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Hungarian artist Boldizar Senteski’s Erosion Collection, a set of three handmade mirrors shaped through oxidation and corrosion, is available exclusively through StudioTwentySeven in New York. Each mirror is a signed, unique work made in Hungary; prices are available on request.
Hungarian artist Boldizar Senteski is presenting the Erosion Collection, a triptych of handmade mirrors, through New York gallery and design space StudioTwentySeven. Each piece is shaped through processes including oxidation, corrosion and repeated layering, making the collection a functional design offering as well as a group of individual sculptural works.
The mirrors combine surfaces altered through oxidation and silvering with frames of highly polished stainless steel. Design Milk’s report describes the collection as drawing on fragments of the urban environment, including Brutalist forms, architecture, raw concrete and weathered materials. The effects are produced through a process that lets changes in the materials contribute to each mirror’s final appearance.
According to the report, all three mirrors were handcrafted in Hungary. Each is a unique, signed work and comes with a certificate of authenticity. The pieces are available exclusively through StudioTwentySeven, with pricing provided upon request. The report does not list dimensions, individual product names or details about delivery.
Senteski described the process as a balance between setting conditions and allowing the materials to develop their own results. “I establish the conditions for the process to unfold but ultimately allow the material to shape itself,” he said. “There’s something special about the way each piece finds its own form.”
When a Mirror Becomes a Record
The collection gives the familiar mirror a second role: its surface is not presented as a uniform, neutral plane, but as a record of material change. Oxidation and corrosion mark the objects, while the polished steel frames keep their practical identity as mirrors in view. That tension between function and expression is central to the project as described by Design Milk.
For buyers and design audiences, the three-piece format also means the work is not a run of identical products. Each mirror is described as individually formed and signed, with marks that Senteski says cannot be replicated. The collection therefore sits between collectible art and functional design, although the source gives no prices that would allow readers to compare its cost with other works.
The project also foregrounds a process in which the artist sets conditions but does not dictate every surface detail. That approach makes the finished appearance part of the work’s identity, rather than treating variation as a defect. The report does not provide technical details about how the finishes are made or maintained, so the degree to which the surfaces may continue changing after production is not established.
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Urban Forms Shape the Collection
Senteski links the work to his interest in how cities preserve evidence of change. “I’ve always been drawn to the urban environment; the way it carries the marks of time and holds a record of its own transformation,” he said. He said he wanted oxidation and corrosion to make time part of the work, connecting the mirrors’ finishes to the weathered surfaces and structures that informed the collection.
Design Milk places the collection within Senteski’s ongoing interest in the boundary between art and design, where a usable object can also operate as a sculptural form. The report does not identify earlier collections or provide a broader career history, so it offers limited information about how Erosion relates to his previous work. Its account focuses on the three mirrors, their material process and their availability at StudioTwentySeven.
“I’ve always been drawn to the urban environment; the way it carries the marks of time and holds a record of its own transformation.”
— Boldizar Senteski, quoted in Design Milk
Pricing and Care Details Not Listed
The source confirms that the collection is available through StudioTwentySeven but does not give a release date, prices or purchasing terms. It also does not provide dimensions, installation guidance, shipping information or details about how to care for the treated surfaces.
Although the report describes oxidation and corrosion as part of the production process, it does not say whether the finishes are sealed or whether they may change after completion. The claims about each mirror’s uniqueness and process come from Senteski and the Design Milk report; no independent technical assessment is included. Readers seeking exact specifications or availability for an individual piece will need to contact the gallery.
Contact StudioTwentySeven for Availability
The next step for prospective buyers is to contact StudioTwentySeven for current availability and pricing, which the source says is provided upon request. The report does not announce an exhibition closing date, a future presentation or plans for additional mirrors. Any updates to the collection’s availability or details about the works would need to come from the gallery or Senteski.
Key Questions
What is the Erosion Collection?
It is a triptych of handmade mirrors by Hungarian artist Boldizar Senteski. Their surfaces are shaped using processes including oxidation, corrosion and repeated layering.
Where can the mirrors be purchased?
The collection is available exclusively through StudioTwentySeven in New York, according to Design Milk. Buyers should contact the gallery for availability.
How much do the mirrors cost?
Pricing is available upon request. The source does not provide specific prices.
Are the three mirrors identical?
No. The report describes each mirror as a unique, signed work accompanied by a certificate of authenticity. Senteski says the material process gives each piece marks that cannot be replicated.
Where are the mirrors made?
Each mirror is handcrafted in Hungary, while the collection is offered through New York’s StudioTwentySeven.
Source: rss
