Düpd™
Untitled, 2000, aluminum, high density rubber, 48 x 36 x 13/26 inches, ©Düpd™.

The interview was conducted by Ilana Stanger of TheArtBiz.com.

Can you tell me about Düpd™?

Düpd™ is a concept lab that I work under. The name has a phonetic sense of humor, while at the same time is implies a type of deception. Düpd™ was conceived as an umbrella to showcase my design and the work of other designers. It should never be about one person, or gender, race, or discipline. There are no boundaries or limitations.

Right now your biggest concentration seems to be furniture design. How did you first get started with that?

Furniture design is a culmination of everything I enjoy: architecture, industrial design, fashion, and sculpture. I got my degree in sculpture in New York [BFA, Parsons School of Design], but furniture design allows me to nourish both my formal and conceptual sides.

How did you train as a designer?

I have no formal training as a designer. It’s been more or less a constant learning process. I just keep working with certain materials until I start to understand their limitations. There are always new discoveries when I try to force one material to behave like another: wood like plastic or metal like wood.

Is it difficult to maintain the balance between the limits of carpentry and your own vision?

It’s always difficult to mesh the two worlds. Very rarely will they work in sync. As a designer you are aware of certain physical limitations, but they should never hinder your concepts. There is always someone out there who can help you build your idea. For my prototype “Cheng + Eng” I found an incredibly skilled craftsman [Bart Bettancourt] to help me with the inner structure of the chair. He was my voice of reason. He was aware of all the structural issues, while I maintained my vision.

Do you maintain a budget for each piece?

For the “Cheng + Eng” chair I had an idea of the cost based on a meeting with the fabricators. I figured one chair would be $1,000-$1,500. I doubled that, since it’s two chairs. Then there’s trademark, logo, and copywriting costs. I had a rough idea of what I’d spend and I tried to stay within the budget. Unfortunately, there were a lot of complications with the chair. To make something look simple it usually takes twice the amount of work. Plus it was my first prototype, and the fabricator’s first. It’s an unusual chair.

So how do you support yourself?

I’m a manager of a high-end Italian furniture store. The store is the world leader in contemporary furniture, so I’m surrounded by the newest techniques and materials. I chose to begin at the other side of the spectrum by creating a wood chair. I’ve always been attracted to low-end materials combined with high-end concepts. It’s a stand against the obsession with newness that exists today.

Are you looking for showroom representation?

I’m trying to get in, but you need more product--it’s a gamble for them to take you on the strength of one project. I’m working with lamps, candles, glass. The International Contemporary Furniture Fair will be in New York this spring, and I’m hoping to be in some kind of show there. I’m curious to see it this year--see whose still around, who survived the year. Like everything else, it just takes time and money.

Are most of your Parsons peers still active artists?

Very few are still doing sculpture. A lot went into computer-oriented jobs. One thing art programs don’t prepare you for is the real world. A lot of us went into the gallery system: installing works, assisting sculptors. It’s a double-edged sword. You don’t earn a lot of money, and you get sucked into the style of the person you work for. It can be a real distraction.

Any advice for emerging designers?

Always work toward your goal, even if it gets clouded at times. Personal style will eventually surface through experience and a lot of work. There are funds available out there--people are willing to lend money toward interesting projects. Try to find who represents your work best. Everyone gets distracted by trying to get into “the” showroom or gallery, and they overlook who will best represent their work. I like the small boutiques or avant-garde showrooms.

Always reflect on your past history, present state, and future goals. That’s your best source.

This article was originally created for TheArtBiz.com. It appears on NYFA Interactive courtesy of the Abigail Rebecca Cohen Library.