A Designer Looks at Art, Architecture and Everything
I’ve always been attracted to Robert Kuo’s Cloisonné and Copper Repoussé lamps for McGuire, a series of restrained designs he created several years ago. Each lamp shows a refined character through color, proportion and materials. The artist combines traditional craft techniques and ancient Chinese shapes to make these unique lighting objects.
Cloisonné: T’ang, Silhouette
Buche, Palais
Copper Repoussé: Helix, Monk’s Robe
Fluted Flask, Topiary
Robert Kuo website here.
01 Editions created their first boxed set edition focusing on the work of Australian architect, Glenn Murcutt. There are 1000 numbered copies of this large format collectors volume available. Each volume set includes: a hard cover book, eight project folders of photographs and architects drawings at original size.
There are only a few places where you can actually view this edition; one of those places is Peter Miller Books, located in Seattle.
Each time I visit Sydney I like to make a pilgrimage to see Giovanni D’Ercole’s custom made jewelry creations at Love & Hatred. The theme of his latest collection, ‘The Lovebirds’, is courtship, romance and the search for love. His designs juxtapose celtic and contemporary elements with a discrete nod to the dark-side mixed in. The shop interior is sensual and enveloping with warm wood details which contrasts with the sparkling stones vying for your attention.
Here’s my latest acquisition.
Love & Hatred Charm Bracelet, in silver.
I recently posted a couple of Craig Carlisle’s earlier works from his New York City / San Francisco studio days. That got me thinking … wouldn’t it be enlightening to connect with him, see what he’s been up to and catch up on his latest series of work.
First, some background. Los Angeles based artist Craig Carlisle produces paintings in a lush, saturated range of colors with a variety of characters. In fact, the continuity in his recent pieces has been a developing cast of charmed creatures: Pink Monsters, Birds, Butterflies, Teddy Birds, Flowers and Figures (always bald with no ears). Some of his works feature the perspective of a solitary creature within a landscape, while other paintings may include multiple subjects. When there is a pairing, we’re able to see personalities unfold and relationships bloom.
Without further ado …
What’s your typical day at work like?
My studio and my live space are one in the same which makes it easy for me to work on a painting for a few hours then break. I typically paint six hours a day unless I am in the final month before a show, then I usually paint eight to ten hours a day. The work usually begins around 9AM and usually ends one hour before sundown. This is because I paint with natural light and rarely at night.
Describe your studio.
I have two studios in my home. The main studio is a small work space which very organized. The table I work from is a vintage aqua blue kitchen table with a formica top. The table is approximately 36″ x 48″. The second studio is a large wall which easily allows me to work on my large canvases. The light in both studios are natural but backed with a light bulb if needed.
![](http://jeffreyburk.com/wordpress/wp-content/uploads/2008/04/cc8.jpg "Big Head with Chocolate Eyes, 20x25.5\")
Big Head with Chocolate Eyes, 20×25.5in., giclee print, $450
Any rituals you have to perform before starting to work?
I start my work day after I have gone for a walk, usually to my local coffee shop.
What are you passionate about?
Family and Friends, Traveling, Sharing my art with the world, in no certain order.
Where do you find inspiration?
One of my greatest times of inspiration is experienced when I am traveling. There is something in how I am able to capture visuals in my memory and then translate them onto canvas which makes my art unique. These visuals might be how I reflect on a foreign landscape to my home, or the same with a face of a stranger as I walk down a street. Film seen in the theater usually gets my visual mind racing and I quickly want to return to my studio and paint.
How would you describe your artistic style? How has this style developed over time?
I have found my style has greatly been manufactured by the space I work within. Regarding studio space, in Ohio and New York City I had a storefront studio which gave me large space to make large paintings and display them for clients. Once I moved to California, San Francisco first, my space which I called my studio became my home, mostly because of the inflated market during the late 90’s and West Coast. Because of the shift from large storefronts to my home I found that it was important to adapt so my paintings became 16″x20 and smaller unless I received a commission for a large painting, then I would modify the space to complete the work.
![](http://jeffreyburk.com/wordpress/wp-content/uploads/2008/04/cc5.jpg "Fuzzy Dinosaur in the Big City, 8x10\")
Fuzzy Dinosaur in the Big City, 8×10in., Acrylic on Panel, 2007
Favorite Gallery? (could be LA or anywhere)
George Billis Gallery (my agent), Track 16, SixSpace
Favorite Museum? (could be LA or anywhere)
Pretty much any MOCA.
