Available Works

short cuts (chest of drawers), 2007,
wood, 67.5 x 23.5 x 19.5 cm

Axel Lieber

Lieber, for whom traveling and commuting are an integral part of life, has repeatedly taken his attachment to everyday life and the objects that accompany him as the theme of his artistic work. In recent work he turns found, workaday furniture into compact, dense versions of themselves by cutting them apart and then refabricating, them using only the corners.

short cuts (mirror), mirror, wood,
39.5 x 18 x 2.5 cm

Axel Lieber

Lieber, for whom traveling and commuting are an integral part of life, has repeatedly taken his attachment to everyday life and the objects that accompany him as the theme of his artistic work. In recent work he turns found, workaday furniture into compact, dense versions of themselves by cutting them apart and then refabricating, them using only the corners.

A Jeff Mitchell Vase (detail), 2006, edition of 15,
6 Lambda type c-prints, 43 x 31.75 cm

Roy McMakin

Exploiting the tensions between art and design, form and function, McMakin’s practice places the usually separate creative activities of sculpture, architecture, design and in some cases photography in a tense equipoise. He disconnects the language of forms from its usual contexts, demonstrating how meaning can turn on a dime through subtle shifts in perception. Although initially comforting, the familiar forms found in his objects—many of which reference the vernacular furnishings in his childhood home—are full of sly mischief. Recently McMakin has produced photographs that pay homage not only to the act of seeing by dissecting the objects into a collage of sharply articulated visual moments, but to photography itself, which can freeze its vision frame by frame. The process used to move the camera across each object was intuitive rather than mathematical.

A Jeff Mitchell Vase (detail), 2006, edition of 15,
6 Lambda type c-prints, 43 x 31.75 cm

Roy McMakin

Exploiting the tensions between art and design, form and function, McMakin’s practice places the usually separate creative activities of sculpture, architecture, design and in some cases photography in a tense equipoise. He disconnects the language of forms from its usual contexts, demonstrating how meaning can turn on a dime through subtle shifts in perception. Although initially comforting, the familiar forms found in his objects—many of which reference the vernacular furnishings in his childhood home—are full of sly mischief. Recently McMakin has produced photographs that pay homage not only to the act of seeing by dissecting the objects into a collage of sharply articulated visual moments, but to photography itself, which can freeze its vision frame by frame. The process used to move the camera across each object was intuitive rather than mathematical.

A Jeff Mitchell Vase (detail), 2006, edition of 15,
6 Lambda type c-prints, 43 x 31.75 cm

Roy McMakin

Exploiting the tensions between art and design, form and function, McMakin’s practice places the usually separate creative activities of sculpture, architecture, design and in some cases photography in a tense equipoise. He disconnects the language of forms from its usual contexts, demonstrating how meaning can turn on a dime through subtle shifts in perception. Although initially comforting, the familiar forms found in his objects—many of which reference the vernacular furnishings in his childhood home—are full of sly mischief. Recently McMakin has produced photographs that pay homage not only to the act of seeing by dissecting the objects into a collage of sharply articulated visual moments, but to photography itself, which can freeze its vision frame by frame. The process used to move the camera across each object was intuitive rather than mathematical.