Linnea Kniaz is a Brooklyn, NY based painter. To see more from Linnea Kniaz click here.
The work of Nicholas Pilato.
Nicholas Pilato’s work involves the construction of surfaces and their disruption through varying methods of deterioration, abrasion and formal displacement. Utilizing concrete, tile and canvas, Pilato generates a series of oppositions to achieve a sense of both creation and destruction. His work references the natural and the human, invoking aspects of sedimentation, erosion as well as industrial decay. Through creation and destruction, Pilato’s work is marked by constant flux, a divergence away from the appearance of the handmade and towards an evanescent sense of material and image. What is left is a memory of a sensation or crystallization of a material experience.
**All images and text are from anatebgi.com
Sara Cwynar is a New York-based artist whose work incorporates printed matter, found objects, collage and photography. To see more of her work, click here.
Her incredible first book, Kitsch Encyclopedia, is available here.
Nick Kramer was born in New York City in 1979. He attended Bard College and received his MFA from USC Roski School of Art in 2008. His solo exhibitions include MetroPCS, Los Angeles; Anthony Greaney, Boston; and Laurel Gitlin/Small A Projects, New York City. He has exhibited in group exhibitions including Anat Ebgi Gallery, Los Angeles; CANADA, New York; Control Room, Los Angeles; Hillary Crisp, London and LAXART, Los Angeles. -LOUDHAILER
To see more click here.
*All images taken from artist’s website.
Maximilian Magnus is an artist based in Berlin, Germany. Featured above are some of his drawings and paintings. To see more of his work, please go here.
Artist and designer Elise McMahon plays with the possibilities domestic spaces and fixtures. Her furniture mixes function with a goofy sense of individual personality, encouraging interactions that invite the user participate in creating meaningful, comfortable, compelling spaces for living.
Elise has been in residence at Alter Space in San Francisco in March and will have an installation in the window at the Little Paper Planes shop in Valencia Street in April.
MH: As you design a piece of furniture or a fixture, who do you envision using your design? Are you thinking about an existing space or project parameters? When you’re working without a specific project, who is your user?
EM: I have recently been exploring art and design with a collection of furniture and jewelry under my concept/brand LikeMindedObjects’ identity. At the core, these are objects that I would be excited to exist near in my everyday life. Within the collection I have developed a fairly clear visual and material language. These objects are usually geared towards a precise but casual manufacturing system, able to be multiplied, but there is always a material element that keeps them unique, whether it is a cement base of varying size and thickness, or the unique bends that can be formed with my hand-held tube bender.
When working with a client and particular space I am much more rigid/deliberate with my materials use. I am much more intuitive when making my more sculptural work; I can often use very precarious-feeling materials, like thin metal leg structures which allow for movement, or hanging rope pieces, or more unusual scales in relation to the human body. For example, I may enjoy a very low desk, so I can do my computer work sitting at home on the ground in my underwear, but I understand that many people would prefer a standard desk height, so they can sit in a task chair and tuck their knees underneath comfortably. So with LikeMindedObjects, it’s about finding the compromise between play and one’s actual daily life.
MH: I appreciate how you work (some chevron shaped benches in particular) brought up some long-faded memories of materials for me. What are some objects that have been influential for you?
EM: Many stand out, including a number of furniture pieces that live in my parents’ home. My family’s house is very mid-century, built in the ‘50s. The entire structure’s design is based on hexagons, with very few right angles. Almost all rooms are either hexagons or trapezoids, with a number of built-in sitting areas.
The architect, Edward Humrich, also designed some furniture for the dining room. There are three tables: one a hexagon and two parallelograms. These could be placed next to each other in a number of ways to create a variety of shaped dining situations. We hosted all holiday meals at this table and often it was my job to decide the layout. I have definitely played with these ideas since, creating elements that fit together in a number of ways to spark the user’s interaction and responsibility in creating their own space.
MH: What are your favorite materials? What ones are most challenging for you?
EM: For a long time wood was my material of choice, turning lampshades and legs on the lathe, experimenting with joinery. I also have taught woodworking to beginning adults and children over years. Lately I have moved more towards metal, ceramics, and bent tube. There is something that feels more flexible and expressive about these materials. Clay is such a malleable and graceful material. Metal can be so structural while remaining very thin and light — there is such a line drawing quality when used in a certain way. Plus I find the smooth, opaque quality of a powder-coated metal finish extremely satisfying. Lately I have been playing with cement as my floor lamp bases. It is still a new material exploration for me and I am working to find the balance between too much and too little.
MH: What’s your 2D practice like? Is it in support of your design practice or is it another facet of your work entirely?
EM: The drawings I generate are very connected to my sculptures and furniture. Drawing is such a freeing tool for exploring ideas, to be able to realize something visually without having to invest the time and money in actually creating the object. I like to draw a bit beyond my means of space and reality, to see how I can push the possibilities.
MH: It seems like playfulness recurs as a theme in your way of working, in how you talk about your work (using a desk in your underwear vs. a client using a desk at work), in how you employ bright color and readymade parts, and in the messy area between art and design. One of my art heroes is Enzo Mari, though his career was that of a designer, because he published a book of furniture designs the public could make, and alter, with readily available lumber sizes. It’s a democratic project, and it links doing and knowing, and playing and knowing. So I’m curious about how a similar sense of play creates intersections in your work with a number of other disciplines all at once. What do you think?
