Famous artists and designers well known on the international scene such as Aldo Rossi, Emilio Tadini, Bruno Gregori, Hsiao Chin, Robert and Trix Haussmann and Fausta Squatriti exclusively created for Laurameroni paintings to be reproduced, using the ancient inlay technique, on a sideboard characterized by essential lines.
Laurameroni Art Collection sideboards feature a mosaic created through various kind of wood veneers, in different essences and colours, patiently combined to reproduce the artist's original painting.

The Intarsia Collection was created to appreciate and relive the local tradition of an ancient technique: that of inlay. They are a product designed to be reproduced in a limited edition and in numbered pieces, signed and certified by the artists and craftsmen themselves.
Intarsia also represents direct contact with simple and pure raw materials, taking shape through the manual skill and scrupulous dedication of our craftsmen, reinvented and modernized by the imagination and experience of our designers.

The sideboards of the Intarsia Collection are design furniture transformed into real paintings.

Fausta Squatriti, born in Milan in 1941, set her work from the very beginning as an artist on the leitmotif of research, which has led her to engage over time in a wide-ranging exercise of creativity.
A style that cannot be traced back to any particular current or dates, a feature making her works unexpectedly topical, full of palpable energy.

In the Inverno sideboard, as in all of her works, Fausta Squatriti wants to use every expressive means that can give richness, with very different and opposite elements, looking for a contradiction.

The sculptures and paintings generate complex enigmas in which, with elementary forms composed on the plane, hypotheses of growth and transformation through the equivalences between full and empty are being developed, meaning that every possible construction has an unpredictable destiny. Volumes cut, displaced, unbalanced, but also corrupted by overlapping, growths, improper figures questioning the simplicity and purity of the forms they cling to.

Even in Inverno, critical reasoning on precariousness is wisely implemented, in this case of nature and its beauty, warning about fragility but also about the danger of losing a vision of the world as we know it.