I first saw this bench in the article entitled “From Scribble to Seating”. They make the association between the fat marker scribbles in a sketch book and the resulting sculpture manifested in an whimsical display of wood and moody black steel. This piece comes from the Paris studio of Pablo Relinoso who designs everything from home interiors, perfumes, installations, furniture and jewelry.
Relinoso’s work is often scene in galleries but of course gets bought and put into public spaces. I believe his work is challenging the idea that public sculpture must be this large metallic and angular megalith. Instead he is offer an more subtle twist on the normally found objects accustomed to the quieter, less defiant spaces of the city or country side.
Accustomed to making furniture Pablo combines his craft of morphing these pieces of furniture to more elegant and expressive shapes; the culmination of which is the Huge Sudeley Bench. It is set in the narrow mead of a formal garden, granted its initial statement is one of stark contrast, there is still the invitation to sit and move within and around the sculpture/ bench.
Realizing the array of effects of this type of sculpture in a public place one might ask how does this fit into the landscape, or any sculpture for the matter. Considering the context of the space is obvious: how large is the space, what is located adjacent to it, how is the space used, who uses the space. It is unfair to compare this sculpture to the illustrious Cloud Gate in Chicago’s Millennium Park.
Is there a necessity for sculptures in public garden which provide multifaceted functions for the public, giving a new sense to the term usable art; or is this simply a small muse making tiny scribbles.