A Work of Art

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

Displaying art in a home, whether it's a house or a condo, is an artistic endeavor that requires careful consideration of various factors to create impact and harmony within the space. While there are no strict rules in design, according to Ben Leavitt of PlaidFox Studio, there are optimal approaches to showcasing artwork. The size of the living space significantly influences art placement, with larger homes offering more opportunities than smaller condos. Despite size constraints, art is considered essential for bringing life to any space. Happy Home Design, for example, specializes in optimizing art display in small spaces like modern condos, which often have abundant windows, limiting wall space. In such environments, art pieces become more impactful as they face less competition from other artworks. The density of windows in new condo builds necessitates a strategic approach to identifying feature walls and determining appropriate artwork sizes. Artwork chosen for display should allow for "breathing room," meaning individual pieces should have enough surrounding space to be appreciated. For collectors with numerous pieces, the challenge lies in curating these items to provide each piece with adequate space and to thoughtfully juxtapose them to foster a dialogue between artworks. When assisting clients in selecting art, designers consider the homeowners' interests, desired mood for the room, and color schemes. The physical dimensions and scale of the artwork must be proportionate to the furniture and the overall balance of the room. Creating visually engaging vignettes as one moves through a space is also important; blank walls that disrupt the room's balance are opportunities for artwork. In prominent areas like a foyer, a larger artwork can create a significant visual impact compared to a smaller piece on a grand wall. Different rooms call for different artistic considerations. Leavitt suggests that the choice of art for a bedroom versus a living room depends on the desired atmosphere. Calming artwork would suit a serene room, for instance. Practical aspects, such as reflections, are also important; rooms with ample natural light may benefit from art without glass or with non-glare, matte-finish glass to prevent distracting reflections. Family artwork is often preferred in more personal areas, such as bedrooms or hallways leading to private spaces, rather than in public living rooms. Thematic art, like a beach scene, might be appropriate for a bathroom, especially if it relates to family photos or interests. Another approach to displaying art is creating a gallery wall, space permitting. For those who haven't accumulated art over a long period, the goal is to create a curated look that suggests a long-standing collection. This involves selecting diverse pieces that represent stylistic contrasts, ranging from minimalist to vibrant and colorful. A well-designed gallery wall incorporates a variety of frames, including wood, gilded, vintage, and contemporary, as well as pictures on stretched canvas. The inclusion of three-dimensional pieces, such as artifacts from travels, is also recommended to add depth and interest. A common strategy is to start with a primary piece in the center and expand outwards, leaving small sections to be filled with personal items. This method allows for the collection to evolve and grow with the homeowner over time. #HomeArt #InteriorDesign #ArtCuration #GalleryWall #HomeDecorating #SmallSpaceDesign #ArtworkPlacement

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

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

The article showcases the work of Jared Abner, a 2021 Furniture Design graduate from RIT, focusing on his distinctive approach to creating furniture and sculptures. Abner's artistic philosophy is characterized by a unique combination of subtraction and addition, a process he describes as "creation through destruction." He begins by engaging in subtractive methods, such as turning, carving, and cutting raw materials, and then reassembles these modified pieces to form new creations. This methodology highlights a dynamic interplay between deconstruction and reconstruction in his design process. One prominent piece featured is a walnut and fiber rush bench from 2020. This work exemplifies his ability to blend traditional woodworking materials with contemporary design principles, resulting in a functional yet artistic piece of furniture. Another significant creation is an abstractly shaped chair crafted from stack-laminated cherry wood, also from 2020. This chair demonstrates