Michael Beitz sculptural furniture is embellishing the world with “funny” and playful ways to use furniture.
While undoubtedly humorous and playful, the sculptural work of artist Michael Beitz also addresses the complexity of human relationships, and the psychological impact of our experience with everyday objects.
Through pieces like ‘not now’ — a wooden table that separates sitters by an undulating arch; ‘whippy’ — a folded outdoor picnic table; and ‘fan house’ — an architectural façade with massive propeller placed inside, Beitz combines furniture design and meticulous craftsmanship with conceptual sentiments. In his construction of distorted domestic objects such as folded tables and knotted sofas, Beitz ultimately subverts each piece’s functionality. By looking at the cultural significance of household furniture, the artist limits each item’s ability to serve as a site of social interaction, instead turning familiar objects into spaces of alienation and solace.
‘I was concerned with the central ideas of emotional tension, distance, and the inability to communicate when making not now. I have always been interested in psychosomatic relationships and I see this work as an extension of the connection between emotional and physical behaviors.’ ‘the ability to have a private conversation is all but lost. the sacred space of privacy may only exist in our own thoughts. I made this table as a place to contemplate that loss and to consider the cyclical trap that we create when our focus is too narrow.’
He also created a table for Banksy’s Dismaland that combines the picnic table form with an oversized toilet paper roll. The piece offered family and friends a fun place to rest while considering the well-known devastation of human waste polluting the nearby sea.