De Cotiis has long been interested in Japanese culture and aesthetics, and for this collection he looks to traditional Japanese temples and architecture, gardens and bonsais, and the colour of cherry trees blossoming in spring as sources of inspiration. Preoccupied with the weathering effect of time, De Cotiis layers experimental materials into organic geometries inspired by Japanese folding fans.
For Éternel, De Cotiis experiments with iridescent cast aluminum for the first time, using a sand-cast technique to create textured surfaces that change their colour and appearance when viewed from different perspectives. He developed a new technique using hand-blown Murano glass to mimic the effects of water, adding an iridescent element to the material while the glass is hot. De Cotiis continues to work with salvaged fibreglass, but for this collection, he adds a patina with coloured stucco, creating a rich shade similar to ink in calligraphy.
De Cotiis comments: “The ethereal luminescence and transparency of the materials used, such as Murano glass and iridescent metals, alter perception while the sutures attempt the impossible: patching time...”
Julien Lombrail, Director and Co-Founder of Carpenters Workshop Gallery comments: “It is a privilege to show these significant works for the first time in New York. For this series, Vincenzo had blurred the boundaries between art and design creating a singular vernacular that marks an important evolution in his practice.”
