The Creatives: Abstract artist Rachel Rice-Baham

This article introduces Rashelle Campbell, a multidisciplinary designer and artist, who shares her journey from conceptualizing her rug tufting business during the pandemic to establishing a successful brand. The inspiration for her business originated from a personal search for unique, asymmetrical, colorful, and groovy rugs for her own home, which she found unavailable in the market. This led her to decide to create one herself, purchasing a tufting gun and beginning to design. After creating her first rug and sharing it online, she received significant positive feedback, leading to numerous custom rug requests within the first two months. Six months into her venture, she collaborated with her first retailer and launched her inaugural full rug collection, which sold out on the first day. This organic growth and demand prompted her to develop a website with an online store, solidifying her brand's professional presence and commitment. Rashelle Campbell identifies as Nehiyaw Iskwew (Cree) and is based in Amiskwaciy-wâskahikan, Edmonton, Alberta, Canada, residing on Treaty 6 territory. Her artistic philosophy centers on playfulness, embracing imperfections, and a vibrant use of colors. Before founding her brand, she gained experience as a publicist and freelance photographer, which she credits for enhancing her current skill set as a business owner and artist. Her brand, simply named "Rashelle," is conceived as a boundless creative space, unrestricted by conventional design rules or specific categories. Initially focusing on rugs for home interiors, her brand has expanded to include glassware, accessories, and clothing. She emphasizes that her creative work is not limited to a single medium, allowing her to continuously produce pieces that reflect her current interests and inspirations. The services she provides include custom rug orders, which she finds particularly fulfilling as it allows her to design and produce unique items tailored to clients' display preferences. She also releases small, distinct collections of rugs, accessories, and clothing. All items are either handmade by her or through collaboration, with a focus on limited production quantities to avoid overproduction. She differentiates herself by being among the pioneering tufters to establish a brand, offering unique designs that evoke youth, childhood nostalgia, and Y2K memories. Her work is characterized by the love and happiness infused into each piece, driven by a desire to spread joy and authentically represent herself as an Indigenous woman who enjoys creating "wacky fun things," rather than being primarily motivated by financial gain or exposure. Rashelle expresses pride in her resilience, particularly in facing attempts by others to copy her designs. She advocates for trusting the creative process and maintaining momentum, advising against overthinking, which can foster fear. Instead, she encourages artists to keep moving forward, reminding themselves of their core motivations to overcome challenges. She also discusses her strategy for building a social media audience, which involved a giveaway linked to her first collection launch, requiring followers to like and comment to enter. She views giveaways as an effective way to expand reach and engage the community, while also providing an opportunity for individuals who might not otherwise afford her pieces to own them, aligning with her value of giving back. As an Indigenous woman, she perceives the act of sharing her work as an everyday act of resilience, drawing inspiration from the Indigenous women in her life and prioritizing Indigenous joy. Her journey, the support she has received, and her access to resources for creation are all testaments to her resilience. She highlights the significance of her presence as an Indigenous woman representing creative Indigenous women and using her voice, considering it a success in itself. #RashelleCampbell #MultidisciplinaryArtist #RugTufting #IndigenousArtist #CreativeEntrepreneurship #HomeDecor #SmallBusiness #Y2KAesthetic #SocialMediaGrowth

Rachel B. Hayes, a Tulsa-based artist, creates striking large-scale patchwork textile installations using vivid, translucent fabrics. These temporary artworks are designed to transform perceptions of both indoor spaces and expansive natural environments. Hayes experiments with scale, color, pattern, light, and movement, resulting in joyful and dynamic installations. Her work has been showcased across the U.S. and Europe, frequently appearing as quilted sun sails in courtyards. One of Hayes's recent collaborations, "Horizon Drift" with Black Cube in Denver, featured overlapping triangular elements that cast colorful shadows, reminiscent of her piece "A Moment in Time" in Capri. These temporary installations, typically on view for a few weeks or months, integrate with their surroundings, drawing parallels to the monumental fabric interventions of Jeanne-Claude and Christo. Her richly patchworked or woven creations celebrate light, breeze, and traditional American quilting techniques. Hayes frequently revisits earlier works and site-specific experiments to fuel new designs, finding continuous inspiration and energy in these temporary explorations. She often returns to familiar locations in South Dakota, Missouri, and New Mexico to document her art multiple times, observing how varying light, weather, and landscape changes influence the perception of her pieces. She views many of these works as elements within a broader, long-term artistic vision. Some of Hayes's installations are designed for extended outdoor display, lasting at least five years, which has led her to develop expertise as a "fabric engineer" to ensure the materials withstand the elements while remaining visually impactful. Light, particularly sunlight, is a crucial component in Hayes's artistic process and site selection. For indoor installations, she carefully considers architecture and human movement, often "chasing the sun" to identify areas where light can interact with her textiles, creating reflections and colored shadows. While she utilizes software like Photoshop or Procreate for pattern composition, her primary focus remains on the physical properties of the material and its interaction with specific environments. Hayes's current installations include _Patterned by Nature_ at the Chicago Botanic Garden throughout the summer, _Soft Structures_ at Jane Lombard Gallery in New York City until August 8, and _Body’s First Architecture_ at Ely Center of Contemporary Art in New Haven, Connecticut until August 10. Her semi-permanent works are on display at the International Quilt Museum in Lincoln, Nebraska, and The Gathering Place in Tulsa. Additionally, her flag is currently flown outside Ballroom Marfa in West Texas during gallery hours. #RachelBHayes #TextileArt #SiteSpecificInstallation #Quilting #FabricSculpture #ContemporaryArt #ArtInstallation #TranslucentTextiles #LightArt

