Artist Spotlight | Kylie Daniel

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 Dana Mooney, an abstract painter based in Vancouver, Canada, who shares her journey and insights as a creative professional. Mooney discusses her career evolution, starting as a makeup artist, then a prop stylist, an interior decorator, and ultimately becoming a painter. She emphasizes that being an artist is fundamental to her identity, suggesting it wasn't a choice but an inherent part of who she is. The interview delves into Mooney's experiences with the challenges of being a full-time artist, particularly during the COVID-19 pandemic and after becoming a mother. These events significantly impacted her ability to earn a living solely from her paintings, leading her to explore alternative career paths. She shares her experience of enrolling in digital marketing school and working a 9-to-5 office job for a year. This period provided her with firsthand insight into a "regular job," which ultimately reinforced her commitment to her artistic career, albeit with a more diversified approach. Currently, she balances her artwork with freelance digital marketing client work. Mooney describes her artistic focus on creating work that complements home or designed spaces. She highlights her versatile artistic abilities, which allow her to cater to custom client requests. Her work encompasses fine art, custom murals, home decor and design products, and brand collaborations, showcasing her broad creative scope. This versatility allows her to integrate her art into various aspects of interior aesthetics. The article also touches upon the broader societal support for artists. Mooney advocates for the importance of purchasing art, financially supporting artists, and promoting their work through word-of-mouth. She stresses that continued client engagement and encouragement are crucial for artists to sustain their creative output, underscoring the vital role of the community in fostering artistic endeavors. Her journey exemplifies resilience, as she has had to adapt her artistic commitment from a full-time pursuit to a more balanced approach. She explains that a need for financial stability in the current economic climate led her to work as a freelance social media manager while dedicating approximately 50% of her time to her artwork. Despite these adjustments, Mooney remains committed to her passion for painting and creating, continually pushing forward with her artistic practice. She provides contact information for her website, Instagram, and Facebook, allowing readers to further engage with her work. #DanaMooney #AbstractPainter #CreativeJourney #ArtistLife #InteriorDesign #HomeDecor #CreativeEntrepreneurship #ArtisticResilience #FreelanceArtist

Solange Knowles, known for her unique creative intuition, discusses her diverse projects and artistic philosophy in an interview. The artist recounts a recent performance in a former oil reservoir in Sydney, Australia, highlighting her preference for unscripted presence over conventional entertainment. This experimental approach, where she aims to simply exist rather than perform, reflects her ongoing inquiry into the nature of performance and its service to her as an artist. Her multidisciplinary endeavors, spanning a glassware line, a book on architect Amaza Lee Meredith, global performance partnerships, and composing for the New York City Ballet, are all managed under her creative agency, Saint Heron. This agency also houses a library of Black creative texts and serves as a collaborative hub. Friends and collaborators, such as fashion designer Grace Wales Bonner and Brooklyn Academy of Music president Gina Duncan, commend Solange's integrity and ability to cultivate a loyal community across various artistic fields. Her wide-ranging interests, from drums and Black classical composers like Julia Perry to bird-watching, underscore a restless and curious artistic imagination. Solange's work often delves into the past, exploring both broad themes of Black history and the intricacies of family lineage, particularly significant given her background in a prominent musical family. She moved to a small East Coast town seeking a closer connection to nature, believing that immersion in the natural world clarifies answers she has sought throughout her life. The interview takes place in a public library, emphasizing Solange's deep connection to archives and history. She acknowledges her long career as a performer, starting with child acting and her first album at 16, but distinguishes her current approach as performing authentically rather than through persona. This shift aligns with the philosophy of artists like Felice Rosser, who embraced punk's liberation from the pressure of perfectionism. Solange found similar permission to exist authentically in performance through her collaboration with artist Autumn Knight, who helped her overcome the "disease of perfectionism" she experienced during years of touring. Her Grammy-winning album, "A Seat at the Table" (2016), is recognized as a significant cultural and political statement, continuing a tradition of impactful R&B albums. Solange consistently prioritizes artistic self-determination over commercial gain, a challenging path in an algorithm-driven industry. While she expresses few career regrets, she humorously notes missing an opportunity to collaborate with comedian Katt Williams on "A Seat at the Table." Even prior to this album, Solange was recognized for her artistic credibility, with her 2008 album "Sol-Angel & the Hadley St. Dreams" marking an artistic breakthrough. Collaborator Tyler, the Creator praises Solange for her authentic artistic vision, stating that her work is not driven by trends or a need to prove herself, and predicts her lasting impact on the music landscape. Solange's fascination with history is also linked to her upbringing in Houston's Third Ward, where the Sankofa symbol—representing the importance of looking to the past to move forward—was prevalent. She discusses how "A Seat at the Table" explored generational history, while her recent focus has been on understanding and forgiving her younger self through therapeutic work. She reflects on the impact of a childhood where her personal history was often documented by others due to lost family photos. Solange emphasizes the importance of creating tangible evidence of her legacy, particularly for Black artists, expressing concern over the vulnerability of digital archives. This desire for material legacy extends to her collaboration with glassblower Jason McDonald, where the process of glassblowing taught her to surrender control and imbue objects with spirit. Her latest artistic obsession is the tuba, which she finds embodies a raw, undeniable space and feels inherently Black, even contemplating releasing music written for the instrument despite potential skepticism. This ongoing exploration signifies her commitment to an authentic and evolving artistic journey, prioritizing personal meaning and enduring legacy over external expectations. #SolangeKnowles #ArtisticIntuition #MultidisciplinaryArtist #SaintHeron #BlackArtists #CulturalLegacy #CreativeProcess #PerformanceArt #MusicIndustry #AmazaLeeMeredith

