In Wood Chair on Grass, 2025, the artist extends the celebrated Wood Chair series into a deeply tactile meditation on nature, artifice, and the human instinct to create comfort out of raw material. This piece, crafted from oil paint, epoxy clay, plywood, wood, and raffia fibers, reveals the artist’s meticulous dialogue between the organic and the handmade, between illusion and touch.
At first glance, the chair presents itself as a modest, almost familiar object, a low-back saddle seat resting calmly atop what seems like a patch of grassy earth. But upon closer inspection, it becomes clear that every element is a constructed illusio…
In Wood Chair on Grass, 2025, the artist extends the celebrated Wood Chair series into a deeply tactile meditation on nature, artifice, and the human instinct to create comfort out of raw material. This piece, crafted from oil paint, epoxy clay, plywood, wood, and raffia fibers, reveals the artist’s meticulous dialogue between the organic and the handmade, between illusion and touch.
At first glance, the chair presents itself as a modest, almost familiar object, a low-back saddle seat resting calmly atop what seems like a patch of grassy earth. But upon closer inspection, it becomes clear that every element is a constructed illusion. The “grass” is not real, but a latch-hooked rug of dyed and painted raffia fibers. Each strand mimics the play of sunlit blades swaying in a breeze, but they are fixed in place, forever frozen in mid-motion. This deliberate tension between the natural and the artificial is what gives the piece its quiet power.
Designer: Joyce Lin
The seat itself is modeled after pine wood, yet it transcends imitation. Cracks are hand-carved into the surface, each line a gesture of imperfection that makes the chair feel lived-in, almost sentient. The wood grain alternates between matte and satin varnishes, an effect invisible under soft light but revealed dramatically when illuminated directly. This shifting visibility turns the viewer into an active participant, requiring them to move around the piece, to discover it rather than merely observe. It’s a subtle invitation to slow down, to look with intent, to feel the weight of craftsmanship.
The artist’s pride in the bark detail is well-earned. The bark, sculpted with epoxy clay and layered with oil paint, might be their most convincing and three-dimensional work yet. It clings to the seat’s edges like memory to an old tree, giving the illusion that the chair has grown from the ground rather than been placed upon it. There’s a certain poetry in this, an object designed for rest that itself seems to have taken root.
Beyond its technical mastery, Wood Chair on Grass captures the artist’s evolving relationship with materials. The raffia fibers, dyed and painted by hand, bring softness and unpredictability, contrasting the solidity of the wooden frame. The juxtaposition of natural texture with synthetic precision makes the work feel both ancient and contemporary, a bridge between folk craft and fine art.
Ultimately, this piece is an environment condensed into an object. It embodies the artist’s ongoing fascination with how we recreate nature within our own boundaries, how we seek to hold onto fleeting sensations through form and surface. In Wood Chair on Grass, 2025, the familiar becomes extraordinary, and the humble materials of wood and fiber transcend their physicality to evoke the emotional warmth of presence, patience, and place.