Californian artist Phillip K Smith III in five surreal installations

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

The article discusses the collaboration between fashion label COS and American light-based artist Phillip K Smith III for an installation titled 'Open Sky' at Milan's Salone del Mobile. This project, featured in the 2018 edition of the design fair, marks a significant departure for both parties: Smith's first brand collaboration and his initial foray into a dense urban setting, moving away from his usual desert landscapes. COS, known for its annual design collaborations since 2012 with talents like Sou Fujimoto and Studio Swine, aimed to create an experience that transcends traditional art and design boundaries. Karin Gustafsson, COS' creative director, emphasizes that the brand's collaborations are driven by passion for the artists' work rather than a desire for increased presence. She highlights that COS provides a broad brief, focusing on brand values but allowing artists creative freedom. The choice of Phillip K Smith III was influenced by the shared values of tactility, modernity, and functionality, as well as Smith's meticulous attention to detail and the timeless quality of his work, which resonated with COS' aesthetic. 'Open Sky' is strategically placed within the 16th-century Palazzo Isimbardi, an exhibition venue previously unused. Smith's sculpture, a circular mirrored structure angled at 43 degrees, reflects the sky and surrounding Italian Renaissance architecture, drawing fragmented views into the courtyard. This design aims to create a unique and personal experience for each visitor, influenced by the time of day and atmospheric conditions. The installation encourages contemplation, offering a quiet respite from the bustling Salone del Mobile. The ambitious structure, an 11ft-tall concrete form with 34 chemically polished stainless steel panels, was fabricated by UAP, an international studio specializing in public art projects. The components were manufactured at UAP's Long Island City facility, then shipped to Milan for on-site assembly. The installation's journey begins with visitors encountering the imposing concrete form, which contrasts sharply with the classical palazzo. A single opening guides them along its circumference, eventually revealing the mirrored inner surface that reflects the Renaissance architecture and the sky. Additionally, smaller freestanding sculptures by Smith are installed in the palazzo's outdoor gardens, further exploring the distillation of his larger concepts into abstract, smaller-scale works. Smith notes that COS's support was instrumental in realizing his vision, allowing the concept to remain remarkably true to his original proposal. He describes the collaboration as akin to a museum offering space and budget, indicating COS's commitment to supporting artistic ideas. With degrees in both architecture and fine art from the Rhode Island School of Design, Smith effectively merges these disciplines in his practice, creating art at an architectural scale. His architectural training informs his approach to context and detailing, ensuring the concept and experience are pure. 'Open Sky' represents a significant development in Smith's practice, allowing him to explore his ideas on an architectural scale within an urban environment, an opportunity that he suggests would have been much smaller without COS's involvement. #SaloneDelMobile #COS #PhillipKSmithIII #ArtInstallation #MilanDesignWeek #ArchitecturalDesign #ReflectiveArt #ContemporaryArt #DesignCollaboration

In an era marked by rapid urbanization and increased reliance on digital devices, a burgeoning movement among contemporary artists is rekindling a connection with the natural world through their art. This movement focuses on creating murals and wall-based art inspired by nature or botany, aiming to uplift urban environments and domestic interiors. The article highlights five such artists: Anne von Freyburg, Epoh Beech, Gary Myatt, Graphic Rewilding, and Sophie Mess, whose works infuse public and private spaces with natural beauty, offering a visual respite from contemporary pressures. Sophie Mess, known for her delicate and subtle representations of nature, creates large-scale botanical murals that blend graffiti, pop art, and traditional muralism. Her work, characterized by vivid colors and abstract forms, can be found across Europe and is currently featured at the Saatchi Gallery with her eight-meter-high mural, 'Journey of Progress.' Mess believes art can positively impact the environment and mental well-being, using walls as canvases to tell stories that bridge urban settings with artistic expression. Her inspirations include Dutch Master floral still lifes and Georgia O’Keeffe’s detailed flower paintings, often incorporating flowers grown in her own garden. Anne von Freyburg, a Dutch artist based in London, incorporates textiles and decorative art into her wall-based floral pieces. Her work, inspired by Rococo paintings and 17th-century Dutch Still Life artists, brings a bold, sculptural natural element into interiors. Von Freyburg's solo exhibition, 'Filthy Cute,' at Saatchi Gallery, showcases her textile paintings from 2022 to 2025. Her installations, often of irregular shapes with dripping fringes, reimagine scenes from Rococo paintings, advocating for themes of freedom and self-reliance beyond traditional romantic narratives. Graphic Rewilding, a collaboration between Brighton-based artists Lee Baker and Catherine Borowski, aims to uplift lives with large-scale botanical and nature-inspired artworks in urban settings. Their installations, seen across the UK, China, Italy, Saudi Arabia, and Texas, provide 'visual endorphins' as an antidote to the scarcity of green spaces in cities. Drawing inspiration from Japanese art, particularly Edo-era painter Ito Jakuchu, Baker and Borowski integrate elements like leaves into their paint, creating immersive experiences that, despite being imagined nature, offer psychological benefits akin to real natural interaction. London-based artist Epoh Beech, with a background in fine art and art therapy, is renowned for her hand-drawn animations and intricate wallpaper designs. Her upcoming solo exhibition, 'The Pegasus Papers,' features hand-drawn wallpapers and pen and ink drawings inspired by French narrative wallpapers, the Bayeux Tapestry, ancient Chinese handscrolls, and mythology. Her bespoke wallpaper designs, developed over four years, involve meticulous hand-drawing, scanning, and digital printing, transforming static images into dynamic visual narratives that engage the viewer’s imagination. Gary Myatt, a mural artist and trompe l’oeil specialist, draws inspiration from Old Masters and the Arts & Crafts movement to create bespoke murals for high-profile locations. His work, which can be found in London, Europe, India, and the Middle East, focuses on evoking a distinct atmosphere through landscape imagery rather than mere illusion. Myatt's artistic process involves painting murals on canvas in his studio before installation, allowing for greater control and practical efficiency, while capturing the subtle transitions of color, texture, and light found in nature. These artists collectively demonstrate the profound impact of nature-inspired art on both urban aesthetics and human well-being. #NatureInspiredArt #Murals #WallArt #ContemporaryArt #UrbanEnvironment #InteriorDesign #BotanicalArt #MentalWellbeing #SaatchiGallery #StreetArt