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

This article presents an interview between designer Leanne Ford and actress Diane Keaton, focusing on Keaton's creative explorations beyond acting, particularly her passion for collage art. Ford, who hosts the FEEL FREE magazine, expresses her excitement to speak with individuals who pursue diverse creative outlets while excelling in their primary professions. Keaton reveals that her interest in collage art originated from her mother, Dorothy Dean Keaton Hall, who encouraged creative expression and visual exploration using everyday materials like magazines. Keaton describes her mother's influence as profound but subtle, noting that her mother fostered an environment where Keaton felt free to think and experiment without judgment. This upbringing encouraged Keaton to engage with imagery from a young age, leading her to create collages by cutting out pictures from magazines. She contrasts her early approach as a 'cutter-outer' with Ford's preference as a 'ripper-outer' when discussing collage creation. The conversation also delves into Keaton's approach to personal style and home design. She discusses her distinct fashion sense, which she has cultivated since childhood, often adapting details to create unique looks. While she notes that her everyday attire is simple and neutral, she embraces more expressive choices for public appearances. Keaton also shares insights into her home design process, highlighting her preference for specific materials like red brick, and her love for incorporating found objects and personalized arrangements on her walls. She mentions owning several homes she has redone, including two designed by Lloyd Wright, indicating a continuous interest in architectural and interior transformations. Despite her extensive experience in various art forms, Keaton humbly refrains from labeling herself an 'abstract artist,' preferring to see herself as someone who simply enjoys the process of cutting, arranging, and observing images. She emphasizes the joy she derives from these creative activities, regardless of their perceived artistic merit. She also touches upon her photography hobby, where she captures unusual images without a specific goal in mind, simply for the pleasure of it. The interview concludes with a discussion about the concept of 'THINK,' a central theme for FEEL FREE magazine. Keaton interprets 'THINK' as the act of putting oneself in unfamiliar situations to foster new perspectives and creative thought, often returning to visual engagement as her primary mode of reflection. She connects this to her acting career, explaining how engaging deeply with a script allows her to find creative freedom. Ford reflects on her own evolving career path, from fashion to interiors to publishing, underscoring the liberating nature of embracing diverse creative pursuits without rigidly defining oneself by a single profession. #DianeKeaton #LeanneFord #CollageArt #CreativeExpression #HomeDesign #ArtAndLiving #CelebrityHomes #InteriorDesign #VisualArts