Which artists or creative people are you inspired by?
Some of my favorite artists are Donald Roller Wilson, Allison Schulnik, Esther Pearl Watson, Mark Ryden, Evan B. Harris, Aya Takano, Jeffrey Keith, Monica Canilao, Mark Bodnar, Georg Baselitz, Martha Sue, just among a few.
What’s coming up – what are you looking forward to?
A potential move. The building I live in is being sold and most likely will be leveled. So it’s time to start looking for a new studio. I haven’t decided yet if I will remain in LA or move to a new city
![](http://jeffreyburk.com/wordpress/wp-content/uploads/2008/04/cc3.jpg "Hide and Seek, 16x20\")
Hide and Seek, 16×20in., Acrylic on Panel, 2006
LA Specific:
Favorite Restaurant?
The Rose Cafe (Venice)
What’s your typical Saturday morning like? (favorite coffee shops, etc.)
I strive to make everyday a Saturday, or at least the feeling of a Saturday morning after working a five day 9-5 work week. Since I pretty much paint everyday when I do give myself a day off I think, “Oh it’s Saturday!!”. Basically, I start the day by going for a walk. I try to get the blood flowing before I start work.
Craig Carlisle is represented by George Billis Gallery. You can see his latest exhibition at Sharon Weiss Gallery, Columbus Ohio.
Photographer Joelle Jensen has a solo exhibition at Wall Space.
Untitled (Interiors)
Wall Space Gallery, Seattle, WA
April 8 – May 10, 2008
Official artist website here.
Tyson Grumm has a solo exhibition at Rovzar Gallery Seattle in May.
The Folklore of Red Coral Island
May 1, 2008 – June 3, 2008
Gregory Crewdson’s latest exhbition, Beneath the Roses, seems to be everywhere at the moment. Showing at Luhring Augustine until May 3, and at White Cube, and will open at Gagosian May 3, 2008. This latest series continues familiar Crewdson themes; mundane settings collide with a subverted narrative that captures a moment of potential mystery, unease. It’s the viewer who brings the narrative to the image. Interpretation unfolds as you realize something really awful just took place, or could occur, within moments.
Untitled (The Madison)
‘Beneath the Roses’
2007
Edition of 6
Archival pigment print
58 1/2 x 89 1/2 in. (148.6 x 227.3 cm) (incl. frame)
Light has everything to do with Crewdson’s sublime imagery. Dusk bathes an image with an otherness, suspended between day and night. Smoke clouds our perception and hints at more drama laying just beyond what is easily seen in the image.
Gregory Crewdson
Untitled, Summer 2004
Digital C-print
(north by northwest from Beneath the Roses)
64 1/4 X 94 1/4 inches
Cars drift in and out of the images. A door is flung open, or left abandoned.
Untitled (Forest Clearing)
‘Beneath the Roses’
2007
Archival pigment print
58 1/2 x 89 1/2 in. (148.6 x 227.3 cm) (incl. frame)
Intimate. Detached. Horrible. Beautiful. For me, the work is about uncovering contrasts.
How does he do it? There’s a great story online at Aperture that describes his crew, which includes members Rick Sands, Daniel Karp, Carl Sprague and others, and gives insight into their working capacity with Crewdson. Each crew member discusses his or her specialties and contribution to Crewdson’s vision. The scale of Crewdson’s endeavor takes on new meaning while reading this article; you realize the number of people required and the amount of equipment needed to stage a photo.
White Cube has a series of Production Stills available for purchase.
Official artist website here.
French Interior Designer Alberto Pinto imagined the Cristobal collection for the porcelain company Raynaud. Each piece in the extensive system builds upon the last through clever design iterations. The collection features a number of eclectic components: a Chinese Set (Rice Bowl, Soup Bowl, Soja Dish, Bone Dish, Chinese Soup Spoon and Chinese Tea Cup Set), Square Trays (Large and Small), Fish Plates (No.1, 2, 3, 4), among others. Not many retailers hold Cristobal in stock so it’s about a 6 week wait for your order.
Raynaud Cristobal, Tea Pot, Coral, $409
It took me an entire day to find this book. Bit of a saga, but it was so worth it.
