Wednesday, November 25, 2009

Don't Mistake My House for a Hair Salon!



SCORE! I found this awesome Patrick Nagel poster at the Salvation Army Family Store for 10 bucks!

I assume that some of you may be thinking that I've lost my mind with this one, but let me explain my love and respect for Nagel's work:

Not only did Nagel's images embody the chic and sleek style of the 80's, but I think his work had a greater hand in creating what the 80's were becoming at the very time. What I'm trying to say is that Nagel was less an observer of the time and more so an influence to the time... Would the 80's be the same without his images? Would have Armani evolved YSL's "Le Smoking Tuxedo" to create the famous power-suit for women? ... Would have Donna Karan introduced her 'Essentials Line' for the 80's working woman if not for Nagel's images?

Nagel's vision of the iconic 80's woman was so influential that even today his images are popularly used. How many times have you seen a mom-n'-pop hair salon or nail shop use a window decal with a Nagel-esq picture? If you haven't noticed, I dare you to take a look... you'll be surprised at how many beauty shops use his images even today.

The man even influenced computer software applications like that of Adobe Photoshop. The simplifying tools on photoshop are like an undeclared homage to the working style of Nagel. You see, all of Nagel's illustrations were based in photography. "Nagel would start with a photograph and work down, always simplifying and removing elements which he felt were unnecessary. The resulting image would look flat, but emphasized those elements which he felt were most important.

IMO, one of the last influential artists of the 20th century, Patrick Nagel.

Don't Mistake My House for a Hair Salon!



SCORE! I found this awesome Patrick Nagel poster at the Salvation Army Family Store for 10 bucks!

I assume that some of you may be thinking that I've lost my mind with this one, but let me explain my love and respect for Nagel's work:

Not only did Nagel's images embody the chic and sleek style of the 80's, but I think his work had a greater hand in creating what the 80's were becoming at the very time. What I'm trying to say is that Nagel was less an observer of the time and more so an influence to the time... Would the 80's be the same without his images? Would have Armani evolved YSL's "Le Smoking Tuxedo" to create the famous power-suit for women? ... Would have Donna Karan introduced her 'Essentials Line' for the 80's working woman if not for Nagel's images?

Nagel's vision of the iconic 80's woman was so influential that even today his images are popularly used. How many times have you seen a mom-n'-pop hair salon or nail shop use a window decal with a Nagel-esq picture? If you haven't noticed, I dare you to take a look... you'll be surprised at how many beauty shops use his images even today.

The man even influenced computer software applications like that of Adobe Photoshop. The simplifying tools on photoshop are like an undeclared homage to the working style of Nagel. You see, all of Nagel's illustrations were based in photography. "Nagel would start with a photograph and work down, always simplifying and removing elements which he felt were unnecessary. The resulting image would look flat, but emphasized those elements which he felt were most important.

IMO, one of the last influential artists of the 20th century, Patrick Nagel.

Tuesday, November 24, 2009

Kara Mann: The Darker Side of Design in 2010






Ok, why haven't I blogged Kara Mann yet?! I mean, our company represents her, and I'm all about her work with a passion!

Championing the look of "The New Victorians," AKA "Steampunkians" Kara Mann's work is dark, atmospheric, smoky, layered and above all RELEVANT. I don't think a 2010 design forecast for home decor can be complete without a Kara Mann mention.

A self-described "biker chick at fashion week," Kara merges her background in fashion, art and design to create gutsy interiors that perfectly mix both modern and traditional elements. Think Vivienne Westwood meets Mark Romanek

Since opening her namesake firm, Kara Mann Design (KMD) in 2005, Kara has been recognized by InStyle as an ‘of-the-moment’ designer, and Vogue has recently appointed her as a member of ‘The Vogue 100,’ a group of influential decision makers and opinion leaders known for their distinctive taste in fashion and culture.

-S

Kara Mann: The Darker Side of Design in 2010






Ok, why haven't I blogged Kara Mann yet?! I mean, our company represents her, and I'm all about her work with a passion!

Championing the look of "The New Victorians," AKA "Steampunkians" Kara Mann's work is dark, atmospheric, smoky, layered and above all RELEVANT. I don't think a 2010 design forecast for home decor can be complete without a Kara Mann mention.

A self-described "biker chick at fashion week," Kara merges her background in fashion, art and design to create gutsy interiors that perfectly mix both modern and traditional elements. Think Vivienne Westwood meets Mark Romanek

Since opening her namesake firm, Kara Mann Design (KMD) in 2005, Kara has been recognized by InStyle as an ‘of-the-moment’ designer, and Vogue has recently appointed her as a member of ‘The Vogue 100,’ a group of influential decision makers and opinion leaders known for their distinctive taste in fashion and culture.

