the works of  Takeshi Omura 

"I don't wanna be alright. I don't wanna feel just "OK". 
I wanna see everything. I wanna go everywhere. 
I wanna settle down, hey lover. 
I wanna run away, daydreamer..." (Neil Halstead)






 "Look for ocean walls, to gaze upon 
These distance stars, yeah, these distance suns 
Are all the reasons, are all the reasons 
The only season in my life" (Neil Halstead "Seasons)

"After graduating from the Arts & Sciences and Ceramics program at Tajimi Technical High school, Takeshi Omura studied under well known potter, Keisuke Iwata. In 2007, after severals years of producing his work at "Studio MAVO" in Tajimi, Omura returned to Fukuoka where he set up his own kiln. Omura's ceramics are characterized by their thin, almost metal like quality and unique coloration."

more info here. 





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 Hélène Binet – Looking at Historic Architecture

"The light and shadow of the observatory in Jaipur is telling us the time, the seasons, predicting the monsoon but also positioning the human being in relation to very big dimension. The light and the shadow as a tool to understand the world. In the Couvent Sainte-Marie de la Tourette, light and shadow are the path to the liturgies and the only ornament in the cell of the father. They are collected in a little box, maybe a place to catch dreams.” 



Hélène Binet – Looking at Historic Architecture

September 5 till November 6, 2014 

Gallery Gabrielle Ammann will present a solo exhibition of selected works of the internationally renowned photographer Hélène Binet. Acclaimed for her depictions of contemporary architecture, Hélène Binet is equally intrigued in historical structures and has photographed important buildings from all over the world. The astronomical observatory Jantar Mantar in Jaipur, India is remarkable not only for its historic and scientific importance but also because it was influential to Le Corbusier and his later work. Built between 1724 and 1734 by Maharaja Jai Singh II, each structure at Jantar Mantar is an architectural astronomical instrument. The site is a surreal mélange of edifices designed in accordance with astronomical aspects using shadow and light for measurement. Binet’s photographs capture the dreamlike quality of the structures as well as highlights the significant use of shadow and light in order to develop the architectural landscape of the site.







As Binet recounts from her visit: “The light and shadow of the observatory in Jaipur is telling us the time, the seasons, predicting the monsoon but also positioning the human being in relation to very big dimension. The light and the shadow as a tool to understand the world. In the Couvent Sainte-Marie de la Tourette, light and shadow are the path to the liturgies and the only ornament in the cell of the father. They are collected in a little box, maybe a place to catch dreams.”






The inspiration of the simplicity of forms and the play of light and shadow at Jantar Mantar is evident in Le Corbusier’s work at Chandigarh and his sacral buildings. Considered masterpieces of modern architecture, Le Corbusier’s sacred structures are the Sanctuary of Notre-Dame-du-Haut at Ronchamp (1954), the Dominican Monastery of Sainte-Marie de la Tourette (1960) and the posthumously completed Church of Saint-Pierre in Firminy-Vert (2007). Light takes a key position in Le Corbusier´s buildings, it is also the central point in Binet´s graphically arranged compositions. She reveals the spirit of the spaces through light, shadow and texture. Her photographs evoke the sculptural quality of the spaces through the contrast between curved and straight surfaces and the interplay of light and shadow. 

more info here.

DISC Interiors : Sunset Idea House 
Opens August 1st- September 7, Manhattan Beach , CA 

"Ceramics, paintings, textile weavings and custom furniture commissioned from L.A.-area makers and artisans give personality to the voluminous interior spaces."




2014 Sunset Idea House Kitchen : blackened oak custom cabinetry, Lawson Fenning stools, Forrest Lesch-Middelton ceramic tiles for the backsplash, baskets from Garde, 
ceramics on open shelving by Heather Rosenman



Sunset Idea House featured in the LA Times today about the Sunset Idea House!

"David John and Krista Schrock, partners in Los Angeles-based DISC Interiors, brought an effortless, contemporary vibe to the interiors, drawing inspiration from the nearby Pacific Ocean and California coastline.