The article reviews "Every Wall is a Door," Superblue Miami’s inaugural exhibition, which features large-scale, immersive artworks by teamLab, James Turrell, and Es Devlin. The exhibition builds upon the visionary ideas of new media pioneer Stan VanDerBeek, who in 1966 envisioned "intermedia experience machines" that would help people process the rapid changes brought by technological innovation. VanDerBeek believed in the importance of artistically cultivated experiences to foster a new, shared vocabulary, incorporating concepts from ecology and cybernetics alongside immersive and collective audience participation. teamLab, a Tokyo-based collective of over 400 "ultra-technologists," is presented as a modern-day realization of VanDerBeek's vision. Their interactive digital installations, such as _Flowers and People, Cannot be Controlled but Live Together - Transcending Boundaries, A Whole Year per Hour_ and _Universe of Water Particles, Transcending Boundaries_ (both 2017), are central to the exhibition. These works utilize darkened rooms, large-scale projections, and intricate visual effects to create immersive environments where visitor participation directly influences the artwork. Flower petals and water particles respond to movement, and luminous flora and swirling streams contribute to a sensuous, expansive illusion accompanied by a dreamy soundtrack. The collective's populist approach encourages audience engagement, ranging from taking selfies to observing the evolving scenery, effectively transforming the gallery into a technologically enhanced "black-box" where art is "democratized." In contrast to teamLab’s vibrant sensory overload, James Turrell’s _AKHU_ (2021) offers a more subdued, perceptual experience. This installation is an iteration of his "Ganzfeld" series, featuring a white chamber that uses high-chroma light to manipulate visual perception. The LED-halo color-cycling is so gradual that it creates an illusion of stillness and ambiguity in space and time. Viewers experience shifts in tonality that are products of their own minds, highlighting the role of perceptual agency in art. This piece emphasizes that the lack of conscious control over perception is not a flaw but a core element of the artwork itself. Es Devlin’s _Forest of Us_ (2021), a London-based stage designer's contribution, concludes the exhibition. Visitors first watch a video montage that draws parallels between fractal branching in nature, such as air movement in bronchial passages, and the interconnectedness of humanity with nature. Following this, they enter a recursive, curvilinear mirror-maze with winding corridors, stairwells, and bright white lights that create infinite reflections. The accompanying cinematic sci-fi synths and slow breathing sounds contribute to an ethereal atmosphere. While the thematic link between the video and the maze might become less apparent during the experience, Devlin’s meticulous execution and background in theatrical design are evident in the installation’s visual impact and spatial choreography. Superblue Miami aims to be a next-generation art space dedicated to large-scale, immersive art, seeking to challenge and transform visitors' understanding of themselves and their relationship with the world. The curated route of "Every Wall is a Door" guides guests through a diverse array of experiential poetics, balancing high-tech spectacle with analog immersion. The installations explore themes of illusion, reality, memory, forgetting, and human agency. The ultimate success of Superblue is presented as residing not just in the artworks themselves, but in their capacity to elevate the viewer's aesthetic sensitivity, leading them to recognize the immersive potential of art and everyday life beyond the confines of a traditional museum setting. Steven Pestana, a visual artist and writer, contributed this review, drawing on his background in digital media and art history. #ImmersiveArt #DigitalArt #NewMediaArt #ArtExhibition #InteractiveInstallation #StanVanDerBeek #teamLab #JamesTurrell #EsDevlin #SuperblueMiami

