Sebastian Brajkovic
Lathe Ix / 2010
Limited edition of 8 + 4 ap
bronze, silk embroided upholstery
CM H: 92 W: 78 L: 130
IN H: 36.2 W: 30.7 L: 51.2

The Lathe IX came as a later rehearsal on the ‘movement by turning’ ideas of the Lathe collection. Following closely the actions of The Lathe VIII piece, Sebastian Brajkovic was focusing on a new explanation on the search for a reinvention of classical chair shapes. By brutally altering one of the backs of that latter piece of his collection, the Lathe VIII chair, he changed this loveseat in to a ‘Chaise Longue’.


Encouraged by the quirky perspectives cubist painters used, unfolding the ‘face’ directly in the ‘silhouette’, a remarkable amalgamation unveils of both practicality and imagination in The Lathe IX.

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About the artist
Sebastian Brajkovic

The Dutch-Croatian-Indonesian designer was born in 1975. Sebastian Brajkovic holds a keen interest in the divide between art and design, and exploring the border between the two has long fueled his practice. He graduated from the Design Academy Eindhoven in 2006 and burst onto the art-world scene with his project Lathe. He investigates the notion of perspective and distortion of form through his sculptural furniture pieces.

The Lathe series, expanded for his first solo show at the Carpenters Workshop Gallery in 2008, reflects his longstanding fascination with rotation. The Lathe tables at once illustrate and innovate the idea of turned furniture. The spinning motion of a lathe both creates the table and decorates it. The rotation is visible in the table’s exaggerated profile and in the layers of concentric whorls on its surface. Through his in-depth exploration of the theoretical and the technical, Brajkovic creates an aesthetic balance of structure, freedom, and form. The Lathe chairs also employ woodcarving, bronze casting, and embroidery. Each work is sculpted by hand before being molded. At the same time, Brajkovic employs new digital techniques for sculpture, harnessing the power to expand pixels and distort images.

There is a disparity between the delicate look and substantial feel of his works. Often composed of bronze, they are too heavy to be lifted without mechanical assistance. As such, their archetypal function is subverted by their substance.

/ Lathe VIII acquired for the permanent collection at Victoria and Albert Museum, London, UK.

/ Lathe V acquired for the permanent collection at Museum of Arts and Design, New-York, USA.

/ Design Museum, ‘How to Design a Chair’, United Kingdom: Conran Octopus.
/ Dempsey, Amy, ‘1963 , Styles, schools and movements: the essential encyclopaedicguide to modern art.’ London: Thames & Hudson.

/ Gareth Williams, ‘Telling Tales: Fantasy and Fear in contemporary Design’, London: V&APublishing.
/ ‘Trend Forecaster’s Handbook’, United Kingdom: Laurence King.
/ R. Klanten, A. Kupetz, S. Ehmann, S. Moreno, ‘Once Upon a Chair, Design Beyond theIcon’, Germany : Gestalten.

/ Bocquoye, Moniek e. and STORM, Dieter Van Den. ‘FORMS WITH A SMILE. DesignToday’, Netherlands Stichting Kunstboek.

/Victoria and Albert Museum, London, UK.
/Museum of Arts and Design, New York, USA.
/Museum of FineArts Houston, Houston, USA.
/ SCAD Lacoste, Savannah College of Arts and Design,Lacoste, France.
/Louise Blouin Foundation, London, UK.
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