Los Angeles Modern Auctions (LAMA)

Lika Moore

Lika Moore has been part of the Blackman Cruz team since 1998. Back then, she, Cruz, and Blackman worked in the small West Hollywood showroom with one computer and a fax machine. Today, she helps guide the business's visual identity and plays an integral design role in the Black Cruz Workshop (BCW). 

Moore channels her fascination with ancient cultures into creations that possess a bold splendor. She designs jewelry, lighting, and furniture inspired by the intricate craftsmanship of Baroque navigation implements; Polynesian oceanic adornments; tools made from bone, feathers and wood; and classical forms like the grounding femininity of a cabriole leg.

Her process can be fearless. In 2015, when Blackman Cruz and Chicago-based Wright auction house staged an exhibition and sale, Moore took a 12-gauge shotgun to her Leonine Wall Console, conjuring the force of Mother Nature's ability to corrode, weather, and pit. She preserved this harsh patina in bronze with hand patination. The result of her labor: a one-of-a-kind design that pays homage to Greek mythology and the fierce stance of a lioness, which in Moore's eyes, becomes a predator of beauty. 

She explored her attraction to earth elements, like fire, in a 2021 collaboration with the British design atelier Clarke & Reilly. For a wall piece entitled The Beginning, she linked myth to antiquity by resurrecting the process of Roman mirror making. She used fire to polish and blast steel, fashioning an ellipse-shaped visual portal that prods the eye to consider other dimensions. 

Such play with time and orientation also spawned her Compass Series, which references contemplative, personal, and aesthetic journeys. The series began with a simple, four-pronged, squat bronze candlestick. Like any trip, it took some turns and grew into the grounded Herkimer Table Lamp, morphed into the sculptural Compass Sconce, and landed as a key embellishment on the Compass Dressing Mirror, reflecting back the stops along the way. 

Her commitment to a constantly evolving design practice makes for work that never stands still. For her Brass Ball Series, the physical act of illumination inspired the mechanization. Crafted from tropical wood, polished brass, and silk, each variation requires a different method to coax it along—a gentle touch or a firm twist of the brass bell—turns it on. An early design, the now-classic BCW Triball Lamp, has had many iterations, and during a Sotheby's London auction for antique dealer Gordon Watson, the frenzied response marked her work as iconic. 

Stacie Stukin, excerpted from Beauty & Mischief

High Fantasy: The Enchantment(s)
of Blackman Cruz

Adam Blackman and David Cruz officially embarked on their venture, Blackman Cruz, in 1993; in the three decades since, they have created—and helped create—countless worlds, purveying objects of beauty and curiosity (dare we say magic?) culled from around the world. Operating from Los Angeles, the pair first showed their wares in a West Hollywood showroom on La Cienega and, in 2007, moved into their current home on Highland Avenue—an expansive space that was formerly the infamous gay nightclub Probe, known not least for basically playing itself in American Gigolo.

If discussing patina and provenance over a once booze-soaked bar seems incongruous, one might argue that such incongruity is characteristic of both Los Angeles and Blackman Cruz. At the center of the “dream factory,” worlds collide—and collision is perhaps what Blackman and Cruz do best. The pair’s “odd couple partnership,” as the New York Times put it, is the force behind an aesthetic sense that is delightfully difficult to pigeonhole. As the title of their recently released book Beauty & Mischief: The Design Alchemy of Blackman Cruz suggests, Blackman Cruz’s eye together encompasses the serious, sexy, and silly, and the myriad permutations therein. You might find, as one does in this auction, a stunning 1902 Carlo Bugatti chair (itself a treatise on material alchemy) next to an antique drum-playing rabbit automaton (restored to working order by an aerospace engineer), or a painstakingly beaded papoose from Borneo alongside an iconic mid-century modern sofa by Poul Kjærjolm, or a softly glowing snake lamp by Frank Gehry. Or impossibly elegant Gazelle lounges by Dan Johnson, or...Or. Or. Or.

Significantly and much to their credit, Blackman and Cruz have not shied away from certain elements of the archetypal curiosity shop. “We’re merchants,” their website declares. “We sell life enhancers.” In leaning into the longstanding lineage of rarity-purveyors, they show that they recognize the preciousness of curiosity itself—and the adjacent elements of surprise and fantasy. They let themselves be led by the search, and the excitement of the find is gleefully passed to their audience. That said, there are certain figures who serve as touchstones for the pair, designers whose sensibilities mesh well with Blackman Cruz’s vision: Bugatti is among them, as well as Pepe Mendoza and Arturo Pani, both from Mexico City and featured amply in the collection offered here. And then there is the Blackman Cruz Workshop, founded in 1998 by Blackman, Cruz, and creative director Lika Moore, offering limited edition lighting and furniture; among the works selected here are two metalworked lamps by Moore and the uncannily “dripping” Leary marble table.

Design is typically a studied thing, where precision takes precedence. Blackman Cruz breathes a little refreshing chaos into the discipline, finding a comfortable perch amidst a multiplicity of exciting tensions: ancient and contemporary, scientific and spiritual, restrained and resplendent. In our era of ubiquitous quantification and optimization, Blackman Cruz extends an invitation to not be afraid of what draws us in—even if it can’t be named or measured. In other words, to revel in the possibilities of enchantment.