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Recent posts
Light and Shadow.
Tab lamp for Flos 2007.
@flos @barberosgerby
11 Nov 2026
Wolfgang Tillmans’ Concorde, in Remember Me at the Bourse de Commerce in Paris this weekend, a show marking two hundred years of photography. Tillmans photographed Concorde in 1997 from back gardens, car parks and the fence at Heathrow, and called watching it “a strange and free spectacle”.
That is how I remember it. From 1998 to 2001 the studio was on Turnham Green Terrace in west London, and most evenings at about quarter past five Concorde would come over on its way back into Heathrow from New York. Flight BA002. I always marvelled at its extreme beauty.
I grew up a couple of miles from RAF Brize Norton and always wanted to fly. It wasn’t until I was 18 that I did, though I have clearly made up for it since. In 2002, the year before Concorde stopped for good, we took BA001 to New York for a project meeting, along with Thom Yorke. We flew so high that you could easily make out the curvature of the earth and the darkness of space. Truly unforgettable.
Remember Me is at the Bourse de Commerce, Pinault Collection, Paris, until 18 January 2027. Curated by Matthieu Humery with Lola Regard.
@wolfgang_tillmans @boursedecommerce
#RememberMe #BourseDeCommerce #PinaultCollection #WolfgangTillmans #Concorde
09 Nov 2026
5th November, Bonfire Night in the UK.
I was fairly good at chemistry at school, and my interest was largely driven by an urge to learn how to make gunpowder. I spent a disproportionate amount of my adolescence making fireworks. Rockets, bangers, depth charges.
This was before the internet, so I used to travel to Oxford, to the main library, to research the chemicals and the compositions. It was really tricky to get your hands on the right stuff back then, but somehow I managed it.
I would spend hours trying to get the ratios right, experimenting with small amounts at a time. At one point in the mid 80s I burnt a hole in our kitchen table. It proved the mixture was spot on. It also got me into a lot of trouble.
It was bloody dangerous but a lot of fun. Old habits die hard.
05 Nov 2026
Sketches for AXOR One, @barberosgerby first full collection for @axordesign which launched in 2021.
This week we showed the new AXOR Archivio collection in London, the studio’s second full collection for the company.
More details to follow.
03 Nov 2026
This must be the place
29 Oct 2026
On October 21st 1983, The The released their album ‘Soul Mining’ - the track ‘Uncertain Smile’ was a favourite for me as a kid, Jools Holland’s piano outro is brilliant…
The photo, taken in Japan on the anniversary of the album release, is really a backdrop to the music.
27 Oct 2026
There’s a Japanese saying: マグロは止まると死ぬ (maguro wa tomaru to shinu). A tuna fish dies if it stops moving.
24 Oct 2026
A painting waiting to find its place at our ‘From Island to Island’ exhibition, at Studio Casoli in Pecorini a Filicudi, Italy 2023.
22 Oct 2026
Awaiting assembly.
21 Oct 2026
Similar colour, similar size. The socket joining them is hidden in my photo, but the lemon is the battery and the bulb is the load.
His point: technology is powered by nature.
Today perhaps we’d say nature is sacrificed to enable technology.
Joseph Beuys, Capri-Batterie, 1985.
16 Oct 2026
A photo I took in May 2016, in the bookshop at the Met Breuer in New York, the old Whitney building. The De La Warr Pavilion Chair, photographed from behind, which is exactly how it was meant to be seen.
After we won the Jerwood Prize in 2004, we were asked to design the furniture for the restored De La Warr Pavilion in Bexhill-on-Sea. Mendelsohn and Chermayeff’s 1935 building, with original furniture by Alvar Aalto. No pressure. We took it on with the support of the Edward Marshall Trust, who back new design projects all over the UK, and without whom it would not have happened.
We noticed that chairs spend most of their lives pushed up to a table, so the back is the view that matters. That led to the rear skid leg, a single loop of cast aluminium framing a soft, enclosed volume against all those hard modernist lines. The holes in the seat and back keep it light and stiff, and they let the wind through, which matters on a terrace facing the Channel. The outdoor chairs were painted orange-red after Aalto’s originals.
It was the studio’s first production chair, and it taught us a great deal. Three ways of working aluminium in one object: die cast, pressed and tubular. And a design made for one building that then had to earn its place everywhere else, when @establishedandsons put it into production in 2007. For a young British manufacturer it was a statement of intent, and for us it was proof that an idea rooted in one place could travel.
It now sits in the collections of the V&A @vamuseum , the Art Institute of Chicago @artinstitutechi and the Vitra Design Museum @vitradesignmuseum - that day, a chair made for one modernist building turned up in a book on the fifth floor of another!
@barberosgerby
13 Oct 2026
Phelan Building, San Francisco. Rebuilt after the 1906 fire in cream terra cotta, designed to reflect light. At 7.15am, it does exactly that.
11 Oct 2026
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