I first learned of Dale Frank’s work from Roslyn Oxley9 gallery in Sydney. On a recent trip down under I read a book review in the The Australian which described Frank’s new book titled So Far The Art of Dale Frank 2005-1980. The scope of the book and the production details sounded intriguing. I’d recently become interested in the artist’s work so I thought this title would be a must-have addition to my library.
Itinerary update: locate So Far.
Following my morning coffee at the Illy Cafe, I knew I could probably find this Dale Frank book by visiting his art gallery but I was in the CBD and didn’t feel like taking a cab anywhere. First stop: Art Gallery of New South Wales. The sales person here said they received one of the books but sent it back due to a binding defect. Hearing this got me a little concerned about the overall bindery quality. I knew the book had to be pretty heavy so maybe the damage could have been caused in transit to this one title. The salesperson agreed with that and kindly referred me to Kinokuniya Bookstore located downtown at The Galeries Victoria, level 2. I had lunch at AGNSW and then headed over to Kinokuniya.
Kinokuniya is The Place for all things books, magazines and printed matter. The store is a treasure trove. I asked a sales person whether they had a copy of the Dale Frank book. She searched for it on her computer system and came up with one copy. A-ha! Excellent news and now we simply had to find that one copy in the store. Believe it or not, it took about 60 minutes of hunting back and forth, aisle after aisle, several computer checks, speaking with other co-workers, etc. but we finally found it on their new books shelf. The reason we didn’t immediately see it? Stealth packaging: all white slipcase with a discrete sans serif type style treatment. The kind of thing easily missed amongst 100,000 other titles.
You know the smell of newly printed magazines or marketing collateral – that’s the smell of printer’s inks. If you’re a graphic designer you know what I am referring to. Slipping the book out of its case and a strong aroma wafts out. Smells like it was dunked in ink and paint.
Nice details: the cover has an interesting die-cut and the edges of the book have been gilded in primary yellow.
So Far The Art of Dale Frank 1980-2005 Published by: Black Inc (trading as Schwartz Publishing) February 2008 Hardback, 432 pages
According to the Anna Schwartz website, “(So Far) … is considered to be a ground-breaking publication that will recontextualise Australian art literature, and further contemporary painting.”
I’d seen Frank’s work a few times over the past five years but I didn’t get it. Honestly, his varnish paintings remained a little too < other > for me. Maybe I thought the painting style was an effect; it was closer to chemistry than painting. Then I read the articles featuring Dale Frank’s work in Art & Australia vol.42, #2, Ticket to Ride written by Jane Ranikin-Reid and Dale Frank written by Ashley Crawford. The work clicked. My next experience with his work was the Sore Throat exhibition at RO9. The deep blacks and darker colors in his canvases were producing a murky evocative depth I hadn’t seen before. I loved each sinewy ribbon of color emerging from the blackness.
Conclusion: Now that I have the book, I think I need a Dale Frank painting in my life …
Represented by Roslyn Oxley9, Anna Schwartz.
So Far… review in The Australian.
Dale Frank, by Ashley Crawford, Art & Australia vol.42, #2.
Ticket to Ride Dale Frank’s Conceptual Abstraction, by Jane Rankin-Reid, Art & Australia vol.42, #2.
Queensland homestead at Shentel’s Blog.
Tiny shop, big selection of Japanese inspired designs. All sizes are $40. You’ll find tiger, camo and ninja motifs that come in unisex sizes and a variety of colors for girls and guys. The shop may be small but they make use of all available space with creative displays. Loved this diversion from the large footprint mall style stores.
5 Exhibition St., Melbourne 3000, not much at their site yet.
Love the mannered-typewriter aesthetic used on the Mr Tulk identity. I never thought I’d say it, but isn’t it refreshing to see layers of dirty grimy type treatments? Its a nice contrast to all the ultra thin, extra kerned helvetica in use out there. This is a really nice design; each letter looks carefully placed next to its neighbor on the page. The interior walls were immersed in a similar style and became especially inspiring. A sublime wallpaper effect was created when letters were packed in tight and the dripping shapes oozed down the wall. Good coffee too. I’ll try to find some images of the cafe and post later.
Mr Tulk, 328 Swanson St, Melbourne VIC 3000
I recently shopped at the Nobody store in Melbourne. Once you find it, it’s immediately clear you’re in for something special. There are dozens of unique jean designs awaiting you inside the oversized front door. Here’s the problem: you’ll find it difficult to stop at only one pair!
How do you create a memorable brand name? ‘Nothing by Nobody’ did it by following their own unconventional path.
