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Don’t miss your final chance to see BADLANDS, the major solo exhibition spanning the career and practice of Christopher Kurtz, closing this Friday 13 November.
The title of the show references the prehistoric landscape of the South Dakota Badlands — a place embedded in Kurtz’s origins and central to his philosophy. Named for its difficulty to cross, Kurtz sees its terrain as an ideal that aligns with his studio practice: a lived experience where moving forward is negotiated through resistance, repetition, and persistence.
At the heart of the exhibition is a major installation of 3,000 wooden ‘skipping stones’ spread across the space for visitors to walk through and move around. A vast, immersive ‘stone landscape’. Born from the off-cuts of his design pieces accumulated over 20 years in his studio, the stones vary in wood, size, and texture. Small remnants of process, they have accumulated here into their own monumental work.
The upper floors of the gallery are dedicated to Kurtz’s design objects, the result of labour-intensive craftsmanship. Amongst them is his 2024 collaboration with textile artist Dana Barnes, Between Us: Tête-à-Tête, previously on display at the MAD Museum in New York.
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Cinematography: Daniel Fry
Edit: Jane Stiles
Additional Cinematography: Jordan Aucella
Developed in collaboration with Erin Albrecht & Matthew Egan
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The Schoolhouse
18 Balderton Street
Mayfair
W1K 6TG
London
10 Nov 2026
Sheets Side Table, 2026
American black walnut, oil finish
The Sheets pieces began while I was gathering family papers and letters into an archive. In the side table, the layers of walnut twist like sheets of paper in motion. Each layer was hand-planed and burnished before stacking. What is easily scattered is gathered and held.
BADLANDS has been extended through the end of this week at Sarah Myerscough Gallery.
@sarahmyerscoughgallery
Photo credit @local_couple_studio
10 Nov 2026
Wood and Resonance, tomorrow night 🎼 tickets available via the link in our bio.
Explore Christopher Kurtz's major solo show, BADLANDS, through live music and voice by @kangyang_music
The programme has been specially curated by the Artera Foundation, with a new piece specially created for the evening by Kang himself.
Join us on Wednesday the 4th November for a beautiful evening of art, music and dialogue, presented by Artera Foundation in collaboration with Sarah Myerscough Gallery.
Drinks reception from 6pm
Live performance 6:30–7:30pm
Stay afterwards for conversation and a private tour of the show
Sarah Myerscough Gallery | The Schoolhouse
18 Balderton St
Mayfair, London W1K6TG
Tickets available via the link in our bio
@christopherkurtzstudio
@arterafoundation
@artera.ae_official
@kangyang_music
03 Nov 2026
Cairn Side Table's 1, 2 and 3, 2026 by Christopher Kurtz.
A cairn is a marker assembled from individual stones and given meaning through use and shared understanding. It may indicate a trail, a burial site, a summit, or simply evidence of passage. Its significance lies not in any single stone, but in the relationships formed between them.
The Cairn Side Tables recast this ancient language of stacking in carved wood. Built from contrasting species, each element retains its own identity while contributing to a larger whole. Like the cairns that inspired them, these sculptures propose that meaning emerges through assembly—that relationships between parts can become more significant than the parts themselves. Like cairns found in the landscape, these works function as markers. Over time they become fixed points within daily life, gathering memories, rituals, and associations until their meaning extends well beyond their physical form.
On display at Sarah Myerscough Gallery for BADLANDS until 13 November, 2026.
The Schoolhouse
18 Balderton St
Mayfair, London W1K6TG
For sales enquiries please contact Freya at [email protected] or visit the link in our bio.
01 Nov 2026
A private viewing of BADLANDS by Christopher Kurtz at Sarah Myerscough Gallery, held in the gallery’s recently restored Mayfair home, The Schoolhouse.
Sarah Myerscough Gallery has been a valued part of our world for many years, and we are proud to support its championing of craft, design and sculpture, particularly work rooted in natural materials like wood.
