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Toogood is a London-based design studio founded in 2008 by Faye Toogood. Faye has a BA in Art History from the University of Bristol, and was Interiors Editor at The World of Interiors for eight years.

Her practice encompasses interior design, homewares, fine art and fashion, and refuses to be constrained by a single discipline or defined way of working.

Describing herself as an outsider whose work defies categorisation, Faye has created a studio which allows a movement between genres. Architects, sculptors, furniture makers and illustrators cross-pollinate on every projects, producing work that is rigorous, poetic and genuinely avant-garde.

Cob composite, steel
W 98.50 x D 39.25 x H 28.75 inches
Edition of 8

Courtesy of Friedman Benda and Faye Toogood
Photography by Angus Mill

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Console, c. 1940
Attributed to René Coulon

St. Gobain Glass
H 30 x W 40 x D 19.5 inches

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Born October 31, 1953 in New York City. He is a fifth generation furniture maker. Joined the NYC gallery, Art Et Industrie in SoHo, in 1980, remaining with the gallery until its close in 1997, and was one of five core members who, during the 1980s and 90s, reinvigorated the artist-designed furniture genre in the USA. His furniture has been featured editorially in more than one hundred publications internationally; was selected for the redesign of the executive offices of Rolling Stone Magazine in New York, and was used as set decoration in the seminal 80s Hollywood film, Wall Street.
Howard Meister's art work has been exhibited and collected (as part of their permanent collections) by many museums and corporations worldwide; The Metropolitan Museum of Art (New York), The Art Institute of Chicago, The Brooklyn Museum, Queens Museum, The Art Museum of Rhode Island School of Design, The American Craft Museum (New York), The Beaux Arts Museum (Montreal, Canada), The Hudson River Museum, The Palm Beach Museum (Florida) as well as museums in North Carolina and Texas. Howard received the Metropolitan Home Design 100 Award in 1990 (Exhibited at the Citicorp Atrium, New York and Elements of Style). Howard has participated in exhibitions both collective and individual in New York City, Tokyo, London, Paris, Detroit, Osaka, Toronto, Chicago, San Francisco, Northampton, and Austin.

Since 1997, he has worked primarily in digitally manipulated photographic images and artist's books. Meister now lives in rural Massachusetts with his wife, Paula Zindler RN. They have a daughter, Caitlin, who is a voice over artist and photographer.

Metal, coyote fur
H 37 x W 16 x D 16 inches

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Born in 1903, Charlotte Perriand exudes the optimism and energy of the 20th century in her life and her work. As a young designer in the studio of Le Corbusier, Perriand absorbed the values integral to his architecture for modern living: a commitment to function, a focus on simple harmonies of form and color, and a joyous embrace of technology. Bending machine-age materials like steel and aluminum into her iconic Chaise Longue and luxurious Fauteuil Confort; Perriand created above all design for living. In Perriand's world, life is lived through design; and good design allows freedom of movement and harmony of the spirit with the environment. Her many designs for storage units, free-form desks and pre-fabricated houses seem whimsical at first; though they stem from her participation in utopian planning movements of the early 20th century. Each design has a positive role to play in daily life: streamlining work, facilitating order, and fostering independence or community as the situation demands. While Perriand celebrated the role of technology in modern living; her enthusiasm was inflected by an abiding interest in the natural world. Her dwellings are optimized for sunlight on a summer morning or cooling breezes in the afternoon. An avid outdoorswoman and traveler, Perriand often searched for design solutions in the materials and craft traditions of the regions where she worked; an approach enriched by her travels to Japan and Indochina during the forties. Isolated from European technology by world war; she turned to paper, bamboo and ceramics, reassessing her work in light of the serene minimalism of Japanese aesthetics. Accordingly, Perriand's interiors are never simply rooms filled with objects. They are spaces full of light and air where work and play are carried on in accordance with the rhythms of the life and nature.

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Terence Main's work redefines the boundaries between art and design. The biomorphic elements of his works recall the fossilized remains of ancient creatures and vegetation. Overall, they often have the look and feel of natural phenomena rather than crafted objects. Looking outside the boundaries of classicism, Main responds to the rich material of primitive art with furniture that intimates the power of animist belief throughout human culture. One of his sinuous benches suggests a forgotten path or the spine of an extinct animal; the ambiguity of its place in the natural order augmenting the sense of desuetude and revealing the patterns in which this natural order is manifested. Main's work seems to exist within the generative and destructive cycles of nature.