 "We wanted the interiors to feel modern and beach-driven but not in the typical Cape Cod motif of seashells or anchors," DISC said. The designers played up graphic contrasts with oversized black-and-white photography of ocean scenes and selected warm finishes such as natural linens, baskets and white oak flooring. Ceramics, paintings, textile weavings and custom furniture commissioned from L.A.-area makers and artisans give personality to the voluminous interior spaces.

Manhattan Beach architect Louie Tomaro of Tomaro Design Group is the home's designer. Sunset selected Mike Davis Custom Homes, also based in Manhattan Beach, to build the project. Masterpeace Gardens of Redondo Beach designed the landscape with drought-tolerant plantings, a no-mow lawn, an edible garden, an outdoor kitchen and living room, and a swimming pool."


Read Full article here... 



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new work by Brion Rosch

I know you had it hard 
I know you had it hard 
I know you had it hard and you wanted to tell me 
Oh I don't want to hear it " (Electrelane)

"Brion Rosch’s creative process, which involves searching for, manipulating and layering found materials, is evocative of the archaeological process of digging for evidence of a lost culture.  The people of the Nazca culture, who flourished from 100 BC to 600 AD on the southern coast of Peru, didn’t leave a historical record in the form of a written language."










Brion Rosch has become not only a friend (although we've never met...), but an artist I've come to deeply admire. I've watched Brion's work over the past 5 years take many turns, but each is an attempt to express the inexpressible, to make connections to something this is not present, or a thought that has yet to form. His gestures and language often border on the intentionally ridiculous, but always are bold and assured, and upon first glance, perhaps that is their sword. Over time, his work has revealed a quiet confidence, and a willingness for flirty comparison with other modernist artists grappling with form, color, gesture, connection, and the void. - David John


BRION NUDA ROSCH: FORMS & OBJECTS JULY 18—AUGUST 30, 2014 


Adams and Ollman is pleased to present Forms & Objects, an exhibition of new work by Brion Nuda Rosch on view with a selection of Pre-Columbian Peruvian ceramics.  Rosch’s assemblages—made with materials that are humble in origin and slightly altered or transformed—are presented on pedestals where they defy easy categorization as paintings or sculptures, insignificant or monumental. These poetic, slight works works, united by a single color—a deep, earthy red-brown— and dominated by a simple shape—a rectangle, irregular and often missing a corner, are ambiguous in form and meaning, yet call to mind signposts that mark and highlight the ancient objects in the room.  

United by several themes, across time, place and intention, Rosch's contemporary works and the Pre-Columbian Peruvian pottery are found, fragmented, abstract, and guided by rule and ritual. Rosch’s creative process, which involves searching for, manipulating and layering found materials, is evocative of the archaeological process of digging for evidence of a lost culture.  The people of the Nazca culture, who flourished from 100 BC to 600 AD on the southern coast of Peru, didn’t leave a historical record in the form of a written language. Their cups, vases, and effigy forms, while highly abstract, contain illustrations of anthropomorphic creatures and ritualistic trophy heads that provide us with insight into these ancient peoples. Similarly, a central shape—a paired down head or bust—pushes Rosch's works into the realm of figuration. 







Brion Nuda Rosch Blank Form, 2014 acrylic, paper on found book page 11 x 9 inches



"Working within the context of Pre-Columbian Peruvian pottery, Rosch further expands his practice of constructing or reconstructing narrative and identity through objects. Together, they gesture towards a reconsideration of the historical material and our relationship to the object and its history.

How much can we know from what little we are given? 
What have we unearthed and how can we piece it together? 
What do we value and what do we hold sacred?"



