At that time I read a lot of articles and texts dealing with the anthropogenic scene. I also saw the first season of the science fiction TV series The 100. I was intrigued by this other perspective on how objects and buildings made of materials that we do not consider as valuable – like plastic and concrete – are durable, and therefore become artefacts and monuments from the past. I really had that post-apocalyptic feeling under my skin. When I made the drawings for the chair, I wanted to balance it between something powerful yet precarious, like human beings on planet Earth. I think this paradox is present in both the form and material of the piece.
Fossil wax is widely used in industries today, but it’s still easily overlooked. It is used in thin layers, especially for its '-less qualities' so to speak; it’s odourless, colourless, tasteless, reactionless. Paraffin is derived from crude oil and is therefore closely connected to the escalating human impact on the planet. I wanted to explore how this almost 'material-less' substance as a manifestation of negation can form a piece of furniture – a throne of denial so to speak. The material is quite brittle, and it was a challenge to cast the chair. All three legs actually broke in the first prototype. I then added carbon fibres to the composite, which made it stronger.