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

This blog post showcases the intriguing work of Felice Varini, a Swiss-born artist renowned for his unique optical art installations. Varini's artistic approach involves creating geometric patterns that appear to float in space when viewed from a very specific vantage point. These ephemeral designs are often applied directly to architectural surfaces, both indoors and outdoors, transforming the perception of the environment. The article highlights that Varini uses a light projector to precisely plot these figures onto walls and other structures before meticulously painting or adhering them. The magic of his work lies in its dependence on the viewer's position; from most angles, the patterns appear as fragmented, illogical scribbles or disjointed shapes across various surfaces. However, upon finding the designated viewpoint, these disparate elements coalesce into perfect geometric forms, such as circles, squares, or lines, creating a powerful illusion of three-dimensionality. Several examples of Varini's work are presented, illustrating the diversity of his installations and the impact they have on their surroundings. One instance described involves an art piece in Cardiff Bay, where seemingly random markings on a structure resolve into a coherent design from a particular perspective. Another example shows abstract lines and shapes within a museum setting, which, from afar, form a unified artistic statement. The article also mentions a prominent red line running around a museum, suggesting how Varini integrates his art with existing architecture to alter spatial perception. Further examples include patterns applied to a piano, creating a fringed effect, and other seemingly chaotic lines that resolve into defined geometric shapes. The art is not confined to indoor spaces; the blog notes its appearance in townscapes, where large-scale installations interact with urban environments. The beauty of the reflections of these patterns on floors is also highlighted, adding another layer to the visual experience. The diverse illustrations demonstrate how these artworks, initially resembling mere sticky tape or random markings from a casual glance, reveal their intricate design and purpose when viewed from the correct angle. The blog concludes by encouraging readers to explore more of Felice Varini's extensive portfolio on his official website, providing links for further immersion into his captivating world of optical illusions and architectural interventions. #FeliceVarini #OpticalArt #GeometricPatterns #InstallationArt #ArchitecturalArt #Illusion #PublicArt #VisualPerception #ContemporaryArt

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

Chinese artist Song Dong's interdisciplinary practice, encompassing performance, sculpture, painting, video, and calligraphy, focuses on creating immersive installations that explore themes of memory, transition, and ephemerality. His works often feature mirrors, lights, and repurposed household furnishings on a grand scale, inviting viewers to engage with deeply personal and universally resonant concepts. One notable example of his earlier work involves tabletop constructions resembling metropolitan skylines, crafted from edible treats. These structures were then dismantled by visitors, biscuit by biscuit, reflecting on themes of food scarcity from his childhood, as well as broader ideas of ephemerality and globalization. These playful yet profound pieces highlight the transient nature of existence and the impact of societal changes. Another significant installation, “Waste Not” (2009), showcased initially in Beijing and later in major international institutions, delves into themes of consumption and impermanence. This piece incorporated over 10,000 items accumulated by his mother over five decades, transforming personal hoarding into a public act of “physical and psychological unpacking.” The installation presented a vast landscape of everyday commodities, from bottle caps and shoes to toothpaste tubes and metal pots, challenging viewers to consider their own relationships with material possessions and waste. Song Dong’s structural installations frequently utilize discarded furniture, architectural elements, and quotidian objects salvaged from the streets of Beijing. These materials include old wooden windows, bed frames, doors, mirrors, lamps, color-coated glass, and porcelain. By collaging these remnants of people’s homes, he evokes notions of home, belonging, security, and migration, while simultaneously exploring the intricate relationships between memory and fact, humor and trauma. The installations become receptacles of collective history, inviting viewers to imagine the lives and stories associated with these objects, fostering shared experiences, and prompting contemplation about the future. His recently commissioned piece, “Borrow Light,” showcased at the 36th São Paulo Biennial, exemplifies his current artistic direction. This installation features a mirrored environment abundant with lamps, creating an infinite reflective space reminiscent of Yayoi Kusama’s _Infinity Mirror Rooms_. “Borrow Light” draws inspiration from both carnival funhouses and traditional Chinese _feng shui_ principles, which use mirrors and windows to expand interior spaces and integrate the external world. The concept of “borrowing” is central to this work, symbolizing the inherent temporality of existence—from life’s cycles to humanity’s fleeting presence on Earth across evolutionary timescales. This participatory experience encourages visitors to move through the space, their reflections illuminated and intertwined within the silvery, glowing light. Chairs and lamps, all borrowed from private homes, offer places for rest and contemplation, further emphasizing the idea of temporary use and shared resources. “Borrow Light” immerses the audience in an infinite universe, where personal images and minds merge in a dazzling display of light and reflection, prompting a deeper understanding of impermanence and interconnectedness. #SongDong #InstallationArt #Memory #Globalization #Impermanence #FoundObjects #ParticipatoryArt #Mirrors #LightArt

