something alive behind the surface.

———
Part 1 : Formation: the Garden Untouched | After the Garden, on core through July 2026.

#lolamontes #contemporaryart#ceramicpainting #ceramicsculpture

An immersive garden of Lola Montes anchors in mythologies and dreamscapes.

Montes’ painting “Ascending Souls” unfolds across six ceramic tiles as a single vision: elongated figures in deep violet, coral, ochre, and gold rising through a field of saturated blue, flanked by palm trees that root the scene in something earthly even as everything else strains upward. The chromatic expressionism is immediate and unguarded, recalling the late El Greco in its elongation of form and its sense of spiritual urgency made visible through color. Montes Schnabel’s brushwork is fast and fluid, and that velocity is essential to the work.

The figures feel caught rather than composed, glimpsed in a rare moment of visibility between states. Her longstanding fascination with the supernatural world gives the piece its particular quality of attention: these are souls in transit, and the painting honors the fleeting instant in which such a passage might be witnessed.

Flanking the painting are two unique Artichoke Mirrors
A hand-carved ceramic frame winds into an oval, its surface textured with the density of twisted vine, punctuated by two artichokes in vivid colors at the crown and base. The object is as much sculpture as looking glass. Montes’ handling of the ceramic is tactile, the marks of the hand visible throughout. The color combination is striking without being decorative: reading as something botanical, autumnal and alive.

Illuminating the installation, carved and painted by hand, the Artichoke Apliques translate a natural form into something between botanical study and ritual object. The artichoke, layered, armored, concealing its heart, is an apt figure for guarded potential. Light emanates from within the form, something alive behind the surface.

———
Part 1 : Formation: the Garden Untouched | After the Garden, on core through July 2026.

#lolamontes #contemporaryart#ceramicpainting #ceramicsculpture

An immersive garden of Lola Montes anchors in mythologies and dreamscapes.

Montes’ painting “Ascending Souls” unfolds across six ceramic tiles as a single vision: elongated figures in deep violet, coral, ochre, and gold rising through a field of saturated blue, flanked by palm trees that root the scene in something earthly even as everything else strains upward. The chromatic expressionism is immediate and unguarded, recalling the late El Greco in its elongation of form and its sense of spiritual urgency made visible through color. Montes Schnabel’s brushwork is fast and fluid, and that velocity is essential to the work.

The figures feel caught rather than composed, glimpsed in a rare moment of visibility between states. Her longstanding fascination with the supernatural world gives the piece its particular quality of attention: these are souls in transit, and the painting honors the fleeting instant in which such a passage might be witnessed.

Flanking the painting are two unique Artichoke Mirrors
A hand-carved ceramic frame winds into an oval, its surface textured with the density of twisted vine, punctuated by two artichokes in vivid colors at the crown and base. The object is as much sculpture as looking glass. Montes’ handling of the ceramic is tactile, the marks of the hand visible throughout. The color combination is striking without being decorative: reading as something botanical, autumnal and alive.

Illuminating the installation, carved and painted by hand, the Artichoke Apliques translate a natural form into something between botanical study and ritual object. The artichoke, layered, armored, concealing its heart, is an apt figure for guarded potential. Light emanates from within the form, something alive behind the surface.

———
Part 1 : Formation: the Garden Untouched | After the Garden, on core through July 2026.

#lolamontes #contemporaryart#ceramicpainting #ceramicsculpture

An immersive garden of Lola Montes anchors in mythologies and dreamscapes.

Montes’ painting “Ascending Souls” unfolds across six ceramic tiles as a single vision: elongated figures in deep violet, coral, ochre, and gold rising through a field of saturated blue, flanked by palm trees that root the scene in something earthly even as everything else strains upward. The chromatic expressionism is immediate and unguarded, recalling the late El Greco in its elongation of form and its sense of spiritual urgency made visible through color. Montes Schnabel’s brushwork is fast and fluid, and that velocity is essential to the work.

The figures feel caught rather than composed, glimpsed in a rare moment of visibility between states. Her longstanding fascination with the supernatural world gives the piece its particular quality of attention: these are souls in transit, and the painting honors the fleeting instant in which such a passage might be witnessed.

Flanking the painting are two unique Artichoke Mirrors
A hand-carved ceramic frame winds into an oval, its surface textured with the density of twisted vine, punctuated by two artichokes in vivid colors at the crown and base. The object is as much sculpture as looking glass. Montes’ handling of the ceramic is tactile, the marks of the hand visible throughout. The color combination is striking without being decorative: reading as something botanical, autumnal and alive.

