Gallery FUMI, established in 2008 by directors Sam Pratt and Valerio Capo, focuses on high-level, conceptually and aesthetically audacious contemporary designers and artists. Works are predominantly made by hand in a small workshop context, embodying the values of craftsmanship and materiality.
For further details on the artworks offered for sale by Gallery FUMI in the Eye Viewing Room please make an enquiry below.
Johannes Nagel studied ceramics and the University of Art and Design Burg Giebichenstein, Halle, Germany. Deliberately questioning the widely accepted status of pottery as a functional, domestic and decorative craft, Nagel turns to clay as the privileged arena for his formal and conceptual explorations, rehearsing, through an eclectic array of vessels, the timeless debate of form vs. function, control vs. spontaneity, rigour vs. improvisation. Having featured in important group exhibitions, his work is in the collection of international institutions, such as the Victoria & Albert Museum, London, UK, Musée Ariana, Geneva, Switzerland, Keramikmuseum Westerwald, Höhr-Grenzhausen, and Keramion, Frechen, Germany.
David Pye says: ‘Any object that we design and produce is makeshift, is improvised, is inappropriate and provisional.’ The subject of my work specifically is the improvised and provisional. The objects are finished in that the porcelain is painted (glazed) and fired. Most objects are somehow vessels, pots. What else are they? The attempt to confuse the connotations that technology and material provoke. At times constructive composing, at times wilful destruction, sometimes vases, sometimes fragments or alienated object.
Improvised are the handling of the material and the methods of creating volume and shape – sawed, dug out, stacked, found or painted on. The joints and fissures, the blots of colour and unfinished painting appear provisional as they point from the finished object to the instant of making. It is not the perfection of the ultimate expression that is intended but to verbalize a concept of the evolution of things. What sort of a function do vessels have today? What may they contain? I hardly ever thought of flowers’.
Rowan Mersh, Asabikeshiinh VII (Dreamcatcher VII), 2020
Diameter: 150 cm.; Depth: 8 cm.
Sliced Turritella Shells, Fluorocarbon (unique)
Price: £55,000 (plus any applicable taxes)
With a degree in Textiles from the Royal College of Art in 2005, Mersh’s practice has evolved from textile sculptures and kinetic installations, to large-scale wall pieces and freestanding sculptures made of thousands of components of various materials. Since 2012, the artist has predominantly worked with responsibly sourced seashells, comprising of Dentalium, Turritella and Placuna. Painstakingly hand assembling each shell into mesmerising patterns the artist creates exceptional sculptural pieces famous for their fluidity and soft-like aesthetic.
‘I am drawn to the humble seashell as a medium of expression both for my fascination with aspects of their historical, social, and contextual functions,’ says Mersh, ‘and for the inherent beauty that can be found within the material itself.’
Rowan Mersh lives and works in London; his works have been acquired by private and public collections worldwide, most notably the V&A, Jerwood and The Crafts Council collections. Commissions and special projects include works for the Mercury Music Prize, Fendi and Veuve Clicquot. His work Asabikeshiinh (Dreamcatcher) was awarded the Best Contemporary Design prize at PAD London 2016.
Les French Sideboard
Height: 108 cm.; Width: 147 cm.; Depth: 54 cm.
Patinated Bronze, Stained Walnut drawers, Dyed Gummed Paper Finish (unique)
Price: £ 32,000 (plus any applicable taxes)
Glithero is the collaboration of Dutch designer Sarah van Gameren (b. 1981) and British designer Tim Simpson (b. 1982). After meeting at the Royal College of Art, where they studied under the professorship of Ron Arad, they founded their studio to explore the performative potential of making processes. A manifesto, which they published as Miracle Machine and the Lost Industries (2007), can be found in the library of the V&A. Glithero first caught attention with Big Dipper (2007), a machine that created chandeliers by repeatedly dipping strung frames in molten candle wax. The installation, a manufacturing process-come-performance, created a product in a fantastical way in front of an audience.
As well as installations, Glithero creates gallery edition furniture and products. With Les French (2009), the studio invented a method for transforming ad-hoc bamboo structures into functional furniture using lost-material casting in bronze.
In the process of casting, the moulds are destroyed, so that each piece in the series has a unique value. Not only by design but also by method of creation. A vivid feature of Glithero’s work is an inventiveness with materials. In 2009 they launched Blueware in a self-produced solo exhibition in London, featuring vases, tiles, and lampshades made using an invented process of capturing cyanotype photograms directly onto ceramics. The collection was included in the Dutch Design Award and the Design Museum’s Designs of the Year. The studio is renown for their use of film, which they began using to capture the moments in making processes that they believed defined the true value of work.
Lukas Wegwerth, Crystallizations
Ceramic, Salt Crystals Various Dimensions Price on application
The work of Berlin-based designer Lukas Wegwerth explores tensions – the tension between the natural and the artificial, between organic growth and creative intervention, and between the unexpected and the controllable. He manipulates natural processes in order to create his designs and explores ways an object can acquire new meanings over time.
Born in Ilbeshausen, Germany in 1984, Lukas studied at the University of the Arts in Berlin, creating work that followed in the playful and experimental precedent of the likes of Carlo Mollino and Jerszy Seymour. He cites the folkloric work of Dagobert Peche, the honest carpentry of the shaker design movement, and the provocative and genre-defying work of Atelier Van Lieshout as particular influences. Lukas works primarily with found, organic materials, and his designs explore notions of growth and transformation, of memory and time.
Lukas Wegwerth’s works have been acquired by private and public collections worldwide, including the National Gallery of Victoria, Australia.
Francesco Perini (1966-), Incontro (Black Marble on Oak), 2021
Oak, Black Marble (unique)
Diameter: 144 cm.; Height: 75 cm.
Price: £ 44,000.00 (plus any applicable taxes)
Francesco Perini was born in San Giovanni Valdarno, just outside of Florence, in 1966, in a territory deeply rooted in the noble Tuscan tradition of craftsmanship. Inspired by his family legacy, highly skilled practitioners in the art of marquetry, and fuelled by admiration for the rich trove of Florentine craftsmanship, from a very early age Perini sought to engage with and simultaneously advance the grand tradition of Italian art to assert his own role within the discourse while creating an unmistakably contemporary aesthetic.
In recent years Perini has devoted himself to the creation of exceptional pieces, entirely unparalleled in style and significance and unique in their unrivalled synthesis of the most valuable materials. Perini sees his creations as ‘creatures’, animated beings that breath, evolve and are transformed, where the finest wood encounters stone, obsidian, marble, iron and glass. The ‘creatures’ of Francesco Perini are figures of the imagination, pursuing desires, dreams and fantasies, like scenes from a theatre of the emotions.
Secluded in his atelier, nestled in the swirling curves of the Chianti and Valdarno valley, a landscape of unspoiled beauty and silent contemplation, where shady forests of prized chestnut and beech-tree encounter natural rock formations, the artist works en plein air, as if trying to encapsulate the intimacy of his creations through the prism of those 20th century masters who inspire him the most.