The Caesar Bench created by artist Sebastian ErraZuriz was originally named: "Empires will fall, heads will roll". Julius Caesar depicted in the bench was famously remembered for transforming the Roman republic into the Roman Empire, and becoming the first dictator until he was murdered, and his reign toppled. The bench was designed to be exhibited at the Fairchild Gardens. When Sebastian originally saw photographs of the lavish privately owned gardens adorned by sculptures, they reminded him of a tropical version of the luxurious gardens of Versailles, where the rebels entered during the French revolution. Versailles sculptures narrowly escaped being broken down and melted into ammunition to fight the revolution.

The use of Julius Caesar's busts as mere cinder blocks for people to sit on is an almost profane and mundane way to invite the viewer/user to remember that today's empires and leaders will most surely be toppled tomorrow.

What you Destroyed we will rebuild presented Greek and Roman masterpieces from renowned museums, 3D scanned, digitally manipulated and re-cast in marble as functional sculptures.

"I use technology to “steal” classical sculptures I have revered since childhood. Claim their shapes as raw material to build my own new works. It’s an act of gluttony and lust to appropriate that which belongs to the sacred world of the arts and use it freely in an exploration of its boundaries within the realm of the functional and the mundane. "– Sebastian Errazuriz.

Following his recent ‘Antiquity’ (2014) in which Errazuriz transformed the historic icon into a functioning bookshelf, this new series of limited-edition works pay homage to ancient sculpture while blurring the boundary between art and design.

For the Bookcase ‘Antiquity Shelves Nike’ (2017), a replica of the headless Nike (Winged Goddess) is enveloped in a wooden ‘scaffold’ that functions as shelving. Errazuriz’s experimentation with innovative processes in design and art include augmented and virtual reality.

Parallel to the investigation between art and design, Errazuriz dives headstrong into the question of breakage as a vital aesthetic resource, whether it is historical and accidental, or artistic and purposeful. "Many of the sculptures we have learned to love and revere are broken, fragmented.Would they be as mysterious and fascinating to us if we could see them in their pristine original appearance?”

Errazuriz confronts various subjects and intellectual questions in this series of works, maintaining the precarious balance of tension and release, reverence and sacrilege, delicacy and brutality.