A weekly recap to share with you our favorite links, discoveries, exhibitions, and more from the past seven days. This week: stainless steel urinal sculptures, a coral-colored house balanced on a steep site, and fruit-decorated furniture that aims to tackle the stigma of eating disorders.

Interiors

Jewelry brand Mociun’s Brooklyn store has been remodeled by Bower Studios to provide a space for both of them to exhibit their wares. (Caitlin Mociun and Bower co-founder Tammer Hijazi are husband and wife, so this is also a keeping-it-in-the family situation.) Bower’s mirrors and furniture can be spied throughout the dual showroom’s interior, which is also populated with ceramics and home goods curated by the Mociun team. Olive green walls, a mocha-hued carpet, and buttery display shelves all create a warm and calm ambiance, while the repurposed glass-block partitions add a touch of mid-century flair. Jelly-bean-shaped consultation tables, with shiny chrome supports and surfaces connected like interlocking fingers, are a personal highlight.

The coral-colored house of my dreams! Designed by Raul Sanchez, this minimalist abode near Barcelona is perched on a precipitously steep site and reached via two flights of steps from the street above. The building is wrapped on three sides in monolithic textured plaster that matches the hue of the internal staircase, which hovers above a first step made from a flat chunk of rock and spirals all the way up to the roof. A gorgeous concrete and ceppo di gré stone island in the kitchen contrasts cabinetry in the palest of yellow shades, and the space opens out to a terrace as well as enjoying views across the valley through a wall of windows. In the living room, the black fireplace surround looks like a folded Postmodern sculpture, while the corduroy-upholstered sofa looks perfect for lazy weekend lounging.

Exhibitions

Curated by Rejina Pyo and Wondering People at the former’s boutique in London, Dissonant Beauty brings together seven multidisciplinary artists who “challenge conventional aesthetics, embracing tension, contrast, and the unexpected.” Moody, melancholy paintings by Jiahe Zhang, hand-blown glassware by Justine Menard, block-colored prints by Maddalena Zadra, and aluminum furniture and objects by Six Dots Design all feature within the showcase, which is on display at the Rejina Pyo Store in London’s Soho until April 30.

We all need a little fun in our lives, especially right now, and ceramic artist Sean Gerstley is doing his utmost to offer up joy via unbridled creativity. For his second solo exhibition at New York gallery Superhouse, titled Free Play, Gerstley explored “a new sense of unencumbered self-expression” and the results are as playful as you might expect. His colorful series of vessels recall the early 20th-century avant-garde movements, with defined geometric elements assembled together, while the brightly hued glazes bleed into one another. On view through May 31.

The Nomia boutique in Williamsburg is presenting a range of handmade lighting by SAW.Earth and textile work by La Réunion just in time for spring, when “we bend our attention to the tactile presence of objects beyond the visual” according to the store’s team. The lamps are constructed from triangles of gridded paper mounted on wooden bases, and their geometries become exaggerated and more apparent when illuminated. The textiles pieces combine multi-colored and patterned fabrics into quilts, aprons, placemats, with details like large running stitches and appliqué ribbons. Through April 28.

Watersports: Not For Public Consumption is the tantalizing title of South African artist Keith Henning’s solo exhibition, presented by Reservoir gallery, which builds upon the work created for his post-grad diploma at the Michaelis School of Fine Art. It comprises two very different yet connected bodies of work: a series of sterile, stainless steel urinals, and a collection of colorful, sculptural ceramic fountains. The tension between these commonplace architecture objects—one gendered and utilitarian, the other public and often ornamental—is highlighted through their contrasting forms and materiality. Influenced by the act of cruising, seeking anonymous or semi-public sexual encounters, some of the steel wall pieces “urinate” into one another, while others expel hidden dry ice, causing their surfaces to sweat and drip. Meanwhile, Henning’s ceramic fountains are imagined as “totems of queer liberty.” On view at Reservoir’s space in Cape Town’s Bree Castle House until May 17.

The shapes of bananas, pears, grapes, cherries and more are molded from clay or sand-casted in aluminum as part of Tbilisi-born designer Ia Kutateladze’s deeply personal debut solo show, Fruits of Vulnerability. The collection expresses her decade-long battle with an eating disorder, and is intended to foster dialog around this often stigmatized issue. Kutateladze created her series of sculptural pieces using fruit-relief clay bricks that are stacked together to form a chunky armchair, and similar cylindrical pillars used as legs for another chair and a stand for a floor lamp, while the aluminum fruits were attached to a chainmail wall hanging. Other items in the series comprise Surrealist amalgamations of eyes, tongues, hands, and other appendage-like elements, each with a frailty to its form. The pieces were on view April 3-5 at the K-Salon gallery in Berlin, where Kutateladze is currently based.

Discoveries

A pendant lamp that resembles an upside-down bandstand pavilion and sconce reminiscent of a chic Swiss cow bell? Yes please! These both feature in the third act from Parisian studio Ebur — which means “ivory” in Latin, as a tribute to founders Racha Gutierrez and Dahlia Hojeij Deleuze’s childhood in Côte d’Ivoire. The collection includes a variety of trapezoidal bronze shells perforated with tiny holes that form shades, as well as fabric tents suspended from threaded metal rods. Very cute.

Simple forms in simple materials are sometimes all that’s needed. Lighting brand Idaho Wood chose hospitality design studio Post Company for its first collaborative collection, which they named after Brooklyn’s last remaining forest, the Ravine in Prospect Park. The range includes a set of flush mounts – three sizes of the same minimal, hollow cuboid shape – and a table lamp that looks like a very architectural bird box. This design is formed from two solid pieces of wood, which have been charred to black using a traditional Japanese technique, and held together by wooden pegs – one of which also acts as a dimmer switch. Each light is handcrafted in North Carolina, finished with natural oils, and marked with an edition number.

The draped forms, deep red hues, and glossy finishes of these pieces by Netherlands-based designer Lukas Cober are so enticing. The resin armchair and accompanying stool he presented at PAD Paris earlier this month continue to move away from rigidity and simplicity of his early work, into a more crumpled, expressive language as introduced in his exhibition at Objects With Narratives last year.