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Praying Mantis Chair

Praying Mantis Chair
by Dieppa Design United States (US)

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Praying Mantis Chair

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Praying Mantis Chair

This is One of a kind
How is this defined? A singular and unparalleled creation, existing in only one instance with no intention of replication. It may also refer to an original prototype. Conversely, a set of pieces displaying variations in attributes, such as shape or color, within the same collection, falls under the category of an open or limited edition.
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Praying Mantis Chair

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Description

Hand built in Los Angeles by Joseph Santiago-Dieppa of Dieppa Design.
A study in contrast and form, the design merges Art Nouveau’s organic curves with a Brutalist exoskeleton frame, raw leather, and the quiet restraint of mid-century modern design.
The chair’s splayed legs and whiplash silhouettelend a sense of movement, while the materiality of steel and leather root it firmly in the physical
The steel frame, hand-shaped and finished with a forced patina, offers depth and variation. The vegetable-tanned leather will evolve naturally over time, shifting from soft, pink-tan tones to rich, warm browns — a living surface that records its environment.

Dimensions LxWxH	85x66x77cm (33x26x30'')
Weight (kg)	27
Production Year	2024
Material	Steel, Vegetable Tanned Leather
Discipline	Metalwork
Color	Brushed Steel, Tan Leather
Design Class	Unique Pieces

About Dieppa Design Visit Showroom →

I came to sculpture and design through painting, carrying with me a deep sensitivity to gesture, surface, and composition. That painterly sensibility stays close as I work in wood, metal, and other raw materials. Each piece feels like a canvas in space, where movement and material spark a kind of conversation. My practice is restless. I am interested in creating forms in which various identities and extremes coexist: dense and spare, industrial and handmade, rigid and relax, systematic and random. I test how far a line can stretch, how a plane might sag or split, how a form can breathe instead of stand frozen. Each project feels like an improvisation, guided by urgency and curiosity. I’m willing to let things feel unresolved or uneasy, trusting that tension to sharpen the work. It comes from a painter’s memory of color and touch — carried forward into three dimensions, always moving, always searching.