Maria Pergay, metal furniture expert, honored in New York show

For more than 50 years, French designer Maria Pergay has been designing playful yet elegant furniture that pushes the boundaries of style and convention. Now, a year after her death at age 93, New York gallery Demisch Danant is hosting an exhibition honoring her work: “Precious Strength: Maria Pergay Across the Decades” (October 24-November 30, 2024).

“Precious Strength: Maria Pergay over the decades”

(Image credit: Courtesy of the artist and gallery)

Stainless steel furniture may have captivated the contemporary design world of late, but Pergay owes much of this to Pergay: She pioneered such pieces in the 1960s, long before metal became the go-to choice for experimental furniture designers. At that time, stainless steel was considered a completely unusual and even unsuitable material for high-end interiors, more associated with industrial applications and practical kitchen utensils. But Pergay turned to the affordable, durable silver material to create surprising pieces of furniture.

(Image credit: Courtesy of the artist and gallery)

Her “Flying Carpet Daybed” from 1968 uses steel as an undulating, minimalist base, whose cold and hardness contrasts with the curved fabric upholstery on the top. “Ring Chair”, also from 1968, is made entirely of raw stainless steel in concentric bands held by curved rods: a challenge to the norms of prevailing comfort and at the same time an expression of the geometric style of the time. In these and other similar works, Pergay drew on the silhouettes of modernism and pushed materiality in new directions – setting the stage for a changing idea of ​​modern luxury.

(Image credit: Courtesy of the artist and gallery)

In addition to presenting an overview of her innovative furniture – which Pergay produced into her eighties – “Precious Strength” is also designed as an immersive experience and includes a series of interior vignettes created by the gallery’s co-founders, Suzanne Demisch and Stéphane Danant. were designed and replicate Pergay’s aesthetic over the decades. The exhibition features around 35 works as well as personal items, archive images and original sketches.

(Image credit: Courtesy of the artist and gallery)

Demisch and Danant had a close collaboration with Pergay for many years after discovering her pieces in the late 1990s. “Stéphane and I first came across Maria’s work at a Paris flea market, long before we founded our gallery,” says Demisch. “We immediately felt that her designs were special.” Noticing the lack of information about Pergay, the duo believed she deserved greater recognition and tracked her down to a house in Morocco to begin a decades-long collaboration to begin. They remain their greatest champions.

(Image credit: Courtesy of the artist and gallery)

“She was a real pioneer,” says Demisch. “Maria didn’t pay attention to trends and constantly pushed the boundaries of her practice.” Danant agrees: “She redefined what furniture could be, combining functionality with experimentation and sculptural beauty.” She brought a level of sophistication that challenged conventional design ideas.”

(Image credit: Courtesy of the artist and gallery)

Pergay continued to innovate throughout her career, paving the way in a male-dominated field. She often incorporated mother-of-pearl, lacquer, and precious woods into her stainless steel pieces, creating an aesthetic that was both industrial, seductive, and delightfully playful. In “Drape Cabinet B,” 2005, a sheet of undulating raw steel detaches from a layer of striped Macassar ebony and supports an oversized safety pin. “Ribbon Pouf,” from 2007, on the other hand, appears as a giant sheet of stainless steel: silly yet sophisticated, seductive yet sharp, the piece evokes a pop art sensibility while still feeling ultra-modern.

(Image credit: Courtesy of the artist and gallery)

Without formal design training, Pergay eschewed the isolated notions of designer, artist, and decorator and instead allowed herself to be guided by her own vision. “She saw herself as an ‘idea catcher’ who always followed her creative instincts,” says Danant. “More than anything, she wanted people to engage with her work on a deeper level, beyond categories, and to appreciate the originality and boldness behind each piece.” The gallerists hope the new exhibition achieves just that.