Eric Schmitt: A Journey Where Bronze Meets Bohemian Glass

Eric Schmitt: A Journey Where Bronze Meets Bohemian Glass

"My work is the consequence of the sculptor that I almost am, of the architect that I would have liked to have been, and of the designer that I am not quite," says Eric Schmitt, a man who seems as elusive as his own creations. His work, a captivating blend of organic forms, innovative materials, and a quiet reverence for craftsmanship, has earned him a place among the most influential French designers of our time.

Schmitt's journey to the forefront of design is as unconventional as his aesthetic. Born in Toulouse in 1955, he embarked on a path that veered far from the traditional design school trajectory. He explored experimental music, dabbling in photography and film decoration before finding his true calling in the world of objects. His initial foray into design came in the early 1980s, working with metal scraps in a small Parisian studio shared with other artists. This period, which he fondly calls his "urban, barbarian, and rock'n'roll" phase, was marked by his unbridled energy and a hands-on approach, fueled by the rhythmic beat of his sledgehammer. He worked with a fervor that seemed to transcend the boundaries of art and craft, a testament to his deep connection to the raw potential of materials.

Schmitt's first creations were exhibited at VIA, the Valorisation de l'Innovation dans l'Ameublement, in Paris in 1987. Here, he caught the eye of Christian Liaigre, a rising star of French design, who recognized the raw talent and unique vision in Schmitt's work. This meeting sparked a collaboration that would influence both their careers. Liaigre, known for his minimalist, elegant designs, was drawn to Schmitt's raw energy and his ability to create pieces that seamlessly combined sculpture and function.

Schmitt's early pieces, often made from salvaged materials, embodied a sense of raw energy and a fascination with the transformative power of form. His work resonated with a sense of primal energy, hinting at the sculptor he almost became. He crafted fabulous totems, tables decorated with motifs evoking witchcraft, and tall candlesticks with cabalistic ornaments, reflecting an unbridled imagination and a deep connection to the natural world. He saw the potential in every scrap, every imperfection, transforming them into objects that whispered of forgotten histories and whispered stories.

Schmitt's studio in Fontainebleau, a sprawling space nestled in the heart of the forest, serves as a testament to his creative process. He prefers to work with his hands, letting the materials guide his vision. He finds inspiration in the forest's endless tapestry of textures and colors, in the ancient trees that have stood witness to centuries of change.

“A piece of furniture needs to exude silence so it can be loved for a long time,” Schmitt says. And it is this quality of quietude, of timelessness, that permeates his work. He is not interested in fleeting trends or fads. Instead, he seeks to create pieces that are as enduring as the natural world that inspires them.

Schmitt's work is a testament to his masterful command of materials. He seamlessly blends bronze, alabaster, marble, and Bohemian glass, transforming these seemingly disparate elements into harmonious forms. His pieces often appear weightless, defying gravity with their delicate curves and intricate details. He embraces the chiaroscuro, playing with light and shadow to create an ethereal quality in his sculptures. He is a master of balance, whether it be the apparent precariousness of a table in folded bronze or the delicate interplay of light and shadow in a marble cabinet.

One of his most notable works, the Stromboli pedestal table, perfectly encapsulates his approach. The table, crafted from patinated bronze and blown Bohemian glass, exemplifies his ability to merge different materials into harmonious designs. It is a piece that seems to exist in a realm of its own, a testament to his ability to capture the essence of the natural world while simultaneously pushing the boundaries of design.

His Sugegasa floor lamps, a series of delicate and captivating pieces, further highlight his mastery of form and materials. These lamps, crafted from bronze and Bohemian glass, showcase his ability to create visual tension and balance through unconventional proportions. They are pieces that defy categorization, embracing both the beauty of simplicity and the complexity of artistic expression.

Schmitt's work has graced prestigious interiors around the globe, from the Hotel Montalembert in Paris to the Mark Hotel in New York. He has collaborated with some of the most influential designers and architects of our time, including Jacques Grange and Christian Liaigre. His creations have been showcased in galleries from Paris to New York to London, with pieces fetching impressive prices at auction.

In recent years, Schmitt's work has become increasingly sought after as a strategic art investment. His limited-edition pieces, often made to measure and crafted with an exquisite attention to detail, appeal to collectors seeking not just beauty but a piece of history and a tangible connection to the artist's unique vision.

Schmitt's studio, surrounded by his sculptures and sketches, illustrates the power of design to transcend time and transcend trends. Schmitt's work is not just about aesthetics; it is about creating objects that evoke emotion, that speak to the human spirit, and that whisper stories of craftsmanship and ingenuity. 

He is a designer who celebrates the past while embracing the future, a man who melts tradition and modernity into a captivating blend of artistic expression. His work is a reminder that true elegance is not just about form and function but about the enduring power of beauty, a beauty that resonates with the soul and transcends the boundaries of time.

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