Dana Harel, a San Francisco-based Israeli designer, has launched her inaugural lighting collection under her studio, White Dirt. Harel's career trajectory showcases a diverse artistic exploration, starting with architecture and extending into ceramics and line art before her current venture into luminaires. The new collection, dubbed "Ora," comprises three tented table lamps—Ora I, II, and III—and a suspended, trapeze-like floor lamp, Ora IV. These pieces draw inspiration from Harel’s existing body of work, particularly her vases and vessels, which inform their hand-carved sculptural aesthetic. The lamps are crafted using a combination of gypsum cement, muslin, and brass, materials that contribute to their unique visual and tactile qualities. The design intentionally evokes the imagery of draped wedding gowns, suggesting moments of concealed intimacy and exploring the delicate balance between revealing and hiding forms. This interplay of materials and forms allows the collection to convey a sense of fluidity and softness, a departure from more rigid sculptural traditions. Harel describes the process of working with fabric—folding, pleating, and draping—as a refreshing experience, contrasting with her previous work that often involved tools like chisels and hammers. This shift towards softer, more pliable materials allowed her to experiment with light in a new way, focusing on how textiles interact with illumination to create ambiance and shape. The collection's design ethos embraces a certain spontaneity, reflecting Harel’s approach to her creative process. Each piece in the Ora collection stands as a testament to her evolving artistic language and her ability to translate diverse inspirations into functional art. A notable and unconventional source of inspiration for Harel was a scene from the HBO series *Succession*, where characters Tom Wambsgans and Cousin Greg consume a rare delicacy with napkins tented over their heads. This seemingly obscure reference underscores Harel's willingness to draw from unexpected cultural moments, transforming them into artistic concepts. The designer interprets this act of "masking shame" or "heightening pleasure" as a metaphor for the lamps' ability to create intimate, almost cloistered, environments through their draped forms. The sculptural swagger of the lamps is deeply rooted in these varied influences, bridging architectural precision with textile softness and cultural anecdotes. The collection as a whole is an exploration of form, light, and material, reflecting Harel's multidisciplinary background and her continuous quest for new creative expressions. #DanaHarel #LightingCollection #SculpturalLighting #InteriorDesign #WhiteDirtStudio #ProductDesign #TextileArt #ContemporaryDesign

Dana Toledo's journey began in Los Angeles, where she established her career as a hospitality interior designer. She relocated to LA from Atlanta in 2014 and developed a strong connection to the city, building her chosen family and professional network. In the summer of 2021, after a 5-month layoff due to the pandemic from a respected design firm, she experienced a pivotal shift. This period, while challenging due to reduced staff and increased workload, offered invaluable creative and professional growth and mentorship opportunities. The shift to remote work in March 2020 freed up commute time, allowing Toledo to rediscover metalsmithing, a craft she had recently picked up. Her enjoyment in interior design involved material curation during the concept phase, appreciating the process of combining diverse materials like metals, fabrics, stone, glass, wood, and wallpaper to form cohesive palettes. This tactile satisfaction translated into metalsmithing, where she found flow and could spend hours filing, sawing, and hammering metal to create jewelry. Upon being laid off, Toledo launched a collection of ten rings, selling seven within 48 hours, suggesting a potential livelihood as an independent artist. However, a mutual decision to end her relationship with her partner put her jewelry plans on hold as she prioritized finding new housing. Initially set on staying in LA, the financial strain of zero income made living alone daunting. She quickly pivoted, signing a lease for a loft in Atlanta three weeks before her LA lease ended. With limited funds and no clear job prospects, she left LA, a city she loved, to return to Atlanta, a place she had previously vowed never to revisit. The initial months in Atlanta were challenging. The city had changed significantly, and she was starting anew, compounded by personal losses earlier that year. Despite anxiety from unemployment and limited resources, perseverance eventually led to positive changes. She secured a website design client, leveraging a bootcamp course she had taken, and received a call for a remote, part-time position from her first interior design job in LA. Toledo credits this turnaround to the principle of starting with what one has and doing what one can. Moving back to Atlanta, though impulsive, proved transformative. She rejected the option of moving in with her mother in Texas, fearing complacency, as her ambitious nature required a catalyst to pursue her dreams of becoming a successful multidisciplinary artist and creative entrepreneur. Toledo later launched Medjo Rebelde, translating to “A Little Rebellious” in Tagalog, a brand born from years of self-discovery and challenging cultural expectations within her Filipino upbringing. Despite early artistic inclinations, her father discouraged art, labeling it “useless,” which led her to abandon art for 15 years. Coming from a family of medical professionals, she pursued a science-oriented academic path, moving from pre-pharmacy to IT, then Exercise Science, ultimately graduating with a B.S. in Exercise & Health Science, aiming for a doctorate in Physical Therapy. Her interest in interior design was initially rejected by SCAD. A year into living in LA, inspired by the city's diverse creative influences, she reconsidered grad school and enrolled in UCLA’s Interior Design & Architecture program, simultaneously starting her career as a hospitality interior designer. This marked LA as a place that allowed her to embrace her creative identity, while Atlanta facilitated its full adoption. The decision to return to school for interior design at 24 was daunting, fueled by fear of family disapproval. After exploring various options, including sports marketing, she found a Craigslist job that launched her interior design career, confirming her path. Interior design became her entry into the creative world, leading her to explore metalsmithing, painting, and eventually apparel design with Medjo Rebelde. This passion project, developed during her transition from LA to Atlanta, emphasizes stepping out of comfort zones and pursuing passions, irrespective of societal expectations, while respecting heritage. She aims to empower Filipinos and Filipino-Americans to break away from traditional mindsets, encouraging self-expression and permission to live authentically, fostering a “little rebellious” spirit. Toledo acknowledges the bumpy but rewarding path to thriving as a creative entrepreneur and building stronger family relationships through living her truth. Toledo finds the creative process itself most rewarding, entering a state of flow where time ceases to exist. Working primarily with her hands in metalsmithing or painting, she values the direct transfer of ideas to a medium. The satisfaction of seeing thoughts materialize into a unique, personal expression, open to interpretation, is a core motivator. To foster a supportive environment for artists, Toledo advocates for active engagement and open-mindedness. Learning about the artist, being present with their work, and recognizing the significant thought and effort invested in concept development and presentation are crucial. She emphasizes that artistic creations, whether by a painter, musician, baker, or architect, are carefully curated and deliberately planned, resulting from extensive repetition and experimentation. Financial support is acknowledged as vital for sustaining artistic endeavors, akin to any business. Beyond financial contributions, she encourages continued engagement, sharing artists’ work with others, and fostering deeper connections through repeated interactions. #DanaToledo #CreativeJourney #InteriorDesign #Metalsmithing #Entrepreneurship #MedjoRebelde #FilipinoCulture #CareerTransition #ArtistSupport

