12/27/2023 0 Comments Medieval house concept art“I associate medieval times with the tension between poverty and extreme wealth exacerbated by plagues, which created an overarching sense of darkness and helplessness,” Sophie notes. As we have reentered the world following a season of forced isolation, many of us have found our circumstances to be less than hospitable. I love stone, I love steel, I love wood, I love Old World craft.” Whereas Scandinavian aesthetics are decidedly muted and light-of-touch, and postmodernism feels optimistic if a bit unhinged, medieval aesthetics are enveloping, immersive, and transporting. I really care about seeing a human touch to stuff. “These days I am more into esoteric-leaning, darker, moodier colors and furniture. The furniture dealer Bianca Stillwell of Monte Visión has been a bellwether of this vibe shift. “I’ve never been into Scandinavian, really, so I’m particularly excited to see this darker stuff creeping in,” she says. The obsidian-hued Secret Cabinet made using the almost obsolete technique of pressing metal into molded shapes evokes Medieval body armor and features a chalice, rose, spears, and scales, and it would be at home as a particularly bewitching centerpiece in the halls of The Met. Their Talisman Mirrors, whose forms unapologetically borrow from a religious and devotional iconography, were recently installed against a deep oxblood wall for Emma Sculley Gallery at Design Miami. Nata Janberidze and Keti Toloraia of Rooms Studio turn to Georgian folk and artisanal vernaculars, “architectural forms of the orthodox churches,” and “primeval” motifs to mystical effect for interior inspiration. “Rich colors, texture, layers, lots of ornamentation and decoration…astronomy and botany.” “Personally, I’ve been feeling very drawn to Old World aesthetics,” she explains in an email. But for the New York–based designer Sophie Lou Jacobsen, whose wavy and colorful glassware can be spotted all over Instagram, the recent pivot toward silver and embroidered pieces articulates a new, or rather old, array of influences. Using collected shells, stones, and other glittering bits, the result is a Buried Treasure meets Met Cloisters meets Grimms’ Fairy Tales mashup. “I love the idea of a steel rose as it reflects such delicacy through brute force,” he notes.įrank Traynor, the artist behind The Perfect Nothing Catalog, has developed a unique style of gem-encrusted tin-over-copper lattice work that transforms quotidian objects-lightswitch plates, bath faucets, and even trash cans and pepper mills-into relics of uncommon charm. “I see my work as an interruption of the speed of modern life,” he explains, being that “handcrafted objects allow us to reimagine a more sustainable life that connects us to ourselves, the environment, and our community.” Barnaby Lewis, a designer who works out of London, uses relatively rudimentary tools to produce his sculptural designs, like a console table made from forged sheet steel and a burnt ash top, candelabras, sheet steel–fitted wardrobes, and gothic chairs. Over in Oregon, the blacksmith Carson Terry makes forks, spoons, hooks, and combs topped with ornamental shapes and forged flowers. She’s still making the flower vases, but is looking more to left-of-center floral motifs, like ikebana and ivies. Another recent creation, an iron chair inspired by ornamental metalwork seen in railings and security gates, was shown in an NYCxDesign show curated by Pink Essay. Last month, Lane exhibited a large-scale barbed wire tapestry-like gate with a rusted patina. “ were being devoured during the pandemic, and it’s interesting to see people are wanting something a little harder right now,” she says. These days, Lane has been finding her own taste-and that of her followers-changing. Her practice hit a stride in 2020 with a series of life-sized flower vases made with exuberantly painted steel. Lane Walkup, a sculptural artist based in Brooklyn, has been working with metal for the past 11 years. Their compelling curation remains decidedly mysterious. Hardened raw materials, aged patinas, intricate and swirling iron lines, and pieces that seemed vaguely menacing yet still undeniably seductive, caught my eye. I perhaps first caught the scent of this wind of change through Bruises Gallery, a Montreal-based gallery and interior design project curating found, antique, and new objects.
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