A perspective shot showcasing Harry Rigalo's biomorphic ceramic sculptures in a room lined with high, empty wooden shelving. Tall, ruddy terracotta forms stand in conversation with a dark clay figure in the foreground, their playful, modernist shapes echoed by a row of smaller figures visible through a distant archway. The geometric tiled floor anchors the spatial rhythm.

Forms Without Briefs: In Harry Rigalo's Deput Clay Collection Function Surrenders to Feeling

Words by Eric David

Milan, Italy

In the world of design, functionality has long served as both an anchor and a point of departure. The modernist dictum that form must follow function once defined the parameters of good design in terms of clarity, purpose, and restraint. Yet over the past few decades, as the boundaries between disciplines have softened, so too has this rigid hierarchy. Today, many designers approach furniture and object-making not as a response to need, but as a mode of artistic inquiry, an evolution that has given rise to what we now call collectible design. Occupying the space between craft and art, this is a field that concentrates more on the poetry of form rather than the pragmatics of function.

Greek designer Harry Rigalo inhabits this space with instinctive ease. A self-taught maker whose work oscillates between sculpture and utility, Rigalo approaches design as an emotional composition rather than a technical exercise. Curated by Joy Herro, his solo exhibition, Forms Without Briefs, currently on view at The Great Design Disaster gallery in Milan till December, brings together a collection of ceramic furniture and objects whose functionality is obscured by their abstract, sculptural presence. Presented in the gallery’s intimate Via della Moscova space, a former antiquarian bookshop turned creative hub, the show imbues visitors with a feeling akin to entering a mythic workshop showcasing newly unearthed relics.

A striking portrait of designer Harry Rigalo, set against a rough, sun-drenched exterior studio wall. He wears a relaxed, rolled-sleeve blue shirt and gazes directly at the camera, his intense expression and the raw, textural backdrop mirroring the elemental and deeply personal nature of his ceramic practice.

Greek designer Harry Rigalo. Photography by Antonis Agrido.

An entrance view of Harry Rigalo’s “Forms Without Briefs” exhibition. Monumental, primal ceramic sculptures in warm terracotta and deep cocoa clay dominate the foreground, their abstract, totemic shapes contrasting with the chevron-patterned floor. Reflections of the forms are visible on the glass door, which bears the exhibition title, creating an immersive, layered composition of design and art.

Exhibition view, Forms Without Briefs by Harry Rigalo at The Great Design Disaster, Milan. Photography by Luigi Fiano.

A perspective shot showcasing Harry Rigalo's biomorphic ceramic sculptures in a room lined with high, empty wooden shelving. Tall, ruddy terracotta forms stand in conversation with a dark clay figure in the foreground, their playful, modernist shapes echoed by a row of smaller figures visible through a distant archway. The geometric tiled floor anchors the spatial rhythm.

Exhibition view, Forms Without Briefs by Harry Rigalo at The Great Design Disaster, Milan. Photography by Luigi Fiano.

A precise, horizontal composition featuring a series of small-scale ceramic works by Harry Rigalo displayed on a minimalist white plinth. The dark, expressive clay and warm terracotta figures explore abstract, anthropomorphic, and vessel-like forms, their raw materiality juxtaposed with the striking, zig-zagging pattern of the underlying floor tiles.

Exhibition view, Forms Without Briefs by Harry Rigalo at The Great Design Disaster, Milan. Photography by Luigi Fiano.

Rigalo’s path to design was anything but conventional. Growing up in Athens, he spent his teenage years working on construction sites (at the time, the city was in the grip of a building frenzy in preparation for the 2004 Olympic Games). Those early experiences sharpened his sensitivity to weight, balance, and imperfection, while later studies in music technology introduced him to rhythm and composition, elements that today quietly inform his approach to form and proportion.

