As patrons of art, the hardest thing to know is the true value of the pieces we collect; when, for instance, they become or are recognized as so called, “masterpieces”.
The answer seems to lie somewhere in the muddled theatre of the art market itself. The artists, buyers, auction houses, art critics and the media conspire in an often random and at times comedic dance to validate the art world and everything and everybody in it.
But there are rules to this dance, much like determining the top breed in a class of champion dogs. True originality and the aesthetic acceptance of something are almost certainly always found in the language of it. And the language is most certainly bound to its history.
It’s clear that with a story arc just shy of 30 years, designer-producer Marc van Rampelberg (and Rampel Designs) has achieved what few artists, sculptures and furniture makers achieve in a lifetime: he has created a style unique to himself, and he has done this alongside production breakthroughs for his industry. Add to this a well-developed sense of historical design language, and it’s easy to see how his iconic pieces, such as “Lounge Chair”, and “Wing Chair”, can be regarded as true masterpieces.
Much like the “Barcelona Chair” before it, Rampelberg’s “Lounge Chair” is often copied, but never really duplicated in its original authenticity, and it is instantly recognizable around the world as a classic. The uniqueness of the two chairs is also inexorably linked to a continually evolving and accepted design history—where the execution of technique stands alone or takes a giant leap forward.
“I would like to think that part of my legacy can be tied to marrying two well established styles: the contemporary language of Art Nouveau, with the gentle tradition of Minimalism.”
His legacy will certainly also include the creation of a production technique solely his own. Rather than using the ‘long grain’ from the surface of a plank of wood, he uses the head grain of it. By molding and joining hundreds of pieces of individual head grains together he is able to achieve the curvy, mosaic design that is the Rampelberg signature—the unification of sculpture technique with experimental furniture making.
“The female body is an inspiration in my work; so is the human form as a whole—organic and geometrical. Similarly my pieces are not time bound; nor are they tied to any current fashion trend.”
Today, Rampleberg is opening a fresh chapter at Rampel Designs, starting with a newly opened and expanded showroom and workshop on Baba Dogo Road—infinitely more accessible than his previous address buried deep in Industrial area. Joining him in what looks like will become a family business to last generations is his son Rik, who brings a new computer aided design approach to the firm.
By being 100 percent owned an operated by Kenyans, Rampel Designs is part of a pantheon of truly great “legacy brands” still producing products in Kenya. But, from his emergence as artist de residence for the Wildensteins in the mid 90s, to global exhibitions, to big industrial-scale commissions for Java House and area bars, hotels and board rooms across Nairobi, Rampelberg feels he is just beginning to hit his stride.
“With the new workshop and show room, I feel I am achieving true artistic freedom, moving away from designing and producing based on pure commercial need. Today I am doing it out of pure love
“I feel like I am finally achieving my vision—the sculpture married to the furniture maker. I think I have finally found my own line.”
To be able to say this, and to know it, and to see it in any piece he makes, is truly the legacy of Marc van Rampelberg.
For more information and to visit his new showroom visit www.rampeldesigns.com.
