DOROTHY IANNONE

“George Brecht came up with the idea of taking these seats out of my paintings. It was quite complicated because we had to think in three dimensions. Following this idea, I decided to create new seats. For George Brecht, it was about actually making a seat. He had liked them in the drawings, and he enjoyed seeing them realized. Encouraged by the idea, I created five or six new seats. It was George Brecht's idea that made the project exist. Initially, we thought of making a book, and only later did we consider actually producing them. That's when we turned to Jean-Pierre Giovanelli, whom I had known for a long time, for his architectural skills. As an architect, he could bring the project to life. He put a lot of effort into transforming the drawings into models, creating full-scale plans for the seats, and overseeing their realization. The production of these seats, which involve materials such as bent wood, stitched leather, or feathers, sometimes requires great technical feats. Seats, tables, and so on are part of my pictorial universe. Everything that happens between a man and a woman happens around a seat, a bed, or a tree. Beings are not in a vacuum; they are either outside or inside.”

Dorothy Iannone, from Le cul dans les plumes, Entretien, arTitudes International nr. 30/32, janvier-mai 1976, p. 14-15