-S

Saturday, November 21, 2009

Enlightened: A Conversation with Kevin Kolanowski




Los Angeles based lighting designer, Kevin Kolanowski, doesn't want to be known for "creating lamps for someone to read a book by." Launching Fuse Lighting in 2000, Kevin came on the scene as an artist with a distinct story to tell through sculpture and light. In the crowded marketplace that is home décor, I have to say that Kevin’s work appeals to me because it’s not trying to be something: some trend, some genre, or some homage to the past. The collections are bold yet edited, modern yet warm, and authentically chic.

I met Kevin just about a year ago at Westweek at the PDC, and have wanted to cover him on the blog ever since. Last week, we finally sat down to lunch and had a great conversation about his beginnings as a lighting designer, the business of design, the power of art, and the influence of L.A. as the backdrop for all of it:

SY: I understand that you’re a former interior designer turned lighting designer. Why did you make the switch?

KK: “11 years ago, I fabricated a reproduction of an antique wall sconce for a client’s home. The piece turned out to be a real success, and I found the experience of creating the sconce to be quite fulfilling. At that moment, I realized that lighting is sculpture, and it was allowing me to be an artist more than interior design.

SY: The marketplace for design is a tricky playing field. I’m always interested in knowing how a product designer gets their first account, especially in successful high-end showrooms.

KK: “I’ve known Thomas Lavin from the days when he was a top sales rep at Kneedler-Fauchère. When he opened his own boutique in the same year that I introduced my line, Thomas approached me and asked to carry my first collection. In the beginning, he was my strongest supporter… he really believed in my work from the get-go.”

SY: What kind of lighting designer are you? What’s your goal when you’re designing a lamp?

KK: “I want my pieces to play with light in a way that always makes you look good. I’m not creating lamps for someone to read a book by […] I’m more interested in making lamps that create a mood.”

SY: I hear that your pieces are also anti-depressants?

KK: “Some of my pieces are made with semi-precious stones such as Citrine, Amethyst and Carnelian, and many clients do tell me that they feel positive energy from them.”

SY: You do so many types of lighting, from small table lamps to oversized chandeliers. What’s your favorite to design?

KK: “I love sconces. They have this elegance about them. They have a way of making a room feel special.”

SY: What’s your stance on being an artist in L.A.? Some people say that L.A. is N.Y. lying down, and I’ve even heard that L.A. should just stick to sitcoms. Is it harder to prove yourself as a designer from L.A.?

KK: “I was raised in Chicago, and left because I didn’t fit in with the scene there. I can say that I found L.A. to be more accepting of an upcoming designer than let’s say N.Y."

SY: As a native Angelino, I can’t tell you how many times I’ve come across a successful L.A. based designer who’s originally a mid-westerner. What is it about the mid-west?

KK: “It’s funny, I didn’t fit in with the conservative scene in the mid-west, but it’s because of the mid-western values I was raised with that I was able to have success in L.A. We believe in working hard, and that's a desirable quality employers in L.A. are looking for in the job market. Also, the more modest aesthetic of the mid-west helps me to edit my pieces, and I find that to be a great tool in designing."

SY: How does a young artist push fear aside and confidently move forward with his/her work?”

KK: “You must have a story. Right before I created my line, I remember thinking… I’m gonna tell MY story! If you have a story to tell, your art will have an audience.”

SY: Who do you look up to in lighting design?

KK: "Ingo Maurer"

SY: What’s to come for Fuse Lighting in 2010?

KK: "Our line will go across the pond with an opening in London. I’m also looking to expand with a line of exterior lighting too."

SY: Last question. I imagine that the home of a lighting designer would be all walls of glass and exposed with tons of light, right?

KK: “Actually, my home is pretty moody as far as light goes."

Enlightened: A Conversation with Kevin Kolanowski




Los Angeles based lighting designer, Kevin Kolanowski, doesn't want to be known for "creating lamps for someone to read a book by." Launching Fuse Lighting in 2000, Kevin came on the scene as an artist with a distinct story to tell through sculpture and light. In the crowded marketplace that is home décor, I have to say that Kevin’s work appeals to me because it’s not trying to be something: some trend, some genre, or some homage to the past. The collections are bold yet edited, modern yet warm, and authentically chic.

I met Kevin just about a year ago at Westweek at the PDC, and have wanted to cover him on the blog ever since. Last week, we finally sat down to lunch and had a great conversation about his beginnings as a lighting designer, the business of design, the power of art, and the influence of L.A. as the backdrop for all of it:

SY: I understand that you’re a former interior designer turned lighting designer. Why did you make the switch?

