Painting Leather is a research based project with its origin in the 18th century fake leather practice often to be found in antique furniture from this decade.
Going fake is often a shortcut or a detour to achieve something seemingly unobtainable. The fake leather material produced three hundred years ago was made to avoid the high cost of animal leather. This approach could also be applied on today’s leather industry, but from a different perspective. The valuable shortcut made by skipping the animal is in the center of this project. Apart from the benefits of being fake the Painting Leather material also evokes another shift of value. The way the material is obtained is very similar to how a traditional oil painting is prepared, handled and made. The fake leather is never a painting though, even if it comes across as one in several stages of development, and could for a conservative eye be seen as seriously devalued when cut a into parts and used as a material.
The objects within the Painting Leather project have been designed in conversation with the work of 1700s and 1800s oil painters Sophie Adelsparre, Ulrica Fredrica Pasch, Maria Röhl and Amalia Lindegren. The objects are: The Screen, The Container, The Glass Roof, The Padding, The Wall Padding, The Non Smiles and The One Smile.