Fash­ion-for­ward graphic de­signer Frith Kerr’s artis­tic in­flu­ences re­vealed

An ar­biter of taste tells us what they’re read­ing, watch­ing and more

ELLE Decoration (UK) - - Contents -

In the ten years since she founded her epony­mous graphic de­sign studio, Frith Kerr has cre­ated work for the likes of Frieze Art Fairs, the Guggen­heim, Ilse Craw­ford and Anya Hind­march (‘Anya Smells’ can­dle range, 7), all in her uniquely tongue-in-cheek style. She comes from a cre­ative fam­ily – fash­ion il­lus­tra­tor mother, graphic de­signer fa­ther – and is an alum­nus of the Royal Col­lege of Art, as well as a trustee of the Arts Foun­da­tion and a mem­ber of the Al­liance Graphique In­ter­na­tionale. De­spite this, she says: ‘The only thing I was sure of grow­ing up was that I didn’t want to be a graphic de­signer’. ‘Life never does go ac­cord­ing to plan.’ (stu­diofrith.com).

My all-time favourite piece of mu­sic is all the sound­tracks to Krzysztof Kies­lowski’s Three Colours film se­ries ( 3) by Zbigniew Preis­ner. It’s nos­tal­gic, emo­tional mu­sic. I’m cur­rently lis­ten­ing to lots of Reggae. We listen to records while cook­ing – we buy vinyl by peo­ple we’ve never heard of and fall in love with them. My son, who’s seven, has just started learning the trum­pet and plays along. The record that makes me feel in­stantly happy is Small­town Boy

by Bron­ski Beat ( 2). At the mo­ment I’m read­ing my way through a list of books my mum loved, that she gave me be­fore she died. The Pump­kin Eater by Pene­lope Mor­timer is ex­cel­lent and close to the edge. I have a vin­tage copy with Anne Ban­croft on the cover, who starred in the film adap­ta­tion. My favourite film is Amer­i­can Gigolo ( 4). Richard Gere. Lau­ren Hutton. 1980s LA. Blondie. It’s the teenage film I’ve never let go. A quote I love is ‘The an­swer is, there is no an­swer’ – J G Bal­lard. The best gallery in the world is The Rodin Mu­seum in Paris, be­cause you can play hide and seek in the gar­den. The last ex­hi­bi­tion I saw was Strange Days: Memories of the Fu­ture ( 6), in part­ner­ship with New York’s New Mu­seum at 180 The Strand in London. My studio de­signed the ex­hi­bi­tion iden­tity and ty­pog­ra­phy for the show. I’ve also just fin­ished cu­rat­ing Ahead of the Curve, a cel­e­bra­tion of women artists and de­sign­ers at Wil­low Road, the for­mer home of Hun­gar­ian ar­chi­tect Ernö Goldfin­ger and his wife Ur­sula, now a Na­tional Trust prop­erty. The last per­for­mance I saw was Katherine Ryan’s stand-up com­edy show at the Gar­rick The­atre. My hus­band was roasted for look­ing bored and wear­ing a beret. My step-daugh­ter squirmed. It was a hi­lar­i­ous fam­ily out­ing. If I had a free day in London I’d watch all 24 hours of Chris­tian Mar­clay’s The Clock at the Tate Modern. Or I’d lie qui­etly un­der a tree in one of the cap­i­tal’s green spa­ces (Green­wich Park, 1). If it was rain­ing, I’d most def­i­nitely stay home – it’s a rar­ity and I love the sound of rain on our roof. My favourite place to visit is the Isle of Ar­ran in Scot­land, where my grand­par­ents lived. I’m look­ing for­ward to mu­seum direc­tor Ralph Ru­goff’s Venice Bi­en­nale ( 5). He cu­rated The In­fi­nite Mix, an ex­hi­bi­tion held at London’s The Store in 2016.

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