Page 69


say Capo and Pratt, “that make people take many things less for granted. On a domestic level, that can include a much stronger sense of the way that design enriches the way they live day to day.” Capo and Pratt have also noticed that some of their most dedicated clients have finally made decisions that have been years in the making. “A private client in Los Angeles had been thinking about a Rowan Mersh piece for the longest time,” says Capo, about commissioning the London artist who conjures natural elements including shells and feathers into large-scale 3D wall works that create delicate shadow play. “They finally took the plunge during lockdown.” Another London gallerist, Sarah Myerscough, also mentions “a few good commissions from our friends in the US”. After hosting a show called The Natural Room, she received requests for 10 baskets by the artist Alison Dickens (mostly from the US), while a number of commissions came through for major pieces by Peter Marigold, a London-based designer who works remotely with the master woodworker Tadanori Tazawa Kogei, who is based just north of Tokyo. One is a five-meter-long cabinet in natural wood containing shelves and a writing desk stained black; another is for a huge wardrobe, with doors made of single split logs. “They have to come in parts from Japan,” says Marigold, “because at some point they may have to go in an elevator.” While Marigold also spent time helping out at his local restaurant, helping it move its operation successfully out onto the street, and eventually doing the odd shift, artists have coped with lockdown and

(Above) Barnaby Barford, Love over Fear (Blue), 2020. Courtesy: David Gill Gallery (Opposite) Barnaby Barford, Land of Hope & Glory, 2019. Courtesy: David Gill Gallery

Profile for Sanford L. Smith + Associates

Salon - The Intersection of Art + Design