Our Permanent Artworks

We host a number of permanent art pieces throughout the building. These pieces have been curated in partnership with our creative collaborators and Carpenters Workshop Gallery.

Nacho Carbonell, Big Cocoon Chandelier, 2023

Enveloping the vast interior, Nacho Carbonell’s Big Cocoon Chandelier concaves into tree-like forms as it spawns into a luminescent forest hanging from above. Swathed in metal mesh with Paverpol and Pigments, the metal welded branch cradles the soft, angelic glow of the light fittings and the decorative entanglement of the silicone cables wrapped within. The artist views objects as living organisms, where natural materials, textures and techniques come to life and spark imagination in the viewer. Such is the case for this artwork, which hangs invitingly from the ceiling of arts and events hub Ladbroke Hall, the flagship space of Carpenters Workshop Gallery.

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Vincenzo De Cotiis, DC612 Custom Wall Lamp, 2009

Working at the intersection between art and architecture, Vincenzo de Cotiis defies categorisation through his creations. Veering on the futuristic, a dystopian world is amassed through sleek, spaceship-esque surfaces, contorting structures and juxtaposing materials laced with history. The DC612 Custom Wall Lamp positions itself on the interior as if it were a climbing, metallic arm, stretching at either end with the LED bulb grasping at its fingers. The trunk is crafted from silver plated brass and is displayed with an angular, geometric composition, illuminating the space with non-linear forms and beams of light.

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Christopher Le Brun, Snow, 2022

Christopher Le Brun’s Snow is part of a wider body of work entitled The Series, which groups together four paintings that each represent the developing phases of the year. Named Leaf, Rose, Wheat and Snow, the artworks are on display at Ladbroke Grove, arts venue and Carpenters Workshop Gallery’s flagship space, alongside three other paintings decorating the walls of the restaurant, designed by Vincenzo de Cotiis. The environment exudes natural light through the large windows, casting ever-changing weather patterns onto the paintings and giving the artworks the appearance of the seasons in flux. Snow beholds the darker colour palette of the bunch and echoes the dark, blistering months of the winter.

Christopher Le Brun, Leaf, 2022

Christopher Le Brun’s Leaf is part of a wider body of work entitled The Series, which groups together four paintings that each represent the developing phases of the year. Named Leaf, Rose, Wheat and Snow, the artworks are on display at Ladbroke Grove, arts venue and Carpenters Workshop Gallery’s flagship space, alongside three other paintings decorating the walls of the restaurant, designed by Vincenzo de Cotiis. The environment exudes natural light through the large windows, casting ever-changing weather patterns onto the paintings and giving the artworks the appearance of the seasons in flux. Leaf is awash with light, airy tones and staccato brush marks, reminiscent of spring’s sprouting blooms making their first appearance after a long, restful sleep.

Christopher Le Brun, Wheat, 2022

Christopher Le Brun’s Wheat is part of a wider body of work entitled The Series, which groups together four paintings that each represent the developing phases of the year. Named Leaf, Rose, Wheat and Snow, the artworks are on display at Ladbroke Grove, arts venue and Carpenters Workshop Gallery’s flagship space, alongside three other paintings decorating the walls of the restaurant, designed by Vincenzo de Cotiis. The environment exudes natural light through the large windows, casting ever-changing weather patterns onto the paintings and giving the artworks the appearance of the seasons in flux. Featuring dainty pinks, fiery oranges and earthy greens, the lively compositions of Wheat radiate with the heat of the summer months.

Christopher Le Brun, Rose, 2022

Christopher Le Brun’s Rose is part of a wider body of work entitled The Series, which groups together four paintings that each represent the developing phases of the year. Named Leaf, Rose, Wheat and Snow, the artworks are on display at Ladbroke Grove, arts venue and Carpenters Workshop Gallery’s flagship space, alongside three other paintings decorating the walls of the restaurant, designed by Vincenzo de Cotiis. The environment exudes natural light through the large windows, casting ever-changing weather patterns onto the paintings and giving the artworks the appearance of the seasons in flux. Rose represents the cooling autumn months when rosebuds start to bloom and the leaves turn a golden orange before they settle down for winter.

