PHILIP MICHAEL WOLFSON

PHILIP MICHAEL WOLFSON, born 1958 in Philadelphia, Pennsylvania, studied at Cornell University, School of Architecture Ithaca, New York and the Architectural Association, London, England. On graduation, he worked with Zaha Hadid at the outset of her career, leading design teams on numerous projects, and establishing a strong collaboration with her office which subsequently spanned some 20 years. Since setting up his own practice in 1991, Wolfson has worked throughout Europe and the USA prodominently on residential interiors and exhibition/gallery design pieces.

ORIGAMI CHAIR

Folded, welded and patinated sheet steel
– 63 x 62 x 70 cm – Edition of 8 + 2AP Left and Edition of 8 + 2 AP Right

The Origami Series : the origami chair, an important and early work in the Origami series, examining the abstraction of penetration, folding, layering and juxtaposition, creating a collision of static versus dynamic forces. There is a visual aggression which incites scrutiny of the piece itself. Stimulating a participatory desire to discern the voids within and the space around , a static moment of suspended action, frozen from a manual of folds.

ORIGAMI CHAIR MIRROR

Folded, welded and mirror polished stainless steel
– 63 x 62 x 70 cm – Edition of 8 + 2 AP and Edition of 8 + 2 AP Right

The Origami Series : the origami chair, an important and early work in the Origami series, examining the abstraction of penetration, folding, layering and juxtaposition, creating a collision of static versus dynamic forces. There is a visual aggression which incites scrutiny of the piece itself. Stimulating a participatory desire to discern the voids within and the space around , a static moment of suspended action, frozen from a manual of folds.

ORIGAMI GOLD

Folded, welded sheet with 24 carat rouge goldsheet steel
– 63 x 62 x 70 cm – Edition of 8 + 2 AP and Edition of 8 + 2 AP Right

The Origami Series : the origami chair, an important and early work in the Origami series, examining the abstraction of penetration, folding, layering and juxtaposition, creating a collision of static versus dynamic forces. There is a visual aggression which incites scrutiny of the piece itself. Stimulating a participatory desire to discern the voids within and the space around , a static moment of suspended action, frozen from a manual of folds.

COFFEE BENCH TABLE

  • Bent, welded and lacquered carbon fibre
  • 90 x 145 x 54 (depth) cm
  • Edition of 8 + 2 AP

By manipulating the fluidity of forms, the relationship of surfaces, and by challenging our shared expectations that, for example, a chair looks like a chair, the dynamics of the interaction between objects, space, social interaction, formal norms are challenged. This state of suspended belief is achieved through the articulation of movement, the meshing of ground and object, light and shadow, reflection and refraction, as well as the engagement of the space around the object.
The zone of influence encompasses both visual and tactile senses.

PAYERNE BENCH

  • Sprung steel, painted / folded & welded aluminium
  • Edition of 8 + 2 AP
  • 200cm H x 350cm x 80cm

SoundForms are conceived as a manifestation of energy giving a visual representation derived from the dynamics of a Wave Length. SoundForms are conceived as a visual or concrete poetry; studies where the visual representation of the “words” conveys an intended meaning or effect.

To a degree, the inspiration is from 20th century Concrete Poetry, works which follow on from elements of Eisenstein, Futurism and Dadaism. Eliminating requirements of a formal rhythmical unit, eliminating metrical patterns which are basic poetic modes, and incorporating visual as well as aural forms the paramount concern is with making an object to be perceived rather than read.

Juxtaposing the realms of function and sculpture, the SoundForm studies are created to question sensory response and perception, both active and passive. SoundForm 1 – Payerne Seating Unit is modeled on an interrupted wave length as a high energy sound burst.