Q&A with Bob Recine

Bob Recine is one of the most creative and influential hair stylists working in fashion today. In fact, “hair stylist” doesn’t begin to do him justice — he is an artist and designer using hair as a material to create sculpture.

Unwilling to be bound by scissors and styling tools, Recine creates Dada-like assemblages using found objects like hairpins, sunglasses, paper, plastic, and headphones to produce eye-popping, provocative work. He collaborates with the industry’s most revered photographers, and has formed a creative alliance of sorts with Mario Sorrenti and Robbie Fimmano. Together they have blurred the line between art and fashion, conjuring arresting imagery for publications such as Another Magazine, American Vogue, Vogue Italia, French Vogue, Numero, Exit Magazine, I-D magazine, French Vogue, and V Magazine.

“For a person who they say is a ‘beauty expert’, I see it differently,” he said on Style.com. “[Beauty] comes in many forms, and its importance is how it’s utilized in the moment. That’s my perception and infatuation with beauty.”

You can view his captivating body of work in his recently published book Bob Recine: The Alchemy of Beauty, with photography by Mario Sorrenti, Robbie Fimmano and Bob Recine and an introduction by René Ricard. Personally, I can’t stop looking at it. Every time I dip into the pages something new emerges.

Without further ado, here’s my Q&A with beauty alchemist Bob Recine.

Why do you do what you do?

Hair Artist-Mystic Adventurer.

Why do you do what you do?

To search for higher levels of ALL.

How do you break through a creative block?

Never had one.

Education

High School.

Mentors

Art and Science are my true mentors.

World-saving mission

Higher understanding of creativity.

Studio chair

?

Creative Soundtrack

Anywhere from Mozart to the Sex Pistols.

Most useful tool

Confidence.

Favorite space

Outer Space.

Favorite design object

Anything that is not only beautiful but able.

Guilty Pleasure

Reading.

Underrated

Spirituality.

Overrated

Technology.

What did you learn the hard way?

All of it.

Has your work ever got you into trouble?

YES. Trouble is always present when you have a vision and passion, as things confront our senses we confront them back, there are too many stories here.

If you could cross over into other profession… what would you do?

I’m constantly crossing over but never really notice.

Dream Project

Alchemy of Beauty

Where’s home

NYC.

The cover image featuring model Vivien Solari and photographed by

Mario Sorrenti was originally made for Numero magazine in 1996.

Untitled, ink on paper, 7 1/2 x 7 1/2 in., 2007 /

Tanya Dziahileva, photo by Mario Sorrenti, Spring 2007.

W Magazine, Eniko Mihalik, Photo by Mario Sorrenti, April 2009 /

Untitled, collage on paper, 10 x 13 1/4 in., 2008.

Exit Magazine, Rebekah Davies, Photo by Recine, Fall 2004 /

Untitled, Tempra on Paper 3 3⁄4 x 6 1⁄2 in. 2004.

Vogue Italia, Sasha Pivovarova, Photo by Mario Sorrenti, April 2008 /

Untitled, Ink on Paper 5 ¼x 8 ¼ in. 2007.

Untitled, ink and tempra on Paper 8 x 10 1/2 in. 2008 /

V Magazine, Tanya Dziahileva. Photo by Mario Sorrenti, Spring 2007.

Untitled, Tempra on Paper 10 x 13¼ In. 2008 /

Ingrid Mask, Photo by Robbie Fimmano, 2007.

Vogue Italia, Gemma Ward, Photo by Mario Sorrenti, July 2006 /

Hairpin Sculpture by Recine, Photo by Robbi Fimmano, 2008.

Untitled, 690 Polaroid 3 ½ x 4 ¼ in. 2004 / Untitled, 690 Polaroid 3 ½ x

4 ¼ in. 2000 / V Magazine, Tanya Dziahileva, Skirt Created by Philipp

Haemmerle, Photo by Mario Sorrenti, Spring 2007.

Untitled, lipstick and powder on draft paper, 12 1/4 x 24 in., 1996 /

Natalia Vodianova, photo by Mario Sorrenti, 2007.

Numero, Vivien Solari, Photo by Mario Sorrenti, 1996 /

Untitled, Tempra on Paper 25 x 40½ in. 1998.

Q&A with Michael Gillette

The beautifully executed artwork of Michael Gillette is, simply put, absorbing. Michael marries drawing and painting skills with an aesthetic underpinned by a love of popular culture, most specifically music. His sly sense of humor and artistic style creates haunting, cerebral work that isn’t easy to categorize. Never one to follow conventional paths, he was kicked out of art school in England for refusing to see the difference between graphics and illustration (it probably didn’t help matters that he was caught using the school’s printers for his own band’s album cover art). For the last 20 years he has been brilliantly visualizing the unreasoning vibrations of music, working with Elastica, Beck, The Beastie Boys, MGMT, and Paul McCartney to name a few.