Illuminating the installation, carved and painted by hand, the Artichoke Apliques translate a natural form into something between botanical study and ritual object. The artichoke, layered, armored, concealing its heart, is an apt figure for guarded potential. Light emanates from within the form, something alive behind the surface.

———
Part 1 : Formation: the Garden Untouched | After the Garden, on core through July 2026.

#lolamontes #contemporaryart#ceramicpainting #ceramicsculpture

An immersive garden of Lola Montes anchors in mythologies and dreamscapes.

Montes’ painting “Ascending Souls” unfolds across six ceramic tiles as a single vision: elongated figures in deep violet, coral, ochre, and gold rising through a field of saturated blue, flanked by palm trees that root the scene in something earthly even as everything else strains upward. The chromatic expressionism is immediate and unguarded, recalling the late El Greco in its elongation of form and its sense of spiritual urgency made visible through color. Montes Schnabel’s brushwork is fast and fluid, and that velocity is essential to the work.

The figures feel caught rather than composed, glimpsed in a rare moment of visibility between states. Her longstanding fascination with the supernatural world gives the piece its particular quality of attention: these are souls in transit, and the painting honors the fleeting instant in which such a passage might be witnessed.

Flanking the painting are two unique Artichoke Mirrors
A hand-carved ceramic frame winds into an oval, its surface textured with the density of twisted vine, punctuated by two artichokes in vivid colors at the crown and base. The object is as much sculpture as looking glass. Montes’ handling of the ceramic is tactile, the marks of the hand visible throughout. The color combination is striking without being decorative: reading as something botanical, autumnal and alive.

Illuminating the installation, carved and painted by hand, the Artichoke Apliques translate a natural form into something between botanical study and ritual object. The artichoke, layered, armored, concealing its heart, is an apt figure for guarded potential. Light emanates from within the form, something alive behind the surface.

———
Part 1 : Formation: the Garden Untouched | After the Garden, on core through July 2026.

#lolamontes #contemporaryart#ceramicpainting #ceramicsculpture

An immersive garden of Lola Montes anchors in mythologies and dreamscapes.

Montes’ painting “Ascending Souls” unfolds across six ceramic tiles as a single vision: elongated figures in deep violet, coral, ochre, and gold rising through a field of saturated blue, flanked by palm trees that root the scene in something earthly even as everything else strains upward. The chromatic expressionism is immediate and unguarded, recalling the late El Greco in its elongation of form and its sense of spiritual urgency made visible through color. Montes Schnabel’s brushwork is fast and fluid, and that velocity is essential to the work.

The figures feel caught rather than composed, glimpsed in a rare moment of visibility between states. Her longstanding fascination with the supernatural world gives the piece its particular quality of attention: these are souls in transit, and the painting honors the fleeting instant in which such a passage might be witnessed.

Flanking the painting are two unique Artichoke Mirrors
A hand-carved ceramic frame winds into an oval, its surface textured with the density of twisted vine, punctuated by two artichokes in vivid colors at the crown and base. The object is as much sculpture as looking glass. Montes’ handling of the ceramic is tactile, the marks of the hand visible throughout. The color combination is striking without being decorative: reading as something botanical, autumnal and alive.

Illuminating the installation, carved and painted by hand, the Artichoke Apliques translate a natural form into something between botanical study and ritual object. The artichoke, layered, armored, concealing its heart, is an apt figure for guarded potential. Light emanates from within the form, something alive behind the surface.

———
Part 1 : Formation: the Garden Untouched | After the Garden, on core through July 2026.

#lolamontes #contemporaryart#ceramicpainting #ceramicsculpture

An immersive garden of Lola Montes anchors in mythologies and dreamscapes.

Montes’ painting “Ascending Souls” unfolds across six ceramic tiles as a single vision: elongated figures in deep violet, coral, ochre, and gold rising through a field of saturated blue, flanked by palm trees that root the scene in something earthly even as everything else strains upward. The chromatic expressionism is immediate and unguarded, recalling the late El Greco in its elongation of form and its sense of spiritual urgency made visible through color. Montes Schnabel’s brushwork is fast and fluid, and that velocity is essential to the work.

