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Meet our neighbor and Creative Career Fair tabler, David Wiseman of @dwisemanstudio. David is a leading American contemporary designer and artist, whose work is on permanent collection at the @barackobama Presidential Center, @lacma, and Rhode Island School of Design Museum @risd1877!
Come by our DTLA campus on November 14 at 10 am for our 13th annual Creative Career Fair, and catch David among many more professional creatives. Attend workshops, chat up artists, and leave with a little creative bounce to carry you through the weekend! :)
Click the link in our bio or visit inner-cityarts.org/careerfair to register for free.
29 Oct 2026
Barn Owl, 2026, Bronze, porcelain, and paint, 23” (H) x 30” (W) x 9.5” (D), Edition of 24 + 4 APs.
Photography: @markhanauer
27 Oct 2026
I was honored to create a custom Radial Branch Chandelier for the Obama Presidential Center. My deepest gratitude to @obamafoundation, @vshorev, @elledecor, and to @michaelsmithinc, as always.
Radial Branch Chandelier, 2025, Bronze and porcelain, 44” (H) x 82” (D).
Photography: @themichaelmundy, @markhanauer
08 Oct 2026
This table began with a request to make a surface to display new tabletop sculptures I had been working on for my show, Nature as Refuge, at HomeArt in Hong Kong last year. I wanted the table to support the works, both literally and figuratively, while feeling as though a piece of our Los Angeles studio workshop had been quarried out and placed in the gallery.
I knew it would reside in the center of the room, seen from all angles, on a deep blue, pond-shaped carpet. The shape of the carpet reminded me of a massive slab I had acquired from an old-growth eucalyptus that fell near where I grew up. (Special thanks to Angel City Lumber for salvaging this extraordinary piece of wood.)
Elevating and celebrating the natural beauty of the slab was the obvious goal, but I also love bringing two materials together in an even-handed way—neither overpowering the other, but existing in a kind of friendly partnership. Extending the bronze support “stump” up through the surface of the wood became the solution.
Listening to the materials and responding to their forms really helped the piece evolve. In the end, the Ongo Table became one of my favorite works in the show—even though it began simply as something meant to support the others.
Ongo Table, 2026, Wood, bronze, and resin, 29” (H) x 60” (D).
Photography: @markhanauer
05 Oct 2026
David Wiseman
Owl Collage Table, 2012
Bronze and glass
30” (H) x 42” (D)
Objects: USA
Museum of Craft and Design
San Francisco, CA
On view until January 17, 2027.
Photography by Henrik Kam and Salon 94 Design.
23 Sep 2026
David Wiseman’s ‘An Afternoon Nap in the Lost Valley’ mirrors. David is a remarkable visual storyteller, it’s easy to get lost in his dreamy details.
📸 @markhanauer
#davidwiseman
#mirrorsculpture
#prouduncle
#markhanauer
15 Sep 2026
Mirror, mirror on the wall!
Thanks again to Nicole Hollis for entrusting our studio with creating this magical little vanity nook.
A cherry blossom branch mirror, hosting a porcelain owl, is paired with a faceted cut-crystal sconce nestled into a bed of bronze geranium leaves. I love the contrast of materials and organic forms against the simple, quiet lines of the surrounding architecture.
Lost Valley Branch Mirror and Sconce, 2022, Bronze, porcelain, and crystal, 49.5” H × 37” W × 8” D.
Photography: @douglasfriedman @markhanauer
02 Sep 2026
Thanks to all the these amazing contemporary artists and makers! @dwisemanstudio @oliviergagnere @studiodanielmullin @karlihenneman
10 Aug 2026
Like the colorful frogs and snakes that came before it, this piece inhabits a world somewhere between a psychedelic dream and a zoological study. Cast in bronze and inlaid with richly colored resins, the shell lifts to become a vessel for treasured objects.
Saharan Tortoise Box (Polychromed), 2026, Bronze and resin, 5.5” (H) x 10” (L) x 7” (W), Edition of 12 + 2 APs.
Photography: @markhanauer
21 Jul 2026
The trio of an illuminated branch sculpture and a pair of sconces evolved out of a dialogue with old friends I grew up with. I love how the rough, naturalistic bronze branches are complemented by refined green silk damask walls and traditional furnishings.
