SARAH MYERSCOUGH GALLERY PAD London
Collections at PAD
SARAH MYERSCOUGH GALLERY
egevĂŚrk studio Mette Bentzen & Lasse Kristensen
Ice series low table, 2019 Danish Ash 37 H x 155 L x 135 W cm £33,000 inc. VAT
Table surface detail
Ice series shelf, 2019 Danish ash 70 H x 110 L x 35 W cm £16,000 inc. VAT
Ice Series Shelf, 2019 Danish ash 70 H x 110 L x 35 W cm Detail
Mette Bentzen and Lasse Kristensen, known collectively as Egeværk, are dynamic young furniture designers with a creatively ambitious workshop based in Hundested, near Copenhagen. The ICE series originated from a deep-rooted connection to the landscape in Egeværk’s native homeland and neighbouring countries, specifically the harsh winter icescapes of Denmark, Sweden and Norway. Egeværk studied the melting process of ice under both natural and controlled conditions. They examined its unhurried dissolve during moderate spring temperatures and the summer heatwave; they also manipulated the blocks to speed up melting by placing them in running or dripping water or drilling holes straight into the ice to kickstart the thawing process. Blocks were then placed shoulder to shoulder in the workshop or on the harbour front to study and compare the differing melting rates, which were carefully catalogued in a series of photos. The designers subsequently made of series of carved maquettes from drawings based on these photographs. Working within the perimeters and constraints of the furniture making process, they pushed existing design structures to the very limits of possibilities where sculptural form is echoed through the gentle and refined carving process. The final pieces were constructed and carved from local Danish ash, the end result of a slow and thoughtful process of making. Kristensen (1985) and Bentzen (1978) were both trained at the esteemed PP Furniture; a Danish joinery since 1953 famous for its large portfolio of modern Danish furniture. Kristensen went on to win the Danish as well as the Nordic championship in cabinetmaking; and later represented Denmark in the World Cup in Japan. Kristenesen was a recipient of the Mærsk grant and the Poul & Gurli Madsen’s grant given by Her Majesty the Queen Margrethe II of Denmark, and which enabled his studies in Japan at Hinoki Kogei with Tadanori Tozawa. Egeværk is the 2019 recipient of Snedkerprisen (the Carpentry Award) proudly following architect Bjarke Ingels and world-famous Nordic restaurant Noma.
SARAH MYERSCOUGH GALLERY
gareth neal
Block 3 (convex), 2019 Oak 80 H x 79 W x 43 D cm Block 3 (concave), 2019 Oak 80 H x 79 W x 36 D cm £45,000 inc. VAT for both £29,000 inc. VAT for one
Vessel A-02, 2019 Black Silica 65 H x 42 W x 49 D cm Edition of 5 £17,000 inc. VAT Price increases as edition sells
Vessel C-01, 2019 Black Silica 40 H x 19 W 19 D cm Edition of 5 £8,200 inc. VAT Price increases as edition sells
Vessel A-03, 2019 Black Silica 90 H x 71 W x 33 D cm Edition of 5 £17,800 inc. VAT Price increases as edition sells
Gareth Neal’s Block consoles are concerned with the dialogue between the historical and the contemporary, between traditional processes of making and new technologies. These pieces are CNC cut and then hand finished with traditional tools. For his Sand vessels series, the designer steps away from his expert material, wood, and for the first time explores the possibilities of another raw material, sand. The fluid, yet solid substrate allows for endless configurations, giving Neal to opportunity to the materialise designs he once could only dream about. By using 3D printing in these vessels, Neal sets out to challenge the perception of craft further and to test the limits of digital manufacture. Neal has pieces in the public collections of the Victoria and Albert Museum, UK; the Crafts Council, UK, and Manchester Metropolitan, UK. For his Sand Vessel series His work was exhibited in ‘Against the Grain: Wood in Contemporary Art, Craft and Design’ at the Museum of Arts and Design, USA; Telling Tales’ and ‘Power of Making’ at Victoria & Albert Museum, UK; and ‘The State of Things’ at The Design Museum Holon, Israel.
