The THEN-NOW Show
11th March - 24th April 2011
The Aram Gallery, London

Victoria Jessen-Pike, now...

"The Then Now Show is an exhibition of 15 designers who were originally amongst the graduates selected by Zeev Aram to take part in the Aram Design’s Annual Graduate Shows in the late 1980s and early 1990s. This exhibition revisits the work of these designers to show the development of their career over the last 20 years or so.

Their work will be represented by their designs at graduation, THEN, alongside recent work, NOW."

Victoria Jessen-Pike, then, the ghost chair

"Zeev Aram opened his first store on London’s Kings Road, Chelsea, in 1964 at a time when there was very little in the way of modern furniture on the market. He had a real passion for design and was the first to introduce the works of designers such as Carlo Scarpa, A & P.G. Castiglioni, Marcel Breuer, Le Corbusier and V. Magistretti to the UK market. These were truly radical designs at the time and it may have seemed a gamble to show these works as part of a commercial venture.

Aram however, believed that here were pieces that were important, beautifully designed and well manufactured that would stand the test of time. And so they have. As the years went on, Aram noted that there was very little in the UK in the way of support for emerging designers and there was a real gap between designers and manufacturers. So he decided to host a yearly exhibition that would act as a platform for young graduates to show their innovative designs to the public, but principally to INDUSTRY. The exhibition was an attempt to bridge the gap and form a dialogue between a young generation of designers and manufacturers: a platform for engaging with creative ideas. This became the raison d’être for the Aram Graduate Shows."











The THEN-NOW Show
11th March - 24th April 2011
The Aram Gallery, London


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"expressive furniture"
aka
"when furniture has a mind of its own"


























"expressive furniture"
aka
"when furniture has a mind of its own"



1. After David Roentgen, via here...
2. An Erik Höglund wooden bed, signed and dated 1969. via here...












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Here we go
I don’t know If there’s any point to it all
But I sure love hearing your voice
This one makes up for the city












Some folks Just don’t give a damn
Whether they’re coming or going
Hey man Take a stand
This one makes up for the city






















And we’ll sing
We sing alone at the top of our lungs
Voices ring
Escape outside the cathedral

This one makes up for the city
1. Sterling Ruby
2. Peter Shire. as seen on south willard.


lyrics by the brilliant band ola podrida. hear this song here... "jordanna"

You have read this article brooklyn band / jordanna / ola podrida / peter shire / south willard / sterling ruby / this one makes up for the city / when songs become photos and thoughts / when songs become sculptures with the title February 2011. You can bookmark this page URL http://gigibytes.blogspot.com/2011/02/here-we-go-i-dont-know-if-theres-any.html. Thanks!

“I appreciate the craftsmanship of these things. I appreciate those who designed them and especially those who built them. I value the creation and building more than anything. I admire the men, like my Grandfather, who build their own homes.”

- Jason Koharik, artist, sculptor










Jason Koharik's works are now up at Lawson and Fenning in Silver Lake. Koharik's target paintings caught my eye a year ago. I was stoked to see a whole new series of targets the last time I dropped into Lawson and Fenning in Silver Lake. Jason was kind enough to send some words regarding his ideas, and personal history as an artist. Thanks Jason!

the visual centers, aka targets

An artist, identical twin, interior designer, electrician, contractor, carpenter, craftsman, and a collector.

Jason Koharik grew up in a small town just outside of Cleveland Ohio called Bedford, where he had always been primarily interested in creating, building, fixing, painting and drawing. In 1997 he moved to Los Angeles and almost immediately got involved in commercial production, which often in fluences his work.

Jason has always collected all the materials for his work: Some works have taken more than ten years of collection. Thousands of pieces of camera tape, leather scrap, tools, dummy loads of fi lm, canvas, wood, used paint sticks, furniture, tape measures, a lost sand bag, a questionable c-stand, location signs, or lost work gloves.

"In the interior design world I fi nd people are often afraid of C O L O R. Even in furniture galleries, the room tends to go beige or safe. The targets, I feel, make a strong statement. They change a room. Add some charm, either in their age or their color without throwing off the balance of the room. They work as a visual center and as a secondary accent piece."

“I appreciate the craftsmanship of these things. I appreciate those who designed them and especially those who built them. I value the creation and building more than anything. I admire the men, like my Grandfather, who build their own homes.”





