Chris Fusaro (b.1993, Montreal, Quebec) is an Italian-Canadian artist and Industrial Designer based between Milan and Montreal.
Trained in both sculpture and product design, his work combines elements of industrial production with craft-based techniques, drawing on a wide range of materials and processes.
He holds a BFA in sculpture from Concordia University and a technical degree in Industrial Design from Dawson College in Montreal.
Before establishing his own practice, Fusaro worked for several artists, including Jon Rafman and Gaetano Pesce.
Using function as the foundation for applied form, Fusaro reimagines everyday materials and objects, developing their utilitarian heritage into new abstractions.
His designs examine and emphasize the formal qualities of their construction—bringing their structure, materiality and fabrication to light.
photos by Tristan Clarke-McMurchy
anodized aluminum extrusions, stainless steel hardware
244 x 122 x 76 cm
Private commission for an apartment in Toronto, Ontario. Inspired by antique monastery dining tables made of timber, this version is made of anodized aluminum extrusions and can be disassembled.
photos by Benjamin Lund
ceramic, painted bronze
24 x 24 x 6.5 cm
A trompe-l’oeil clock modeled after the traditional Italian dish ravioli con burro e salvia. Celebrating the simplicity and flavor of butter and sage, this piece transforms a familiar recipe into a functional object. The ceramic plate, with its scalloped rim, marks the hours at 12, 3, 6, and 9, while bronze-cast ravioli rest in a golden pool of butter. At the center, two sage leaves serve as the clock’s hands, turning the dish’s garnish into the playful detail that completes its shift from meal to mechanism.
Made for the group exhibition Twenty-Four Hours, featuring 24 clocks designs by 24 international creative, presented during Milan Design Week 2025. Curated by Jamie Wolfond and Simple Flair.
photos by Aurélien Mole
In September 2024, Chris presented his first solo show Al Bronzo, in collaboration with sentimental fx at Galerie Hussenot’s project space La Cuisine, in Paris. As part of his ongoing Pasta Persa series, a new collection of objects were introduced that expanded on the themes and techniques explored in his previous works. This collection sought to extend the pasta motif beyond the kitchen, incorporating it into objects for different domestic spaces. The centerpiece of the show, the Mezze Maniche chair, made of cast and patinated bronze, marks his first large-scale piece and exemplifies the techniques first developed for smaller objects in the series. Produced with support from 56.digital
photos by Laila Pozzo
sterling silver
18 x 18 x 23 cm
Made in collaboration with Argenteria Miracoli for the eighth edition of Doppia Firma, with support from Fondazione Cologni dei Mestieri d’Arte and Living Corriere magazine. Presented at Villa Mozart during Milan Design Week 2024.
For this edition of Doppia Firma, the theme was “La Grande Milano”. Inspired by the city’s countless flower kiosks and plant-filled balconies, the piece reflects the arrival of spring in Milan through a domestic object. Referencing the classic silhouette of Murano glass mushroom lamps, the Millefiori lamp is constructed entirely from over a thousand hand-assembled sterling silver flowers. The work was developed for Doppia Firma, an exhibition that pairs designers with master artisans to create one-of-a-kind pieces.
photos by Vito Salamone
The Pasta Persa series was born from a simple idea: transforming pasta into functional objects. The process merges the precision of fine jewelry with the craftsmanship of traditional foundry techniques to produce sculptural designs that appear to be made of pasta. Each piece is cast using the lost-wax method—cera persa in Italian—with every step carefully executed by hand. Crafted from solid bronze or brass in a variety of finishes, each object is a one-of-a-kind creation, reimagining pasta as functional art for the kitchen and home.
photos by Samuel Pasquier
blown glass
23 x 23 x 23 cm
A blown glass lamp inspired by cellular mitosis and molecular geometry. The form draws from polyhedral structures and geodesic principles, referencing the work of Buckminster Fuller. Produced using a mold composed of twelve identical domed segments.
photos by Arseni Khamzin
painted steel, tempered glass
137 x 91.5 x 42 cm
A console made of bent steel rods, exploring the translation of two-dimensional wave patterns into three-dimensional form. The structure is composed of repeating and alternating elements, referencing the phenomena of standing waves and employing the geometries of sine waves and trigonometric curves.
photos by Samuel Pasquier
painted steel, tempered glass
118 x 118 x 41 cm
A coffee table constructed from bent steel rods, arranged in an intersecting grid of sine waves. The design draws on wave interference patterns and the geometry of repeating symmetrical curves to generate structure and dimensionality.
Grip channel table, 2021
galvanized steel
183 x 70 x 142.5 cm
A picnic table constructed from industrial grip channel, a perforated steel material commonly used as high-friction flooring in factories and on truck platforms. Its standardized dimensions allow it to be easily adapted to the proportions of a traditional wooden picnic table with minimal modification.
photos by Samuel Pasquier
anodized aluminum extrusions, stainless steel hardware
200 x 72.5 x 81.5 cm
Based on the plans from Enzo Mari’s instructional DIY book Autoprogettazione, the center truss of his original design has been modified to spell “ENZO” as an homage to the late designer. This version is made from anodized aluminum extrusions and can be disassembled.
photos by Samuel Pasquier
fiberglass, resin, gelcoat or upholstery
57.5 x 62.5 x 98 cm
A molded fiberglass chair named after its structural makeup: 3 feet, 4 members, 6 angles, 8 curves. The form exaggerates common structural features found in mass-produced plastic furniture—such as drafted surfaces, compound curves, and the absence of sharp angles—consolidating these elements into a single continuous surface. These qualities define its geometry and improve fabrication efficiency, allowing the 3468 to be produced using a one-part mold and to be stackable. Made with support from the Conseil des arts et des lettres du Québec.
photos by Samuel Pasquier
fiberglass, resin, metal hardware
91.5 x 91.5 x 81.5 cm
A modular lounge chair designed to function as a standalone piece or as part of a larger arrangement. Multiple units can be assembled into continuous seating configurations, adaptable to a variety of spaces and contexts. Composed of two parts, the top and bottom can be separated, facilitating stackability and transport. Its form is derived from mathematical sine wave functions and references the pattern of convoluted egg crate foam, a material commonly used for soundproofing and protective packaging.
photos by Carlos Davila
gypsum, brass or stainless steel
23 x 23 x 51 cm
Modeled after the foam mannequin heads commonly used in shops to display wigs and hats. The original form was reshaped, molded, and recast in plaster, with a sheet of mirror-polished metal applied to the face. Intended to function as a dressing room mirror while retaining its use as a wig or hat stand, it allows the user to see how an item might look when worn.