KK: “11 years ago, I fabricated a reproduction of an antique wall sconce for a client’s home. The piece turned out to be a real success, and I found the experience of creating the sconce to be quite fulfilling. At that moment, I realized that lighting is sculpture, and it was allowing me to be an artist more than interior design.

SY: The marketplace for design is a tricky playing field. I’m always interested in knowing how a product designer gets their first account, especially in successful high-end showrooms.

KK: “I’ve known Thomas Lavin from the days when he was a top sales rep at Kneedler-Fauchère. When he opened his own boutique in the same year that I introduced my line, Thomas approached me and asked to carry my first collection. In the beginning, he was my strongest supporter… he really believed in my work from the get-go.”

SY: What kind of lighting designer are you? What’s your goal when you’re designing a lamp?

KK: “I want my pieces to play with light in a way that always makes you look good. I’m not creating lamps for someone to read a book by […] I’m more interested in making lamps that create a mood.”

SY: I hear that your pieces are also anti-depressants?

KK: “Some of my pieces are made with semi-precious stones such as Citrine, Amethyst and Carnelian, and many clients do tell me that they feel positive energy from them.”

SY: You do so many types of lighting, from small table lamps to oversized chandeliers. What’s your favorite to design?

KK: “I love sconces. They have this elegance about them. They have a way of making a room feel special.”

SY: What’s your stance on being an artist in L.A.? Some people say that L.A. is N.Y. lying down, and I’ve even heard that L.A. should just stick to sitcoms. Is it harder to prove yourself as a designer from L.A.?

KK: “I was raised in Chicago, and left because I didn’t fit in with the scene there. I can say that I found L.A. to be more accepting of an upcoming designer than let’s say N.Y."

SY: As a native Angelino, I can’t tell you how many times I’ve come across a successful L.A. based designer who’s originally a mid-westerner. What is it about the mid-west?

KK: “It’s funny, I didn’t fit in with the conservative scene in the mid-west, but it’s because of the mid-western values I was raised with that I was able to have success in L.A. We believe in working hard, and that's a desirable quality employers in L.A. are looking for in the job market. Also, the more modest aesthetic of the mid-west helps me to edit my pieces, and I find that to be a great tool in designing."

SY: How does a young artist push fear aside and confidently move forward with his/her work?”

KK: “You must have a story. Right before I created my line, I remember thinking… I’m gonna tell MY story! If you have a story to tell, your art will have an audience.”

SY: Who do you look up to in lighting design?

KK: "Ingo Maurer"

SY: What’s to come for Fuse Lighting in 2010?

KK: "Our line will go across the pond with an opening in London. I’m also looking to expand with a line of exterior lighting too."

SY: Last question. I imagine that the home of a lighting designer would be all walls of glass and exposed with tons of light, right?

KK: “Actually, my home is pretty moody as far as light goes."

Thursday, November 19, 2009

Monday, November 16, 2009

The Dishes Are Done


(Bison Kintsugi technique)


(Tectonic Repair technique)

Some readers of this blog may remember an entry I posted earlier this year on the art of Wabi-Sabi: The Japanese concept of "imperfect beauty," ... an embrace of imperfections, to say the least. Well, today I came across an artist by the name of Lotte Dekker, who is taking this concept to another level!

Lotte Dekker developed a new technique for repairing porcelain based on kintsugi (literally golden joinery in Japanese), a 15th century Japanese technique that repairs porcelain with gold leafing. It became so popular during its peak that people deliberately broke their own pottery so they also could have it "repaired."

Dekker's technique, called "Bison Kintsugi," is kintsugi in spirit, but instead uses modern-day Bison glue and inexpensive gold powder to achieve similar results. Dekker also another technique she calls "Tectonic Repair," using a kneadable glue that widens and essentially reshapes the cracks. By reshaping the crack, instead of denying it, the object is allowed to become a new form altogether. And may I add that this technique is highly green, which only adds to the relevance of incorporating the concept in our design solutions today.

A fascination for challenging aesthetics continues...

-S

The Dishes Are Done


(Bison Kintsugi technique)


(Tectonic Repair technique)

Some readers of this blog may remember an entry I posted earlier this year on the art of Wabi-Sabi: The Japanese concept of "imperfect beauty," ... an embrace of imperfections, to say the least. Well, today I came across an artist by the name of Lotte Dekker, who is taking this concept to another level!

Lotte Dekker developed a new technique for repairing porcelain based on kintsugi (literally golden joinery in Japanese), a 15th century Japanese technique that repairs porcelain with gold leafing. It became so popular during its peak that people deliberately broke their own pottery so they also could have it "repaired."