EM: Yes, I really appreciate Mari’s attempts to ignite a realization in the consumer that they don’t actually have to be the consumer, they could create their own solutions for their needs. There are other designer/educator/artist/activists that are encouraging in a similar way. Victor Papanek is one, he was also a philosopher and had a strong environmental awareness, he was furiously against disposable objects and shallow culture, and published many books sharing his views. One of my favorites of his is “Nomadic Furniture,” which is full of drawings of furniture designs, plans, and spaces for someone to build for themselves. As much as I want to sell my furniture, I am even more interested in motivating others to define their own spaces and make their own objects, next to small-scale agriculture, it is one of the ways we can attempt a more independent future. And with that independence comes so much opportunity for play and enjoyment within the act of problem solving.
MH: It sounds like you understand really well how design shapes social experience, whether in terms of one person’s aesthetic and ergonomic concerns in a solo workspace, or how a dining room can delineate a social fabric for a period, like with the tables at your parents’ house. What kinds of experiences are you working towards shaping, and what kinds of communities are your subjects and collaborators?
EM: I have a number of upcoming projects. There is an empty 31 foot Airstream waiting for me in Hudson, NY, which will act as a project space for me and my artist/chef collaborator friend Hannah Black. Within the space we will host a variety of installations and food projects. We have teamed up with two other curatorial collaborators, Jon Wang and Aily Nash, to create a larger nomadic installation and food project kicking off within BasilicaHudson’s back gallery space this May. The project is entitled HQTBD (HeadQuartersToBeDetermined). We will bring in a number of other collaborators as well, each collaborator is invited to join the project on multiple levels. One will be Dan Bunny of the BunnyBrains — he will be showing his new 2D painted works along with curating performance art elements into the programming.
These projects are motivated by wanting to initiate a diverse art dialogue within our town of Hudson, NY, connecting people who may not have had intimate experiences together, including people who may not have approached the arts community before. Food is a great equalizer, everyone loves a good meal, so we use it as a material of experience. Plus the creation of food is so performative — there are endless possibilities, it is very exciting.
I will also be wrapping up a living room installation within the exhibition and Airbnb space ZeZe Hotel. For each of these spaces I will create furniture pieces that will accommodate the activities specific to the project. Alongside that more sculptural and social practice I will continue to create custom furniture for people who need it and my LikeMindedObjects collection development… possibly with some things in the works bringing me back to San Francisco sometime soon!
MH: Can you talk about what your experience at Alter Space has been like? I’m always curious about expectations for residencies compared with what one actually does and learns and discovers, but what was it like for you and what’s on your mind as you reflect on it?
EM: Alter Space has been so great to work with. This project has felt very smooth and serendipitous, from our meeting in New York at NADA last fall, to the Alternative Exposure grant we received this November, and the projects that we have embarked on within this month. This project came first from a need: Alter Space has been hoping to provide accommodations for their visiting artists that work within their Jail Cell Residency, a studio space in the basement of their gallery located on Howard Street. They mentioned having this garage space with a bathroom in passing, and I proposed having me be the first visiting artist. I would approach the living space as an installation project, kind of “artist as interior designer,” considering the daily life of a visitor.
Another great thing about the gallery is that it is run by artists, (Kevin Krueger, Kristin Anne Olsen & Jorge Garcia) so they are game to take part in their own creative ways with events. For my project, this means we are collaborating on the “Garage (Art) Sale” that will be hosted at the Garage Studio/Living space on Sunday, April 5th. Alongside my furniture/object sale installation, for example, Jorge will be having his own performance project entitled TACOS//TAROT, where he sells affordable tacos and tarot readings, plus he is very funny, so I am sure humor will play a large role within his project. It should be fun, I hope everyone is San Francisco comes!
GARAGE (ART) SALE
61 CHULA LANE, SAN FRANCISCO
SUNDAY APRIL 5, 12PM-6PM
ALTERSPACE + LIKEMINDEDOBJECTS
The work of Jason Bailer Losh. These images are from his recent show at Anat Ebgi.
**All images are from www.jasonbailerlosh.com
HISTORY: THE MAN BEHIND NEHERA’S ICONIC FASHION HOUSE
Jan Nehera (1899-1958) was one of the most talented Czechoslovak entrepreneurs of the first half of the 20th century. His ready-to-wear garment factory based in Prostejov was founded in 1923 and employed hundreds of people while exporting goods all over the world.
In 2013 the legacy of thirties fashion house Nehera began its revival. The launch of the brand NEHERA emphasizes its authentic and artisanal heritage. With a new design team the brand brings an avant-garde twist to elegant classics. The garments are manufactured in some of the factories that were originally founded by Jan Nehera. The great archive of the Nehera brand is being used by designers as a source of inspiration and is the foundation of NEHERA style.
I am very very into this brand- between the smock tops, kerchiefs, giant pants and neutral layering, it’s basically my minimalist dream. I like anything that speaks to old-school farm wear and gallery-girl outerwear simultaneously.
To see more from Nehera, click here.
Zak Prekop lives and works in Brooklyn, NY. To see more from Zak Prekop click here(Thomas Duncin Gallery) or if you are in the Los Angeles area visit Thomas Duncin Gallery between March 27 – April 25, 2015.
Mariko Okumura is a Japanese artist and illustrator who works closely with Chiclin, a women’s clothing line and boutique in Tokyo, Japan. I stumbled across her work on the Mitsou_Chiclin instagram and was struck by the manner in which Mariko’s sketches complement and lend character to the featured clothing designs.
To see more of Mariko’s work, please visit her website.