BADLANDS is a career-spanning survey of Kurtz’s sculptural and design practice, named after the South Dakota landscape that shaped him. At its heart is a remarkable installation of 3,000 wooden skipping stones, made from 20 years of studio off-cuts and spread across the floor for visitors to walk through. What began as remnants of process becomes a monumental landscape in its own right. Upstairs, the exhibition turns to Kurtz’s labour-intensive design pieces, including Between Us: Tête-à-Tête, his collaboration with textile artist Dana Barnes.
Seeing such patient, material-led making is always energising for our team. It reminds us of the value of craftsmanship, and how much beauty can come from persistence and a respect for materials, something we carry into every Taylor Howes project.
BADLANDS is on at Sarah Myerscough Gallery until 7 November. Thank you to the team for welcoming us.
@christopherkurtzstudio
@sarahmyerscoughgallery
21 Oct 2026
Remembering our incredible day. Happy anniversary ❤️
Shoutout to:
@monicarustgimody for asking the question 🥰
@matthewjohnson your beautiful videos
@paiwan2000j for the video of our speech
@local_couple_studio for everything 📷
@cavallihudsonvalley your venue, trust & friendship
@softperilla our gorgeous cake
@leslieldailey our meadow
❤️our family & friends❤️
18 Oct 2026
Final day of PAD London!
My Slab Console, on view with Sarah Myerscough Gallery. Each layer is individually carved, following the grain and character of the wood, then brought together into a series of layered horizons. Swipe for glimpses of the process, from the slab yard to the studio and the finished piece.
Thank you to Sarah and the whole gallery team for a wonderful week, and for the vision that brings all of our work together. It’s been a privilege to spend these past couple of months living, working and exhibiting in the UK.
@sarahmyerscoughgallery @padesignart
Photos: @local_couple_studio
PAD London | 13–18 October 2026
Sarah Myerscough Gallery | Stand B27
Berkeley Square, London
Final day: today, Sunday 18 October | 11am–6pm
18 Oct 2026
Feeling very lucky to have spent the past couple of months living and working in the UK, and to have created this piece in Hampshire for PAD. What an incredible start to the show! I love seeing it beneath Laura Ellen Bacon’s sculpture and alongside the work of my fellow gallery artists. Such good company to be in. Sarah has a brilliant eye for bringing us all together, and it’s a pleasure to see what she finds between our work. Huge thanks to Sarah and the whole team for pulling it all together!
@sarahmyerscoughgallery @agvstewart @padesignart @eleanorlakelin @frankmurphystudio @ashandplumb @luke.fuller_ @nicwebb1 @aditoch_metalwork @anetaregel @johnmakepeacefurniture @lauraellenbacon @ori_orisun @julianstair
15 Oct 2026
I’ve been fortunate to spend a couple of months here, settling into the rhythms of Hampshire and London. That extended stay gave me time to get to know the landscape and its materials, and allowed this piece to emerge.
My outdoor workshop in Hampshire was a pair of sawhorses, a power plane, a chainsaw, a drill, and a handful of edge tools and a sharpening stone. The setup came together through loans from friends and finds in local charity shops. Working with limited tools meant adapting my process, trusting my hands, and letting the available materials guide the form. Sometimes those limitations yield the most valuable results.
Badlands brought my imagined landscape of the American West and the Hudson Valley into Mayfair. This piece took me out of the gallery and into a landscape to fabricate it—responding to the mineral forms and vegetation of the United Kingdom, with the English countryside as my workshop.
It’s good to know that my work can travel and respond to place.
A piece for PAD London, rooted in the UK. @padesignart
London plane, English elm, yew, poplar, walnut and English ash—all sourced here through @fallenandfelled
See the new piece at PAD London with @sarahmyerscoughgallery Stand B27, Berkeley Square, Mayfair.
13–18 October 2026
Collectors Preview: 13 October
VIP Opening: 14 October
Open to the public: 15–18 October
13 Oct 2026
A glimpse into the story of Christopher Kurtz’s Linenfold Armoire featured in our new book!