SARAH MYERSCOUGH GALLERY
john makepeace OBE
Trine Series, 2019 Oak Far left cloud back, Available for commission ÂŁ18,300 inc. VAT each
Trine Series, 2019 Oak Far left cloud back, two available £18,300 ex. VAT
John Makepeace OBE has created the Trine series specially for the gallery, reflecting its interest in organic and sculptural aesthetics. The Trine chair uses NASA technology in its structure to give the three-legged design strength and Makepeace highlights the innate beauty of the material by laying the wood in a cross grain pattern. Makepeace, known as the the Godfather of contemporary British wood furniture design, gained respect as a furniture maker early on; in 1972 he became a founding member of the Crafts Council UK, and from 1987–91 was a trustee of the Victoria and Albert Museum, London. In 1976, Makepeace set up the acclaimed Parnham College for furniture designers and in 1982 he initiated Hooke Park as a School for Woodland Industries and Forestry Management. He was awarded an OBE in 1988 for his services to furniture design and in 2004, he received a Lifetime Achievement Award from the American Furniture Society. In 2012, his work was included in the major Victoria & Albert Museum exhibition ‘British Design 1948–2012: Innovation in the Modern Age.’ He is the Winner of the UK’s Prince Philip Designers Prize 2016.
SARAH MYERSCOUGH GALLERY
peter marigold
Cleft Cabinets £3,000 - £19,000 inc. VAT
Sen, the sixth cabinet in this collection was acquired by the Victoria & Albert Museum
Peter Marigold first worked with Hinoki Kogei in 2012 for the Japan Creative project at Salone di Mobili, which brought together Western designers and Japanese craft artisans. Mr Chuzo Tozawa proposed that they use gigantic split logs, to form the sides of their Dodai bench. The partnership has continued to use this process for wall cabinets, giving a frontal focus to this dramatic cleaving action. In 2004 Marigold joined the M.A. Design Products course at the Royal College of Art, London under esteemed designer Ron Arad. He was awarded an Esmee Fairbairn bursary following his graduate exhibition at the Design Museum, London and his show with the British Council as one of the ‘Great Brits’ at the Milan Furniture Fair 2007 was followed by an invitation to create an entire installation for Paul Smith in Milan and then further work with Paul Smith in London. Working with both galleries and manufacturers, Marigold’s work continues to be exhibited in the UK and abroad, including the Pavilion of Art Design, London; Milan Furniture Fair, Italy; Design Miami, USA; Stavanger 2008, Norway; and MoMA and Moss New York. In 2009 he was awarded one of the four ‘Designer of the Future’ awards by Design Miami, followed by a significant installation at Art Basel. Recently Marigold has shown at 21_21 Design Sight in Tokyo, the Victoria & Albert Museum, London, and Design Museum Holon, Israel.
SARAH MYERSCOUGH GALLERY
marc fish
Mokume-Gane Console, 2019 Mokume-Gane and bog oak 86 H x 180 W x 40 D cm £40,000 - £50,000 ex VAT
Masterpiece London 2019
Marc Fish’s Mokume-Gane Console is made from Bog Oak that dates back 3500 years, which has been converted into thin slices and laminated back together in its original sequence. This is combined with a metal working technique dating back to 17th Century Japan. The metal was mainly used in swords; Fish has worked on producing a finish that replicates this, but that could be applied to curved surfaces. This has been the result of a four year process. The designer has been awarded four Guild Marks by The Worshipful Company of Furniture Makers, and the Claxton Stevens award in 2011 for the best guild mark issued in 2010. In 2015 Marc won first prize at Cheltenham Celebration of Craftsmanship and Design.