From a small, family-built denim laundry in the backstreets of Melbourne’s alternative Fitzroy, the story of Australian denim label, Nobody began.
Nothing by Nobody opened their first concept store for jeans and tees in Melbourne. The space features a long counter running the length of the shop. They hang one of everything offered in the main space, easily allowing you to get a visual overview of their entire line. If you find something you like, take it to the counter and you’re given your size. Designer Lincoln Elmsey describes the concept as a bar where jeans are served over-the-counter.
Nobody is premium Japanese Denim handmade in Melbourne Australia, individually hand customized. Making jeans is a dirty business. Blue dust, dye and noise.
I definitely need to stop in here every time I visit Melbourne to see what’s new.
81 Leicester Street Fitzroy, Victoria 3065
A short video showing Anthony Lister’s painting process.
Inside:
Outside:
Gulassa & Company has been in business since 1990 in Seattle providing comprehensive design and fabrication. They work out of a shop in Queen Anne – but don’t knock on their door thinking it’s a showroom – it’s a production facility. Contact your interior designer to see their work in person. This description is from their website: “We are wood workers, metal workers, glass artists, upholsterers, architectural and graphic designers. By collaborating with clients, architects, contractors, and designers, Gulassa & Company is able to successfully resolve the most complex design issues.”
Here are a few of my favorite pieces from their website.
Japanese Stool. Handcrafted from blackened and oxidized steel using an English Wheel
Stitched Table. Bog Oak and blackened steel
Sculpture Base: Short, Blow-Down Oxidized Douglas Fir & Blackened Steel. Also available in Tall, Olive Ceruse Oak & Blackened Steel. A special sculpture or object would look amazing on one of these bases.
Steel Flooring. Each piece is 24″ x 24″ and has 4 countersunk holes w/screws. I’d imagine you could use this system for walls as well. Check that with your architect.
Be sure to visit the custom work section to see more from the talented artisans at Gulassa. It’s clear that Seattle Architects/Clients enjoy collaborating with them to produce unique details.
This is my favorite Sam Taylor-Wood image. The photograph titled, Looking Out, features Thandie Newton as a solitary figure sitting in the picture gallery at Althorp House, ancestral home to the Spencers and final resting place of Diana, Princess of Wales. Taylor-Wood says she wanted someone who was achingly beautiful within an achingly beautiful environment.
Sam Taylor-Wood
Looking Out (2002)
Hand printed c-type colour photograph
Edition of 200
50 x 60 cm (20 x 24 in)
Signed, dated and numbered on the front
Taylor-Wood is represented by White Cube, London.
The 85 Lamps is a polarizing design; you either love it or hate it. The concept: one bulb hanging on a wire equates to the ultimate in shanty; whereas 85 of those bulbs hanging on wires equates to something much more. $3475
Design: Rody Graumans
The label from the box containing an 85 lamps chandelier says:
Hi,
GUESS HOW THE GUYS AT DROOG DESIGN EXPLAIN THIS ONE: JUST A BULB AND A SOCKET AND A CONNECTOR, THAT’S SO ORDINARY… PUT 85 TOGETHER AND YOU GET AN OPULENT CHANDELIER. WHAT GAVE RODY GRAUMANS THAT IDEA? GREAT STUFF!
LOVE,
www.droogdesign.nl
Sydney based Greg Natale Design is known for using bold patterns and inspiring designs.
So serene. The beautiful view and gently blowing sheer curtains add to the drama. I can smell the eucalyptus trees. Nice blues trickling out the window to that ocean view.
There are a few things I liked about this bedroom. The scale of the artwork works really well and I like the way its positioned within the darker background on the wall. I like the strip of wood above the headboard and the lights. The lights are discrete; nice to see a less-technical-looking reading light above a bed. The height of the headboard seems really functional; not too high, not too low.
The blue/white theme continues around the corner in a dressing area. Natale uses a lot of rich woods; I like the amount of deep brown wood used here in this example. The amount of light pouring in through those windows would make dressing a pleasure.
Natale is known for a bold use of patterned wall coverings however I favor his interiors that speak a little bit softer, as shown in this kitchen. The exaggerated proportion of that very tall door is great.
Natale also uses dramatic lighting fixtures throughout his designs. I like the fixture used in this kitchen. the photographer did a great job setting up this shot — do you see how the line of the tall cabinets continues in the glossy finish of the cabinets above to the left.