Main's work is in the permanent collections of the Metropolitan Museum of Art, Brooklyn Museum of Art and the Cranbrook Academy of Art Museum, among others, and has been featured in numerous publications and exhibitions worldwide, including: Modern Furniture, The Metropolitan Museum; Art and Application, Turbulence, NY.

"My objects have always been about redefining the boundaries between art and design. The process is a personal idea history oriented "gut and soul" exploration in a territory that I have created for myself. I've married form and function, fact and fiction and art history with design history. My new objects have evolved to become more sculptural and texture based.

Cast aluminum
H 34.75 x W 18 x D 18.5 inches

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Courtesy of the artist and Peter Freeman, Inc. Photography by Nicholas Knight.

Matt Mullican was born in 1951 in Santa Monica, California and lives and works in both Berlin and New York. Mullican was recently awarded the second ever Possehl Prize for International Art and will open a related solo exhibition in Lübeck in October 2022. He earned his BFA from the California Institute of the Arts in Los Angeles in 1974, and has exhibited extensively internationally since, using colors and symbols to create a unique and personal language, often referring to corporate logos, street signs and historical monuments. Through experiments carried out under hypnosis, he has endeavored to achieve a new definition of "reality". Mullican has been represented by Peter Freeman, Inc. since 2005 and has mounted three solo exhibitions at the gallery in New York, most recently in 2020. Other recent exhibitions include Matt Mullican: A chart between 5 worlds, MARe/Museum of Recent Art, Bucharest, Romania (2021); Matt Mullican, Musée des Arts Contemporains au Grand-Hornu (2020); Between Sign and Subject, de Young Museum, San Francisco (2019-2020); Banners, Skulpturenhalle, Thomas Schütte Stiftung, Neuss, Germany (2019); Representing the Work, NC-arte, Bogotá, Colombia (2019); The Feeling of Things, Pirelli HangarBicocca, Milan (2018); The Sequence of Things, Camden Arts Centre, London, England (2016); and Nothing Should Exist, Kunstmuseum Winterthur, Switzerland (2016). Mullican retired in 2018 from his professorship at Hochschule für bildende Künste Hamburg in Germany. He has also taught and lectured at Columbia University; The School of Visual Arts; the Rijksakademie in Amsterdam; The London Institute; and the Chelsea College of Art and Design.


Acrylic gouache and oil stick rubbing on canvas, in two parts
78.75 x 78.75 inches each, 78.75 x 157.5 inches overall
(200 x 200 cm each, 200 x 400 cm overall)

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Christopher Stuart is an American artist and designer. His critically acclaimed work - part sculpture, part furniture - is singular in its dramatic expression of minimalism, and bound by an ever curious conceptual rigor. Stuart’s deceptively refined pieces - elegant, spare and striking - play on contradictions: between form and function, extravagance and restraint, design and art.

Stainless Steel
L 72 x D 18 x H 18 inches

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Pierre Chapo was first interested in painting, but his encounter with a shipbuilding carpenter in 1947, introduced him to wood and woodworking, and led to architectural studies at the École nationale supérieure des Beaux-Arts in Paris. After traveling through Scandinavia, Central America and working for a year in the United States, he returned to Paris and pursued his interest in wood, crafting furniture mainly out of solid oak, elm, ash or teak with a double concern for contemporary design and traditional know-how. He opened a gallery on boulevard de l’Hôpital in the 13th arrondissement of Paris, where along his own creations, he displayed the work of other craftsmen or artists such as Isamu Noguchi with whom he shared a sculptural and organic approach to design. It is in his studio of Clamart that he realizes his first models: the L01, says Godot, Ordered by Samuel Beckett, table T01 or stool S01. From the 1960s, he contributed to numerous projects led with Charlotte Perriand, Serge Mouille and Georges Jouve. nfluenced by the work of Charlotte Perriand for the Alpine ski resort of Les Arcs, his participation in the 1967 Société des artistes décorateurs’ show brought him a bronze medal. That same year he moved to Gordes, near Avignon in Provence, and started his furniture business, producing his own bold, rugged designs anchored in tradition. Along his steady work on design he also gave lectures in France and abroad, on cabinet-making, joinery, wood, tradition, creation and sincerity. In 1983, Pierre Chapo was diagnosed with Lou Gehrig’s disease and died in 1987, shortly before his sixtieth birthday.

