08.03.11

Studio Visit

Shanan Campanaro of Eskayel, Wallpaper and Textile Designer

Had you visited Eskayel's website in 2004, back when Shanan Campanaro was still an art student at Central Saint Martins in London, you would have seen a very different site from the one that resides there today. That’s because the ethereal, high-end wallpaper and fabric company Campanaro now runs out of her studio in Williamsburg, Brooklyn, was in fact once a homespun T-shirt label she started with a college friend, featuring the booze- and boyfriend-related escapades of a comic-book character she’d invented.

07.27.11

Sighted

Kings County Distillery on The Makers Project

On occasion, the editors of Sight Unseen spot a story about creativity told from a viewpoint that’s not unlike our own. In the past year, we’ve noticed that documenting the studio interiors of people who spend their workdays making things has become a bit of a cottage industry on the web; our most recent obsession, Brooklyn-based photographer Jennifer Causey, chronicles the interior spaces of local fashion designers, florists, perfumers, jewelers, and food producers. We’re excerpting here Causey’s feature on Kings County Distillery, a homegrown moonshine producer that’s been run out of an East Williamsburg studio since early last year.

06.20.11

Studio Visit

Boym Partners, Doha, Qatar

To move the studio of Boym Partners from New York City to Doha, Qatar, would seem an act of sacrilege, like relocating Ai Weiwei from China to Portland, Oregon, or Ed Ruscha from Los Angeles to Munich. After all, as co-principals of the New York–based firm since 1995, Constantin and Laurene Leon Boym have made their mark in part by commenting on the cultural iconography of American life. And yet a year ago, the couple quit their DUMBO studio, picked up their 14-year-old son Bobby and their cat Ozzy, and moved everything into a high-rise apartment that sits 17 floors above the Doha Bay. The occasion was Constantin being named director of graduate design studies at the Virginia Commonwealth University in Qatar, but in the year since their arrival, it’s become clear that their work there is not just about getting a fledgling design program off the ground but rather about helping create a whole design culture from scratch. “Design here is still largely considered to be a more decorative, applied discipline,” Constantin told me via Skype from the new studio last week. “You decorate a hotel, a restaurant, or a villa. Design as a critical tool for exploration doesn’t really exist.” Adds Laurene: “You have to remember that people lived in tents in this very spot 20 years ago, and now we have a W Hotel across the street.”

05.05.11

The Making of

The American Design Club at MAD

The brief itself was simple: Design and build something to sit on. It was the execution part that was hard. From April 16–21, four sets of young American furniture designers each took a turn in the open studios at New York’s Museum of Arts and Design, each with a single purpose: to build and assemble a chair from start to finish, between the time the museum opened at 9AM to the minute the last straggler was ushered out the door at 6. The designers could use any materials they chose, and they were allowed to make preliminary design studies or prototypes before arriving at the museum, but the bulk of the construction work had to be executed on the museum’s 6th floor — in full view of school tours, visiting tourists, families, and itinerant design geeks who wanted a peek at the action. But the exercise wasn’t some reality show–like competition to pit designers against each other or to see whose design would reign supreme. The event was part of The Home Front, a museum project curated by Surface editor Dan Rubinstein, who spearheaded the whole thing in order explore in-depth the business of being a designer in America today.

04.25.11

Studio Visit

Inside Baggu, the Hypercolorful, Reusable Tote for Every Generation

“Always listen to your mother” isn’t exactly the kind of central tenet they teach you at Harvard Business School. But for Emily Sugihara, the California-raised, Brooklyn-based designer behind the reusable bag line Baggu, it’s a piece of advice that’s been invaluable to the brand’s runaway success since its founding in 2007. Back then Sugihara was a Parsons grad working as an assistant designer at J. Crew, just coming to realize that a corporate job wasn’t her calling. “As a kid, I was very entrepreneurial, and I always knew I wanted to have my own company,” she says. At home over Christmas break one year, Sugihara and her mother began talking about making a line of reusable shopping bags. Her mom was “sort of a treehugger” and an artist in her own right — an expert seamstress who learned to sew making her own clothes as a kid in rural Michigan — and Sugihara was a die-hard New Yorker-in-training, sporting fingers turned purple each week as she lugged home bags full of groceries. Together they came up with a bag that’s almost exactly like the original ripstop nylon Baggu that sells today: long handles that fit comfortably over the shoulder, gussets along the bottom that allow things like milk and eggs to stack, and a single, double-reinforced seam that’s the result, Sugihara says, of her mother’s “sewing genius.”

04.08.11

Q+A

Carwan Gallery Launch: Paul Loebach

Through April 15, Sight Unseen will be showcasing the work of half a dozen designers and design firms exhibiting together at the Milan Furniture Fair under the umbrella of the soon-to-launch Carwan Gallery in Beirut. When we asked Brooklynite Paul Loebach which of the four products he'll bring to the show had the most intriguing backstory, he immediately nominated his Watson table, a sandwich of carbon fiber and wood with double-helix legs that took him two and a half years to develop. Like the rest of Loebach's oeuvre, the table reinterprets historical craftsmanship techniques using cutting-edge technologies, evoking yet another novel property from a material as old and as simple as wood. "I named the table after the guy who discovered DNA," Loebach says. "I felt like a scientist doing this project, so I named it after one."

