ABOUT PAUL FREUNDT
An Atlanta sculptor for 20 years, I moved to the North Georgia mountains in 1995. My metal sculpture and art furniture in corporate and private collections nationally, including: the High Museum of Art in Atlanta, the Renwick Gallery of the Smithsonian Institution, and Elton John's permanent collection at his London estate.
The early part of my career was devoted almost exclusively to large sculptural works and commissions, the 300 foot catwalk and environmental sculpture with integrated lighting and waiting benches for the Metropolitan Atlanta Rapid Transit Authority (MARTA) Civic Center Station being the prime example. In 1985 I was given a special award by the Atlanta Chapter of the AIA for my integration of sculpture with architecture. But it is my recent interest and exploration in the area of art furniture that is gaining me national recognition.
In the late 80's, I began to focus my sculptural talents on furniture design, utilizing various metals including patinated steel, stainless steel, oxidized steel, aluminum and bronze. In 1992, a chair from this new body of work was included in one of only 20 spots in the "Furniture of the 90's" Competition, sponsored by the ASOFA in Houston and Parson's School of Design in New York and traveled to both locations. I also received the "Best Chair" award at "Table, Lamp + Chair 1993" in Portland. In 1999, one of my chairs was featured in a review in the "Los-Angeles Times Magazine", and received a NICHE Award for my bronze chair, "Troas", which was also juried into "The Chair Show 3" at the Folk Art Center in Asheville, N.C. In the late summer of 2000 "Troas" was acquired by the Renwick Gallery for its permanent collection.
I have exhibited at the Smithsonian Craft Show, as well as at the Philadelphia Museum of Art Craft Show 2000 and the Washington Craft Show. During the 2000 Washington Craft Show, my work was featured in articles in "The Washington Post" and "Home & Design"' Magazine.
The search for pure form is a passion for me. By that, I mean the distillation of discovered form into it's minimal essence --- what can and cannot be taken away without destroying the integrity of the form. I have sought to carry this philosophy, developed in my earlier career as a sculptor, over into furniture making. Sculptural presence, although important, must not override the functional requirements of the piece. (A case in point: an orthopedic radiologist from Johns Hopkins Hospital has collected two pieces; a chair and a chaise, not only for their aesthetic appeal, but also for their overall function as back and/or lumbar support and comfort for the whole body.)
Currently, I am studying the expression of form in both ancient and primitive cultures, abstracting those elements which I find adaptable to furniture design. While primarily a metal worker, I am presently interested in the occasional use of stone and wood.