Gallery STUDIOTWENTYSEVEN Touches Down in New York City

Words Isiah Magsino
Photo Sean Davidson & William Jess Laird
Location STUDIOTWENTYSEVEN New York Gallery





Since 2018, Nacho Polo and Robert Onuska –the often similarly dressed duo behind gallery STUDIOTWENTYSEVEN –have worked to cultivate a universe of contemporary art and design. In just a few years, the two have opened two locations: first Miami and now New York City

STUDIOTWENTYSEVEN’s New York City location is their second location worldwide. The gallery is filled with work by artists and designers they represent, as well as a few personal art pieces

Many of the objects found in the gallery throw a curveball at viewers. Is that a… chair by Anthony Guerrée with a back that resembles a summertime wide-brimmed hat? Yes. Yes it is

7,000 square feet situated in the landmarked Textile Building in Tribeca is now the duo’s new playground, where design and art enthusiasts and collectors of all sorts can immerse themselves within the sophisticated yet highly playful world of STUDIOTWENTYSEVEN. Some highlights include large-scale upholstered sofas by Charlotte Biltgen geometric chairs by Paris-based designer Maxime Boutillier, sculptural, fluid-like sconces by Emma Donnersberg, and small sculptures by Victor Guedy






Just a bar cabinet? Look again. Designer Laura Gonzalez has a bit of fun with a classic home necessity by transforming it into a crab

Now you see it, now you don’t: a glamorous brass mirrored interior that is. The Raku Yaki bar cabinet by Emmanuelle Simon is a makeshift treasure chest. What you put in it is up to you

The two founders of STUDIOTWENTYSEVEN know that fun is necessary for a gallery to have a lasting impression. Their version comes in the shape of “That’s What I Do For Fun,” a gigantic red bear sculpture by Paola Pivi


What warrants a visit to the STUDIOTWENTYSEVEN’s new location is not only the aforementioned pieces or others that check off similar attributes (craftsmanship, innovation, et al.). It’s also the whimsy and personality imbued by pieces like the Granchio Bar by Laura Gonzalez which looks like a wooden crab; the art sculptures by Otani Workshop that appear like anime totems; a wooden chair outfitted with a back that is reminiscent of a sunhat by Anthony Guerrée; and the gorgeous (times ten) Raku Yaki bar cabinet by Emmanuelle Simon that moves like an oyster. When it is clamped, one only sees the smooth ceramic encasement. A grand reveal when the double doors are opened: a glimmering inside with polished mirror brass panels and geometric shelves worth reveling in