Furniture made of wax or brass? Both!

Frédéric Imbert taps into the ancient legacy of metal and wax in his new collection for Æquo Gallery

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Metal and wax. When designer Frédéric Imbert visited India for a collaboration with Æquo Gallery, it was not just India’s ancient metalwork that caught his eye but also the wax that is traditionally lost in the process. We often don’t think of the two materials in conjunction.

Metal demands attention, arresting the viewer through its brilliant flamboyance. Wax, on the other hand, is endlessly pliable and melts under a candle. There is nothing the two have in common when it comes to materiality, yet their shared craft narrative can be traced back to Harappa in the Indus Valley. “The collaboration with Aequo Gallery was not only a beautiful creative journey, but also a deeply human experience centred around the art of bronze,” shares Frédéric.

“I’ve always found it fascinating when a technique leaves its trace on a design, when a finished piece speaks both of my vision and the unique hand of the craftsman who helped shape it” – Frédéric Imbert

The artistry behind the ancient process of metal craft; Photographs courtesy Æquo Gallery

CHANDIGARH: INVERTING THE NEGATIVE

In Chhattisgarh, a particular black wax, often relegated as merely a mould, became the lynchpin of the collection. In November 2023, Frédéric spent two weeks in Chhattisgarh with master craftsman Suresh Waghmare and his team, learning everything he could about the ancient Dhokra craft.

Instead of brass, the designer was taken by its pliable yet precise counterpart. The wax-moulded furniture was crafted in the rural hinterlands of the country. With a consuming mystical appearance, they stand frozen in time, as if awaiting the flames of fire. Frédéric began by observing Suresh’s studio at work, learning how wax is handled traditionally and how the unusual material behaves. He avers, “The knowledge was transmitted through dialogue, shared gestures and a mutual adjustment of their traditional methods to accommodate the larger scale and volume of the pieces we were producing.”

One half of the WAXED collection shifts the gaze to a unique black wax used in the metalworking craft of Chandigarh; Photographs courtesy Æquo Gallery
In Mumbai, the second part of the collection focuses on sand-casting; Photographs courtesy Æquo Gallery

MUMBAI: CASTING IMPERFECTIONS

Florence Louisy, designer and creative director of Æquo, elucidates, “What binds the Waxed collection, beyond its apparent contrasts, is a shared logic of gesture. A physical language echoed across both worlds.” Æquo and Frédéric then make their way across India and find themselves in Mumbai, where the sand-casting technique presents a perfect foil to the lost wax method.

Raw, immediate and imperfect, carrying every accident of the process into the metal. Cast in sections and welded together, the pieces bear the welding marks as an ode to the process of creation. Frédéric adds, “I’ve always found it fascinating when a technique leaves its trace on a design — when a finished piece speaks both of my vision and the unique hand of the craftsman who helped shape it.”

Supported by Epsilon Foundation, the eight sculptural pieces consisting of pedestals, a coffee table, an armchair, a floor light and a console embody the push and pull between artistic mastery and the rawness of the process. This sensorial tension emerging from the duality of forms, material and structure is replete throughout the collection — mould and metal, Dhokra and sand casting, roughness and sheen. Existing as a tectonic reminder of the practice of creation.

The WAXED collection unveils on 25th April at Æquo Gallery in Mumbai!

Read now:At Nilaya Anthology in Mumbai Sabyasachi opens his first art gallery!

The process deliberately highlights the imperfections in the process of craftsmanship; Photographs courtesy Æquo Gallery
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