{"id":23587,"date":"2025-01-03T19:38:19","date_gmt":"2025-01-03T19:38:19","guid":{"rendered":"https:\/\/exagono.es\/la-aclamada-obra-de-la-disenadora-britanica-faye-toogood-se-estrena-en-nueva-york-en-la-galeria-friedman-benda-del-11-de-enero-al-15-de-marzo-de-2025\/"},"modified":"2025-05-09T09:59:36","modified_gmt":"2025-05-09T09:59:36","slug":"faye-toogoods-acclaimed-work-debuts-in-new-york-at-friedman-benda-gallery-january-11-march-15-2025","status":"publish","type":"post","link":"https:\/\/exagono.es\/en\/faye-toogoods-acclaimed-work-debuts-in-new-york-at-friedman-benda-gallery-january-11-march-15-2025\/","title":{"rendered":"Faye Toogood\u2019s acclaimed work debuts in New York at Friedman Benda Gallery, January 11\u2013March 15, 2025"},"content":{"rendered":"

Lhe Friedman Benda Gallery<\/a> presents an enlarged view of Assemblage 7. Lost and Found II, by Faye Toogood<\/a>, the influential British designer’s fourth exhibition at the gallery. First presented in Los Angeles in 2022 and at Chatsworth House in 2023, Toogood’s acclaimed work makes its New York premiere. Showing his intimate process in a new light, Toogood discovers new dimensions by poetically transforming his two chosen materials into pieces that capture and convey the essence of time.<\/p>\n\n\n

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Faye Toogood, Barrow, 2022. Hand-carved Purbeck marble. 48.5 x 70 x 40 cm. Edition of 8. FB34864<\/figcaption><\/figure>\n\n\n\n
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Faye Toogood, Cairn, 2021. Hand-carved oak. 89 x 76 x 67 cm. Edition of 20. FB34513<\/figcaption><\/figure>\n\n\n\n
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Faye Toogood, Hill, 2022. Hand-carved oak. 76 x 220 x 120 cm. Edition of 8. FB36956<\/figcaption><\/figure>\n\n\n\n
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Faye Toogood, Lode I, 2021. Hand-carved oak. 92 x 147 x 41 cm. Edition of 8. FB34500<\/figcaption><\/figure>\n\n\n\n
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Assemblage 7: Lost and Found II<\/strong> is a personal exploration of what is lost, reworked and recovered. Focusing on two materials – English oak and Purbeck marble – Assemblage 7 is an exploration of the excellence of British craftsmanship and material landscape.<\/p>\n\n\n\n

Historically significant, both materials are inspired by the vernacular forms and manufacturing traditions of the country. Oak, one of the main building materials, has been finished using shellacking, an ancient furniture-making technique dating back to the 18th century.<\/p>\n\n\n

Purbeck, a rare limestone full of shell fossils and quarried since ancient times, comes from a family quarry on the Isle of Purbeck in south-east Dorset. It is carved and chiselled by hand, revealing the stratigraphy of the precious stone.<\/p>\n\n\n

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Faye Toogood, Lode II, 2021. Hand-carved Purbeck marble. 88 x 120 x 33 cm. Edition of 8. FB34901<\/figcaption><\/figure>\n\n\n\n
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Faye Toogood, Pile, 2022. Hand-carved oak. 42 x 51 x 41 cm. Edition of 20. FB34412<\/figcaption><\/figure>\n\n\n\n
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Faye Toogood, Hand-carved Oak. Estimated Dimensions: 90 x 140 x 55 cm. Edition of 8. FB39952<\/figcaption><\/figure>\n\n\n\n
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Faye Toogood, Hand-carved Purbeck marble. 37 x 157 x 104 cm. Edition of 8. FB34914<\/figcaption><\/figure>\n\n\n\n
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A continuation of Toogood’s expansive way of working, Assemblage 7 represents his major approach to traditional and modern sculpture. Although all the pieces began as clay models, working with the actual materials was, in Toogood’s words, “like an archaeological dig: The block was a landscape, and I was finding my treasure inside this block<\/em>“.<\/p>\n\n\n

By carving, ancient material memories emerge into the light and take on contemporary forms. Each piece, Plot, Cairn, Cairn, Barrow, Hill, Hoard, and Lode represents undiscovered places and elements that had long remained hidden – “something almost prehistoric that had been lost to time<\/em>,” says Toogood.<\/p>\n\n\n

