With a background in art and music and formal training in architecture, Vincent Pocsik is a creative in the purest sense. His premier furniture collection features the diversity of his skills, presenting lyrical movement and structural abstraction. Series 001 features designs that stretch and curve, bulging in unexpected and typically ignored places. The anatomy of each piece is as literal as it is metaphorical; the underbelly of a coffee table hangs low, swollen like a pregnant animal while stools perch delicately on the tips of their toes. Crafted from natural and ebonized walnut, the sleek forms are accessorized with brass rings, which appear more like jewelry than traditional ornamentation. Even his Pendant lamps reference life with muted shades of opal white, dark grey, and flesh. We caught up with Vincent in his downtown Los Angeles studio as he prepares for the launch of Series 001.

Who are you and what do you do?

I am Vincent Pocsik and I design and build furniture.

Where is your workspace?

I have a studio/shop down an alley way in downtown Los Angeles.


What made you turn to this direction?

I have always been a creative, first starting with music and then art, both of which happened at a period in my life when I was getting myself in a lot of trouble.  I decided I needed some structure and chose to study architecture initially after this phase.  Once I got out of grad school I realized I had a strong desire to have more creative freedom as well as to start using my hands again.  This led me to furniture, which was the wonderful median between my past passions and studies.

Was this always your dream job?

It was my dream job that I never knew until it was.


How much of the week is work, how much is play?

This is a difficult question because of overlap and a constant change of schedule.  Of course when you are doing something that you love its all play, but I think you still need to get away from it at times.  I would say that when I force myself to step away and “play” it usually allows me to figure out certain things that I am stuck on.  Long story short – inconclusive.

What has been the most exciting thing you have done with your work, and what is a dream situation you’d like to find yourself in?

The most exciting thing I have done with my work is always the last piece that I design.  At the current time that is a dining table, the first of which is being fabricated now.  Sitting back and seeing a finished design that is an improvement on my past ideas always gets me excited for the next project.  My dream situation is to have unbounded access to resources to create with in the sense of materials, machines and minds.


How do you find your inspiration?  

I tend to find inspiration everywhere including the vast amount of great work being created around me.  I do have an obsession with anatomy though.  When I was young I “borrowed” a great book from the library on how to draw the human body and would study it constantly.  Still today the beauty of bodily forms grab me in the same way – bone, muscle, fat, ect.  Being able to transfer that beauty of bodily form into a natural material that has its own innate beauty is very satisfying for me.

How do you define your personal style, work and clothing, etc.? 

My personal style is that of worn out things or at least worn in.  I typically do not like a pair of shoes until they have a couple of months/years on them.  I think my work is an odd reflection of that desire for attachment. My designs have a provocative side but are always designed to be timeless.  I would hope that in 200 years (if we make it) that my work will have the same effect on someone as it does now, regardless of reference.


What’s something someone may not know about you?

I have a very hard time dividing my attention when I am in the middle of designing something. My process is very abstract, I like to take a loose idea and walk with it so it ends up taking up a lot of emotional space.  At the gym, grocery store, on a date ect. I am continually collecting and massaging an image in my head.  I choose not to make mood boards or collect reference images directly; instead I like to collect it all in my head.  I’m not sure that this is the best way, but it is how I work so I accept it.  To me this helps make a greater influential impact of the things that are closer to me rather then that of other peoples work around me.

Anything else you would like to say or for us to know?

I am incredibly emotionally attached to each piece that comes out of my shop.  My main business/artistic goal is to keep this attachment as we grow.  I believe that the amount of time and compassion put into a piece is transferred directly over to the person that owns it.  This idea and the “cosmic essence” of a material as Brancusi might put it can create a powerful effect when combined with well thought out design.  I think it is very important to have objects in our life that have been touched compassionately by the human hand.   Most of our closest objects do not carry this essence and I want to do my best to bring objects into the world that do.


Learn more about Vincent at

Interview by: Sophia Haney Montanez 

Studio Photography by: Tori Willis

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