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Wormhole Bench

Wormhole Bench
by Forrest Hudes United States (US)

This is an Open Edition
Each edition may differ
How is this defined? A series of pieces that are not restricted by any predetermined volume limit. Each item is meticulously produced by the designer or in collaboration with skilled local artisans, resulting in a limited quantity of unique pieces. If stated, each item may exhibit slight variations due to its handcrafted origin.
Can be customized upon request
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Wormhole Bench

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Description

The Wormhole Bench is made from solid red oak, laminated and carved. The seat of the bench is punctuated with orifices that disrupt its surface and allow a glimpse through the seat. The bench is made by first creating a solid surface through glue-laminations and then meticulously carving and sanding the series of holes. This was the first piece in the ongoing wormhole series. The seat of the bench, while at first appearing simple and flat, is a complex undulating surface swirling around the various wormholes. The bench stands on eight oversized legs, giving the piece the sense that it might walk away at any moment.

Weight (kg)	18
Production Year	2022
Material	Red Oak
Discipline	Wood & Cabinetmaking
Color	Natural Oak
Design Class	Open Editions
Dimensions LxWxH	178x30x45cm (70x12x18'')

About Forrest Hudes Visit Showroom →

I am a craftsperson, artist, and designer focused on participating in the making of meaning with wood in the contemporary world. To me, wood represents the potentials of the body. By shaping it, I can change, undermine, reverse, and expand those possibilities. My work operates as a site of inquiry into the complex and fluid nature of queer identity, wherein the tension between internal and external realities becomes palpable. My early life and education was in the performing arts, and from that place I approach my craft practice with an idiosyncratic methodology, one that privileges intuition and responsiveness over the rigidity of planful construction. In doing so, I seek to destabilize the linearity and planarity inherent in traditional woodworking techniques. My practice centers the tension between inner and outer, that which is felt and that which is perceived, that which is expected and that which is yearned for - and especially the limitations of matter, the constraints of material, and the edges which you can push that up against. I make functional and dysfunctional objects out of wood to this end. While being highly recognizable, my objects also deviate from expectations in ways that imbue the familiar with newness.

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