As a child, I was often invited into beautiful homes filled with traditional antique furniture and decoration that looked back to another era. I remember wondering why our homes so often spoke only through the language of the past. Could there be another tradition—one rooted not in novelty, stark contrasts, or deliberate provocation, but in a continuing conversation with nature?
When I look closely at the filigree, ornament, and neoclassical inspirations of the past, I don’t simply see references to history—I see love and reverence for nature as one of humanity’s enduring traditions. For me, this is less about reinventing tradition than extending it: allowing branches, birds, insects, fruit, and the living world to take their place within a home as naturally as carved acanthus leaves, damask, or gilt once did. In an era where some approaches seem to favor disruption over refinement, I find myself drawn instead to the quiet discipline of craftsmanship and the enduring language of beauty.
It’s a conversation across time—both with childhood friends whose home gave these ideas a place to flourish, and with the generations of artists, craftspeople, and designers who have shaped the spaces we call home.
Illuminated Branch Sculpture and a pair of Branch Sconces, 2025, Bronze and porcelain, Branch Sculpture: 41.5” (H) x 43” (W) x 39” (D), Sconces (L, R): 26” (H) x 12” (W) x 7” (D), 26” (H) x 12” (W) x 10” (D).
Photography: @markhanauer
08 Jul 2026
I love making fireplace screens. They are framed portals within a home—opportunities to explore pattern, celebrate the natural world, and build entire worlds within a single composition.
For this commission, I was asked to create a pair of screens for two fireplaces facing one another across a living room. After learning of the collectors’ passion for National Parks and the outdoors, I imagined two idyllic landscapes—postcards from places that don’t exist, yet somehow feel familiar. Both feature mountains, water, and expansive skies, using flat ornamental pattern to suggest atmosphere, depth, and perspective.
One screen looks toward a distant mountain range veiled by a torrential downpour. A fruiting peach branch serves as both a structural leg and a living element in the composition, weaving through the surrounding patterns while providing a meal for a contented squirrel below.
The companion screen centers on a cascading waterfall, framed by an understory of mushrooms, fiddleheads, and woodland flora. One of my favorite plants, Dioscorea elephantipes, with its remarkable turtle-shell caudex, anchors the composition as its vine climbs upward, carrying heart-shaped leaves through the canopy above.
I love that these pieces function simultaneously as sculpture, drawing, architecture, and landscape—transforming the hearth into a window onto an imagined wilderness.
A Rainy Day at the Peach Pond Fireplace Screen, 2026, Bronze, 2’-7” (H) x 2’-10” (W) x 16” (D).
Dioscorea Falls Fireplace Screen, 2026, Bronze and porcelain, 2’-7” (H) x 2’-11” (W) x 16” (D).
Photography: @markhanauer
01 Jul 2026
I am honored to be participating in Knife, Fork, Spoon 3.0, on view June 10–12 in Copenhagen alongside an inspiring group of artists, designers, and architects, and in the exhibition Knife Fork Spoon at the Denver Art Museum (@denverartmuseum ).
For this project, Dung Ngo and Marta invited me to create a set of flatware to accompany Dung’s forthcoming book, Knife Fork Spoon: Modernist Culture 1900–2025. The mandate was to develop a collection that could be fabricated entirely through stainless steel 3D printing.
For the resulting Three Kingdoms Collection, I focused on two priorities. First, a commitment to function—the pieces needed to feel balanced in the hand, enjoyable to hold, properly weighted, and worthy of everyday use. Second, I wanted to embrace the unique possibilities of additive manufacturing. Because these objects are fabricated one layer at a time, intricate structures and delicate details can be preserved in a way that mirrors biological systems, which themselves aggregate one cell at a time.
As usual, I looked to the natural world for inspiration, and found so many extraordinary lightweight lattice structures that it was difficult to choose. I selected forms from three different kingdoms of life. The dried fibrous skeleton of a cholla cactus (plantae) became the fork, the Turing patterns of a puffer fish (animalia) inspired the knife handle, and the delicate veils descending from the caps of stinkhorn mushrooms (fungi) informed the spoon.
Though drawn from vastly different organisms, each offered a remarkably elegant solution to structure, strength, and economy of material.
Animalia — Knife
Plantae — Fork
Fungi — Spoon
Organized by Dung Ngo (@misterngo / @knifeforkspoon.co ) presented by Marta (@marta.losangeles ).
Knife, Fork, Spoon 3.0
3 Days of Design
Copenhagen
June 10–12, 2026
09 Jun 2026
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