Les Ateliers Courbet

“This sofa is one of my latest studies of skeletal architecture anatomies and forms. It’s meant to both reference the human anatomy and invite it. An object of abstract corporeal forms, deeply attuned to its ultimate function. It was developed in close collaboration with Jouffre’s master upholsterers in France, and resulted from a detailed study of form and function. The piece is a testament to Jouffre’s expertise.” — Pierre Yves Guenec

In the early stages of his process, Mauro Mori models or molds individual forms by hand, then assembles them—exploring how they complement, engage, or fuse with one another—before carving them from tree trunks or blocks of stone. The finished work has morphed from those first models while retaining the immediacy of the artist’s opening gestures.

Some pieces just stay with you • such is Katherine Glenday's gestural pigment details on the soft, white surface of her free-form porcelain

Some pieces just stay with you • such is Katherine Glenday’s gestural pigment details on the soft, white surface of her free-form porcelain

Works at Hand: Angular console, hand-sculpted in ash wood by Hamza Kadiri in his Moroccan studio

Works at hand: Hamza Kadiri's Raw Edges desk — Hand-carved in Ash wood, burnt using the Chou-Sugi Ban technique, and coated with a brushed charred finish.

"The two most engaging powers of an artist are to make new things feel familiar and familiar things feel new," as once opined by English writer and critic Samuel Johnson

A quote that came back to mind while recently documenting Gianluca Pacchioni's home and studio in Milan, filled with the artist's work in conversation with his collection of historical and contemporary pieces

At the studio w/ Mauro • Milan
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Whether carved in stone or wood, Mauro Mori’s pieces begin on paper — the artist then refines his forms through models and rough cuts made into the block, allowing the material’s personality to inform the final piece as it reveals itself under the sculptor’s hammer.

Nesting folds • Iris Nesher

“Matter must continue its natural life when modified by the hand of the sculptor.” — Constantin Brancuşi
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An idea that resonates with Gianluca Pacchioni’s ongoing ode to the stone in his work in general and in his ‘Cremino’ series in particular.