Meet Nichole Blackburn Manthe: Fine Artist and Muralist

Hannah Bell Tringham, an interior designer based in Los Angeles, discusses her journey into the creative field, the philosophy behind her design firm, and insights for aspiring entrepreneurs. Her passion for creation manifested early, starting from rearranging her childhood bedroom at age 10 and evolving into tracing floor plans by 12. Tringham's natural competitiveness fueled her desire to refine her work and think proactively, ultimately leading her to pursue a career in interior design where she helps clients shape their living and working spaces. Tringham's firm specializes in residential and commercial interior design, characterized by elevated, livable spaces with a casual California aesthetic. She emphasizes a personalized, hands-on approach to each project, rejecting 'cookie-cutter' designs in favor of thoughtful, intentional environments that reflect the client's identity. Her style merges relaxed West Coast elements with clean lines and curated details, earning her clients' trust in both her creativity and clarity throughout the design process. Establishing her business presented significant challenges, particularly as a single woman without additional income. However, Tringham leveraged slower periods to refine her business plan, strengthen her brand, and expand her professional network. Her consistent effort in seeking new clients and opportunities eventually led to the firm's current success, attracting high-caliber projects and clientele. She encourages other women, especially those who are young and single, to pursue their entrepreneurial aspirations without waiting for ideal conditions or external validation, stressing the importance of a solid plan, genuine passion, and persistence through difficulties. Beyond her professional life, Tringham shares recommendations for experiencing Los Angeles. A perfect week with a visiting friend would include coffee at Satchi.LA, biking to the beach along the boardwalk, and dinners in Culver City, with Father's Office being a highlight. Outdoor activities like hiking in the Santa Monica Mountains with her dog are essential. Cultural outings involve visits to The Broad or the Getty for art and inspiration, balanced with relaxing pool days. She suggests day trips to Joshua Tree or an overnight stay in Santa Barbara, and catching a concert at the Hollywood Bowl, always concluding at least one day by watching the sunset in Santa Monica. Tringham acknowledges the pivotal role of various individuals in her professional development. Her professors at San Jose State are credited for igniting her early passion and fostering critical and creative thinking. Her two previous bosses were instrumental in building her foundational knowledge in design and providing opportunities for growth, which formed the basis for her independent venture. Special recognition is given to Rebecca Quandt, who serves as a sounding board and a continuous source of inspiration within the design community, highlighting the collective support that contributed to Tringham's achievements. #InteriorDesign #CreativePath #Entrepreneurship #SmallBusiness #CaliforniaStyle #WomenInBusiness #LosAngeles #Mentorship

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

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

The article focuses on the collaborative work between Berlin-based artist Noé Sendas and Wallpaper* magazine for their March issue cover story, 'The Lady Vanishes.' This project integrates Sendas's artistic approach with contemporary fashion, specifically highlighting spring/summer 2015's graphic designs. Noé Sendas is known for his 'un-collage' technique, where he manipulates found photographs by removing elements to introduce new meanings. His work draws inspiration from cinematic and literary sources, treating photographs as three-dimensional objects and exploring concepts of gravity, weight, and balance. Sendas emphasizes the creation of something 'beautifully strange and unexpected' through a combination of hard work, chance, trickery, desire, and intuition. His celebrated 'Crystal Girl' series exemplifies this by deconstructing Hollywood golden age film stills, transforming portraits into ambiguous, elegant still lifes by eliminating faces, limbs, and contextual details. The collaboration for 'The Lady Vanishes' was initiated by Wallpaper*'s creative director, Sarah Douglas, and involved fashion director Isabelle Kountoure. The goal of this project was to produce content that is both contemporary and timeless, with Kountoure expressing keen interest in how Sendas would adapt his methods to new materials, specifically fashion photography. Photographed by Jan Lehner, the 16-page spread presents the human body as both a theoretical and material entity. The imagery explores how a single image can evoke diverse interpretations from viewers. Crucially, in these photographs, the clothing itself becomes the object of focus, rather than the female form, shifting the emphasis from the wearer to the garment. Sendas posits that the artist's role is to 'deceive,' or to cast a 'glamour' that alters the spectator's perception, making objects appear different from their true nature. This perspective is applied to fashion, suggesting that fashion too can create an 'affectation' that transcends mere appearance. The 'The Lady Vanishes' series was also slated for exhibition at the Michael Hoppen Gallery during London Fashion Week, further bridging the gap between fine art and high fashion. The article explores how art can provoke rather than explicitly reveal, adding depth and meaning to otherwise ordinary objects or concepts. The collaboration showcases a unique blend of art, fashion, and photography, challenging traditional perceptions of identity and representation within visual media. #NoéSendas #ArtAndFashion #TheLadyVanishes #Photography #Surrealism #FashionEditorial #MichaelHoppenGallery #LondonFashionWeek #ContemporaryArt