 



Brion Nuda Rosch This Form is Intentionally a Form to Potentially Represent a Portrait, 2014 acrylic, paper, artist frame, wood 19 x 15 3/4 x 2 1/2 inches



Adams and Ollman 
811 East Burnside #213 
Portland, Oregon 503.724.0684  



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new LA design gallery:  HILDEBRANDT STUDIO

"In Search of Modern features examples of seminal work by modernist designers, architects, furniture makers and ceramicists and it engages the contemporary viewer in a discourse on design during the modern industrial boom, a socially progressive era and a trend of thought that affirmed the power of human beings to create, improve and reshape their environment with the aid of practical experimentation, scientific knowledge and technology." 






In Search of Modern  
 July - August, 2014 

HILDEBRANDT STUDIO is pleased to announce In Search of Modern, a collective exhibition reflecting on the notion of form and function in American and European design during the 20th century. The title of the exhibition stems from Marcel Proust’s novel “A la Recherche du Temps Perdu (In Search of Lost Time)”, a prominent literary work of the 20th century. Certain affinities with the novel can be found at the core of this exhibition, in the sense that the focus of the novel, much like the focus of this exhibition, is not necessarily on the development of a coherent evolution, but rather on a multiplicity of perspectives, and on the formation of experience. In Search of Modern features examples of seminal work by modernist designers, architects, furniture makers and ceramicists and it engages the contemporary viewer in a discourse on design during the modern industrial boom, a socially progressive era and a trend of thought that affirmed the power of human beings to create, improve and reshape their environment with the aid of practical experimentation, scientific knowledge and technology. The rise of modern design to public prominence indicates that the distance in perspective between modernism and contemporary is less than often assumed. 

This exhibition contributes to the ongoing process of absorbing one of the most influential and inventive times in design and architecture. The exhibition features the work of: Gae Aulenti, Eileen Gray, Greta Grossman, Charles and Ray Eames, Charles Pollock, Paul McCobb, Milo Baughman, Ben Seibel, Hans Wegner, Torbjorn Afdal, Robert Maxwell, David Cressey, John Follis, Malcom Leland and La Gardo Tackett.   







HILDEBRANDT STUDIO 
5880 Blackwelder Street 
Los Angeles, CA 90232 
Gallery Hours: 12-7 pm 
Tuesday - Saturday By Appointment Only 




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DISC Interiors : 
Sunset Idea House 2014: Manhattan Beach
Project photos.  Opens August 1

 

Kid's room mural in progress: by Londubh Studio


We've been working on this project for almost a year now, and we are excited that we are in the final stretch!  Our version of the modern beach house opens to the public August 1 in Manhattan Beach.  We are excited to be working with so many talented artists, ceramicists, painters, lighting designers, and carpenters. More pics to come, along with all the contributors. - David John

Follow our process on Sunset Magazine's site here.




kitchen islands pendants and cabinetry installation




dark stained floor to ceiling cabinetry



 Sabine Hill Cement tile with marble and white oak cabinetry for the master bathroom




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Ryuichi Sakamoto 
vs 
Lucio Fontana






An attempt to connect sounds with vision.


1. "Like his home country of Japan, Ryuichi Sakamoto can be categorised completely objectively under one word: pioneering. He's an old man now, but whilst many might associate age with being stuck in the past or unable to change, Sakamoto has led his career on exactly opposite principles. Born in 1952, he's lived a life that's found it's own chronological parallels in music. As a young boy learning piano, he became fascinated by Debussy. As a teenager, he found himself listening to The Beatles, The Rolling Stones, and later on - much to the disapproval of his classical teachers - electronic pioneers like Kraftwerk." text via here.

