Right: Gaetano Pesce, Puglia Cabinet with Betty Woodman;
Stella McCartney J.H. Lynch painting prints veiled in tulle dress
The trees are alive and their eyes are shifting. Curiosity reaps a generous oeuvre, a wild hair Gaetano Pesce follows instinctively. A fish from the Italian sea, Pesce moves fluidly between mediums producing work that seems to say “I am me” with effervescence. Be it a jelly bowl, amorphic vase that blows in the breeze or cabinet that speaks, the language is layered and the occasion is transitional albeit in relation to its time. In a single gesture, New York, 1984, Pesce demonstrates the flimsy line between what is art, what is design at the Pratt Institute laboratory, a material? changes everything or does it. One mold yields nine chairs ranging in stability of meaning, suitable as function for some not others. There are no more arbitrary lines in the sand Pesce has said for decades, what makes you happy? A fox is a chameleon who knows its den, this is the company I keep. Expressing adaptability through next of kin, Pesce’s new lineage on view at Salon 94 Design in this context is magnetism. Clara is a fresh face to no barriers communication, in the Aspen home of Jeanne Greenberg Rohatyn with Pesce and Betty Woodman. Where does the story end and where does it begin?
Gaetano Pesce, Pratt Chair #7 1984/2018, Salon 94 Design
Photographs by Logan Jackson, Photographs courtesy Salon 94 Design