His first forays into design grew out of an almost archaeological impulse: collecting discarded industrial fragments, offcuts, and found objects from worksites and workshops, and reassembling them into hybrid compositions that balanced utility and intuition. Over time, he turned to marble, crafting limited-edition furniture and objects that combined structural rigour with sculptural restraint, whilst consistently retaining the same spirit of experimentation and an openness to the unexpected. With Forms Without Briefs, Rigalo turns to clay for the first time, a material as unpredictable as it is expressive.

Two terracotta pieces by Harry Rigalo on a rough concrete floor, bathed in a pool of strong sunlight. A small, horse-like sculptural vase sits atop a functional stool with thick, organic legs. The rough, earthy texture and bold shadow play highlight the primitive, functional aesthetic within the raw studio environment.

Forms Without Briefs by Harry Rigalo, Athens preview. Photography by Antonis Agrido.

  • A close-up of a stacked, modular ceramic sculpture by Harry Rigalo, crafted from rough, dark clay, sits on a weathered, metallic surface. The piece, reminiscent of industrial machinery or a sacred totem, is surrounded by elemental shapes—rounded stones and raw concrete blocks—emphasizing the material's primal quality.

    Forms Without Briefs by Harry Rigalo, Athens preview.
    Photography by Antonis Agrido.

  • Designer Harry Rigalo is captured working on a large, smooth, rounded ceramic form in his studio. Dressed in a practical blue work shirt, he stands over the piece, with technical sketches of his abstract, architectural designs visible on the wall behind him, emphasizing the tactile nature of his creative process.

    Greek designer Harry Rigalo working in this studio in Athens.
    Photography by Antonis Agrido.

  • A chaotic yet deliberate arrangement, featuring ceramic works and a full-scale plaster cast of a classical nude. The sandy-hued floor contrasts with a terracotta stool and a dark, stacked vessel, juxtaposing the primitive, biomorphic modern designs with classical, found, and work-in-progress forms.

    Forms Without Briefs by Harry Rigalo, Athens preview.
    Photography by Antonis Agrido.

A tall, dark brown ceramic sculpture by Harry Rigalo, composed of stacked, bulbous forms, stands against a white wall and a vintage radiator. The massive, matte clay figure grounds the space, its imposing presence softened by the background's subtly reflective window glass and the warm, patterned tiles of the historic Milanese floor.

Exhibition view, Forms Without Briefs by Harry Rigalo at The Great Design Disaster, Milan. Featured work: THILI (totem), H163 × 45 cm. Photography by Luigi Fiano.

A close-up of a small, biomorphic side table by Harry Rigalo crafted from sandy, pale ceramic. The object exhibits an intentionally rough texture and is defined by symmetrical, undulating protrusions that suggest organic, muscular forms. The piece stands on three stout legs, visually engaging the geometric black, white, and yellow floor tiles.

Exhibition view, Forms Without Briefs by Harry Rigalo at The Great Design Disaster, Milan. Featured work: 4 FACES (side table), 42 × 42 × H39 cm. Photography by Luigi Fiano.

Where marble demands control and precision, clay rewards intuition and surrender. For Rigalo, it proved to be a revelation, a medium through which thought gave way to feeling, thereby loosening his artistic impulses. Working with high-grog stoneware, he built each form by hand, coiling, stacking, and shaping the heavy clay into balance through instinctive gestures. That isn’t to say the process was effortless; on the contrary, it demanded a makeshift series of scaffold-like supports, bracing systems and internal joints to hold the weight of each piece as it took shape. Left unglazed, the finished works retain the raw texture of the material, preserving every trace of touch and movement.

The resulting collection feels at once primeval and disarmingly expressive. Bridging an archaic and modernist sculptural language, it comprises tall, totem-like forms, some of which double as floor lamps, curvaceous stools and side tables, and toy-like objects, all animated by fluid, offbeat lines and richly tactile surfaces. Some pieces evoke fragments of industrial piping, composed of several modules bolted together, hinting playfully at Rigalo’s past experience working on construction sites. Other pieces possess a ritualistic sensibility, as if they belonged to an unknown civilisation. Throughout, function flirts with abstraction where each piece no longer asks to be understood, and only felt.

