Michele Lamy on Five of Her Favourite Rick Owens Furniture Pieces

"setting the stage for a darkly hedonistic celebration of domestic life. Since 2005, the line has become synonymous with massively oversized beds, the tactility of crocodile leather, and stone-forged forms amidst a fever dream of moose antlers. But whatever the material, a sensuality persists - in both its primal materiality and the fact that the beds are designed to house far more than two occupants."

"Named after the 1979 song by Neil Young, the exhibition treats rust as a starting point for examining time and destruction. Curated by Lamy, it reimagines brutalist forms as decaying artefacts through a process of controlled oxidisation. But this erosion is not an endpoint - nor the final marker of an object's death. According to Lamy, it is evidence of both her own and our ongoing influences on the world. As she says, "Even if you think you are irrelevant, you can still be relevant.""

Rick Owens and Michèle Lamy developed a visual language contrasting apocalyptic decay and architectural monuments to the body. Rick Owens Furniture fuses mausoleum-style austerity with otherworldly grandeur, producing oversized beds, crocodile leather, and stone-forged forms amid moose antlers. The furniture maintains a persistent sensuality and is designed to accommodate more than two occupants. Rust Never Sleeps at Carpenters Workshop Gallery treats rust as a means to examine time and destruction, using controlled oxidisation to recast brutalist forms as decaying artefacts. The exhibition frames erosion as evidence of ongoing influence rather than an object's final death, and includes an antler installation as a greeting.

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