This article features Lauren Jarrett and Melissa Greenwood, the Indigenous artists behind the brand Miimi + Jiinda, who gained recognition for their artwork showcased in Deb and Andy’s living area on the television show 'The Block.' The artists discuss their journey, inspirations, and creative process. Lauren, one half of the duo, has been painting for most of her life, while Melissa became seriously involved in art six years prior. Their inspiration stems from their tribal lands, ancestral teachings passed down through generations of grandmothers, and the stories of their strong matriarchal lineage. Their beautiful Gumbayngirr country and Melissa’s experiences as a modern-day Indigenous woman also significantly influence their work. They describe their art as a symbolic portrayal of their interpretation of Dreaming stories, drawing inspiration directly from nature. They utilize acrylics and pastels, with a distinct influence from their feminine matriarchal line. Creating a piece of art can vary in duration, from a week for smaller works to several months for larger ones, with the artists often working on multiple paintings simultaneously to maintain creative flow. Their personal aesthetic is characterized as earthy, natural, and minimal, deeply influenced by the textures and beauty of their traditional homelands. They also express a fondness for bright and bold elements that uplift the senses. The names for their artworks are derived from their Gumbayngirr language, which serves as a constant source of inspiration. The article highlights specific artworks, such as 'Mirrinmi' (Be Happy), which symbolizes finding joy in one's life path, and 'Yuludarra,' which represents their three hero ancestors in Gumbayngirr culture. The artists recount how their involvement with 'The Block' began when Deb and Andy contacted them via Instagram for a commissioned painting. Andy, being Biripi, was specifically seeking Aboriginal art, and the connection was made given Miimi + Jiinda’s Gumbayngirr heritage, located just a few hours from the Biripi Nation. They expressed immense excitement and honor in creating the piece for 'The Block,' hoping it would promote greater visibility for First Nations art across Australia and showcase their rich culture. They find inspiration in artists like Albert Namatjira and prefer to create their art 'on Country,' surrounded by their ancestral lands. Their creative environment often involves a soundtrack featuring artists such as Xavier Rudd, Ben Howard, Vance Joy, Ziggy Alberts, Nora Jones, and Baker Boy. A typical day for Lauren and Melissa is dynamic, ranging from intensive painting sessions, where their studio is filled with art supplies, to administrative tasks, order fulfillment, and sourcing materials. They also dedicate time to walking on Country, gathering natural fibers for weaving, and seeking inspiration for future artworks. Regarding balancing art with life and family, they suggest involving children in the creative process, as it can be a source of entertainment for hours and fosters shared artistic enjoyment. The article concludes by showcasing some of Miimi + Jiinda’s artwork, available online, and emphasizes their stunning original creations. #IndigenousArt #ArtistSpotlight #TheBlock #AustralianArt #GumbayngirrCulture #HomeDecor #ContemporaryArt #DreamingStories #ArtisticProcess

This article features an interview with Ann Flemings, a contemporary abstract painter based in Austin, Texas. Flemings discusses a significant project she undertook in 2017: a self-designed residency focused on scaling up her artwork. Initially, she envisioned painting "big" but lacked the necessary studio space. To overcome this, she arranged a trade with an artist friend, pet-sitting in exchange for using a large studio for two months. Her plan involved working on ten 4-foot by 4-foot canvases, dedicating June to preparing small study paintings, and acquiring larger art supplies like brushes, mixing containers, and gallery-wrapped canvases. She set up ladders as easels and felt a sense of excitement rather than intimidation by the large scale. Flemings began painting on July 5th, using her reference studies as a starting point. She quickly realized that scaling up presented unique challenges, including mixing larger quantities of consistent color and effectively wielding bigger brushes. To translate images from smaller studies to large canvases, she used a tracing-paper grid. While she started with vigor, the work output gradually slowed down as the larger canvases required more time and attention. Challenges arose from the studio environment, which lacked air conditioning in Texas during July and did not have a bathroom. The intense heat caused her paint to dry rapidly, necessitating the use of gel mediums and water to revive it, which altered the paint's texture and flow, hindering her process. Despite these difficulties, she persevered, finishing two paintings and making modest progress on two others. After four weeks, Flemings decided to complete the remaining two canvases at home due to the studio conditions. This self-directed residency, while frustrating, provided invaluable lessons about the complexities of scaling up artwork. She now enjoys painting large-scale pieces, with the primary limitation being the size of canvases that can fit in her car. This experience boosted her confidence in tackling ambitious projects and refining her artistic approach. She also views the self-directed residency as a beneficial strategy for exploring concepts for future formal residency applications. Flemings, born in Los Angeles and raised in Pennsylvania, has a BFA and previously worked in fundraising. She re-engaged with art in 2015 and now creates vibrant abstract art through layering, excavating, and revealing, aiming to evoke peace and beauty. Her process is intuitive, influenced by emotions and memories, allowing the painting to guide her. She emphasizes the importance of listening to the painting and believes each piece has a unique story and soul, bringing personality and spirit to a home. She hopes her work conveys a sense of calm energy, balance, and "relaxed spaciousness," a Buddhist concept she incorporates into her life and art. The article also covers how to foster a supportive environment for artists. Flemings encourages individuals to attend exhibitions, become museum members, visit local art shows, purchase original art directly from artists, and contribute to arts non-profits. She advocates for voting for representatives who support the arts and encouraging community engagement in the creative ecosystem. She highlights the role of art in offering beauty and reflection, quoting Brian Rutenberg on how art encourages "slowing down" and "breathing." Flemings believes that finding original artwork that resonates with an individual is a special experience and strives to share her work widely through social media and, ideally, in person, emphasizing the unique experience of engaging with handmade art in a technology-driven world. Flemings shares a story about resilience, recounting a challenging portfolio review in 2015 that criticized her composition, color use, and lack of focal points. Despite initial devastation, she adopted a practical, objective approach, deciding to strengthen her foundational skills. She joined a life drawing group, practiced "notans," and worked with a respected teacher to improve her drawing, painting, and color mixing. This rigorous training, though frustrating at times, helped her develop a stronger artistic eye and a better understanding of line, tone, and value. A year later, her improved work was well-received by the public, validating her growth as an artist. She expressed gratitude for the candid feedback, attributing her increased strength as an artist to that challenging experience. #AnnFlemings #AbstractArt #ArtistInterview #ArtResidency #PaintingChallenges #CreativeProcess #ArtistResilience #ArtisticGrowth #HomeDecor #ArtCommunity