This article highlights 25 Australian artists whose work can enhance home decor, emphasizing that art doesn't solely mean expensive, original oil paintings but also includes prints and pieces across various price points. The goal is to assist individuals in selecting artwork that aligns with their existing interior style, color schemes, space size, and budget. The featured artists demonstrate a diverse range of techniques, mediums, and inspirations. Emily Heath, a painter and textile designer from Sydney, uses vignettes from within the home and cherished memories as her creative wellspring. Whitney Spicer, a painter from Manildra, focuses on still-life paintings from an aerial perspective, aiming for a whimsical quality with looser brushstrokes. Emily Gordon, a painter based in Sydney and Gunning, captures a unique Australian mood by visualizing life beyond physical structures, seeing private spaces as reflections of intimate thoughts. Emily Day, a Brisbane-based painter, draws inspiration from nature and urban surroundings, documenting natural elements, particularly florals, with expressive, layered brushstrokes. Michelle Kettle, a Melbourne painter originally from Dublin, explores Australian urban landscapes, such as Victorian facades and decorative parapets, through oil paint after initially training as a ceramicist. Hana Vasak, a Melbourne ceramicist, hand-builds functional yet sculptural forms inspired by ancient pottery and her travels. John Bokor, a painter from a family of architects and interior designers, naturally explores domestic spaces, imbuing them with life, love, and familiar details. Mafalda Vasconcelos, a figurative artist in Melbourne with Mozambican and Portuguese heritage, creates abstracted, expressive portraits of female figures, often inspired by childhood memories and a sense of nostalgia. Matthew Watts, another painter, evokes suburban Australian life through iconic elements like milk bars and Hills Hoists, connecting them to collective memory. Meg Walters, a Byron Bay painter, creates landscape art rooted in personal memories, resulting in abstracted scenes with vivid colors. Libby Haines, a Melbourne painter, transforms everyday moments and sentimental objects into exceptional works, focusing on mundane scenes like bathroom mirror reflections. Natalie Jade, a Melbourne painter, creates abstracts, seascapes, and contemporary Aboriginal art, drawing inspiration from Mother Earth and personal connection to nature. Lucy O’Doherty, a painter, depicts surreal scenes of 1950s and '60s suburbia with a nostalgic, dream-like quality through pastel palettes and undefined brushstrokes. Nic Everist, a painter from Geelong, uses new places and people as inspiration to create vibrant, textured pieces that celebrate Mother Nature. Scott Owen, a Sydney painter, balances descriptive detail with painterly exploration in his still-life and landscape works, often focusing on glass vessels. Nicci Bedson, a painter from Illawarra, captures the comforting consistency of daily life in suburban streets, using strong lighting and shadow work to elevate ordinary home elements. Rachael Sarra, an artist and designer in Brisbane, creates contemporary Aboriginal art that expresses her experiences as a mixed-race Aboriginal, Italian Australian woman, often working digitally. Dani McKenzie, a Melbourne painter, creates Polaroid-inspired works that capture domestic spaces as reflections of personal identity and sanctuary. Rosy Lloyd, a Sydney painter, works in figurative/impressionist-realism, finding inspiration in friends, museums, and the challenge of painting outdoors as light changes. Scott Owen, also a painter in Sydney, focuses on still lifes that reflect authentic selves through the organic arrangement of objects in domestic settings. Cassandra Vollmer, a Sydney photographer, documents everyday objects, landscapes, and architecture with a nostalgic and aesthetic focus, often titling her works based on locations. Eliza Gosse, a Sydney painter, creates works inspired by postwar and mid-century architecture, using warm palettes to evoke nostalgia and allow viewers to connect with their own memories. Katie Eraser, a Melbourne painter, uses bright, robust acrylics and oil sticks to create loud, abstract forms, drawing inspiration from varied contexts like graphic design and therapeutic arts. Harry Martin, a painter from the Southern Highlands, focuses on dramatic and atmospheric landscapes, capturing the mood and spirit of the highlands with rich palettes. Finally, Anh Nguyen, a painter from Thirroul, creates joyful and expressive art centered on daily rhythms and human activity, using bold brushwork to describe light and form, often abstracting real-life appearances. #AustralianArt #HomeDecor #InteriorDesign #ArtCollection #EmergingArtists #ContemporaryArt #Painting #Ceramics #Photography