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

Stacey Dooley MBE has partnered with COAT Paints to launch a new collection of six paint shades, each reflecting personal aspects of her life, family, and travels. The collaboration emphasizes a 'slow decorating approach,' focusing on thoughtful choices, repurposing items, and selecting colors that evoke warmth and joy within the home. This philosophy is deeply ingrained in Dooley's own home design process, where she prioritizes making choices that authentically represent her and her family over rushing the decorating process. The collection features a sophisticated palette where each color is subtly softened with a hint of black pigment, offering a nuanced and timeless aesthetic. Among the six shades is 'King Kev,' a deep olive green named after her partner Kevin Clifton, and 'Mersey Sundown,' a dusky pink inspired by the location of their new home. These names directly link the colors to significant personal experiences and places in Dooley's life, adding an intimate layer to the collection. Rob Abrahams, co-founder of COAT Paints, elaborated on the collaborative process, stating that the development began by touring Dooley's family home to understand the desired ambiance. This hands-on approach ensured the resulting palette would resonate with Dooley's personal style and COAT's brand identity, which focuses on creating colors for real people and homes. After multiple rounds of testing and refinement, the final six shades were chosen to be both personal to Dooley and consistent with COAT’s existing range of tasteful colors. Other notable shades in the collection include 'Stage Door,' a bold red that speaks to the ongoing popularity of vibrant hues in interior design, and 'Big Hoops,' a buttery yellow designed to introduce dramatic accents into otherwise neutral spaces. For those seeking a serene and cohesive look, the collection also offers 'Minnie D,' a soft sage green. This shade, when combined with 'King Kev' through a technique called double drenching (where walls and ceilings are painted in harmonious colors), can create a relaxing monochromatic scheme, particularly suitable for living rooms or bedrooms. The COAT x Stacey Dooley paint palette is exclusively available for purchase online through the COAT Paints website. This collaboration not only offers a range of carefully crafted colors but also promotes a mindful and personal approach to home decoration, encouraging individuals to create living spaces that truly reflect their identity and experiences. #StaceyDooley #COATPaints #HomeDecor #PaintColors #InteriorDesign #SlowDecorating #ColorPalette #HomeRenovation

