Friday, November 2, 2012

Jooney Woodward

Harriet and Gentleman Jack

Photographer Jooney Woodward created this portrait of 13-year-old Harriet Power in the guinea pig appraisal area of the Royal Welsh Show in Llanelwedd, Wales — the largest agricultural show in Europe

“I found her image immediately striking with her long, red hair and white stewarding coat,” Woodward says. “She is holding her own guinea pig called Gentleman Jack, named after the Jack Daniel’s whiskey box in which he was given to her. Using natural light from a skylight above, I took just three frames and this image was the first.” 

The photographer used a Mamiya RZ medium format camera. “I don’t mess around with Photoshop so what you see is what you get,” she explains. “Enhanced images can portray a false sense of reality, whereas my work celebrates the people and places as they appear every day.”

I’m not alone in being captivated by Woodward’s photography. Harriet and Gentleman Jack has been fortunate to be included in The Art of Photography Show 2012 at the San Diego Art Institute and was the 2011 Taylor Wessing Photographic Portrait Prize winner at the National Portrait Gallery in London.

I am drawn to this series in particular because of my love of animals, including my Welsh Terrier, Stig. Harriet’s crimson locks and her guinea pig’s coppery fur remind me of Stig’s reddish wire-hair coat. Further, I often find myself fantasizing about Wales and wondering about Stig’s roots. Jooney’s images open a contemporary window into a centuries-old agricultural landscape. The photographs are compassionately and graphically composed, making them highly gratifying and memorable for me. 

Below are additional photographs from the series at the Royal Welsh Show.


Cynan and Gwion
Sheeptacular
In the Fur and Feather Pavilion
Welsh and Any Other Modern Breed of Pigs
Fred

jooneywoodward.co.uk

Monday, October 29, 2012

Amber Cowan: Recycling “Colony Harvest” Tableware

Whole Milk Wash Basin in Colony Harvest2012
Mirror in Colony Harvest / 2012
The sublimely talented Amber Cowan is a sculptor working primarily with glass. She received both her MFA in Glass/Ceramics from Tyler School of Art in Philadelphia and her BFA in 3-Dimensional Design with a concentration in Glass from Salisbury University. 

Not content to follow a traditional path, today she is perfecting an original process involving flameworking, blowing, and hot-sculpting recycled, up-cycled, found and second-life glass. Her materials are typically American pressed glass from the 1940s–1980s, giving her work a vibrant sense of history with references to mid-century craftsmanship.

I’m particularly drawn to one of her recent pieces — Whole Milk Wash Basin in Colony Harvest. She created the piece by using found glass from the Lancaster Colony Corporation, a thriving American pressed glass manufacturer which operated from 1907–2002.

The Colony Harvest pattern was a quite popular line of opaque milk glass tableware produced from the 1950s–1980s. Back in the day, postwar consumers would acquire the tableware through S&H Green Stamps, a rewards and return system. Today thrift stores are inundated with the pattern, as preceding generations are replacing it with today’s modern wares.

“I reconstruct this glass and alter its original state while keeping intact the original vintage feeling,” Amber explains. “I wish to reference the history of the pressed glass industry and bring into focus the feeling of its past glory and forlorn future.”

The peaceful milky-white glass reincarnated into a complex composition definitely gives the Colony Harvest pattern new life.

Wednesday, October 24, 2012

Interview with Martha Davis



Marilyn Monroe once said, “Give the girl the right shoes, and she can conquer the world”. Every time I marvel over Martha Davis’s shoes, that quote comes instinctively to mind. Each pair is smartly designed, well crafted, comfortable and very sexy.

Trained as a product designer at Smart Design, Razorfish, and her own company Able Design before segueing into the fashion world in the fall of 2009, she leverages her industrial design expertise by fusing hard-core functionality with unique sculptural possibilities to create some very impressive shoes.

“I think of shoes as little products or architecture for the feet—both share similar purpose of protection, organization, and personality,” says the designer. An expert at looking for solutions within a problem, she never loses sight of ways to keep the foot secure and the wearer confident, while at the same time innovating with form and experimenting with structure and materials.

“I look at where the foot needs to be supported and where it doesn’t—then how the materials and shapes can be arranged in an interesting way. I like a bit of tension—something unexpected—whether it’s in the proportions, compositions, or materials,” Davis says.

This past winter, Martha was a resident at the newly formed The Workshop Residence in San Francisco. This exciting collective engages makers of all kinds: emerging and established, traditional and unexpected, and invites them to collaborate with the Bay Area’s vibrant artistic and craft communities. During her residency there, she blended industry and craftsmanship to design three distinctive shoes. While all of the shoes use the same vegetable-tanned leather and have similarities in the shape and construction of the shoe, the key point of innovation is the design of the heel.

“Kasha” features a heel with colored resin and utilizes the outer part of a redwood tree trunk known as the “jacket”. This part of the tree is considered waste product by sawmills, but Martha envisioned this beautiful and striking substance as a way to give the shoes a truly bespoke feeling.

Kasha

For “Simone”, raw materials are carefully selected from the undulating folds of Black Acacia wood harvested in the San Francisco Bay.

Simone

Finally, “Sugi” has an adjustable heel made with repurposed Douglas Fir. Additionally she constructs the shoe with wood originally used as brakes for San Francisco’s iconic cable cars. Due to the wear and tear, the brakes on the cable cars are replaced every 72 hours. Martha resurfaced the brakes and cut the heels directly from them—the stunning result is a stylish oval that swivels on a pin to two heel heights.

