Object-Oriented Identity

John Cederquist | Storage Drawers

At what point does a piece of furniture become a sculpture?

American artist and furniture maker John Cederquist, born in 1946, has spent much of his career exploring the boundaries between furniture, sculpture, craftsmanship, and visual illusion. His work challenges the assumption that furniture must be understood primarily through its function, introducing unexpected proportions, unusual material combinations, and a strong sense of visual experimentation.

Created between 1971 and 1975, Storage Drawers is an early example of Cederquist's distinctive approach to furniture making. Standing 114 centimetres tall but measuring only 19 centimetres wide, the cabinet has an unusually narrow, almost architectural silhouette. Its vertical proportions give it the presence of a freestanding sculpture rather than a conventional storage object.

Constructed from imbuia, leather over wood, brass, and bone, the piece brings together materials with contrasting physical and sensory qualities. The warmth and grain of the wood meet the softness of leather, the reflective surface of brass, and the organic character of bone. Each material contributes to the object's identity, transforming a functional cabinet into a carefully considered composition.

The work belongs to a period when American studio furniture makers were increasingly questioning the separation between fine art and functional objects. Rather than treating furniture as a product defined by industrial standards, many makers approached it as a medium for individual expression, experimentation, and exceptional craftsmanship.

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