A captivating side table by Harry Rigalo in natural, sandy-hued, coarse-grained ceramic. The piece features a stout, organic body with pronounced, sculpted protrusions and three thick legs. This biomorphic form, reminiscent of a found relic, stands out starkly against the crisp white wall and the rich, multi-toned terrazzo floor.

Exhibition view, Forms Without Briefs by Harry Rigalo at The Great Design Disaster, Milan. Featured work: 4 FACES (side table), 42 × 42 × H39 cm. Photography by Luigi Fiano.

A low, monolithic side table by Harry Rigalo in rough-textured, saturated terracotta clay. The piece features a simple round top supported by three widely-spaced, elongated legs, resembling primal, flattened limbs. This functional sculpture is centered, emphasizing the contrast between its raw, organic form and the clean, angular floor mosaic.

Exhibition view, Forms Without Briefs by Harry Rigalo at The Great Design Disaster, Milan. Featured work: ISOFAGUS (side table). Photography by Luigi Fiano.

A cylindrical dark clay stool by Harry Rigalo with a dense, matte texture suggestive of ancient stone. The heavy drum-like form is lifted slightly by four subtle, recessed vertical cuts, giving the impression of segmented legs. The functional sculpture is spotlit, highlighting its grounding presence against the bright wall and patterned floor.

Exhibition view, Forms Without Briefs by Harry Rigalo at The Great Design Disaster, Milan. Featured work: HELMET (stool), 39 × H41 cm. Photography by Luigi Fiano.

A mid-section detail of a dark cocoa ceramic column by Harry Rigalo, which blends industrial and ritual aesthetics. Flange-like discs, some secured with faux rivets, interrupt the cylindrical form, creating an engineered yet precarious sense of movement against the neutral, softly lit backdrop.

Exhibition view, Forms Without Briefs by Harry Rigalo at The Great Design Disaster, Milan. Featured work: AI WAITRESS (totem/light), H150 × 35 cm. Photography by Luigi Fiano.

A striking dark clay sculpture by Harry Rigalo, suggesting an industrial relic, stands vertically against a plain white wall. The tall, cylindrical form is interrupted by spiraling, flange-like discs, introducing an angular tension to the smooth column. The piece anchors the foreground above the bold, chevron-patterned Milanese floor.

Exhibition view, Forms Without Briefs by Harry Rigalo at The Great Design Disaster, Milan. Featured work: AI WAITRESS (totem/light), H150 × 35 cm. Photography by Luigi Fiano.

  • A small, symmetrical dark ceramic sculpture by Harry Rigalo, suggesting a hybridized mechanical and human form. The composition features stacked geometric elements, accented by two circular voids on the sides. The piece's dense, rugged texture and strong shadow play give it the character of an ancient, engineered artifact.

    Exhibition view, Forms Without Briefs by Harry Rigalo at The Great Design Disaster, Milan. Featured work: LEVELS (object), 24 × 17 × H35 cm. Photography by Luigi Fiano.

  • A robust, dark brown ceramic vessel by Harry Rigalo rests on a pristine white plinth. The weighty, cylindrical form is bisected by a sharp flange with visible simulated rivets, contrasting its rustic, thick walls with industrial detailing. Soft ambient light accentuates the deep, earthy, matte texture of the clay.

    Exhibition view, Forms Without Briefs by Harry Rigalo at The Great Design Disaster, Milan. Featured work: ACID POT (vessel), 32 × 38 × H43 cm. Photography by Luigi Fiano.

  • A deep cocoa ceramic figure by Harry Rigalo, defined by abstract, rectilinear limbs and body. The small, stylized sculpture has a rugged texture and features a distinctive cutout near the top. Resting on a white plinth, the piece evokes a primitive doll or a pictogram, blurring the lines between design and iconography.

    Exhibition view, Forms Without Briefs by Harry Rigalo at The Great Design Disaster, Milan. Featured work: HAPPY GRANDMA (object), 25 × 18 × H41 cm. Photography by Luigi Fiano.

