stone. These works have a museological weightiness to
them; imposing presences, they would arouse comment
in any room.
But it is Weder's lamps that most intrigue me, curvaceous
forms like those of some creature one might find at the
bottom of the sea. Labor intensive, they are made from
thousands of small pieces of recycled paper, applied inside
and out in layers to a wire "honeycomb" armature and
finished in gold leaf, casting an ambient light. If Weder's
furniture is geometric, his lamps represent a kind of con-
trasting anti-geometry, an embrace of the sinuous line,
what William Hogarth called "the line of beauty," a turn
towards the biomorphism of Isamu Noguchi with a new,
neo-baroque twist.
HYLAND