Currently I am fortunate enough to collaborate with Michael on his monograph, appropriately titled “Drawn in Stereo”, to be published in 2013. In the meantime, here’s my Q&A with the inimitable Michael Gillette.

Job description: Artist.

Why do you do what you do? When I was a kid I fell in love with drawing and the way it made me feel, and there has been nothing that has come along since that has been as enjoyable so here I am.

How do you break through a creative block? I trust that creativity is a natural state. If there is something blocking it- that it is me. So, I try to figure out why and how I'm doing that. I used to do the Artist Way morning papers, where you write down your stream of consciousness. That has helped. I try and keep a very keen ear to whatever bullshit I might be thinking and nip it in the bud because I I know full well the ditches that lie either side of the highway. I wrote this to remind myself of some pitfalls which block creativity.

Education: I went to a British art school, so I consider myself almost entirely self taught. Thank the lord for the Public Library system of San Francisco.

Mentors: Roger Law is probably the closest person I have to a mentor. He was an illustrator in the 60’s, then went on to helm a satirical T.V. show which evolved around the caricature puppets he made. Now he’s a heroic ceramicist. We email sporadically, but he's always been a very generous and supportive person and I really dig him. He’s a force of nature and he keeps making work that is is plugged in and openhearted with a sly sense of humor.

World-saving mission: hah! I’m trying to save myself.

Office chair: I have a Aeron chair which I bought when I first moved to San Francisco, it was just after the dot bomb, so you could walk in to empty offices full of them and buy them on the cheap. I’ve recently switched back to an armless Knoll Pollock, the arms on the Aeron kept bumping in to my desk.

Office Soundtrack: BBC Radio 2,3,4 & 6 KCRW, Dunwich Radio.

Most useful tool: My brain.

Favorite space: I really love the inside of the Chapel At Sea Ranch. Actually all of Sea Ranch is aright by me, I love the Rec centres too. My wife describes it as communism for rich people.

Favorite design object: 1965 Epiphone Casino.

Guilty Pleasure: I don’t believe in Guilty Pleasures— if something is enjoyable, fair enough, I’m done being cool.

Underrated: Intuition.

Overrated: Technology.

What did you learn the hard way? That everybody is making it up as they go along, so there is no reason to feel insecure.

Has your work ever got you into trouble? Not since I was caught drawing an unflattering portrait of my French teacher on a rainy day in 1983.

If you could cross over into other profession what would you do? I always wanted to be a musician, or some kind of performer, but I’m happy making art, I’d like to do so more autonomously.

Dream project: I have an idea for an animated show which I’d love to see happen

Where’s home? Currently it’s very much San Francisco, I love this city so much, but I'm probably in the later days of being here, but I won’t stray far. California is really part of my mindset. I still have feelings for Wales where I grew up and am grateful that I got to live there too.

“The Little Angels” is an ongoing series of simple watercolours depicting recently deceased stars in the prime of their childhood. “The criteria is that the stars must have died at an early age, and the images must capture them before they are cognizant of their own image. My hope is that the sweet nature of the pictures and the tragedies that link them will invite the viewer to question both our obsessions with stardom, and the belief that fame is a cure all,” says Michael.

Beck for the his album “The Information”. Jean Michel Basquiat for the LA MOMA.

Bob Dylan from “Music Listography” published by Chronicle books.

“At home with Charity” painting for an exhibition.

“Happy Place” experimental work.

Video animation stills for the “Beastie Boys 5 Boroughs” album.

Dum Dum Girls, personal work.

Tommy Lee for Spin magazine.

B is for Beatles, for an illustrated alphabet exhibition in Dublin curated by Print Process.

Personal work.

“Drive” poster and cover for the film magazine, Little White Lies.

The 3 Disgraces, cover for Centerfold magazine.

A sampling from Michael’s sketchbook.

A possible cover for Michael’s book, “Drawn in Stereo” coming in 2013.

Link to Michael’s site.

Q&A with Todd Bracher

Todd Bracher’s work is instantly recognizable (and highly desirable) due to its simple functioning lines, alluring materials, and stunning workmanship. He describes his philosophy in a way that’s as honest and thought-provoking as his designs: “Reduction is very important to me…how we can take away everything and just leave what we need behind. That reveals for us something new, something that’s genuine and truthful, that’s not trying to be anything but what it is.” A native New Yorker, he spent 10 years living and working abroad in Copenhagen, Milan, Paris, and London before moving his practice to Brooklyn in 2007. His depth and breadth of experience ranges from heading up Tom Dixon’s design studio, acting Professor of Design at l’ESAD in Reims France, and serving as Creative Director of the Scandinavian luxury brand Georg Jensen.