  • A monolithic dark clay vessel by Harry Rigalo, presented on a white plinth. The stacked cylindrical structure is offset by a horizontal flange, marked with faux rivets. The top section is intentionally angled, creating a dynamic, unstable silhouette that contrasts the static, minimalist backdrop.

    Exhibition view, Forms Without Briefs by Harry Rigalo at The Great Design Disaster, Milan. Featured work: ACID POT (vessel), 32 × 38 × H43 cm. Photography by Luigi Fiano.

A small, terracotta sculptural head by Harry Rigalo is centered on a white plinth. The primitive, abstract face is defined by deep shadows accentuating the two circular voids for eyes and the subtle nose ridge. Its raw, matte clay texture and minimal form create an unsettling, evocative persona.

Exhibition view, Forms Without Briefs by Harry Rigalo at The Great Design Disaster, Milan. Featured work: HAPPY GRANDPA (object), 22 × 19 × H44 cm. Photography by Luigi Fiano.

A minimalist, dark ceramic sculpture by Harry Rigalo with a strong vertical orientation and stout, forward-curving feet. The totemic form is characterized by protruding horizontal elements, giving it a technical yet anthropomorphic feel. Its robust, matte texture is highlighted by gallery lighting against the softly textured wall.

Exhibition view, Forms Without Briefs by Harry Rigalo at The Great Design Disaster, Milan. Featured work: HAPPY GRANDMA (object), 25 × 18 × H41 cm. Photography by Luigi Fiano.

For The Great Design Disaster (TGDD), a gallery defined by its curiosity and reverence for craftsmanship, Rigalo’s work feels especially at home. Founded as a nomadic platform uniting artisans and collectors, TGDD’s new Milan space continues its mission to foster dialogues between heritage and experimentation. Forms Without Briefs extends that dialogue into clay, offering a study in how imperfection can become eloquence. At the same time, it leans into the tension between the familiar typology of functional objects and the liberated language of sculpture, echoing the gallery’s own drive to blur the lines between design, art, and storytelling

Ultimately, Rigalo’s work playfully asks where design truly begins. Is function dictated by form, or does form invent function? Rigalo doesn’t seek the answer. He simply relishes the ambiguity, reminding us that design can be as much about feeling as it is about use.

A collection of Harry Rigalo’s stacked, totemic ceramic forms are arrayed across a geometric, tiled floor in an austere white gallery space. The monolithic dark brown and vivid terracotta sculptures possess a primal, architectural quality, their bold silhouettes set against the soft, vertical folds of a sheer white curtain filling the window recess.

Exhibition view, Forms Without Briefs by Harry Rigalo at The Great Design Disaster, Milan. Photography by Luigi Fiano.

  • A sculptural stool by Harry Rigalo in vibrant, matte terracotta, featuring a scooped seat and a cylindrical body. The abstract, shield-like form is lifted by two deep, vertical arch cuts and punctuated by a small, oval aperture on the side, creating a provocative dialogue with the contrasting checkerboard tiled floor.

    Exhibition view, Forms Without Briefs by Harry Rigalo at The Great Design Disaster, Milan. Featured work: INNER HALL KEY (stool), 43 × H55 cm. Photography by Luigi Fiano.

  • A detail shot of a terracotta sculptural pedestal by Harry Rigalo, showcasing its precise, layered construction and raw texture. The wide basin features a cutout that reveals a warm, glowing amber light from within, transforming the object into a modern, illuminated relic, contrasting the smooth, pale gallery wall.

    Exhibition view, Forms Without Briefs by Harry Rigalo at The Great Design Disaster, Milan. Featured work: MONK (totem/light), H115 × 75 × 55 cm. Photography by Luigi Fiano.

  • A tall, ruddy terracotta sculptural vessel by Harry Rigalo, exhibiting a playful, anthropomorphic tilt. The work consists of stacked cylindrical and conical elements, capped by a wide basin, creating a sense of precarious balance. Its earthy color and smooth, matte texture contrast vividly with the with the monochrome wall and geometric floor pattern

    Exhibition view, Forms Without Briefs by Harry Rigalo at The Great Design Disaster, Milan. Featured work: MONK (totem/light), H115 × 75 × 55 cm. Photography by Luigi Fiano.