03.31.11

Sighted

Photographer Tim Barber on the UO Blog

In a recent interview with the New York–based photographer Tim Barber, who's known for his edgy portraits of artists and other downtown tastemakers, the folks behind the Urban Outfitters blog evoked some rather unconventional subject matter: UFOs, ghosts, chicken carcasses. Credit the fact that not only did the former Vice Magazine photo editor shoot UO's playful new spring catalog, but he's also currently judging a Weirdest Photo Contest for the retail giant. Of course, in his work with clients like Nike, Woolrich Woolen Mills, T magazine, Italian Vogue, and Stella McCartney, Barber has displayed a more serious side as well. We wanted to show both of them, so we went through his portfolio and chose some new photos to accompany our excerpt from the UO interview — instances where Barber has documented the private spaces of creatives, a la Sight Unseen.

03.18.11

Studio Visit

Todd Bracher, Brooklyn Navy Yard

Like a lot of American designers fresh out of school, Todd Bracher found himself, in the late ’90s, a newly minted graduate of the industrial design program at Pratt designing things like barbecue tools, remote-control caddies, and spice racks. “I remember scratching my head, thinking, ‘Oh my God, this is what design is?’” he recalls one morning from his studio in Brooklyn. Convinced there was something he was missing, Bracher applied for a Fulbright and ended up at age 24 heading to Copenhagen to pursue a master’s in interior and furniture design. What followed was a nine-year boot camp in the rigors of designing for the European market, studded with turns in Milan at Zanotta (where he was the legendary Italian company’s youngest ever designer), London at Tom Dixon (who poached Bracher to help build his London office) and Paris, where he taught part-time and eventually opened up a studio. But personal reasons brought him back to the States in 2007, and the director at Pratt — one of the only people Bracher knew at that point on this side of the ocean — hooked him up with the space he currently occupies in the no man’s land that is the Brooklyn Navy Yard. “My fear, in some ways, is having a place that doesn’t feel like me — which is hard because I don’t necessarily feel like myself in America,” says Bracher.

02.21.11

Studio Visit

Evan Gruzis, Artist

Evan Gruzis explored altered states of awareness a few years back, and while he was wigging out, managed to scrawl down such revelatory thoughts as “there once was a movie, it was amazing”; “welcome to the temple of showers, please take a shower in one of our many showers”; and “no bother, it’s just the remix.” Having rediscovered the notes recently, he turned them into a series of works on paper by scanning and enlarging them, cutting out the individual letters, then sweeping over the cutouts with the flat, ’80s-style gradient that forms the background for many of his works, including semi-photorealistic still lifes and geometric abstractions inspired by Saved by the Bell and Memphis. Rather than using an airbrush — “blasphemy!” according to the 31-year-old artist — Gruzis builds up the gradients in meticulous layers of India ink, spreading upwards of 20 separate washes across wet paper with soft squirrel-hair paintbrushes until the effect is practically flawless. “It’s about taking a moment that isn’t even remembered and turning it into this layered, highly crafted, highly rendered thing,” he explains of the acid notes, the kind of process that keeps him locked away in his studio six days a week. “It’s about taking meaninglessness and glorifying it. That’s another way of putting what I do: Making absurdity seductive, and making the seductive vapid, so you get caught in this feedback loop.”

01.11.11

At Home With

Kiel Mead, Product Designer, and Sarah Boatright, Artist

On a shelf in the home office designer Kiel Mead shares with his girlfriend, the performance artist Sarah Boatright, sits a set of drawers stuffed with backstock of his Forget Me Not rings, little string bows cast in precious metals. Mead’s breakout design when he was still studying furniture at Pratt, the rings were the genesis of the 27-year-old’s fascination with casting objects into wearable reminders — of childhood, of holidays, of lost loves, of an old car he once drove. Boatright, 23, also deals with the preservation of memories in her work, dressing up in goofy wigs to make reenactment videos of family Thanksgivings or furtively recorded interactions between strangers, which go on to enjoy eternal life on YouTube. So if you’d expect the couple’s Brooklyn apartment to be decked out with the kind of overstyled chicness typical of two young creatives, one of whom practically runs the Williamsburg branch of The Future Perfect, you’d be mistaken: Like their creations, the possessions they keep on display are more about storytelling than status.

10.04.10

Studio Visit

Uhuru, Furniture Designers

If you were familiar only with Uhuru’s work, it would be enough to surmise that the Brooklyn-based furniture designers are experts at creating something beautiful from practically nothing. (The formal term for this, we’re told, is up-cycling.) In the half-decade since RISD grads Jason Horvath and Bill Hilgendorf have been designing their own line, they’ve produced chairs from Kentucky bourbon barrels, loungers from the Ipe wood planks of a demolished Coney Island boardwalk, and scrapwood stools so stylish they were recently picked to decorate the café at New York’s SANAA-designed New Museum. But while it's true Uhuru are a resourceful bunch, step into their sprawling Red Hook studio and any assumptions you might have about their bootstraps process all but disappear.

09.27.10

Invitation

Monika Wyndham’s Funny Cool File

Many artists claim to need restriction in order to thrive — Matthew Barney famously made a series around the subject — and find the idea of freedom paralyzing, like standing at the edge of a vast creative abyss. Vancouver native Monika Wyndham, on the other hand, seems to be energized by endless possibility. In February, she left a full-time position art-directing interiors for the Canadian clothing chain Aritzia to move to Brooklyn and freelance, and she's taken to the professional vacuum with a kind of giddy abandon, flitting among dozens of ideas she finally has time to follow through on — even if she's unsure as to what end. And then there's the high she gets from losing herself in one of her biggest sources of artistic fodder: Google Images. "It’s just baffling to me how much information exists on the internet, and the fact that you can enter funny combinations of words and yield the most insane multitude of search results," she muses.