Boketto

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Collectible Mid-century Modern

18/10/2026

Goodbye London, this was fun. See you next year.

Video .edit

16/10/2026

PAD London brings together the world of collectible design, where art, craftsmanship and material experimentation meet. At this year’s fair, we found ourselves drawn to galleries that challenged expectations, from unconventional materials and sculptural furniture to intricate craftsmanship and nature-inspired forms.

These are the 10 gallery presentations that stayed with us.

Read the complete feature on the Designeers website. Link in bio.

Making its PAD London debut, Galerie Boketto stood out for its willingness to explore the unexpected. From Thibault Philip’s translucent lamp made from pig’s intestine to sculptural furniture and reclaimed materials, the presentation made a compelling case for looking beyond the conventional.

Lukas Wegwerth and Corinna Dehn’s Armadillo series at Gallery FUMI takes its cue from the protective structures found in nature, transforming salvaged wooden shingles into layered, armour-like forms. Elsewhere on the stand, Emma Witter combines metal, glass, bone and shell in intricate compositions that reward a closer look.

Sarah Myerscough Gallery brought together 17 artists and makers, including Christopher Kurtz, Eleanor Lakelin and Adi Toch, whose practices move between sculpture, furniture and object-making. Laura Ellen Bacon, Aneta Regel and Diana Scherer extended the presentation through woven structures, ceramics and plant-based processes.

At Galerie Melissa Paul, Erwan Boulloud’s monumental dark cabinet, traced with metallic seams, stood out for its almost excavated appearance. Across his furniture and sculptural objects, bronze, wood and metal appear fractured, fused and weathered, with the marks of the making process left visible.

Ian Milnes’ Creeping Midnight at Charles Burnand Gallery pushes marquetry beyond its decorative origins, using sycamore, walnut, cherry and resin to create dark floral forms that seem to grow from the wall. Alongside Kyeok Kim’s Revealed Memories, the work demonstrates how traditional craftsmanship can take on an entirely sculptural quality.

At BOOROOM Gallery, Nikita Erokhin’s KAMEH.06 draws inspiration from the crystalline structure of the desert rose, translating its layered, petal-like ge

11/10/2026

A hand-blown glass sculpture produced without a mould, the surface built through direct engagement with the molten material, layer by layer, each addition shaping what the piece becomes. The result is entirely unrepeatable.

What Holds
Filomena Smoła
2025
Unique work
Glass
30 x30 x 40 cm

Photography, Wiktor Malinowski

09/10/2026

Graphite ash, fluid and angular in the same gesture,
the backrest rising to a single sharp point, the legs
curving like tendons under tension. Somewhere
between furniture and creature.

Galerie Boketto, PAD London, 13–18 October.
Booth A20.

Ebali
Wojtek Jozefowicz
Unique piece
2004
Wood, Graphited ash
80 x 100 x 140 cm

Photography, Herbert Orlikowski.

08/10/2026

Oui, c'est encore moi, Angelika Markul x ColAAb, 2022.

A lamp that is also a portrait. Sculpted in bronze, patinated in white then black — the gesture of the artist's hand preserved in metal. The bulb sits above the form, light radiating from the sculpture itself. Part of Markul's 7306 Jours series, a deeply personal body of work: an intimate reflection on 7306 days of freedom spent with another person.

On view at PAD London, 13–18 October.
Booth A20.

Photography, Aurélien Mole.

07/10/2026

Arachne, Wojtek Józefowicz.

Carved mahogany, eight legs, a backrest that opens like a spine. Named after the weaver of Greek mythology, transformed by a goddess into a spider. The chair carries that myth in its structure without illustrating it.

On view at PAD London, 13–18 October.
Booth A20.

Photography, courtesy of the artist.

06/10/2026

A conversation with Wojtek Józefowicz.

Sculptor and designer working at the intersection of art and science, moving between form, construction, and material with a practice that resists easy categorisation. We sat down with him ahead of PAD London to talk about what drives a body of work that spans sculpture, design, and everything in between.

Swipe to read our conversation.

05/10/2026

Edge Sconces, Gabriel Charbit.

The feeling of being lifted a hundred stories above the city, small and invincible at once. The moment the urban grid meets the open sky. Charbit translates that vertical rush into light: a pair of dimmable sconces that carry the energy of a New York skyline without reproducing it.

On view at PAD London, 13–18 October.
Booth A20.

Photography, courtesy of the artist.

04/10/2026

The Crane Wife, Noe Kuremoto.

Vessels built from a story about what we fail to see until it is gone. Black stoneware, white crackle glaze, blue. Each one torn by hand at the moment of completion.

On view at PAD London, 13–18 October.
Booth A20.

Photography by Vincas Čygas.

03/10/2026

A first look at What Remains of Us, William Guillon's new collection, presented at PAD London.

The work begins with an inheritance: historical ornaments from the workshop of Fabio Da Tos, an Italian sculptor and art restorer who spent his life working on the restoration of significant monuments in France. After his premature passing, Guillon kept these fragments for years before beginning to work with them himself.
What followed is not a reconstruction.
The ornaments, belonging to different periods, styles, and places, connected only by the trajectory of one person, are integrated into new forms cast in bronze, colliding with radical lines, suspended structures, and tubes of light. Pale, almost spectral patinas. Past and future not reconciled. Coexisting.

On view at PAD London, 13–18 October. Booth A20.

Photography, Sarah Murillo

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14-16 Rue De Thorigny
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+33788914376

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http://galerie-boketto.com/

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