The life of Mattia Bonetti stands as a testament to the vast creative potential of ambiguity, uncertainty, paradox, and duality-and absolute refusal to be one thing when it is possible to embody a multitude of possibilities simultaneously. His work exemplifies a certain strand of postmodernism that is both practical and theoretical; it embodies a philosophy of instability and witty subterfuge--a celebration of the principal of both/and rather than either/or and the quality in which everything, even identity, stays fluid. The combination of this philosophy and a dedication to the highest and most traditional standards of French classical workmanship, found within the ateliers of artisans and trained apprentices, results in an oeuvre whose inspiration (and perhaps insolence) is matched by its formal integrity. This ambiguity might even be traced through Bonetti's own biography, from his homeland of the Ticino region, which incorporates the bravura exuberance of Italy and the rigor and integrity of Swiss culture, to a childhood in the sixties, surrounded by both the authenticity of traditional antiques and the radical experiments of the era. But apart from such weary design tropes as "zeitgeist" and "upbringing," what Bonetti ultimately embodies is the sheer visceral pleasure of the artist, the creative imagination let loose, regardless of whether the results are to be hung upon a wall or tethered to domestic use.