Emmanuelle Moureaux Sets Thousands of Paper Insects Aflight

Architect Emmanuelle Moureaux continues her 100 Colors series, this time forming her signature paper into thousands of insects that took flight in Shanghai.

Emmanuelle Moureaux On Crafting A Kaleidoscope Of Butterflies

• 40,000 butterflies
• Fifteen months of design and production
• 7 1/2 miles of thread
• 50+ designers, producers, and installers led by Emmanuelle Moureaux
• Six days of installation

For her 100 colors butterflies, part of “The Art of Absolue,” an exhibition in Shanghai sponsored by and that showcased products from cosmetics brand Lancôme, Emmanuelle Moureaux began with 1:1 scale paper models of the insect in her Tokyo studio. 

Moureaux used SketchUp and Photoshop renderings to determine the installation’s overall layout, which she wanted to feel like a kaleidoscope of butterflies soaring through the CSSC Pavilion, a 4,300-square-foot exhibition space.

Moureaux’s team cut the shapes out of 100 different colors of paper, then connected them to transparent thread, labeled and packed each strand, and shipped them to Shanghai.

On-site, installers on scissor lifts suspended the approximately 1,000 strands, each 32 feet long, from the ceiling.

100 colors butterflies ran from December 23, 2023, to January 28, 2024. 

It marked the 48th installment of Moureaux’s 100 Colors series, a chromatic body of work that began with a Tokyo installation in 2013 and explores what she calls the “form” of color, how it can divide and transform space.

For this iteration, Moureaux was inspired by symbolisms of the butterfly—from beauty and love to transformation and rebirth. 

The encircling swarm of shapes was intended as an abstract representation of eternity, following the exhibition’s theme: perpetual, beyond time. 

Clément Cividino Breathes New Life into 20th-Century Prefabricated Structures

Most were used as temporary housing by the French army and oil companies in Algeria, but Cividino’s version was one of two commissioned by the national energy company EDF-GDF and installed in the Paris suburbs. It’s the only one remaining in Europe and the sole example with a double-roof structure. “Camus was a pioneer in the field of prefabricated architecture,” Cividino observes. “Its freestanding structure is incredibly ingenious.” We ask him more about it.

Interior Design: How did you discover the Marabout House?

Clément Cividino: I initially found out about it through books on Jean Prouvé. I came across comments its former owner had left on blogs devoted to aluminum architecture and reached out to him about six years ago. It was in the Aveyron region of France, used as a vacation home with two bedrooms, a dining room, kitchen, and bathroom.

ID: What do you know about the designer of the house, Raymond Camus?

CC: Camus was a real pioneer, one of the first people in France to focus on industrial housing. One article calls him “The Pope of Prefabrication.” He developed a system of precast concrete panels in which insulation, pipes, and door and window frames were integrated for swift assembly. He helped to build thousands of lodgings in France and worked in both Russia and the U.S. too.

ID: What was the role of Prouvé in the house?

CC: There’s a photo of a prototype at his workshop, with lots of Prouvé’s own houses in the background. What advice or modifications he proposed to the initial design is anybody’s guess, but Prouvé himself was greatly inspired by it. He often promoted it in classes he gave at the Conservatoire national des arts et métiers in Paris and quite obviously referenced the structure in the gas stations he designed in 1969 for Total, which also had 13 sides.

ID: What can you say about its design?

CC: It’s more functional than purely aesthetic, designed in the postwar period when there was an urgent need for housing. It had to be light, quick to assemble, and easily transportable. What’s interesting is its ingenuity. You don’t need any special tools to erect it, and it’s self-supporting. There are no columns and nothing but the walls to hold up the roof.

ID: How did you approach its restoration?

CC: It was in relatively good shape. The big question was what to do with the aluminum. Over time, the panels had turned gray-black. We tried about 30 different restoration techniques, including polishing and sanding. At the same time, we didn’t want it to be shiny like an Airstream trailer. That’s not how it would have originally looked.

ID: What’s the Holy Grail in terms of pref­abricated housing?

CC: Everyone would love to find Prouvé’s 1958 House of the Desert. As a kind of plaything, it would be fun to have a Futuro House, which was created by Matti Suuronen in 1968. More than anything, I’d love to either have a huge building in which to display lots of different ones together or for a collector to create an open-air museum. That would be really something.

