This, fortunately falls in to the latter department and is a lovely updated take on the trusty 'shopper' format.
Adapted for the City, the Wren launches at Look Mum No Hands next week.
Showing posts with label Design. Show all posts
Showing posts with label Design. Show all posts
Monday, 16 May 2011
Wren Bicycles....
....New bicycle designs are ten a penny. Not so, good designs.
This, fortunately falls in to the latter department and is a lovely updated take on the trusty 'shopper' format.
Adapted for the City, the Wren launches at Look Mum No Hands next week.
This, fortunately falls in to the latter department and is a lovely updated take on the trusty 'shopper' format.
Adapted for the City, the Wren launches at Look Mum No Hands next week.
Sunday, 24 April 2011
A Modern and post modern Easter Sunday....
....Happy Easter. This morning we decided to go to some more galleries, after I curated a rather long list of things I would like to see. So, after Paul Graham yesterday, today was the turn of, first, Tate Modern. Then the National Portrait Galley.
'Miro' is the first retrospective of his work in the UK for nearly 50 years. I was excited to see his full oeuvre, up close for the first time.
The show was extensive, as you would expect and threw up some real treats.
Still Life With Old Shoe, 1937
Miro's use of colour, at times, was quite extraordinary - how else could the mundane subject of the above painting, become so appealing? And his use of almost graphic-like representations of objects, in particular animals, that are borne out of his surrealist ideals, are magnificent. Seeming still so contemporary.
Dog Barking At The Moon, 1926
Yet even without colour, Miro could produce striking imagery, at first glance humorous, but in fact often depicting the brutality of Fascist regimes and dictatorships of that time. Such success is shown emphatically in his Barcelona Series, where 50 lithographs sprawl along one wall.
Undoubtedly my favourite paintings of Miro's, (not that I knew it on arrival), are from his series, 'Constellations' undertaken in 1940. Here the subject matter is stretched to it's surreal extreme, but the colour and graphic symbols remain. As a group of images, they are incredible.
The second half of the show, (and indeed Miro's career), did not appeal to me as much. Imagery became sparse, with single lines or objects. Canvases were burned to bring in to question the orthodox nature of painting. But what that second half did do, is serve to highlight just how prolific and varied Miro's work was in his career. No stone had been left unturned, but it is his detail, colour and graphic representations that will stay with me above all. Great stuff.
Afterwards, Kelly and I had a hot crossed bun pit-stop, in the members room, (and balcony), which was a lovely, serene reprieve.
We picked up again, with the Gabriel Orozco show. A Mexican artist, whom I hadn't heard of, but left absolutely loving his work.
Orozco spans all mediums, but sculpture is his most prolific. Witty, clever, funny, intriguing are all words I would associate with his work. For example in, Horses Running Endlessly (1995), a chess board is created at four times it's intended size, with only Knights populating it, creating the possibility of an, 'infinite circular dance of pieces'.
La DS (1993)
Or, La DS (1993), where Citroen's iconic car has it's middle section removed and put back together again, creating a, 'static object, perfectly shaped for velocity'. In his photography too, Orozco charms - I had seen his project, Until You Find Another Yellow Schwalbe (1995), somewhere before and liked it. But never linked it back the artist.
In it, during a residency in Berlin, Orozco took his yellow 'Swallow' bike around the City, parking it next to and taking a photograph with any other same bike. Here, the photographs encircle you from each of the four walls in the main space, repeatedly making their presence felt. I love being 'introduced' to an artist, and this exhibition was certainly that - I enjoyed every minute and it was a great antidote to the grandeur and epic nature of the Miro show across the hall.
Not done with gallery-going just yet, Kel and I made our way to the National Portrait Gallery - where there were two shows of interest, Ida Kar and E.O Hoppe. Both were prolific and successful portrait photographers of their time, whilst Hoppe also used a point and shoot style of photo documentary, that has been copied ever since.
Bridget Riley, by Ida Kar (1963)
Tilly Losch, by E.O. Hoppe (1928)
Kar's portraiture, to me, seemed to be reputable for the often publicly known subject, above any real distinction in her image making. Hoppe, meanwhile, sees a Modernist feel run through his portraits and an elegant curation to his studio shots. Whilst I can appreciate the beauty of this work, it is not something I immediately love. However that is not the case with his more photo-journalistic work.
The Pearlies: Master Dennis Simmons, London (1922)
Borne out of a fascination of life in the decades in which the photos were taken, they hold an immediate interest, but also the nature in which Hoppe took so many of them - a Kodak Brownie, wrapped in a bag, with a ripped hole for the lens. This allowed him to capture a subject naturally, and unaware.