Here’s my Q&A with the thoughtful and talented Todd Bracher.

Job description: Strategic Designer.

Why do you do what you do? I love connecting business solutions with design so that the end result is not only for increased company revenue but also a higher level of experience for the consumer. A definite win / win.

How do you break through a creative block? When I am blocked for me this always means that I am lacking information... so immediately I take back to the research and comb through again to see what I can rediscover to help get the ball rolling again...

Education: Yes I have a masters in Interior design and in Furniture design, but for me my education was the 10 years I spent living in Europe, winning, losing, failing, succeeding...

Mentors: Charles Darwin and Hokusai.

World-saving mission: My wife and I are saving the white sharks from extinction!

Office chair: The Supporto (Frederick Scott).

Office Soundtrack:Ideally music I have never heard before. This is the best for me to work with.

Most useful tool: No doubt that would be the mind where 85% of my solutions are born developed and executed.

Favorite space: Dark, natural, quiet, purposeful.

Favorite design object: The Zani & Zani pieces by Enzo Mari.

Guilty Pleasure: Food I have never tasted before.

Underrated: Travel to somewhere I have never been.

Overrated: Travel to somewhere I have already been.

What did you learn the hard way? Design is difficult and you have to be up for the challenge.

Has your work ever gotten you into trouble? No.

If you could cross over into other profession… what would you do? Physicist or Anthropologist.

Dream project: A single engine airplane.

Where’s home? An oddly shaped map I have in my mind.

You can easily sit or recline in this sofa or daybed that is appropriately called Freud for Zanotta in 2002.

Vas Glass Carafe for Italesse inspired by a pelican’s neck.

Stackable steel Alodia stool for Cappellini became available in 2010.

Simple and elegant steel and silicone kitchen utensils (2009) for Eva Trio.

The sculptural Stick Lamps (2009) made with metal tubing and Led lights were inspired by stick insects and deep-sea angler fish.

The Canard table system designed for Horm (2011) is simple and flexible. The four independent metal legs support a variety of structural surfaces and finishes.

T-no1 for Fritz Hansen (2007) is minimal in it's approach. “A surface for function, ribs to support the surface, a spine to hold the ribs and legs to bring the construction off the floor. Nothing more, nothing less” says Todd.

Black Dome lamp for Mater (2007) inspired by how light emanates in a 360 degree pattern. The Dome is made out of spun aluminum by one of the few remaining workshops in Denmark that has master the technique to perfection.

Bracher’s Trea chair (2011) finds inspiration from the movements of an exoskeleton which brings support and comfort to the sitter in both upright and reclined positions.

Link to Todd’s site

Q&A with Leslie Williamson

What attracts me most to Leslie Williamson’s photography is the admiration and curiosity for her subjects captured in her work. She is well-known for her book Handcrafted Modern, a personal project that emerged from her passion for art and design. The concept is elegant in its simplicity: she photographs the homes of her favorite mid-century design heroes.

The book visits the dwellings of luminaries such as studio furniture makers Wharton Esherick, George Nakashima, and J.B. Blunk; industrial designers Eva Zeisel, Russel Wright, Jens Risom, Charles and Ray Eames; and even legendary architects Albert Frey and Walter Gropius. We get to peek into how these iconoclasts lived, helping broaden the definition of modernism. Leslie’s photograph of a red dress hanging in Walter Gropius’ house reveals a warm glow within the strong lines. We have Leslie to thank for giving us another perspective, and a new way to understand modernism.

Walter Gropius House from Handcrafted Modern

Professionally I have had the fortunate opportunity to work with Leslie on an article about Kay Sekimachi for American Craft magazine. Leslie’s photograph—a stunning still life showcasing Sekimachi’s jewelry that was made from shells and bones washed up by the sea—landed on the cover, and I couldn’t have been happier. It was my last issue as creative director and it was great to end on such a high note.

Without further ado, here’s my Q&A with Leslie.

Job description: Photographer, Writer, Blogger, Observer of the designed world, Wildly curious person. Best known for my book Handcrafted Modern: At Home with MidCentury Designers which started as a personal project of shooting my favorite design legends homes as they lived in them.

Why do you do what you do? Taking photographs has been the foremost way I figure out the world for over half my life, so at this point it doesn’t seem like there is a “why” in it. I couldn’t stop myself if I tried. I am very fortunate that I get to do what I love most for a living. In the last 5 years, through working on Handcrafted Modern and then moving on to my new projects and continuing to shoot more and more of my own ideas for others I have found an added joy in being able to talk and write about these places I shoot. It seems the marrying of my stories and images has added a deeper joy in what I do.