his innovative use of lamination techniques to achieve complex forms and textures, transforming solid wood into a visually fluid structure. The intricate layering of cherry wood not only adds to the aesthetic appeal but also speaks to the meticulous craftsmanship involved in its construction. The article also presents a series of "Suspension Study" sculptures, which further illustrate Abner’s exploration of form, balance, and material interaction. "Suspension Study One" features a wood sculpture connected to a large blue ball, utilizing walnut, poplar, and milk paint from 2020. This piece suggests an investigation into equilibrium and the tension between different elements. "Suspension Study Two," from the same year, continues this theme with a wood sculpture incorporating a rope to hold a blue ball, again using walnut, poplar, and milk paint, alongside the addition of rope. The inclusion of rope introduces an element of flexibility and dynamic force, contrasting with the rigidity of wood. Finally, "Suspension Study Three," created in 2020, consists of a black sculpture where two large wood pieces sandwich a blue ball, made from ash, poplar, and milk paint. This piece explores containment and compression, with the blue ball acting as a focal point that is simultaneously supported and constrained by the wooden components. Collectively, these works underscore Abner’s versatility in transforming raw materials into pieces that challenge conventional notions of furniture and sculpture, emphasizing both aesthetic innovation and a thoughtful engagement with the physical properties of his chosen media. His portfolio reflects a deep understanding of material manipulation and an artistic vision that merges functionality with sculptural expression. #FurnitureDesign #Sculpture #JaredAbner #RITAlumni #Woodworking #MaterialManipulation #ArtisticProcess

This article from T Magazine highlights a range of cultural and lifestyle recommendations, featuring a former N.F.L. player turned furniture designer, a new art gallery in TriBeCa, a botanical-inspired wallpaper collection, an Athens restaurant showcasing contemporary Greek art, a homey Seattle hotel, and a hand-painted apparel line. Each section provides details about the featured subject, including their background, inspiration, notable works, and practical information for visitors or consumers. Michael Bennett, a former N.F.L. player, founded Studio Kër after retiring from football in 2020. His furniture designs are deeply inspired by his activism work for racial justice, his upbringing in Louisiana and Texas, and his ancestral roots in Senegal. Bennett’s inaugural exhibition, “We Gotta Get Back to the Crib,” features an 11-piece collection of sculptural furniture that reinterprets objects found in communal Black spaces. Key pieces include the Gumbo lounge chair, a sophisticated take on the monobloc chair, and the Pew couch, inspired by church benches, crafted from leather and ekki wood. The exhibition debuted at Theaster Gates’s Rebuild Foundation in Chicago and is scheduled to travel to Houston. In TriBeCa, New York, gallerist Jack Shainman opened a new 20,000-square-foot gallery called The Hall in the historic Clock Tower Building. This Beaux-Arts space, built around 1898 and formerly home to the New York Life Insurance Company, has been renovated and restored. The gallery serves as a new cultural center offering free exhibits, allowing visitors to appreciate both contemporary art and the historic Manhattan architecture, including its preserved bank vault and 29-foot-high coffered wood ceilings. The Hall plans to officially open in September with a 16-foot-tall bronze sculpture by artist Nick Cave. Currently, it features Richard Mosse’s immersive 74-minute multi-spectral video installation, “Broken Spectre,” which addresses the destruction of the Amazon rainforest. Mosse emphasizes the historical connection between the building’s past, built on wealth from enslaved people, and ongoing global issues like environmental destruction. Marian McEvoy, a former fashion and design editor, launched a new wallpaper and fabric collection with Schumacher, inspired by her botanical collages and illustrations. After nearly 30 years in Paris and Manhattan, McEvoy moved to a cottage on the Hudson River, where she creates her art. Her collaboration with Schumacher features six wallcoverings and four fabrics, including prints like Thistle Vine, Polka-Dot Jungle, and Bow-Wow-Wow, all reflecting her signature use of strong colors and lines. McEvoy has incorporated these designs into her own home, showcasing her personal approval of the collection. In Athens, entrepreneur