WHITE WASH VERNER is a collection of easy, thoughtfully deconstructed street wear that gives a nod to Australian kitsch iconography. The collection explores the history of black memorabilia and the ‘white Australia policy’, which was finally dismantled in 1973. White Wash also references the historical use of lime and chalk as an application, which translates graphically throughout the collection.
During the research phase of the range, the studio looked into the work of American fashion designer Patrick Kelly who was the first person of colour to be admitted as a member of the Chambre Syndicale du Prêt-à-Porter des Couturiers et des Créateurs de Mode (translated as: the Trade Union of Ready-to-Wear Fashion Designers) as well as contemporary Aboriginal Artist Destiny Deacon. Both artists use the iconography of black memorabilia in their works.
“It is my job as an Australian designer to look inward into this country’s history including areas of political correctness.” States VERNER.
VERNER continues to develop its unique take on street wear with the inclusion of decorated track suiting, oversized coats and quilted patterns. Colours are predominantly the positive and negative shades of white and black. Decorative details include embroidery, digital prints of white brush strokes, raised, non-slip dot prints and starched white cottons. The collection features a variation of prints including the words ‘White Wash’ plus a nod to a Destiny Deacon and the use of dolls in her sculpture and photography.
“I generally enjoy playing with the proportions of street wear archetypes; the short, t-shirt and pant. I deflated them this season by crossing over the softness and the freedom found in children’s wear. There is a real anti-bourgeois feel to this collection, still playful and relaxed, just like the way we live in Australia.” States VERNER.
To see more from Verner, click here.
I recently went to check out the awesome Bonanza show at Interface Gallery. If you are in the Bay Area make sure to catch it before the show goes down, it’s a real neat!
Show is up from Wednesday, October 1st – Friday, October 31st.
“The first rule of naming a horse is that a name may consist of no more than 18 letters, and spaces and punctuation marks count as letters. Eighteencharacters is acceptable (and is, in fact, a registered horse name) but Eighteen Characters is not.” (From The Jockey Club Registry, established 1894)
Interface Gallery is pleased to present Eighteencharacters, featuring Bonanza, the collective practice of Conrad Guevara, Lindsay Tully and Lana Williams. Taking inspiration from the horse races at nearby Golden Gate Fields in Berkeley and the gallery’s history as turn of the century horse stable for the local horse-drawn trolley, the exhibition is titled after a naming convention used for race horses.
Examining the performativity of identity through stage names like those given to race horses – Midnight Lady, Mark of a Gem, Lil Swiss Echo – Bonanza finds a metaphor for their own collective practice, which is similarly playful and strategic.
Just as the act of naming attributes, masks, and alters meaning, implicitly revealing the imitative structure and contingency of naming itself, Bonanza’s shifting interplay of sculpture, film making, and painting, and of individual and collaborative works, examines contingency through a collapsing and continuity of their work as a spirited partnership. As the distinctions between individual practices blur and the collaborative exercise becomes more concrete, the artists challenge the value of authorship and the fixity of identity by taking on their own stage name – Bonanza.
Back in the Saddle Again.
Bonanza is the collective practice of Conrad Guevara, Lindsay Tully, and Lana Williams. The formal cohesion of a film maker, sculptor, and painter is the result of their shared way of thinking and making. Bonanza centers around ideas of abstraction, questions authorship, and dismantles ideas of the heroic artist. They have exhibited at Artists’ Television Access, n/a, and S.H.E.D. Projects in the Bay area.
To find out more click here.
Photography, art direction, and styling for Umbra Shift’s 2014 collection by Post Projects, a Vancouver-based graphic art and design studio.
**All images are from post-projects.com
Hilary Harnischfeger is a sculptor. She lives and works in Granville, OH and Brooklyn, NY.
To see more from Hilary click here.
The work of Kour Pour.
**All images are from ellisking.net
New season, new goods. Check check check ‘em out, in an infinite loop. Shop our selection of fall favorites at Little Paper Planes.
“It’s difficult to be sure where a work by artist Strauss Bourque-LaFrance begins and ends. Installations expand and contract, pausing to add an ornament here or there. Materials and references narrowly miss each other or hide behind one another, reaching out over wall-to-wall white carpeting.” - Jennifer Piejko for V Magazine
Strauss Bourque-LaFrance lives and works in Brooklyn, NY. To see more from Strauss click here.
Gurafiku is a stunning collection of of visual research surveying the history of graphic design history in Japan, curated by design Ryan Hageman.
Gabriele De Santis is a conceptual artist and painter. He considers ways in which objects can be liberated from their states and extrapolated into the realm of fine art and the residuals that come along with this (dis)placement.
De Santis has been praised for his ability to balance texture, shape and monochrome with his recent series of painted-over slabs of marble. In these compositions the rippled becomes an integrated and integral material whose surface consistency is emphasised through the vivid colours that surround it. These works are oftentimes displayed as diptychs with parenthetical brackets that are evocative of openness and closure. Negative and positive space become indistinguishable.
As De Santis describes, “Using the background texture, premade by nature, and imposing areas of monochrome on top, I am playing with the hierarchy of background and foreground within painting.” Simultaneously, the artist’s painting deals with natural change as the metamorphic rock’s appearance has altered over time.
The counterpart to this series is a suite of “skate canvas works”: monochromatic surfaces emblazoned with grip tape and supported by skateboard wheels. In many cases these works are patterned with hashtags; emblematic of the instantaneity of today’s visual culture and in the polar opposite to the slow formation of marble. Concept based typeface formants give both sets of paintings new significance beyond the realm of abstraction.
Gabriele De Santis (b.1983) completed his MA in Visual Arts at Camberwell College of Arts (University of the Arts London). He lives and works in Rome. -ARTUNER