Philipp Erlach
My career path became interesting when, at the age of 16, I left the technical college in Waidhofen an der Ybbs to begin an apprenticeship with a renowned restorer in my hometown of Linz. My first encounter with furniture making fascinated me and immediately gave me the feeling that I had finally found my calling. Back in 1997, on Waldeggstrasse, I was able to study antiques from the early 17th century to Art Nouveau and Art Deco, and after some time, also conserve and restore them.
After successfully completing my apprenticeship, I graduated from high school in Hallstatt. From 2002, I spent two years working on constructive furniture design in the geographical wonderland of the Dachstein region. Alongside this, I restored old pieces belonging to my family, not only to keep my skills sharp, but mainly because I enjoyed it so much. In 2004, I enrolled at the University of Art and Design Linz to study "Spatial & Design Strategies".
The following eight years were like a new universe, gaining ever greater depth along the spacetime axis, as Albert Einstein described it, and moving inexorably towards a black hole, but simply bringing in no money and ultimately spitting me out on the other side, a little wiser, but poor as a church mouse. I wanted something new, frankly, I needed a change, but what?
I have fine motor skills, knowledge of art and design, an interest in history and architecture, and have undertaken many trips in recent years focusing on cultural interaction in Europe, so why not properly smash the old offices of the Linz tobacco factory with a sledgehammer? That was my first official commission after graduating.
Architectural photograph of the tobacco factory by Peter Behrens ©Archipicture
It must be mentioned here that the offices had no intrinsic value whatsoever. They were inserted into Peter Behrens' wonderful building in the 1980s and had to make way for a certain kind of Linz gentrification in 2015.
From 2015 I was a freelance employee at TFL, before leaving in 2019 as head of the event management department and consultant for a cultural organization.
Perhaps for the last time, it was time for something new; this time it should bring together what made me who I am as a person, with all the skills I had accumulated over the years.
Today in 2022, I am very pleased to welcome you here to the Depot for Artefacts.
My journey through the markets in Europe
I mainly travel to markets in Belgium, England, the Czech Republic, Slovenia, Germany, Italy, and Austria, but my absolute favorite flea market is in Brussels. It's hard to beat in terms of quirkiness and hidden treasures.
The love for the piece, the story, and the perfect presentation.
The individuality surrounding the process of creating each design piece offered at Depot for Artefacts is what I love so much about this work. For example, when I'm on the road, wake up early in the morning, open the tailgate of my van, put my bare feet into the dew-covered, damp grass, put on the Bialetti coffee, and am inevitably overcome by the urge to hunt, there's only one thought: out into the market jungle to find treasures.
After discovering the pieces and having their stories told to me, phase two of the conquest begins. This involves researching their authenticity, the production period, and whether a famous name might be associated with them. Many books are consulted, and of course, the internet is scoured – and a glass of wine is always a must.
Phase 3 follows: the craft and preparation. In this fast-paced world, where many professions lack fulfillment because the individual's work no longer yields tangible results, the sensory engagement with the artifact offers a counterpoint. Literal grasping plays a crucial role. Our fingertips often reveal more about an object's materiality than our eyes can. Combined, these senses are, of course, unbeatable. Once I've deciphered the mysteries surrounding material, surface, and age, the find often simply needs a thorough cleaning.
Sometimes it is best to conserve an artifact, that is, to slow down or even stop the chemical aging processes and to carefully preserve and leave the traces of time that the piece brings with it, the so-called patina.
Often, however, pieces are so rare, or simply so valuable because one falls in love with them at first sight, that they are acquired in a badly damaged state. With such pieces, restoration is unavoidable; from this point on, the work delves into the proverbial depths of materiality. If, for example, parts made of wood or metal need to be reconstructed or replaced, a large stock of old materials can be drawn upon.
The same applies to surfaces. Shellac and oils, resins and waxes—at the Depot for Artefacts, great importance is placed on restoring the original surface. In addition to traditional craftsmanship, we also use 3D printing. For example, if plastic parts are missing from a lamp from the recent past, we can digitally reproduce and reprint them. In any case, it simply brings joy to bring out the best in these pieces.
At the Depot for Artefacts, payment by Bitcoin is not only permitted but encouraged.
The design and antiques market should also embrace new technologies and currency systems. Therefore, anyone who wants to can pay with Bitcoin here, because we firmly believe in the future of this secure currency and thus want to contribute a small part to it.
The rabbit hole story suggests that in the future, humanity will only benefit from spending its money on meaningful and lasting things, and that's exactly what we offer here at Depot for Artefacts. Our products require no raw materials, retain their value, and bring you pure design joy every single day. So, BTFD, don't FOMO, and then buy yourself something nice! Maybe we'll even have LAMBO soon!
