About Monolith Mirror No.1
When confronted with things that exceed our very understanding, our inability to categorize and relate to them commands our full attention. The Monolith is a mysterious extraterrestrial artifact of unknown origin and nature. Its aesthetic concept touches upon the divine, the omnipotent, indefinable creator of human civilization.
The future is a place where the complexity of both natural and technical processes can converge. This convergence will usher in a new aesthetic paradigm where objects are created to inspire awe and present a mystical form in which both naturally grown and machine-processed materials and textures seamlessly coexist. At first glance, these objects are naturally formed. Upon closer examination, traces of technology reveal their mystical purpose, to encourage a new perception that oscillates between a sense of the natural and the technological–and the fleeting illusion of their convergence.
Nature and geometry are at the nexus of the Fragments collection. From one extreme, found looking rocks are intersected by polished planes. At the other extreme, completely finished stone is fragmented by different marbles and colors. Fragments was conceived at the quarry, where irregular and organically shaped boulders are being transformed into perfect industrial geometry. The initial interpretation of this juxtaposition between the original rock and the finished products, is in the group of work where rough found boulders are intersected with planes of perfectly finished and honed machine parts.
From this point more subtle variations in concept occur. This is the case for the cross base dining table and coffee table. The idea came from watching the process of turning raw blocks of stone into slabs to be used as surface. By utilizing the quality of the end slab, both an irregular surface and a polished plane appear. The irregular surface creates a texture that invisibly becomes a technical joint for the base, constructed from two regularly finished slabs, and cut from the same block.
About Lex Pott
Lex Pott is an Rotterdam-based designer who produces arresting experimental works that fuse natural inspiration with sleek, modern aesthetics. Incorporating both art and function, Pott creates one-of-a-kind pieces that celebrate the raw essence of a material, whether it is wood, metal or stone.
Born in 1985 to artistic parents, Lex Pott was immersed in creativity, production and innovation from a young age. After attending the Design Academy Eindhoven, he began his practice of connecting the principles of design with the use of raw materials – a groundbreaking combination. His graduation project, which included wooden shelves and an oversized stone table, utilized natural materials beginning a dialogue around sustainability and ecology.
Lex Pott ’s True Colors collection incorporated treated metals, panels, shelves, and vases that exposed the exuberance of uncorroded metal; his Diptych collection was a break into organic and geometric shapes; and his Pivot line of silver corner shelves and gold cone embellishment was a streamlined take on classic functionality. But it was the Pivot shelf that caught the eye of Hay, the Danish manufacturer, who picked up the collection in Milan in 2013, a move that catapulted Pott onto the world design stage.
About Hongjie Yang
Hongjie Yang’s design practice embodies the concept of metamorphosis. His work explores plausible scenarios and their influences on transforming our preconceived perceptions. In his practice, Yang searches for new aesthetics through in-depth research in emerging areas of technology and culture. Across all lines of inquiry, he rigorously interrogates and pulls apart the building blocks of materiality. Yang’s recent metal works bring out a rich narrative of the material possibilities across the surface of a single object. These works are part of an ongoing exploration of metal as a landscape creating material. The relationship between humanity and technology is so old now, our influence on the Earth so all pervasive, that these works look at breaking down the distinction; works of the Anthropocene epoch. Yang’s objects overlap between sculpture and design, always inviting viewers to see themselves within the gradual unfolding landscape of metal – a world of rough and smooth beauty.
Yang studied in USA and the Netherlands. He received his masters in Contextual Design from Design Academy Eindhoven in 2015. He currently operates a studio under his own name in Eindhoven, the Netherlands.
About the Future Perfect Gallery
The Future Perfect was born from a desire to create a showcase for exceptional decorative arts and design. In September of 2003, amidst a gathering of friends and enthusiasts, founder David Alhadeff opened the original store in Brooklyn with a party celebrating the burgeoning local design community. From those modest beginnings, The Future Perfect embarked on a path of steady growth and broadening horizons. Though still involved with the Brooklyn design scene, The Future Perfect has moved on from its Williamsburg roots, becoming a platform for design from around the world at its two locations in Manhattan and San Francisco.
They feature many unique and special edition objects and furnishings from a diverse group of distinguished designers. Some work is by established figures in the design world while other pieces are by emerging talents. Taken together, they present a rich and compelling tapestry of dazzling possibility.