and art collector Philippos Tsangrides opened Gallina, a restaurant designed by Objects of Common Interest. The interiors blend diverse materials such as red marble, pink leather, terrazzo, and wood, creating an unexpected aesthetic. Gallina also displays pieces from Tsangrides’s private art collection, including a silk tapestry by Jannis Varelas and a neon sign by Olga Migliaressi-Phoca. A notable design element is a sinuous white light tube by the architects. The menu, curated by chef Pavlos Kiriakis, features dishes with no specific provenance, such as chicken with miso beurre blanc and truffle, and wild mushrooms with white chocolate béarnaise. Tsangrides intends to open a wine bar nearby. Julian Hagood and Jake Santelli opened Harry’s Guest House, a two-room hotel in Seattle’s Capitol Hill, inspired by their neighbor Winnie. The Dutch Colonial home was purchased from Winnie, whose drawings and wooden writing desk are now integrated into the hotel’s design. One suite is named after Winnie, and the other after the couple’s dog, Lucy. The interiors combine vintage and contemporary furniture and textiles, featuring a 1940s hand-carved wardrobe and Zak+Fox fabrics. Guests can also enjoy in-room dining from Harry’s Fine Foods, Hagood’s adjacent restaurant. Artists Julia Dault and Hannah Whitaker launched Signs Point to Yes, a line of hand-painted apparel. Their sweatshirts and pants feature designs like metallic tulips, sherbet-hued confetti, and smiley (and sad) faces, often painted using ketchup bottles to achieve a gestural, imperfect style. The brand name, inspired by a Magic 8 Ball, conveys a sense of optimistic humor. The artists selected comfortable cotton garments as their canvases, recognizing their popularity during the pandemic and their continued appeal beyond loungewear. #SculpturalFurniture #ArtExhibition #Design #ArtGallery #InteriorDesign #HomeDecor #Restaurants #Hotels #Fashion

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 explores the art of decorating with paint, emphasizing that it's more complex than a simple coat of color. It highlights the importance of thoughtful consideration in selecting paint colors to effectively transform a room. The guide delves into various factors influencing color choice, starting with the style of the room and its natural light sources. It points out that east-facing rooms receive warm morning light that cools throughout the day, while west-facing rooms experience the opposite. The article also advises considering existing furniture or decorative items that might impact color decisions and the primary time of day the room is used. For instance, a bedroom, primarily used in the evening, is better suited for dark colors, whereas a living room might benefit from lighter, airier tones. The article further elaborates on how specific colors can influence mood and atmosphere. It suggests that yellow, when used judiciously, can evoke feelings of joy, while light blue promotes a calming effect. Green is linked to nature and can help alleviate stress, establishing a connection with the outdoors. It also addresses the use of bold colors, recommending moderation to prevent them from becoming overwhelming. The advice is to balance vibrant hues with neutral tones, especially on walls, to allow for colorful accents in accessories like lamps, pillows, and blankets. This approach ensures that bold elements enhance rather than dominate the space. Another key aspect covered is embracing dark colors. While initially perceived as intimidating, dark colors are presented as adding significant personality to rooms, distinguishing them from plain white or light shades. The article encourages a full commitment to dark colors, advocating for painting all four walls rather than just one, and avoiding half-measures. It emphasizes incorporating accenting colors when using dark neutrals like grey, navy, black, or brown, noting that many colors can complement them effectively. Finally, the article stresses the importance of maintaining cohesion throughout a home. While each room can have its unique character, it's recommended to tie them together with subtle continuities. Using complementary colors where rooms connect is suggested as a method to ensure a harmonious flow and prevent spaces from appearing disjointed. The article serves as a comprehensive guide for homeowners looking to make informed decisions about paint choices, mood-setting, and overall home aesthetic. #InteriorDesign #PaintColors #HomeDecor #ColorPsychology #RoomMood #DecoratingTips #AccentColors #HomeCohesion

