Archive for March, 2008

french industrial furniture at wisteria

(ed. note: sorry folks, but as of 8/15/08 it appears that this furniture is not currently available. with any luck it will come back in stock. if anyone knows of another resource for it, please click the email button to the right and let me know so i can update this post. thanks.) 

q: have you seen what is new over at wisteria?

a: some gorgeous vintage modern french industrial furniture (like this double book shelf and chair), patterned after 19th century designer reactions to the elaborate pieces that were being produced at the time.

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gorgeous.

see the whole collection and much more over at wisteria.


dan-ah kim illustrations

look at these fantastic illustrations from brooklyn artist dan-ah kim. these lavishly colored pieces are filled with stories that are distantly familiar, those whose details are fuzzy. i get this strange feeling of wonder (and maybe a little déjà vu) from them — it reaches through and pulls me in to keep me thinking and staring. urban, childhood and earthy narratives abound, so there’s something for everyone here. and it’s all so well done.

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dan-ah’s hopes of becoming a ninja never came to fruition, so she became an artist instead. i think i can speak for all of us when i say i’m so glad it didn’t pan out. although it would be great if she did both…

see more fabulosity on dan-ah’s website, see what she has to say on her blog and purchase these pieces at her etsy shop. be sure check out her contribution to the year of the rat show at the giant robot 2 outpost in los angeles, now through april 16th, 2008.

via 2modern


elizabeth perkins glass art & sculpture – let’s chat!

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beloved readers, let’s all take a deep breath and dive into the amazing art, sculpture and installation work that virginia artist elizabeth wade perkins creates. it is simply mesmerizing and after a good long stare, i am swept away by the richness of even a single vessel, so fluid and steeped in her personal history it all is. elizabeth uses a variety of techniques, including casting, blowing and pâte de verre, which is the centuries-old type of casting she does to create her beautifully detailed lace pieces. to me, her noteworthy technical skills aren’t the only secret of her success here; there is also the skillful underworking (or should i say perfect-seeming working?) of an amalgamation of ideas — the concepts of time, place and memory. in these works you will find a consistent complexity that is whole and complete, and collections that are wry, nostalgic and absolutely current. let’s have a chat with elizabeth and find out more!

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q: where do you live, and where do you create your art?
a: i live on a farm named red bud in bumpass, virginia. it has been in my family for seven generations and its older name was seclusion farm. it is located in bumpass by neighboring areas called three square, tip top, cuckoo, and holly grove. bumpass is between richmond and charlottesville in louisa county. i make my work in my grandfathers old fix it shop. it’s a wood frame building covered in metal. it’s heated by a wood stove that my grandfather fabricated out of a number of wheel rims (from an old pick-up). he mended and made things in there to keep the farm running; everything from tractors to electrical. he invented this really cool system to keep his pigs hydrated. my favorite thing he invented in the shop was a light that was over the fridge to indicate that the toilet was running. he had hearing aids, so he couldn’t hear it. however his chair in the den was situated so that he could not only see out the “picture window” or look at television, but he could see the light over the fridge which indicated the toilet was running. when the light would turn on, he would go in the bathroom and jiggle the handle. god only knows why he didn’t just fix the toilet, maybe because it only ran sometimes or maybe because he used what he had at the time to fix the problem.

i think the whole thing is just awesome and ingenious. i’d like to think i got my creative mind and hands from him.

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q: what is your background, and did you study art formally?
a: i grew up in southern rural america. my undergraduate degree is in sculpture from the atlanta college of art, and my graduate degree is in craft material studies from virginia commonwealth university. my favorite place to learn is at the penland school of crafts. though i am formally trained as an artist, i have learned a lot from my personal experiments and am more frequently informed by my subjects rather than my “education”. i seemed to get in trouble from time to time in school; like the time i showed up with a huge bale of hay as a component of one of my works. let’s just say… when you see those things on the side of the road out in the field they seem kind of small, but they are not. they are massive and beautiful. sometimes it takes bringing the outside inside and the inside outside for us to really have an understanding of what we are looking at. if you see the forms in resuscitation (photos below) they are taken from that bale of hay. everyone on my graduate committee at the time told me that piece was technically impossible to build in porcelain and impossible to slump over in glass. i like making the “impossible” possible. they don’t teach you how to do that in school. i think those kinds of quests are personal and are brought about by our experiences, desires and willingness to fail.