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

Linnea Pergola, an artist whose career began unexpectedly in the 1980s, shared her journey, challenges, and inspirations. While living in the San Fernando Valley, a chance encounter led to her being signed by Martin Lawrence Galleries. This opportunity provided significant compensation and a platform for her art, though it came with commercial pressures and the need to produce commercially viable paintings. Pergola acknowledged the demanding nature of the contract, which involved painting extensively and participating in numerous art shows across the country, all while balancing her personal life, including raising a child. Despite graduating with a degree in history from CSUN, not art, Pergola developed her distinct artistic style independently. She supplemented her learning with art classes, particularly enjoying life drawing, a discipline that contrasts sharply with her well-known cityscapes. Her passion for travel profoundly influenced her artistic focus, leading her to specialize in painting cities. Pergola became recognized for her ability to "mix up" and "recreate" cities, incorporating intricate details, humor, and vibrant colors. She noted that she instinctively knows which cities inspire her to paint, citing Prague, Amsterdam, Paris, and Edinburgh as examples. The detailed nature of her work is a consistent draw for her audience. A significant turning point in her career was when Liberty Puzzles, a puzzle company based in Colorado, contacted her around 2009. This collaboration proved to be highly successful, elevating her national recognition. Many individuals discovered her work through these puzzles, subsequently purchasing her original pieces. Pergola expressed her excitement about an upcoming trip to Vienna in June 2025, where she plans to take photos and create new paintings, hoping one will be selected for a future puzzle. Pergola also recounted a period of personal and professional resilience during a previous relationship when she moved to France. Due to visa restrictions, she was unable to sell her artwork, leading to a significant pause in her artistic output and a decline in motivation, despite being surrounded by artistic beauty. She found the language barrier challenging and experienced feelings of isolation. Upon returning to the United States and ending the relationship, she embarked on a journey of rebuilding her life and rediscovering her passion for art. Joining two art groups in Scottsdale, Arizona, proved instrumental in her recovery, allowing her to reconnect with her artistic self. This period marked a return to exhibiting her work and renewed her passion for travel, which included volunteering four times at the Elephant Nature Park in Chiang Mai, Thailand. Her creative journey is currently driven by a desire to explore new inspirations and enjoy the artistic process. In May 2024, she relocated to South Africa, a country whose natural beauty and diverse culture have deeply inspired her. This move has led to a shift in her artistic themes, with a greater focus on animals and nature. She also anticipates visiting other African countries, further expanding her artistic horizons. Linnea Pergola's career is marked by adaptation, resilience, and a continuous pursuit of new creative expressions, influenced by her personal experiences and a profound connection to the places she encounters. #LinneaPergola #ArtistInterview #ArtCareer #Cityscapes #ArtisticResilience #TravelInspiration #PuzzleArt #CreativeJourney #SouthAfricaArt

