Visit Fernando Mastrangelo’s New York studio and, on any given day, you may discover piles of salt, sand, ball bearings, cement, even espresso—only a few of the supplies he makes use of in his hanging work and sculptural work. “If you marry form, content, and materials, you have a balanced work of art,” he says.
Patagonia and the Grand Canyon; the geometric Ghost desk solid in white cement and created utilizing a robotic arm; and work created utilizing sand and powdered glass. Primarily a sculptor, Mastrangelo’s earliest forays into artwork have been two-dimensional: “As a child I would spend hours in my room, listening to my Walkman, trying to make photorealistic drawings of friends or girlfriends,” he says. “I thought artists had to be able to draw a figure perfectly to even be considered an artist.”
Mastrangelo was born within the United States, however his household relocated to Monterrey, Mexico, for his father’s work. A Salvador Dalí portray noticed on a T-shirt at highschool confirmed his selection of profession path. “Dalí quickly became my new idol, I obsessed about every facet of his life and, of course, I tried to imitate his style.”
Pilchuck Glass School earlier than working, for a time, as an assistant to artist Matthew Barney, who “set the path.” In 2014, alongside his sand work and different artworks, he started producing furnishings underneath the MMaterial line. “I think of everything as sculpture,” he says. “The thing is a ‘chair,’ now all you need to figure out is the form and the materials.”
Mastrangelo describes his artwork as “the pursuit to imitate the incredible beauty of nature through simple, material-based objects or installations,” and hopes that his works “remind people that we’re often most connected when we’re connected to nature.” He has simply launched into a “wild card” undertaking impressed by Henri Rousseau’s work.
The set up will mix solid partitions and sculptural furnishings, none of which might be for
sale. “It’s an attempt to put our hat in the ring for sculptural interiors that are conceptual while remaining functional,” Mastrangelo explains. “It may tank, or it might thrive. Ultimately, the piece is an experience for the audience.”