Kelly Wearstler, a renowned designer recognized for her bold, colorful, yet breezy designs, has collaborated with Farrow & Ball to launch a new collection of eight paints, named the California Collection. This collaboration marks Farrow & Ball's first partnership with an outside designer in its 75-year history. The collection is inspired by the natural beauty and architecture of California, aiming to bring the Golden State's sunny energy into living spaces, particularly for those in colder climates. Wearstler's approach to selecting colors for this collection was deeply rooted in the California landscape. She aimed to evoke the natural beauty of the state, bringing the incredible hues found in the environment into the home. The colors are named and inspired by elements of her daily life in California: Citrona reflects the yellow of lemon trees; Palm is inspired by the palm trees in Los Angeles; Hazy, a blue-gray, draws from Malibu’s morning light; Faded Terracotta references Southern California rooftops or sun-drenched pots; Tar is dark like the freeways; and Salt mirrors the misty, salty air at the beach. Developing paint colors presented unique challenges compared to her previous collaborations on carpets, wallpapers, and fabrics. Wearstler noted the difficulty in narrowing down a vast array of colors into a cohesive collection. The process involved a trial-and-error approach to ensure the chosen hues felt refreshed and relaxed while working together harmoniously and standing effectively on their own. The partnership with Farrow & Ball felt natural due to their shared love for color and understanding of its impact on creating dynamic spaces. Wearstler has a long-standing practice of using paint to establish mood and feel in her interior design projects, having utilized Farrow & Ball paints throughout her career. When advising clients on incorporating color, Wearstler suggests starting with a beloved hue already present in their home, perhaps from a vintage chair or artwork, and building a color scheme around it. Another technique is to use a bolder color on wall trim or the ceiling to make a statement without overwhelming the room. She emphasizes the importance of experimenting and taking risks, as color can transform a space's feeling or mood through various elements like artwork, textiles, wall coverings, or objects, allowing for personal expression. A common mistake clients make is not considering natural light, which significantly impacts how a color appears. Additionally, she advises thinking about how a space interacts with bordering areas to ensure seamless transitions between colors. Wearstler highlights black and white as underrated tones that can add depth and drama to a space through neutrals. Her personal style is described as free-spirited, evolving, and inspired, adapting to each project's client and architecture. She considers herself akin to a vintage Mario Botta Quarta chair from the 1980s, embodying an old spirit with daring energy. Wearstler states she loves all colors equally and believes both form and function are essential in design. #KellyWearstler #FarrowAndBall #CaliforniaCollection #PaintDesign #InteriorDesign #HomeDecor #ColorPalette #DesignCollaboration #CaliforniaInspired

Lighting designer Lindsey Adelman premiered her new installation, titled 'Show Me,' at Wright gallery on Manhattan's Upper East Side. The exhibition's opening night featured a music video, also titled 'Show Me,' which was projected in a darkened room. The video showcased a performance by a group of 16 dancers, with the music composed by Leo Madriz. Notably, the cast of the music video, including the dancers and lead vocalist Laura Young, were members of Adelman's studio or former colleagues. Young, Adelman's former director of operations, served as the lead vocalist, and the choreography demonstrated a blend of professional execution and playful enjoyment. The 'Show Me' music video intricately integrated pieces from Adelman's latest collection, which features a distinctive aesthetic. The collection includes punk-inflected jewelry, such as fringed, gold ear cuffs and leather bracelets adorned with gold quills. Gilded mirrors embellished with patterns resembling mushroom gills are also part of the new works. Additionally, luminaries reminiscent of Adelman's 'Cherry Bomb' fixtures are present, all contributing to a unique gothic sensibility infused with elements akin to 'A Midsummer Night's Dream.' These new pieces, alongside a striking five-foot-long gold candelabrum, were strategically placed to establish a dark-romantic and alluring atmosphere within the gallery space. Adelman established her studio in 2006, initially gaining recognition for her 'Branching Bubble' chandelier. Since then, her business has expanded significantly, incorporating a wider array of lighting fixtures and a diverse range of home objects. Adelman views her foray into various mediums beyond lighting as a natural evolution of her studio's creative trajectory and an opportunity to explore new avenues for enjoyment. She emphasizes that her decision to create a music video for the exhibition was not a sudden concept but rather an organic expression of her inherent interests, allowing her to integrate her personal passions with her daily professional endeavors. This approach underscores her belief in the fluidity between artistic exploration and business growth. The exhibition 'Show Me' will be open for public viewing at the Wright gallery, located at the Parke-Bernet Building, 980 Madison Avenue, New York, NY 10075, until August 1st. The show provides a comprehensive look at Adelman's expanded creative vision, demonstrating her capacity to merge industrial design with artistic performance and personal expression. This presentation not only highlights her new collection but also offers insight into the collaborative and innovative spirit that defines her studio's work. #LindseyAdelman #WrightGallery #LightingDesign #ArtInstallation #MusicVideo #NewYorkArt #DesignExhibition #HomeDecor #GothicSensibility