The figures feel caught rather than composed, glimpsed in a rare moment of visibility between states. Her longstanding fascination with the supernatural world gives the piece its particular quality of attention: these are souls in transit, and the painting honors the fleeting instant in which such a passage might be witnessed.

Flanking the painting are two unique Artichoke Mirrors
A hand-carved ceramic frame winds into an oval, its surface textured with the density of twisted vine, punctuated by two artichokes in vivid colors at the crown and base. The object is as much sculpture as looking glass. Montes’ handling of the ceramic is tactile, the marks of the hand visible throughout. The color combination is striking without being decorative: reading as something botanical, autumnal and alive.

Illuminating the installation, carved and painted by hand, the Artichoke Apliques translate a natural form into something between botanical study and ritual object. The artichoke, layered, armored, concealing its heart, is an apt figure for guarded potential. Light emanates from within the form, something alive behind the surface.

———
Part 1 : Formation: the Garden Untouched | After the Garden, on core through July 2026.

#lolamontes #contemporaryart#ceramicpainting #ceramicsculpture

An immersive garden of Lola Montes anchors in mythologies and dreamscapes.

Montes’ painting “Ascending Souls” unfolds across six ceramic tiles as a single vision: elongated figures in deep violet, coral, ochre, and gold rising through a field of saturated blue, flanked by palm trees that root the scene in something earthly even as everything else strains upward. The chromatic expressionism is immediate and unguarded, recalling the late El Greco in its elongation of form and its sense of spiritual urgency made visible through color. Montes Schnabel’s brushwork is fast and fluid, and that velocity is essential to the work.

The figures feel caught rather than composed, glimpsed in a rare moment of visibility between states. Her longstanding fascination with the supernatural world gives the piece its particular quality of attention: these are souls in transit, and the painting honors the fleeting instant in which such a passage might be witnessed.

Flanking the painting are two unique Artichoke Mirrors
A hand-carved ceramic frame winds into an oval, its surface textured with the density of twisted vine, punctuated by two artichokes in vivid colors at the crown and base. The object is as much sculpture as looking glass. Montes’ handling of the ceramic is tactile, the marks of the hand visible throughout. The color combination is striking without being decorative: reading as something botanical, autumnal and alive.

Illuminating the installation, carved and painted by hand, the Artichoke Apliques translate a natural form into something between botanical study and ritual object. The artichoke, layered, armored, concealing its heart, is an apt figure for guarded potential. Light emanates from within the form, something alive behind the surface.

———
Part 1 : Formation: the Garden Untouched | After the Garden, on core through July 2026.

#lolamontes #contemporaryart#ceramicpainting #ceramicsculpture

Lola Montes’ ceramic dining table carries a painted landscape across its rosone-shaped surface, a form drawn from medieval architecture, its clover outline echoing the rose windows of cathedrals and the organic logic of living things. Across the pietra lavica top - volcanic stone from Etna - sky, earth, root, and tree unfold in soft blues, greens, and ochres: not ñ decoration but cosmology. The image depicts a metamorphosis: a dove, the Holy Ghost, liberating itself from a maritime pine and rising from arid earth into lush
landscape, the figure within the tree serving as a metaphor for the entire human condition.

Each stool in Montes’ series is a vessel for a traditional technique made new. The images each unique paintings, scratched and cast in colored cement, draw from the graffito tradition of the Engadine, where decorative scratching in stone and cement has long adorned house facades and streetscapes.

Here, the method becomes something more interior: free associations from Montes’ imagination, in which human forms dissolve into spirit, earth, water, cloud, and animal. A sense of wind moves through each scene - a deliberate choice by the artist - bringing lightness to an object of physical weight.

Each piece is cast in colored cement, poured into a mold around a thin interior metal structure, and, for this exhibition, rendered in a palette of cerulean, mauve, yellow, and terra verde.

Part 1 Formation: The Garden Untouched | After the Garden On view through July 2026

#afterthegarden

LOLA MONTES
Clover-shaped Ceramic Dining Table, 2023
Painted lava stone top with concrete base
Unique

LOLA MONTES
Various unique mythology stool
Cement, painted ceramic inlay
57 x 38 x 37 cm / 22.38 x 15 x 14.62 in
Unique

#contemporaryart #lolamontesschnabel #collectibledesign #ceramicpainting

Lola Montes’ ceramic dining table carries a painted landscape across its rosone-shaped surface, a form drawn from medieval architecture, its clover outline echoing the rose windows of cathedrals and the organic logic of living things. Across the pietra lavica top - volcanic stone from Etna - sky, earth, root, and tree unfold in soft blues, greens, and ochres: not ñ decoration but cosmology. The image depicts a metamorphosis: a dove, the Holy Ghost, liberating itself from a maritime pine and rising from arid earth into lush
landscape, the figure within the tree serving as a metaphor for the entire human condition.