------------------

He looks at furniture and sculpture as the same thing. “I try to fi nd the moment when you cannot tell the difference”. His paintings are the same. “I think of my paintings as furniture pieces. I try to create something with function and purpose. I want my paintings to understand their environment and t the sofa they hang above”.








--------------------




LAWSON AND FENNING : East
1618 Silver Lake Blvd
Los Angeles, CA 90026






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Liz Larner in New York
at Tanya Bonakdar Gallery










10 Feb 2011 - 19 Mar 2011

"Bringing film, two-dimensional images and the structural use of color to bear on sculptural expression, Larner’s work demonstrates an innovative approach to the centrality of form. The artist presents an atmosphere that allows significance to arise from abstract relationships.

Larner uses color to modify and reinvent, rather than reinforce the sculptural form. In this exhibition, Michelangelo Antonioni's first color film, Red Desert, (1964) is taken as a point of departure, as themes from the film are readdressed and reconsidered. Lines and hues create separate illusions, as color and shape express themselves poetically and contribute to the emotional aspects of the works. The sculptures are subversive and sublime - they expand the possibilities of three-dimensional form as well as bring into focus the means by which this expansion is achieved. "


------



(liz larner's early sculptural forms left a colorful imprint on my psyche. i still think about her early works, and her midcareer retrospective at moca. expertly installed. new yorkers, should check out liz larner's show.)





Tanya Bonakdar Gallery
521 West 21st Street
New York, NY 10011






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two chairs,
one painting,
and many lines.






























two chairs,
one painting,
and many lines.



1. doshi levien, Paper Planes Seating collection for Moroso. Bespoke print and jacquard.
2. bernard frieze, oil on canvas




Doshi Levien is a London based design office led by Jonathan Levien and Nipa Doshi, established in 2000. Doshi Levien's work celebrates the hybrid and explores the coming together of cultures, technology, story telling, industrial design and fine craftsmanship. Nipa's refined and astute visual direction is combined with Jonathan's precision and tenacity as an industrial designer.

Doshi Levien work across disciplines and industries, they make their own rules that are based on extracting as much richness as possible out of an experience or idea. The studio gives expert advice to global brands on cultural and social insights, leading to design opportunities for the emerging economies.










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Sergei Jensen 2011
&
Louise Nevelson 1969

"the leftovers"

Sergei Jensen, PS1 January 23, 2011 - May 2, 2011

"In a way that connects to postwar art tendencies like French Situationism, Italian Arte Povera and even relational aesthetics, Sergej Jensen emphasizes interactivity and randomness, embraces accident and takes what comes.

(He has a tendency, for example, to take a decidedly unprecious approach to lighting, and usually accepts whatever has carried over from the previous show.)


taken from Roberta Smith's glowing review...here


(on a side note, Sergej Jensen has work up now at the Hammer Museum in Los Angeles. Sewn, orn, and beautiful, they took me by suprise. A certain sadness + triump in these works. Don't miss them!)

louise nevelson, 1969

"Louise Nevelson became renowned during the Abstract Expressionist period for constructing crated assemblages full of wooden items grouped together into monochromatically painted cubic structures. Her aim to reinvigorate found objects with a spiritual life was informed by feminist ideals and Nevelson's strong persona, which inspired multitudinous female artists associated with the women's movement.

Influenced by Duchamp's found object sculptures, Nevelson sought to build abstract wooden environments, painted gold, black, or white, that obscured original content to historicize debris with a second, more mysterious narrative life. The narratives in her artwork originated from her personal migration history as a Jewish woman who relocated to America, and from her active life in New York's artistic community. "

taken from here...










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rooms must resonate.


"res·o·nate"
1. Produce or be filled with a deep, full, reverberating sound.
2. Evoke or suggest images, memories, and emotions.











































rooms must resonate.



"res·o·nate"
1. Produce or be filled with a deep, full, reverberating sound.
2. Evoke or suggest images, memories, and emotions.


1. via sotheby's auction.
2. barber and osgerby. more info here....
3. thomas sandell for marsotta, console table.

You have read this article barber osgerby / coffee table / elements of a room / italian / marble / marble coffeee table / marsotta with the title February 2011. You can bookmark this page URL http://gigibytes.blogspot.com/2011/02/rooms-must-resonate.html. Thanks!

I don't look for anything.
It comes to me.

Jack Bush, 1977









"I don't look for anything. It comes to me. I may be walking along a road and I see a mark on the road; it looks interesting, so I try it out as a painting. Or looking at some flowers in the garden - how can I get the feel of those colours, of the flower colours, the nice smell and everything? ...