SARAH MYERSCOUGH GALLERY
christopher kurtz
Ascender, 2019 Hand carved linden wood and burnished graphite finish 240 H x 100 W x 100 D cm £26,500 inc. VAT
Skipping Stone Console, 2019 Black Walnut, Ash, Cherry and White Oak, pigmented oil, Sho Sugi ban and burnished graphite technique 77.5 H x 156 W x 66 D cm ÂŁ35,000 inc. VAT
American designer artist Christopher Kurtz’s making-process is driven by the use of a carefully chosen palette of tools, and is centred around an intuitive and conceptual engagement with each piece. His Skipping Stone console, launching at PAD, is made of black American walnut, ash, cherry and white oak, and finished with a graphite application. The design for this console stemmed from play time with Christopher's daughter skipping stones on the Hudson River. "It's sort of a way we end each day together. We love searching for the perfect river stone. The shapes are so beautiful to hold - sometimes we can't bear to toss the good ones into the river and we end up putting them in our pockets and bringing them home and stacking them up". The artist has gained international attention with his sculpture and studio furniture and is included in significant private collections. He was shortlisted for the Loewe Craft Prize 2018 with a signature wooden sculptural work. He received the prestigious Louis Comfort Tiffany Award in 2005, and in 2007 he received a New York Foundation For the Arts (NYFA) Award (Lily Auchincloss fellow). He has exhibited as part of ‘Against the Grain: Wood in Contemporary Art, Craft and Design’ at the Museum of Arts and Design, USA.
SARAH MYERSCOUGH GALLERY
wycliffe stutchbury
Annie’s Wood/Hundred Foot Drain, 2017 Wood panelled shingle screen: common holly, European oak and bog oak 186 H x 190 W x 2.5 D cm £15,000 - £29,000 inc. VAT
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Salon New York 2018 Methwold Fen B15, 2014 Bog oak 210 H x 320 cm Sold but available to commission
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Wycliffe Stutchbury writes: ‘My compositions from fallen and forgotten timber and are studies in the narrative beauty of wood. They are made to reveal timbers’ response to its environment over time, its unfashioned beauty, durability, and vulnerability. The origin of the material I use is central to my work. Whether it be… a branch of Sycamore found in a scrub area that fringes the fields of the Sussex Downs, or a 40 year old Oak gate post, the sense of place is very important.’ The artist has exhibited extensively in the UK and in the US and has works in international collections. In 2018, Stutchbury was shortlisted for the Loewe Craft Prize.
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Collect 2019
Collect 2019
SARAH MYERSCOUGH GALLERY
victoria magniant
Suspension Senki, 2019 Blown glass & brass 150 H x 50 W x 16 D cm £8,400 inc. VAT
Composed of borolsilicate glass and patinated brass, Victoria Magniant’s Senki lamp is produced entirely in France and in collaboration with a master glass blower and a metal worker using cold metal forming processes. While the patinated brass tube is shaped in a graphic and bold line, the blown glass, by contrast, is uid and organic; as the light source is hidden, it glows almost like a meteorologic phenomenon. Maigniant studied graphic design at Central St Martins in London. The multidisciplinary designer combines modernity and authenticity, low-tech and high-tech, to bring out a viable production system and respond eectively to high ecological and social standards.
Objects at PAD
SARAH MYERSCOUGH GALLERY
eleanor lakelin
Echoes of Amphora: Column Vessels 2019 Sequoia 110 H x 32 ø cm £13,500 inc. s/s VAT each
Abbey Road , 2018 Horse Chestnut Burr 35 H x 30 W x 30 D cm £5,500 inc. s/s VAT each
(left) Echoes of Amphora: I/19, 2019 Horse Chestnut Burr 48 H x 25 W x 25 D cm £7,500 inc. s/s VAT (right) Echoes of Amphora: II/19, 2019 Horse Chestnut Burr 50 H x 16 W x 16 D cm £6,800 inc. s/s VAT
Karst Form VI, 2019 Horse chestnut burr 25 H x 50 ø cm £8,300 inc. s/s VAT each
Eleanor Lakelin is fascinated by wood as a living, breathing substance with its own history of growth and struggle centuries beyond our own. Lakelin comments: ‘I peel back bark to reveal the organic chaos that can exist in the material and build up layers of texture through carving and sandblasting. I use the vessel form and surface pattern to explore time, the layers and fissures between creation and decay and the erosion of nature’. She sculpts her distinctive forms using a traditional woodworking lathe and centuries-old chisels and gouges alongside modern techniques and tools. The objects remind us of our elemental and emotional bond with wood and our relationship to the earth. Lakelin’s work has most recently been acquired by the The Mint Museum of Craft and Design, USA and the Museum of London, UK.
