Our new product Look Book was curated by Pauline Hisbacq. Hisbacq is a photographer who  lives and works in Paris. She takes photos of “signs and cause of the party, the night, between distance and nostalgia.” She has crafted a series of photographs exclusively for this LPP look book along side carefully curated LPP products. As a tangible accompaniment to the look book we will be offering a photo post card from the series that ships free with all orders (in an edition of 50).

(All Photos by Pauline Hisbacq)

Beats is a collection of pictures related to the idea of party. This is about desire and frustration, distance and melancolia. I photograph signs and motives, flowers as bodies, quiet moment as a scene for my feelings and memory. Not a narrative project, neither a diary, it’s about visual poetry, sensuality of looking and catching.

LPP Products:

1. Hippie Cowboy Print by Theodora Allen

2. Light Rock Sculpture by Kara Joslyn

3. Wildflower Photograph by Rachel Wolfe

4. Red Porch Swing Print by Cori Kindred

5. Print 5 by Jazmin Berakha

6. A Cigarette by Megan Whitmarsh

7. Pessymysticism Print by Justin Nelson

8. Nothing Without a Cowboy Print by Anthony Zinonos

9. Unwavering Lights Print by Brandi Strickland

10. Eve of God Print by Brandi Strickland

11. Winter Window Sun Print by Hilary Copeland-Glenn

-Curated by Pauline Hisbacq

Painter and performer Kiki Johnson reaches into the past for her source material, finding talismans and rituals in the objects in historical museums and libraries.  By linking the idea of magic to items that were also everyday tools and humble foods, Johnson points to the way the past informs who we are today, they way selection and collection drives historical narrative, and the possibility for the imagination to rewrite stories of who we were and who we are now.

To view the collection of prints on LPP: Kiki Johnson

LPP Exclusive Print #1

LPP Exclusive Print #2

LPP Exclusive Print #3

LPP Exclusive Print #4

LPP Exclusive Print #5

LPP Exclusive Print #6

MH: How do you collect the images you paint?  Do you work from pictures or the actual object?  I’m curious because there’s something about the way you often isolate an item on a white, shadowed field that suggests a lot of interaction, and maybe even a talesmanic relationship with each thing you paint.

KJ: The images that I chose to paint are culled from thousands of photographs from my growing archive. This archive is created from museums, both conventional and open air, presidential libraries, and small town historical societies from my trips around the country.  I used to be picky with objects that I photographed because I thought of them as sketches for ideas for future projects. But once I realized that my collection of images has turned in to an archive I started to take photos of anything I found interesting.

MH: What’s your relationship with Americana and magic? Falling In Love Spell seemed to mash all those things together, soul music, molasses and a magic trick, but there are notes of those themes throughout your work.

KJ: I just recently started trying to combine my interests in Americana and magic together, they have always been two different threads of my work. But I’m finding when I attempt to combine them in my work I wind up with more unexpected and complicated pieces.

MH: Can you tell me about your Ouija table sculpture?  In your video documentation I imagined the sounds were the rappings and murmurs of ghosts.

KJ: The piece Spirit Board — the table came from the kitchen of my childhood home and has traveled through time with me — displays the marks of history. The wood is worn from a family’s daily use and scarred by the names of those close to me. Read like cryptic signs, the table becomes an Ouija board in which to communicate with the past. An audio recording of an earlier performance plays in the gallery, sounding séance-like with murmuring voices, rustling chairs and mysterious scratches and thuds. I wanted the view to feel as if the table, and the jar on top of the table was moving, as if the spirits were still trying to communicate.

MH: How did you become interested in history, especially history as a place to be accessed via objects, reenactments and rituals? And what is your current research process like?

KJ: I became interested in history when I took my first cross-country trip from New York to Los Angeles, I was twenty, and it was just a friend and I.  It was the first time I felt connected to history.  I felt that I was linked to all the other people who crossed the country. Manifest Destiny! Encountering the past is to suddenly feel something you can’t explain. It’s a space or an object where both present and absent can exist.  It’s a place where something has happened but nothing is there now; the feeling of history still remains. That feeling is like no other feeling, and it’s addictive. So I’m just trying to access that feeling threw objects, reenactments and rituals.

For my research process, I just visit as many museums and historical sites as I can. I also spend a good amount of time in libraries looking through books.

MH: Can you talk about your interest in molasses, and performing with it? It’s such an evocative substance, sickly sweet, a waste product of refining sugar, a bit of an anachronism in today’s kitchen, and also dark and shiny like petroleum.  I also think of the Boston Molasses Disaster… something that’s both ridiculous and tragic.

KJ: I learned about the Boston Molasses Disaster about seven years ago, and after that I have always thought that molasses was an interesting substance. I did a few pieces where I would bake with it. I just started performing with it this year. I was taking a performance class with Clifford Owens, the Molasses Ritual was my first performance in the class. I just think molasses is a strange and magical material that still holds its historical aura.

MH: Did where and how you grew up put you on the path your on?  How? Your work makes me feel close to my New England roots, for example. And how did you start to paint?

KJ: I grew up in New Haven, Connecticut, so you are spot on with the New England feeling. Even though my work has a feeling of New England, I’m more inspired by the prairie, and the Wild West.

I just started painting this year, before this year I thought of painting being just being an illusion, but I realized that was what made it special. I realized that painting is a type of magic; it is a way to conjure. So when I’m painting I think of it as a way to conjure these objects I have collected in photographs.

