You might not think of a series of landscape photos awash in dreamy swipes of color as a necessary political statement, but Oakland-based artist Terri Loewenthal is making one: "Our current political reality includes a government unwilling to confront ecological collapse and a president who is actively deaccessioning public land," she said in an interview earlier this year. "I want my images to help preserve the wildness of our open spaces — by heightening and newly envisioning that wildness."
Imagine taking a landscape and a civilization and devising an alternative evolutionary path for it — and then creating a collection of furniture based upon that surrogate world. In a nutshell, that's how Guatemala City–based studio Agnes created their newest collection. Designers Estefanía de Ros and Gustavo Quintana spent two years researching pre-Columbian craftsmanship to create the kind of aesthetic that might have emerged had Mayan culture evolved with a bit less Western interference.
The exhibition of multi-disciplinary artists riffing on a traditional trope or form keeps popping up here in New York, and each one has been more delightful than the last. The latest, showcased at Fredericks & Mae's Brooklyn storefront and curated by the duo, is all about "head pots" — also known as vases with faces.
It’s hard not to look at Christiane Spangsberg’s paintings as a cross between Matisse and Picasso, but when you start really exploring the simplicity of the lines, the additions of a lilac or pink or teal, and the titles of the works — they become so much more. The Copenhagen-based artist has found a way to explore the perception of people in their daily and digital lives through her emotive portraits.
In January 2016, our interest in the South American design scene was reignited when we came across the debut of a young Argentinian furniture studio whose work seemed to appear out of nowhere. RIES didn’t have a website back then, but we had a feeling it would only be a matter of time before we’d be seeing them everywhere.
Atelier Aveus's latest collection, The Wait, focuses on feelings triggered by liminal spaces, such as contemplation, passivity, and the distortion of time — all translated into three pieces of furniture. In these images, a room divider, a wall lamp, and a waiting sofa have been 3-D rendered in highly narrative scenes by Six N. Five to highlight those emotions.
Normann Copenhagen seemingly does not have an off switch. The Danish design brand, with its constant stream of new launches, will launch next month an extensive, 300-piece accessories collection in collaboration with Tivoli, the very old and extremely popular amusement park and pleasure garden in Copenhagen.
With environmentally friendly designs that work for indoor and outdoor spaces, C/RO Copenhagen's sophisticated debut collection — handmade in Sweden from recycled steel — blends architecture and Scandinavian minimalism by way of chic seating, tables, bar carts, and trays.
For last month's Malmöfestivalen, a creative arts weekend in Sweden, design collective Malmö Upcycling Service created an installation and furniture collection using waste from local industries — from textile boat covers to chipboard, rusty metals to polyester foam.
For the London Design Fair's Material of the Year spotlight, Central Saint Martins grad Charlotte Kidger is debuting a furniture collection that combines lightweight polyurethane foam dust — a by-product of the CNC milling process — with bright teal, green, and yellow pigments and resin to make ridged and curving forms.
Swedish artist Malou Palmqvist's wabi-sabi stacks of organic shapes are a studied interpretation of the scattered pieces of waste that wash ashore near her home in the Swedish archipelago. The textured forms — stoneware, wood carvings, and combinations of stone with plaster to create a marbled effect — are at once hefty and delicate, subtly clashing and full of whimsy.