The perception of faux finishing has evolved, transitioning from a once-popular home décor trend to a more nuanced practice now referred to as decorative painting. Initially, faux finishing gained traction for its ability to transform interiors, such as making a contemporary condo kitchen resemble a Tuscan villa. However, this aesthetic eventually became associated with dated styles, leading to a rebranding of the craft. Decorative painting distinguishes itself by focusing on subtle applications and sophisticated techniques. Unlike its predecessor, which sometimes produced overtly themed environments reminiscent of commercial establishments, modern decorative painting aims for understated elegance. An example includes using subtle glazes on kitchen islands or paneled walls to add warmth and depth, rather than creating garish, overtly distressed or textured surfaces. The distinction is crucial for understanding the current relevance of these techniques in contemporary design. Today's design trends frequently incorporate finishes on various surfaces, including furniture, cabinetry, walls, and flooring. Decorative painting techniques are instrumental in achieving these desired looks. For instance, the widespread use of gray tones—ranging from blue-gray to Belgian gray—as a neutral base in modern interiors can be enhanced or achieved through specific painting methods. This color palette is prevalent across windows, upholstery, walls, and wood, signifying a departure from older beige schemes and representing a fresh, current aesthetic. Decorative painting also offers practical solutions for updating existing furniture. Heavy, dark-stained Mediterranean-style pieces, often purchased to complement Tuscan-themed interiors, can be modernized by sanding and applying new paint, tinted waxes, or contemporary gray stains. This process lightens the visual weight of furniture, altering the overall ambiance of a room without requiring entirely new pieces. The ability to refresh items like chairs and tables with paint and aging glazes transforms them into elements suitable for contemporary, elegant spaces. Conversely, a resurgence of vibrant colors from the 1970s Palm Beach style, such as Kelly green, bright yellow, coral, and turquoise, is also observed. These bold hues are featured in lacquered furniture, mirrors, and chests, making strong statements. Geometric patterns like modern trellis, Moroccan, and chevron are appearing in textiles and wallpapers. While wallpaper has traditionally been an alternative to paint, it now often complements painted surfaces, particularly textured and patterned walls, bringing them back into design focus. The article also addresses the use of stencils, which have evolved significantly due to technological advancements. Modern stencils, created with laser-cutting technology, allow for customizable designs, colors, and sizes, enabling the incorporation of intricate patterns into décor, a marked improvement from older, often simplistic stencil applications. Economically, decorative painting provides a cost-effective alternative for homeowners who may not be able to undertake major renovations. Refurbishing items such as melamine cabinets or factory-produced dining sets with paint and glazes can significantly update a kitchen or dining area without the expense of a full remodel or new purchases. The quality of DIY decorative painting products, such as Valspar’s Antiquing Glaze and Annie Sloan Chalk Paint, has improved, making these techniques more accessible for consumers. Annie Sloan Chalk Paint, in particular, is highlighted for its user-friendliness, non-toxic nature, and durability, requiring no priming and offering an easy cleanup process. This product effectively transforms older furniture pieces, such as 1990s armoires, giving them a refreshed and updated appearance. The evolution of decorative painting mirrors fashion trends, where certain styles endure as classics while others are best left in the past, positioning current techniques as versatile and timeless design tools. #DecorativePainting #HomeDecorTrends #FauxFinishing #InteriorDesign #FurnitureRefurbishment #PaintTechniques #GrayInteriors #ColorfulInteriors #DIYHomeDecor

