To Christen Their New Dimes Square Gallery, Love House Kept It in the Family

When Love House first launched in 2018, their inventory was mostly vintage, sold from a former factory showroom in the heart of Greenpoint. But as they began their nomadic journey — landing next in a second-floor Greenwich Village showroom, then a series of more residential spaces in Flatiron — they began to double down on the relationships they’d forged with contemporary designers, particularly those in the very beginnings of their careers, kicking off a string of critically acclaimed solo shows. This past month, Love House founders Jared Heinrich and Aric Yeakey debuted a new space just off Dimes Square in New York’s Lower East Side; to christen the gallery, they curated their first group show ever — 60 brand-new works freshly delivered from the studios of talents they’ve spent years fostering. The exhibition was titled, appropriately, The Family Show, and each artist or designer was asked to contribute a piece that represented their own interpretation of the theme. “This special curation is a celebration of collaboration, reflecting their collective creativity, shared values, and the relationships that make Love House feel like family,” the duo says.

The new showroom spans 4,000 square feet over two levels and includes street frontage and a private backyard. This shifts Love House to a more accessible, gallery-forward format compared to their previous Flatiron space, and puts them slap-bang in the middle of a thriving community of artists and makers that Heinrich and Yeakey are excited to be a part of, and to contribute to. For the launch, the floors were drenched in oxblood red and the basement lined in crimson curtains to provide a dramatic backdrop for the works.

A major thread to emerge was one of heavy, chunky, almost Stone Age forms – we’ve been teased by ‘neolithic-core’ for a while now, and this was its most prevalent showing to date. Examples included Monolith’s walnut and onyx chairs, Dana Atelier’s patinated-copper coffee table, Clément Thevenot’s rough-textured low table with aluminum legs, Cal Summer’s cedar Bolt Bench, Batten & Kamp and Henry D’Ath’s Flintstones-esque Bolette coffee table, and figurative granite sculptures by Matthew Byrd. There were also lots of extruded tubes, such as the ash frame of a mirror with a burl back panel by BNF Studio, foam and neoprene pieces by Ara Thorose, and a squat pink onyx table by Arthur Vallin. On the other end of the spectrum were designs that channeled a prim, almost Victorian energy including Analuisa Corrigan’s silk-fringed lamps, Atarah Atkinson’s cloth-draped photograph, and Known Work’s ivory linen column of light.

Personal favorites from the exhibition were an armoire by Jackrabbit Studio, comprising a pair of wooden cabinets hung from a totem-like apparatus, the cube-shaped Case armchair Alter Ego Studio with a stainless steel base folded around chenille-upholstered cushions, and Monica Curiel’s incredible plaster works, which uncannily resemble draped fabric — a theme we’ll be exploring more deeply in the coming days, stay tuned!

PHOTOS BY JOE KRAMM

Astraeus Clarke (pendant), TK table, Clement Thévenot (lamp) / Matthew Byrd (sculptures) / Mokko (candleholders) / Simon Hamui (console)

Monica Curiel and Arthur Vallin

Analuisa Corrigan

Paolo Ferrari (chair) / Cam Crockford & Michiko Sakano (sconce) / Nicholas Bijan Pourfard (clock) / Arvo Ray (cabinet) / Umberto Bellardo Ricci (light) / Speny (rug)

Known Work

Jorge Suarez Kilzi

From left: Marcus De Paula & Natalia Landowska / Monolith / Atarah Atkinson/ Batten & Kamp + Henry D’Ath / JT Gibson / Alter Ego Studio / Studio Daniel K