Sugi

Martha is joining forces with creative director Susanna Dulkinys to create Dulkinys Davis, a new fashion label made in the USA. The collection will consist of basics centered around leather, blending traditional and innovation to create modern shapes and exceptionally high-quality, handmade products. More on their collaboration in a future post.

With out further ado, here’s my Q&A with the alluring and magical Martha Davis.

Job description: a forever student—i hope!

Why do you do what you do? i am a terminal non-linear thinker

How do you break through a creative block? look at stuff

Education: cornell art/arch/planning school: 82-84
risd: bfa sculpture 86
are sutoria: footwear engineering certificate 07

Mentors: my dad & tucker viemeister

World-saving mission: help people appreciate making things and live more self sufficiently

Office chair: Eames

Office Soundtrack: Italian opera

Most useful tool: apple air book/ husquvarna sewing machine i got as a gift when i was 17

Favorite space: the giardiniin venice

Favorite design object: paperclip

Guilty Pleasure: naps

Underrated: plumbing

Overrated: facebook

What did you learn the hard way? to love

If you could cross over into other profession… what would you do? be an architect or a surgeon

Dream project: to start a factory that could employ all kinds of people and give local vitality

Where’s home? san francisco



Fall 2011

Friday, April 20, 2012

Q&A With Eva Hild

Photograph by Carl Bengtsson

When my eyes glide across Eva Hild’s astonishing ceramic sculptures, I feel a rush akin to being on a roller-coaster. The rise and fall of the paper-thin oversize forms, the swaying undulating waves that appear to be breathing— it’s a truly exhilarating experience. Needless to say, I enjoy the ride.

Hild’s work is hand-built and is made primarily from clay with a minimal color palette. “I try to relate my work to my life,” says the Swedish-born artist. “What is happening and how does it feel? Pressure. Slow. Strain. Ramification. Inside turn outside. As a starting point, I put words onto my feelings, and use the vessel form to translate this into three dimensions. The size of the form relates to my body. The thin walls are pulled and bent in different directions.”

Experience these poetically sinuous pieces yourself at Nancy Margolis Gallery in Manhattan. Here’s my Q&A with the enchanting and talented Eva Hild.

Job description: Shaping my life as a sculptor. Mostly and originally in clay but nowadays in any material that seems to be interesting, appropriate, possible and challenging. I work with the relation between inner and outer worlds, mind and matter, volumes and mass.

Why do you do what you do? I am interested in materials, shapes and the way objects could tell stories about life. I love to work with my hands and body. After a short period as a physiotherapist and ideas about being a physician, I throw myself happily (zestfully, with confidence) into the art-world. Clay was a good starter; non-exclusive and almost infinite possibilities. I tried everything during my first years at the art-university, but as time passed my aim was to really find my own path. I found a track in my inner landscapes, and I still follow.

How do you break through a creative block? My work is very time-consuming and I think I break any block by patience, endurance and hard work. On the other hand, this could also be the block; being stucked in the material, the extended time and the on-going process. I need periods of less dirty hands, and more intellectual work. I need to step back, reflect over and formulate my themes, get impressions from the outer world. My work is a flow, very much connected to my life. I am interested in this slow development. I try to be true and consistent, but also curious and struggle to reach new viewpoints.

Education: University of Design and Crafts in Gothenburg, Sweden. And by learning the hard way: mistakes always take you further...

Mentors: A lot of people in different positions and professions has been important in my artistic life. For example a supportive husband. 

World-saving mission: Try your best (but do not be too harsh on yourself…).

Studio chair: Wood and metal from the 50s, from my grandfathers studio (rural painter).

Studio Soundtrack: P1 (talking, educational radio channel).

Most useful tool: My metal kidney.

Favorite space: Except my studio: In the airy forest, where the trees are high as in a colonnade hall, and the ground is covered with moss.

Favorite design object: 
Citroën 2CV

Guilty Pleasure: 
Picking the best parts of the muesli...


Underrated: 
Good and sustainable choices. Less is more.


Overrated: 
Quick fixes.

What did you learn the hard way? How to transform one of my ceramic pieces into a bigger scale, in stainless steel…

Has your work ever got you into trouble? Things could go wrong (stainless steel sculptures can rust) and I could feel troubled, but most things finally get solved, one way or another. I really appreciate good co-workers and learning things. Experience gives confidence. Working with fragile materials in a 3-dimensional way always contains a risk; how to handle, ship and maintain? And at the same time: that is part of the content, expression and challenge.

If you could cross over into other profession… what would you do? I have already changed direction in my professional life; now I really look forward to explore and broaden the horizons in this area.

Dream project: An architectural big piece, performed in a supersustainable material with a team of professionals. To be able to experience the inner world in an outer world scale...This makes me think of another possible favorite space, where I have not been yet (on my wish-list): Cloud Gate of Anish Kapoor in Chicago Millennium Park.

Where’s home? Where I keep my collection of wool sweaters, rubber boots and parkas…

Protuberance, stoneware, 2011, 90 x 56 x 69 cm

Gotland Art Museum, 2001



Track, stoneware, 2010, 105 x 50 x 40 cm

Extension Loop 1079, stoneware, 2006, 90 x 70 x 65 cm


Expansion (Wall), stoneware, 2008, 135 x 90 x 53 cm


Aluminum Sculpture, aluminum, 2011, 115.1 x  85.1 x  85.1 cm.


Bilateral, Stoneware 2008, 100 x 55 x 55cm.


Prolongation, stoneware, 2009, 85 x 37 x 25 cm


Spine, stoneware, 2008-2009, 105 x 65 x 69 cm


Eva working in her studio in Sweden. 
Photography by Anna Sigge

Link to Eva’s site.

Tuesday, March 20, 2012

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 RenĂ© 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.