‘Ukraine: Design for Real Time’ Sheds Light on Life Before and After the Russian Invasion 

Given professional realities, most participants contribute virtually: a monumental 13-by-20-foot poster offers the work of 18 designers, and more are included via video material. One commissioned work straddles the temporal boundaries of the exhibition. Katerina Sokolova’s Military Gropius chair for NOOM was designed in peacetime. Here, in a collaboration with the VinnSolard volunteer center in Vinnytsia, it’s covered in the camouflage netting used in the rear and front lines of the war. It’s a striking example of what she calls “objects that are more a tool for life than design.” 

These Sustainable and Sculptural Pieces Made Waves at Alcova in Milan

Valentina Ciuffi and Joseph Grima launched Alcova in 2018 as a showcase of group exhibitions in overlooked locations of historical significance around Milan (think former military barracks, abandoned villas, and old factories). This year hosted two U.S. makers: Refractory, a new studio out of Chicago, proffers furniture evocative of tectonic forces and erosion, including the Heretofore suspension light; Studio Sam Klemick, from Los Angeles, brought Wavy, a bench in deadstock canvas and salvaged Douglas Fir resembling a futon draped over wooden orbs. Duyi Han’s “Ordinance of the Subconscious Treatment” broaches mental health in a room installation modelled after a typical Chinese apartment, its silk upholstery embroidered with the chemical symbols for dopamine and serotonin. Among other highlights: sculptural stoneware lamps (Arche #3 and #4) from Italian ceramicist Elisa Uberti, Formstelle’s Zenso High lounger for Zeitraum, and A. Vetra’s A Gentle Gathering home textiles by Giulia Ferraris.

Tom Sachs Shares Insights into His First Furniture Exhibition in Two Decades

The Rebuild Foundation is an artist-led, community-based platform for art, cultural development, and neighborhood transformation in Chicago founded by international arts icon Theaster Gates. It operates a constellation of sites on the South Side of Chicago, one of which is the Stony Island Arts Bank. Built nearly a century ago in 1923, the meticulously restored, formerly abandoned bank serves as a creative space for the preservation, redeployment, and amplification of art and cultural artifacts on the South Side of Chicago. Rebuild Foundation and the nearby Anthony Gallery, which focuses on contemporary artists creating work that reflects African and Black American identity in Chicago’s Fulton River District, have joined forces for “Tom Sachs: Furniture.” Running through September 4, it’s the artist’s first gallery exhibition of his furniture in the United States in over 29 years. 

“Tom Sachs: Furniture” is an extension of Sachs’ sculpture practice. Designing and building furniture for 30 years, Sachs’ work is conspicuously handmade and shows evidence of each piece’s construction, removing it from the realm of miraculous conception that pervades industry. This transparency—the idea of showing marks—tells the story of the making. 

To mark its opening on July 8, Tom’s Sachs Rocket Factory held a physical rocket launch in Chicago at Kenwood Gardens—13 abandoned lots that the Rebuild Foundation and Theaster Gates Studio turned into community garden space on Chicago’s South Side. Interior Design caught up with the multimedia artist and designer on his first love of sitting—while standing up for what you believe in like Lebron James—literally just before liftoff.

Interior Design: Why a furniture exhibition now after 20 years?

Tom Sachs: I wanted to contribute to this community that Theaster’s created, and the most organic way was for me to share this new body of work of sculpture that I’ve been working on for the past 30 years and that’s production furniture. And for me, there’s sculpture in everything, including a chair.

ID: What’s your relationship with Chicago? I think of you as a New York guy.

TS: Community is everywhere. I live in and work in New York, but I’ve got friends and connections in Chicago for many years and, we now have an increasing sense of global telepathy and have friends all over the world. All of us do now. I love Chicago and it feels good to be working in a space like this with an artist who I respect and who’s doing good stuff for the community of the South Side. 

ID: What’s your relationship with Theaster Gates? How do you interact artistically?

TS: We both make things in ceramic, which is the most technically demanding transformation of the rawest materials that come literally out of the ground and are treated with intense amounts of heat until they become objects than can last longer than the best buildings ever made.

Theaster and I have a lot of shared values. We both believe that art has transformative power. The act of making has an almost shamanistic quality of transforming raw materials into objects of spiritual power through the magic act of work. 

“The values of accessibility are important in everything that the studio produces. It’s universal so I don’t care if it’s a sculpture or a painting or a chair or a movie or a cathedral or a spaceship. The values are all the same.”