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Faye Toogood<\/h2>\n\n\n\n

British designer Faye Toogood has become one of the most prominent women in contemporary design today. “Whether you are a fashion, furniture or interior designer, the materials you have at your fingertips are essential<\/em>” she says.<\/p>\n\n\n\n

Toogood was born in the UK in 1977 and graduated from Bristol University with a degree in History of Art in 1998. After graduating, she worked as a prop stylist at The World of Interiors before founding Studio Toogood in 2008.<\/p>\n\n\n\n

Toogood works across disciplines, from sculpture to furniture and fashion, often reinterpreting and reinventing classic tropes and art historical references and introducing a new aesthetic. Since the conception of her instantly recognisable voluminous Roly-Poly chair (2014), she has been considered one of the great form-makers of the 21st century.<\/p>\n\n\n\n

His career is marked by the discrete Assemblages, each of which evokes a compact world of interrelated ideas, forms and materials. His first collaboration with the gallery, Assemblage 5, was inspired by a visit to Henri Matisse’s Chapelle du Rosaire de Vence and explored the ancient animist notions of the elements water, earth and moon through a personal lens.<\/p>\n\n\n\n

In his most recent Assemblage 6, Toogood set out to unlearn the design process and construct a new vocabulary for furniture by recasting sculptural maquettes made from everyday materials he found in the studio.<\/p>\n\n\n\n

His works have been acquired for the permanent collections of institutions around the world, including the Corning Museum of Glass (New York), the Dallas Museum of Art (Texas), the Denver Art Museum (Colorado), the High Museum of Art in Atlanta (Georgia), the National Gallery of Victoria (Melbourne) and the Philadelphia Museum of Art (Pennsylvania). Toogood lives and works in London, UK.<\/p>\n\n\n\n

Friedman Benda Gallery<\/h2>\n\n\n\n

Friedman Benda identifies and promotes key narratives that intersect contemporary design, craft, architecture, fine art and cutting-edge technological research.<\/p>\n\n\n\n

The gallery promotes synthesis between leading thinkers and makers by creating opportunities to advance new connections within the global design community. Friedman Benda is committed to a critical view of design history. Our aim is to broaden the dialogue about design from its established sources, exploring perspectives that have hitherto been marginalised. Spanning five continents and four generations, Friedman Benda represents a roster of seminal established and emerging designers, as well as historically significant heritages.<\/p>\n\n\n\n

With locations in New York and Los Angeles, the gallery’s exhibitions, publications and collaborations with institutions have played a vital role in the development of the contemporary design market and studios since 2007.<\/p>\n\n\n

Source<\/strong>: Galer\u00eda Friedman Benda.
Photos<\/strong>: Courtesy of Friedman Benda Gallery y Faye Toogood.
Photographer<\/strong>: Angus Mill<\/a>.<\/p>\n\n

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Faye Toogood
+44 (0)20 7226 1061
www.fayetoogood.com<\/a>
<\/p>\n<\/div>\n\n\n\n

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Galer\u00eda Friedman Benda
515 W 26th St 1st Floor, New York, NY 10001, Estados Unidos
www.friedmanbenda.com<\/a><\/p>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

Revealing her intimate creative process in a new light, Toogood transforms her chosen materials into pieces that poetically capture and convey the essence of time.<\/p>\n","protected":false},"author":1,"featured_media":22744,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_eb_attr":"","editor_plus_copied_stylings":"{}","footnotes":"","_ppma_block_editor_authors":""},"categories":[635],"tags":[1412,833,1413,1353],"ppma_author":[249],"class_list":["post-23587","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-design","tag-british-design","tag-faye-toogood-en","tag-friedman-benda-gallery","tag-galeria-friedman-benda-en"],"authors":[{"term_id":249,"user_id":1,"is_guest":0,"slug":"amoratinos","display_name":"Ex\u00e1gono","avatar_url":"https:\/\/secure.gravatar.com\/avatar\/95418ef5af1f1a520d5386cfe82ba253c88665f94a4343ec69a36d8df034ab4b?s=96&d=mm&r=g","author_category":"","first_name":"","last_name":"","user_url":"","job_title":"","description":""}],"_links":{"self":[{"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/posts\/23587","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/comments?post=23587"}],"version-history":[{"count":0,"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/posts\/23587\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/media\/22744"}],"wp:attachment":[{"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/media?parent=23587"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/categories?post=23587"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/tags?post=23587"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/ppma_author?post=23587"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}