Mickalene Thomas's exhibition series, 'Beyond the Pleasure Principle,' is a four-part, multi-site presentation across Lévy Gorvy galleries in New York, London, Paris, and Hong Kong. This international exhibition features interconnected bodies of work, including paintings, illustrations, and video pieces, expanding on Thomas’s extensive study of the Black female body as a symbol of power, eroticism, agency, and inspiration. The timing and scale of this exhibition necessitated Thomas to work on multiple bodies of work simultaneously, tailored to the cultural audience and socio-political context of each city. The exhibition’s design is specifically adapted for each of its four locations. The series began in New York in early September, where Thomas unveiled her latest large-scale _Jet_ paintings. These works draw inspiration from vintage pin-ups found in _Jet_ magazine, a publication central to Black American life since 1952. Thomas recontextualizes these anonymous pin-ups through diverse material techniques, including silkscreen, oil, acrylic, and rhinestones, to celebrate their beauty, strength, and individuality. In these pieces, Thomas employs the formal language of 19th and 20th-century avant-garde movements to express freedom, fluidity, and experimentation. Furthermore, she integrates and highlights the political paradigm of Black liberation, positioning the works as a vanguard of American culture. The narrative continues in London, where the second part of the series delves deeper into the historical context of the source material. Seven new _Jet Blue_ paintings feature archival imagery from _Jet_ magazine, initiating a refreshed dialogue about beauty and identity in contrast to outdated cultural perceptions. These historical images carry significant personal weight for Thomas, as she typically works with subjects she knows intimately, and her adolescence in the 1970s profoundly influenced her artistic output. Additionally, this segment of the exhibition includes the debut of _Je T’aime Trois_ (2018), a film created in collaboration with her life partner and muse, Raquel Chevremont. Thomas’s artistic practice is dedicated to portraying Black beauty, femininity, and power in a manner that liberates these concepts from cultural oppression and marginalization. Her engagement with a touchstone of Black American culture like _Jet_ magazine underscores her commitment to making both historical and contemporary celebrations of Black identity, femininity, queerness, and transgressiveness more visible. The sequential presentation of the shows is critical for establishing a comprehensive narrative, allowing viewers to experience a cohesive journey. While the shows are distinct, each possessing unique aesthetic formalisms and references, collectively they form a thematically consistent thread concerning the Black female body, connecting the various cities and countries. The third and fourth chapters of the exhibition, opening concurrently in Paris and Hong Kong in October, offer audiences the opportunity to experience the full scope of Thomas’s vision both in person and virtually through installation videos, extending the artistic journey to a global audience. #MickaleneThomas #BeyondThePleasurePrinciple #BlackArt #FemaleArtists #ContemporaryArt #Exhibition #LévyGorvy #JetMagazine #BlackBeauty

Samantha Tannehill of Tannehill Interiors designed a sophisticated pied-à-terre in West Chelsea, New York City, demonstrating a contemporary approach to residential design. This project highlights how global craft languages can be authentically integrated without cultural appropriation, fostering a space that reflects the client’s international travel and service experiences. The design focuses on intentional material curation to create a cohesive connection between local and global aesthetics within the apartment. The living area is characterized by the anchoring presence of bouclé chairs, complemented by handwoven textures. Velvet cushions and linen wallpaper from Dedar contribute to a layered tactile experience. The entryway sets the initial tone with Farrow & Ball’s Dimity 2008 paint, chosen for its ability to subtly shift in appearance throughout the day due to its rich pigmentation and complex undertones, thereby enhancing the living quality of the color as a material. The renovation of the apartment began after a flood prompted the owners to consider updates. Having a prior neighborly relationship with Tannehill, the conversation evolved from initial inquiries about flooring and contractors to a comprehensive redesign aimed at personalizing the home to the owners' personalities and lifestyle. This collaborative process underscores the importance of a strong client-designer relationship. A central feature of the apartment is a gallery wall displaying African art pieces. These artworks are not merely decorative but are positioned as fundamental elements that inform the overall spatial narrative, acting as cultural bridges. This approach avoids superficial exoticism, instead integrating global influences as meaningful components of the design. The apartment also incorporates natural fibers through baskets and various decorative objects, contributing to an eclectic, bohemian aesthetic. Tannehill describes the space as having both deliberately curated elements and pieces that have been accumulated over time, reflecting a lived-in and personal quality. Key design elements and brands utilized in the project include bouclé for seating, velvet for soft furnishings, Dedar for linen wallpaper, and Farrow & Ball for paint, specifically Dimity 2008. The inclusion of African art and natural fiber objects further defines the apartment's unique character. The project successfully blends modern design principles with culturally rich elements, resulting in a residence that is both contemporary and deeply personal. Photography for the project was provided by Patrick Xiong. #InteriorDesign #WestChelsea #PiedATerre #SamanthaTannehill #TannehillInteriors #GlobalInfluence #CulturalCraft #ContemporaryDesign #NewYorkCity

