What if seats weren’t created after constructing countless prototypes and enduring endless ergonomic tests? What if instead, their basic frame emerged from a gradual progression like the evolution of man, from basic beginnings to a more refined and functional final product? Ron Gilad, the Tel-Aviv-born, New York-based artist, explores the “Birth of a Chair” and other concepts in The Line, The Arch, The Circle and The Square, a solo exhibition which debuted at Dilmos gallery during design week in Milan.
The four titular figures are featured throughout the works on display, which are all minimal in execution, maximal in contemplative effect. The spare lines and simple shapes play with both scale and perspective in a room where a massively oversized “hand”-mirror rests against a wall, adjacent to a large wooden armoire held aloft by a quartet of miniature Thonet chairs. Everything necessitates a second look, from a wall-bound candlestick composed of a single stainless steel wire to the tiny red carpet rolled out in front of an illuminated mouse-hole named “Tom” (though it seems “Jerry” might have been more appropriate).