We find aesthetic fixity to be so limiting and emotionally draining that we’ve developed a hearty interest in the unspoken conundrum of visual perception. A walk through our booth brings to light objects, ideas, materials, forms, and concepts in combinations and arrangements focused on both a piece’s ability to hold it’s own and stand among other works.
We don’t have words for what happens when a plastic vase is put beside a fur bench and a porcelain pillar, but we know that the origin of novelty and poignancy is precisely that space which evades easy definition, a healthy dose of the ineffable. We’ve concluded that the division and strict delineation of aesthetics ideas is just as often futile as it is fruitful. Upon occasion, the nature of visual language and culture has proven too subtle for strictly idiosyncratic appraisal, and the landscape of contemporary taste and preference is no exception.
One catches a glimpse of something revelatory when color and texture, form and function, material and medium, or any qualities in between come together in enchanting ways that defy and reconfigure preconceived notions about art and design. Taste and perception are as much about sentiment as they are about optics. Candidly speaking, we see art and design as an antidote. And throughout an unrelenting era of aesthetic and cultural precarity, transience, and obsolescence, we have maintained an unwavering and forthright perspective dedicated to upholding technical excellence, conceptual rigor, and the value of human connection.
Our Design Miami roster this year includes a great variety of thing’s we’re calling curatorial assemblage.
Clay is dirt: the first found object.
And you can do anything with it.