2. Concetto Spaziale, Attese, executed in 1960, is an important work in the oeuvre of Lucio Fontana that has been an undeniable highlight in Andy Warhol’s collection until his death in 1987. It is an outstanding example of the work to come out of the Spazialismo (Spatialism) movement, founded by the artist in 1947. Six carefully remeditated cuts run across the thinly painted monochromic canvas, emphasising the physicality of this work. It is charged with energy of the physical act of the artist slashing the surface with the knife. This physical act or gesture became the central idea of Spatialism, to the extent that it figured in the movement’s ‘First Spatial manifesto’: “it doesn’t matter to us if a gesture, once accomplished, lives for a second or a millennium, for we are convinced that, having accomplished it, it is eternal” (in E. Crispolti and R. Siligato, eds., Lucio Fontana, Milan, 1998, p. 118). Through the use of gesture, Fontana was in fact one of the first artists to perceive art as a performance. In the ‘Technical Manifesto of Spatialism’, Fontana elaborates on Spatialism’s ambitions: “Painted canvas no longer makes sense… What is needed… is a change in both essence and form. It is necessary to go beyond the painting, sculpture and poetry… In the praise of this transformation in the nature of man, we abandon the use of known forms of art and move towards the development of an art upon the unity of space and time” (in M. Gooding, Abstract Art, London, 2001, p. 88). via here.



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Lean out, lean out 
The light in Who wants to sing? 
And I truly believe 
Used see what you see 
That you cant overlie us 
We will find the solution 







And that we,and that we,and that we 
We shall see what you see 
We shall see what you see


1. Mark Rothko
2. Peter Zellner's Matthew Marks Gallery in West Hollywood CA
3. Hundred Water's latest album is pure magic. A feast for the eyes, ears, and heart.


"Music is one of the dominant ways of experiencing being alive and so in a way, it’s more than just hearing. It’s about articulating feelings, stories and attitudes. I also feel as though an album or a piece of music almost has a sense of place inside it if it’s good. It takes a lot out of you to really apprehend music fully so I think it does relate to the other senses.

Music for me is story telling, so I usually start with an intention or something I want to say. From there I kind of struggle around in the dark, trying to find ways to say that. Sometimes it’s a linear thing where I have an idea and then go about trying to find ways to express it. Other times I will discover things along the way and the idea ends up turning into something else altogether. It’s a mixture between intention and chance.   

I think the reason I write music is because I’m trying to say things that I find difficult to encapsulate verbally. Music is its own kind of language and it’s very good at saying things that words struggle with, so that’s often the impulse for me. " - Max Richter, composer,  taken from an interview here.




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Recent kitchen inspirations...
exploring texture, materials, stone, wood, black and natural tones
















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"memories they come and go, some are sweet and some are low" 
 vs.
“I’ve had enough darkness in my life, I’m ready for some light.”

 



images :

1. Francis Harris, Leland: "Reverting to his own name has allowed Harris to produce arguably his most organic, ostensibly his most honest and without doubt his saddest body of work to date. The first few times I listened through I was unaware of the album's backstory, but even without this knowledge it was impossible to come away without a sense of it; sorrow permeates almost every aspect of every track. Some of this is down to the collaborations. Greg Paulus' trumpet has never sounded as heartbroken, Emil Eabramyan's achingly beautiful cello floats like ash on the wind, and Danish singer Gry Bagoien contributes delicate, lingering vocals to a handful of songs. However, it's Harris' production itself that delivers the majority of the emotional payload. " listen here.

2. CTO lighting. more here.




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"All of his work has a simple, but perfect flowing line and the surfaces are either smooth and finely sanded or rough and brushed achieved through a variety of techniques, such as brushing, bleaching, staining, varnishing and oiling.."




the works of Friedemann Buehler

"Buehler’s vessels ‘open our eyes to the tree’s true nature, its history, its coming of age, its singularity... [Buehler’s] subtle balance between nature and art echoes through the circular movement of the turning process, which pushes with such force against the materialized slowness of the wood’s growth. The possibilities provided by the medium unleash his creative language, which speaks to us clearly through the metaphoric content of his work.’ - Schnuppe von Gwinner, Managing Director of Craft2eu, Germany  

Buehler’s turning technique is complex and time- consuming, and results in breathtaking monumental forms. All of his work has a simple, but perfect flowing line and the surfaces are either smooth and finely sanded or rough and brushed achieved through a variety of techniques, such as brushing, bleaching, staining, varnishing and oiling. The combination of craftsmanship and artistry bring out the unique beauty of the wood and result in pieces of timeless elegance, not only pleasing to the eye, but also to the touch.  