I'm not painting flowers. I'm painting the essence, the feeling to me only, not how somebody else feels about those flowers, only me. Then I forget the flowers and make a good painting of it if I can."

Jack Bush, 1977,
taken from here...



----------------


Jack Bush was a member of the Toronto artist group Painters Eleven who banded together in 1954 to promote abstract painting. Through this involvement he met the influential New York City art critic Clement Greenberg. Bush was encouraged by Greenberg to abandon his Abstract Expressionist style characterized by hovering amorphous shapes on the picture plane. He would simplify his composition by using an all-over coverage of thinly applied bright colours inspired by his watercolour sketches.

His work is based on an abstract record of his perceptions. He did not expect the viewer to see the flower or hear the music that inspired his work, but only to share in the feeling through his painting.










(currently soaking in the works of the painters eleven)
a collective from 1953 to 1960 of painters in toronto....
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"Personal Zig Zag"
by WAKA WAKA at IKO IKO

"When my best friend's sheets were a mash up of Memphis prints, it was just an 80's thing, but now it all makes sense...a real mind liberator. "









Who doesn't want their own personal zig zag?
I wrote to WAKA WAKA & IKO IKO, and asked them
about their Sottsass inspired zig zags!



"The MEMPHIS movement and especially Ettore Sottsass' works are undoubtedly on our list of influences--especially this particular lamp It always gets a WOW and serves as a good reminder to show how to bring the "unexpected" into a space, how to add a(n) exclamation point(s), how to appreciate the exaggerated shapes/angles/patterns/colors as a recognizable but turned vocabulary.

When my best friend's sheets were a mash up of Memphis prints, it was just an 80's thing, but now it all makes sense...a real mind liberator.

We made the "PERSONAL ZIG ZAG" as the first shape in what we envision as an ongoing 3D wall drawing, with scallops, dashes, and dots as part of the "full wall package." Soon you can buy it as a grouping with install instructions and suggested layout."



- IKO IKO and WAKA WAKA




--------------------------



IKO IKO
1298 sunset blvd. los angeles, ca
ikoikospace.blogspot.com








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2 objects by
Mathieu Leguern











2 objects by
Mathieu Leguern



Something about Mathieu Leguern's work just feels California to me.

From reading his site in French, it appears he lives near the sea in France, and possibly in Paris. These ceramic works call to mind the work of David Cressey, (and in particular his Glyph Wall, go here) and other mid-century ceramicists that have gained recognition in California the past few years.

Looking forward to seeing more work of Leguern's!










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Room 606
The SAS House and the Work of Arne Jacobsen

"Arne Jacobsen was one of the outstanding architects of the twentieth century, he created complete settings for daily life and dissolving the boundaries between architecture, interior and industrial design. "

































Room 606, by Michael Sheridan

"In the centre of Copenhagen, on the sixth floor of the Royal Hotel, a single room preserves a microcosm of the definitive masterwork of Danish architect and furniture designer Arne Jacobsen (1902-71).

Room 606 is the last surviving interior of the SAS House: an unparalleled example of modern architecture and design, completed in 1960. Jacobsen was one of the outstanding architects of the twentieth century, he created complete settings for daily life and dissolving the boundaries between architecture, interior and industrial design.

The SAS House represented the pinnacle of his achievements, for which Jacobsen had designed every detail, including new furniture such as the now famous Egg and Swan chairs, fabrics, fixtures and even silverware.

This book presents a unique insight into Jacobsen's work, using the 'time-capsule' Room 606 as a lens through which to examine the span of his entire career. A lost world of mid-twentieth-century form and sensation is rediscovered through hundreds of rare archival photographs, original drawings and sketches, and specially commissioned new colour photographs of Room 606. The chapters are organized thematically: each consists of three sections that together look at Room 606 as a microcosm of the SAS House, reconstruct the original building, and trace the connections between Jacobsen's masterpiece and his other works - from whole buildings to household objects."




via phaidon here...
text and images from PHAIDON














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when a rectangle become sculpture
when rectangles become a gallery
when rectangles become us.
























































when a rectangle become sculpture
when rectangles becomes a gallery
when rectangles become us.


