El­e­ments pro­vide in­spi­ra­tion at Ar­chi­tec­tural Digest show

Antelope Valley Press - - Real Estate - WRIT­TEN BY Kim Cook | As­so­ci­ated Press

In­trepid vis­i­tors to the Ar­chi­tec­tural Digest De­sign Show here braved lash­ings of chilly rain to get there. But in­side, the el­e­ments were the source of in­spi­ra­tion.

Water, wind, earth, light — artists found clever ways to show­case these nat­u­ral el­e­ments in art for the home.

In the “Made” sec­tion of the show, where in­de­pen­dent de­sign­ers were set up, cre­ativ­ity was at ev­ery turn.

Photograph­er Su­san Rich­man of Dobbs Ferry, New York, is in­trigued by ephemeral qual­i­ties in an en­vi­ron­ment. She has shot di­lap­i­dated build­ings through mir­rors and My­lar. In her new­est col­lec­tion, ReFor­ma­tions, she com­bines dyes with botan­i­cal ma­te­rial she finds on walks — “grasses, seed­pods and hy­drangea petals,” among others - and then freezes them. As they thaw, she pho­to­graphs their trans­for­ma­tion.

Chicago-based Mitchell Black showed a large mu­ral called Moun­tain. It was rem­i­nis­cent of a vin­tage black-and-white il­lus­tra­tion from a good book that might take its reader deep into a mys­te­ri­ous for­est. In a wall­pa­per col­lec­tion called Storms, char­coal draw­ings of roil­ing clouds and dust be­come beau­ti­fully tran­scen­dent wall art. The com­pany is known for avant garde wall­pa­pers that in­clude over­size python-skin prints, cap­tured im­agery of sound waves, and spat­tered rain.

Tem­pa­per’s cre­ative di­rec­tor Jen­nifer Matthews drew in­spi­ra­tion from Asian jun­gles for Utopia, a panoramic mu­ral with lush trees and crea­tures.

Sisy­phus In­dus­tries drew vis­i­tors to their ta­bles that held mag­ne­tized steel balls trac­ing in­tri­cate pat­terns in sil­ica sand, un­der glass tops. The ta­bles come in sev­eral sizes, and each is loaded with a selec­tion of pro­grammed tracks that guide the ro­bot-con­trolled balls.

Lynn Savarese’s Ode to the Sea se­ries of pho­to­graphs paid homage to water, in all its frothy, tu­mul­tuous forms.

Si­mon Johns of Que­bec brought his black­ened-ash Shale con­sole, a dra­matic piece crafted us­ing hand and ma­chine to carve out the crum­bling, tex­tu­ral de­tails of a cliff ’s fa­cade.

Hol­lie Heller , who splits her time be­tween New Jersey and a teach­ing stu­dio in Costa Rica, was dis­play­ing art­works made from found ma­te­ri­als. She gathers things like shells and beads, and cuts up old play­ing cards, doc­u­ments, fab­rics and pho­tos, care­fully lay­er­ing, ma­nip­u­lat­ing and com­pos­ing them into mixed me­dia art.

“I’m think­ing of pro­gres­sion when I be­gin ar­rang­ing,” Heller says. “It’s a draw­ing us­ing ob­jects, a jour­ney where the de­tails be­come clearer upon closer in­spec­tion.”

Brook­lyn, New York-based Richard Clark­son Stu­dio made the Sagittariu­s light­ing fix­ture mounted on the booth’s ceil­ing. It’s one of the Light Sys­tem se­ries of brass, LED and mono-fil­a­ment pen­dants rep­re­sent­ing the zo­diac con­stel­la­tions.

The sky has fre­quently been a source of in­spi­ra­tion for the New Zealand-born Clark­son; he’s got a bil­lowy, cloud-shaped fix­ture in his lineup as well. He grew up ad­mir­ing the night sky over Waimarama Beach, and aimed to re­cap­ture that magic in the col­lec­tion. “We’ve all been left awe-in­spired by the stars at some point in our lives,” he says.

An­other in­trigu­ing piece in his booth: a lim­ited-edi­tion wall panel made of glass, alu­minum and acrylic on a wood frame. More than 700 tiny lights twin­kle be­hind the laser-etched, back-painted glass face. Clark­son cre­ated it to com­mem­o­rate the night of July 20, 1969, when Neil Arm­strong and Buzz Aldrin landed the Ea­gle lu­nar mo­d­ule on the moon, and Arm­strong took those first steps.

“The Panel is an ac­cu­rate map of the stars and con­stel­la­tions from New York’s per­spec­tive on that very night,” he says.

Newspapers in English

Newspapers from USA

© PressReader. All rights reserved.