Alfredo Lopez with Oskar Zięta and Helmut Lang

Zięta begins with contours cut from sheet metal. Once welded together, the sheets are inflated with pressurised air. The metal acquires a volume that carries traces of the forces used to make it.

In Lang’s collaboration with Henzel Studio, knotting gives a composition different levels of depth. Silk makes those changes responsive to light, so the surface reads differently as the viewer moves.

For La Pepino, Lopez works with an upholstered cylinder as a repeatable unit. Reorienting that unit changes the rhythm of the piece and how it supports the body.

The air used in Zięta’s FiDU process gives the welded sheets enough freedom to deform. The seam sets the boundary, while the pressure determines how the metal swells between its edges.

For his first collaboration with Henzel Studio, Lang combined wool and silk with areas cut to different heights. Those changes in material and depth give the composition a physical structure.

At Lopez’s workshop, the decisions made in building a piece remain part of its design. With a rocker, the curve has to carry movement and determine how the chair meets the floor.

Finishing is another stage in Zięta’s work with inflated steel. A reflective surface makes changes in curvature legible through the way it distorts the room.