1. anita leisz
2. external facade of alison jacques gallery
3. external facade of marianne boesky, ny.
4. anita leisz















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hand labor
and hand tools































1. Ursula von Rydingsvard
2. Ruby Neri, Untitled, 2011 (detail) stoneware with glaze, acrylic paint, and oil paint,
David Kordansky Gallery is pleased to announce its participation at The Armory Show 2011 March 3 - 6, 2011, Booth 615



--------------------




Von Rydingsvard persistently explores childhood experiences, emphasizing the quiet drama of family connections. She also chronicles the emotional attachments to one’s environment and the dignity of hand labor and hand tools. Although her sculptures are nonrepresentational and avoid literalism, they function, says one critic, as “a connector between abstraction and the world of real things.”

Making reference to all kinds of everyday objects and architectural constructions, von Rydingsvard’s work evokes barns, sheds, barracks, pews, altars, shovels, bowls, and spoons - even the human body. Much of its impact derives from the authority and intensity of feeling, but each piece is enriched as well by the contrast between a monolithic scale and an intimacy of detail. This commanding fusion of austerity, spirituality and emotional force grabs you at once.









text taken from here...

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oh demon hill, release me, squeeze me, and dizzy me.
aka
julian strikes twice in los angeles












After my afternoon appointment, I dashed over to Julian Hoeber's installation currently at the HAMMER. It's called DEMON HILL : a freestanding structure based on the architecture of “gravitational mystery spots.”

Any room complete with plywood furniture, and an ability to alter your senses is a-ok with me. Thanks Julian! Off to see your other show at Blum and Poe this week for further hallucinatory experiences.

Call me when you get to the bar, the first round is on me.




















"Los Angeles-based artist Julian Hoeber uses a wide range of media—including sculpture, drawing, filmmaking, installation, and photography—to explore psychology, emotion and narrative. For this exhibition, Hoeber presents Demon Hill, a freestanding structure based on the architecture of “gravitational mystery spots.” The architecture of these shacks creates the illusion that gravity works at an angle, that water runs uphill, and that bodies stand at a sharp angle to the floor. “Mystery spots” claim to be an effect and marker of a geological anomaly or a supernatural phenomenon and the illusion is so convincing that it gives even rational people pause.

The project will allow for a playful experience of space and narrative while opening questions of how psychology and ideology form meaning in art. Installed on the Museum’s Lindbrook Terrace, Demon Hill is a combination art installation and roadside attraction, transplanted to the marble terrace of the Museum.


text taken from hammer's site...






















Blum and Poe here..
Hammer Museum here...






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not "m"
nor "m"










not McMakin, nor Meadows (inspired by R4TH)

(image taken on the streets of L.A. early this morning.)











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Erika Stahlman, interior designer, guest post for YHBHS

"What 80s valley girl wouldn't love his work?"

Interiors by Ugly Cute, inspired by Sotsass
First Cheap Monday’s Office

Erika Stahlman writes,

"What 80s valley girl wouldn't love his work?

Geometric shapes, laminates with unnatural textures, vibrant colors ? Red, yellow, pale blue and green? Set next to high contrast black and white. Familiar shapes or images transformed into something completely different, like the silhouette of a palm tree in bright red that turns into an adjustable shelving unit, a boxing ring that becomes a bed, or Aladdin's carpet morphing into a chair.

I love the way he stained wood veneers in unlikely reds, yellows and greens on streamlined shapes that conveyed electric movement. He was a genius at Pop Art and a master of avant-garde furniture. And his influence is clear on designers past, present and will remain unmatched in the future."

Second, Installation Konstfack for kids, Stockholm

Erika Stahlman is a bi-coastal interior designer raised in Palm Springs, California. She studied at the Fashion Institute of Design and Merchandising and for more than 20 years has worked creating and transforming luxury condominiums, high-end residential and hospitality projects into livable art. She directed projects in New York, Los Angeles and Buenos Aires, and has completed a long list of private residences for a select group of celebrity clients. Erika's ever-evolving aesthetic is constantly nurtured by her world travels and years of training with the best architects and furniture designers worldwide.

She writes a weekly column on interior design, art and lifestyle. You can find it at the/aesthete (http://www.aestheteblog.com)











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take me away from these simple feelings.
take me away from these simple feelings.
take me away from these simple feelings.












I would never want to take you with me
Until you're open and grab my hand
I would never wish this much on you
Until you like to live that fast



















You stand here in my place
Feel the warmth upon your face
Stand back and start to smile
You now have time
You now have will




simple feelings:

1. Andy Coolquitt
2. Rebecca Warren, bronze on MDF and wheels, 2003, by The Renaissance Society, at the University of Chicago. Mind-melting programming.


lyrics by kitchens of distinction., "drive that fast"












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rich brilliant willing 2010
vs
lyman kipp 1979

"a continual case of the bent blues."

























