Underlying all Messgewand’s work is a critique of broader systems of production and representation - by investigating the constructs of taste, materiality, and utility, Bondoux and Coppin examine the forces that shape our relationship to aesthetic appreciation and what happens when you hack them. Their discoveries will just as readily take the shape of shimmering fabric-clad lamps like Myth (2018) as they will slip into the realm of pixels and megabytes, such as the kaleidoscopic collage series Digital Furniture (2016–18).

Color and texture are paramount to Messgewand’s work, with materials like fluorescent latex gloves, ombré sherbet-hued tapestries, bristling red tinsel, and gloopy blue slime ensuring their supersensory creations appear both glamorous and grungy at the same time. There’s also an uncanny sense of humor to how they anthropomorphize inanimate objects, their creations seemingly most comfortable somewhere between the digital and the real, frequently taking advantage of bad green screen, CGI backdrops, and exaggerated shadow effects. Summarizing their slippery aesthetic, which straddles both obsessive ornamentation and stark minimalism, Coppin and Bondoux contend, "Messgewand’s identity is our ability to twist it."

https://pinupmagazine.org/articles/article-french-design-messgewand-digital-furniture-text-by-alice-bucknell