For this year's group exhibit, we tasked our designers to identify a source of inspiration and create something original in its wake. In anticipation of The Knockoff Show, we will share artists's whose work has reverberated for generations in beautifully unexpected ways. RSVP to the May 18th opening reception here. 

Wong Kar-wai doesn’t follow the rules. No storyboards, no rehearsals, no fleshed out scripts. This intense level of improvisation compels the casts of his dreamy, nonlinear films to rely on their instincts to mold a given scene, the way a bird builds a nest. It’s this reverence towards intuition which embeds his films with emotional truth, cutting to the core of human experience through the reflex behaviors we’re conditioned out of past infancy.

A darling of the second wave, Kar-wai got his start as a screenwriter before pivoting into directing. The results of his fly by the seat of your pants approach, combined with a historically dogged resolve (he shot 30 hours of unused footage for In the Mood For Love) has won him the admiration of cinefiles everywhere. His filmography is a striking, sometimes loopy, heart-pounding testament to what gold can be spun from trusting your gut.

Image Credits: 

In the Mood for Love, Wong Kar-wai, 2000
Chungking Express, Wong Kar-wai, 1994
Happy Together, Wong Kar-wai 1997

RSVP TO THE KNOCKOFF SHOW BELOW

MAY 18 | 6-9 PM

For this year's group exhibit, we tasked our designers to identify a source of inspiration and create something original in its wake. In anticipation of The Knockoff Show, we will share artists's whose work has reverberated for generations in beautifully unexpected ways. RSVP to the May 18th opening reception here. 

There is a weightlessness to the ecstatic looped wire sculptures of Ruth Asawa, like rivulets of medieval armor somehow suspended in a breeze. Hand woven by the the artist in a painstaking process that left her with constant cuts on her hands, Asawa's work has been revered for decades. 

During her time attending North Carolina's avant-garde Black Mountain College, Asawa first developed her style, which continued to evolve for half a century thereafter, working with galvanized wire, stone, and bronze. Asawa's legacy is more than the sculptural forms we so admire, she was a lifelong activist and advocate for arts education, believing that dedication to be integral to her post. Her vision and commitment has inspired generations of students, artists, and novices; so much so that the weaving workshop taught by her daughter had to be disbanded after an influx of knockoffs hit the art market. Yet for every work relying on imitation, there are countless others that take inspiration from Asawa's buoyant forms while remaining wholly original.

Image Credits: 

Installation view, Ruth Asawa: A Line Can Go Anywhere, David Zwirner, London 2020

Ruth and Her Wire Sculpture, Photo by Imogen Cunningham,  2020 Imogen Cunningham Trust

Untitled (S.590, Hanging Open Undulating Form), Ruth Asawa, c.1960 

RSVP TO THE KNOCKOFF SHOW BELOW

MAY 18 | 6-9 PM

The Source Console Table No. 3 is inspired by the exceptional craftsmanship and architecture of Armenia. Anna Aristova and Roza Gazarian, the creative team at A Space, create one-of-a-kind objects inviting their viewers to connect with the most primal nature of its elements.

Hand-carved by two local masters in volcanic Black Tuff, The Source Console Table No. 3 balances the heft of materiality with the delicacy of light emanating from its slatted voids. While the porous material offers a visual density akin to stone, its subtle flecks and matte surface provide a softened, distinctive quality. We've neither seen nor felt anything quite like it before. 

Notes

Standard Materials: Black Tuff
Dimensions: 55"L x 10"W x 32"H
Custom dimensions & finishes available.
Lead time: 14-16 weeks

The excitement is building here at Colony as we prepare for the much anticipated Designer’s Residency Show on April 6th. Throughout their eight month tenure, our three immensely talented residents have worked tirelessly to produce their respective first studio collections; the fruits of their labor are even more spectacular than we could have imagined. 

Founded by Ingemar Hagen-Keith, Marmar Studio unites the practical and the fanciful with Pet Collection. The Pippi Nightstand, a playfully abstract interpretation of Hagen-Keith’s cat, highlights the intersection of smooth curves and crisp edges while the Noon Valet follows the recurring theme of animation in inanimate objects, with its circular cut outs casting unique and dynamic shadows that wax and wane throughout the day.

Alexis & Ginger is the namesake design studio led by Alexis Tingey and Ginger Gordon; together they present their inaugural collection, Ode, inspired by the delicate balance of weight in materiality, form, and color. An alluring inlay of mother of pearl undulates around the India ink dyed wooden base of the New Morning Side Table, beckoning a closer examination of moments often overlooked. Similarly with the Tower of Song Light, the hand pleated and cut ivory shade recalls architectural forms and details of tapestry.

Believe us when we say these collections in their entirety will live rent free in your brain until they can live in your home.

Notes

Further details forthcoming
Customizations available

RSVP HERE

On Thursday March 23rd 5-8:00PM Colony introduces SSS Atelier, the newest furniture collection by Sarah Sherman Samuel. Originally conceived as a virtual gallery home for a variety of her own original artwork and in-house furniture collection, each piece is fabricated in the designer’s native Michigan from the highest quality materials–oak, walnut, leather, and handpicked stones. Designed with legacy in mind, these unique pieces are heirlooms in the making. Please join us for a collaborative opening at Allied Maker’s Tribeca Showroom to toast this distinguished collection and addition to the Colony Family.

On View 3/23-3/31