‘Vaso Bianco’: Michele De Lucchi first product after Memphis

Edmund de Waal, a renowned ceramicist, is showcasing a significant departure in his work with his upcoming solo exhibition, 'Ten thousand things,' at Gagosian Beverly Hills. De Waal, who started potting at age five and is known for his elegant, ceramic-filled vitrines, describes this new body of work as 'a huge departure, quite a scary one, actually.' His previous works often featured white, black, or colored vitrines filled with Japanese-influenced pots, plates, or cups, meticulously arranged in his South London studio. While black porcelain is not entirely new to his practice, having been featured in earlier shows, the current exhibition delves deeper into the material. Over the past two and a half years, de Waal has extensively experimented with black glazes, aiming to discover 'new shadows, gaps and spaces in his work' and explore their impact 'at scale.' This exploration culminates in hundreds of black vessels, crafted with copper-and-tin-flecked glazes. These vessels are presented in conversation with raw materials such as Cor-Ten steel, gold, lead, and plaster, all encased within various black aluminum-and-glass vitrines. The genesis of this darker thematic focus can be traced to de Waal's response to the revolutionary compositions of John Cage, particularly his mid-century piece, _The ten thousand things_. De Waal was particularly inspired by Cage's brief residency in the early 1930s at Rudolph Schindler's King's Road House in West Hollywood. He views this period as a crucial point where Cage's iconic sonic experiments began to take shape. De Waal draws parallels between the architectural innovation of the Schindler House—with its unexpected combination of concrete and timber—and Cage's radical approach to art, which involved freeing himself from conventional knowledge and experimenting publicly. This ethos of public experimentation has influenced de Waal's current artistic process, leading him to create, glaze, and arrange his works with greater looseness and intuition for his exhibition. He likens his new, more improvisational method to composing a musical score, noting that he 'just picked up these blocks of Cor-Ten steel and thumped them down very rhythmically, in a very random way.' This newfound artistic freedom, though occasionally leading to unexpected outcomes, is described by de Waal as 'a lot more fun' compared to the borderline over-determinacy he admitted characterized his earlier installations. The exhibition also marks a pivotal moment in de Waal's long-standing fascination with vitrines. Historically, vitrines served as 'safe containers' to prevent the dispersal of his collections. However, in 'Ten thousand things,' the vitrine takes on a much more sculptural role, fostering an 'elbows-out kind of relationship between what’s going on with structure and objects.' This represents a rebellion against the protective barriers and the pursuit of whiteness that defined much of his work, as documented in his book _The White Road: Journey Into an Obsession_. In this book, de Waal chronicled his journeys to significant historical sites of porcelain production in Jingdezhen, China; Dresden, Germany; and Cornwall, England. His interest in black glazes stemmed from the historical attempts in Meissen to create white porcelain, which initially resulted in black porcelain due to technical challenges. De Waal sees this historical context as a profound metaphor: 'you’re trying to get to white but you have to go through black.' He emphasizes that his exhibitions are not arbitrary but are carefully conceived as a body of work for a specific location, time of year, and quality of light. The choice of Los Angeles for 'Ten thousand things' is deliberate, as he views the city as a hub of exiles, aspiring artists, and experimentation, intrinsically linked to figures like Schindler and Cage. This confluence of influences provided the impetus for de Waal to embark on this new artistic direction. #EdmundDeWaal #Ceramics #ArtExhibition #GagosianGallery #BlackGlazes #JohnCage #ModernArt #Sculpture

Calico Wallpaper, a Brooklyn-based company specializing in bespoke wallcoverings, is expanding its reach into the European market this month with debuts at Maison&Objet; in Paris and the London Design Festival. Founders Nick and Rachel Cope identified a growing international interest in their products, prompting this strategic expansion, particularly focusing on France and the U.K. due to their strong wallcovering traditions. Nick Cope specifically noted London's significant demand for wallcoverings as a key factor in their decision to enhance their presence there. During the London Design Festival, commencing September 14, Calico Wallpaper will unveil its new Prism collection at SCP, a prominent furniture manufacturer and retailer. The Prism collection draws inspiration from the subtle, rainbow-colored reflections produced when light passes through crystals. Rachel Cope developed this concept by experimenting with various prismatic forms and photographing the resulting light effects, which then served as the foundation for the wallcovering patterns. Her aim was to capture the dynamic and ethereal quality of moving prisms on walls, an idea she had contemplated for years after being captivated by the visual effects of crystal refractions. Concurrently, at Maison&Objet;, running until September 10, Calico Wallpaper is presenting a distinct collection called Singing Sand. This collection is featured within a mirage-like installation at Triode, titled "Visions / Perceptions," which explores the interplay between material reality and optical illusions. The installation will remain on view until October 5 and was a collaborative effort with John Hogan and New York-based Ladies & Gentleman Studio. It incorporates a conceptual kinetic sculpture, glassworks by Hogan, and actual sand to create an environment that reflects the essence of the Singing Sand wallcovering. The Singing Sand collection, handcrafted by Rachel Cope, is designed to evoke the fluid granularity of desert dunes. It mimics the constant movement of a desert landscape, illustrating how grains of sand shift and slide with the wind to form meditative patterns. Rachel Cope expressed her fascination with the digital effects of a mirage and her desire to translate that phenomenon into a wallcovering, specifically aiming to capture the movement and rhythm of actual sand dunes. Calico Wallpaper is recognized for its unique approach of blending artisanal techniques with advanced digital technologies. The company previously received a 2019 NYCxDESIGN Award for its Relic Collection, which features layers of translucent paper, and has also collaborated with artist Faye Toogood on a collection for Salone del Mobile. #CalicoWallpaper #EuropeanDebut #MaisonEtObjet #LondonDesignFestival #PrismCollection #SingingSand #Wallcoverings #InteriorDesign #BespokeDesign