André Dubreuil refers to his own work as “Super Classical,” a label
borne out in his own uniquely personal brand of postmodernism, a
playful approach to form which embraces multiple reference points,
among them the Baroque. Dubreuil’s work emphasizes the visual over
the functional, a typical postmodern rejection of modernist ideals. He
turns a cold shoulder on that seminal movement of the 20th century:
“…why make simple when you can make complicated,” he asks.

The present group of unique and limited edition works by Dubreuil
form the core of Betty Lee and Aaron Stern’s design collection and
represent the fullest expression of the designer’s anti-modernist ideas
on manufacture and aesthetics. For Dubreuil, form follows form; his
work flows from a direct, “organic process” of working freehand in
metal. Dubreuil’s rejection of mechanized manufacturing processes is a
further retort to modernism: “I like the perfection of the hand because
it’s made by man for man.” This artistic method has been fundamental
to Dubreuil’s practice since he began as an assistant to designer Tom
Dixon, who in 1985 taught him to weld—a revelation. “I loved it. I threw
my paint brush away and bought a welder,” he stated. Dubreuil’s first
chair, the unique “Throne” of that same year, was a gift to the London
fashion designer Georgina Godley. The following year, energized by this
new direction, Dubreuil designed the “Spine” chair (Lot 52), perhaps
his most recognizable work, an example of which is in the permanent
collection of the Victoria and Albert Museum, London. Produced
from flat steel rods the front legs have a cabriole form which can be
considered part of his “Super Classical” practice.

*All citations Gareth Williams and Nick Wright, Cut and Shut: The
History of Creative Salvage, London, 2012, p. 120