"Some people say there's a golden light 
You're the golden light" 

"Some people say there's a golden light 
You're the golden light"
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Ultimately, their work is about a search for a unique beauty
that is within the materials and forms they find in their process.

- Pelle

PELLE are Korean-American designer Jean Pelle and German designer Oliver Pelle who met and studied at the Yale School of Architecture. From their studio in Red Hook Brooklyn they create lighting, furniture, interiors and architecture. Their inspiration comes from observing and re-imagining the possibilities of objects and spaces around them. Ultimately, their work is about a search for a unique beauty that is within the materials and forms they find in their process.

 PELLE Studio & Showroom:  201 Richards St Suite 105 Brooklyn NY 11231 

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This one was locked, closed down and refrained.
You tore through the glass, no one could understand.
As you pushed them all away, you made them all return.
This on was overcome, yet you lost in the end.

Now you, are on your way. (here)


 Well I have been quietly standing in the shade 
All of my days 
Watch the sky breaking on the promise that we made 
All of this rain 
And I've been trying to find 
What's been in my mind 

As the days keep turning into night

A couple weeks ago, as I was rushing around in downtown Los Angeles, I stopped inside the Figueroa Hotel, built in 1925.  A stairwell led to a basement, and as my eyes focused, I began to see a circling vine, with lights, and leaves, and gentle circling illumination. I quickly snapped this photograph as a reminder.

It's been an intense year of change for myself, and as the year ends, I'm grateful for the friends, experiences, and work that has filtered into my life. I've often heard we live many lifetimes, and it is evident that I am entering a new lifetime.  To those who create in their own way, and seek to add, rather than subtract.   To take the time to see what is true to them, and to participate in their own way.  

Happy Holidays, and see you in 2013.  We are on our way.  - David John


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“My painting is built around a great paradox: To deny in order to better assert. My painting thinks and put its thinking on display. It will unfold and thus deny its essential issues and underlying basis: chronology, origin, ending, incompleteness, series, montage, reproduction, etc…

(Bernard Piffaretti in conversation with Matt Connors

Bernard Piffaretti: Report
January 12 - February 16, 2013

Cherry and Martin presents the first United States solo exhibition in ten years by one of the most important contemporary French painters, Bernard Piffaretti, as curated in conversation with Matt Connors.

For more than 30 years Piffaretti has expressed the virtues and contradictions of painting, pairing codes of modern abstraction with a strict conceptual methodology. By vertically dividing the canvas into two equal halves creating the right-side as the original and the left-side its copy, Piffaretti has shaped his oeuvre into a multi-perplexing paradox that runs the gamut of painting’s canon while forming the quintessential Duchampian question to the audience.

The rigor and restraints of Bernard Piffaretti’s practice is riddled with the interruption, or pause, from its initiating mark—the formal constant of the painted-vertical line—that equally connects and separates the whole of the canvas. The paintings’ conception prompts a metaphorical plurality to the viewer on the creation of the pictorial image, the role of thinking in form, and the questions of negation and reaffirmation of the act of painting through the systematic role of copying to once more reveal what was already known. Unlike many of his contemporaries relaying on the power of the mechanical reproductive image, and the objective truth as presented in the photograph, Piffaretti posits himself into the endless variation of form as a traditional painter, acknowledging his strong conceptual threading, the thoughts within his paintings, and their relationship to space and time bearing the weight of the artist’s infinite dualities

(text taken from here)

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LOYALTY is faithfulness or a devotion to a person, country, group, or cause. (Philosophers disagree as to what things one can be loyal to. Some, as explained in more detail below, argue that one can be loyal to a broad range of things, whilst others argue that it is only possible for loyalty to be to another person and that it is strictly interpersonal.)

