Zsolt József Simon’s ceramic on a Sanlorenzo Yacht
Artworks have an ephemeral nature: they appear during exhibitions or auctions but vanish from public view once purchased. In the latest series by Art Advisory Budapest, we present artworks that have found their permanent place in homes, offices, and collections, inspiring those interested in acquiring art and building collections.
Since 1958, the Sanlorenzo shipyard has been building high-quality motor yachts. Each year, it produces only a limited number of custom-built units, with every yacht designed and manufactured according to the unique requests, style, and desires of its individual owner. The interior design of several models in the SX series was created by the architectural firm Lissoni & Partners, which also contributed to the realization of the SX112 model.
The interior design placed special emphasis on the division of spaces and the seamless dialogue between indoor and outdoor areas. The main deck was conceived as an open space, redefining the concept of yacht interiors. Adjacent to the lounge area, a bar zone and one of the dining areas are arranged in a fluid indoor-outdoor layout, further emphasized by large windows overlooking the sea. The understated materials and details combine Japanese purity with Italian elegance, forming a cohesive design motif across all interior spaces.
"The SX112 is another experimental model we developed in collaboration with Sanlorenzo. In this case, we relied even more on an architectural approach: this is a floating building." – Piero Lissoni
On the lounge’s coffee table rests a ceramic piece from Zsolt József Simon’s Seeds of Wings series (2017). Within the sleek, elegant, and modern interior, the ceramic object’s distinctive form takes center stage—its curved shape, reminiscent of a knotted rope, serves as a conceptual link to the sea, maintaining and expanding on this connection.
Zsolt József Simon’s ceramic on a Sanlorenzo Yacht
Zsolt József Simon draws inspiration from Romanesque paintings and Renaissance architecture—an influence that may surprise the viewer. However, instead of transforming these references, he allows them to unfold within him, using them as a foundation for his creative process.
In Simon’s work, ceramics symbolize the irregularity of physical existence, highlighting the contrast between an imagined ideal and the reality of artistic creation. This contrast does not emphasize imperfection but rather, through the dynamic surfaces, visually expresses the continuous material transformations and energies present in our surrounding environment.