Anna Helper is and artist working out of Portland, Maine. To see more click here.
The work of Simon Belleau.
**All images are from simonbelleau.com
I am completely crazy about these ceramic cactii made by Spanish artist Lina Cofán! If you’ve ever been to the Little Paper Planes shop (or my house, for that matter), you know how much we enjoy plants and ceramics and Cofán’s work is a perfect union of those dual loves. To see more of her not-so-prickly beauties, visit her site.
Tyler Beard was born in Olathe, KS. He graduated from the University of Colorado at Boulder with a Master of Fine Arts degree in studio art. In the summer of 2008 he traveled to Berlin where he was an artist in residence at the Ceramic Center. Beard recently had his first solo exhibition at the Museum of Contemporary Art Denver in March 2013. He is represented by Robischon Gallery and currently lives and works in Denver, CO.
To see more from Tyler Beard click here.
Agi & Sam are UK-based menswear designers.
Titled ‘Watu Nguvu’ – ‘People Power’ in Swahili – the collection is the result of (Agi) Mdumulla’s travels throughout the continent, in particular the Masai territory. African tribal workwear was fused with western menswear staples, with pieces almost entirely monochrome and only a handful of items in other colours.
A traditional Masai check was presented in black; adorning coats and slightly oversized and cropped trousers as part of a smaller pattern.
African weaves were also included in the form of horizontal stripes, which had been hand drawn and screen-printed onto cloth. Reflective materials appeared throughout the offering, often as bands on cuffs and hems as a nod to the West.
The juxtaposition of rich and poor African countries also served as a reference point. A selection of vinyl printed tops featured the duo’s take on logos used by large western oil companies operating in the continent. These were the only pieces shown to contain colour, with green, blue and red used.
To read more about their presentation at London’s Victoria House and their vision, click here.
Alluding to an apparatus of architecture and industrial infrastructure, Aitken’s work embodies basic construction methods to balance the authority of the object in regards to her own. Through its materiality and the structure of each piece, the artist reveals an assemblage of two-dimensional geometric shapes into three-dimensional surfaces. Building them through a molding process, Aitken creates an interesting relationship in between the preconception of modernist architectural aesthetic and shaped elements of the everyday life. Jen Aitken holds a BFA from Emily Carr University and had also studied Fashion design at Ryerson University in Toronto previously. She is a MFA candidate in the sculpture department at Guelph University, ON. Her work has been shown in Canada and in China. -Battat Contemporary
To see more from Jen Aitken click here.
Studio AH-HA is a brilliant up-and-coming design studio based in Lisbon.
Working as a design journalist confers some pretty amazing benefits — travel to international design fairs, VIP invitations to parties, the occasional holiday gift — but this, right here, is hands down our favorite part of the job: discovering something so new and exciting we get a rush just from being the first to be able to share it with you. We originally met Portuguese graphic designer Catarina Carreiras a few years ago during the Milan Furniture Fair, where she was helping staff the installation of her then-employer, Fabrica, and we’ve kept in touch with her ever since; in 2011 she joined forces with fellow designer (and OMA alum) Carolina Cantante to start the communication and design agency Studio AH—HA, which now operates out of Sam Baron’s office in Lisbon. Carreiras still does work for Sam and Fabrica, but as of this very story, she and Cantante are officially announcing the existence of their burgeoning practice — and its brand new website — to the rest of the world. You’ll want to stare at the duo’s gorgeous work for ages; seeing as it’s the last story we’ll be posting until January 2 as we embark our annual holiday hiatus, you’ll have plenty of time to do just that. Happy new year, and enjoy!
To read the rest of this piece and their interview, click here.
Artist Caroline Achaintre was born in Toulouse, brought up in Germany and currently lives and works in London. Her weird and wonderful ceramic and textile works has been exhibited throughout Europe. To see more of her work, visit her site.
Elizabeth Huey’s paintings and collages reflect a broad spectrum of quandaries surrounding humanity and healing. Luminous pairs exchange intimate caresses and eccentrics perform oddball tasks while individuals immerse themselves in remedies and recreation. Myriad forces – nature, architecture, technology, and memory – impact the minds and perceptions of each protagonist. Both chaos and order collide and coalesce in the paint handling and spatial constructs. Excavating imagery from an array of sources, Huey continually draws from her own photographs as well as her ever-expanding collection of source material.
Born in Virginia, Huey now lives in Brooklyn, New York. Before obtaining her MFA from Yale University, she received a BA in Psychology from George Washington University and studied painting at both the Marchutz School in Aix-en-Provence, France and the New York Studio School of Drawing, Painting and Sculpture in New York City. She has received several awards including an Artist Research Fellowship from the Smithsonian Institution, a travel fellowship to Italy through Johns Hopkins University, and a Terra Foundation of American Art Fellowship and Residency in Giverny, France. Huey has exhibited both nationally and internationally and her paintings are held in collections such as the Kemper Museum of Contemporary Art in Kansas City, Missouri and the Virginia Museum of Fine Arts in Richmond, Virginia.
To see more from Elizabeth click here.
I was asked to be a guest curator on Culturehall.
“Things are all around us, items we have bought, made or wish to own. They hold an inherent aura within them when they are in our possession. We often associate our things with a person, place or time. When I look at everything I have acquired in my house throughout the years, the objects are documentation of my life that only I know the order or value. Once I am gone, my history vanishes and it waits to be reactivated by someone new.
During the mid to late 1800s, collecting objects, especially souvenirs, became popular. This movement paralleled early industrialization and the infancy of mass production. The paper weight was a coveted object and highly collectable. These “dream spheres” could capture a moment frozen forever, both literally and psychologically. Anything could become permanently still within these timeless orbs, which created sentimental time capsules and preserved memories for the individual. I underscore the paper weight as a significant time in our history in relation to the commodification of objects.”
To read the whole piece, go to culturehall.com