Wether it be pipes, hiking poles, walls or thrones, carving fragments of their culture into objects of value is ancient human behavior. The social claim the 20th century of reducing ornament and increasing functionally in furniture making, in order to mass produce affordable furniture for everybody, has bitten its own tail. Furniture today is often cheaply produced and aesthetically interchangeable, so that a careless throwaway culture has become established. This practice is ultimately part of the rapid destruction of the ecosphere. The resulting damages will firstly and mostly hit yet again the socially disadvantaged. Silhouette Chair is thus meant to be a political statement promoting autonomy and longevity. While drawing on furniture today is widely dismissed as non-functional decoration, Silhouette Chair makes the opposite statement. Using a spherical router head on an angle grinder, curly, antique-looking objects, figures, animals and plants are milled freehand into the seat and backrest.
The resulting illustration is not a redundant on top, but defines the aesthetics, haptics and positioning of the chair in space at its core. Situated below the surrounding surface, the imagery changes drastically when light hits it from different angles. Thus the chair must be moved to fully capture its aesthetics and becomes completely absorbed in its nature as a folding chair. The illustrations show fragments of Leo Le Bots everyday life, as well as elements connected with his close family. Coming from a family of classical musicians, the stroke is emphasizing playing an instrument. The illustrations are not constructed, but repetitively done over and over until finally the right one appears.