Photos By Gail

I was saying to a friend recently that one of the unintended consequences of AI is how convincingly it can generate objects that look completely real but don’t actually exist. For someone like me, who regularly features extraordinary furniture and design objects, that presents an interesting challenge. When you see a tiger-shaped sofa or a fantastical sculptural table online, it’s becoming harder to know whether you’re looking at a genuine work of design or a clever digital fabrication. I want readers to know that every piece I feature in my Eye On Design column is something I’ve seen in person and photographed myself. Even so, I understand that in today’s world a healthy dose of skepticism is only natural. So let me assure you: this remarkable sculptural stool by Sebastian Errazuriz is absolutely real.

It is what it is: a clean-lined black stool topped with a crisp white seat. But a second look reveals its delightful secret. Suspended upside down beneath the seat is the head of a classical Greek or Roman sculpture, perfectly framed by the stool’s four legs. Suddenly, what seemed like a functional object transforms into something playful, surreal, and thought-provoking.

Errazuriz, the Chilean-born, New York-based artist and designer, has built an international reputation by challenging the boundaries between art, design, technology, and craft. Rather than creating furniture that merely serves a purpose, he designs objects that ask questions. His work often encourages viewers to reconsider familiar forms, revealing unexpected narratives hidden in plain sight.

This stool is part of his ongoing Antiquities series, a body of work inspired by the fragmented beauty of ancient Greek and Roman sculpture. Using digital technology, Errazuriz 3D scans classical masterpieces from museum collections, manipulates their forms, and reimagines them as limited-edition functional furniture. Tables, shelving, lamps, cabinets, and other domestic objects become unlikely homes for fragments of antiquity, blurring the distinction between sculpture and everyday design.

What fascinates me most about this stool is its restraint. Many contemporary collectible design pieces rely on extravagant materials or exaggerated forms to make an impression. Errazuriz takes the opposite approach. The stool itself is almost anonymous—a simple architectural frame that feels intentionally understated. Its minimalism creates the perfect stage for the inverted classical bust, allowing the sculpture to become the emotional center of the work.

There’s also a wonderful sense of visual tension. The bust appears trapped within the frame, yet at the same time it seems to support the object above it. The legs of the stool become a kind of miniature temple or architectural enclosure, encouraging viewers to peer inside. Even the decision to invert the sculpture changes everything. A form we’ve encountered countless times in museums suddenly feels unfamiliar, almost dreamlike. It’s simultaneously humorous and slightly unsettling.

Errazuriz has spoken about his fascination with damaged classical sculpture and the mystery created by broken forms. Rather than attempting to restore antiquity to some imagined perfection, he embraces its incompleteness. He has described his process as “stealing” the shapes of revered ancient works and appropriating them as raw material for new creations — a deliberately provocative way of questioning where fine art ends and functional design begins.

I’ve always admired designers who refuse to accept that functional objects must also be visually predictable. Errazuriz understands that a piece of furniture can do more than occupy space — it can start conversations, challenge assumptions, and reward careful observation.

What also strikes me is how contemporary the work feels despite its ancient source material. It feels like a thoughtful continuation of a conversation that has lasted for more than two thousand years. The sig n of a memorable design object. It doesn’t simply impress in the moment — it lingers in your mind, inviting another glance and another interpretation. These objects whisper, waiting for someone curious enough to look beneath the surface. And in this case, quite literally, beneath the seat.

Photographed in the David Gill Gallery Booth at the Salon  Art + Design in 2019 and 2023.