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Maria Sparre-Petersen makes sculptures from recycled container glass, a material that has all the poetic qualities of virgin glass but is much kinder to the planet. She is fascinated by the plasticity and uncertainty of this hybrid material, which is rarely used by studio glassmakers. Sparre-Petersen melts containers in a furnace and then shapes the molten glass into balls, which appear like spherical drops of childhood mystique; she then composes these balls into a pattern which is fused in a frame of high-fired concrete. When heated, each sphere develops a membrane that remains visible as the balls fuse in the kiln, becoming of one piece but appearing distinct, like soap bubbles adhering to each other. An artistic chaos in an ordered array, or graphic elements of liquid mass in a structured frame. Form, pattern, color and light enter into a dialogue and create new stories. In some places, the glass appears matte or translucent — depending on how the light refracts in the material and its depth of the color.

Sustainability is a lifelong passion that Sparre-Petersen pursues with an experimental and socially oriented outlook. She includes the titles of sailor, designer, teacher, Master of Fine Arts and PhD on her CV. Together, these diverse skills paint a straight line to the practice that motivates and inspires Sparre-Petersen today: to spread awareness of recycled glass from a sustainable and ethical perspective. It is a crucial and deeply meaningful ambition, not least because it leaves the virgin materials in the ground, where they belong, and avoids exposing the maker to hazardous substances. 

Furthermore, used glass can be recycled infinitely without losing its material qualities — a capacity that textile, plastic and many other materials lack. The particular material qualities of recycled container glass make for an interesting process. The recycled glass has to be handled differently because it is “shorter” when it is blown, so the glassmaker has to work faster. With this technique it is not always possible to fuse two used window panes because they may be made from different recipes, which means they do not expand in the same way and there- fore develop stress that will cause cracks — immediately or over time. Hence, recycling container glass requires a high level of craftsmanship and technique. And though the challenges of working with recycled materials are greater, so is the satisfaction of cracking the code and knowing that one is making a difference for the planet. Sparre- Petersen is continuously challenged by the specific qualities of the material, which throws up obstacles that she can resolve and also take advantage of. According to Sparre-Petersen, this only makes her conver- sation with the glass more intriguing. The material talks back and sometimes strands the artist on thin ice. This provides new insights, which lead to new methods and techniques that she then can develop and incorporate. Her many studies and experiments have given rise to an aesthetic vocabulary that she could not have arrived at through strategic planning. This is part of the alchemy, when material and idea come together in unpredictable constellations, often rife with contrasts. Like organic playmates in a framework that is only semi-controlled and does not allow for anticipating or planning colors, density, transparency or translucency. The glass artist has to surrender to the will of the material, regardless of experience and technique, which is a beautiful part of the process — a sustainable process that holds good news for a planet under pressure.

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Claudia Girbau is a designer from Barcelona living and working in Milan. With a background in fashion; after graduating from Central Saint-Martins and the Royal College of Art in London, she started working at Prada as a womenswear designer. Starting the pinasaan series in 2019, she has since presented her work at Collectible Fair (2020), Salone del Mobile in Milan and Dutch Design Week in Eindhoven (2021).

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Lacquered wood with Gucci straps
H 50 x W 47 x D 23 inches

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 (From the exhibition The World Theater), 1985
Paul Ludick

Lacquered wood, chain link fence
H 33.75 x W 17 x D 17 inches

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Lacquered wood, chain link fence
H 37 x W 18 x D 18 inches
(Seat 17 inches)

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A Southern California native born in 1962, the acclaimed fashion designer Rick Owens displays a demanding and singular aesthetic in fashion. His original vision plays on material. Owens lives and works in Paris, but the dark, minimalist style of his designs was created in the United States when he started out making bespoke furniture for his bunker-style loft in Los Angeles. Working with craftsmen of the highest caliber, he has developed a collection of pieces that express his signature style in cut, volume, and plan. His designs evoke original furniture through archetypes. There are a number of typologies: the ceremonial chair Curial, the Trident chair with its structure, and the Halfbox armchair crafted from a chest. Through his choice of subtle and rare materials, Owens suggests the beauty of nature and develops a contrasting palette of black and white that confirms his taste for the monochrome. He juxtaposes values to compose three-dimensional pieces that fully reflect his own style. Through fashion, design, and furniture, he cuts and shapes a transversal and global universe.

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The fundamental existence of objects in space is brought into sharp focus in the work of Martin Bodilsen Kaldahl. Through his process, he transforms everyday minimal phenomena into sculptural expressions utilizing a precise, formal fashioning of the material. With a keen eye for the monumental within the insignificant, his works emerge out of a process that creates conditions for an intuitive form. While Kaldahl works from an overall vision, he incorporates stumbling blocks into the actual construction of the works in order to relinquish control, allowing the form to evolve and thereby avoiding predictability. Akin to doodling, where consciousness is only partially present, he builds larger structures out of smaller bits of clay tubes which, at random, become a dancing sequence that moves up and down, almost reeling out into space. The use of strong, clear colors adds an insistent dynamism and energy to the works; this in tandem with the form’s own statement and potential to initiate emotion, manifest in a clear and easily decipherable expression that remains open to many different interpretations.