The article details the collaboration between fashion designer Roksanda Ilinčić and artist Rana Begum for Roksanda's A/W 2020 show at London Fashion Week. This partnership resulted in a unique, kaleidoscopic netted runway installation, reflecting both artists' shared emphasis on color and light within their work. Ilinčić's brand consistently explores female creativity and collaboration, a theme evident in her previous partnerships and her ongoing artistic dialogues. The inspiration for the A/W 2020 installation stemmed from Begum's observations of fishermen in flooded rice fields in Bangladesh. The artist chose lightweight netting as her primary medium, sourced during her residency in Morocco, due to its capacity to be manipulated for tension and force. This netting was spray-painted in vibrant neon blocks, allowing colors to blend and diffract light, creating a hazy, ethereal effect. The installation was strategically placed within the majestic courtyard of the Durbar Court of The Foreign & Commonwealth Office, floating above the catwalk and serving as a modernist cloud. This design choice directly complemented Ilinčić’s A/W 2020 collection, which showcased fluidity and movement through caped dresses, slouchy leather sportswear, and chunky cable jumpers, all presented in a rich palette of lime, aubergine, magenta, and caramel. Ilinčić consistently integrates art and architecture as foundational elements for her collections, viewing them as crucial starting points for her designs. She emphasizes the importance of collaborating with other creative individuals to enrich her storytelling. Prior to this collaboration with Begum, Ilinčić worked with the London-based art collective Troika for her A/W 2019 show. This earlier collaboration featured an abstract runway installation with six rainbow projections, drawing inspiration from Troika's 2019 Barbican artwork, 'Borrowed Light.' These continuous artistic collaborations highlight Ilinčić's commitment to creating immersive and narratively driven runway experiences. The installation not only served as a visual spectacle but also underscored the essence of Ilinčić’s collection, which focused on lightness and movement expressed through various mediums. Both Ilinčić and Begum share a background that has influenced their artistic appreciation for prismatic aesthetics, with Ilinčić hailing from Serbia and Begum from Bangladesh. This shared sensibility further strengthened the collaborative vision, making the installation a natural extension of both their individual artistic languages. The partnership showcases a harmonious blend of fashion and art, where the runway becomes a dynamic canvas for artistic expression and storytelling. #RoksandaIlincic #RanaBegum #LondonFashionWeek #FashionInstallation #ArtCollaboration #RunwayDesign #AWCouture #FemaleCreativity #TextileArt

Marina Baisel, the founder of Rarares, a contemporary art space in DIFC, is approaching the art gallery model with a unique perspective, informed by her previous career in interior design. While Dubai's art scene typically features either large commercial galleries showcasing international artists or smaller ones dedicated to local talent, Rarares aims to bridge this gap by bringing both emerging and established global artists whose works are rarely exhibited in the UAE. The gallery's name, derived from the Latin word 'rarus' meaning rare, reflects this curatorial philosophy. Baisel's background in interior design provides a distinct advantage in the art world. Having spent nearly a decade incorporating artistic elements into interior projects, she understands the synergy between art and living spaces. She views interior design as a canvas where art plays a crucial role in enhancing the overall experience, capable of transforming spaces, evoking emotions, and narrating stories. This passion for the artistic component of interior design motivated her transition to becoming a gallery owner, seeing it as a natural progression to combine her love for aesthetics with a desire to support and promote artists. Her interior design expertise significantly influenced the gallery's physical design and exhibition curation. Baisel believes a gallery should be an immersive environment that enhances the viewer's experience, not just a display space. Consequently, the layout, lighting, and overall aesthetic of Rarares are meticulously planned to highlight each artwork, creating a cohesive narrative throughout the space. This careful curation extends to individual exhibitions, where Baisel leverages her design knowledge to consider how artworks interact with each other and their surroundings. Each exhibition is thoughtfully organized to guide visitors through the space, fostering meaningful engagement with the art. Aspects such as lighting, forms, and palettes are considered to establish a harmonious balance between the artworks and the gallery setting. Currently, Rarares is featuring 'Eidos,' a solo exhibition by multidisciplinary artist Mederic Turay, which marks his debut collection of ceramic works and his first show in the UAE. Following this, in April, the gallery will host 'Powerful Spring,' a group female exhibition that explores the philosophical concept of soft power and acceptance, serving as an ode to feminine strength. The gallery's approach reflects a thoughtful integration of art and design principles, offering a fresh perspective on art display and engagement within the Dubai art scene. #Art #FineArt #Gallery #InteriorDesign #DubaiArtScene #ContemporaryArt #ArtCuration #MarinaBaisel

