Critic Barry Schwabsky has written of Lucy Dodd’s work that while her methods “allow for a good bit of randomness, the use of that randomness has been carefully thought through.” Dodd brings this same contradictory energy – both chaotic and precise – to her distinctive chairs, made by attaching tufts of pigmented cotton to a metal frame. The tubular understructure inevitably prompts thoughts of modernist designs, like those of Marcel Breuer, but the bright color and soft texture are more like something from the repertoire of Jim Henson. The combination is wacky and charming, yet aggressive, establishing Dodd’s furniture as the equal of her celebrated paintings and installation art.