The artist selects his wood very carefully, using mostly oak and ash, preferring wood from the forests of Hohenlohe, a small region in the northern part of Baden-Württemberg, Germany. After selecting the felled trees, Buehler immediately goes to work in the forest using an axe and a chain saw to form rough planks. The rest of the work is done in the studio where some of the planks are soaked in large water containers and then turned wet and finally dried. Other planks are roughly turned and set aside to dry. It can take years before these turnings are completed. "




text and image taken from here.



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"The garden chamber comes with a terrace, which is grounded with white gravel and ceramic pots and trees creating a Mediterranean and relaxed feeling. When entering the space you should be taken by a feeling of contemplation and relaxation and think: I feel at home here." - Van Duysen





"Graanmarkt 13 is a restaurant, a shop and a gallery all under one roof. Each floor looks out onto a picturesque square where trees reveal the passing of the seasons. This desirable address is also the home of owners Tim and Ilse. They live there with their family, on the top floor. Tim and Ilse fell in love with the house and transformed it into a haven for those in search of special things with a soul. Everything on display has its own story."






Can you describe this unique garden chamber?

Van Duysen: It’s a light flooded space on the top floor with one wall sheltering a fire place, functioning as the heart of the room, covered by 17th century old wooden beams. The apartment offers fantastic views on the city and its surrounding trees. The garden chamber comes with a terrace, which is grounded with white gravel and ceramic pots and trees creating a Mediterranean and relaxed feeling. When entering the space you should be taken by a feeling of contemplation and relaxation and think: I feel at home here.

What does the concept of luxury mean to you?

Van Duysen: It’s not about glitter and glamour, it’s about comfort and feeling at home. This is one of the reasons why I do not like boutique hotels. The apartment at Graanmarkt 13 is not a conventional hotel, it serves as a magical location where people can reside for a short or long term and feel at ease. It fits in the story of Tim and Ilse and the philosophy behind Graanmarkt 13. The apartment is cozy. You feel secure and you are guaranteed of an immaculate service behind the scenes.

excerpt of interview taken from here.. 




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‘The spider – why the spider? Because my best friend was my mother
and she was deliberate, clever, patient, soothing, reasonable, dainty, subtle, 
indispensable, neat, and as useful as a spider… 
I shall never tire of representing her.’ -  Louise Bourgeois L’araignée et les tapisseries


 

Spider, 2003 Stainless steel and tapestry



15 June – 26 July 2014

"Hauser & Wirth Zürich is pleased to announce an important solo presentation of works by Louise Bourgeois. This exhibition is the most comprehensive overview of Bourgeois’s tapestry works to date, including previously unseen pieces made between 1996 and 2008. Comprised of almost 30 works, and with important loans from private collections, this is the first time that Bourgeois’s tapestry oeuvre has been brought together, offering a new perspective on her late practice.  

The materials and techniques related to tapestry weaving are profoundly connected to Bourgeois’s childhood experiences. Bourgeois’s mother and maternal grandparents originated from the French town of Aubusson, famed for its tapestry industry. Her parents owned a gallery in Paris where her father sold antique tapestries, while her mother ran the tapestry restoration workshop in Choisy-le-Roi and, later, in Antony. Bourgeois’s incorporation of tapestry into her wider practice draws on personal memories of working alongside her mother in the workshop. Nowhere is her maternal relationship explored in more depth than in Bourgeois’s spider and tapestry works.  

For Bourgeois, the process of making art was a means of working through personal trauma, transmitting and expelling emotion into her artistic materials. Her work allowed for a process of unraveling the unconscious in an attempt to discover the origins of her feelings. Towards the end of her life, Bourgeois’s oeuvre became consumed with exploring her relationship with her mother, replacing a prior preoccupation with her father. The persistent cutting and destructive impulses present in her earlier works dissipated in favour of themes of reparation and construction. Consequently, Bourgeois gravitated towards the familiar techniques from her childhood – stitching, weaving and embroidery – to process her feelings towards her mother."




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