AMBIENCE is a feeling or mood associated with a particular place, person, or thing : Atmosphere

1. Chair: designed: CRS Bonaldo, "Nuovo Arturo" via ddc-nyc
2. Heathered Pearls Loyal: (ghostly)

The album's roots lie in a very utilitarian idea: "I started writing what now has become Loyal as a mental break from my personal anxieties," Alexander says. A study in the hypnotic, calming qualities of music, Loyal is also a tribute to Alexander's mother and Aunt (featured on the cover) who were crucial in instilling the taste and aesthetics so key to his music.  "My mom introduced me to my first ambient record over 10 years ago. Loyal is a response to this."  This is a record that's full of delicate beauty. It embraces fragility and lightness, sounding entirely natural despite being created electronically. Tracks ebb and flow into the mix and the songs themselves wash into your headphones like waves receding slowly into silence. The music is unabashedly beautiful with gentle currents of low level tones and gleaming sparkles of synth loops that build and decay.

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They are paintings
They are prints
They are pictures
They are about removing space.

Mario Correa:
"The Muslins" November 9th – December 22nd, 2012
@Redling, 6757 Santa Monica Blvd. Los Angeles, CA 90038

They are paintings: hand mixed oil and enamel on un-stretched muslin, made upright by the walls they hang on. Their construction is self-reflexively reductive, with rough edges, exposed hanging apparatuses, and layered paint.

They are prints: each work is generated through a variation of Cyan, Magenta, Yellow, and Key (black) color passes, creating a field of reveals and overlays, muscled on to the muslin substrate by the weight of Correa’s body. The wood printing blocks themselves are made from discarded worktables, broken from hours and hours of use.

They are pictures: of labor, of repeated gestures, of task-based work. Made during his employment as a woodworker, each line captures the route of a drill, router, chisel, or saw over his Masonite work-surface. With this series Correa eschews his previous investigations in mark making (where the mechanics of the artist’s gesture – measured, deft, awkward, or random – were made as an extension of the body) in favor of the surplus marks of a different kind of work, the byproduct of a different kind of labor.

They are about removing space: between the works and the gallery walls; between the layers of paint and the raw canvas; between Correa’s day job and his practice; between the paintings and the bookshelves, cabinets, tables, chairs, beds… that formed them.

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Max Ingrand, 1957 lamp
Laura Owens, 2011 painting
Derek Jarman, 1993, voice

Blue Bottle buzzing,
Lazy days, The sky blue butterfly,
Sways on the cornflower, Lost in the warmth,
Of the blue heat haze. Singing the blues. 

Quiet and slowly. (here)

1.  Max Ingrand: Rare table lamp, circa 1957 Colored glass rods, tubular brass, brass, fabric shade. Manufactured by Fontana Arte, Italy. (Design Masters, Phillips de Pury & Company)

2.  Laura Owens :Rumored to be showing soon in Los Angeles, Gavin Brown Downtown L.A. Warehouse. Eagerly awaiting her large scale abstraction to break the bleakness of grey L.A. winter day.

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Young man in a quiet place 
Got a hawk on his arm 
He loves that bird. Never does no harm.
It's the only thing that never can do no harm.
Must be the only thing: That never can do no harm (here)


Young woman with a drink in her hand 
She like to listen to rock and roll 
She moves with the music 
Cause it never gets old

1.  Coffee Service by Holgar Rasmussen:  Three plump spot hammered vessels with ivory handles, ca. 1950: coffee pot, 7 1/2"; covered sugar bowl with vegetal finials, 4"; off-set handled pitcher, 2 3/4". American silver and Bakelite tray by Baldwin & Miller, 14" (Via Rago)

2. Marianna Kennedy : "Bud" mirror, 2012  A Caplain white gold hand-made carved wooden frame of branches, leaves and buds A concave or convex ultramarine blue mirrored glass.
Marianna Kennedy lives and works in Spitalfields, a quarter long celebrated for its French Huguenot connection and well known as an enclave for artists. Inspired by materials from earlier periods, she designs frames of carved and gilded silver platinum or gold, and tables lacquered with rare mineral pigments. She also works with Bronze as table bases sconces or mirror frames. This, combined with the use of modern materials dramatically reinvents methods which glow in brilliant colours and shades. So using new techniques, she achieves a fresh and modern result, and a strangely classic style. Of Canadian birth she was educated at the National College of Art in Dublin , with further study at the Slade School of Art London. Her London studio is well established with private patronage (via here)


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