Mary Jo Karimnia, an artist and arts administrator based in Memphis, TN, shares insights into her creative journey and multi-disciplinary arts practice. Her current artistic focus involves nostalgia, vintage landscape postcards, and decorative surfaces. Karimnia collects, scans, and enlarges hand-colored mid-century postcards of rock formations and other landscapes. These images are then mounted on panelboard and embellished with translucent beads, shiny foil, and velvety flocking, resulting in fine art pieces that evoke a paint-by-number aesthetic and explore nostalgia through a contemporary lens. She explains her process of learning new media like flocking and foiling, which she applies by experimenting with her own application techniques. Flocking involves applying tiny colored particles to an adhesive surface to create a velvety texture, while foiling utilizes shiny, colored sheets applied to a sticky surface. In addition to her artistic endeavors, Karimnia is a co-owner of a studiohouse with Bolivian artist Keiko Gonzalez. She is also a founder and the Residency Director for Crosstown Arts, where she manages resources and spaces for various artists—visual artists, writers, musicians, and videographers—from Memphis and beyond. The residency program offers private studio space, living space if required, and access to events and tools within Crosstown Arts' maker space for durations ranging from three weeks to three months. Her commitment to the arts extends to volunteering and organizing gatherings to enrich the local arts community. Karimnia discusses the importance of fostering a strong, supportive environment for artists. She encourages individuals to consciously direct their spending towards local artists, musicians, and arts organizations. She highlights that art is accessible at various price points, from investing in local galleries to purchasing original prints or pieces from craft festivals or local gift shops. She emphasizes that even small investments can make a significant difference in supporting the arts ecosystem and encouraging emerging artists. This deliberate spending, she suggests, diverts resources from larger commercial entities and contributes to a healthy artistic landscape. Demonstrating her resilience, Karimnia recounts her journey of establishing a dedicated workspace. For years, she created art in various spaces within her home, such as the dining room or attic, before renting a small studio in her 40s. In 2019, she and Keiko Gonzalez purchased a neglected 1920s house, which they transformed during the pandemic into the Studiohouse on Malvern. This studiohouse provides workspace for both artists, areas for hosting shows, and living space for Gonzalez when he is in Memphis. The Studiohouse on Malvern also features the Front Porch Window Gallery, a small-scale gallery accessible to viewers 24 hours a day, further engaging the local community. The first Studiohouse Openhouse was held in March 2023. #MaryJoKarimnia #MixedMediaArt #ArtisticProcess #Studiohouse #CrosstownArts #ArtsCommunity #NostalgiaInArt #ArtistResidency #MemphisArts

This article features an interview with Daniel Arsham, a Miami-raised, New York-based artist known for his large-scale installations that manipulate perceptions of space and architecture. Arsham's artistic journey began at Cooper Union, where he met architect Alex Mustonen, leading to the formation of Snarkitecture in 2008. Snarkitecture is a collaborative practice that blends art and architecture, recognized for its inflated scale and monochrome aesthetics, with projects including KITH boutiques and flagship stores for brands like Valextra and COS. Alongside Snarkitecture, Arsham maintains an individual art practice focused on structural experiments, often featuring crumbling walls and decaying cultural artifacts, challenging conventional architectural norms. Arsham's 2018 solo exhibition, “3018,” at Galerie Perrotin in New York, showcased pop culture icons, such as the Delorean from *Back to the Future* and the Ferrari from *Ferris Bueller’s Day Off*, rendered in materials like crystal, volcanic ash, pyrite crystal, selenite, and quartz, appearing where mechanical components would typically be. These works illustrate his exploration of a dystopian future where contemporary culture undergoes erosion. The year 2018 was particularly eventful for Arsham, encompassing “3018,” Snarkitecture’s retrospective “Fun House” at the National Building Museum, the release of Snarkitecture’s monograph, his own upcoming book through Rizzoli, and an exclusive sneaker design for Adidas. In the interview, Arsham discusses how his upbringing in Miami, a city built on a swamp with a fabricated sense of fantasy, influenced his artistic sensibilities. He elaborates on his fictional archaeological works, which involve degrading contemporary objects to appear ancient, emphasizing the importance of materials in conveying his concepts, such as using crystal to suggest a geological timeframe. Arsham reflects on 2018 as a year of introspection, with his Rizzoli book covering two decades of his work, tracing back to his thesis exhibition at Cooper Union, where he first used architecture as a medium for manipulation to create unsettling, uncanny spaces. He identifies stage design, particularly his work with choreographer Merce Cunningham, as one of his most exciting and challenging commissions. This experience, despite his lack of formal training in dance or theater, profoundly impacted his practice by teaching him to translate sculptural methods to a stage environment with fixed audiences and crucial lighting. The discussion also delves into the origins of Snarkitecture, which arose from Arsham's need for architectural expertise to execute larger-scale public art pieces, leading to a partnership with Alex Mustonen. Their collaboration thrives on the interplay between Arsham's chaotic, experimental artistic approach and Mustonen's ordered, precise architectural background, embodying an ethos that balances precision with chaos. Arsham shares a key business lesson: recognizing failure as a vital tool for learning and avoiding repetition. He cites Hurricane Andrew's devastation of his Miami home 24 years prior as a pivotal experience that shaped his understanding of architecture in flux, decay, and rebuilding, significantly influencing both his personal art and Snarkitecture's work. Ultimately, Arsham finds the best aspect of his profession to be the freedom inherent in not having a conventional "job." #DanielArsham #Snarkitecture #ArtAndArchitecture #ContemporaryArt #Sculpture #ArchitecturalInstallation #Exhibition #Materiality #DesignProcess #CollaborativePractice

New York designer Bec Brittain, known for her sculptural and ethereal lighting creations made from brass and colored glass, recently unveiled her latest exhibition, ‘Strange Days,’ showcasing a return to more tactile materials. The exhibition, a collaborative effort with Alex P White and design duo Material Lust, features Brittain’s ‘Mercury’ installation as its centerpiece. Originally debuted at Design Miami two years prior, ‘Mercury’ has since been in storage and is now being presented in Brittain's newly relocated studio in Manhattan's NoMad neighborhood. ‘Mercury’ (2015) is an all-black design consisting of 35 strands of LED lights intricately woven with obsidian, jasper, and agate beads, culminating in a cascade of leather and suede tassels. Brittain describes this piece as revealing her “dark, moody side.” The installation is configured in a monumental, triangular arrangement, extending from floor to ceiling, creating a captivating and immersive experience within the exhibition space. Brittain personally crafted, knotted, and braided each leather tassel strand, a technique reminiscent of her earlier jewelry collections that featured large knotted rope necklaces and body harnesses, which she playfully termed ‘daytime bondage.’ To complement the atmospheric 'Mercury' installation, Brittain invited friends to contribute works that harmonized with its dark aesthetic. The exhibition includes armchairs by Alex P White, a former lead collaborator with Kelly Behun, and velvet furnishings along with Wicca chic seating from Material Lust. These additions collectively create a mood that is described as decidedly dark and elegant, evoking a sense of pagan spirituality and celebrating forms in dark hues. The overall ambiance is designed to be spellbinding, drawing visitors into a uniquely curated experience. The exhibition, ‘Strange Days,’ provides a platform for Brittain to explore different material palettes and artistic expressions beyond her usual lighting designs. Her decision to feature ‘Mercury’ after a period of storage highlights the piece's significance to her creative journey and her desire to share it in a setting that allows for its full artistic impact. The collaboration with White and Material Lust further enriches the exhibition, offering a cohesive yet diverse collection of works that collectively embody the desired dark and mystical theme. The show is on view until October 14th at Bec Brittain's studio, located at 27 West 20th Street, New York, inviting the public to experience this unique blend of design and art. #BecBrittain #StrangeDays #FurnitureExhibition #LightingDesign #InteriorDesign #AlexPWhite #MaterialLust #NewYorkDesign #ArtInstallation