SARAH MYERSCOUGH GALLERY
ernst gamperl
61/2019/100, 2019 Cherry (taller brown) 109 H x 31 ø cm Sold 120/2019/100, 2019 Cherry (smaller brown) 82 H x 25 ø cm €14,400 inc. VAT 63/2019/120 Maple (white) 74 H x 36 ø cm Sold
1. 42/2019//150, 2019 Oak, ø 34 cm. height 118 cm
2. 43/2019//180, 2019 Oak, ø 38 cm. height 135 cm
3. 81/2015//150, 2015 Oak, ø 44 cm. height 66 cm
4. 83/2015//150, 2015 Oak, ø 21 cm. height 103 cm
5. 74/2015//150, 2015 Oak, ø 30 cm. height 97 cm
€17,000 - €30,000 inc. VAT
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Ernst Gamperl is a master craftsman of turning and carving, working in mainly European oak. He turns wood when it is green and supple, to create a dialogue with the medium before arriving at a final shape. Gamperl uses its grain, lines, colouring and its natural deformations as an essential part of his design, and uses specialist techniques to underscore this immanent expressive power in the wood. Gamperl won the first prestigious Loewe Craft Prize in 2017 in recognition of his craftsmanship. His work is included in many international collections, including the Victoria and Albert Museum, UK; Fond National d’art Contemporain Paris, France; Museé des Arts Décoratifs de la Ville de Lausanne, Switzerland; The International Design Museum/Neue Sammlung, Germany; Collection Issey Miyake, Japan; and Amorepacific Museum of Art, South Korea. His solo museum exhibition, Dialogue with Wood, is on at the Gewerbemuseum Winterthur, Switzerland, until November 2019.
SARAH MYERSCOUGH GALLERY
luke fuller
Hive I (larger piece), 2019 Various stoneware clays including porcelain 37.5 x 26 cm ÂŁ2,200 inc. s/s VAT Hive II (smaller piece), 2019 Various stoneware clays including porcelain 18 x 19.5 cm ÂŁ1,200 inc. s/s VAT
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Undercut, 2018 Black stoneware with molochite 41 H x 44 ø cm £3,500 inc. VAT
Collect 2019
Luke Fuller comments that “Clay is part of the geological platform on which we stand. It is a material that not only connects us to our most primitive beginnings but one that also offers a versatility and possibility to produce contemporary objects of craft and design as valid as any in the modern era. Clay is one of the original products of recycling, from mountain top to river bed, this natural material offers me the chance to engage with the elemental earth and, through practice, build upon the traditions and lineage of human making.” The artist graduated in 2018 with a BA in 3D Design and Craft from the University of Brighton where he specialised in Ceramics. He is currently studying at the Royal College of Art on the MA Ceramics and Glass. In 2018, Fuller received a number of prestigious awards and bursaries including the Nagoya University of Art, Japan, Grand Prize; the Business Design Centre Designer of the Year Award; The Anna Maria Desogus Memorial Graduate Award; a Franz Rising Star Scholarship; a Charlotte Fraser Scholarship; and The Richard Seager Bursary Award. He was also a Craeftiga Finalist in Association with Hole & Corner.
