By Based Upon

SLOW Magazine - - Editor's Choice -

Syn­ony­mous with lux­ury and tran­scend­ing au­to­mo­tive art, the Rolls-royce name has de­lighted and in­trigued the well-heeled for more than a cen­tury, as it has metic­u­lously es­tab­lished a rep­u­ta­tion for de­liv­er­ing the high­est pos­si­ble lev­els of per­son­al­i­sa­tion in any au­to­mo­bile.

From the first coach-built Rolls-royce sa­loons of the early 20th cen­tury, through seven gen­er­a­tions of the flag­ship Phan­tom range, top-of-the-line Rollers have al­ways raised the bar for au­to­mo­tive lux­ury in their own way.

Yet, in the new­est mem­ber of the Phan­tom lin­eage – the eighth to be ex­act – Rolls-royce has at­tained a level of be­spoke that not even this most il­lus­tri­ous of au­tomak­ers has man­aged to achieve be­fore. a sin­gle pane of her­met­i­cally sealed glass over an in­di­vid­ual art­work that spans the width of the dash­board.

This achieve­ment from Rolls-royce is more than merely a new fea­ture for the car. It makes it pos­si­ble for Rolls-royce own­ers to in­stall a spe­cially com­mis­sioned art­work in the dash­board of their cars, com­bin­ing two of the in­ter­ests that Rolls-royce buy­ers are known to be in­ter­ested in: beau­ti­ful art, and the world’s best cars.

By de­vel­op­ing The Gallery, Rolls-royce says it will soon in­vite its pa­trons to com­mis­sion art­works for their Phan­toms, in essence bring­ing art into art. To demon­strate the pos­si­bil­i­ties, Rolls-royce com­mis­sioned seven artists to of­fer their in­ter­pre­ta­tion of the space, with dra­mat­i­cally dif­fer­ent re­sults.

Lon­don artist collective, Based Upon, be­lieves ev­ery art­work should tell a story and, when com­mis­sioned to cre­ate a piece for The Gallery, chose as their in­spi­ra­tion the his­tory of Rolls-royce as a brand grounded in ex­per­i­men­ta­tion and seem­ingly im­pos­si­ble feats.

To cre­ate the art­work, a piece of silk was pulled through a tank of wa­ter, with the ef­fect be­ing cap­tured on cam­era. Af­ter choos­ing the ideal por­trait from hun­dreds of images, it was an­a­lysed and re­worked in clay and wax be­fore be­ing op­ti­mised to fit The Gallery space. The fin­ished piece was ul­ti­mately ma­chined in alu­minium, pol­ished, and curved to re­sem­ble the shape of the orig­i­nal flow­ing fab­ric.

Astrum by Richard Fox

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