Albanian artist Anri Sala has created a hypnotic film and sound installation titled "Time No Longer" in Houston's Buffalo Bayou Park Cistern. This monumental work pays homage to African American astronaut and saxophonist Ronald McNair, who tragically died in the Space Shuttle Challenger explosion in 1986. McNair had intended to record music in space, a goal that was never realized. Sala's work is characterized by its exploration of the space between the tangible and intangible, often delving into complex themes and emotions where language falls short. The installation, situated in the vast, subterranean Buffalo Bayou Park Cistern—an 87,500 sq ft reservoir with 221 columns—evoked a sense of space exploration for Sala. He adapted his initial idea upon recalling McNair's story, feeling a strong connection between the unique architectural space and the astronaut's unfulfilled aspiration. The core of "Time No Longer" involves a visual projection of a turntable, seemingly weightless, attempting to play a record. The stylus intermittently connects with the grooves, producing snippets of music, but frequently skips and floats away, symbolizing McNair's aborted mission and the music he never got to play. This repetitive motion creates a sense of continuous interruption, reflecting on the fragility of aspirations and the impact of sudden loss. The screen used for the projection is translucent Hologauze, which disappears when the film is not running, allowing viewers to engage with the natural darkness of the cistern. When the film is active, its reflection on the surrounding water surface generates an illusion of countless turntables adrift in an infinite void. The audio component of the installation is a mixed clarinet and saxophone rendition of Olivier Messiaen’s "Quartet for the End of Time." This choice is significant, as Messiaen composed the piece while in a German prisoner-of-war camp during World War II, imbuing it with a profound sense of loneliness that resonated with Sala. The deliberate blending of the instruments makes it difficult to distinguish between them, further emphasizing the idea of a sound existing before its full realization, akin to McNair's unrecorded music. McNair's original intention was to collaborate with French composer Jean-Michel Jarre on the album "Rendez-vous," a project Jarre later completed as a tribute. Sala has a history of incorporating jazz into his art, appreciating its non-narrative qualities. He draws parallels between "Time No Longer" and his previous works like "Long Sorrow" (2005) and "Answer Me" (2008), both of which engage deeply with their architectural settings. In "Long Sorrow," saxophonist Jemeel Moondoc was suspended 60 feet in the air, using music to escape his physical situation. In contrast, "Time No Longer" focuses on drifting in space while being anchored in time, highlighting the interconnectedness of the artwork with its environment. Sala views the space not merely as a backdrop but as an active participant, an "organ" that collaborates in the retelling of a story, prompting reflections on context and history that extend beyond conventional storytelling. The installation, described as a performance without a performer, resonates with the collective experiences of isolation and reflection in contemporary times. The exhibition ran until 12 December 2021 at the Buffalo Bayou Park Cistern in Houston. #AnriSala #ArtInstallation #TimeNoLonger #BuffaloBayouParkCistern #RonaldMcNair #ContemporaryArt #FilmAndSound #HoustonArt #OlivierMessiaen

This article explores the immersive and unconventional art installations of New York-born, Los Angeles-based artist Tita Cicognani, focusing on her use of hot tubs as central elements in her multimedia works. The artist’s practice, which largely involves sculpture and assemblage, took a unique turn with the integration of hot tubs, driven by a desire for physical interaction and shared experiences, particularly during the COVID-19 pandemic lockdown. Her works contrast with the trend of “dematerializing practice” in the art world, instead embracing the tactile and communal. The piece begins by describing Cicognani’s current installation, "Heart Tub" (2022), at the Hammer Museum, where visitors can reserve 45-minute slots to soak in a heart-shaped, red crocodile-skin vinyl hot tub. This installation is designed to evoke a sense of "tackiness" and "religious frenzy," adorned with embedded video screens displaying floating holograms of flying saucers and bubbly hearts. The artist explains that this first tub was created during the initial COVID-19 lockdown, stemming from feelings of isolation and a craving for physical connection. The article then details Cicognani's earlier hot tub installations. "Mothership" (2021) was an inflatable pool designed as a "tiny wet fun house," featuring mirrors, LED lights, and a disco ball, reminiscent of a Gravitron ride. This work explored the convergence of religious and corporeal ecstasy. Another significant piece, "Prayer Cards" (2019), involved devotional cards featuring the artist's image in poses suggesting stigmata or submission, printed with the prayer of St. Francis of Assisi, challenging conventional notions of piety with pop culture aesthetics. Her second tub installation, "Grotto Tub" (2022), presented a more visceral experience. Located in an artist-run space in Chinatown, it encouraged a more uninhibited, almost chaotic interaction, with PVC pipes emitting a brown goo and accompanying videos of mud wrestling. This installation, playfully dubbed “art student soup” by a Hammer Museum curator, highlighted a deliberate embrace of the earthy and raw aspects of human interaction. The transition to the Hammer Museum for "Heart Tub" introduced new logistical challenges, including safety protocols, scheduled time slots, and ADA compliance, leading to elements like a chrome heart-shaped handrail. The article also delves into the video component of "Heart Tub," titled "I Still Believe" (2022). This 40-minute looping video, viewed from within the tub, features a green-skinned CGI avatar of the artist navigating a cheap motel with a heart-shaped tub, encountering UFOs, and immaculately conceiving an alien progeny. The narrative explores themes of desire, beauty, and love, drawing heavily from pop music and shiny aesthetics, elements Cicognani previously resisted but has now embraced. The work also has intellectual underpinnings, drawing parallels to other water-based art installations like Hélio Oiticica and Neville D’Almeida’s “CC4 Nocagions” (1973). Finally, the artist discusses the socio-economic implications of embracing "tacky" aesthetics and the interplay between high art theory and pop culture references, such as the film "Hot Tub Time Machine." The experience concludes with the writer reflecting on the custom-made pea-green towels, embroidered with an alien baby and the words "I still believe," which serve as a tangible takeaway from the immersive art experience. This installation, and Cicognani's broader body of work, actively seeks to engage the body and challenge traditional art consumption by bringing viewers directly into the art. #ArtInstallation #MultimediaArt #ContemporaryArt #HammerMuseum #ImmersiveExperience #Sculpture #PopCulture #ConceptualArt