Dekker's technique, called "Bison Kintsugi," is kintsugi in spirit, but instead uses modern-day Bison glue and inexpensive gold powder to achieve similar results. Dekker also another technique she calls "Tectonic Repair," using a kneadable glue that widens and essentially reshapes the cracks. By reshaping the crack, instead of denying it, the object is allowed to become a new form altogether. And may I add that this technique is highly green, which only adds to the relevance of incorporating the concept in our design solutions today.

A fascination for challenging aesthetics continues...

-S

Thursday, November 12, 2009

In an Empire State of Mind


So cool! If you have the time, this is a fascinating video about Manhattan's pre-city ecology - accurate down to the block. This piece really gives a unique understanding on how Manhattan became the metropolis that it is today, and really gets down to the factors that have led to its grand design.

I heart NYC.

-S

In an Empire State of Mind


So cool! If you have the time, this is a fascinating video about Manhattan's pre-city ecology - accurate down to the block. This piece really gives a unique understanding on how Manhattan became the metropolis that it is today, and really gets down to the factors that have led to its grand design.

I heart NYC.

-S

Monday, November 9, 2009

The Artist Formally Known as PRINTS!


I'm not a shopper-type, per se’, even though I was raised smack dab in the hotbed of consumerist culture, AKA: United States of America. Something about owning an object makes me feel like the object is owning me. I don't know if that makes sense, but in any case, there are some things that I do enjoy collecting from time to time. If I had to say, I guess I'm a sucker for stimuli in my purchasing habits… ART!

For instance, I have a thing for buying prints. I love how on the one hand they're made in a way that's optimal for mass production, but then on the other hand they're often printed in limited edition series, signed and dated. I love how each print has a unique imperfection made during the creation process, and I love how simple they look - especially letterpress prints that usually use no more than 3 colors. Letterpress is my favorite printing method.

I just purchased this wonderful set of 3 prints by Maria Alexandra Vettese and Christopher David Ryan out of Maine, and I can't wait to have them framed and hung in my new place. The set is called "Staring at the Sun," and the 1st print (the girl with the oversided sunglasses) alone sold me on it! The retro tone, sexy B&W mood and galactic subject matter all work for me.

Just to backtrack on this talk of prints, this whole thing started when I was looking for a class on letterpress printing in L.A. I'm trying to find a course/factory/artist or anyone who could teach me techniques in printmaking. It's my 2010 resolution to make more art, rather than just observe it or communicate it on my blog.

In a nutshell, I wanna make kick-ass letterpress posters with all the ideas that are crowding my brain... can anyone show me the way?

-S

The Artist Formally Known as PRINTS!


I'm not a shopper-type, per se’, even though I was raised smack dab in the hotbed of consumerist culture, AKA: United States of America. Something about owning an object makes me feel like the object is owning me. I don't know if that makes sense, but in any case, there are some things that I do enjoy collecting from time to time. If I had to say, I guess I'm a sucker for stimuli in my purchasing habits… ART!

For instance, I have a thing for buying prints. I love how on the one hand they're made in a way that's optimal for mass production, but then on the other hand they're often printed in limited edition series, signed and dated. I love how each print has a unique imperfection made during the creation process, and I love how simple they look - especially letterpress prints that usually use no more than 3 colors. Letterpress is my favorite printing method.

I just purchased this wonderful set of 3 prints by Maria Alexandra Vettese and Christopher David Ryan out of Maine, and I can't wait to have them framed and hung in my new place. The set is called "Staring at the Sun," and the 1st print (the girl with the oversided sunglasses) alone sold me on it! The retro tone, sexy B&W mood and galactic subject matter all work for me.

Just to backtrack on this talk of prints, this whole thing started when I was looking for a class on letterpress printing in L.A. I'm trying to find a course/factory/artist or anyone who could teach me techniques in printmaking. It's my 2010 resolution to make more art, rather than just observe it or communicate it on my blog.

In a nutshell, I wanna make kick-ass letterpress posters with all the ideas that are crowding my brain... can anyone show me the way?

-S

Wednesday, November 4, 2009

Visual Buffet: Guido Mocafico




Guido Mocafico is a Swiss-born photographer who draws inspiration from Dutch Masters of the 17th Century, such as Pieter Claesz, Alexandre-François Desportes, and Floris van Dijck.

These prints would make a dramatic focal point to any dining room, but personally, I'd love to have one hanging over my headboard in the bedroom (well maybe not the dead carcass of a rabbit.) Talk about an aphrodisiac.

-S

Visual Buffet: Guido Mocafico




Guido Mocafico is a Swiss-born photographer who draws inspiration from Dutch Masters of the 17th Century, such as Pieter Claesz, Alexandre-François Desportes, and Floris van Dijck.

These prints would make a dramatic focal point to any dining room, but personally, I'd love to have one hanging over my headboard in the bedroom (well maybe not the dead carcass of a rabbit.) Talk about an aphrodisiac.

-S