Galerie Kreo presents new furniture collection by Virgil Abloh

Galerie Kreo presents new furniture collection by Virgil Abloh

Virgil Abloh debuts major furniture collection for Paris’ Galerie Kreo, focusing on concrete and the expression of the street

It seems that cultural-disturber Virgil Abloh has a concrete plan for Paris-based design laboratory Galerie Kreo as he launches his third major furniture collection, ‘Efflorescence’.

His first collection for the gallery, it’s also the debut of Galerie Kreo into street culture. In the collection, tables, consoles, seats and vases are swathed in Abloh’s free-hand graffiti streaks. As founder and creative director of streetwear label Off-White, Abloh aficionados will notice familiar marks emblazoned on his previous collaboration with Gore-Tex.

Galerie Kreo presents ‘Efflorescence’: a furniture collection by Virgil Abloh

Virgil Abloh Efflorescence concrete chairs with graffiti for Galerie Kreo and aluminium mirror with holes
Installation view of ‘Efflorescence’. Courtesy Galerie Kreo

The furniture collection’s 20 architecturally-aligned pieces draw a focus on concrete in its pure form, questioning how a material interacts within our natural and artificial environments. Pieces are indented with perfectly shaped cavities, creating a sense of organised destruction. Each work within the collection has been specially hand tagged, with neon sprays of Abloh’s graffiti.

‘To me, design always has the inherent idea of being a bridge from the past, with an eye towards the future’ — Virgil Abloh

The most impressive piece in Efflorescence is ‘Bench 2’, a skate ramp-esque seating solution measuring almost three-metres-long. Another of Abloh’s excavating offerings include Mirror 1, a slab of thick-cut glass which seems reminiscent of a cheese knife; corners are rounded while circular-cut recesses seem irregularly appropriate.

Virgil Abloh Efflorescence concrete chairs with graffiti for Galerie Kreo
Left, Chair 1. Right, Chair 2 © Sylvie Chan-Liat - Courtesy Galerie kreo

‘Chair 1’ and ‘Chair 3’ seem pared-back: simple concrete cubes feature a sharp ridged back with indents and a graffiti motif. ‘Here, the heritage of brutalism, its forms and ideas, are literally perforated, extruded to serve as a pedestal for the creative expression of the street,’ says Abloh. Although 2019 saw Abloh taking a break from his hectic work cycle and techno disk-jockeying, it’s clear he’s back with bite. §

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