Colorado-born painter Sierra Montoya Barela transforms the ordinary scenes of home life into vibrant, surreal artworks. Her artistic approach elevates mundane objects such as houseplants, pancakes, and slices of birthday cake into subjects of profound interest. Barela’s background in product design for homeware, specifically with Urban Outfitters Home and West Elm Kids, significantly influences her paintings. This professional experience is evident in her keen eye for depicting various domestic items like mirrors, shelves, vases, chairs, and tables, which frequently appear in her compositions. She employs a curatorial sensibility in arranging these elements, utilizing exaggerated colors and intricate, often clashing, patterns to create a dynamic visual experience. The artist’s work is characterized by a heightened sense of reality, blurring the lines between a painted image and a tangible scene. For instance, a blue sky with fluffy clouds might be rendered in a way that makes it ambiguous whether it is a window revealing an outdoor view or a painting hanging on an interior wall. Barela explains that her fascination stems from the diverse ways individuals create comfort and personalize their living spaces. She aims to imbue everyday objects with significance, highlighting their role in our lives. In some of her pieces, Barela intentionally disrupts the tranquility of domestic scenes through the use of flattened perspectives or by incorporating visual 'windows' that open into entirely different worlds. Plants often take center stage in her paintings, functioning not merely as decorative elements but as symbolic representations of life, akin to human figures in a portrait. Barela notes that the care and placement of plants in homes, along with the choice of vessels for them, reflect human desires for well-being and aesthetic pleasure. Furthermore, her use of certain plants, ornate tile work, clay objects, and specific interior designs serves as an homage to her Mexican heritage and Catholic upbringing, enriching the cultural narrative embedded within her art. Ultimately, Barela’s paintings do more than just illustrate the environments where plants and people coexist. Through her distinctive artistic vision, she constructs new realms for these subjects to inhabit, using paint as her medium. Her visually engaging artworks transcend mere aesthetic appeal, evolving into a multifaceted tribute to the human inclination to adorn and personalize our surroundings, underscoring the fundamental need to represent life and culture in our personal spaces. The blend of surrealism and mundanity, coupled with her unique perspective on domesticity and cultural roots, creates a compelling body of work that invites viewers to reconsider the beauty and significance hidden within the everyday. #Painting #InteriorDesign #Art #Surrealism #HomeDecor #MexicanHeritage #ContemporaryArt #PaulMoore

This article details the journey of Amy and Bruce Paul in designing and decorating their 11,000-square-foot home in Rye, New York, focusing on integrating their extensive art collection into a cohesive interior design. Having previously lived in a post-modern home with traditional furnishings and a growing contemporary art collection, the Pauls sought to create a new residence where the exterior architecture and interior aesthetics were harmoniously aligned with their personal taste in design and art. Their objective was to construct a home that could comfortably accommodate their family of six while optimally showcasing their practiced and perfected collection of paintings and sculptures. The couple acquired a 13-acre estate in Rye before the 2001 World Trade Center attacks, subdividing it into seven lots and reserving a two-plus-acre parcel for their own home. They collaborated with builder Michael DiChiaro to construct a six-bedroom, seven-full-bath residence that offers views of a wooded yard, later enhanced with a pool and waterfall by Coral Sea Pools, and adorned with bronze sculptures by Mexican artist Bruno Luna. For the interior design, Amy Paul enlisted Joseph R. Stabile of J.R. Cattington, who had previously worked with them. Stabile and his team were involved from the ground up, providing input on architectural design, interior finishes, electrical layouts, and lighting selection. Stabile chose a palette of cream and gold to complement the Pauls' artwork and suggested structural modifications, such as adding a doorway to improve flow in the formal living room. Amy's primary design directive was for a "light and bright" home, which was achieved in the living room through buttery gold satin-striped fabric from Robert Allen for window treatments and crystal wall sconces by Crystorama. This room serves as a gallery for various notable paintings, including works by Janet Treby, Liane Abrieu, and Russian artists. The soft color scheme is accented by silk brocade wing chairs with colorful throw pillows and fuchsia and silk rugs from China. The family room continues the luminous theme with yellow walls, a toile pattern by Antonia Vella, Seabrook wallcoverings, and similarly colored fabrics in lemon, green, and persimmon for window treatments, pillows, and side chairs. Crystal chandeliers from Murano, imported by Castilian Imports, were chosen to coordinate with paintings by Isaac Maimon and Charles Levier. The coffered ceiling in a green apple shade with cream-colored woodwork further enhances the vibrant, garden-like atmosphere. Bruce Paul's personal space, a clubby card room, contrasts with Amy's preferences, featuring dark wood paneling, built-in bookcases, a bar, and masculine fabrics. This room, separated from the family room by a stone-front fireplace, includes Biedermeier chairs with leopard-print fabric and various personal artifacts. Stabile designed the fireplace with intricately carved mahogany lions and used a Serengeti Leopard carpet to connect Bruce’s adjoining office. The Pauls' children, Joanna, Ryan, Matt, and Jason, also contributed to the design of their respective bedrooms and bathrooms, incorporating elements such as Masland Carpets, Bernhardt furnishings, and Thibaut wallpapers. The master bedroom, with its vaulted ceiling, presented a challenge in scale, addressed by Stabile using Highland Court silk brocade for a cornice "headboard" that coordinates with custom curtains. The article highlights the Pauls' passion for art collection, which began with a French artist Charles Levier painting and expanded to include works from their travels to Europe, South America, Asia, and the Southwest. Despite concerns about diminishing wall space, their quest for art, driven by personal connection and memories from their travels, continues. #HomeDesign #InteriorDecor #ArtCollection #LuxuryHome #RyeResidence #JosephStabile #CustomDesign #ArchitecturalFeatures #PersonalStyle

