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Vincenzo De Cotiis

Archeo Black

New York

Carpenters Workshop Gallery

9 March - 22 April 2017

About the Exhibition


Carpenters Workshop Gallery | New York is pleased to present the new and never-before-seen ‘Archeo Black’ collection by renowed Italian architect and designer Vincenzo De Cotiis, from March 9 to April 22, 2017.
For this unique solo show, Vincenzo De Cotiis explores his fascination for the passing of time and the language of raw materials on a surface, excelling in the art of playing with symmetry and harmony in a dark raw but sophisticated new collection.


The narrative force of Vincenzo De Cotiis’ designs is genuinely unique. By working the materials and surfaces with the sensitivity of a sculptor, Vincenzo De Cotiis’ organic processes exalt the beauty of a patina developed over time, turning imperfections and signs of age into precious details.
Referencing the imagery of African sculpture, the ‘Archeo Black’ collection draws on archeological memory. Raw materials meet the elegance of asymmetrical forms, creating pure and minimal objects holding a narrative force.


Under the guise of rough and imposing shapes, the skin of the ‘Archeo Black’ collection pieces consist of infinite details, exploring the sensuality of the surface and offering a tactile and visual experience. The richness and subtlety of Vincenzo De Cotiis’ imperfect designs strive against conformism and unfold the purity of De Cotiis’ expression.
Crafted by hand, the effect of the contrasting weighted volumes is almost pictorial. A chiaruscuro dense and present. Imperceptible colors and deep resinous grays, painted glass, ceramic accents, reclaimed textures, resin and ebony stones express an art that merges gesture and life.

As a result, Vincenzo De Cotiis creates unique, contemporary and highly aesthetic pieces that simultaneously work as design pieces as well as sculptural art.

As the artist himself explains ‘I re-propose anti-design in my work. I have a continuing desire to distance function and fight dictatorship of symmetry. With this work, I wanted to investigate tribal art as an initial expression, confronting the certainty of contemporaneity, the exasperated search for the unique, through naturalism and evocative symbolism.’

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