Each stool in Montes’ series is a vessel for a traditional technique made new. The images each unique paintings, scratched and cast in colored cement, draw from the graffito tradition of the Engadine, where decorative scratching in stone and cement has long adorned house facades and streetscapes.

Here, the method becomes something more interior: free associations from Montes’ imagination, in which human forms dissolve into spirit, earth, water, cloud, and animal. A sense of wind moves through each scene - a deliberate choice by the artist - bringing lightness to an object of physical weight.

Each piece is cast in colored cement, poured into a mold around a thin interior metal structure, and, for this exhibition, rendered in a palette of cerulean, mauve, yellow, and terra verde.

Part 1 Formation: The Garden Untouched | After the Garden On view through July 2026

#afterthegarden

LOLA MONTES
Clover-shaped Ceramic Dining Table, 2023
Painted lava stone top with concrete base
Unique

LOLA MONTES
Various unique mythology stool
Cement, painted ceramic inlay
57 x 38 x 37 cm / 22.38 x 15 x 14.62 in
Unique

#contemporaryart #lolamontesschnabel #collectibledesign #ceramicpainting

Lola Montes’ ceramic dining table carries a painted landscape across its rosone-shaped surface, a form drawn from medieval architecture, its clover outline echoing the rose windows of cathedrals and the organic logic of living things. Across the pietra lavica top - volcanic stone from Etna - sky, earth, root, and tree unfold in soft blues, greens, and ochres: not ñ decoration but cosmology. The image depicts a metamorphosis: a dove, the Holy Ghost, liberating itself from a maritime pine and rising from arid earth into lush
landscape, the figure within the tree serving as a metaphor for the entire human condition.

Each stool in Montes’ series is a vessel for a traditional technique made new. The images each unique paintings, scratched and cast in colored cement, draw from the graffito tradition of the Engadine, where decorative scratching in stone and cement has long adorned house facades and streetscapes.

Here, the method becomes something more interior: free associations from Montes’ imagination, in which human forms dissolve into spirit, earth, water, cloud, and animal. A sense of wind moves through each scene - a deliberate choice by the artist - bringing lightness to an object of physical weight.

Each piece is cast in colored cement, poured into a mold around a thin interior metal structure, and, for this exhibition, rendered in a palette of cerulean, mauve, yellow, and terra verde.

Part 1 Formation: The Garden Untouched | After the Garden On view through July 2026

#afterthegarden

LOLA MONTES
Clover-shaped Ceramic Dining Table, 2023
Painted lava stone top with concrete base
Unique

LOLA MONTES
Various unique mythology stool
Cement, painted ceramic inlay
57 x 38 x 37 cm / 22.38 x 15 x 14.62 in
Unique

#contemporaryart #lolamontesschnabel #collectibledesign #ceramicpainting

Lola Montes’ ceramic dining table carries a painted landscape across its rosone-shaped surface, a form drawn from medieval architecture, its clover outline echoing the rose windows of cathedrals and the organic logic of living things. Across the pietra lavica top - volcanic stone from Etna - sky, earth, root, and tree unfold in soft blues, greens, and ochres: not ñ decoration but cosmology. The image depicts a metamorphosis: a dove, the Holy Ghost, liberating itself from a maritime pine and rising from arid earth into lush
landscape, the figure within the tree serving as a metaphor for the entire human condition.

Each stool in Montes’ series is a vessel for a traditional technique made new. The images each unique paintings, scratched and cast in colored cement, draw from the graffito tradition of the Engadine, where decorative scratching in stone and cement has long adorned house facades and streetscapes.

Here, the method becomes something more interior: free associations from Montes’ imagination, in which human forms dissolve into spirit, earth, water, cloud, and animal. A sense of wind moves through each scene - a deliberate choice by the artist - bringing lightness to an object of physical weight.

Each piece is cast in colored cement, poured into a mold around a thin interior metal structure, and, for this exhibition, rendered in a palette of cerulean, mauve, yellow, and terra verde.