ID: Is it the heat that makes ceramic technically demanding?

TS: It’s just an old tradition. The oldest known man-made things are Jōmon pottery from Japan. It’s like as old as cave paintings. And there’s also something very accessible about making ceramics. They convey liquid from the earth into our bodies and it’s a way for people to connect with each other and there’s a humility to this material where it’s the lowest things: Our toilets and restaurant cups are ceramic, but also some of our most sacred, precious, spiritual objects are ceramic. 

ID: How about furniture?

TS: Furniture is the same. The chair is a sculpture you can put your ass in. We all sit right? Not everyone has a painting, but everyone has a chair. It’s accessibility. The values of accessibility are important in everything that the studio produces. It’s universal so I don’t care if it’s a sculpture or a painting or a chair or a movie or a cathedral or a spaceship. The values are all the same.

It can be part of your everyday life. The values of transparency means that the furniture shows how it’s made. You can see the screws. You can see that the wood was painted before it was cut. The use of your life will show on the furniture. It will show the scuff. It’s not really meant to be perfect forever like an iPhone. It’s meant to last a lot longer. An iPhone might be the best-made thing ever, but it’s not heirloom because it can become obsolete, a piece of furniture might show the scars and mistakes of your life and that you exist.

ID: This sounds like the Japanese concept of wabi-sabi, is that what you’re getting at?

TS: I think that traditional Japanese craft embodies this, but a lot of other places do too.

“We have to take advantage of our gifts to make the world a better place.”

ID: Besides the embrace of imperfection in Japanese design what are a couple examples of who else would influence you in this regard?

TS: An example of someone who does that is anyone who fixes their old thing to build a greater connection with it instead of buying a new thing.

Which could be your old car. Which could be sewing your favorite pair of jeans back together, not buying a pair of jeans with acid-washed holes premade in their knees but getting them new and wearing them for a decade and building a greater connection with them. I think those are the kinds of values that we’re trying to promote in this work.

ID: Last questions: Since you’re a Nike designer who’s your current favorite NBA player—and why?

TS: The king is LeBron. Because, yeah sure, he’s the best basketball player that ever lived but also because he has values that extend beyond his space in the game. I think it’s important that we recognize LeBron for his activism and how he uses his platform and his reputation as the greatest player of all time to be a role model for change. To help other players to lead. We have to take advantage of our gifts to make the world a better place. And so I think LeBron’s a hero. You got to stand up for stuff.

Wyatt Kahn’s Mammoth Cor-Ten Sculptures Debut in Downtown Manhattan

Prior to this summer, Wyatt Kahn was perhaps best known as a painter, specifically his monochromatic multi-panel artworks. But that perception may change for anyone walking through City Hall Park in New York. It’s there that his seven sculptures compose “Wyatt Kahn: Life in the Abstract,” representing not only his first public-art exhibition but also his first pieces in Cor-Ten steel. And he really goes big with it, each piece monumental—the largest clocking in at 3,300 pounds.

They’re the outcome of Kahn’s examination of the spatial relationship between painting and sculpture, two and three dimensions, and developing a language that integrates abstract forms with everyday-life items, like a comb or sunglasses. “The figures have their own narrative, and I hope visitors will find their own meaning based on their experiences,” Kahn says. “To me, the potted plant in Morning represents nurturing an idea, while someone else may be reminded of the plant they raised during the pandemic.”

Each sculpture is constructed of numerous steel sections welded together into blocklike forms, their front and back mirroring each other to create an illusion of drawing in space, their rusted-red tone resulting from Cor-Ten’s natural weathering process. The sculptures also evoke the steel structures of the city’s architecture, which, as a native New Yorker with an MFA from Hunter College, Kahn knows well.

10 Questions With… Rana Beiruti

Interior Design: Can you tell me what your current exhibition Re-rooting is about? And what drew you to curate it?

