Frieze Los Angeles 2019

At Frieze’s inaugural art fair in Los Angeles, Salon 94 Design is presenting new works by Max Lamb and Thomas Barger, as well as Gaetano Pesce’s Pratt Chair No. 7 1984/2018.

Max Lamb’s unmistakable furniture combines materials in their raw form, with the latest technologies. For Frieze Los Angeles, Lamb presents new Scrap Poly works that are coated in his signature high-density polyurethane rubber coating, this time in powder pink! Lamb’s Scrap Poly is an ongoing body of work that utilizes scraps of polystyrene, generated during the production of his other Poly Furniture works, to make furniture that is traditional in function but wholly unique in form. Iterations of the Scrap Poly series can be seen in Acne’s retail stores including their flagship on Madison Avenue in New York, Geary Street in San Francisco, and Beijing, China

Thomas Barger has emerged as a unique colorist. His pinks are strangely fleshy, his yellows an unlit day glow, his greens the kind that seem unreal when found in nature, and now he is adding navy blue to his roster. A new series of works, Table for Helms Deep is a manifestation of Barger’s return to reading Lord of the Rings, the fantasy novel written by J. R. R. Tolkien. A major battle episode in the novel which takes place at Helms Deep after nightfall, prompts the title of these works and its color. The navy blue of Table for Helms Deep is also a frighteningly accurate color of our current times. Barger’s new works are the result of a fantastically bizarre coming together of J. R. R. Tolkien’s high fantasy writings, and Barger’s artistic principals.

In 1984 Gaetano Pesce requested to use Pratt’s laboratory, studio space, and tools to make the molds for a special chair he had sculpted in wax. Thus the Pratt Chair was named. Initially, Pesce intended to make a series of 81 chairs using nine different resin formulas, yielding nine chairs from each formula, however in this initial experiment he made only thirty-four. Since 1984, new technologies and resin pigments pressed Pesce to rethink the thirty-four year old Pratt Chair. Thus the original mold was taken down from its workshop shelf, dusted and mended. In several steps, Pesce’s studio painstakingly made a new chair with the original cracked mold, and then made a new mold from this chair. Each new Pratt Chair is made by meticulously hand painting each detail on the mold, before it is filled with pigmented resin. Pesce’s material processes has always been experiments in liquid form — the liquidity of resin is a metaphor for the character of our time, “where values move around, up and down like a liquid”, says Pesce. At Frieze Los Angeles, Salon 94 Design will present Pratt Chair No. 7 1984/2018, the revival of Gaetano Pesce’s Pratt Chair from 1984.