"a continual case of the bent blues."

1. Rich Brilliant Willing, branch floor lamp, 2010
2. Lyman Kipp, Blue Smoke 1979 enameled aluminum




"Lyman Kipp is a sculptor and painter who creates pieces that are composed of strong vertical and horizontal objects and are often painted in bold primary colors recalling arrangements by De Stijl Constructivists. Kipp is an important figure in the development of the Primary Structure style which came to prominence in the mid-1960s."




----------------




and in thinking of RBW, getting super excited about this upcoming show......


Volume Gallery debuts the premier, limited edition collection from
RICH BRILLIANT WILLING, March 18 – April 3, 2011

"In Pro Forma, their first solo exhibition of limited edition work, Rich Brilliant Willing debuts a collection comprised of a series of personal storage pieces inspired by international air-shipping containers and what RBW identifies as a transient nature in the contemporary idea of home.

Well known for their appropriation of ready-made components, Theo Richardson, Charles Brill and Alexander Williams (Rich Brilliant Willing), Pro Forma draws inspiration from the curious forms of air shipping containers, the corners of which are heavily chamfered or rounded to facilitate their fitting economically into an airplane’s curved fuselage.

With Pro Forma, Rich Brilliant Willing borrows from the archetype of globalization and transposes it onto icons of the home: the credenza, the coffee table, the bookshelf, side table and bar cabinet. By stripping the container shapes of their original context and the furniture objects of an overly specific function, a dialogue of abstraction emerges.

First and foremost, Pro Forma is a material-rich investigation. The rugged and deliberate shapes of commercial transport are tamed by the more lavish palette of home furnishing and antique luggage: brass, leather, lacquer and American hardwoods; steamer trunks in an age of global logistics."

got to VOLUME here...
and RICH BRILLIANT WILLING HERE











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Bridget Riley, DENY IV, 1966

"something akin to a sense of recognition . . . so that the spectator experiences at one and the same time something known and something unknown."









the late sunday edition


"But Riley soon discovered the mixed blessing of this celebrity: Her association, from a popular and critical viewpoint, with the facile optical-art label greatly obscured the larger intentions behind her work.

Although effects of optical illusion are a cornerstone of her paintings, Riley regards them only as essential means to a greater expressive end. By careful manipulation, she intends to elicit from the viewer "something akin to a sense of recognition . . . so that the spectator experiences at one and the same time something known and something unknown."

Physical states, ambiguous moods, or her response to the fleeting atmospheric effect in a landscape frequently inspire and breathe life into Riley's paintings, as the following titles, like Deny, testify: Climax, Breathe, Loss, Intake, Vapour, and Late Morning. "






all text taken from here...
read the entire article written by Patrick Shaw Cable...








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I see the mountain side The trees and sky go by....
I'm out here on my own I might not come back home.
aka
"when concrete becomes mythical."





























G E R M A N DEL SOL from Santiago, Chile, is a designer and architect that has built three eco-hotels in extreme regions of ice and desert. In reverse of Singer, del Sol intervenes into almost mythic Nature with human constructions. The work responds to human excesses of dominating the Earth by demonstrating ways to follow nature or flow with it - and still be human. Never dissolving into nature. Always celebrating raw nature through a gentle contrast of color or texture or long edges.

The forms separate the earth from sky, steaming water from forest canopy, inside from out and human path from untouched nature. Both the separation and thing separating co-exist equal. In the time of saving the planet, humans can still be humans and nature, nature.



taken from here..





















E M B A I X A D A was established in 2001 with the aim to produce works capable of answering to the exquisite requisites of contemporary life by innovative ways. The work developed encloses areas such as Urbanism, Architecture and Design...

"The Project is a conversion of a former rundown factory infrastructure that plays a relevant role in the urban context of the city of Tomar, although without any particular architectural interest. Located at the beginning of the city historical centre, the building has been subjected to several attachments and changes over the years, finding itself threatened by some decadence and inadequate for the intended use. " (taken from here.)












--------------------



"And we go outside
When the morning's dark"

images:
1. German del Sol Arquitectco, Saunas y estanques, Atacama
2. E M B A I X A D A, architects





(lyrics by the incredible beach fossils!)






