Homework was created by Studio Job in 2006 – 2007 as a collection of eight works: seven heroic compositions in bronze, glass, and wood plus one monumental wall mirror. Each piece was offered in a limited edition of five.

Part domestic utility – part heroic sculpture, these precious hand-wrought common household objects – including fully-functional cooking pots, stools, lanterns, and coal bins – handsculpted first in wax in exalted proportions, and then rendered in polished bronze and placed upon aged wooden pedestals reminiscent of sacred statuary or palatial historical busts, define the term ‘oxymoron’ and cast to the winds the traditional approach to both sculptural as well as design practice.

Circumventing the Duchampian argument surrounding what is, and what is not Art, Studio Job does not employ ‘readymades’ – ordinary manufactured objects which, as defined by Duchamp, are then elevated to the dignity of a work of art by the mere choice of the artist – but, rather, creates through sanctioned classical ‘artistic processes’ these elegantly rendered ‘portraits’ of anonymous 20th century industrial designs. Diligently following the academic rules of Art, these bronze sculptures digress only in their radical choice of subject, and in their apparent visual indifference. Confronting the art market’s up-till-now half-hearted acknowledgement concerning the sculptural, or ‘artistic’ qualities inherent in all industrially produced utilitarian objects, Homework, consciously redundantly, re-creates those qualities through acceptable Artistic means, thereby addressing the current schizophrenic status of Art and Design, Collector and Consumer, Gallery and Shop.

With a genealogy somewhere between Brancusi and Koons, these seductive, pseudo-erotic objects, redolent with consumer desire, are, in the end, neither purely Commodity nor purely Art. Like certain so-called ‘functional’, yet highly expressive works before them, created by artist/designers such as Ettore Sottsass, Shiro Kuramata, Gaetano Pesce, and Bruno Munari, these artifacts dwell in a truly hybrid zone of object and objet d’art. Alluding to its humorous, satirical commentary, Marcus Fairs, in his book Twenty-First Century Design, characterizes Studio Job’s work as hovering “between art, design and burlesque”.

– Murray Moss, New York 2007