As intended in its name, Wallie is a wall lamp. But it is also a kind of papier collé you build up, level by level. The plates made of glossy or matt varnished steel and brass, curved like cloth, with tiny little squared and round holes, nearly invisible, dance in a sophisticated and amusing game of shapes. Cilinders cut in halves, folded surfaces like concave mirrors, the illusion of an absolute front cube communicating in an equilibrium that seems about to lose itself. Everything happens in front of us, these dressed up devices deploy in front of us, in their black and gold guise. Even when off, Wallie doesn’t lose its grace and keeps quivering.
With the strength of the optimism of ’50s design and a solid industrial certainty, Wallie explodes like a firework and it comes in a range of variations. The chandelier, the table lamps, the appliques and the floor lamp explore and define the various functions of use. They are sophisticated extensions that are formally similar and they proudly maintain their identity. They are space probes and satellites, astrolabes of a contemporary chamber of wonders, plastic complexes where one can recognize a cultural landscape that is nourished by many sources, from the Avant-Gardes to Postmodernism, passing with agility and irony from the teaching of Gio Ponti and the Bauhaus to the essentiality of the Far East.