Kaldahl first trained as a potter in the 1970s. In 1988, he joined the Master's program at the Royal College of Art in London, where he graduated in 1990. He is a co-founder of the artist-run exhibition platform, Copenhagen Ceramics (CC) launched in 2012. Kaldahl’s works are represented in several public and private collections including the Victoria and Albert Museum in London, The Danish Museum of Art & Design in Copenhagen, The National Museum of Art, Architecture, and Design in Oslo, and Musée des Arts Decoratifs, Paris.

All for Right Now 3 – Spatial Drawing #52

Glazed stoneware, hand-built
W 17 x D 16 x H 18 inches

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Over a prolific career spanning five decades in three artworld hotbeds—Venice, CA, SoHo and The Hamptons, NY—Gloria Kisch (1941–2014) developed a delightful yet rigorous body of work encompassing early minimalist paintings on canvas, large scale public art installations, and later floral sculptures, mobiles and furniture works – for which she is mostly known. Born in New York City to German immigrants, Kisch earned a BA from Sarah Lawerence and her masters from Otis College of Art and Design, where she studied alongside Bas Jan Ader and Barry Le Va. In the 1970s Kisch joined an intimate circle of feminist and post-minimalist artists living and working in Venice Beach, CA. She participated in the inaugural exhibition at Womanspace, Judy Chicago’s cooperative run feminist gallery which later became the Women’s Building, held landmark exhibitions alongside Bruce Nauman, Ed Ruscha, Kenneth Price and Richard Diebenkorn, and landed impressive solo presentations in museums, and large public art commissions when she transitioned from painting to sculpture. In 1981 Kisch returned to New York, set up a studio in the East Village, and began working with metal—primarily stainless steel for its permanence and ability to withstand the outdoors. Under the wing of Rick Kaufmann, Kitsch ventured into the realm of functional sculpture, how two solo exhibitions at Kaufmann’s iconic SoHo gallery Art et Industrie—a unique outpost known for showcasing radical design coming out of Europe and a platform for new talents in America. In 1991 she was included in a monumental group show titled Art and Application at Turbulence Gallery which placed her Functional Sculptures alongside art and design world luminaries Vito Acconci, Richard Artchwager, John Chamberlain, Wendel Castle, and Gaetano Pesce.

Aluminum, stainless steel
42 x 17 x 39 inches

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Cast aluminum and Saint-Gobain glass
H 13.39 x W 62.99 x D 22.44 inches
Base: H 12.91 x W 32.68 x D 17.72D inches

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Ceramic and Metal
W 28.5 x D 25 x H 15.75 inches

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The House of Puiforcat joined forces with Bruno Paillard, renowned winemaker and oenologist from the Champagne region, to design the Champagne collection: a beaker to extol the aromas of the nectar, a bucket to keep the champagne cool and a line of accessories to heighten the tasting experience

Sterling silver
212 fl. oz x D 8.6 x H 12 inches

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Illya Goldman Gubin is a Ukrainian Jewish multi-disciplinary artist based in Berlin, with strong ties to conceptual art and fashion. His work ranges from paintings and sculptures to furniture and clothing. The artist transforms paradigms, materials, space, and time into works that invite beholders to reflect and feel.

Aluminum, fiberglass, epoxy resin
H 11 xW 8 inches

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Default Title

A BETTER FEELING is a product-based company created in 2018. The PUR_ABF_01 chair is a collaborative project between A BETTER FEELING and industrial designer Sebastian Kommer. It features a sleek aluminum beam frame contrasted with carbon-based wooden plate.

, 2022
A BETTER FEELING + Sebastian Kommer

Aluminum + foraged poplar burl wood
W 17.3 x D 15 x H 24.4 inches

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Designed by Jean Puiforcat in 1937, this sterling silver candelabra is adorned with warm yellow gold discs and a central sphere. This design reflects Jean Puiforcat’s taste for mixing materials or tones such as silver and gold, along with spheric shapes. Handmade in France.

