Sep 2015
Cristina Colli

An architectural fantasy, a virtuos display of spans, an acrobatic feat of proportions, a criss-cross of joints. An infinite little table, a geometric dialogue between glass and rosewood, a distillate of lightness and abstraction.

In the middle, small but powerful spacers keep the impossible balance between form and impetus, matter and gravity. This captures the image, where the visual impact multiplies, the object becomes shadow, fullness generates emptiness, line is material, volume, thought. In the restrained rigor of the layout, the object is transfigured, with all the poetic erudition and the experience of a coming-of-age novel that has encountered poetry and art, architecture with the admirable rereadings of Pierluigi Nervi, the human and formal problems of Milan and of the world. Carrieri’s universe is cultured, the result of solitary research conducted by subtraction.

Objects, places, living creatures – people or flowers – are messengers and metaphors for an interior and emotional outlook on the world, they are wonder and beauty taken to the extreme, contemplating the ultimate sense of tragedy. They are writings in light that contain the microscope in search of anatomy – of form and meaning – and a telescope that desires suspension, the other dimension. Vegetable and virtual humans, made of wood and metal, urban and concrete, anyway bodies that and breathe in modernity, mere characters of representation. Like that small rosewood table embracing its own shadow, in the center of a symmetry and an energetic balance between forces, which recalls the great classics of vision.


Project by Gio Ponti

A small, solid rosewood table with satinized brass feet and a triangular, extra clear transparent glass top. It was designed in the 1950s for M. Singer&Sons, one of New York’s leading furniture stores, as part of a collection destined for the American market.

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