A monumental, deep cocoa ceramic sculpture by Harry Rigalo, resembling a modernist tool or totemic figure, commands the center of the space. It is flanked by two smaller, functional forms in rough terracotta and dark clay, all set against the soft, diffused light filtering through sheer, draped white curtains and the geometric tiled floor.

Exhibition view, Forms Without Briefs by Harry Rigalo at The Great Design Disaster, Milan. Featured work: AS A CHILD (totem), H150 × 60 × 48 cm. Photography by Luigi Fiano.

A towering terracotta sculpture by Harry Rigalo dominates the scene, its exaggerated, fluid forms resting on three small feet. The warm, earthy texture of the ceramic stands in stark contrast to the light wood grain of the expansive, institutional shelving behind it, highlighting the dialogue between the raw, primal form and the controlled interior architecture

Exhibition view, Forms Without Briefs by Harry Rigalo at The Great Design Disaster, Milan. Featured work: ELKSI (totem), H179 × 40 cm. Photography by Luigi Fiano.

  • A striking small-scale terracotta sculpture by Harry Rigalo, resembling a stylized, totemic mask or symbol. The piece is highly symmetrical, defined by a central vertical column and two circular cutouts, set upon small footings. It is starkly presented on a white plinth, its warm tone contrasting with the cool, textured wall.

    Exhibition view, Forms Without Briefs by Harry Rigalo at The Great Design Disaster, Milan. Featured work: TETRAPOUS (object), 25 × 25 × H38 cm. Photography by Luigi Fiano.

  • A dark, pedestal-style ceramic cup or goblet by Harry Rigalo, featuring an organically shaped body with a prominent round handle. The piece is supported by a twisted stem atop a round base, showcasing an interplay of functional vessel forms and abstract, evocative, primal contour against the neutral wall.

    Exhibition view, Forms Without Briefs by Harry Rigalo at The Great Design Disaster, Milan. Featured work: SVOURA (object), 23 × H37 cm. Photography by Luigi Fiano.

  • A small, rust-toned terracotta sculpture by Harry Rigalo rests on a white display surface. The piece is shaped like a simplified abstract arch or a primitive horse, supported by two legs, one ending in a subtle disc base. Its sharp outline and earthy texture create a graphic, evocative presence.

    Exhibition view, Forms Without Briefs by Harry Rigalo at The Great Design Disaster, Milan. Featured work: FLOWER FISH (object), 26 × 13 × H36 cm. Photography by Luigi Fiano.

  • A close-up of a dark, textured ceramic vase or mug by Harry Rigalo, featuring an organic, head-like form and a bold, attached handle with two circular apertures. The small, expressive object possesses a palpable, earthy materiality, set against a quiet background that accentuates its sculptural, emotive contour.

    Exhibition view, Forms Without Briefs by Harry Rigalo at The Great Design Disaster, Milan. Featured work: PREGNANT (object), 32 × 10 × H29 cm. Photography by Luigi Fiano.

A sophisticated portrait of Joy Herro, the curator of the exhibition, leaning against a neutral wall in the gallery. Dressed in an oversized, charcoal-gray blazer, she stands beside a tall terracotta sculpture by Rigalo, her poised presence establishing a dialogue between the monumental, raw art and the figure shaping its context.

Curator Joy Herro, pictured at The Great Design Disaster in Milan. Photography by Luigi Fiano.

A terracotta sculpture by Harry Rigalo, evoking an abstract, seated female figure with an elongated neck and gently cupped head. The body is defined by simplified, strong lines and cutouts, giving it a minimalist, architectural quality, its warm, rough texture highlighted by shadow play on the white plinth.

Exhibition view, Forms Without Briefs by Harry Rigalo at The Great Design Disaster, Milan. Featured work: FISH BIRD (object), 23 × 32 × H48 cm. Photography by Luigi Fiano.