The Vestibule, an art gallery in Ballard, Seattle, has reopened in a new location, evolving from its original concept as a live/work space that doubled as an Airbnb. Created by Kascha Semonovitch and John Snavely, the initial Vestibule combined an art gallery with a short-term rental. This unique model allowed guests to "live within the art" and provided a sustainable funding mechanism for exhibitions through Airbnb rental fees. Semonovitch and Snavely emphasized their commitment to "public life," choosing to invest in a shared art space rather than a private collection, focusing on exhibiting art not confined to material, possessable objects. The original Vestibule, known for its vibrant art openings, required Semonovitch to frequently transform the space from a gallery to a more conventional Airbnb setting within a tight 24-hour window after each show. This demanding process involved removing furniture, painting, installing art, and then reverting the space back for rental guests. The decision to transition to Vestibule 2.0 was driven by the desire to continue supporting artists in North Seattle while eliminating the logistical challenges of the dual-purpose space. The new Vestibule 2.0 is located at the corner of 15th Ave NW and NW 60th St. While it no longer includes an Airbnb component, the larger space offers an expanded canvas for artists and allows Semonovitch to host more exhibitions. A distinctive feature of the new space is the "banana art" in the bathroom, an idea that originated from Semonovitch's six-year-old child and has since evolved into a humorous commentary on art and commerce, complete with a Spotify playlist of banana-themed songs. Semonovitch, also a writer and poet, actively seeks out visual artists for future collaborations. She discovers new talent by attending various art shows at galleries, schools, and organizations like 4Culture, and maintains a keen interest in artists she admires and their subsequent work. She has recently conducted numerous studio visits and expressed interest in showcasing installations by Tyna Ontko and Jia Jia, as well as collaborating with Michael Swaine of Futurefarmers. Demonstrating a commitment to democratizing access to the art world, Semonovitch issues open calls for submissions, such as the upcoming "carbon" exhibit. She believes that small galleries like Vestibule play a crucial role in providing opportunities for artists. Semonovitch also contemplates an exhibition exploring the intersection of faith and art, noting how many artists, particularly in a secular city like Seattle, have complex relationships with religious upbringings or spiritual practices that influence their work, even if these topics are often unspoken within the art community. Vestibule 2.0 commenced its new chapter with "Dinner with Agnes Martin," a group exhibition featuring artists such as Amanda Salov, Emily Gherard, Emma Royer, Ilana Zweschi, Lakshmi Muirhead, Season Evans, and Sharon Arnold, characterized by its textual and textural depth. The upcoming exhibition, Allyce Wood's "Soft Systems," will feature tapestries and open-studio weaving hours. Semonovitch draws inspiration from previous influential Seattle galleries like True's Western Bridge, Lawrimore Project, and The Alice, and acknowledges contemporary venues like Greg Lundgren's Museum of Museums, positioning Vestibule as a significant contributor to Seattle's current art scene. #ArtGallery #SeattleArt #Ballard #KaschaSemonovitch #JohnSnavely #ArtistCollaboration #Exhibition #CommunityArt #LocalArtScene

Hailey Marie Losselyong, a self-taught, multi-disciplinary visual artist based in Pilsen, operates under the name HML Art & Design, focusing on bold murals, illustrations, and clothing designs that feature abstract female portraits. Her latest project, HML Home, is an installation housed at Vault Gallerie in Pilsen, transforming the gallery space into an IKEA-style apartment. This setup, featuring pieces from her past work including wall art, furniture, and clothing, serves to commemorate her artistic development and her commitment to creating intentional and accessible art. The installation is designed to give visitors the feeling of exploring a friend's apartment, encouraging them to examine various items like a closet rack, stickers, and prints. Throughout the exhibit, a recurring motif of stylized, unbothered women with closed eyes and colored lips appears. Many of these figures incorporate the slogan “Leave Me Alone,” either stenciled on their earrings or positioned alongside them, conveying a message of self-assertion: “Do no harm, but take no shit!” This phrase is integrated into various objects, such as jacket backs, shoes, framed images, flower pots, coffee tables, and drink coasters, and even extends to a bathroom wall, prompting reflection on the women's internal thoughts. Losselyong describes herself as a multi-disciplinary visual artist whose work primarily centers on portraits that highlight femininity and its dualities, exploring various strengths and weaknesses within female identity. Her artistic journey began in college in 2014, where she initially studied business but discovered her passion for painting and developed her unique style after a couple of years. Her art aims to be impactful and recognizable, often featuring large, bold elements and focusing on conveying emotion and movement. Inspiration for her projects often stems from women, particularly women of color. Losselyong prioritizes placing murals of women of color in spaces where they have historically been underrepresented, emphasizing the importance of representation for all individuals in art. The "Leave Me Alone" series specifically originated from her experiences with street harassment. She began incorporating the phrase on clothing after an incident where, despite wearing pants with the slogan, she was followed into a store, highlighting the persistent issue of boundaries being crossed and safety being compromised. This personal experience evolved into an artistic statement, inviting viewers to reflect on their own actions and how they might affect others, promoting mutual respect. Losselyong enjoys working across various mediums, viewing it as a way to challenge herself and foster creative growth, rather than limiting herself to a single form of expression. She values her freelance career for the autonomy it provides in selecting projects. Among her favorite projects is her involvement with the Mural Movement, founded by Delilah Martinez of Vault Gallerie. This initiative, born in 2020 during protests, aimed to beautify boarded-up storefronts with murals supporting Black Lives Matter and Black and brown unity. The movement has facilitated nearly 200 murals, providing opportunities for artists to showcase their work, particularly in Black and brown communities and for small businesses that might not otherwise afford such art. Losselyong advocates for art as a tool for social justice, believing it helps young people see themselves positively and enriches communities by replacing blank walls with vibrant artistic expressions. The HML Home installation is directly inspired by IKEA, reflecting Losselyong's interest in accessible art and functional design. She aims to demystify the art world by integrating art into everyday objects and furniture, allowing people to envision art in their personal spaces. She believes the home is a crucial space for self-expression and that art should not be confined to traditional canvases but can be incorporated into any functional item. Losselyong expressed gratitude for Vault Gallerie and Delilah Martinez's support, highlighting how Martinez provides artists with space and opportunities without imposing creative limitations. For aspiring artists, Losselyong advises early experimentation, learning from professionals, and understanding the business aspects of art, emphasizing that failure is a part of the learning process. She takes pride in the community her art has fostered and plans to continue exploring installations, collaborations, and expanding her artistic reach. #HMLArtAndDesign #HaileyMarieLosselyong #VisualArt #AbstractPortraits #PilsenArt #VaultGallerie #FeminineArt #LeaveMeAloneSeries #MuralMovement