Atelier Van Lieshout, Old Man Lamp, 2018

Atelier Van Lieshout’s Old Man Lamp is a poignant self-portrait capturing the indomitable spirit of artist Joep van Lieshout. The piece is a visual narrative of the artist’s refusal to surrender, depicted through his metamorphosis as he transforms into his own gnarled walking stick. The lamp becomes a symbol of stamina as the character drags itself from one artwork to the next, echoing the enduring cycle of life – from love and reproduction to growth and inevitable death. The object invites viewers to contemplate the cyclical nature of existence and the symbiotic relationship between the artist and his creations.

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Atelier Van Lieshout, The Clever Lamp, 2019

Under the moniker Atelier Van Lieshout, Joep van Lieshout has established a multidisciplinary practice spanning art, design and architecture. Finding comfort in the crossfire of these disciplines, the artist defies the boundaries of function and fantasy through his experimental objects. The Clever Lamp is a distinctive addition to Van Lieshout’s latest body of work, RENEGADE – an arrangement of lamps constructed from found objects and simple materials. In this avant-garde collection, Van Lieshout defies the traditional roles of artist and designer, transforming any object – even his own pre-existing sculptures – into luminous works of art. The Clever Lamp exemplifies Van Lieshout’s rebellious approach, where every object, whether a new creation or an existing sculpture, becomes a unique source of light.

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Atelier Van Lieshout, Dickhead Baby, 2008

Since Joep Van Lieshout founded his studio in Rotterdam, he’s reached acclaim for his bold, political and material-rich experimentations that question society. Dickhead Baby – a distinctive and thought-provoking sculpture that challenges conventional norms – is an apt example of this approach. Crafted in 2008 with bronze and forged into the shape of a smooth, faceless and fingerless baby, the artwork is a striking example of van Lieshout’s ability to merge the whimsical with an exploration of societal commentary. In the vocabulary of the artist, the object speaks a language of irreverence and satire, weaving absurd constructs of human identity into each groove and dent.

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Jean Prouvé, Amphitheater Chairs (Set of 3), 1953

From schools to factories and pieces made for municipal projects, Jean Prouvé is known for his robust and functional furniture pieces that were designed for the masses. All of which are produced from his studio, Les Atelier Jean Prouvé, located in Nancy, France, using industry-level manufacturing technology without losing the aesthetic quality. Prouvé’s Amphitheater Chairs are a testament to this ethos, which were designed for the Faculté des Lettres, Université de Besançon, France. Featuring earth-toned leather upholstery, solid green steel structures and juxtaposing oak arm armrests, the Amphitheater Chairs are a staple in the industrial design history books.

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Verhoeven Twins, Bubblee Foss 1, 2 & 3 – Clusters A, B & C, 2022

The ethos of Joep and Jeroen Verhoeven – AKA The Verhoeven Twins – involves challenging tradition, creating the unexpected, moving beyond ego and producing beautiful products that veer on the fantastical. Working without limitations – while keeping practicality in mind – the Twins’ creations are conceptual and littered with storytelling, gaining art-like status with their ability to think beyond the boundaries. Their works are mystical and hypnagogic yet functional enough to be used in our everyday lives. The Bubble Foss 1,2 & 3 – Clusters A, B & C are an apt example of how sculpture can appear both unfathomable yet inviting, where glittery spheres sparkle in an iridescent oil effect as it hangs from above like clouds. Inviting viewers to wonder from below, the sculpture is meticulously crafted from borosilicate glass and fixed together to replicate a large bubble constellation.

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José Zanine Caldas, Desk 1950s

José Zanine Caldas is a self-taught artist, designer and architect from Belmonte, Brazil, who’s widely recognised for bringing standardised plywood furniture to the public. Desk is a testament to his profound influence on modern aesthetics. This meticulously crafted artwork, reminiscent of his other celebrated pieces, exudes a harmonious blend of form and function, inviting viewers into a timeless exploration of craftsmanship. Standing as an exemplar of mid-century modernism, the fluid lines and organic contours, which are characteristic of Caldas’ signature style, weave a narrative of artistic innovation and ergonomic elegance. Drawing inspiration from the natural world, the artwork seamlessly marries functionality with sculptural beauty.