The home of Dr. Srikant and Ruta Gir, located in the gated Nottoway subdivision near Poplar and Kirby, is presented as an evolving work of art, meticulously designed and crafted. The Girs, both born in India, drew inspiration from Srikant's childhood estate in Hyderabad, an architectural wonder with 30-foot ceilings, mosaic tile work, a fountain, and European chandeliers. This early exposure motivated Srikant to imbue his own home with similar architectural grandeur and detail, including custom-made chandeliers from Hong Kong that replicate those from his grandfather's home, and traditional Indian imagery throughout the decor. Beyond Indian influences, the Girs incorporated elements from their extensive travels to Europe and Southeast Asia. Srikant, an engineer and co-director of the University of Memphis’ Biofuel Energy and Sustainable Technologies Center, spent over three years conceptualizing floor plans and acquiring pieces for their nearly 7,000-square-foot residence. In 2008, construction began with the help of Memphis builders Millard and Bonnie Townsend, bringing their vision to life. The exterior and interior design prominently feature Balinese influences, a result of Srikant's annual visits to Bali to source artists and materials. The front entrance is framed by a hand-carved sandstone border and pillars, a direct reflection of Balinese design. Inside, similar hand-carved sandstone Corinthian columns and a large wall art panel depicting cranes and lotus flowers reinforce this theme, reminiscent of his grandfather's home. A focal point upon entering is the flowing steel stairway banister and second-floor railing, a creation by renowned Memphis artist Yvonne Bobo. This piece, which took nearly eight months to complete, features creeping vines, gold leafing, and Swarovski crystals that refract light. The sitting room showcases a magnificent collection of hand-carved Louis XVI-style chairs, crafted over two years by French artisan Jean Phillips in teak wood, featuring intricate details and gold leafing. The dining room table, a custom creation, features an old European marquetry look. The Girs spent seven months acquiring a 5-foot by 13-foot solid mahogany piece for the tabletop and then enlisted skilled artists in Bandung, Indonesia, for the marquetry work, which involved carving veneer organic patterns inlaid into the table's top and sides. The final wood finishing was done by Furniture Medics in Memphis. Another distinctive feature is an abalone shell sink in one of the bathrooms, with the abalone sourced from New Zealand and then crafted into a unique basin in Bali. The home boasts two kitchens: a spice kitchen for Ruta's Indian cuisine and a second for dining and entertaining. The European-style cabinetry in the main kitchen was hand-carved in Bali with an ivory marble finish, complemented by speckled Brazilian granite countertops sourced locally. Local handymen Bill and John Rush were responsible for cabinetry installation, trim work, and other finishing touches. The Girs are also planning an addition: an eighteenth-century sitting area, styled after traditional Indian homes, adjacent to the kitchen. This project underscores the Girs' belief that patient effort and collaboration with skilled artisans from around the world can transform ideas into tangible, artistic living spaces. #HomeDesign #ArtisanCraftsmanship #GlobalInfluences #CustomFurniture #ArchitecturalDetail #InteriorDesign #MemphisHomes #BalineseDesign #IndianCulture

Pita and Bloom, founded in 2010 by Florencia Pita and Jackilin Hah Bloom, emerged from their collaborative experience at SCI-Arc and Greg Lynn's Form. The firm, a finalist in MoMA PS1's YAP competition in 2014, is recognized for its distinctive approach to architecture, which emphasizes color theory, abstraction, and pop art influences. Their designs integrate bright color palettes, collage, pattern, and geometry, intentionally embracing ornament in an architectural context. The practice is typically small, consisting of the two founders, and occasionally expands to include one or two designers and interns for specific projects. The motivation behind establishing their practice stemmed from a strong working relationship and friendship developed during their time at Greg Lynn's office. This led to a natural collaboration, initially exploring shared ideas on color and form through competition projects and speculative work. This early body of work provided the foundation for their nomination in the MoMA PS1 competition. Over time, their collaboration evolved from self-initiated projects to commissioned architectural work, with their academic roles at the Southern California Institute of Architecture (SCI-Arc) continuously informing and being informed by their practice. An example of this synergy is Florencia's Los Angeles River studio, which reimagined the infrastructural space as a public landscape through painting the concrete riverbed, leading to the project 'Flat Pools,' featured in 'Art Papers.' One significant challenge faced by Pita and Bloom is grounding their interests and ideas within the rapidly evolving discourse of architecture, which shifts with advancements in