Interview with Artist MadC

 MadC with one of the designs. Courtesy of Eins zu Eins

By WM May 12, 2025

The idea of constant movement feels both personal and universal—was there a turning point in your life or career that made this concept resonate more strongly, especially in the context of working with Eins zu Eins?

Every artist, myself included, eventually reaches a point in their career when it feels like time for something new. In my 25 years as an artist, there were two key moments that pushed me in new directions. The first was in 2010, after I completed the 700 Wall—a massive graffiti mural. That project pushed both my physical limits and my technical skills. I realized I could now paint anything I wanted with a spray can, and somehow, the magic was gone. That’s when I started searching for something different, which led me to develop my unique style of transparent layering.

The second moment came more recently. I had achieved a lot in the gallery space, I was comfortable expressing myself on canvas, and I felt the need for a new challenge. I found it in working with glass and exploring three-dimensional forms—especially through my collaboration with Eins zu Eins. It feels like the beginning of a new chapter, one that builds on my past without repeating it.

MadC at work
 

Your art often captures a sense of energy and momentum. How did you translate that dynamic into the physical form and structure of the table you designed with Eins zu Eins?

By doing the unexpected—the table moves and morphs. It can be folded in different ways, used in different ways, and it looks and feels different from every angle. It sparks curiosity and invites people to walk around it, to engage with it from all sides. So, not only does the table move, but it also makes the user move. That interaction is a continuation of the energy I always try to convey in my work.

Compared to your previous projects, what new challenges or freedoms did this collaboration with Eins zu Eins present to you creatively?

I had to learn about statics and ergonomic principles—things I usually don’t think about in my work. At first, it felt like a restriction, but it actually challenged my creativity. It opened up new ways of thinking, sparked ideas I wouldn’t have had otherwise. Designing something that isn’t just looked at but also used unlocks a different kind of potential, especially in the three-dimensional space.

Never Stop Moving Table, courtesy Eins zu Eins
 

When people encounter this piece—whether in a home, gallery, or public space—what kind of feeling or story do you hope it communicates?

First and foremost, joy. Then curiosity and creativity. I want it all to interact. I love encouraging people to be creative themselves, to open their minds. That kind of inspiration—when people tap into something within themselves—is a powerful shift.

Did working within the world of furniture design shift your perspective on your usual artistic practice in any surprising ways?

Absolutely. I used to work mostly in two dimensions, but now I’m thinking more three-dimensionally, and I hope to explore that even further. I’ve worked in public spaces before, but those pieces were only for the eyes. Now, the work engages the full body. It’s a more immersive, physical experience—and that’s a whole new kind of artistic expression for me. WM