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Is this a joke?

Looks like something you could sit on if you had to.  But wait, is that a bunch of old rags?

Tejo Remy is a Dutch designer.  His 1991 Rag Chair “is created from layered clothing and discarded rags. The reused textiles are collected and shaped with black metal straps to form a large, bulky and eccentric lounge chair. The concept behind the chair is to provide a unique piece of furniture, while at the same time providing a collection of memories that can be flipped through and treasured.”* Every chair is different, of course, and can be custom made for you from your old clothes.

He also designs chests of drawers, called “You Can’t Lay Down Your Memories,” which are composed of random drawers bundled together by metal straps.

As you look at these, both the chair and the drawers, do you get the feeling that what might be operating here is irony?

In the case of the chair, if you really treasured your old clothes and the memories they associate to, you would preserve them in a more, shall we say, loving way.  You might re-tailor a jacket or a skirt for whimsical evening wear, to go to the theater, say.  You could engage a quilter to go wild with her imagination or donate your stuff to a painter friend for incorporation in a mixed medium piece.  Such re-purposing comes with a dose of irony, sure, but it would be irony cultivated out of a sense of history, melancholy and affirmation.

The bundled up drawers are even more ironic than the Rag Chair because they come with a didactic name attached:  ‘You Can’t Lay Down Your Memories.”  You’re saying I’m trying to lay down my memories?  But I can’t?!  You’re saying, memories are all a jumble and they will never fall into place in an orderly pattern that makes sense. Might as well face it and live with the randomness that is called your memories.

If your past—personal, social, historical—makes sense and was orderly, then you will have a place for everything and everything in its place. You will be offended by Remy’s pile of mismatched drawers. You will restore and treasure an antique breakfront or china cabinet. Like this, perhaps.

 

Both the Rag Chair and “You Can’t Lay Down Your Memories” are in museum collections and valued in the thousands.  These designs are freighted with, yes, irony, which means you are being challenged to think and interpret.

The Indianapolis Museum of Art has a Remy Rag Chair.  Next time I go there I’ll hover around the Rag Chair waiting to hear someone say to a spouse, Oh, honey we’ve got to have one of these, perfect for the TV room, looks cheap and the kids wouldn’t have to be careful.  That won’t happen.  People will continue to look confused and challenged by modernism.

Next, we’ll look at our contemporary need for re-purposing.

In the meantime, allow yourself to be fooled by something today, this April First.

*Quoted from Chair—500 Designs that Matter. Phaidon.

Tejo Remy, b. 1960

 

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Again, the same pile of stuff.  Another student was interested in this angle and ended up not being satisfied with the drawing she produced.  So I thought I’d give it a try, too, because this view also fascinated me.  As you can see from the photo, it looked like a mess.  But the underlying structure of this mess was quite simple.  There was a tilted axis forming the chair and the drapery;  and then there was an orthogonal axis formed by the shabby footstool.  So you have the same form (axis) repeated twice, with variation.  I drew in a fairly representational style, without any further abstraction because the underlying structure was already so strong.  I blurred the contours at the top to increase the illusion of depth and movement:  the chair is farther in the distance than the edge of the drapery or the footstool ;  and it’s tipping over.  But mostly, because it was fun to work like this and to see if I could make this banal disorder come alive on paper. (Aquarellable Pencil on gloss paper, 11x 17)

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Once again, I talked about the so-called negative space.  I had set up a still life consisting of a white plastic chair, tilted on a little prop, against a red back ground. The assignment was to draw the chair (the so-called positive space) by not drawing it at all, but instead by drawing the non-chair spaces that make it possible for us to see the chair (the so-called negative space).  This works best when the object depicted is symmetrical,  readily identifiable and seen from a weird angle.  One student faced the chair from a symmetrical view and that drawing didn’t work.  But one new student, Alejandra, was positioned so that her view of the chair was askew.  Perfect.  She worked on 18 x 24 paper with pencil.  The page is riveting.  You just want to look at this apparition.  You see the chair by seeing everything that is non-chair.  The brain tingles.  Such a simple exercise, so easy to conceptualize, and yet so hard to “get.”  This is how art works.

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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