Part 1 Formation: The Garden Untouched | After the Garden On view through July 2026

#afterthegarden

LOLA MONTES
Clover-shaped Ceramic Dining Table, 2023
Painted lava stone top with concrete base
Unique

LOLA MONTES
Various unique mythology stool
Cement, painted ceramic inlay
57 x 38 x 37 cm / 22.38 x 15 x 14.62 in
Unique

#contemporaryart #lolamontesschnabel #collectibledesign #ceramicpainting

Lola Montes’ ceramic dining table carries a painted landscape across its rosone-shaped surface, a form drawn from medieval architecture, its clover outline echoing the rose windows of cathedrals and the organic logic of living things. Across the pietra lavica top - volcanic stone from Etna - sky, earth, root, and tree unfold in soft blues, greens, and ochres: not ñ decoration but cosmology. The image depicts a metamorphosis: a dove, the Holy Ghost, liberating itself from a maritime pine and rising from arid earth into lush
landscape, the figure within the tree serving as a metaphor for the entire human condition.

Each stool in Montes’ series is a vessel for a traditional technique made new. The images each unique paintings, scratched and cast in colored cement, draw from the graffito tradition of the Engadine, where decorative scratching in stone and cement has long adorned house facades and streetscapes.

Here, the method becomes something more interior: free associations from Montes’ imagination, in which human forms dissolve into spirit, earth, water, cloud, and animal. A sense of wind moves through each scene - a deliberate choice by the artist - bringing lightness to an object of physical weight.

Each piece is cast in colored cement, poured into a mold around a thin interior metal structure, and, for this exhibition, rendered in a palette of cerulean, mauve, yellow, and terra verde.

Part 1 Formation: The Garden Untouched | After the Garden On view through July 2026

#afterthegarden

LOLA MONTES
Clover-shaped Ceramic Dining Table, 2023
Painted lava stone top with concrete base
Unique

LOLA MONTES
Various unique mythology stool
Cement, painted ceramic inlay
57 x 38 x 37 cm / 22.38 x 15 x 14.62 in
Unique

#contemporaryart #lolamontesschnabel #collectibledesign #ceramicpainting

Lola Montes’ ceramic dining table carries a painted landscape across its rosone-shaped surface, a form drawn from medieval architecture, its clover outline echoing the rose windows of cathedrals and the organic logic of living things. Across the pietra lavica top - volcanic stone from Etna - sky, earth, root, and tree unfold in soft blues, greens, and ochres: not ñ decoration but cosmology. The image depicts a metamorphosis: a dove, the Holy Ghost, liberating itself from a maritime pine and rising from arid earth into lush
landscape, the figure within the tree serving as a metaphor for the entire human condition.

Each stool in Montes’ series is a vessel for a traditional technique made new. The images each unique paintings, scratched and cast in colored cement, draw from the graffito tradition of the Engadine, where decorative scratching in stone and cement has long adorned house facades and streetscapes.

Here, the method becomes something more interior: free associations from Montes’ imagination, in which human forms dissolve into spirit, earth, water, cloud, and animal. A sense of wind moves through each scene - a deliberate choice by the artist - bringing lightness to an object of physical weight.

Each piece is cast in colored cement, poured into a mold around a thin interior metal structure, and, for this exhibition, rendered in a palette of cerulean, mauve, yellow, and terra verde.

Part 1 Formation: The Garden Untouched | After the Garden On view through July 2026

#afterthegarden

LOLA MONTES
Clover-shaped Ceramic Dining Table, 2023
Painted lava stone top with concrete base
Unique

LOLA MONTES
Various unique mythology stool
Cement, painted ceramic inlay
57 x 38 x 37 cm / 22.38 x 15 x 14.62 in
Unique

#contemporaryart #lolamontesschnabel #collectibledesign #ceramicpainting

Lola Montes’ ceramic dining table carries a painted landscape across its rosone-shaped surface, a form drawn from medieval architecture, its clover outline echoing the rose windows of cathedrals and the organic logic of living things. Across the pietra lavica top - volcanic stone from Etna - sky, earth, root, and tree unfold in soft blues, greens, and ochres: not ñ decoration but cosmology. The image depicts a metamorphosis: a dove, the Holy Ghost, liberating itself from a maritime pine and rising from arid earth into lush
landscape, the figure within the tree serving as a metaphor for the entire human condition.

Each stool in Montes’ series is a vessel for a traditional technique made new. The images each unique paintings, scratched and cast in colored cement, draw from the graffito tradition of the Engadine, where decorative scratching in stone and cement has long adorned house facades and streetscapes.