In 1967, fiber artist Sheila Hicks collaborated with architect Warren Platner to design two linen-and-silk wall panels for the Ford Foundation headquarters in New York City. Platner was responsible for the interiors of the 12-story modernist landmark, designed by Kevin Roche John Dinkeloo and Associates. Hicks's original wall panels, which featured rosettes threaded around metal discs, suffered significant damage over the years due to an attempted fire retardation treatment in the 1980s, the abrasion from Eames executive chairs in the conference room, and cigarette smoke in the auditorium. Recognizing the historical and artistic importance of these pieces, Ford Foundation President Darren Walker, appointed in 2013, initiated their replacement. He commissioned Hicks to recreate the murals. Hicks accepted the project without an artist's fee, underscoring her commitment to the foundation and her artwork. The re-installation took place in August 2014, with Hicks overseeing the process. This reprisal of her work for the Ford Foundation coincided with a broader resurgence of interest in Hicks's art, marked by other large-scale public commissions, including a yearlong exhibition at the Palais de Tokyo in Paris, and a general renewal of appreciation for weaving as an art form. The modern tapestry was produced in smaller, modular sections by Enrico Martignoni, the chief installer, and project leader Dominique Pastor. This modular approach was adopted to facilitate easier replacement if any section were to be damaged in the future. Crucially, the new silk-blend threads will not undergo the same caustic chemical fire-proofing treatment that damaged the original works. Additionally, the new panels are more cost-effective, utilizing a silk-blend thread and plastic discs in place of the original metal components. The article also touches upon the broader design elements of the Ford Foundation building. Warren Platner, known for his opulent modernist style, integrated bold metallics into his interiors, such as the gold-plated, floor-to-ceiling doors leading to the subterranean auditorium. The landscape designer Dan Kiley, celebrated for his work on projects like the Miller House and the St. Louis Arch, created the lush indoor urban garden within the Ford Foundation. Architects Kevin Roche and John Dinkeloo designed the headquarters with the employee in mind, reversing the traditional skyscraper layout to ensure every office had exterior views or overlooked the indoor park within the ten-story glass atrium. Skylights at the top of the atrium, framed in Cor-Ten steel, allow natural daylight to flood the space. Even the executive chairs, modified by Charles and Ray Eames, featured brown leather upholstery and brass accents to complement Platner's design, and notably, still included pull-out ashtrays. #SheilaHicks #FordFoundation #TextileArt #ModernistDesign #InteriorDesign #ArchitecturalRenovation #ArtInstallation #WarrenPlatner #KevinRocheJohnDinkeloo

