‘Mi casa, tu casa’

objects and furniture from The Modern institute

‘Mi casa, tu casa’ brings together a diverse set of furniture by the gallery's artists, and includes pieces which collapse the distinction between the fine and decorative arts, the aesthetic and the utilitarian.

Scroll down to shop selected pieces for sale and commission by Martino Gamper, Joanne Tatham & Tom O'Sullivan, Martin Boyce, Marc Hundley, Eva Rothschild, and Hayley Tompkins.

For smaller items, simply click 'Add to cart'. To register interest in any larger pieces or commissions, please use the 'Enquire' buttons, or contact us via enquiries@themoderninstitute.com

Martino Gamper

Martino Gamper’s practice is defined by spontaneity and a desire to utilise a variety of materials and processes. His focus is on ‘one-off’ pieces which incorporate ideas from Italian design history as well as Arts and Crafts but also engage with contemporary fabrication techniques. His unique pieces have incorporated numerous processes: glass blowing, woodcarving, cabinet making, carpet embroidery, blacksmithing, marquetry and enamelling. Gamper’s works encourage conversation and social interaction. They are functional and communal.

Starting as an apprentice with a furniture maker in Merano, Gamper went on to study sculpture under Michelangelo Pistoletto at the Academy of Fine Arts, Vienna, and product design in Vienna under Matteo Thun. He completed a Masters in 2000 from RCA, London, where he studied under Ron Arad.

Martino Gamper
Windows Shelf, 2015
Block board, coloured veneer, tempered glass
170 x 214 x 47 cm approx
66.9 x 84.3 x 18.5 in approx

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Martino Gamper
Fusione in Colore #01, 2013
Wrought iron, coloured fused glass
43 x 88 x 48 cm
16.9 x 34.6 x 18.9 in

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Mark Handforth

Mark Handforth creates pieces informed by the nightlife and edge lands of cities. His sculptures utilise a variety of materials and often integrate everyday objects. As such, they operate in a novel space between Minimalism and Pop, allowing for a reconsideration of the quotidian. Handforth’s Zig-zag bench, 2015, comprises a set of stainless-steel legs which support three boards. These form the back and seat of the bench. The top and bottom boards are left unpainted so one can enjoy the grains and knots of the wood while the middle is painted. As Handforth states, ‘the bench provides a rigid framework within which the natural form of the wood can speak. We finish the sculpture when we sit and we tilt the balance of the piece toward nature.’

Mark Handforth
Zig-zag bench, 2015
Oak, stainless steel
Part 1: 88 x 365 x 66 cm Part 2: 88 x 245 x 66 cm

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Joanne Tatham & Tom O’Sullivan

Joanne Tatham & Tom O’Sullivan work across installation, publishing and performance, often subverting aspects of artistic and cultural history. Their work questions hierarchies of display within visual art, pushing against norms and our expectations of cultural value. Their ceramic objects are 1:20 scale models of previous artworks by Tatham and O’Sullivan – artworks that have been commissioned by public institutions and organisations, now rendered as domestic ornaments. The process of producing objects and editions re-scaled from existing larger works first began with a gold necklace of Tatham and O’Sullivan’s 6 metre high 2001 work HK, and then a marble edition, produced at a scale of 1:20 of the original piece. The scale models of larger works are transformed through the use of other materials. Cast in ceramic and bronze, they become objects that circulate and function differently, allowing for new positionings and juxtapositions.

Joanne Tatham & Tom O’Sullivan
THE ITERATIVE TICK (a note to our future self), 2022
Hand-dipped wall tiles, clock mechanism, painted wooden frame
95.2 x 95.2 x 4.7 cm
37 1/2 x 37 1/2 x 1 7/8 in framed
Edition of 3

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Hayley Tompkins

Hayley Tompkins employs photography, painting and film to re-examine the everyday, asking us to look and look again. In her painted works she often rhythmically details and patterns various objects, from mallets and branches to shirts, sunglasses and chairs – refreshing and energising the mundane. Tompkins paints on ordinary things in a fluid, mosaic-like style, using vibrant colours across the surface. She often chooses objects we wear, grasp, or sit on – things that have a close relationship to the body. In a way, Tompkins makes an analogue for the human touch through the application of paint. 

Martin Boyce

Martin Boyce’s poetic installations comprise a vocabulary of interconnected forms which emerge across his sculptures, wall paintings, and photography. Collectively, these conjure liminal spaces which explore the aesthetic and political legacy of Modernism, the collapse of nature and culture, and the boundary between the real and fictional. Furniture, cut, repurposed or designed by Boyce has been a key aspect of these installations over the past two decades. And while unique in design, these often have a functional aspect. Boyce’s tables are no exception. He has produced several unique designs, often playing with the form of concrete table tennis tables.

Martin Boyce
Concrete Table, 2016
Concrete and painted steel 76.5 x 260 x 127 cm
30.1 x 102.4 x 50 in

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Marc Hundley

Marc Hundley’s work mines moments of solitary cultural exploration and engagement – the love for a set of pop song lyrics, a line from a novel, or found media imagery. His paintings often resemble posters and are inflected with diaristic notes referring to the time and place where these moments occurred. They exist at the intersection of the public and private. He has extended this logic by recreating his own apartment and other domestic spaces, complete with furniture, for gallery presentations which house these paintings, including at Frieze New York 2017 and most recently for his presentation Once there was a tree at The Modern Institute. This allows the artist to create a comfortable, welcoming environment for the public while utilising skills gained from years spent moonlighting as a carpenter in New York City.

Marc Hundley
Untitled, 2024
Pine
79 x 100 x 56 cm
31 1/8 x 39 3/8 x 22 in

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Marc Hundley
Bench for a Corridor, 2019
Wood painted with acrylic
91.4 x 244 x 91.5 cm
36 x 96.1 x 36 in

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Marc Hundley
Untitled, 2024
Pine
3 parts, table and two benches
77 x 239.5 x 101 cm, 30 1/4 x 94 1/4 x 39
3/4 in;
41 x 459 x 43 cm, 16 1/8 x 180 3/4 x 16 7/8
in;
46 x 238.5 x 46 cm, 18 1/8 x 93 7/8 x 18
1/8 in

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Marc Hundley
Bench with billboard (A TOUCH OF
BLOSSOM)
, 2019
Wood painted with acrylic
203 x 244 x 91.5 cm
79.9 x 96.1 x 36 in

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Eva Rothschild

Rothschild makes sculpture in the minimalist tradition – referencing and incorporating elements of Modernist sculpture and architecture. Her forms are simultaneously familiar and alien. The artist is searching for balance and ‘rightness’ in each piece – a heady mix of colour, form and texture. Rothschild has described her quest for ‘intrinsic rightness’ and ‘presence’ equally when making works  and exhibitions of works; balancing shapes and materials within sculptures, and sculptures within architectural space and volume.

Eva Rothschild
Daybed 01 (woven), 2019
Foam, rebar, printed fabric, procean dyes
71 x 191 x 71 cm (inc. bolsters)
28 x 75 1/4 x 28 in

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Eva Rothschild
Daybed 02 (printed), 2019
Rebar, jesmonite, sealer, foam, printed and dyed fabric
87 x 189 x 69.5 cm (inc. cusions)
34 1/4 x 74 3/8 x 27 3/8 in

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