CUPID

I curated this as an intimate encounter between weight and fragility, shadow and desire.
At its core, an André Arbus & Vadim Androusov sideboard (c. 1940) grounds the space—dark, confident, almost bodily in its presence.

Above, Bernard Buffet’s Delphiniums bleus (1971) erupts in electric blue, the oil vibrating like a pulse against the wall. The flowers feel less botanical than emotional—nervous, exposed, alive.

To the right, an Eugène Printz floor lamp (c. 1937) stands tall and composed, a vertical caress of brass and restraint. Its light is deliberate, never decorative.

On the sideboard, Alberto Giacometti’s Écossais desk lamp, conceived in 1935, offers a more intimate glow—sculptural, cerebral, almost whispered.

Beside it, a Vadim Androusov sculpture (c. 1950) holds the tension of the human form: poised, silent, undeniably sensual.
This is not a room designed to be observed from a distance.


It invites closeness.
It asks the body to linger, the eye to slow, and time to soften.