From the 28th of January 2015 Gallery Libby Sellers presents Troisième – a group exhibition of metals, minerals and monochrome.
Amongst the selected works is the 5-piece candlestick set by Fabien Cappello. Commissioned as part of a chess- themed series of objects the forms are, according to the designer, suggestive of chessmen in motion or of Russian constructivist Vladimir Tatlin’s machine aesthetic that adds to their dynamism and allure.
Similarly sculptural and dynamic is Peter Marigold’s Ger Butler; a freestanding metal clothes stand designed in blackened raw steel and polished brass. Modular in shape and adaptable to different spaces, these beautifully stark, functional objects were designed to capture the nomadic spirit of traditional Mongolian housing, or Ger.
Marigold’s Wooden series of objects are made by taking a series of separate wax impressions from a single piece of wood. The process is repeated over and over again to build up an intuitive form in wax that is then cast into either plaster or metal. The results are an amalgam of moments and movements that are highly animated and not 'wooden' at all.
Nicolas Le Moigne has earned a reputation for his work in Eternit (a compound of cement and pulped fibre, traditionally used for outdoor furniture and architectural components). The Eternit stools and lamps were the direct result of his rigorous research into finding new casting techniques and design typologies from the material. His latest commission, Copper High Table follows this rigorous investigation.
Simon Hasan’s animalistic furniture pieces, including the Geno stool, are all made from leather and brass in order to highlight the strict rigidity afforded to leather when boiled.
The Copper Mirror Series by Hunting & Narud intentionally leaves the materials (copper, mild steel and granite) in their raw state in order to make them the protagonists of the story but also to highlight their inherent beauty.
Studio Formafantasma’s recently launched De Natura Fossilium collection of works all produced from lava saw the Italian duo investigating the tensile properties of lavic fibre through the Etna wall hanging. This piece combines illustrative references to the Greek mythological god of Mount Etna and the microscopic views of lavic rock’s geological strata as ascertained through the designers’ collaboration with the Volcanologist Centre of Catania (INGV). As a sustainable alternative to carbon fibre, Formafantasma’s use of lavic fibre has effectively reappropriated a conventionally high tech material for artisnal ends.
Julia Lohmann and Gero Grundmann’s Tidal Ossuary and Billingsgate series follows the duo’s trajectory for investigating our relationship with natural materials. Once deemed as rubbish, these natural animal bones collected from the banks of London’s River Thames have been returned to objects of use and worth. Typically for Grundmann and Lohmann this questioning of value systems – in which the overlooked and discarded are given new purpose and meaning – is paramount.