“Today we create objects that touch individual human beings. I make objects that appeal to a small minority of people – those non-conservative people who are intrigued by innovation”, Pesce told us in our most recent issue, METAL 40
. “In my opinion, objects today need to be useful, but they also need to express something else. This could be a political point of view, a philosophical concept, or a religious or existential point of view”, he continued.
Maybe, that’s one of the reasons why he’s been working again on his famous Pratt Chair
(1984) – there were only nine pieces until now, owned by renowned institutions such as MoMA (New York), V&A (London), Centre Georges Pompidou (Paris), Museum of Fine Arts Boston, or the Vitra Design Museum (Germany). Originally, he experimented with different formulas to create a series of nine objects that represented the transition “from what is considered sculpture to what is considered design”. Now, and specially commissioned for the Salon 94 Design in New York City, he’s done sixteen new chairs, which will be on view until December 14.