It’s hard to resist Dima Loginoff’s designs; they’re so conceptually
rich, drawing in so many aspects of history, art, and social commentary. Perhaps none of Loginoff’s creations to date
are as evocative as his concept chair, Dounyasha.
As exemplified splendidly by Loginoff’s human model, Alex
Torgunakov of Russia’s
Bolshoi Theater, the meanings of feminine and masculine in art, as in life, are
often imposed, not actual. And there is
no more illustrative example than Mr. Torgunakov himself, a solidly muscular man
with exquisite grace. As such, Dounyasha, the chair, is a massive (masculine?) shell
with graceful legs.
Dounyasha is an
old-fashioned name, a very traditional name in Russia. When the name is spoken, it evokes a certain
era of the late 1800’s. “Dounyasha,”
along with the Rococo flair that Loginoff often powders on his designs, come to
his modern stage very willingly, very gently, as if they just popped in to get
a glimpse of the future. And they seem
to be quite at home with it.
Dounyasha is a very enveloping chair, cozy, yet open enough for air (or
modernity) to pass.
skills deserve accolades along with his brilliant flair for translating the conceptual
functional with such grace.