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Chair No. 2

Chair No. 2
by Joseph Santiago-Dieppa United States (US)

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Chair No. 2

This is a Limited Edition
How is this defined? A set of pieces produced in a predetermined quantity, typically no more than 30, and uniquely numbered either on the item itself or on the accompanying certificate of authenticity. Although generally uniform in design, slight variations may exist due to the handcrafted nature of the pieces.
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Chair No. 2

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Description

Hand-built in Los Angeles, this sculptural chair explores the language of industrial craftsmanship through interplay of repetition and flow. Spherical forms punctuate the vertical supports, recalling the ball-and-claw foot of historic furniture traditions, reimagined here with a modern vocabulary. Curved and bent steel lines expand and contract across the seat and back, shifting from areas of density to moments of openness. These variations create a dynamic sense of movement and breath within a rigid medium. The result is a work that oscillates between ornament and structure, past and present, paying homage to classic decorative motifs while asserting its own contemporary, handmade presence.

Dimensions LxWxH	76x53x97cm (30x21x38'')
Weight (kg)	18
Production Year	2025
Material	Steel
Discipline	Metalwork
Color	Satin Stainless Steel, Steel Grey
Design Class	Limited Editions

About Joseph Santiago-Dieppa 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.