February’s Feature: Jens Risom

Jens Risom introduced Scandinavian design to the United States in 1939. He was one of

the first designers to bring Mid Century style to the US. Risom was born in

Copenhagen, Denmark and began designing at a very young age. He was heavily influenced

by his father, an architect, and pursued his studies at the Copenhagen School of Industrial

Arts and Design. Risom’s designs are considered modern classics and he has many furniture

pieces on display throughout the United States.

His designs are timeless and practical. He is known for his unique shapes and strong parallel

lines. The designs are effortlessly beautiful and still relevant to this day. Risom partnered with

entrepreneur Hans Knoll in 1941, and in 1942 they launched the Hans Knoll Furniture

Company. There were about 20 pieces designed for Risom’s inaugural “600” line.

Below are key examples of iconic Risom designs featured at Matthew Rachman Gallery.

marlee power
Untitled,  Slater Sousley

Untitled, Slater Sousley

Slater Sousley received his BFA from the School of the Art Institute of Chicago in May 2017 and is currently enrolled in an MA program at Eastern Illinois University.

MRG: How did your time in Chicago affect your practice? 

SS: It’s hard to know where to begin when assessing the impact of my four years living and studying in Chicago, not only on my practice, but also on my life as an artist. I grew up in the suburbs of Kansas City, so, the exposure to city living certainly gave me a new perspective. The views of the city, its congested streets, and public transportation systems were fascinating to me and became the inspiration for a few of my paintings that depict crowds in urban spaces. 

While the city was an inspiration, it was extremely draining – a fact that I embraced in my painting. Yet, I relied on retreats home, as well as to my family’s farm in rural Missouri, to recharge. 

MRG: How has your work evolved since leaving Chicago?

SS: After graduation, I completed a working residency in the Italian countryside where, the year prior, I completed a study-abroad course through SAIC. Having had the experience of plein air painting in Italy for two consecutive summers, I came to understand the impact of studying and the pursuit of capturing the elusive experience of nature. Upon my return to America, I proposed to Matthew Rachman, my idea to immerse myself within the woods of mid-Missouri, to absorb the rhythms and patterns, the light and the shadows, the sounds and sensations of nature. 

My time spent in the woods working for the show, Still Moments, had an intense impact on my relationship towards painting, my understanding of perception, and the way in which painters work to translate the visual world. 

The Woods Beckon,  Slater Sousley

The Woods Beckon, Slater Sousley

November Brush , Slater Sousley

November Brush, Slater Sousley

MRG: Do you see your mainly figurative studio works as complimentary to your plein air work, or do you see them as separate entities? 

SS: Just as I pushed myself outside, I push myself in the studio. I constantly question visual realities and their impact on the viewer. In this regard, my plein air and my studio work are not different. However, the pace is markedly different. In the landscape I’m in a frenzy racing against the sun; I’m pulled in to the patterns of nature and grapple with untangling the visual maze of forestry; relentlessly reevaluating, reworking, shifting color from one stroke to the next. In my studio, I am afforded the luxury of time, of sitting and dwelling, of mulling over effects of gesture, representation and abstraction, color and form. 

MRG: Where do you see your practice going next? 

SS: Although I find myself pulled in various directions in terms of what to paint next - constantly pushing my ideas further, one imperative for me is the pursuit of an authentic and honest interpretation of experience. I think it is my role as an artist and a painter to seek to understand my experience and perception of the visual world, to start a dialogue about the shared experience of existence that is simultaneously unique and universal.  

If you are interested in viewing Slater Sousley’s work, please contact the gallery to set up an appointment. 

Treetops , Slater Sousley

Treetops, Slater Sousley

Hannah Unger

Happy holidays from all of us at Matthew Rachman Gallery!

We are grateful for our diverse community of artists and designers, and we'd like to take some time to reflect on this past year. In 2018, we had works by Tom Judd, Slater Sousley, Charlotte Perriand, Shinnosuke Miyake, Ted Stanuga, Katya Bankowsky, Michele Lamy, Maya Angelou, Zoë Buckman, Megan Euker, Kasia Kay, Cheryl Pope, and Marcela Torres up on our walls.

Still Moments:  Works by Tom Judd and Slater Sousley  February 24, 2018 - April 8, 2018

Still Moments: Works by Tom Judd and Slater Sousley

February 24, 2018 - April 8, 2018

Perriand in the Mountains   April 14, 2018 - May 27, 2018

Perriand in the Mountains

April 14, 2018 - May 27, 2018

Closer:  Works by Shinnosuke Miyake  July 13, 2018 - September 9, 2018

Closer: Works by Shinnosuke Miyake

July 13, 2018 - September 9, 2018

Tracing Space:  Works by Ted Stanuga  September 14, 2018 - October 28, 2018

Tracing Space: Works by Ted Stanuga

September 14, 2018 - October 28, 2018

On Guard:  Curated by Kasia Kay Art Projects  November 2, 2018 - December 2, 2018

On Guard: Curated by Kasia Kay Art Projects

November 2, 2018 - December 2, 2018


We are beyond excited for our upcoming shows in 2019, and would like to thank you for your continued support!

Martha Morimoto


This cantilever sofa by Milo Baughman, produced in the 1960s, has been freshly reupholstered with a plush poly blend that catches light in its weave. Contrasting soft, rounded edges with its clean-edged chrome, this design combines the organic shapes of contemporary furniture with MCM rectilinearity.


Azure has an entrancing washed blue background that underscores the sharp lines of its collaged paper. These thin lines that appear hand drawn, reveal themselves to be meticulously cut from strands of paper. Their craft gives them a wavering width and kinked bends that so well articulate Segal’s sensibility. Rigid like wire and sharp like the edges of tape, Segal places these lines to activate the borders of her paintings. Shadowy polygons hover beneath the artwork’s monochromatic background to highlight the negative space left by the foreground’s lines.


Curtis Jeré, known for producing elegant brass and glass sculptures under Artisan House, made some of the most iconic wall pieces of the 60s & 70s. This mirror comes from one of Jeré’s most recognizable series: Raindrops. Characterized by its emphasis on circularity and reflection, Raindrops possess warm patinas and luminescent form.



The first work you see when you walk through the door is this still photograph from Battle Royale by Katya Bankowsky with Michele Lamy. This provides a perfect entryway into the world of this show. Click the image to read more about the show, On Guard.


Reupholstered in rich mohair, these Bronze Platner Lounge Chairs add a little bit of playful elegance to your interior. Their slim, curvy profile with a wide seat means they are as comfortable as they are stylish.


William Eckhardt Kohler’s saturated and harmonious landscapes are comprised of relaxed, brushy paint and remarkable color. Resting his composition on the edges of the frame, Kohler lends an air of romanticism to the hollowed out building in the foreground. With perspective that nods to Cubism and colors reminiscent of the Fauves, William Eckhardt Kohler produces luminescent work well aware of its predecessors, yet altogether new.