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

Successfully hanging an art collection requires meticulous planning and careful consideration, encompassing everything from selecting appropriate fixtures and frames to creating a cohesive visual narrative among grouped artworks. Experts in art installation, interior design, and gallery direction offer comprehensive advice on optimizing the display of art in domestic settings. The initial step involves a thorough assessment of the chosen space, considering the artwork's size, potential physical obstacles, and the overall visual flow of the room. Guy Morey, operations director at Momart, an art installation service, emphasizes the importance of measuring both the walls and the narrowest points of entry into the building to avoid issues with oversized pieces or artworks that might be too imposing for a home environment. Planning the arrangement beforehand is crucial; collectors can collaborate with installers to experiment with different placements by leaning artworks against walls to determine the most aesthetically pleasing configuration. Some installers leverage 3D modeling software for precise planning. General guidelines exist for hanging height, with a consistent center-line often recommended across all artworks in a room. This center-line is typically set at eye-level or 120 centimeters from the ceiling to the artwork's center, though it may vary depending on the piece's size. Smaller works can be grouped around a shared center-line, while larger pieces might require individual placement. Lighting is another critical factor, influencing both the aesthetic appeal and preservation of an artwork. Interior designer Verity Woolf, director of Woolf Interiors, advises considering natural light exposure to prevent damage and suggests incorporating artificial lighting solutions, such as concealed ceiling lights that can be adjusted to suit different artwork sizes. Frame selection also plays a significant role in an artwork's presentation and narrative. Woolf highlights framing as an art form in itself, noting that an unsuitable frame can diminish a piece's impact, while a well-chosen one can enhance its meaning. Technical details, such as fixings, are equally important. John Paul Black, managing director of Art Works Exhibition Services, recommends implementing a versatile hanging system, such as aluminum rails hidden in cornices with wires, to facilitate easy rearrangement and temporary storage of artworks, especially to protect them from sunlight at certain times of the year. Unlike gallery settings, private homes present unique challenges with limited space and numerous obstacles like furniture, radiators, and fireplaces. These elements can affect the optimal placement and center-line of an artwork. Ben Cotton, director of Hang-Up Gallery, stresses the importance of harmonizing artworks with existing furniture. He advises against rigidly adhering to gallery-style hanging heights in a home, encouraging collectors to adapt to their space to maintain balance. Furthermore, creating a visual connection between artworks within a collection is essential for a cohesive display. This can be achieved through shared color palettes, themes, genres, or even by featuring the same artist, ultimately forming a compelling narrative for the viewer. #ArtCollection #ArtInstallation #InteriorDesign #HomeDecor #ArtDisplay #FramingArt #LightingArt #ArtPlacement #ArtHangingSystems

Stillmade, a Brooklyn-based furniture manufacturer and designer known for its support of emerging designers, has launched its inaugural Collaborative Series. This new initiative combines Stillmade's manufacturing capabilities with the creative visions of four distinct artists and designers: Danny Kaplan, Pat Kim, Michele Quan, and Stillmade's founder and creative director, Paul Mignogna, through his Mignogna Studio. The series features a collection of furniture pieces, including a sofa, credenza, hutch, side table, and two coffee tables, each reflecting a blend of artisan craftsmanship and a modern aesthetic. The collaboration with Pat Kim, a celebrated industrial designer and artist, introduces a playful and sculptural element to the series. His contributions include the Kim Coffee Table and Kim Side Table. These pieces are distinguished by their organically shaped bases, finished in hand-troweled, lime-based plaster. Sculpted wooden arms support circular tabletops, adding warmth and a natural touch to the contemporary designs. The interplay of materials and forms highlights Kim's unique aesthetic. Ceramicist Michele Quan's involvement marks her first foray into furniture design. For the Collaborative Series, her iconic celestial ceramic half-moon sculptures have been reimagined as functional cabinet pulls for two large-scale cabinet pieces: the Painted Credenza and the Painted Hutch. These pieces showcase a seamless integration of fine art into functional furniture, offering a distinctive and artistic approach to home storage. Danny Kaplan's Jane Coffee Table draws inspiration from Roger Capron's ceramic inlay tables. Kaplan designed a set of unique tiles that are set into the top of Stillmade’s minimalist solid wood table base. This design creates a compelling visual contrast between the base's clean lines and the organic geometry and textured surfaces of the rounded and oval-shaped tiles. The table exemplifies a harmonious blend of classic inspiration and modern execution. Paul Mignogna's own design practice, Mignogna Studio, contributes the Clifton Sofa to the series. This sofa prioritizes comfort and lounging while maintaining a sleek and minimal aesthetic. The design purposefully highlights Stillmade's manufacturing expertise through an exposed wooden frame and intricate joinery, demonstrating the brand's commitment to quality craftsmanship and thoughtful design. The Clifton Sofa embodies a contemporary approach to comfort and structural integrity. The Collaborative Series underscores Stillmade's decade-long commitment to making high-quality production accessible to smaller, innovative designers. By partnering with these artists, Stillmade not only showcases diverse creative talents but also reaffirms its dedication to producing furniture that embodies both artistic expression and functional elegance. The collection is a testament to the power of collaboration in the design world, resulting in unique and well-crafted pieces that bridge art and utility. #Stillmade #CollaborativeSeries #FurnitureDesign #ArtisanCraftsmanship #ModernAesthetic #HomeFurnishings #PatKim #MicheleQuan #DannyKaplan #MignognaStudio