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Jonathan Plypchuk, new work
@ China Art Objects, Los Angeles


"Endowed with human attributes and inspiring empathy grounded in likeness, they speak powerfully of the pathetic banality, stubborn determination, and relentless optimism that define our path through life as a tragicomedy of epic proportion." (taken from here)

(earlier image from friedeirch petzel)

Jonathan Plypchuk, new work
China Art Objects, Los Angeles






taken from earlier press release from Blaffer Art Museum, Houston....

Pylypchuk’s world is populated by the unfit and beaten down, the rascals and rowdies who benefit from the fact that our society is not ruled by Darwinian laws but according to civilized terms of socialization that are inclusive even of the most depraved of human beings.

Not that Pylypchuk’s creatures are all depravity, but they certainly do represent the more unsavory side of humankind, one that is usually repressed and buried under a variety of social codes, be they moral guidelines or simple parameters of SO-CALLED ACCEPTABLE public behavior within which we grow up and learn to integrate ourselves into the fabric of society. Pylypchuk’s characters often seem to have lost or abandoned those compasses intended to steer us toward a fulfilled and happy life, and as a result they face quite the opposite. Theirs is the wounded condition of those who have seen harm done either to themselves or to others, one that often compels them to do the same.

They combine a hearty dose of cynicism and anger at THE UNFAIRNESS OF IT ALL with a wicked sense of survivalist humor. The phalanx of creatures populating Pylypchuk’s paintings, drawings, and sculptures is channeling our worst fears and greatest hopes. Endowed with human attributes and inspiring empathy grounded in likeness, they speak powerfully of the pathetic banality, stubborn determination, and relentless optimism that define our path through life as a tragicomedy of epic proportion."


all text taken from here...


excited to see this new work, see you tonight....










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Christopher Andrews, artist,
guest post for YHBHS

"Beige, black and white were my colors of choice back then. Then here was Memphis Group and all their bright colors, fake wood grain, haphazard construction and nonsense. It was too much. When I came to be the age those designers were then, it started to make sense. "










(All text and photographs by Christopher Andrews)



"I have been interested in the work of Ettore Sottsass for some time now and he has influenced so many in such a way that it is perhaps undetected. Ideas about color, form and materials, all changed with him. Even looking at the current fashion trend of color, the influence, direct or not, is there. Look at the Spring 2011 collection for Jil Sander and it is difficult not to compare it to some of the best of Sottsass ceramic and glass work.


Those shapes and color combination are almost exact. Some designers are constantly creating work that desperately tries to exceed it's time, as if they are worried about their creations not having a long life. I am not sure if this was a concern for Sottsass because what he created lives totally in the moment and in that moment, this object is to be enjoyed, thought humorous, believed useful, understood creative, or even misunderstood to be something else.

















Ettore Sottsass created pleasure and a connection with play. The furniture he did for Memphis was a nod to the Italian art deco furniture he had to have known. It was dissected, interrupted and reconfigured in bright colors and childish references. In it's obvious artificiality, the Memphis furniture looks of it's time and yet still stands above it, like good design really should.

Not long ago I visited a small but lovely exhibition of Sottsass' work at the gallery space of the French fashion designer Azzedine Alaïa. Looking at piece after piece I was reminded of seeing them the first time, as a kid, in magazines and design catalogs. I have to admit I was not in love with it back then. I was a kid with rather conservative tastes and was desperately trying to reconcile why I thought Biedermeier, Breuer and Mies was a great combination.




















Beige, black and white were my colors of choice back then. Then here was Memphis Group and all their bright colors, fake wood grain, haphazard construction and nonsense. It was too much. When I came to be the age those designers were then, it started to make sense. As a kid I want to grow up and be sophisticated and as an adult, I hope to retain a bit of youthfulness and play.

















Ettore Sottsass understood this extremely well. As far as my own work is concerned, his influence is probably not so obvious, but like him I play on the sense of the real and the artificial.

Are my photos current are old? Is that a photo or a painting? He could break things down to their simplest forms. This is something I try to do when photographing architecture. He even made common things abstract and I like doing this by adjusting the angle and position, making use of a shadow to trick the eye into thinking the object is something else. Perhaps more than anything really, it is the feeling of giving energy to something, which I probably take from Sottsass the most.

He was a true creator and this is something I also hope to be.



















Christopher Andrews is a Paris based American photographer...
All text and photographs by Christopher Andrews... thank you....

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