I’m not so sure about the tub sitting flush with the floor. I definitely appreciate the capability of opening the windows to the private courtyard to let the natural light into the space. I like the light fixture above the tub; kinda quirky with some personality.
The Greg Natale Design website is a really well conceived extension of their brand. All the elements are there: drama, pattern and materials.
I think Campos Coffee makes some of the best coffee in Sydney (ok, maybe the best). They have two shops, one in Sydney NSW and another just opened in Brisbane, QLD. Campos wholesales to numerous cafes, just ask your barista if they are using Campos beans!
193 Missenden Rd Newtown NSW 2042
11 Wandoo Street Fortitude Valley QLD 4006
Not a new image, however I like it so much I thought I’d post it. The artist is Petrina Hicks, from Stills Gallery. I first saw this image in The Corner Shop, Sydney. According to the Stills site, Lauren (eyes shut) is sold out but they still have prints available for Lauren (eyes open).
Petrina Hicks
Lauren, 2003
from Lauren
Lightjet print
Stills Gallery
36 Gosbell Street
Paddington NSW 2021
If you’re an architect, or even the slightest bit interested in architecture or interior design, you need to make the pilgrimage to see the Farnsworth House. The residence is located about 2 hours south and west of Chicago in Plano, Illinois. Farnsworth is now A National Trust Historic Site however when I booked a tour it was still owned by Lord Peter Palumbo.
The site is slightly rolling with Fox River close by. The house is tucked in amongst trees with the focus on the river view. There is a large swatch of green space behind the house.
There was myself and two family members, plus our guide, booked on the tour. We organized the tour several months in advance since tours were strictly limited as Farnsworth was the personal home of Lord Palumbo and his family. Not his only home, one of his homes. Our guide told us Lord Palumbo “collected” architecture the way some of us collect art. In addition to Farnsworth House he owned a Le Corbusier designed residence, among other modernist architects. While he was telling us this we were strolling down the path from the entry/gift shop to the house.
Check out all the patio furniture Lord and Lady Palumbo had on the upper terrace.
It was brilliant to see the white steel amongst the lush green of the trees. If you’ve studied the house you know how the structure of the base is subverted giving the house a lightness and appearance of floating in the landscape. I clicked a few images of the exterior knowing this would be the only chance I could take images as no photos were allowed within the private residence. Stepping up onto the first terrace was like entering another world; you immediately perceived the change underfoot from soft earth to rigid qualities of the stone and steel platform. The Palumbo’s had a number of patio furniture pieces on the upper terrace which set the ‘family’ tone and provided a less sterile first impression. We slipped on some shoe protectors and headed inside.
Every part of the ‘front’ door and hardware was unique. Upon touching the door you knew you were entering an environment where everything had been thoroughly considered and purposefully designed. Beautiful details everywhere you look. The quantity and shape of windows was sublime. The central living space felt perfectly proportioned; it felt like this was the original ‘open plan’. Lord Palumbo had a desk positioned right inside the front door — probably a place to toss his keys when entering. The only problem was there was no space for anything on the desk surface because every square inch was taken up with dozens of personal family photos. One false move or a knock of the desk would cause the frames to topple like dominoes. Careful! Our guide reminded us. We took our time here, enjoying this special peak into the life and experiences of Lord Palumbo.
Our tour continued through the living area where we were able to see a couple of the original Brno chairs Lord Palumbo had used to furnish the interior. Of course they looked perfectly at home in this space. We moved through the bedroom and bathroom. More personal pictures here, given the lack of wall area you have to use every bit of available wall wherever you can find it. The house is small. This house has a tangible intimacy about it. Through to the kitchen – very tidy. Nothing special. Our Guide told us it’s got the efficiency of a ships galley. The kitchen is located along the back of the house facing the large green lawn.
Once again outside we enjoyed more time with our expert Guide while ambling around the grounds. He told us he was an artist — specializing in scrimshaw. Bizarre. We were given as much time as we wanted to explore a series of walks with numerous sculptures. Lord Palumbo had a significant collection of sculptures dotted in the landscape. It was amazing to stumble upon these three dimensional treasures.
The New York Times has a great article with Lady Palumbo describing her families predilection for architecture and how a home should be lived in rather than considered a shrine.
For directions on getting there, details on opening times, more details of the house’s history, and to book a tour, visit www.farnsworthhouse.org.