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q: (without giving away any secrets of course!) can you tell us a little about the techniques you use?
a: there aren’t really any secrets to it. mostly it’s paying attention to what you’re doing, learning from what you do, seeing the potential and identifying the control in your artistic experimentation and investigations, working hard and being patient. i use many processes. i blow glass free hand, i also blow glass into both cold and hot blow molds. whatever is appropriate for the form and will make its potency more… stinky and real, honest perhaps.

i also kiln cast and use the pâte de verre method of casting. i use techniques that are appropriate to my forms and the ideas i want them to convey e.g., fragility, texture etc. most works contain glass.

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q: how do you think your work has transformed since you started making art?
a: in one of my artist statements i say, i am still the naive child searching around the house for hidden treasures in the old furniture and cupboards. i have the same nosiness and fearlessness as i did as a child. (inquisitiveness, perhaps.) as i’ve grown i have discovered the complexities of these nooks and crannies and have built a larger visual vocabulary by being inquisitive. i have practiced a lot. i have been seduced by my material and its traditions but i walk and practice outside those traditions and former histories. i think there are so many new forms to be made in glass.

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q: what is the price range of your collection?
a: $50.00-$20,000.00

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q: what is your inspiration for these works? do you have a message you want to send through these pieces?
a: i am interested in values and traditions; how they evolve and linger through the ways we experience life, art, and craft. i am interested in what remains inside and outside of these notions; works that give the viewer something to hold onto and in some cases to let go of. in other words, what we give birth to, what we pass on, and what we take with us when we pass away. i feel my most successful pieces deal with these complexities simultaneously.

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q: where can we go to see your collection in person? is there anything else meaningful you would like to include?
a: i will have a trio of medium glass lace pieces in the urbanglass gala and auction in new york on april 4th, 2008. i am currently seeking gallery representation. i have a website with many of my works. my email is included on the site, and if you are interested in buying my work you may contact me through my website.

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thank you elizabeth! and special thanks to burt for putting us together (and taking these last two photos)!


matt stuart photography

i carry my camera with me everywhere, because you never know what oddly perfect and beautiful things you might see in your daily routines. this is part of the reason why i am drawn to these wonderful photographs from uk artist matt stuart.

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on the rare occasion i am able to capture something permanently in a photograph that is all at once mundane, spontaneous and poetic, it seriously satisfies and fortifies my soul. i see this in matt’s photos, and i am so glad to have found them.

see more of matt’s intriguing images on his website and in-public, a very cool street photography gallery/site.

via designboom


jerry seguin illustrations

i absolutely adore the charming and sophisticated stylings of seattle artist jerry seguin, aka etsy seller redheather. jerry uses both hand and digital techniques, and uses a variety of materials including watercolors, pencil, he also has formal training in art and fashion, so it’s no wonder he can merge the two together so seamlessly here:

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purchase these prints and see much more at jerry’s etsy shop.

via craft


traffic light lamps by greenlight concepts

old stoplights normally spend their final days at the landfill as cities replace them with more modern and efficient versions. now, thanks to a savvy san francisco company called greenlight concepts, these glass beauties are being reclaimed and upcycled into striking contemporary ceiling fixtures and floor lamps.

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bonus: a clear ceiling pendant option, taken from reclaimed train signal lenses.

what a great way to reduce waste and still maintain your stylish interiors!

see the full $90-$240 collection over at greenlight.

via inhabitat


motel deluxe letterpress file folders

these letterpress file folders from motel deluxe will add a touch of elegance to anyone’s office, and the procrastinate series might make you howl out loud (i think we’ve all been there).

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see more super paper products on motel deluxe’s flickr stream, and purchase the folders in sets of six for $11.95 at the (oddly named) my lady shop.


dear deer wall art by bernhard grafl

look at this witty and gently surreal dear deer wall piece. simply place branches in the holes of the wooden plaque to achieve the same effect (sort of) as a majestic chopped head of the real thing! it’s created by austrian designer bernhard grafl for walking chair design studio and comes in solid oak in your choice of light or dark stain.

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i bucked the deer trend (!) that continues to remain quite popular, but actually this is one of the most clever interpretations i have seen. and to be frank, this appeals to me much more than a big ol’ head hanging on a wall.

purchase the dear deer for € 25(about us $39) right here.

via design flute


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