At first glance you might find this an unremarkable glimpse of modern chairs at a design show. But look again, at the details of these two chairs. In the foreground, the chair’s coloration traces (from left to right) an ebbing of its color statement. In the background, the grey seating appears to be laced with wire! In both cases the deficit proves illusory, providing a superb comfort and a playful “crisis,” derived from that highway of infinite physical possibilities coinciding with the intent of mustering comfortable seating.
Under the auspices of the same sensibility promoting the chairs in the first photo, there is this rock formation which in fact constitutes a sofa of remarkably versatile and sustaining enjoyment. Prehistoric materiality here becomes transformed by human initiatives on behalf of material support.
The ringmaster of this dance of elemental forces, Patrizia Moroso, studied art and, only after graduating from art school with a cauldron of innovative passions, went on to take over (in 1985 ) the directorship of her parents’ small but feisty furniture manufacturing concern in Udine, Italy.
But, even today, and certainly back in 1985,her mantra would be, “Milan is sitting in the past;” and she has been utterly consistent in pursuit of the necessary new.A chair like the one pictured here, derives from physical, biological eventuation as ambushed by consciousness and its need to thrive imaginatively, dangerously, as well as pragmatically.