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Pierre Jeanneret, Cross Office Chair PJ-SI-50-A Red Leather, 1960

Crafted in 1960, Pierre Jeanneret’s Cross Office Chair PJ-SI-50-A Red Leather is a quintessential example of the artist’s enduring impact on mid-century design. The incorporation of red leather upholstery, a hallmark of luxury, is juxtaposed against the chair’s functional form and solid teak composition, showcasing Jeanneret’s knack for seamlessly blending opulence with purpose. As one of the original office chairs conceived during mid-century South Asia, Jeanneret’s creation reflects a long-standing engagement with the region’s design vernacular. With its distinctive cross-shaped backrest, the artwork not only epitomises his design language but also mirrors the synthesis of global influences within the context of mid-century modernism in South Asia.

José Zanine Caldas, Juvenile Armchairs (Pair), 1950

José Zanine Caldas is a self-taught artist, designer and architect from Belmonte, Brazil, who’s widely recognised for bringing standardised plywood furniture to the public. In the post-war era, Caldas emerged as a luminary, influencing mid-century design with his unique approach that marries organic forms with comfort. Crafted in 1950 with an exquisite blend of wood and fabric, the Juvenile Armchairs became not only functional but sculptural works of art; their graceful curves and understated charm reflecting Caldas’ affinity for the natural beauty of materials.

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Studio Job, est 2000, Rock Mirror Black, 2017

Since founding Studio Job in 1998, Job Smeets has continued to combine traditional and modern techniques to produce once-in-a-lifetime objects across art and design. The Rock Mirror Black stands as an iconic representation of their artistic philosophy; the ‘Rock’ motif is integral to Studio Job’s practice, representing a foundational matter akin to a basic atomic structure. The jagged edifices, reminiscent of broken or blasted apart structures, reveal a fascination with the unveiling of inner layers – surfaces cast and patinated bronze are infused with a variety of hand-painted colours, adding a layer of complexity and uniqueness to the artwork.

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Jean Prouvé, Amphitheater Chairs (Set of 4), 1953

From schools to factories and pieces made for municipal projects, Jean Prouvé is known for his robust and functional furniture pieces that were designed for the masses. All of which are produced from his studio, Les Atelier Jean Prouvé, located in Nancy, France, using industry-level manufacturing technology without losing the aesthetic quality. Prouvé’s Amphitheater Chairs are a testament to this ethos, which were designed for the Faculté des Lettres, Université de Besançon, France. Featuring earth-toned leather upholstery, solid green steel structures and juxtaposing oak arm armrests, the chairs are a staple in the industrial design history books.

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Rick Owens, Half Box Black Plywood Left, 2023

Owens, known for his bold and unconventional approach to fashion and design, brings his signature aesthetic to Half Box Black Plywood Left – a jet-black seat with wooden texture, pew-like frames and an alluring effervescence. A manifestation of Owens’ ability to elevate plywood into a work of art, the piece adds dynamicity, emotion and asymmetry to the interior. A hallmark of Owens’ unconventional style, the Orso pillow and black plywood, carefully crafted into a corner seat, becomes a sculptural form that transcends its utilitarian origins. This piece is not merely a functional object but a visual narrative that speaks to Owens’ commitment to creating provocative, brutalist pieces that challenge the traditional definitions of art and design.

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Rick Owens, Half Box Black Plywood Right, 2023

Owens, known for his bold and unconventional approach to fashion and design, brings his signature aesthetic to Half Box Black Plywood Right – a jet-black seat with wooden texture, pew-like frames and an alluring effervescence. A manifestation of Owens’ ability to elevate plywood into a work of art, the piece adds dynamicity, emotion and asymmetry to the interior. A hallmark of Owens’ unconventional style, the Orso pillow and black plywood, carefully crafted into a corner seat, becomes a sculptural form that transcends its utilitarian origins. This piece is not merely a functional object but a visual narrative that speaks to Owens’ commitment to creating provocative, brutalist pieces that challenge the traditional definitions of art and design.

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Thomas Houseago, Beautiful Boy, 2019

Thomas Houseago brings an avant-garde approach to his creations, which often contort, twist and emphasise the grooves and gestures of the natural form. Working with the human body as his protagonist, Houseago builds conflicting structures from traditional materials like wood, clay, plaster and bronze while pairing them with those that are more surprising like Tuf-Cal, iron rebar and hemp. Forging an interplay between old and new, traditional and modern, his figures tread the delicate line between vitality and stability. Beautiful Boy establishes itself on the crossroads between these two theses; appearing both mechanical and organic, the artwork stands as a testament to Houseago’s exploration into materiality, anatomy and structure.

