The act of designing furniture is a cultural event it is not ergonomics; it is a strong or weak musing. It is not to say that furniture must be expressly constructed of design allusions with no consideration of practicality, but that the spirit of the endeavor should be at a somewhat mature place. That is, we are a long way from an era where one could believe that the denuding or adding of ornament or function (or handiwork) has anything to do with purity or truth.
So here we are in 2020 with the furniturial output of Lithuania-based designer Vytautas Gečas. His is a body of work throughly novel while seemingly doing conscious justice to a design past. His lovely, idiosyncratic curiosity (and subsequently applied invention) continues the tradition of the upending of ornament and expected engineering; a mantle previously carried by the likes of Garouste & Bonetti, Joseph Holtzman (as publisher), Ron Arad, Murray Moss and Pierre Staudenmeyer (as curators) and the Campana Brothers (to name just a few). Gečas’ work is a joy to see.
So here we are in 2020 with the furniturial output of Lithuania-based designer Vytautas Gečas. His is a body of work throughly novel while seemingly doing conscious justice to a design past. His lovely, idiosyncratic curiosity (and subsequently applied invention) continues the tradition of the upending of ornament and expected engineering; a mantle previously carried by the likes of Garouste & Bonetti, Joseph Holtzman (as publisher), Ron Arad, Murray Moss and Pierre Staudenmeyer (as curators) and the Campana Brothers (to name just a few). Gečas’ work is a joy to see.