Robert Stadler will unveil three new works as part of a continuation of his ‘Cut_Paste series’, at the London space of Carpenters Workshop Gallery, from 21 April until 20 May 2016. The series was shown for the first time in Paris last year to much critical acclaim. The exhibition will also include new additions to the collection.
ARCHITECTURE OF THE OBJECT
‘Cut_Paste’ is a series that reflects on the art of building and explores construction and contemporary architectural practices. It is based on the utopian idea of reusing the materials left over in architecture. Robert Stadler provides us with his own interpretation of the architectural gesture confronted with the past and the present, a demonstration that he develops on the scale of the object.
The series represents a construction of floor plans that are cut at right angles, freeing up constructed spaces that go beyond their strict utilitarian function, a reflection on the act of covering edifices. The designer himself says that the pieces can be defined in contemporary terms as a piece of domestic furniture, subsequently giving them a futuristic element.
LUXURY VERSUS UTILITY
The materials chosen are architectural, using a combination of marble and aluminium honeycomb. The strong contrast between these two materials conveys the natural beauty within the pieces against the harsher industrial elements, in tandem with the idea of luxury versus utility.
The minimal beauty of the pieces originates from the clean-cut vertical and horizontal lines, yet it is contradicted by the graphic motifs of the marble and onyx. Having focused primarily on low tables and shelves with the original series, Robert Stadler has integrated a selection of large console tables and lamps into the new collection.
Robert Stadler creates these pieces by cutting, sticking, juxtaposing and shifting the elements to give the shapes the necessary stiffness, reminiscent of discarded shapes found on building sites. The designer integrates the illusion of a random gesture into a piece that links back to a constructivist vision.
Despite its characteristic arbitrariness, Robert Stadler’s pieces are each perfectly formed in order to question what the reality of functional sculpture should be whilst not reducing the design credibility.
Robert Stadler was born in Vienna in 1966. The designer has always been drawn to the details of objects and the narratives they evoke. He studied design at the Istituto Europeo di Design in Milan before attending the École Nationale Supérieure de Création Industrielle in Paris in the late 1980s. He has continued to work in Paris ever since.
In 1992 Stadler co-founded the RADI Designers collective, whose varied practice revolved around the marriage of the everyday and the unusual. Stadler began to work on solo projects in 2002, though he continued to collaborate with RADI until the studio’s dissolution in 2008.
Stadler’s interests encompass both what he terms “aristocratic design” and objects typically deemed vulgar or absurd; he explores the possibilities for building bridges between the apparently incompatible. He is involved in furniture making, product, interaction design, art installations, and multimedia ac-tivities. He frequently questions objects’ established identities.
His furniture tends to both convey and destroy preconceived notions of what an object should be. Although works such as his Possible Furniture series may at times appear haphazard, they are perfectly constructed to fulfill their ergonomic purpose.