By blending furniture design with the suppleness of clay, a New York maker creates 'thrones' that trick the eye.
In the evolving landscape of American craft, few artists are challenging material perceptions as provocatively as Rower. A New York-based maker who honed her skills at the Rhode Island School of Design (RISD) and under the tutelage of experimental designers like Max Lamb and Thomas Barger, Rower has found her voice in the intersection of furniture and fine art. Her recent debut at Marta gallery showcased a series of throne-like ceramic chairs that have left viewers both perplexed and enchanted.
The core of Rower’s work lies in a visual paradox: her pieces appear simultaneously supple and rock-hard. To the casual observer, the chairs look as though they might be upholstered in soft fabric, draped with heavy folds that invite the sitter to sink in. In reality, they are rigid, meticulously fired ceramic structures. This play on materiality is intentional, born from Rower’s deep fascination with the malleability of clay—a medium she embraces for its ability to mimic other textures while maintaining its own structural integrity.
Rower’s journey reflects a broader revival in the craft world, where traditional techniques are being repurposed to create functional objects that double as sculptural statements. Her process involves pushing the physical limits of clay, treating it not just as a vessel for pottery, but as a primary building block for substantial furniture. By stripping away the expectations of what a chair should be made of, she forces the audience to reconsider their relationship with everyday objects.
As part of a new generation of makers leading this revival, Rower’s work underscores a shift toward highly individualistic, studio-based production. Her success signals a growing appetite for pieces that tell a story of their own making—where the fingerprints of the creator and the transformative nature of the kiln are as important as the final utility of the piece.
Rower’s work demonstrates how cross-disciplinary training in furniture design and ceramics can lead to innovative material applications. It inspires makers to challenge the 'rules' of their medium to create work that defies visual expectations.
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