Steel Herself

Animal skulls, a neatly tied bow, deer antlers, an expanse of trees—these are among the naturalistic motifs that Maria Pergay captured in her work over the decades. Yet the eclectic range of objects-as-inspiration do not lend to a shred of chaos. Rather, the late French designer achieved her ultra-sleek aesthetic through steel minimalist sculpture that was freed from the material’s typically fussy, conservative constraints. Her sturdy, streamlined foundations doubled as gleaming scaffolding for the designer’s imaginative, witty flourishes that have long captivated her fans—among whom were iconic fashion designers she collaborated with, from Christian Dior to Pierre Cardin, and, more recently, the likes of Silvia Venturini Fendi.

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A year after Pergay’s death at the age of 93, Demisch Danant has reunited a selection of her work for the solo show “Precious Strength: Maria Pergay Across the Decades,” which just opened in New York. The nearly three dozen furniture pieces and objects span the start of her career in the 1950s through the 2010s, when she was still as active as ever. “As an artist, she was endlessly creative, always in a state of inspiration with dozens of ideas flowing every day,” says gallerist Stéphane Danant, who first worked with Pergay in a 2006 retrospective in his space. “Above all, she was a 'maker' at heart, passionate about creating—whether it was objects, furniture, interiors, or even houses.”

In considering the curling peel of an orange, the designer came up with the framework for one of her best-known design, which is on view in the show: the Chaise Anneaux (“Ring Chair”), 1968, which is made out of three concentric steel halos, their centers meeting at a sharp point in forming the seat. Also on view in “Precious Strength” is a stainless steel stool, Pouf Ruban (“Ribbon Pouf”), 2007, takes the form of a ribbon knotted up into a perfect bow, its tails serving as legs and the loops becoming the seat. Elsewhere, each in a pair of hulking cabinets, each dubbed Meuble Drape / (“Drape Cabinet”) 2005, features a larger-than-life safety pin as its handle. (Pergay had a thing against normal, recognizable handles, a gallery attendant shares with me.) Danant lists other names of her work emblematic of her mindset: “Titles like Flying Carpet, Wave Bench, Ring Chair, Saturne Table, Rainbow Table, Nautilus Lamps, Dear Lamps, and Leaf Lamps all reflect her poetic vocabulary and decorative language,” he says. “These pieces emerged from her imagination, sparked by sudden inspiration, which she would later transform into tangible objects.”

Though Pergay consciously tried to cater to female consumers of design, Demant, in surveying her life’s achievements, also notes the striking, sheer volume and heft of her pieces. “Our show is titled ‘Precious Strength’ to signify the fact that the strength in her work comes from the tension between masculine and feminine qualities, as well as the contrast between various inspirations and materials,” he says. “It’s a delicate balance—a kind of yin and yang—that gives her pieces their remarkable energy.” This immediately becomes clear when occupying a space surrounded by Pergay’s work, discovering them to be enticing yet also a little intimidating. What could be more seductive?

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“Precious Strength: Maria Pergay Across the Decades” is on view through November 30, 2024 at Demisch Danant at 30 W 12th St, New York, NY 10011.