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Perusing pages of materiality in Brian Thoreen's ‘Paragraphic in Four Stacks’
Brian Thoreen’s innovatively uses wrinkled manila paper to craft the four chairs in the Paragraphic in Four Stacks collection
Image: Alejandro Ramirez Orozco
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Perusing pages of materiality in Brian Thoreen's ‘Paragraphic in Four Stacks’

The American designer and artist glued together 3,000 stacked pieces of wrinkled manila paper for each of the four ambiguous chairs in the furniture collection. 

by Aarthi Mohan
Published on : Jun 26, 2024

Can a stack of paper become a statement piece? American designer and artist Brian Thoreen's latest exploration in furniture design answers this with an unexpected yet compelling yes. His innovative use of manila paper stacks as furniture challenges conventional perceptions of everyday materials and objects. Thoreen ventured into creating these chairs by glueing together individual sheets of wrinkled paper: the method involves the application of glue in specific areas to form the final shape, allowing the wrinkles in the unglued areas to release tension from the bonded sections. The result is a striking aesthetic that celebrates the inherent qualities of industrial paper through product design.

Industrial paper, which is often associated with files, folders and envelopes, has played an important role in art history. The American artist ties this seemingly mundane material to broader themes through objects that resemble books that structure our world. The pages, graphics, colours, spaces and thoughts that go into daily life development are all echoed in his creations.

His work embraces the geometries of rigid modernism, while being infused with playfulness and inherent imperfections. The chair designs are simultaneously sturdy and fragile, offering a place to rest without providing comfort—a juxtaposition that reflects his belief that the apparent loss of inherent beauty in today's designs is being rediscovered through the manipulation of space and material.

Thoreen's inspiration to work with manila paper stacks stemmed from a desire to reimagine everyday materials. His initial experiments with tar laid the foundation for the Paragraphic in Four Stacks collection comprising four eggshell white chairs. "The tar paper uses the black as the negative or void and the manila paper as the positive or [real]," he explains. This approach mirrors the way information is stored and passed, adding a layer of meaning to his work. The new collection marks Thoreen’s first exploration into applying manila paper stacks to the scale of furniture.

For the furniture designer, the combination of whimsical, imperfect forms and the precision of modernism comes naturally. His meticulously planned designs are injected with the organic flaws of craftsmanship, a method that not only highlights the tension between order and chaos but also makes his designs more engaging and thought-provoking.

Thoreen's process begins with drawings and small models. He relies on his intuition to determine the proportions and geometries, working out what feels right. This ensures that the final piece resonates with an intuitive, emotional reaction, both from the creative and those who interact with it.

Interaction with the Paragraphic in Four Stacks is left to the viewer's discretion. Thoreen enjoys the objects’ ambiguity: whether the pieces are meant to be touched, sat in or simply observed. This invites viewers to engage with the chairs on their terms, adding another layer of depth to the experience. By incorporating industrial paper, Thoreen brings a fresh perspective to its application in art. He doesn’t aim to defy history but evoke the nostalgia and familiarity of stacked books and office documents through the designs—this familiar imagery resonates emotionally with viewers.

The connection underlying his works is clear: both projects employ a similar technique of glueing wrinkled paper and share a conceptual link. "As soon as I worked out the process for the tar paper, I immediately wanted to use that to make furniture, and this is the result. It is an expansion of my exploration with material and form,” the product designer tells STIR.

Thoreen admits that he hadn't considered the load-bearing capacity of the chairs initially. These pieces, made of just paper and glue, are materially more akin to the trunk of a tree. They require careful maintenance to keep them fresh and clean, and inevitable tears can be fixed with glue. He embraces the idea that the chairs can wear out over time and become something new, reflecting on their transient nature.

The designer’s body of work spans both functional and non-functional, drawing from the inherent qualities of the materials used. Infused with emotion, technique and playfulness, he balances between material independence and interdependence, allowing them to play a crucial role in the piece's final expression. The move to Mexico City has brought Thoreen opportunities for collaboration, including co-founding MASA and the experimental glass-making collective VISSIO.

Ergonomics takes a backseat in the design of the chair collection. Thoreen sees them as functional pieces at their core, but more so as an idea or ghost of a chair—recalling a memory of sitting on a stack of books as a child. This perspective highlights the conceptual nature of his work, prioritising form and meaning over traditional functionality.

While the chairs provide a place to rest, they are not solely designed for comfort. This intentional choice sparks a question: can art and functionality coexist in a way that challenges our expectations, or must we choose one over the other? Thoreen's work, both conceptual and functional, invites us to reconsider these boundaries.

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