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拍品专文
The Cinderella table was Jeroen Verhoeven's graduation piece from the Design Academy in Eindhoven. Inspired by 17th and 18th century archetypal shapes of tables and commodes he had found in the library of the Stedlijk Museum in Amsterdam, his references to the outline of an 18th century dressing table on cabriole legs, and an 18th century commode, are brought into sharp relief by their juxtaposition in a work of startling 21st century cutting-edge innovation and virtuosity.
Verhoeven hand-drew their designs and had the outlines segue using digital rendering software, creating a fluid 3-D form from simplistic 2-D outlines which morph into one another. The virtual design was then 'sliced' and each of the 57 slices, each 80mm thick (a total of 741 layers of plywood), was fabricated by CNC (computer numerically controlled) cutting machines. The slices were assembled and the entire hollow plywood form was finished by hand. For Verhoeven "it's about attention to detail and the possibility to make something unique with a machine that is normally used for mass production".
CAD-CAM (computer-aided design and computer-aided manufacturing) produced works would appear to negate the individualism of objects, however Verhoeven was trying to release and reveal the craft hidden with this most dynamic of production methods. It is this seamless synthesis of apparent inversions, old forms against new, history against modernity, computer design against handcraft, which make the current lot so compelling.
Other examples of this work are in the permanent collection of many International public and private collections, including the Victoria & Albert Museum, London; The Museum of Modern Art, New York; The Brooklyn Museum; New York The Centre Pompidou, Paris; Die Neue Sammlung, Munich; and the Art Gallery of Western Australia, Perth.
Verhoeven hand-drew their designs and had the outlines segue using digital rendering software, creating a fluid 3-D form from simplistic 2-D outlines which morph into one another. The virtual design was then 'sliced' and each of the 57 slices, each 80mm thick (a total of 741 layers of plywood), was fabricated by CNC (computer numerically controlled) cutting machines. The slices were assembled and the entire hollow plywood form was finished by hand. For Verhoeven "it's about attention to detail and the possibility to make something unique with a machine that is normally used for mass production".
CAD-CAM (computer-aided design and computer-aided manufacturing) produced works would appear to negate the individualism of objects, however Verhoeven was trying to release and reveal the craft hidden with this most dynamic of production methods. It is this seamless synthesis of apparent inversions, old forms against new, history against modernity, computer design against handcraft, which make the current lot so compelling.
Other examples of this work are in the permanent collection of many International public and private collections, including the Victoria & Albert Museum, London; The Museum of Modern Art, New York; The Brooklyn Museum; New York The Centre Pompidou, Paris; Die Neue Sammlung, Munich; and the Art Gallery of Western Australia, Perth.