SARAH MYERSCOUGH GALLERY
marc ricourt
03 Oak DM18, 2018 Oak 20.5 H x 42 ø cm £6,000 inc. VAT
06 Oak C18, 2018 Oak 19 H x 25 ø cm £5,500 inc. VAT
07 Walnut C18, 2018 Walnut 39 H x 24.5 ø cm £6,100 inc. VAT
09 Oak C18, 2018 Oak 34 H x 22 ø cm £6,100 inc. VAT
01 Beech M19, 2019 Beech 47.5 x 31 ø cm £6,200 inc. VAT
05 Beech M19, 2019 Beech 51 x 31.5 ø cm £6,200 inc. VAT
Marc Ricourt sources the material for his organic wood objects from his local landscape in Dijon, France. He initially turns wood on a traditional lathe, then intricately carves and treats the surfaces through bleaching, dying or an application of ferrous oxide, to translate nature into sculpture. The artist intuitively creates a perfect harmony between wood, shape, texture and colour. He initially draws inspiration from the historicity of the utilitarian object, the vessel form: ‘I’ve based my work around a simple but very essential object, as it was the first tool created and used by mankind… Useful, yet mysterious, the closed vessel symbolically holds all mysteries and secrets of the human soul. My work on vessels has allowed me to develop a relationship between ancient or geographically remote cultures and civilizations and modern creations. The most important facet of my work is the research and exploration of new forms, colours, textures and finishes.’ Ricourt has exhibited extensively in the UK and internationally. His work is placed in significant private and public collections, including The French Museum of Woodturning and the Arizona University State Museum, USA.
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SARAH MYERSCOUGH GALLERY
nic webb
Ark, 2019 Oak 57 H x 65 W x 22 D cm £6,500 inc. s/s VAT
Nic Webb Flamed Oak Vessel, 2019 Oak 70 H x 50 W x 40 D cm £8,5000 inc. s/s VAT
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Cherry, 2019 Cherrywood 60 H x 55 W x 50 D cm £10,500 inc. s/s VAT
Flamed, Oak vessel, 2019 Oak 75 H x 28 W x 28 D cm £7,200 inc. s/s VAT
Far right: Big Red by Nic Webb at Masterpiece London 2019
Nic Webb carves, scorches, burns, soaks and stains different species of fallen wood to create pieces that explore the natural drama of the material. Each piece is a personal response to the character of the wood, which is interpreted in different, creative ways. The artist uses experimental and intuitive processes and he incorporates and highlights imperfections in the wood to create striking detail. Using traditional tools, modern methods as well as elemental forces such as fire, ice, air and water he shapes and sculpts in an unbound and organic manner. Webb comments that, ‘as fire journeys into wood, forms are revealed, briefly seen and quickly disappear. These vessels begin in primitive crudeness, move through varying states of function, and evolve or ‘devolve’ towards a delicate border between existence and absence. On the whole the fire and the wood burn as they wish. As the piece concludes, I intervene, shepherd and finally halt the progress of loss at the place before all remnants of the journey are gone. The objects that remain are forms captured moments before they disappear completely from our world. They are husks; the edges between being and not.’
SARAH MYERSCOUGH GALLERY
adi toch
Golden Vessels On Stilts, 2019 Gold plated base metal and stainless steel 22 H x 10 W x 11 D cm Golden Vessel On Stilts, 2019 Gold plated base metal, stainless steel 14.5 H x 13 W x 12 D cm Sold but possible to commission ÂŁ2,600 inc. s/s VAT
Adi Toch Encircling Vessel, 2019 Gold plated Britannia silver and loose smokey quartz 13.5 H x 8 ø cm Sold possible to commission £4,000 inc. s/s VAT
Pinch of Salt, 2017 Textured gold plating on Britannia silver 12 x 12 x 6 cm ÂŁ2,900 inc. VAT
Red Sand Vessel, 2018 Textured Britannia Silver, red sand 8 x 4 cm ÂŁ1,700 inc. VAT
Pink Whispering Vessel (big), 2018 Rose gold plated gilded metal with moon stones 7 H x 14 ø cm £2,600 inc. s/s VAT
Pink Bowl with Pearls, 2018 Rose gold plated Britannia silver with pearls 5 H x 10.5 ø cm £2,800 inc. s/s VAT
Adi Toch comments that, ’Vessels and containers are an innate method of communication. They convey a story of gathering, holding, storing… The practice of making vessels enables me to work both with metal and space as materials, thereby redefining these borders. Beginning with a flat sheet, I form and fabricate the metal into hollow forms using hammers and tools. Through texturing, mark making, colouring and patination I create a unique visual language of metal.’ Toch graduated from The Cass, London in 2009 with a Masters in Art, Design & Visual Culture, following her BA with First Class Honours from Bezalel Art Academy in Jerusalem, Metalwork department. Her work is exhibited internationally and has won prestigious awards including a Gold Award from The Goldsmiths’ Craft and Design Council UK. In 2017 she was shortlisted for The Loewe Craft Prize and won a Wallpaper* Design Award. In 2018 she won the European Prize for Applied Arts. Public collections include The Victoria and Albert Museum, UK; The Crafts Council UK: The Goldsmiths’ Company, UK; Fitzwilliam Museum, UK; National Museums Scotland, UK; National Museum of Wales, UK; and The Jewish Museum New York, USA. The artist is a lecturer at Edinburgh College of Art as well as at The Cass in London and a visiting lecturer at Bezalel Art Academy in Jerusalem. She speaks regularly at conferences in the UK and internationally.
