Can a first name alone inspire artists around the world?
He falls in awe of one of the dancers, Olga Khokhlova. She will quickly become not only his muse, but also his first wife.
In her homage, he painted several portraits of her, including a very particular work, Portrait of Olga in an armchair. He abandoned cubism there, to temporarily return to realism.
The picture is strange: the woman and the armchair seem to float in a non-existent space. Olga doesn't even seem to be sitting. Its seat looks almost two-dimensional.
A century later, still in Italy, William Sawaya imagines an armchair for Olga, Olga M., client and friend of the designer and gallery owner (Sawaya & Moroni, Milan).
We know the Sawaya & Moroni gallery familiar with this kind of spatial virtuosities, having, in particular, in its "stable" architects such Zaha Hadid, specialist in the fluid form, or Daniel Libeskind, ace of the "spicy" form.
The Olga armchair is in the same vein. A kind of dynamic acrobatics. Its backrest thus spins down to compose the base, then goes up and flattens a bit to constitute the seat, curls to draw two armrests, finally plunges back to the ground to end with two rear legs, all in the same movement.
Several thin maple leaves were compressed to form a block which was then machined using a five-axis milling machine - five different machining directions - before a long manual finish. Result: a seat that contorts at will, evoking less, in the end, the classical register of the ballerina Khokhlova than the twirling of the veils of the American dancer Loïe Fuller. A new Serpentine Dance?
source Les Echos.fr