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Carpenters Workshop Gallery
Fibonacci, 2015
Patinated bronze, cashmere wool, metallic embroidery
Limited edition of 8 + 4 AP
34.8 x 38.6 x 17.7 in.


Carpenters Workshop Gallery

Fibonacci is the ultimate conversation piece. Inspired by the spiral of the golden ratio, also known as the Fibonacci Sequence, Brajkovic has taken a classical 18th century silhouette of a sitting chair and elevated it, giving it a contemporary relevance. What appears to be a digital mutation, is achieved through formidable classic techniques of bronze casting, embroidery and lathing. The composition of the Fibonacci achieves a whimsical, yet preciously elegant design. The distortion is emphasized by the Fibonacci Spiral through embroidered silk patterns on the upholstery, which are tailored towards the tip of the curved portion that touches the floor. The intricate embroidery work is done by hand by the famed master Jean -Francois Lesage, known for his work for the most coveted Haute Couture houses of Paris such as Christian Dior and Chanel.

Mexico City, Museo Franz Mayer: “Diseño Neobarroco.” 2018.

The Dutch-Croatian-Indonesian designer was born in 1975. Sebastian Brajkovic holds a keen interest in the divide between art and design, and exploring the border between the two has long fueled his practice. He graduated from the Design Academy Eindhoven in 2006 and burst onto the art-world scene with his project Lathe. He investigates the notion of perspective and distortion of form through his sculptural furniture pieces.

The Lathe series, expanded for his first solo show at the Carpenters Workshop Gallery in 2008, reflects his longstanding fascination with rotation. The Lathe tables at once illustrate and innovate the idea of turned furniture. The spinning motion of a lathe both creates the table and decorates it. The rotation is visible in the table’s exaggerated profile and in the layers of concentric whorls on its surface. Through his in-depth exploration of the theoretical and the technical, Brajkovic creates an aesthetic balance of structure, freedom, and form. The Lathe chairs also employ woodcarving, bronze casting, and embroidery. Each work is sculpted by hand before being molded. At the same time, Brajkovic employs new digital techniques for sculpture, harnessing the power to expand pixels and distort images.

There is a disparity between the delicate look and substantial feel of his works. Often composed of bronze, they are too heavy to be lifted without mechanical assistance. As such, their archetypal function is subverted by their substance.