Offset Cube by Videre Licet

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                                <a href=""  rel="noopener external noreferrer" data-wpel-link="external">Offset Cube</a> is a minimalist bench designed by Los Angeles-based studio <a href=""  rel="noopener external noreferrer" data-wpel-link="external">Videre Licet</a>, which is a collaboration between artist and designer Daniele Albright and design curator Stefan Lawrence. Their work is generally characterized by an intersection between art and design, having described it as &#8220;conceptual glamour.&#8221;
Their works are designed using contemporary technology, but are always crafted and finished by hand. As a result, their collection consists of limited edition pieces that include both functional and sculptural works. Offset cube was created as an exploration to combine minimalist austerity with a luxurious sensibility. The result is a piece that is equal parts functional and conceptual. The bench is constructed of welded bronze over wood, and is upholstered in all-natural wool, latex foam, and cotton.
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Ceramicist Eunbi Cho’s Invisible City of Clay

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                                Inside a small studio located at an armpit intersection conjoining the Los Angeles State Historic Park with one of the city&#8217;s most defiantly industrial zones, ceramicist <a href="" data-wpel-link="external"  rel="external noopener noreferrer">Eunbi Cho</a> has been busy conjuring the skyline of an imaginary city. Piece by piece, the LA ceramicist has diligently composed a cityscape once only mapped by memory, inspired by a 1972 Italian novel about imaginary cities.

A quartet of examples of Cho’s “Made for Play” catalog of geometric ceramics. Cho’s sense of humor adds a colorful veneer to the serious skill required to realize forms intended to be used daily.

Cho has steadily gained the attention of ceramic lovers locally and globally for a body of work characterized by its energetic combinations of colors drawn from traditional Korean textiles intermingled with a bizarro-geometric sensibility in the same vein of Ettore Sottsass. Under the banner of “made for play”, each of Cho’s pieces operate with
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