Crystals, Stones, & Scrap Metal: Sam Amoia’s New Collection Expertly Mixes High and Low
Sam Amoia is having a good year. Last fall, the Maison & Objet award–winning designer launched AMOIA Studio with his sculptor brother, Dominic, and already the two have a client roster that includes Calvin Klein, Stella McCartney, Dover Street Market, and Peter Marino. Projects span both coasts and international waters. Whichever Olsen twin this is is a fan.
It would be easy to begrudge Amoia all of his successes (he’s also a major interior design force and a former male model) if his talents weren’t so readily visible. As he graciously walked me through his debut collaboration with the uptown New York gallery DeLorenzo (the redesign of which he oversaw some months ago), Amoia was disarmingly personable, eagerly talking me through each piece’s humble origins and his myriad inspirations.
Working with gallery director Adriana Friedman and Anthony DeLorenzo, Amoia determined to combine traditional casting materials with precious stones and minerals including malachite, lapis lazuli, pyrite, and black tourmaline. It’s a collection born of a mutual affinity for modernity and an eye towards timelessness, assembled by hand in Amoia’s Brooklyn studio. Nickel, brass, and aluminum shavings were salvaged and incorporated into the designs.
The work is at once precious and ominous, a precarious balance that further solidifies the studio’s brand of tactile minimalism, subtly evolving their established visual language: organic, earthen materials married effortlessly with their more humble counterparts in streamlined, structural, sculptural shapes. AMOIA Studio’s debut collection, Minerality, alluded to similar themes—earthly potentiality; the metaphysical properties of crystals; a lifestyle unmarred by the need for drawers.
Highlights of the new, 10-piece collection include an elegantly proportioned geometric console table coated in brass shavings, topped with a slab of Italian onyx; a patinated cast bronze drum that the designer declares is an homage to Giacometti; and a round mirror in smoked brass held by eight Brazilian Aventurine-coated clasps. This work begs to be touched, but you’ll be wary to.