The article discusses Tyler Mitchell's exhibition, 'Portrait of the Modern Dandy,' at Gagosian Burlington Arcade in London. This collection of photographs was initially created as a visual essay for the Met's spring 2025 Costume Institute exhibition, 'Superfine: Tailoring Black Style,' curated by Monica L. Miller. Mitchell's decision to display these works in Burlington Arcade is intentional, given the area's historical connection to sartorial culture, being close to Savile Row and Jermyn Street, and once housing Britain's first department store. He highlights that figures like Olaudah Equiano and Julius Soubise utilized style in these very streets centuries ago as a means of self-expression and challenging social hierarchies. The exhibition is significant as it deliberately reinserts contemporary images of Black Dandy presence into a historical lineage that largely began in England. Mitchell's series invites a re-evaluation of dandy aesthetics and their contexts, building upon recent explorations of menswear and Black style in London, such as Ekow Eshun’s ‘Made You Look: Dandyism and Black Masculinity’ and the V&A’s ‘Fashioning Masculinities: The Art of Menswear’. Mitchell, who understood dandyism and the Black Dandy archetype before this project, views it as a clever subversion of traditional male dress conventions. His upbringing in Atlanta led him to seek alternative expressions of male identity intertwined with his Blackness. Mitchell is known for his world-building and scenes of Black utopia, where leisure is portrayed as a tender pursuit, as evidenced in his monograph 'Wish This Was Real.' Fashion serves as a crucial storytelling tool in his work. He has collaborated with notable designers like Jonathan Anderson and Grace Wales Bonner and made history as the first Black photographer to shoot a _Vogue_ cover (Beyoncé) in the magazine's 126-year history at just 23 years old. For Mitchell, the Black Dandy symbolizes a realm of possibilities, offering a perspective on reimagining masculinity. The Gagosian show features protagonists dressed in various suit styles and accessories, some wearing garments from the Met exhibition, while others are self-styled or don pieces from their personal wardrobes. Noteworthy images include '_The Dinner Party_,' depicting nine individuals in sharp black suits, top hats, and bow ties around a table, and '_Harlem Stoop_,' showcasing eight people in front of a Brownstone, referencing the Harlem Renaissance. Mitchell reflects on the project's origins, stating that Monica Miller gave him considerable creative freedom, aiming to blend historical references with a modern sensibility while envisioning the future. His research for the project involved immersing himself in Miller’s writings and revisiting other influential works like Isaac Julien’s _Looking for Langston_. He recalls a significant moment discovering an early portrait of Colman Domingo in Shantrelle P Lewis’s _Dandy Lion: The Black Dandy and Street Style_, which underscored how dandyism can be evoked through diverse means, primarily through attitude and wit. Mitchell perceives his work as fragments of a larger narrative, embracing beauty while accepting that not every image needs to be a standalone masterpiece, emphasizing fluidity. In creating 'Portrait of the Modern Dandy,' he consciously engaged in a dialogue with photographic predecessors such as James Van Der Zee, Carl Van Vechten, Seydou Keïta, and Malick Sidibé, and acknowledges contemporary influences like Yinka Shonibare, Isaac Julien, Grace Wales Bonner, and Rotimi Fani-Kayode in London. #TylerMitchell #PhotographyExhibition #BlackDandy #GagosianLondon #FashionHistory #Masculinity #ArtAndCulture #LondonArtScene