Jessica and Eliana, the duo behind J. Hargreaves Industry (JHi), discuss their creative journey, the genesis of their small business, and their vision for the future of independent artists. JHi is a women-owned and artist-run enterprise based in New York, specializing in one-of-a-kind jewelry, art, and soft furnishings that are deeply connected to the narratives of their larger fine art practices. One of their most significant projects, "Girls at the End of the World" (GATEOTW), intertwines themes of feminism, global warming, and political conflict. This collection seamlessly merges fine art with jewelry designs and printed furnishings, aiming to appeal to audiences interested in fine art, fashion, and interior design. Jessica explains that the project originated from sculptural paintings created during Donald Trump's first term as President, which depicted allegorical situations often inspired by old master history paintings. These narratives then evolved into hand-drawn toile-style prints for wallpaper and soft furnishings, such as curtains and cushions. From these prints emerged the concept for "The Aquanaut's Amulet," a diver's helmet pendant, with each jewelry piece serving as a wearable extension of the original drawings. The collection also includes smaller, collaborative 4x6-inch oil paintings on yupo, depicting women in green suits, symbolizing love and support among women amidst an allegorical catastrophe. The green suits, inspired by Jessica's fashion industry background, represent rebirth, and the futuristic material protects the figures from environmental elements. Eliana highlights their intention to present a collection that showcases the full range of Jessica’s creative abilities and storytelling, ensuring that no medium or audience is excluded. Both founders emphasize the importance of consumers connecting with the vision and ideas behind their products, as well as their materiality. Jessica Hargreaves, the founder, was born and raised in South London and holds a Bachelor's Degree in Fashion and Textile Design from Central Saint Martins, along with an MFA from The School of The Art Institute of Chicago. Her art practice consistently features narrative elements that allegorize personal and political emotions. Her love for fashion and adornment influences her installations, which initially appear decorative but reveal humorous, satirical, or disturbing elements. Inspired by vintage animal jewelry, she began wax carving in 2014, leading to jewelry that maintains a direct link to her painting, drawing, and sculpture. Eliana Shoffner, co-founder and Studio Manager, moved from Texas to New York City in 2019, pursuing a career in fashion. She earned a Master’s Degree in Fashion Studies from Parsons School of Design, where her research focused on the art of adornment and challenging the established art and fashion institutions. The genesis of JHi was serendipitous, as Jessica and Eliana met at Sephora in August 2023. Eliana was captivated by a ring Jessica had made, leading to a conversation about art, fashion, and their shared vision for a practice where both could coexist. After a month of planning, J. Hargreaves Industry officially launched in October 2024. Their mission is twofold: first, to establish a sustainable living through authentic and transparent creative processes, serving as a model for independent artists. Second, they aim to create "Some Other Future," an extension of JHi that will act as a selling platform for various multi-hyphenate artists, reallocating autonomy to those who haven't found their place in a single industry or medium. They believe society can support artists by encouraging consumption habits that favor small businesses and independent artists, promoting ethical production, and questioning conventional pricing. They advocate for using social media to discover and share works by independent artists, fostering a creative ecosystem that thrives from within. #JessicaEliana #JHi #ArtistRunBusiness #GirlsAtTheEndOfTheWorld #FeminismInArt #WearableArt #InteriorDesign #EthicalConsumption #IndependentArtists