Here, the method becomes something more interior: free associations from Montes’ imagination, in which human forms dissolve into spirit, earth, water, cloud, and animal. A sense of wind moves through each scene - a deliberate choice by the artist - bringing lightness to an object of physical weight.

Each piece is cast in colored cement, poured into a mold around a thin interior metal structure, and, for this exhibition, rendered in a palette of cerulean, mauve, yellow, and terra verde.

Part 1 Formation: The Garden Untouched | After the Garden On view through July 2026

#afterthegarden

LOLA MONTES
Clover-shaped Ceramic Dining Table, 2023
Painted lava stone top with concrete base
Unique

LOLA MONTES
Various unique mythology stool
Cement, painted ceramic inlay
57 x 38 x 37 cm / 22.38 x 15 x 14.62 in
Unique

#contemporaryart #lolamontesschnabel #collectibledesign #ceramicpainting

#Sundays #christies

#Sundays #christies

#Sundays #christies

#Sundays #christies

#Sundays #christies

#Sundays #christies

#Sundays #christies

#Sundays #christies

#Sundays #christies

#Sundays #christies

In Crossings, the pieces are presented as part of a larger spatial composition rather than as isolated objects.

The exhibition brings together Brazilian modernist furniture, contemporary art, and architecture to position design within a network of relationships, rather than as a standalone element.

Within this context, the Manhattan functions as a connective element.

Its curved form introduces contrast to the surrounding architecture, links different scales within the space, and relates visually to other works on view.

The curatorial approach emphasizes how objects coexist, placing works from different periods, disciplines, and geographies in direct relation.

Through this framework, the role of design is reconsidered within a broader spatial and cultural context.

An evening with Eittem and Indre Rockefeller celebrating the launch of Eittem’s new collection.

Hand-Craft, materiality, and quiet precision at the center of a beautiful gathering. @thirty8east

#eittemnyc #mastercraftsmanship

An evening with Eittem and Indre Rockefeller celebrating the launch of Eittem’s new collection.

Hand-Craft, materiality, and quiet precision at the center of a beautiful gathering. @thirty8east

#eittemnyc #mastercraftsmanship

An evening with Eittem and Indre Rockefeller celebrating the launch of Eittem’s new collection.

Hand-Craft, materiality, and quiet precision at the center of a beautiful gathering. @thirty8east

#eittemnyc #mastercraftsmanship

An evening with Eittem and Indre Rockefeller celebrating the launch of Eittem’s new collection.

Hand-Craft, materiality, and quiet precision at the center of a beautiful gathering. @thirty8east

#eittemnyc #mastercraftsmanship

An evening with Eittem and Indre Rockefeller celebrating the launch of Eittem’s new collection.

Hand-Craft, materiality, and quiet precision at the center of a beautiful gathering. @thirty8east

#eittemnyc #mastercraftsmanship

An evening with Eittem and Indre Rockefeller celebrating the launch of Eittem’s new collection.

Hand-Craft, materiality, and quiet precision at the center of a beautiful gathering. @thirty8east

#eittemnyc #mastercraftsmanship

An evening with Eittem and Indre Rockefeller celebrating the launch of Eittem’s new collection.

Hand-Craft, materiality, and quiet precision at the center of a beautiful gathering. @thirty8east

#eittemnyc #mastercraftsmanship

An evening with Eittem and Indre Rockefeller celebrating the launch of Eittem’s new collection.

Hand-Craft, materiality, and quiet precision at the center of a beautiful gathering. @thirty8east

#eittemnyc #mastercraftsmanship

An evening with Eittem and Indre Rockefeller celebrating the launch of Eittem’s new collection.

Hand-Craft, materiality, and quiet precision at the center of a beautiful gathering. @thirty8east

#eittemnyc #mastercraftsmanship

An evening with Eittem and Indre Rockefeller celebrating the launch of Eittem’s new collection.

Hand-Craft, materiality, and quiet precision at the center of a beautiful gathering. @thirty8east

#eittemnyc #mastercraftsmanship

An evening with Eittem and Indre Rockefeller celebrating the launch of Eittem’s new collection.

Hand-Craft, materiality, and quiet precision at the center of a beautiful gathering. @thirty8east

#eittemnyc #mastercraftsmanship

An evening with Eittem and Indre Rockefeller celebrating the launch of Eittem’s new collection.