arts, technology, and society. Having transitioned from traditional drafting methods to embracing digital technology, and now navigating a landscape where representational techniques define architecture, they employ a range of analog and digital tools tailored to each project. Despite these evolving mediums, their core template remains consistent: defining the parameters of color and form in architecture. Their projects consistently explore color as a material with texture and patterns, and forms that transition from flat to 2.5D through concurrent lines and volumes. The firm does not set specific goals for its size, viewing growth as an organic process. They value the contributions of talented collaborators and project teams, which allows their practice to remain open and experimental while maintaining a serious and earnest approach. The benefits of a small practice, though not always by choice, include the ability to dedicate extensive time and focus to idiosyncratic and self-initiated projects. This affords them the luxury of sustained creative thought and exploration of ideas, contributing to their unique architectural output. The article showcases several projects by Pita and Bloom, illustrating their design philosophy. 'FLAT POOLS' for the Los Angeles River proposes painting the riverbed to transform it into a public landscape. 'LA MEDIANERA' in Tetla de la Solidaridad, Mexico, presents a rural house prototype for Infonavit's 'From the Territory to the Dweller' initiative. 'THE NEW ZOCALO' for Mexicantown, Detroit, was a project for the 15th Venice Architecture Biennale's U.S. Pavilion, 'The Architectural Imagination.' Finally, 'SIGNATURES' is an entry façade installation for the Princeton School of Architecture in Princeton, New Jersey. These projects exemplify their consistent exploration of color, form, and ornament in diverse architectural contexts. #ArchitecturalDesign #ColorTheory #OrnamentInArchitecture #PitaAndBloom #SmallPractice #ArchitecturalInnovation #LosAngelesArchitecture #AcademicPractice #ArchitecturalCollaboration

Pottery Barn is a popular choice for home décor, even among interior designers, due to its timeless yet trendy designs and collaborations with artists and artisans. The brand offers a diverse selection of wall art, including prints, photographs, text art, woven pieces, and items made from unique materials. This selection caters to various aesthetics, from rustic to refined, and includes abstract arrangements, landscapes, cityscapes, seascapes, and depictions of plant and animal life. The article highlights twenty distinct pieces of wall art available at Pottery Barn. The first is "Color Theory" by Tracey Capone, a photograph of Burano, Italy, with a whimsical, foggy effect suitable for any living space. Next is "Morning Bird" by Lannie Hall, a black and white photo of a bird on a beach, available with natural oak, walnut, or slate black frames, with a commitment to plant a tree for each purchase. "Aerial Beach" by Michael Schauer captures a vibrant beach scene from above, featuring colorful umbrellas and glistening water, bringing a sun-filled atmosphere into the home. "Coral" by the Artists Studio offers a collection of ocean-inspired sketches, available individually or as a set of eight, allowing for flexible arrangement. A handcrafted wooden block wall art piece provides a 3D effect, made from chamcha wood, fitting natural or industrial aesthetics. "Wells and Arcs" by Alyson Khan is an abstract art piece that can evoke either a retro or contemporary feel, ideal for placement above a sofa, bed, desk, or dining table. Patricia Vargas' "Evergreen," along with her other works like "Sur" and "Over and Under," are abstract paintings with subtle shades, creating a cohesive look when displayed throughout a home. "And All The Stars In The Sky" by Gold Rush Art Co. is a hand-crafted black and white piece on matte canvas, offering a cosmic, dream-like décor for bedrooms. "Colorado" by Dan Hobday, while seemingly simple, is a captivating and calming landscape piece, reflecting the diverse terrains of Colorado. Live edge teak wall art showcases the unique beauty of natural wood, with shapely teak pieces framed in black metal, offering versatile installation options. A carved wood octopus piece provides an aged, nautical feel, perfect for coastal homes, and can be paired with a matching sea turtle. Pottery Barn's in-house artists created the "New York City" framed print, inspired by retro images, which can be complemented by prints of other global cities like San Francisco, London, and Paris. "Sunset on St. Germain" by Rebecca Plotnick captures a romantic Parisian rooftop