British artist Sophie Smallhorn, whose work explores the relationships between color, volume, and proportion, grew up immersed in a creative environment. Her parents were industrial and textile designers, and her Montessori education, with its use of brightly colored, precisely shaped wooden objects, fostered an early understanding of color, form, and dimension. This upbringing shaped her artistic approach, which is characterized by sophisticated geometric solids and a focus on color dynamics. Initially, Smallhorn pursued a degree in Wood, Metal, Ceramics, and Plastics at the University of Brighton, where she crafted sculptural furniture pieces that, despite their limited functionality, were primarily driven by color. She began creating assemblages from leftover materials for personal enjoyment, eventually selling them informally. Her acceptance of her work as fine art came only after a gallery explicitly presented it as sculpture, reflecting her background in design and making. Early career milestones included significant commissions from the avant-garde fashion brand Comme des Garçons, which provided opportunities for large-scale installations at its Tokyo flagship. These projects broadened her scope, leading to collaborations such as developing a 56-color palette for the London 2012 Olympic Stadium with Populous Architects, where exterior canvas banners in various hues marked spectator entrances. More recently, Smallhorn has ventured into textile design with Designtex, creating an upholstery pattern named Ribbon. This marks her first formal foray into textiles, a field her mother worked in, and one Smallhorn initially resisted due to her discomfort with digital design processes and the overwhelming possibilities of digital printing. However, a clear vision from Designtex's executive design director, Sara Balderi, during their renewed collaboration post-COVID, made the digital process manageable and even a revelation. The inspiration for the Ribbon motif originated from an enameled snuff box with an undulating ribbon, which Smallhorn encountered at the Victoria and Albert Museum. She developed the idea by physically manipulating collage and colored acetates, twisting and folding them, before translating these physical experiments into a digital layout for pattern repeat, palette, and scale. The initial design, which started smaller, evolved into a bold, graphic, and dynamic pattern with a theatrical quality, largely influenced by Designtex. The ribbon on the fabric is not solid but composed of parallel lines, a deliberate choice by Smallhorn to achieve an effect similar to screen printing, where overlapping transparent colors create a third hue, adding a playful and energizing graphic element. A solid version of this pattern, called Flat Ribbon, is available as a customizable wallcovering through Designtex’s Digital Studio website. Smallhorn notes a significant crossover between her two-dimensional prints and her three-dimensional sculptures and installations, as both involve compositions of hard-edged formal shapes. Screen printing serves as a rapid and playful method for developing ideas, allowing for serendipitous color scenarios that often inform her sculptural pieces. While her three-dimensional work does not allow for layering transparent colors, the print table mimics sketching, providing inspiration for new color combinations. She uses the same acrylic paint for both prints and assemblages, viewing the latter as vehicles for exploring and holding a palette. Smallhorn emphasizes the intuitive nature of her color decisions, often repainting pieces multiple times to achieve a desired equilibrium among what she describes as 'easy' and 'less easy' or 'awkward' and 'less awkward' colors, without relying on a predefined system. Her collaborations with brands like Comme des Garçons and COS exemplify her ability to bridge fine art and commercial design. For COS, she created window displays for five global stores, featuring large, overgrown stacks of shapes designed to complement product displays. This dual engagement with both artistic and commercial realms is a comfortable space for Smallhorn, who appreciates working with brands that share a similar sensibility toward color and design. Her career demonstrates a consistent exploration of color, form, and proportion across various mediums, continually seeking synergistic relationships in her chromatic work. #SophieSmallhorn #ArtistInterview #ColorDesign #Sculpture #TextileDesign #InteriorArt #DesigntexCollaboration #GeometricForms #CreativeProcess

Artist Stephanie Dillon and her husband, Reilly, were captivated by a model home in Eden Prairie, which boasted a blend of whitewashed shiplap and shakes on its exterior, creating a timeless and airy aesthetic. The interior featured light-filled communal spaces, each with a distinct character, moving away from conventional floorplans. The color scheme ranged from calming charcoals and pale neutrals to deep greens and rich terra-cotta, evoking a European atmosphere. Kelli Fontana Vogelgesang, owner of West Bay Homes and the designer behind the model, drew inspiration from her travels to Paris, characterizing the style as French contemporary farmhouse. She envisioned the kitchen as a French pastry shop, integrating multiple layers of meticulously detailed materials throughout the 5,000-square-foot residence. The kitchen's design incorporates three types of glazed tiles for the backsplashes, with a small hexagonal tile chosen for its light-reflecting properties, contributing to an elevated visual experience. Dillon, an acrylic and mixed-media artist known for painting her emotions, found a kindred spirit in Vogelgesang, whose design philosophy also prioritized passion and feeling. Dillon retained Vogelgesang to complete the interior design of their new home. The designer expressed enthusiasm for incorporating Dillon's extensive rug collection. Elements like shiplap and painted charcoal, seen on the exterior, were repeated inside on the basement's fireplace wall and the vaulted ceiling of a lounge area adjacent to the kitchen, along with charcoal-colored square tiles extending from counter to ceiling in the kitchen backsplash. This repetition of color ensures cohesiveness and a holistic progression throughout the home, where all environmental elements relate to one another. Vogelgesang skillfully managed the abundance of materials, preventing a busy or cluttered appearance, much like Dillon blends colors on her canvases. Some design choices stand out, others recede, and some shimmer, collectively defining the mood of each space. The materials coalesce into a balanced and proportionate composition, resulting in a home tailored for an artist. Vogelgesang aims to create spaces that are timeless and elegant without being overly delicate or cost-prohibitive. The lower-level bar area features charcoal shiplap around the fireplace, painted in Sherwin-Williams’s Dorian Gray, and steps down into a sunken media room, showcasing the designer’s preferred brass and gray combination. Brass hardware also adorns the front entry doors. Light fixtures, including those from Mitzi on the library ladder, were strategically chosen. The unexpected entry leads to a "dining hall" that functions as a grand foyer, as described by Vogelgesang. This space features nine-inch-wide-plank white oak floors laid in a herringbone pattern, with ceiling beams bisecting its soaring height, allowing ample natural light. The built-in bar features a backsplash of alternating light and dark neutral tiles, custom cabinetry with dental molding, and a marble sink skirt. Open shelving in the kitchen displays two sizes of backsplash tiles from The Tile Shop, with custom alder wood cabinetry finished with a clear whitewashed stain and brass hardware for an enhanced shimmer. The kitchen, inspired by Parisian pastry shops, includes two islands for ease of navigation, with only one housing a sink to allow for uninterrupted dining on the other. The mudroom boasts large-format heated tiles combined with white oak cabinetry, finished in a whitewash stain, offering an industrial concrete look harmonized with French country cabinetry. A basement guest bath incorporates vibrant color through whimsical floral tiles from The Tile Shop on one wall and Sherwin-Williams’s Perfect Periwinkle on the adjacent wall. The library features a bold mix of Sherwin-Williams paints: Canyon Clay on the walls and Gauntlet Gray in a high-gloss enamel finish on the moldings and doors, complemented by chartreuse chairs. A wide-plank whitewashed cedar wall on the rear deck provides privacy. The prep kitchen off the mudroom embraces color with Waverly Classics wallpaper by York, cabinets painted in Sherwin-Williams’s Green Onyx, and a hammered copper sink, showcasing how personal touches can enhance practical areas. The powder room dazzles with an antiqued mirrored glass tile wall from The Tile Shop, a custom white oak vanity with a marble shelf, and Savoy House sconces. The floors throughout the home incorporate patterned ceramic tiles from The Tile Shop. The home's floor plan, while a traditional rambler, diverges into an unconventional layout where the front entry opens into a vaulted foyer and dining room, serving as a pass-through to the kitchen and great room. #HomeStyle #InteriorDesign #HomeTours #FrenchContemporaryFarmhouse #CustomCabinetry #TileDesign #ArtisticHome #ArchitecturalDetails #EuropeanInfluence