Hand-Craft, materiality, and quiet precision at the center of a beautiful gathering. @thirty8east

#eittemnyc #mastercraftsmanship

An evening with Eittem and Indre Rockefeller celebrating the launch of Eittem’s new collection.

Hand-Craft, materiality, and quiet precision at the center of a beautiful gathering. @thirty8east

#eittemnyc #mastercraftsmanship

An evening with Eittem and Indre Rockefeller celebrating the launch of Eittem’s new collection.

Hand-Craft, materiality, and quiet precision at the center of a beautiful gathering. @thirty8east

#eittemnyc #mastercraftsmanship

An evening with Eittem and Indre Rockefeller celebrating the launch of Eittem’s new collection.

Hand-Craft, materiality, and quiet precision at the center of a beautiful gathering. @thirty8east

#eittemnyc #mastercraftsmanship

Pier Paolo Calzolari belongs to the Arte Povera generation that dismantled the hierarchy of art materials, insisting that salt and lead and a snail’s shell carry as much metaphysical weight as bronze or oil paint. Studio hangs rotated forty-five degrees, its diamond orientation transforming the cardboard support into something unstable, a surface tilted against expectation.

The materials are chosen for their capacity to change. Salt crystallizes and migrates; lead oxidizes; the organic matter at the crown is already past its moment of living. Calzolari does not resist this entropy but courts it, building impermanence into the object’s logic. What is presented is not a finished work so much as a condition: something caught mid-transformation, subject to the same forces of time and atmosphere as everything outside a gallery.

The result is tender and austere in equal measure, a meditation on what remains when vitality has passed through a thing and left its trace.

PIER PAOLO CALZOLARI
Studio, 1980
Titled in graphite (verso)
Salt on cardboard, copper, lead, snail, oil candles
62.5 x 63 x 22.5 cm
24.6 × 24.8 × 8.8 in

Formation: the Birth of Creation| Part 1 After the Garden
On view through July 2026

#pierpaolocalzolari #artepovera #contemporaryart #conceptualart

Pier Paolo Calzolari belongs to the Arte Povera generation that dismantled the hierarchy of art materials, insisting that salt and lead and a snail’s shell carry as much metaphysical weight as bronze or oil paint. Studio hangs rotated forty-five degrees, its diamond orientation transforming the cardboard support into something unstable, a surface tilted against expectation.

The materials are chosen for their capacity to change. Salt crystallizes and migrates; lead oxidizes; the organic matter at the crown is already past its moment of living. Calzolari does not resist this entropy but courts it, building impermanence into the object’s logic. What is presented is not a finished work so much as a condition: something caught mid-transformation, subject to the same forces of time and atmosphere as everything outside a gallery.

The result is tender and austere in equal measure, a meditation on what remains when vitality has passed through a thing and left its trace.

PIER PAOLO CALZOLARI
Studio, 1980
Titled in graphite (verso)
Salt on cardboard, copper, lead, snail, oil candles
62.5 x 63 x 22.5 cm
24.6 × 24.8 × 8.8 in

Formation: the Birth of Creation| Part 1 After the Garden
On view through July 2026

#pierpaolocalzolari #artepovera #contemporaryart #conceptualart

Pier Paolo Calzolari belongs to the Arte Povera generation that dismantled the hierarchy of art materials, insisting that salt and lead and a snail’s shell carry as much metaphysical weight as bronze or oil paint. Studio hangs rotated forty-five degrees, its diamond orientation transforming the cardboard support into something unstable, a surface tilted against expectation.

The materials are chosen for their capacity to change. Salt crystallizes and migrates; lead oxidizes; the organic matter at the crown is already past its moment of living. Calzolari does not resist this entropy but courts it, building impermanence into the object’s logic. What is presented is not a finished work so much as a condition: something caught mid-transformation, subject to the same forces of time and atmosphere as everything outside a gallery.

The result is tender and austere in equal measure, a meditation on what remains when vitality has passed through a thing and left its trace.

PIER PAOLO CALZOLARI
Studio, 1980
Titled in graphite (verso)
Salt on cardboard, copper, lead, snail, oil candles
62.5 x 63 x 22.5 cm
24.6 × 24.8 × 8.8 in

Formation: the Birth of Creation| Part 1 After the Garden
On view through July 2026

#pierpaolocalzolari #artepovera #contemporaryart #conceptualart