Rana Beiruti: Re-rooting is a group exhibition of projects that highlight interventions, dialogues, and reflections, conducted at a local scale, that subvert and transform systems and pre-conditioned understandings of the three most pressing concerns in Jordan today; water politics, agro-ecology and extractive building practices. The ecological damage that is being inflicted on our planet is a global issue, but I really wanted to look at it from a local lens and focus on the current reality that we are facing in Jordan as a result of geopolitical influence, as well as land-use and water mismanagement. While all of the works in the show highlight an issue of utmost importance that affects the daily lives of people living in Jordan, they also all show an intimate new relationship forming with the land and its potentials. A lot of the works in the show are not artworks and not all of the exhibitors are disciplined artists; there are works by activists, farmers, herbalists, foragers, chefs, architects, photographers and filmmakers. However, the works show a series of interventions in the real-world, and show forms of self-determination and autonomy performed by local communities. The 20 participating exhibitors all reside in Jordan, with the exception of one artist who resides in Palestine.

ID: Can you explain why extractive building practices, along with water politics and agro-ecology, are some of the most pressing concerns in Jordan today?

RB: Extractive practices in general refer to the unrelenting consumption that is brought on by capitalist power structures that propose an all take and no give to the environment and the land. This also applies to building practices; the way we build our cities and buildings in a way that does not give any consideration to the destruction of habitats, the existence of other species and the ecological damage of these practices. One important piece in the exhibition is Khalid Al-Bashir’s video “Un-forming Zionism” in which he takes a system’s approach in analyzing the building of the Haifa Hospital and focuses on the various factors and dynamics that led to its construction in a very extractive manner; the use of material (primarily cement), labor and funds. Other artists showed alternative ways of living in the city, like Tayyun Research Studio’s “Insect Hotel,” which proposes structures for interspecies living in the city or Abeer Seikaly’s video “Matters of Time,” which draws a comparison between temporariness and permanence in architecture in the context of desert environments, and between the use of renewable resources (in this case goat hair in tent making) vs. non-renewable materials and building practices that violate the landscape. 

ID: What is an example of self-determination and autonomy in the exhibition?

RB: The work of Zikra for Popular Learning and their project Al Barakah Wheat, which is one of the main focuses of this showcase. Of course, we can’t talk about ecology without looking at agricultural practices, and we can’t look at agro-ecology without speaking about wheat. Once considered the nucleus of wheat cultivation, and the place where the oldest bread loaf was found, Jordan today produces less than 2% of its need as opposed to the 200% it produced in the 1960s. This is a result of globalization, economic reform programs and US “wheat dumping” policies that left local farmers unable to compete. Meanwhile, agricultural lands became heavily fragmented and lacked the adequate policies to protect them from urbanization. Commercial bakeries replaced homemade bread, and the cultural practices that bound communities around the harvest ceased to exist.

The Al Barakah Wheat project is a community project that aims at reviving the wheat harvest practice by planting native varieties of wheat in empty public plots of land in the city. The project also works on restructuring the current economic system for local wheat, by connecting small-scale farmers to alternative markets (such as bakeries and restaurants), that are economically feasible. This exhibition is an invitation to reflect on the political and social history of wheat in Jordan, its role as a generator of relationships between people and land, knowledge, moral value, art, and living economy. It looks at how wheat can be a catalyst to a process of liberation that begins in the kitchen.

ID: A lot of your work now focuses on lost, stolen or erased pre-colonial knowledge, techniques and resources and exploring those in a new light using contemporary tools and sustainable practices. Can you talk a little about that?

RB: I believe there is a generation that has lost touch with the land, and with that the practices and knowledge of its potential and resources. There is a narrative that Jordan is a resource-poor country, and with this exhibition I set out to show that this is not the case. It is in fact a rich and abundant country, and I do see the potential in relying on some of the knowledge that we’ve built and forgotten over the years to discover new avenues of coexisting with each other and with other species on this planet. This is what the exhibition title, “Re-rooting” is all about, it is not a nostalgic “return to our roots,” but a process of building new channels of connection with the earth. This is where I find a connection between art and design, where both inquire why the status of the world is as it is, and seek to highlight new possibilities. Incidentally, the theme of the last Amman Design Week in 2019 had a similar theme, “possibilities,” which also asked not about what is, but what could be. 

ID: How would you describe the current Jordanian design scene? What are its influences and what characterizes it? Has it changed and grown a lot in recent years?

RB: Design in Jordan is definitely going through an evolution and coming into its own identity. There is a lot more maturity in the way design is approached, and a deeper understanding of conscious practice that is non-violent, non-exploitative, and a friend to the environment. It’s never been about shiny lights and flashy objects, but always been a steady, solid, and raw manipulation of materials. While designers in Jordan have been accustomed to reusing and recycling existing material, we’ve moved far beyond the primitive upcycled aesthetic and are seeing re-use being redefined in a contemporary manner

ID: What are the challenges local design and architectural talent face in terms of resources and other challenges? What are the positives for budding designers, architects, creatives? 

