Chair in plywood and lacquer
Soft Structure Chair
2026
The Soft Structure Chair began as a desire for simplicity. Flat surfaces, clean soft lines, nothing carved, a deliberate step back from complexity.
What emerged was something else. A form that looks soft — reads as monumental. A three- legged structure that feels precarious but holds. A back that rises into something closer to a presence than a support.
This gap between intention and outcome is where the Border lives. A border is most legible at the moment of contact, at the edge where one matter ends and another begins. Where a body meets an object, where weight is received, where two surfaces briefly share the same space. The silhouette rises asymmetrically, holding the presence of something closer to a body than a seat. The back curves into the seat through a process of controlled yielding, kerf cut technique, in which wood is scored precisely to the point where rigidity becomes pliability. The border between hard and soft is negotiated millimetre by millimetre, until the material agrees to bend.
A soft border defined by touching rather than dividing, makes the subject legible by holding it gently at its edge.
The Soft Structure Chair belongs to The Soft Structures Series, a body of hand-built one-of- a-kind objects that explore the potential of form to suspend itself between stillness and the suggestion of interaction.
Yelyzaveta Rudenok (b. 1998, Ukraine) constructs objects mainly from land-sourced materials through a slow, hands-on analogue process. Rooted in the appropriation of visual archives and memory, her bodies of work hold the potential for physical activation within stage and living spaces. She holds an MFA from the California College of the Arts and is currently based in Vienna.