SARAH MYERSCOUGH GALLERY
kate mccgwire
Tremor, 2018 Mixed media with crow feathers Framed: 74 H x 74 W x 8.5 D cm Sold but available to commission
Viscera, 2018 Mixed media with pheasant feathers 122 H x 180 W x 870 D cm £16,000 - £40,000 ex. VAT
Slick, 2010 Mixed media with magpie and crow feathers 50 H x 250 W x 250 D cm £16,000 - £40,000 ex. VAT
Kate MccGwire is an internationally renowned British sculptor whose practice probes the beauty inherent in duality, employing natural materials to explore the play of opposites at an aesthetic, intellectual and visceral level. Growing up on the Norfolk Broads her connection with nature and fascination with birds was nurtured from an early age, with avian subjects and materials a recurring theme in her artwork. Since graduating from the Royal College of Art in 2004 her uncanny sculptures have been exhibited at the Saatchi Gallery London, UK; the Museum of Arts and Design, New York; Musée de la Chasse et de la Nature, Paris; and recently at Glasstress, an official collateral event of the Venice Biennale.
SARAH MYERSCOUGH GALLERY
maisie broadhead
Maisie Broadhead Silenced, 2016 Digital c-type print 66 x 52 cm with frame Edition of 12 (#1/12) ÂŁ7,500 inc. s/s VAT
Maisie Broadhead Maisie Study 01 - (Woman with Washing), 2014 Edition of 12, Digital C-Type Print 51 x 45 cm Edition of 12 (#2/12) £6,600 inc. s/s VAT
Maisie Broadhead Malou Study 01, 2014. (Girl with Phone), 2014 Digital C-Type print / frame 51 x 45 cm (#2/12) £6,600 inc. s/s VAT
Maisie Broadhead re-interprets art historical images and genres, and is concerned with the exploration of illusion and the idea of ‘value.’ Broadhead’s exceptional eye for detail, quality and composition is conveyed through the making of complex set design, lavish costume, and theatrical direction to arrive at a final image. The viewer’s eye indulges in Broadhead’s re-presentation of rich, sumptuous fabrics, often with humorous contemporary embellishment. By using contemporary and historical elements, the images link the past and present by identifying enduring social and aesthetic narratives. A graduate of the Royal College of London, Broadhead’s work has been exhibited in major museum shows including at the National Gallery, UK; Fitzwilliam Museum, UK; CaixaForum Barcelona and Madrid, Spain; the National Gallery of Victoria, Australia; and Nationalmuseum, Sweden. In 2013, Broadhead won the Jerwood Makers Open and in 2015 she received a major grant from Arts Council England for a public commission at the Royal Pavilion, Brighton, UK.
CROP – A sensory exhibition of international artist-designer-makers connected to the natural world through process, material and a concern for the environment. 26th October 2019 - 6th January 2020 ARKO - Rice straw Laura Ellen Bacon – Willow Sebastian Cox - Wheat and straw Aude Franjou – Flax and linen
Soojin Kang - Wild silk, cotton and linen Fernando Laposse - Corn and sisal Naoko Serino – Jute Caroline Sharp – Birch and willow
Fernando Laposse / Sisal Bench
SARAH MYERSCOUGH GALLERY Photo courtesy of the artist