Vincenzo De Cotiis, DC1826B Mirror, 2018

Vincenzo De Cotiis, known for his ability to defy categorisation through sleek, futuristic creations, imbues the DC1826B Mirror with an otherworldly presence. The artwork, positioned as a portal to an alternate dimension, exemplifies his mastery in combining lustrous surfaces with raw, industrial elements – in this case, an amalgamation of burnished brass and distressed glass. As a luminary working at the intersection between art and architecture, De Cotiis’s DC1826B Mirror echoes his broader exploration of dystopian aesthetics and juxtaposed materials laden with history.

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Robert Stadler, New Paintings #13 Dining Table, 2021

Robert Stadler, who works across furniture, product, interaction design, art installation and multimedia, strives to challenge preconceived notions of what objects should be. In Stadler’s New Paintings series, the artist has coined what he describes as a fusion of ‘aristocratic’ and ‘vulgar’ design – a collision of processes that would otherwise be deemed incompatible. One such method is the pietre dura, which involves stonework that’s loosely assembled, sliced and cut, before being intricately glued back together stone-by-stone. This stone marquetry technique can be seen in #13 Dining Table, which combs sandy-coloured stone into marbled, oceanic patterns. Both rustic and space aged, the elongated tabletop is positioned on four wrought iron legs at the base.

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Robert Stadler, New Paintings #12 Low Table, 2021

Robert Stadler, who works across furniture, product, interaction design, art installation and multimedia, strives to challenge preconceived notions of what objects should be. In Stadler’s New Paintings series, the artist has coined what he describes as a fusion of ‘aristocratic’ and ‘vulgar’ design – a collision of processes that would otherwise be deemed incompatible. One such method is the pietre dura, which involves stonework that’s loosely assembled, sliced and cut, before being intricately glued back together stone-by-stone. This stone marquetry technique can be seen in #12 Low Table, which combs emerald green stone into marbled, oceanic patterns. Both rustic and space aged, the circular table top is positioned on a wrought iron base.

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Robert Stadler, New Paintings #14 Console, 2021

Robert Stadler, who works across furniture, product, interaction design, art installation and multimedia, strives to challenge preconceived notions of what objects should be. In Stadler’s New Paintings series, the artist has coined what he describes as a fusion of ‘aristocratic’ and ‘vulgar’ design’ – a collision of processes that would otherwise be deemed incompatible. One such method is the pietre dura, which involves stonework that’s loosely assembled, sliced and cut, before being intricately glued back together stone-by-stone. This stone marquetry technique can be seen in #14 Console, which combs fawn stone into marbled, galactic patterns. Both rustic and space aged, the tabletop is positioned on four wrought iron legs at the base.

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Robert Stadler, Easy Knot, 2021

Robert Stadler, who works across furniture, product, interaction design, art installation and multimedia, strives to challenge preconceived notions of what objects should be. As a result, the artist has coined what he describes as a fusion of ‘aristocratic’ and ‘vulgar’ design – a collision of processes that would otherwise be deemed incompatible. By focusing on details and narratives, Stadler explores this method through a playground of opposing techniques, whether that’s juxtaposing materials like iron and cushion, bewildering concepts or unimaginable forms. Such is the case for Easy Knot, which ties wrought iron with an impermeable cushion to create a functional chair for multiple occasions.

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Robert Stadler, Hanger Chair, 2019

Robert Stadler, who works across furniture, product, interaction design, art installation and multimedia, strives to challenge preconceived notions of what objects should be. As a result, the artist has coined what he describes as a fusion of ‘aristocratic’ and ‘vulgar’ design – a collision of processes that would otherwise be deemed incompatible. By focusing on details and narratives, Stadler explores this method through a playground of opposing techniques, whether that’s juxtaposing materials like iron and cushion, bewildering concepts or unimaginable forms. Such is the case for Hanger Chair, which brings together two objects – the coat hanger and the chair – into a functional piece of art. The seat’s linear form makes for the ideal resting place for a jacket or a comfortable seat.

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