Art history frequently features paintings of home interiors, offering valuable insights into artists' lives and working environments. For example, Henri Matisse's 1911 painting, *Red Studio*, not only showcases his identifiable artworks and objects but also reveals the arrangement of his studio, functioning as a historical record of his artistic space. Recognizing the historical and personal significance embedded within these interior paintings, the creative agency NeoMam, in collaboration with the home-improvement service HomeAdvisor, embarked on a project to re-imagine six such historically significant rooms. They transformed these famous art-historical interiors into realistic computer-generated (CG) renderings, presenting a modern interpretation of how these spaces might appear today. One of the re-imagined rooms is Vincent van Gogh's *The Bedroom* (1888), which provides an intimate glimpse into his personal life in Arles, France. Van Gogh intended the painting to evoke peace and relaxation. Historical analysis by the Van Gogh Museum in Amsterdam indicates that the vibrant, strongly contrasting colors seen today are partly due to years of discoloration; the walls and doors were originally purple, not the blue that is now prominent. Another featured interior is from Grant Wood's 1928 painting *The Sun Shine on the Corner*. Wood, a Midwestern realist painter renowned for his rural American depictions, including *American Gothic* (1930), presents a charming and inviting nook in this work. The painting's muted, earthy color palette contributes to its welcoming atmosphere. Wassily Kandinsky's 1909 painting *Interior (My Dining Room)* is also among the chosen works. Kandinsky, a pioneer of abstraction, used this painting not only to explore color and texture but also to depict his home. The eclectic palette employed in the artwork imbues the space with a distinct personality, reflecting his artistic approach even in a domestic setting. Konstantin Korovin's 1913 painting *Interior* portrays a Russian Impressionist setting. Korovin, known for his landscapes, portraits, and still lifes, used rose and beige hues, complemented by the view of winter snow outside the window, to create a quiet and comforting environment in this work, emphasizing warmth and tranquility through its depiction of bare wood. Finally, the project includes Roy Lichtenstein’s 1991 work, *Interior With Restful Paintings*. This piece, representative of Lichtenstein’s mature Pop Art style, is part of his “Interiors” series. In this series, he depicted domestic environments, often drawing inspiration from furniture advertisements. A recurring element in these works is an artwork placed within the artwork itself, here positioned above a couch. The CG rendering of this interior provides a contemporary view of Lichtenstein's distinct flat pop imagery in a three-dimensional context. The collection also highlights Eduard Petrovich Hau’s 1835 watercolor of *Empress Alexandra Feodorovna’s Sitting Room*, detailing the opulent interior of Russia's last empress's living space with rich ornamentation. #ArtHistory #InteriorDesign #FamousPaintings #DigitalArt #CGIRenderings #HomeDecor #ArtInterpretation #VisualCulture

Kit Kemp, co-owner and creative director of Firmdale Hotels, shares her design philosophy and tips, coinciding with the opening of her pop-up at Bergdorf Goodman. Known for her distinctive and whimsical approach to interiors, Kemp emphasizes creating rooms that are engaging and fun, rather than timid. Her work at Firmdale Hotels has established her reputation for crafting unique and inviting spaces, leading to her recent collaboration with Bergdorf Goodman. The Bergdorf Goodman pop-up showcases a comprehensive collection of Kemp's designs, integrating various elements she has developed over the years, including furniture, fabrics, lighting, homeware, and fragrances. This initiative addresses frequent inquiries from her audience about where to purchase her distinctive pieces, marking a significant step in making her designs more accessible. The pop-up is divided into three distinct spaces, each characterized by its own color scheme and personality, yet maintaining a cohesive aesthetic that is uniquely Kemp's. Kemp offers practical advice for incorporating color into home interiors, suggesting that hesitant individuals can start with a statement chair. She explains that by adding a vibrant piece, such as a wing chair, and then coordinating it with cushions, one can gradually introduce color into a room without it becoming overwhelming. Her philosophy is that color should contribute to a sense of calm and harmony, rather than creating a chaotic environment. She also provides quick and easy design tips to enliven a space. A notable suggestion is to use decorative plates as artwork, hung with black felt behind them to enhance their visual impact. Kemp credits Picasso with this technique, indicating its timeless appeal. When it comes to lighting, she advises viewing light fixtures as sculptures, and using fabric on lampshades to dramatically alter a room's focal point, underscoring that only a few focal points are necessary for an effective design. Folk art serves as a primary source of inspiration for Kemp, influencing her overall design aesthetic. Her process for discovering emerging artists is rooted in natural curiosity and a desire for tactile engagement with art, preferring hands-on experience over digital browsing. Among her favorite pieces in the pop-up are bespoke candlesticks and bird baths, which she repurposes for indoor display, highlighting her unconventional and playful approach to design. The article is accompanied by several illustrations showcasing various nooks and displays from her Bergdorf Goodman pop-up, including hand-painted plates, a bespoke 'Pippa sofa,' and a display of signature-style gifts. #KitKemp #InteriorDesign #HomeDecor #BergdorfGoodman #FirmdaleHotels #DesignTips #ColorInDesign #FolkArt #WhimsicalInteriors