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

The perception of gallery walls as a dated decor trend has been challenged by designer Sara Simon's approach in a Greenwich Village townhouse. Previously dismissed for being cluttered or belonging to an older design era, Simon's work demonstrates that with thoughtful execution, gallery walls can achieve a timeless aesthetic. Simon's design, featured in a $23 million New York City townhouse, utilizes a gallery wall composed entirely of black-and-white photography, primarily depicting musicians and cultural icons. This choice of a consistent monochrome palette is crucial in unifying the diverse images, making the wall appear cohesive despite its varied content. The images, such as The Beatles meeting Muhammad Ali or Frank Sinatra mid-shave, possess a vintage quality without being anchored to a specific decade, allowing them to blend seamlessly. Scale is another critical element in Simon's design. Recognizing the height of the walls in the parlor room, she incorporated a mix of large and smaller frames to fill the entire space, avoiding a rigid, grid-like appearance. This approach creates an animated feel that harmonizes with the room's vintage furniture and the home's historical character. Simon intentionally avoided perfectly aligned frames, opting for a more organic and dynamic arrangement to enhance this effect. To further unify the eclectic collection, Simon chose consistent wood frames throughout the gallery wall. While she emphasizes that matching frames are not a strict rule, this choice contributed to the overall harmony of this particular installation. She believes that the true success of a gallery wall lies in its ability to reflect the personality and interests of the homeowner, describing it as an expression of the individual's life and perspective. Simon highlights that her design principles are not rigid doctrines but rather adaptable strategies. She acknowledges that in her own home, she employs a gallery wall that mixes photographs, paintings, and various colors. This flexibility underscores the idea that customization and personal relevance are key to making a gallery wall timeless and meaningful. The setting of Greenwich Village, known for its artistic and eccentric residents, further supports the notion that a personalized, art-filled environment feels perfectly at home. In addition to the main gallery wall concept, the article provides several product suggestions for readers looking to create their own gallery walls. These include a pre-curated set of varied frames for an eclectic look, a bold colored print to make a statement, a consistent geometric frame for a cohesive feel, and a vintage-inspired photographic print. The article also touches upon incorporating tiny art and utilizing matted frames to give casual snapshots a sense of authority. It concludes by suggesting the inclusion of vintage tapestries as an emerging trend in art and decor, potentially integrating them into a gallery wall for added texture and interest. #GalleryWalls #InteriorDesign #HomeDecor #DesignTrends #ArtCollection #BlackAndWhitePhotography #PersonalStyle #TimelessDesign