The design scene in Jordan is flourishing with its creativity and resourcefulness despite pressures from globalization and the fluctuating markets that we are witnessing with the current issues facing the globe; from the pandemic to wars to climate change. Over the past years I’ve been involved in several incubator-type educational programs that simultaneously challenge and inspire new ideas with regards to creating a conscious design practice in Jordan. My philosophy has always been to look within for a wealth of possible resources, materials, techniques, and collaborations which can spark new ways of thinking about design and art. These programs are based on a curiosity and investigation into local resources and creating links with local craftsmen and makers. 

ID: On to your Adorno collection. Why did you call it Departures?

RB: This collection features designers based in Jordan whose works present a form of departure from the traditional to the contemporary. The collection is presented as a voyage into futuristic forms; a dream of the future that is rooted in the earth. It consists of a series of vessels, balloons, capsules, and bodies that are born from an exploration of the earth’s materials, forms, textures, and tones. When people think of design from Jordan, they immediately think of craft, and mostly very traditional crafts and geometric patterns. While the collection draws inspiration from the traditional techniques that define design in Jordan, it also shows a more contemporary side of Jordanian aesthetics that are inspired by our landscape and surroundings, where the designers have produced new forms that are fluid and curvilinear. There’s a strong sentiment of craftsmanship—items that are hand felted, hammered, or chiseled—but the innovation is visible in the final form. 

ID: How did you make your selection for the Adorno collection?

RB: I was really looking at form and volume with this collection. I wanted to create a balance between a collection that is serious, earthy, and solid in its presence, with something light, fun, and playful. In this collection, you see a variety of materials—stone, wood, clay, metal, and wool. The strength of design in Jordan is how designers are able to innovate with locally available materials to make stone look light, and textile look sturdy. While there is a raw aesthetic and approach to design with the color palette that keeps it familiar and grounded, there is also a playfulness in the contours, forms, and asymmetries that mimic nature in the pieces. In a way, the familiarity captures the crafts of the past, but the resulting objects speak a contemporary language. 

ID: Tell me about the Wadi Rum desert virtual environment that you used as a backdrop to show the pieces?

RB: A big part of Jordan’s richness is its natural beauty and environment. There are four principal bio-climatic zones in Jordan, which produce a variety of landscapes, from woodlands to salty seas to arid deserts. I think with such a collection composed of earthy tones and natural materials, it was important not to box them into an architectural framework, and to leave them under sunlight in order to showcase the textures and colors. Wadi Rum in particular has been often associated with extraterrestrial landscapes. Looking at the collection, and particularly pieces that designers have named “jupiter” and “capsule,” I see something a little dreamy and interstellar about the works. I thought it was ironic to have a collection so other-worldly situated in this landscape which is very much a reality on planet Earth. 

ID: What is one of the most exciting developments in Jordan in recent years in terms of design, architecture, the arts would you say? 

RB: While the pandemic slows everything down, I would say what I find is most exciting is how many new initiatives are mushrooming out of the boom that was created by Amman Design Week, whether it is new support programs and funds, or new educational projects. More excitingly, there have been a series of pop up markets and events that bring forward new designers and initiatives, which I always love to see. Jordan has a very youthful population, and each year new graduates come on the design scene and they always bring fresh ideas. 

Catch Lou Stovall’s Silkscreen Prints at the Phillips Collection in Washington, D.C. This Summer

It has been said that Lou Stovall was responsible for turning silkscreening into an art form. Born in Athens, Georgia, in 1937, he moved to Washington to earn his BFA from Howard University and never left. That’s where, in 1968, he established his second claim to fame: Workshop, Inc., a collaboration studio for local creatives that grew into a professional printmaking facility ultimately called the Dupont Center used by the likes of Sam Gilliam and Robert Mangold. Stovall’s own art practice is also noteworthy, characterized by sophisticated silkscreen prints with lush palettes and allusions to nature and collaborations with such prominent artists as Jacob Lawrence and Lloyd McNeill. All these facets come together in “Lou Stovall: The Museum Workshop” on view this summer at the Phillips Collection. Guest curated by his son Will, the show’s more than 80 prints, paintings, sculptures, and photographs encompass work produced by artists at the workshop and collected by Stovall between 1969 and 1973, Stovall’s own silkscreens, plus his early community posters, which document DC in a time of protest and upheaval.