scene, suitable for bedrooms, living rooms, or dining areas. "Porcelain Blue" framed paper prints mimic traditional porcelain designs with watercolor paint on paper, fitting country or elegant interior styles. Recycled deer head wall art is crafted from birch shipping pallets, offering a unique and creative touch for various home settings. "Le Vie Ballet" paper prints are charcoal sketches with pink shading and white highlights, presented in jelutong wood frames with a gold-leaf finish, available individually or as a set of three. Meda seagrass wall art, a set of five woven pieces, suits Southwestern, organic, or boho-chic décor, featuring designs created with three shades of seagrass. "Peace" by Walker Noble, an artist who has collaborated with major brands, is a striking piece that some compare to Warhol or Matisse. "Peace & Tranquility" by Melissa Koby depicts a soothing scene and can be complemented by her other works, "Unity" and "Hope Rising," to create different moods. Finally, "Puppy Blanket" is a black and white photograph featuring a puppy's nose peeking from a knitted blanket, a charming and adorable piece of art. These selections demonstrate Pottery Barn's commitment to offering a wide range of artistic styles and mediums, suitable for enhancing various home interiors. #PotteryBarn #WallArt #HomeDecor #InteriorDesign #ArtisticCollaborations #PhotographyPrints #AbstractArt #WovenArt #SustainableArt

The ancient art of decorative plasterwork, known as stucco, is experiencing a resurgence, moving beyond its historical association with the affluent to become a contemporary design element. Originating with the Egyptians and refined by the Romans, stucco reached its peak during the Italian Renaissance and later found prominence in 18th-century Ireland, where stuccodores like Michael Stapleton adorned Georgian homes with intricate plasterwork. Examples of this historical craftsmanship, resembling delicate wedding cake piping, can still be observed in places like the Powerscourt Shopping Centre in Dublin. Historically, plaster finishes often served to imitate more expensive materials, such as marble. Scagliola, a Florentine plaster technique developed around the Medici era, perfectly mimicked the appearance of marble columns often seen in Irish Georgian houses. However, contemporary stuccodores, such as Paul Marlow from Belfast, emphasize that modern decorative plasterwork aims to celebrate its own inherent qualities rather than feigning other materials. Marlow differentiates his craft from standard plastering, likening the distinction to that between a joiner and a cabinet-maker. He views stuccodores as artisans who work with color and texture, not just smooth surfaces. Marlow creates his products from scratch using traditional ingredients like lime, marble flour, and earth pigments, which he claims yields superior results at a comparable cost to pre-mixed products. Despite its artisan nature, decorative plasterwork remains relatively expensive. For instance, Marmarino, a type of stucco resembling 'little marble', costs approximately €96 per square metre. However, this cost can be offset by eliminating the need for painting, as the color is embedded within the material, offering indefinite durability with proper care. Marlow notes that his own home, featuring various stucco finishes, will likely never require redecoration. His personal residence showcases different applications of stucco. The children's bedroom features a matt green Marmarino with a suede-like texture, priced around €108 per square metre. In the master bedroom, he utilized a Moroccan Tadalakt, a soft-looking finish with minimal color variation, in black oxide with a hint of cobalt blue, costing €156 per square metre. The living room boasts a shiny black ceiling panel made from stucco lucido, a fine grade of marble powder and lime polished with a hot iron. Marlow advises clients against choosing currently fashionable colors for these permanent installations, suggesting that trendy shades can quickly become tiresome. For those seeking a less permanent and more economical wall finish, the article introduces whitewash. Also lime-based, whitewash offers a distinct alternative to chemically-based paints. Edward Byrne of the Traditional Lime Company in Co. Carlow explains that whitewash possesses a "double-refractive index," causing light to bounce off it in two directions, contributing to the luminous and sparkling appearance of traditional Irish cottages. While historically applied annually for hygiene and mite control due to lime's antiseptic properties, modern application does not require such frequent re-coating. Whitewash