Three-light Candlestick with Gold-Gilt Accents

Sterling silver, gold-gilt
W 6.29 x H 5.5 x L 6.29 inches

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Images courtesy of David Lewis Gallery and John Boskovich

John Boskovich (b. 1956, Los Angeles, d. 2006, Los Angeles) received a BFA from California Institute of the Arts (Cal Arts) in 1985. Boskovich’s selected solo and two-person exhibitions include Psycho Salon, O-Town House, Los Angeles, CA; Dead Center / Marginal Notes: John Boskovich, curated by John Neff, Western Exhibitions, Chicago, IL; New Work and the It Series (1990-1996), Rosamund Felsen Gallery, Los Angeles, CA; Boskostudio, artist studio and home, Los Angeles, CA; Rosamund Felsen Gallery, Los Angeles, CA; Rude Awakening, Rosamund Felsen Gallery, Los Angeles, CA; Mike Kelley and John Boskovisch, Rosamund Felsen Gallery, Los Angeles, CA; Rosamund Felsen Gallery, Los Angeles, CA; and Playing with the Truth, Laurie Rubin Gallery, New York, NY among others. Selected group exhibitions include This Brush for Hire: Norm Laich & Many Other Artists, curated by John Baldessari and Meg Cranston, Institute of Contemporary Art, Los Angeles, CA; La Pédida / Perdido, DXIX Projects, Los Angeles, CA; Tongues Untied, curated by Rebecca Matalon, MOCA Pacific Design Center, Los Angeles, CA; Sylvia Bataille, curated by Adam Marnie and Rebecca Matalon, Joan, Los Angeles, CA; Sentimental Education, curated by David Rimanelli, Deitch Projects, New York, NY; Art/Journalism, curated by Lawrence Rickles, Rosamund Felsen Gallery, Los Angeles, CA; The Salon of ‘99, curated by David Rimanelli, The Fifth International, New York, NY; The Unreal Person: Portraiture in the Digital Age, curated by Irit Krygier, Huntington Beach Art Center, Huntington Beach, CA; Harriet Craig, curated by David Rimanelli, Apex Art, New York, NY; Laguna Art Museum, Laguna Beach, CA; Hollywood Satan, Mark Moore Gallery, Los Angeles, CA; Ports of Entry: William S. Burroughs and the Arts, curated by Robert A. Sobieszek, Los Angeles County Museum of Art, Los Angeles, CA; traveled to The Spencer Museum, Lawrence, KS; A Man’s World, curated by Russell Ferguson, Museum of Contemporary Art, Los Angeles, CA; The Moderns, curated by Tony Payne, Feature, New York, NY; Praz-Delavallade, Paris, France; The Camera I: Photographic Self-Portraits from the Audrey and Sidney Irmas Collection, curated by Robert A. Sobieszek and Deborah Irmas, Los Angeles County Museum of Art, Los Angeles, CA; traveled to Akron Art Museum, Akron, OH; Frederiksborg Nationalhistorisk Museum, Hillerød, Denmark; Hollywood, Hollywood, curated by Fred Fehlau, Pasadena Art Alliance, Pasadena, CA; ELAC Art Contemporain, Lyon, France; The Library of Babel: Books to Infinity, curated by Todd Alden, White Columns, New York, NY; traveled to Hallwalls Contemporary Arts Center, Buffalo, NY; Rubin Spangle Gallery, New York, NY; Rosamund Felsen Gallery, Los Angeles, CA; Albany Museum of Art, Albany, GA; Delaware Art Museum, Delaware, MD; traveled to Herter Art Gallery, Amherst, MA; Lamont Gallery, Exeter, NH; University of Missouri Gallery of Art, Kansas City, MO; Self Evidence, curated by Larry Rinder, Los Angeles Contemporary Exhibitions, Los Angeles, CA; Bruce Nauman, Cindy Sherman, John Boskovich, Laurie Rubin Gallery, New York, NY; Rosamund Felsen Gallery, Los Angeles, CA; and Heterodoxy, curated by Meg Cranston, Rosamund Felsen Gallery, Los Angeles, CA, among others. The artist directed two acclaimed films including North (starring Gary Indiana) and Without You I’m Nothing (starring Sandra Bernhard). John Boskovich is included in the collection of the Museum of Contemporary Art, Los Angeles (MOCA LA), Los Angeles, CA.

Color Correction Series/AA Bumper Stickers: Screw Guilt

, 1997
John Boskovich

David Lewis Gallery

Oil on mahogany panel in mahogany frame
4.25 x 13.5 in (10.8 x 34.3 cm)

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"Bloc" sideboard, c. 1950
Charlotte Perriand

Mahogany, masonite and lacquered metal
H 30.3 x W 70.75 x D 18 inches

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