DATE & TIME
Monday 16th May 2016
12:30 pm to 2:00 pm
Scandia House, Albermale Street, Mayfair, London W1
CARPENTERS WORKSHOP GALLERY
Carpenters Workshop Gallery transcends classical borders in terms of art and design. Its proposal stands just at the intersection of these two universes: reaching precisely a symbiosis of art and design.
Carpenters Workshop Gallery produces and exhibits functional sculptures by international rising and already established artists and designers going outside their traditional territories of expression. The gallery is actively involved in the research and production of the limited edition works exhibited. The choices are guided by the research of an emotional, artistic and historical relevance; a relevance that appears as an evidence.
The gallery relies on the partnership of childhood friends, Julien Lombrail & Loic Le Gaillard. They first opened a space in London’s Chelsea in 2006 in a former carpenter’s workshop; they then followed with a second space in Mayfair in 2008. The opening of a 600 square metre space in Paris in 2011 in the heart of Le Marais district, an address steeped in history as it was previously occupied by the Galerie de France for several decades, was a return to their roots.
2015 marks a major turning point for Carpenters Workshop Gallery with the opening of Carpenters Workshop | Roissy, a 8,000 m2 space unique globally, dedicated to research dedicated to artistic research and development, bringing together the elite of artisans, an homage to the heritage to French ‘Arts Décoratifs’.
Carpenters Workshop Gallery | New York is the lastest step in the gallery’s remarkable development. This new space confirms today the leadership and dominant position of the gallery in the international territory of art and design.
Ever since his childhood, Robert Stadler has found power in the tiny details of objects and the narratives they can evoke, opening up imaginary universes that simultaneously tie in and vie with everyday life.
Pursuing the possibilities of this path led to Stadler studying design at the Istituto Europeo di Design, Milan, before attending the École Nationale Supérieure de Création Industrielle, Paris in the late 1980s. He has continued to work in Paris ever since.
In 1992, he co-founded the RADI Designers collective, whose varied practice revolved around the marriage of the everyday and the unusual. Stadler began to work on solo projects from 2002, though he continued to collaborate with RADI until the studio’s dissolution in 2008.
Stadler’s interests encompass both what he terms “aristocratic design”; conceived by serious designers, manufactured by elegant companies, and objects typically deemed or vulgar or absurd by connoisseurs of the former. To Stadler, beauty and merit can be found in each alike.
He began exploring the imaginative possibilities of things to bridge the apparently incompatible. Rather than choosing a side, Stadler inhabits the debatable land between preciousness and lowliness, elegance and gaucheness, the serious and the ludicrous. As he says:
“I enjoy revealing the strange sides to an object and making people love them. We easily reject the bizarre as it seems established that functional objects should be simple, self-explanatory, attractive etc. So I try to add a different dimension to my works, but without neglecting these rational parameters.”
This was, and remains, a crucial force behind his work. The myriad strands of his practice reveal this motivation, encompassing furniture, product and interaction design, art installation and multi-media intervention. In time, this ambition has formally manifested itself more and more clearly.
Common to the majority of Stadler’s oeuvre is a questioning of objects’ established identities. Frequently, his furniture works at once convey and destroy pre-conceived notions of what an object should be. Such evocation of dissolution, in tandem with the physical reality of functional furniture, introduces an element of chaos to the medium. Although works such as his Possible Furniture series may at times appear haphazard, they are in fact perfectly constructed to fulfill their ergonomic purpose. Stadler’s ambition when producing a new work is that its artistic dimension doesn’t reduce its design credibility and vice-versa.