Phillip K Smith III, a Californian artist, is celebrated for his unique, light-based installations that integrate seamlessly with natural environments. His work is now documented in a new book, "Five Installations," published by the Laguna Art Museum. The book delves into five of Smith's most notable outdoor installations, offering a comprehensive look at his creative process and the impact of his art. Smith, who is based in Palm Desert, draws inspiration from the distinct light and landscapes of Palm Springs and Death Valley. "Lucid Stead" (2013) is highlighted as Smith's breakthrough piece. For this installation, he transformed a historic homestead shack in Joshua Tree into a dynamic mirrored structure. This structure reflected and distorted the surrounding desert landscape and sky, effectively turning the environment into an interactive surface for observation. Smith noted that this project marked his first endeavor to use the environment itself as a medium, transforming the shack into a tool for experiencing the desert in a new way. Another significant work featured in the book is "1/4 Mile Arc" (2016), created for the Laguna Art Museum. This installation consisted of a gentle arc of reflector planes that contoured the beach. The reflectors reconfigured and collaged scenes of the oceanfront, producing a captivating and ever-changing visual experience. Smith's intention was to create a quarter-mile-long reflective drawing that would continuously adapt to the changing environment of Laguna. His artistic background includes studies in both fine art and architecture at the Rhode Island School of Design, which informs his multidisciplinary approach. The book also touches upon Smith’s smaller-scale works, such as his ongoing series of mirror and light pieces. These sculptures explore perceptions of reflection, shadow, and color in more contained forms. However, the book emphasizes that it is Smith’s large-scale outdoor installations that truly stand out and have an unparalleled impact, demonstrating his mastery in transforming vast landscapes into immersive artistic experiences. These installations are characterized by their temporary nature, often appearing fleetingly against remarkable natural backdrops, yet leaving a lasting impression on viewers. "Five Installations" is priced at $29.95 and is available through the Laguna Art Museum. The book serves as an important compilation of Smith’s major works, providing insight into his artistic philosophy and his profound connection to the California landscape. It features detailed photographs that capture the essence and scale of his installations, allowing readers to appreciate the nuances of his site-specific art. For further information, details can be found on Phillip K Smith III’s official website. #PhillipKSmithIII #ArtInstallations #CaliforniaArt #LagunaArtMuseum #LightArt #DesertArt #EnvironmentalArt #ContemporaryArt #Architecture

Clarissa Lewis, a boutique photographer, shares her journey into photography, highlighting her self-taught approach through "Youtube University" for composition, editing, and DSLR camera usage. She emphasizes the importance of editing in transforming the meaning of a portrait and notes that lacking a professional camera early on was an obstacle, but acquiring one allowed her to learn new techniques. Lewis specializes in portraits for business owners and families, focusing on creating photographic wall art for home or business decoration. Her services include personalized consultations, art placement assistance, and an ordering presentation to select images. She differentiates herself from photographers who merely deliver digital files by providing heirloom-quality canvas artwork designed to be displayed. Lewis advocates for printed portraiture, explaining that it creates an inviting, proud, and warm environment. She shares a personal anecdote about her two-year-old niece's traumatic death and how a gifted canvas portrait provided immense comfort, illustrating the sentimental value and emotional connection wall art can foster, a connection she found stronger than viewing photos on a phone. This experience solidified her belief in the importance of displaying portraits to feel closer and more connected to loved ones. Lewis discusses a pivotal moment in her business, which involved investing in a boutique photography course. This investment enabled her to offer products like framed and canvas photography, enhancing the value she provides to clients by helping them decorate their homes or businesses with personal portraits. This strategic pivot is a significant step in her business journey. Regarding social media, Lewis advises letting existing supporters know about one's accounts. She also recommends following local businesses to gain awareness and potential follow-backs. Maintaining an active presence beyond just posting, by commenting on others' posts, offering motivation, and sending positive direct messages to other business owners, is crucial. She believes that authenticity and genuine interaction on social media lead to reciprocal positive engagement in business. Clarissa Lewis can be contacted via her website, capturedxclarissaphotography.com, and on Instagram at @capturedxclarissa. #ClarissaLewis #BoutiquePhotography #PortraitPhotography #WallArt #HomeDecor #BusinessStrategy #SocialMediaMarketing #EntrepreneurInterview

