The minimal shapes of Studio Khachatryan

The minimal shapes of Studio Khachatryan

Shown inside Antwerp space St Vincent, Studio Khachatryan’s collection of sculptural works blur the boundaries between function and abstraction

Multidisciplinary Antwerp space St Vincent presents a summer exhibition of works by Studio Khachatryan, with a range of works including lighting, furniture and objects.

Founded by Armenian, Belgium-based Noro Khachatryan in 2010, the studio operates with a multidisciplinary approach, touching upon product and furniture design as well as architecture and sculpture with a distinctively sleek aesthetic, attention to craftsmanship techniques and natural materials. The exhibition will show limited edition pieces designed between 2016 and 2020, exploring Khachatryan’s mathematical approach to design and the pure visual language of his works.

All pieces in the exhibition can be traced back to a minimal, archetypal design language, stemming from a varied pool of visual inspirations. The Meronyms, for example, are a series of abstract objects whose volumes reference classical urban architecture. ‘The structures in this series reflect the relationship between interior and exterior within the city’s public spaces, and the way this relationship is often translated by materials,’ says Khachatryan. Made of black Noir de Mazy marble, the pieces eschew traditional functions, being defined solely by their structural inspiration – platform, corner and column – thus leaving the user to approach them functionally as they please.

Meronyms by Studio Khachatryan
’Corner’, from the Meronyms collection

Other pieces in the show include the Jag bronze candle holders, the If side tables in marble and brass and the slim Dy pendant lamp. Every object by Studio Khachatryan is the result of a precise composition of geometries, and is enriched by the material palette and by the technical precision with which it is assembled.

For the occasion, Khachatryan will also unveil the Post tables, a pair of plinth-like objects made of two intersecting white onyx volumes. Once again, the functional approach is left to the user, with shapes that can suggest a more domestic direction or become a white canvas-like display element.

A self-proclaimed materialist, through this body of work Khachatryan demonstrates the potential richness of a minimalist design language, and the fine line between function and abstraction. §

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