Saturday, 22 September 2012

155


The fruits of Gabriella Crespi's labours fold metallic extravagance with utilitarian innovation for the sharpest of palates. Crespi, an international designer, artist and socialite dazzled the stars with her tactile and erudite reflective forms. Born in Milan in 1922, Crespi grew up in the mellow and rural twilights of Tuscany, in such a landscape the sensual harmony of Proserpine would saturate both mind and soul. Undeniably, this languid affair with nature influenced Crespi's outlook and sculptural style. Initially studying architecture at Politecnico Instituto, this introductory foray into design would manifest itself within Crespi's hidden pockets of pragmatism.

"Yang Yin" desk/bookcase 1979
This auteur style ripened with Crespi's "The Small Lune" collection which was ignited via her emphatic absorption of the universe. These interlocking sculptural shards, some doused in copper-streaks others in a dew-cooled surface of persian marble became quixotic sculptural totems to outer galaxies. Many of Crespi's signature materials include bamboo, plexiglass, and a range of metals and stones which rotate in combinations to embellish the Crespi stratosphere, one that is peppered with an intense connection with nature and architecture.

"Ellisse" - "Cuba Tonda" - "Scultura" 1976

"Yang Yin" bar 1979
Most of Crespi's works were created during the 60s and 70s, during which her furniture designs became talismanic pieces in their own dimension. Her elegant and elaborate mechanisms embalmed an innate allure, continually associated with her designs. Quite often these rubix cube-like interventions unfurled with efficient ease to unlock inner lacquered shelving units, evident in The Yin Yang desk. 1972 saw the birth of another iconic design: "Monsieur - Madame" a shelving unit consisting of contrasting metals with deep diagonal grooves to reflect an illusory effect, which was heightened through the use of lighting. Swivelling plexiglass shards and metallic planes seamlessly overlap like the petals of an orchid. This shape-shifting luminescence in Crespi's work was undeniably thirst quenching to her panoply of collectors. The duality between the urbane, disco essence and organic, spiritual splendour became a doctrine for a soporifically sensual era. Organic mysticism was ever present, non more so than in her animal sculptures: life-size bronze deer, elegant herons and an ostrich stood like an obelisk with a real ostrich egg cradled as part of the anatomy. By blending the urban and the natural, the mind and the spirit Crepsi cross-pollinated realms to form exact and elegant design, how to have the astronomic in your living room.

"A Kumquat for John Keats" by Tony Harrison 1981
"A Kumquat for John Keats" by Tony Harrison 1981
Images: 

154



Wednesday, 12 September 2012

153

Hercules Universal - Beijing 




152

The cocoon of academia can resonate comfort yet contort instinctive growth. How can a magazine based on the sartorial subject successfully bridge the gap between academia and industry? You can find the answer in reading "Vestoj".



A journal dedicated to the active debate, critique and analysis of fashion is like a pearl lurking in swathes of seaweed. "Vestoj" is precious without becoming presumptuous. Their third issue relates to the intrepid waters of Fashion and Shame, two subjects hopelessly swirling in myth and truth of the industry itself. "Vestoj" builds its credentials in penetrating such esoteric subject matter, the pages are further reinforced with articles which open the reader to unusual perspectives and allow for theoretical associations as well as practical, well-rounded understanding. Published once a year, "Vestoj" (meaning 'clothing' is Esperanto) levitates above many publications in articles and layout. One such angle of interest is the breadth of tone which fluctuates through the informal yet directional to the informative and deeply critical. "Vestoj" is like a rorschach test, constantly making the reader re-evaluate and enliven their perspective. This sensory experience is pollinated with stimulating materials and luminous visuals, all of which enhance the opthalmic sensations sparkling through the pages. What also seems worth mentioning is the distinct lack of veneer, all details of production, the team and the manifesto is informally exposed, without a hint of reproach. Want a lone-ranger in the cavalcade of trend stomping publications? A rising obelisk through the 1 dimensional fashion landscape? A sonic sound wave through vacillating chords? Then look for "Vestoj". The publication that breathes life into the thanatoid visage of fashion.  

Hear it best at: www.vestoj.com/manifesto

More @ www.theofficialantidote.co.uk

151

Want Ackermann 
Love Teller 
Need Industrie. 