The Linenfold Armoire is a piece of furniture in the guise of draped fabric, inspired by the quote “Does there exist a single dreamer of words who does not respond to the word wardrobe?” from Gaston Bachelard’s book ‘The Poetics of Space.’ The linenfold carving that characterizes the piece is a technique inspired by the Gothic or Perpendicular architectural style of the late Middle Ages. Linenfold carving was at its height in the wake of the Black Death. It is a relatively austere style, perhaps growing in popularity due to a shortage of craftspeople, but also reflecting “the gravity of mortality and loss.” Kurtz completed his Linenfold Armoire in 2020 amidst the isolation and loss of the COVID-19 pandemic. The wardrobe stands as a monument to that time – to its connection with the medieval – while also transcending it.
Read more about the Linenfold Armoire in Glenn Adamson’s essay in Handwork: Handcrafted Objects That Made America book, available for purchase at phaidon.com @phaidonpress @handwork2026 @glenn_adamson @christopherkurtzstudio @sarahmyerscoughgallery
Christopher Kurtz’ career-spanning solo exhibition is currently on view at Sarah Myerscough Gallery in London until November 7, 2026.
Linenfold Armoire (Perpendicular Style), 2020, Christopher Kurtz (b.1975), Basswood, milk paint, walnut burl, bronze, 76 x 49 x 31in. Images courtesy of Sarah Myerscough Gallery.
06 Oct 2026
Singularity (Suspended), 2017 by Christopher Kurtz.
More than 50 years after the original landmark 1969 showcase, OBJECTS: USA @museumofcraftanddesign—organised in partnership with New York gallery @randcompanynyc—brings historic masters into dialogue with contemporary innovators to explore the lasting impact of American craft.
We are incredibly proud to have Christopher Kurtz represented in this defining survey, alongside his current exhibition here with us.
Presented during the nation’s 250th anniversary and as part of Craft in America’s ‘Handwork: Celebrating American Craft 2026’ initiative, ‘OBJECTS: USA’ considers how makers have shaped and reflected American culture across generations. The exhibition offers an expansive view of American making, grounded in artistry, cultural amalgamation, and imaginative independence.
Find Kurtz’s work on display now at OBJECTS: USA | Museum of Craft and Design, San Francisco (until 17 January, 2027), or at BADLANDS | Sarah Myerscough Gallery, London (until 07 November, 2026)
Christopher Kurtz
Singularity (Suspended), 2017
Hand carved basswood and milk paint
For sales enquiries please contact Freya at [email protected] or visit the link in our bio.
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OBJECTS: USA, 2026-2027, Museum of Craft and Design, San Francisco. Photography by Henrik Kam.
Studio photography by Erin Albrecht and Matthew Egan, Local Couple Studio
06 Oct 2026
Claude Glass Vanity Set, 2026 by Christopher Kurtz on view now @sarahmyerscoughgallery
"The Claude Glass Vanity takes its title from the small, darkened convex mirrors that became fashionable during the eighteenth-century Picturesque movement in Britain. Named after the French landscape painter Claude Lorrain, these pocket-sized mirrors transformed the surrounding landscape into an image resembling one of his paintings. Visitors to Britain's Lake District often turned their backs to the view and looked at its reflection instead, measuring nature against an inherited ideal of beauty.
The Claude glass reminds us that we have long learned to see the world through images made by others. Nature was not simply observed. It was interpreted through culture.
Like its predecessor, the mirror in this work is an interpretive device. A convex lens of glass is hand silver-leafed, creating a softly mottled surface that subtly alters the image it returns. Rather than offering a perfect likeness, it filters the viewer through its own material character. Today, cameras, social media, and algorithmic media perform a similar function. We increasingly encounter ourselves as images before we experience ourselves directly, measuring our lives against ideals that are equally constructed.
The Claude glass was more than a mirror; it was a tool that taught people how to look. The technologies have changed, but the impulse remains. We continue to filter experience through inherited ideas, images, and expectations before deciding what is beautiful, meaningful, or even true.
The Claude Glass Vanity asks: How much of what we see belongs to the world, and how much belongs to the lens through which we have learned to look?" - Christopher Kurtz
Christopher Kurtz
Claude Glass Vanity Set, 2026
Claro walnut, silver leaf on glass
Gilding by @maureenfullam
For sales enquiries please contact Freya at [email protected] or visit the link in our bio.
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Ph. Erin Albrecht and Matthew Egan, Local Couple studio
04 Oct 2026
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