Referring to Gerard Saddier’s sensual and suave 1938 canapé made of silk satin, Bojan Šarčević combined a brushed stainless steel surface and a mohair dossier and frame. As such, he plays deliberately with the paradoxical nature of the two incongruous materials. The result is a strangely familiar object, setting off a certain cognitive dissonance: while the seating space is hard and cold, the surrounding frame and dossier are bodily human, soft and cushiony. As such, the sofa-sculpture builds on Šarčević’s previous works and expresses his undeniable obsession with objects that question their own genre. Be it through their size, materiality, fragility or name, his architectonic sculptures represent spaces and at the same time question them. “Slampadato” – Italian for a person addicted to using UV tanning-beds – questions architectural certainties. What you see is not (always) what you get.