MH: What projects are you working on now?  What are some projects you’re just beginning to dream of working on?

KJ: I’m have been thinking about making a new body of work based on predicting and altering the weather. I started researching the folklore of weather forecasting. I don’t know what form this work will be, but I’m excited to start a new body of work.

(Olivia Jeffries)

I’ve been following Olivia Jeffries for years now. I’m mostly inspired by her simple sketches she shares on her blog.  I love the paper artifacts she uses for her canvases. Jeffries is a visual artist form  Norwich, UK. To see more work go to her website.

“Ephemeral materials and simple motifs are brought together to explore the abstract traces of life; to project the vulnerability of love, precariousness of life and inevitability of death which embody the complex and uncertain nature of simply being human.

I aim to keep my drawings as understated as possible and try to suggest a larger narrative by pairing the primal and elemental qualities of ordinary shapes with my fascination for used paper and the dirt, stains and markings they accumulate over time. I use these as a communicator for much bigger messages based on my musings around my barely tangible and sometimes overwhelming thoughts. For example, unfathomable nature of reality, an intimate moment which exists for just a second and is then forgotten or the impossibility of feeling how someone else feels; the list is endless…” -Personal statement by Olivia Jeffries

Photos & artwork by Samantha Capatti Bezerra -

“Samantha Capatti Bezerra, has 23 years old, currently lives in São Paulo, Brazil. Takes photos of her life and makes drawings of what she has inside.”

**View images here!

1.Dinosaur l/Arthur Russell “Go Bang”

2. Felt “My Face is on Fire”

3. Blouse “Firestarter”

4. Suicide “Rocket USA”

5. Velvet Underground “White light/White heat”

6. Sister Nancy “Bam Bam”

7. Cold Showers “Near Burn”

8. Grimes “Oblivion”

9. Patten “Fire Dream”

10. Psychic TV “Firewoman”

11. Monster Rally “Color Sky”

This week’s mixtape was compiled by LPP artist Caitlin Foster. Foster is an artist that lives and works in New York. She makes detailed drawings of natural and personal environs.

http://caitlinfoster.tumblr.com

All photos from the book Firework Studies by Pierre Le Hors.

Direct Sources:

Photos by Sasa Stucin.

**All images can be found here!

Obsessed. Yes! I love Isabel Marant’s use of texture, color, beading, and silhouettes. I wanted to share her designs with you, even if they are not affordable they are inspirational.

From the Top: You Make Me Happy Print by Ashley Goldberg on LPP ($38), Etoile Isabel Marant Hana Printed cotton-voile jumpsuit ($450), Etoile Isabel Marant Heko Jumpsuit ($398), Isabel Marant Elise Top ($365), Etoile Isabel Marant Hair Printed cotton-voile haram pants ($340), Leather Platform Wedges ($559), Etoile Isabel Marant Striped Crochet Long Sleeve Sweater ($530), Etoile Isabel Marant Tie-Dye Short sleeve sweatshirt ($325), Isabel Marant Idini Jacket ($860), Isabel Marant Aba Handknit Zip Sweater ($2410), Isabel Marant Weez embellished tie-dyed quilted denim jacket ($4670), Isabel Marant Tuna Dress ($495), What Else Bracelet ($207), Here Comes the Sun thick cuff ($180), Isabel Marant Rivera Scarf ($155), Isabel Marant Fringe Poncho ($1170), Isabel Marant Sequin Detail Dress ($1140), Etoile Isabel Marant Joey Dress ($595), Isabel Marant Wolf embellished cotton vest ($4140), Etoile Isabel Marant Warren ($740),
Over the Moon Card by Deadweight on LPP ($4)

The work of Clarissa Tossin.

For the project above:

When two places look alike and Em estilo americano (systemic permutations) are part of a body of work that investigates the similar housing typology found in two distinct Ford company towns: Belterra, a rubber plantation village located in the Amazon Forest and Alberta, a sawmill town in Michigan Upper Peninsula. Built concurrently in 1935, they respectively provided rubber and wood for the Model T manufacturing in the United States. The cut-outs I am holding in my hands are current images of Belterra found in the internet held against real Alberta locations.

For the project above:

Fordlândia Fieldwork, 2012
double-sided inkjet prints on cotton paper
dimensions variable

These topographical maps group together different locations related to Fordlândia’s history: an abandoned rubber plantation town in the Amazon forest built by American industrialist Henry Ford in 1928. Post-industrial landscapes from Detroit, Dallas and Los Angeles are printed on the back side of a current Fordlândia’s satellite image.

**All images and italicized text is from www.clarissatossin.net

The work of Brooklyn based artist, Jessica Sanders.

**All images from www.jessicasanders.org

Just Like Honey – Jesus & Mary Chain

Laisse Tomber Les Filles – France Gall

The Girl From Ipanema – Antonio Carlos Jobim

The Look – Metronomy

Quick Canal – Atlas Sound / featuring Laetitia Sadier

In Your Eyes – Modern Witch

Disco Dancing – Sean Nicholos Savage

Razzle Dazzle Rose – Camera Obscura

I Found the F – Broadcast

Sleepwalk – Santo & Johnny

Hello! This week’s Mixtape Friday was made with summer on the brain and the days of laying back, soakin’ the rays, &  daydreamin’ the sunny days away!

Images from the top: Sarah, Filmbuff_yy, Jared Brown, Brad Shapiro, Infinita Conjugacion, Sabrina, Alanna Cassidy, Andreas Schimanski, Ché Parker, & Cortney Cassidy.