150



Saturday, 8 September 2012

149

Yves Saint Laurent

Yves Saint Laurent

Hussein Chalayan

Bottega Veneta

Images: www.farfetch.com (clutch, top, trousers) www.colette.fr (necklace)


Thursday, 6 September 2012

148

Cleanse me Le Corbusier. 

Le Corbusier Pavilion de l'Esprit Nouveau 1925 - Paris

Le Corbusier Villa Savoye 1931 - Paris

Le Corbusier Philips Pavilion 1958 - Brussels




Wednesday, 5 September 2012

147

The magazine newsstand is a proportioned wilderness. Each sapling grappling for a glance of light from the eye, struggling to grow substantial roots. This wilderness, split by translucent borders via the "fanzine", "bookzine" etc, allow for fledging publications to blossom in an industry where survival is soul nourishment. Each sprouting 'zine is nurtured and watered in the initial stages, whereby the inaugural issue and some to follow attain a level of pruning by the reader. Through growth in the stem of industry and the flower of originality will the occasional wilting sapling bloom in abundance in a garden all of its own. 



An example of such radical stability is "The Travel Almanac" a magazine which "explores traveling and temporary habitation for an increasingly sophisticated and mobilized generation of travellers". This subtle journal exemplifies a nexus between the collectable and the current, all encased within a utilitarian layout, both beautiful and purposeful. Continually roaming and reconnoitring, "The Travel Almanac" is nostalgic in terms of outlining the timeless and iconic with artists, theorists, filmmakers and musicians. Yet this is balanced via the extent of exploration, the undeniable essence of the magazine. Their third issue includes designer Rick Owens, actor Udo Kier and artist Norbert Bisky to name a few, they are accompanied by 12 hotel reviews from locations such as Bali, Zurich, Venice and Osaka and a "Souvenirs" section. Everything is formulated, from the margins, the typeface, the binding and the paper all of which suffuse the heady rainforest of the magazine industry. The essence is a basis for longevity and craftsmanship, traits that editors Paul Kominek and John Roberts have well engraved. Arguably, to create a magazine deliberately secular from arabesque ornamentation is more of a struggle with the loud titans who repeat anodyne issues. To edit takes skill and flair, an effect which is crystallised by Kominek and Roberts. Eliminating any potential sensationalism or smugness, "The Travel Almanac" invests in artistic appreciation and realism, in turn guarding its pages to a myopic mind.  Both an escape and an informative reality, "The Travel Almanac" is a panacea to those who seek an alternative culture, landscape and world entirely.  


Monday, 3 September 2012

146


The photograph once a mechanically driven process determined like mathematical equation where shutter speeds, exposure and focal points replace digits. Now, the photography has become a distinctive visual, grappling with emotional output as much as the algebraic set-up.

David Benjamin Sherry represents a logical romantic. Neither guarding nor reverent, Sherry’s work is of reality, though the hypnotic zenith of the end result could prove otherwise. Through his chromatic compositions, the rhythmic ambience of his landscape works proffer powerful semitones. Sherry is not concerned with mimesis, the final glorious spectacle of his images are contained within a strict system.  His utilitarian romanticism is assured in his use of analogue photography and with his colours cast at exposure or during printing ensure an illumination of reality. Sherry’s powerful collection of natural landscapes (exhibited at the Saatchi Gallery) satisfy the mind with soporific yet elegant elation. These delicate ratios of hue highlight Sherry’s continual, natural love affair that instinctively builds upon Sherry’s work as both grand and prevailing yet intimate and self-reflective.



Delving into his hypnotic unconscious, there lies a unique tension between eroticism, surrealism and even perversion. However, this potent sense of fantasy is balanced by his unique and traditional hand-made approach to image making. His controlled crafting of reality is not to abrogate tradition but to enliven the imagination and perspective through considered magnificence. With Sherry’s limitless landscapes in fluoro aqua, watered scarlet and other dimensional concoctions, his images embody the severity and beauty of reality in a spark of ecstasy.     

More @ www.theofficialantidote.co.uk

Image Source: davidbenjaminsherry.com [All Matterings of Mind Equal One violet 2011] & [Hyperborealis 2009]