The exhibition 'Malware' at London's Pippy Houldsworth Gallery features artist Qualeasha Wood's tapestries, tuftings, and videos, which explore the concept of the digital glitch and its implications for the Black female experience. Wood, based in Philadelphia, focuses on internet malfunctions as a metaphor for vulnerability and change within systems. She merges contemporary digital culture with traditional crafts, translating digital pixels into stitches in her tapestries and creating intentional glitches in her video works through data compression. Wood notes that in the pursuit of authenticity, many fabricated images are produced, and her work aims to highlight imperfection and decomposition as more natural states. Her artistic process also involves incorporating strings of code into her images, shifting the focus from her physical body to its interaction within digital spaces. Wood's work investigates the disruption caused by 'glitches,' interpreting them both as digital viruses and as the presence of the Black female body within established systems. Her webcam self-portraits, in particular, consider the body as a site for both exploitation and resistance. Her interest in these themes began during her studies at the Rhode Island School of Design, where she observed the pervasive influence of social media. She found that online platforms provided a space for conversations about her experiences as a Black woman, which then informed her art. This led to her first tapestry, 'Cult Following,' which likens social media to a cult or religion due to its ability to simultaneously exalt and scapegoat individuals, a duality Wood experienced as one of the few Black students on campus. The artist's personal experiences with doxing, where her personal information was published online, further solidified her artistic direction. These incidents, occurring before she began creating her tapestries, motivated her to reclaim control of her narrative by weaving her own image into her artwork. Wood sees the digital and traditional realms not as opposing forces but as interconnected systems. Her childhood exposure to her great-grandmother's and great-aunt's crocheting sparked her interest in craft and textiles, recognizing their familiar and accessible nature. Similarly, she views computers as integral to her generation's experience, shaping pervasive relationships with technology. She identifies commonalities between traditional crafts and digital systems, both having inherent rules and offering opportunities for exploitation and creative manipulation. Wood employs a computerized loom to create her artworks, which interprets digital files to produce woven replicas of images. This method was inspired by a tapestry depicting her brother and cousins, a gift that demonstrated how images could be woven without strict adherence to stylistic conventions, utilizing scanned and collaged digital images. The most labor-intensive part of her creative process involves sifting through an extensive collection of personal phone screenshots, numbering in the tens of thousands, to select images for recreation. The actual weaving process, conversely, is less hands-on and typically takes a few weeks, often resulting in unexpected outcomes. She describes this as a release of control, relying on prayer for the desired result. As an avid consumer of digital content, with approximately 14 hours of screen time daily, Wood emphasizes the need for rapid artistic production to keep pace with the fast-evolving internet culture. Her use of pixels in her work deliberately moves beyond conventional beauty standards, embracing an aesthetic that is imperfect and raw. She views her tapestries as a 'double-edged sword,' allowing her to control the perception of her body while also being conscious of the voyeuristic gaze it might attract. The glitch, in this context, serves as a symbol of vulnerability, yet it also empowers her by subverting expectations of perfection and femininity, thereby creating a space for artistic expression and exploration. 'Malware' will be on display at Pippy Houldsworth Gallery in London until April 26. #QualeashaWood #DigitalArt #TextileArt #LondonExhibition #PippyHouldsworthGallery #BlackFemaleExperience #SocialMediaImpact #DigitalCulture

Interior Design magazine hosted its first ArtbyDesign talk at its new office in PENN1, Manhattan, featuring artist Rebecca Moses and editor-in-chief Cindy Allen. The event, held in collaboration with Garden on the Wall, aimed to provide a platform for emerging designers to network and gain insights from established creatives. Cindy Allen introduced Rebecca Moses, highlighting her significant impact on people's lives through her work. Moses began the discussion by recounting her early ambition to become a fashion designer, which she pursued by graduating from FIT and subsequently working with Pierre Cardin. She emphasized the importance of embracing risks, illustrating this by sharing her experience of moving from New York to Paris to launch her own collection. Moses advocated for confronting fear, asserting that failure can lead to discovery and fuel career progression. Her career path led her to Italy, where she continued to evolve professionally and personally. Moses discussed her fascination with the manufacturing process, stressing that understanding how things are made fuels creative energy. This principle became particularly significant during challenging periods in her life. Following the death of her husband, Giacomo Festa Bianchet, Moses transitioned from fashion design to art, creating illustrations for various magazines. The onset of the COVID-19 pandemic prompted another significant shift in her work. She engaged with communities through social media, offering portrait drawings in exchange for personal insights into people's lives at home. This initiative culminated in “The Stay Home Sisters,” a project dedicated to honoring the contributions of women who worked as nurses during the pandemic. The talk also served as an opportunity for Moses to offer guidance to the young designers in attendance. She encouraged them to tap into their innate creativity and personal resources, advising them to utilize their "mystery inside." The event underscored the value of adaptability, resilience, and continuous creative exploration in the design industry. It provided a platform for networking and inspiration, fostering a sense of community among designers, and offering practical advice on navigating career transitions and challenges. The inaugural ArtbyDesign talk set a precedent for future events aimed at supporting and guiding the next generation of design professionals. #ArtbyDesign #RebeccaMoses #CindyAllen #InteriorDesign #PENN1 #FashionDesign #ArtisticJourney #CreativeProcess #DesignTalk