This article provides an in-depth look into the meticulous renovation of Washington Hall, a 143-year-old auditorium at the University of Notre Dame. The project aims to modernize the auditorium for contemporary audiences while faithfully restoring its high Victorian interior artistic details, originally added in 1894 by Italian artists Luigi Gregori and Louis Rusca. These ornate artworks, including portraits, floral scenes, filigree, and scrollwork, were painted over in 1956 and subsequently hidden for decades. The renovation began with an initial exploration in February, during which artists from Conrad Schmitt Studios carefully chipped away at layers of paint in various sections of the auditorium. This process revealed the buried 1890s artwork underneath, providing crucial insights into the original aesthetic. The article highlights the work of Oleksandr Lytvynenko, a mural artist at Conrad Schmitt Studios in New Berlin, Wisconsin, who is creating new murals and medallions for Washington Hall. These pieces, including depictions of theatrical comedy and tragedy masks, Greek god Dionysus, and St. Genesius, are crafted with precision to fit the historical context and recreate the grandeur of the original decor. The design process for the renovation was significantly guided by a sharply detailed, black-and-white photograph from the Notre Dame Archives, dating back to circa 1895. This photograph, showcasing the stage and northeast section of the auditorium with its intricate details, served as the primary reference. Aidan Gruber, a historic decorative digital designer at Conrad Schmitt Studios, developed a comprehensive decorative plan based on this image. As more of the original artwork was uncovered on-site, the plan was updated to incorporate the newly revealed color schemes and patterns of Gregori and Rusca, transforming monochrome elements into vibrant multi-colored designs. For instance, a gold filigree above the stage was re-envisioned with intertwining hues of gold, plum, and green, and a ceiling flower transitioned from a single color to a bold yellow on a sky-blue background. Artists on campus also created tracings of the uncovered artwork, which Gruber used to accurately size new stylized murals and medallions, ensuring they fit precisely into the spaces where original portraits once hung. The process involved a collaborative effort, with workers on campus sending close-up images of geometric designs to Gruber, who then integrated these motifs into the overall plan like pieces of a jigsaw puzzle. While some surfaces within Washington Hall are still undergoing paint stripping and cleaning, final artistic elements are simultaneously being added. Inga Belozerova, an artist based in New Jersey, hand-painted a colorful scene of flowers and grasses on the ceiling's inner dome, drawing inspiration from the 1890s photograph. Additionally, a trompe l'oeil mural of Pegasus, the winged horse from Greek mythology, is being developed near the stage. Other ongoing work includes the precise application of stenciled patterns in chocolate brown over a dusty salmon background on the crown molding and the painstaking process of applying powder-thin layers of bright gold leaf to wooden edging. Aidan Gruber, the digital artist, expresses his anticipation to visit Notre Dame upon the project's completion to witness the tangible results of his design efforts, emphasizing the goal of blending the energy of the original murals with a more contemporary style. #WashingtonHall #NotreDame #HistoricRenovation #ArchitecturalRestoration #MuralArt #VictorianDesign #InteriorDesign #ConradSchmittStudios #ArtConservation

This article offers comprehensive guidance on effectively hanging art, drawing insights from award-winning designers, a museum director, and Christie’s specialists and art handlers. It emphasizes the importance of considering the context in which art will be displayed, noting that factors such as whether the space is domestic, business, or institutional, along with architectural elements like windows, doors, ceiling height, and floor quality, all influence how an artwork is perceived and interacts with its environment. The article advises against hanging art in locations that could lead to damage. Specifically, it cautions against placing artworks above fireplaces or radiators, as heat can melt or damage canvases over time. Similarly, direct sunlight is highlighted as a risk for fragile or unprotected works, with a strong recommendation to avoid hanging drawings or watercolors near windows. To mitigate these risks, smart framing techniques are suggested, including the use of special glazes that block UV light to prevent fading and seals that create artificial environments to protect against humidity and temperature fluctuations. The article references a guide to framing for further expert advice. Establishing the correct height for hanging art is another key aspect. It notes that modern and contemporary works are typically hung at 1.55 meters to the middle of the picture, a standard adopted by museums and Christie’s. Old Masters are often hung slightly higher. However, domestic settings may require adjustments based on furniture and ceiling height, and some artists, like Le Corbusier, provided specific hanging instructions. The importance of using double fixings rather than a single central one is stressed to prevent works from tilting forward or moving easily. The article also delves into the aesthetic considerations of art display. It introduces the concept of “negative space” as a crucial element when arranging multiple artworks, defining it as the space between works that guides the spectator's eye. Designers encourage variety in art arrangements, advocating for the mixing of periods and genres to create dynamic visual dialogues. Examples include pairing 17th-century portraits with contemporary paintings or combining a large painting with smaller groups of photographs. Finding visual or thematic links between artworks is suggested as a method for grouping, even if they span centuries apart, as demonstrated by juxtaposing a Leda and the Swan painting with modern bird sculptures, or a David LaChapelle work with a Dutch Old Master to explore shared themes. Conversely, playing on contrasts is also presented as an effective strategy to allow individual works to stand out as singular forces. Finally, the article provides practical advice for installation, emphasizing the need for technical precision over subjective judgment. It recommends using a tape measure and spirit level to ensure artworks are hung straight, especially for symmetrical arrangements. Structural considerations are also paramount: understanding wall composition is crucial, particularly for heavy pieces, and it's important to be cautious of water pipes and electrical wiring, especially in older homes where their placement might be less predictable. Despite these technicalities, the overarching message is that personal preference should ultimately guide the arrangement, stating that there is no absolute right or wrong way to organize a collection. Experts’ personal approaches reveal diverse methods, from protecting prints in bedrooms to integrating small works into bookshelves, underscoring that a good artwork will look appealing regardless of its placement. #ArtHanging #HomeDecor #InteriorDesign #ArtCollection #FramingArt #ArtDisplay #MuseumStandards #ArtPreservation #ContemporaryArt

