Bert Loeschner Eames Appropriation chair ‘relation’ Rocking Bench.
One of a kind Eames appropriation design piece, inspired by one the icons of modern design, the armchair mould seat by Ray and Charles Eames.
Based on the original fiberglass mould this double seater is dwelling between art and design formulating a general aspect of seating as social or even utopian activity.
It’s a beautiful object/ sculpture, the seesaw base is comprised of solid bend oak plywood, the seats are made from fiberglass and epoxy with polyurethan shockmounts; each and every part of this masterpiece has been carefully ‘copied’ and handmade based on the originals, it took extensive work and effort to obtain exactly the desired colour as in the originals.
Measurements are 18.11 (seat height) x 118″ (width) x 25.2″ (d) 31.5″ (h).
This piece has been widely published and was exhibited many times. Literature: Re-Issue Re-Imagine Re-Make, 2020 by Elisabeth Darby for Lund Humphries “Re-Issue Re-Imagine Re-Make: Appropriation in Contemporary Furniture Design engages with a selection of case studies to provide an in-depth consideration of this phenomenon. It is a measure of the widespread nature of this practice that many more examples could have been included, one of which is the designer and artist Bert Loeschner’s re-interpretation of Charles and Ray Eames’s fibreglass RAR (Rocking Armchair Rod base) chair of 1950. Loeschner’s whimsical and anthropomorphic re-working of the Monobloc (the ubiquitous white plastic chair) are discussed in the book; his manipulation of the RAR chair offers further perspectives on the practice of re-imagining and re-making.” ….”In his re-imagining and re-making of the Monobloc chair and the RAR chair by Charles and Ray Eames, Bert Loeschner highlights materials, process and function but, in addition to these visual and formal alterations, his work also serves to articulate the narrative and critical potential of objects. These re-interpretations underscore – but also question and challenge – the reverence with which icons of design are valued in contemporary culture.”(Elisabeth Darby, 2020).