is significantly more affordable, costing around €1 per square metre, although more sophisticated lime-based paints can reach €5 per metre. A crucial consideration for using pure limewash is the porosity of the wall; it will only adhere properly to a porous surface, a characteristic easily tested by observing water absorption. Traditionally, whitewash was not exclusively white, with colors varying across Ireland based on local mineral pigments, such as yellow in Adare and Limerick, pink in east Cork, and red in Wicklow from Avoca mine pigments. While some contemporary lime-based interior products still derive colors from earth pigments, others may incorporate non-organic ingredients, making expert consultation advisable before purchase. The article concludes by listing websites for Paul Marlow and the Traditional Lime Company for further information. #Stucco #DecorativePlasterwork #InteriorDesign #HomeRenovation #ArtisanCraftsmanship #LimeWash #TraditionalBuildingMaterials #PaulMarlow #EdwardByrne

This article outlines a detailed guide on creating a gallery art wall, offering a trendy and flexible method to transform any room. It emphasizes that gallery walls allow individuals to inject personality, add color, and establish a specific mood by filling empty spaces with their favorite artwork, making a statement focal point. The beauty of an art wall lies in its versatility and adaptability, allowing for modifications and additions over time as personal collections grow and tastes evolve. The guide begins by advising on how to choose the right space for a gallery wall. It suggests measuring the available area and considering eye-level placement from the floor. It encourages using the entire space, from floor to ceiling, for a comprehensive effect, providing examples such as running prints up a stairwell, extending from skirting boards to ceiling coving. Other suggestions include creating a bold statement above a sofa, bed frame, or desk area, theming food prints above a kitchen dining table, or replacing a mirror with prints above a mantelpiece. Next, the article discusses collecting pieces for the gallery. It states that there are no strict rules, whether one prefers a classic collection of framed family photos or an eclectic assortment of artwork. It suggests mounting family photos in black and white frames, arranging travel snaps in multi-photo collage frames, or displaying colorful illustrations and prints in ornate frames. The guide encourages mixing different media, such as illustrations, vinyl sleeves, magazine covers, canvases, mirrors, maps, 3D signs, and old plates, to create an eclectic display. It also recommends theming or complementing pieces to a specific color scheme or room, for instance, floral pieces for a garden room or pastel prints to match wall paint. Furthermore, it suggests being bold by contrasting colors, designs, and prints, particularly against dark or white walls, for a versatile display. Before making any permanent changes, the article recommends laying out the arrangement on the floor to plan the gallery effectively. For those using picture hooks, brown paper templates are suggested as a handy way to transfer the design to the wall for precise placement. If a staggered layout is preferred, the largest or favorite piece should be positioned first as a focal point, with other pieces arranged around it. The process involves drawing around each frame with a pencil to create templates, taking a photo of the layout, and then cutting out each template. For picture hooks, making a small fixing mark in each outline to indicate the pin's placement is also advised. Finally, the guide provides instructions on correctly hanging the pieces. It mentions various methods for affixing pictures securely, including adhesive strips, traditional picture hooks, or wall plugs and screws for heavier items. When using brown paper templates and picture hooks, the templates should be taped onto the wall, starting with the focal piece aligned with eye level. After taping the remaining templates and adjusting their placement, a pin can be hammered into each fixing mark, the paper removed, and the artwork hung. For grid layouts, which are ideal for collections of photos or series of pieces in matching frames, a gap of 2-5 inches between frames is generally recommended, scaled according to the space. If using adhesive strips, the focal piece should be placed first, followed by the remaining pieces until the design is complete. #GalleryWall #HomeDecor #InteriorDesign #ArtDisplay #WallArt #CreativeSpaces #HomeImprovement #DIYHomeDecor

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