This article features an interview with Natalie Greenside and Melissa Brown, co-founders and principals of MN Studio, an interior design firm. The interview delves into their journey of establishing their own business, their work and career, and their recommendations for activities and dining in Santa Barbara. Both Greenside and Brown previously worked at an Architecture and Interior Design firm in Santa Barbara, where they discovered their compatibility and shared vision for operating a design studio. Their decision to start MN Studio stemmed from a desire to move beyond working for others, a realization that grew stronger over the years. They formalized their business plan by taking a class through Women's Economic Ventures (WEV), which provided them with the foundational knowledge for entrepreneurship. MN Studio operates as a full-service Interior Design firm, leveraging the extensive backgrounds of both founders in architectural firms. Their expertise is complemented by a rich understanding of materials and a vast network of industry connections. The firm emphasizes a highly collaborative approach and strong client advocacy. The co-founders acknowledge that their success is a result of hard work and significant support from their families, clients, friends, and colleagues, as well as their mutual partnership. A notable challenge during their first year of business was the arrival of Melissa's baby, which coincided with an influx of new projects. This period proved demanding but ultimately strengthened their resolve and demonstrated their ability to navigate complex situations, combining the demands of new motherhood with running a growing business. Overcoming initial difficulties in hiring, MN Studio now prides itself on a team of experienced interior designers. They prioritize creating an office culture that is collaborative, flexible, and creative, valuing employee input and respecting their personal lives outside of work. The article highlights some of MN Studio's current and upcoming projects, which include custom residential designs in Santa Barbara, Montecito, and Malibu, each featuring unique architectural styles. Their hospitality portfolio encompasses a boutique hotel in San Luis Obispo and several bars and restaurants on the South Coast. Additionally, they are excited about recent workplace projects, one of which uniquely incorporates a live tree within an open office environment. Greenside and Brown also share their favorite local spots in Santa Barbara. For breakfast, they recommend Lilac Patisserie for quiche and cappuccino, followed by a visit to the Santa Barbara Art Museum. An afternoon could be spent wine tasting in the Funk Zone, culminating in dinner at Flor de Maiz for duck confit taquitos. A second day might involve hiking local trails for scenic views, followed by brunch at Field and Fort in Summerland and shopping at The Well, Porch, and Botanik. An evening suggestion includes dinner at Ca Dario, an Aperol Spritz at Good Lion, and a concert at the Santa Barbara Bowl. They specifically highlight Lotus Land, an estate known for its avant-garde landscaping, as an unmissable attraction. The co-founders express gratitude for the extensive support they received, acknowledging their families for financial investment, encouragement, and guidance in business operations. The skills acquired from WEV were crucial in building a solid business foundation. They also mention the overwhelming support from clients, consultants, friends, and colleagues upon announcing the launch of their business. The article concludes by inviting readers to visit MN Studio's website and Instagram for more information, and attributes image credits to Blake Bronstad, while also providing a link for community nominations for the Shoutout series. #InteriorDesign #Entrepreneurship #MNStudio #NatalieGreenside #MelissaBrown #SantaBarbara #BusinessJourney #DesignFirm #WorkLifeBalance

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

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