15 Highlights from the Africa Edition of Révélations 2022

A temporary exhibition hall in the center of a Parisian park will host a postponed international craft show this summer. Taking place at the Grand Palais Éphémère in the Champ de Mars, Révélations 2022 will run June 9-12 in Paris with a special focus on the continent of Africa and its bronzesmiths, ceramicists, sculptors, carvers, textile designers, and cabinetmakers. Some 300 exhibitors will be featured at the fifth edition of the event, which launched in 2013 and was canceled last year. From a large scale necklace taking cues from the African Renaissance movement to a ceramic sculpture exploring a tribe’s ancestral tradition of woven and braided hair to a contemporary take on the ancient art of featherwork, here are 15 of our favorite examples of fine craft you’ll see at this year’s show. 

1. AD Paris

Art or jewelry? Adele Dejak channels both genres—along with the African Renaissance Movement—for large scale necklace AD Paris.

2. Umthwalo VII

Zizipho Poswa, a Xhosa woman, draws from her tribe’s ancestral tradition of woven and braided hair to conceive ceramic sculptures such as Umthwalo VII, shown here. Bestowed a traditional Xhosa name, each sculpture is a tribute to a woman in the tribe who influenced the artist’s life.

3. Table by Atelier Stefan Leo

To achieve the ivory-like patina of the base of this table, Stefan Leo soaped ceramic. The top is cast-glass crafted using the pâte de verre technique, which calls for mixing crushed glass with a binding material.

4. Vase by Vassos Demetriou

Vassos Demetriou’s exploratory journey with ceramic forms and slips native to Cyprus—where he has his ceramic studio—gave rise to the unpredictable curve and glaze of this ceramic vase.

5. Mimesis

Sicilian buffalo raised exclusively for the production of mozzarella provides the distinctive leather accents of Mimesis, a collection of Finnish pine wood furnishings by Jordi Ribaudi.

6. Clover

Textile transforms into the avant-garde when traditional knitting is paired with innovative yarn. Clover, a large mesh coat by Cécile Feilchenfeldt, playfully parts and flairs in the back.

7. Inborn Ott

Sungyoul Park took a deep dive into the Korean ottchil lacquer technique—his university major—to create the woven effect seen in his natural lacquer and pigment Inborn Ott bowl.

8. Empreinte IV

By “transforming paper into volume,” Ferri Garces constructs sculptures meant to be multiplied and joined. Soothing repetition is the result—as seen here in Empreinte IV.

9. Complice II

The ancient art of featherwork reaches a contemporary audience with Complice II, a Macassar ebony, sycamore, brass, gold leaf, and feathers cabinet designed with a nod to the 1930s by Maison Vermeulen in collaboration with carpenter Hervé Delumeau.

10. Orsetto 02

Flourishing an unexpected bounty of rounded legs, the Orsetto 02 coffee table by Martin Massé for The Ateliers Saint Jacques is carved from travertine navona, a delicately veined natural stone. Each limited-edition piece is signed and numbered.

11. La Mer(e), Origine du Monde

Ghizlane Sahli combines recycled plastic and silk thread for her organically-shaped sculptures. The silk thread on plastic and metal La Mer(e), Origine du Monde is part of a series that also includes bas reliefs and drawings.

12. Heroine Bookends

Abstract faces are a reoccuring theme in the work of Alimi Adewale, who uses them to address the unstable economic and political climate of his native Nigeria, where people, lacking welfare and security, “are faceless and voiceless.” He applied a glossy paint to his carved wood Heroine bookends.

13. Wall Sculpture Piece #1

Using rye grass, design studio Paelis preserves and innovates historical straw and stone marquetry techniques. Wall sculpture Piece #1 is included in the SiO Collection.

14. Flamingo

Perched on one leg, the hand-stitched, vegetable-tanned cowhide Flamingo by Sébastien Lepeu demonstrates the leather craftsmanship of Parisian luxury leather workshop Gustave Maurice.

15. Angry Boy

The mixed-media Angry Boy by Viktor Frešo is part of a series of sculptures, which run large and small, depicting a man with various expressions of anger.

Elena Frampton Explores the Link Between Craft and Comfort in Her Exhibition Penthouse