How do you break through a creative block? As a photographer, I don’t really have that problem very often (knock on wood). Ideas flow and I have gotten to the point where I know to trust my gut. On occasion I might get sidetracked somehow, but I catch myself pretty quickly. Sometimes my ideas are like a runaway train…I just hold on and go for it!

With writing it is a completely different thing. Writing is relatively new for me so my process is not as worked out. I have found that I need space around writing. I cannot shoot in the morning and write in the afternoon. So the most challenging “block” is finding the time and space to get to the mental space I need to be in. If I have trouble in the midst of writing I usually stop and dance a bit…lately to early Elvis Costello for some reason…Or I just go for a walk near some water—get away from the whole thing for a spell.

Education: Art Center College of Design, Pasadena, CA and Life…the best education of all if you pay attention!

Mentors: Paul Ender (my high school design teacher), Bill Stout (when I was working on my book he was really helpful and his bookstore is a haven for me. stoutbooks.com), Dung Ngo (my editor at Rizzoli, he is great at pushing me)…there are more I’m sure. Sometimes just one sentence from someone or a really good conversation can really push me to a new place with my work, thinking, etc.

Office chair: Most often it is the drivers seat of my old trusty RAV 4 or the rental car I happen to be driving. At my studio, an old Eames soft pad chair. It is from the late 70’s or early 80s and has the really great old leather, not like the ones now…I love that thing…

Office Soundtrack: This is SUCH an important question! Music is a key part of my life, since a lot of my time is traveling to and from places alone. Music is my travel companion and friend a lot of the time. And I also use music to manage my mood. So I have mixes for every possible mood and place—mixes for printing in the darkroom, for when I wake up, I even have a “happy” mix for when I am grouchy. And then there are the “Solid Gold” mixes which I do for myself but are rather popular with my friends. Lots of classic rock from all eras. It is a guaranteed dance party.

Download my “Happy” mix list.

Most useful tool: My eyes, heart, intuition, and imagination and of course a camera comes in very handy…preferably a Mamiya RZ67 and some film but I shoot with a PhaseOne 645 and Canon 5D as well.

Favorite space: Because I shoot spaces all the time I am constantly getting “crushes” on different places. I crush A LOT!

But my favorite spaces are ones that I get to spend more time in, that I repeatedly go back to. I love JB Blunk’s house for that reason (and many others). I originally shot it for Handcrafted Modern, but have continued to return and photograph all the artists at the artist residency there. So I have been back numerous times. Plus JB’s daughter, Mariah, is now a dear friend, so I go up and spend the afternoon and we weed the garden and make dinner. I just feel at home there and I love noticing all the little changes that occur in the house. It is a living, breathing thing.

The most sacred space for me is one that doesn’t exist anymore. My Grandmother’s house. Before we sold it (and it was subsequently torn down) I photographed it. That place is stitched into my soul. I can still hear the sound of the back door shutting in my head and it has been gone for quite awhile now. Someday that project will be a book.

What an extraordinary soft color palette Leslie found in her Grandmother's undergarment drawer.

Favorite design object: I have these two rocks that are covered in leather by a japanese artist (wish I had his name!). I love those two things so much…they are in the dish where I put my keys everyday.

Guilty Pleasure: I have none… I mean really…if it is a pleasure I think it should be embraced! Why feel guilty? Taylor Swift, Hallmark movies, little old men with dark socks and sandals? No guilt. Love them with abandon!

Underrated: Modesty—in people, in objects, in places…

Overrated: Bleu Cheese

What did you learn the hard way? To trust myself and my gut implicitly. A lot of detours taken to get to that all important one…but they were fun. or calamitous. or both.

Dream project: Just about to embark on that in the spring. I am photographing all the European Homes for Handcrafted Modern Europe as well as folding in all the European craftspeople for my project on the evolution of different craftsmen. Plus I am starting a new project as well…top secret! I cannot wait!!!

Where’s home? Home is where my heart is, so I feel most at home in San Francisco and New York where most of my dearest friends and family are. But if I am with someone I love—even if I just met them—I am home.

Wharton Esherick home & studio landed on the cover for Handcrafted Modern

JB Blunk’s House is one of Leslie’s favorite places that she continuously photographs at different times of the year.

The house was included in her book Handcrafted Modern.

Photographs from artist Jesse Schlesinger’s built environment installation in San Francisco.

Furniture designer Paul Loebach is a recent subject for Leslie’s current project about craftsmen.

Here’s a link to Leslie’s website.