Ordinary Becomes Extraordinary in the Pattern Art of Dan Funderburgh

Patterning is as ancient an art as noticing patterns in nature; from the tessellations of the Egyptians, to the pre-geometry of the Pagans and Gnostics, a certain sacredness pervades in the art of repetition, rotation, and realignment—one every bit as profound as painted on the walls of the pyramids as it is placed in today’s premium cable. Who among us can forget the impermanent beauty of the Buddhist mandala built and brushed away in House of Cards? Or even the psychedelic kaleidoscope freakout of The Big Lebowski? 

It is with this same adoration that The Creators Project brings you the work of Dan Funderburgh. Since his move to New York in 2001, the Brooklyn-based artist, designer, and illustrator has been decorating the world with his new-ideas-meets-old-school approach to patterns and ornamentation. He’s worked with brands from Brooks to The Paris Review, and homes and hotels, from here to Miami, have been wrapped in his idiosyncratic wallpapers. 

In essence, he’s the kind of hybrid artist/designer who keeps tradition thriving while pushing its eternal effects into the future. The Creators Project reached out to Funderbergh to talk inspiration, ideation, and turning the mundane objects of today into timepieces charting a course towards tomorrow.

City Park. Screenprinted Wallpaper, available at Flavor Paper

The Creators Project: First off, can you tell me about a few of the childhood experiences that led to your illustrations? 

Dan Funderburgh: I’m still trying to figure that one out exactly. The closest thing to a childhood influence would probably be the TinTin comic books. Hergé paid a lot of attention to cultural and architecture detail in his drawings. I cannot get enough of that guy. 

Flat Circle Print. Printed by Haven Press, Variable Edition of 75

Who are some of your visual influences? How about cultural?

Visually I’m drawn to so many different styles. I obviously love historical ornament — almost anything at the Metropolitan Museum, but I’m also drawn toward utilitarian and ergonomic shapes. Lately I’ve liking Siberian folk art and Indonesian/Javanese weaving and embroidery, but could be anything. Walking around in New York City must be a factor as well because I keep finding chainlink and milk crates in my work. 

Selação. For How Beautiful It Is 2014. Digital Print 24″ x 36″, Available at Kemistry Gallery London

Your patterns have an almost mystical quality, marrying sacred geometries and configurations with the mundane (forks, paperclips). How do you find the meeting place between a pattern and an object?

Thank you for saying so! I spend a lot of time thinking about tools and household objects. Partly because I appreciate the form, and in part because by embellishing I hope to add mystery to something that may have been overlooked otherwise. 

Everything feels so meticulous, precise, and planned out in your pieces. What is the role of experimentation in your work? 

I don’t experiment as much as I should. I have great admiration for work that seems spontaneous, but it’s hard for me to think that way.  Wallpaper and the kind of detail I like take a long time to do properly.

Elysian Fields, Screenprinted Wallpaper. Available at and Printed by Flavor Paper

Can you tell me about a place in the world where you’ve found particular inspiration?

Cairo stands out to me—not just because of the architecture and history which are amazing obviously, but because it made me feel foreign, which is a weird and important way to be sometimes. It’s a good check on one’s ego and cultural assumptions. 

What’s the role of ornament in a world of stick-on ads and wheat pasting?

Same as ever? To embellish and beautify? Not sure. I’m in favor of all of it.

Unwound. Screenprinted Silk Scarf. Designed for Hugo & Marie, Edition of 75

Can you tell me about the piece that’s taken you the longest?

I’ll always take as much time as is available, though it doesn’t necessarily make things better. Emails probably take me the longest. 

What’s next for you, work-wise? 

I belive in October my installation for the MTA will finally go up. A series of aluminum rose windows for the Fordham rail road station in the Bronx. I’m super excited about this. 

Chinatown Flat Ball. Letter Press and Screenprint. Printed by The Arm, Edition of 75

Click here to visit Dan Funderbergh’s website. 

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