Renowned LA-based interior designer Kelly Wearstler has unveiled the interiors of the latest Proper hotel, located along California's coast in Santa Monica. The Proper brand, co-founded by Wearstler's husband Brad Korzen, along with Brian De Lowe and Alex Samek, is recognized for its striking interior designs, all meticulously crafted by Kelly Wearstler herself. The Santa Monica Proper hotel is situated within a restored 1928 Spanish Colonial building, originally designed by Arthur E. Harvey. A curvilinear extension was later added by local firm Howard Laks Architects, providing a foundation for the new interior. Wearstler's design for the Santa Monica Proper capitalizes on the building's Spanish and Moorish architectural heritage, incorporating elements such as archways, intricate inlays, smooth stone, and knobby wood. The overall aesthetic is relaxed and beach-inspired, featuring an abundance of low-slung seating and an eclectic mix of details. The color palettes chosen throughout the hotel subtly allude to its coastal setting. The hotel also features original art pieces by artists such as Morgan Peck, Tanya Aguiniga, and Len Klikunas, contributing to the sophisticated atmosphere. The lobby makes a striking impression with huge, tile-clad columns that boast bulbous tops. Cozy alcoves within the lobby feature curved banquette seating, designed to create intimate spaces for dining, meetings, or simply relaxing. The furniture throughout the hotel is primarily vintage, meticulously sourced by Kelly Wearstler from various vintage shops to create a unique and eclectic collection. The walls are rendered with a hand-troweled, pitted, gritty plaster texture, providing a tactile contrast, while the wire-brushed oak hardwood floors display a pattern reminiscent of open umbrellas. The reception desk, custom-made from wood, features striations on its front, evoking the appearance of a beach shell. Notable design details include a large pair of vintage fan-shaped bamboo wall lights by Ingo Maurer, a rare find due to their limited production in a small Japanese village. The expansive lobby and ground-floor restaurant blend contemporary furniture with repurposed items and various greenery, creating an inviting, living room-like ambiance designed to encourage relaxation among guests. Multiple seating areas are provided, suitable for both working and enjoying beverages from the bar. Santa Monica Proper offers 271 guest suites, distributed across both the landmarked original building and the new extension. The rooms are adorned with abstract botanical wallpaper and are filled with natural light from floor-to-ceiling windows. The bathrooms are elegantly appointed with tile, marble, brass fixtures, and Aesop toiletries. Wearstler differentiated the room designs by using floral wallpaper and deeper hues for rooms in the existing building, while employing a muted, neutral palette for those in the extension. Textiles and wall coverings used throughout the hotel rooms are from the designer's personal collection, and the curved headboards are a stylistic tribute to California's sunsets. Beyond the ground-floor restaurant, Onda, the hotel hosts a more formal dining establishment called Calabra, characterized by richly textured dark wood, brickwork, and stone. A rooftop pool, a signature feature of Proper outposts, is also available, known for being fully occupied during happy hour. The design of Santa Monica Proper contrasts with the Austin Proper, the brand’s first location outside California, which opened in early 2020. Austin Proper features sharper angles, patchwork throws, paisley wallpapers, and oak wood paneling, departing from the buttery tones of its beachy counterparts. However, Wearstler's signature style of clashing prints, bold colors, and subtle bulbous shapes remains evident, with the restaurant showcasing patterned walls and vintage rugs, and the lobby featuring more rectilinear lines and grid-like shapes. The Downtown LA Proper, set to open in another historic building, is the next anticipated project from the designer. #KellyWearstler #InteriorDesign #HotelDesign #SantaMonicaProper #SpanishColonial #ArchitecturalRenovation #VintageFurniture #CoastalInteriors #LuxuryHospitality