On a hot Tuesday afternoon the other day I had the pleasure of accompanying Brooklyn-based designer Takeshi Miyakawa to Salon 94 on the Upper East Side where his latest piece of furniture had been installed. “It’s so shiny,” remarked one of the gallery attendants, as she led us through the hallway and into the main showroom of Jeanne Greenberg Rohatyn’s home and gallery. Indeed, Miyakawa’s latest piece possess an aura unlike any of his previous work. However, it’s presence is as easily lost, as it is sensed.
“visible/invisible furniture” is made from a special type of acrylic with a mirrored finish. They are reminiscent of Robert Morris’ minimalist sculptures from the 1960s, which would produce complex interactions between object and viewer. However, Miyakawa’s pieces, once assembled, are bent and distorted with heat, creating beautiful wrinkles and crackles.
As we circled the piece taking pictures the mirroring would cause the furniture to blend into the floor, only to reappear again. Photographing it was hard – like a model who just won’t sit still. We got some good pictures but seeing it in person is like a whole other dimension.