This is a much replicated style, particularly with the popularity of the Lomo camera in the last decade. Both were enjoyable shows and felt important in the history of photography as a genre.
With still only half the day gone, Kel and I popped our heads back out in to the sunlight and cycled across to West London for a BBQ with Chris & Karin and friends.
Robin, Tim & Kel prepping the plates
In a blisteringly warm afternoon sun, we ate and drank and the hosts even indulged us in a little Easter egg hunt in their garden.
Served
Hannah had baked and brought along a fantastic plum tart, that we all demolished for dessert.
We left about 7pm, cycled back across to East London, dropped off the bikes and met friends at the Talbot pub, in Dalston, (after a quick arrangement made earlier). Here we carried on the late Sunday drinking.
Gathered
We were even presented with left over Yorkshire puddings, which were gratefully received!
All in all an incredible and jam-packed day. What an Easter Sunday!!
'Miro' is the first retrospective of his work in the UK for nearly 50 years. I was excited to see his full oeuvre, up close for the first time.
The show was extensive, as you would expect and threw up some real treats.
Still Life With Old Shoe, 1937
Miro's use of colour, at times, was quite extraordinary - how else could the mundane subject of the above painting, become so appealing? And his use of almost graphic-like representations of objects, in particular animals, that are borne out of his surrealist ideals, are magnificent. Seeming still so contemporary.
Dog Barking At The Moon, 1926
Yet even without colour, Miro could produce striking imagery, at first glance humorous, but in fact often depicting the brutality of Fascist regimes and dictatorships of that time. Such success is shown emphatically in his Barcelona Series, where 50 lithographs sprawl along one wall.
Undoubtedly my favourite paintings of Miro's, (not that I knew it on arrival), are from his series, 'Constellations' undertaken in 1940. Here the subject matter is stretched to it's surreal extreme, but the colour and graphic symbols remain. As a group of images, they are incredible.
The second half of the show, (and indeed Miro's career), did not appeal to me as much. Imagery became sparse, with single lines or objects. Canvases were burned to bring in to question the orthodox nature of painting. But what that second half did do, is serve to highlight just how prolific and varied Miro's work was in his career. No stone had been left unturned, but it is his detail, colour and graphic representations that will stay with me above all. Great stuff.
Afterwards, Kelly and I had a hot crossed bun pit-stop, in the members room, (and balcony), which was a lovely, serene reprieve.
We picked up again, with the Gabriel Orozco show. A Mexican artist, whom I hadn't heard of, but left absolutely loving his work.
Orozco spans all mediums, but sculpture is his most prolific. Witty, clever, funny, intriguing are all words I would associate with his work. For example in, Horses Running Endlessly (1995), a chess board is created at four times it's intended size, with only Knights populating it, creating the possibility of an, 'infinite circular dance of pieces'.
La DS (1993)
Or, La DS (1993), where Citroen's iconic car has it's middle section removed and put back together again, creating a, 'static object, perfectly shaped for velocity'. In his photography too, Orozco charms - I had seen his project, Until You Find Another Yellow Schwalbe (1995), somewhere before and liked it. But never linked it back the artist.
In it, during a residency in Berlin, Orozco took his yellow 'Swallow' bike around the City, parking it next to and taking a photograph with any other same bike. Here, the photographs encircle you from each of the four walls in the main space, repeatedly making their presence felt. I love being 'introduced' to an artist, and this exhibition was certainly that - I enjoyed every minute and it was a great antidote to the grandeur and epic nature of the Miro show across the hall.
Not done with gallery-going just yet, Kel and I made our way to the National Portrait Gallery - where there were two shows of interest, Ida Kar and E.O Hoppe. Both were prolific and successful portrait photographers of their time, whilst Hoppe also used a point and shoot style of photo documentary, that has been copied ever since.
Bridget Riley, by Ida Kar (1963)
Tilly Losch, by E.O. Hoppe (1928)
Kar's portraiture, to me, seemed to be reputable for the often publicly known subject, above any real distinction in her image making. Hoppe, meanwhile, sees a Modernist feel run through his portraits and an elegant curation to his studio shots. Whilst I can appreciate the beauty of this work, it is not something I immediately love. However that is not the case with his more photo-journalistic work.
The Pearlies: Master Dennis Simmons, London (1922)
Borne out of a fascination of life in the decades in which the photos were taken, they hold an immediate interest, but also the nature in which Hoppe took so many of them - a Kodak Brownie, wrapped in a bag, with a ripped hole for the lens. This allowed him to capture a subject naturally, and unaware.
This is a much replicated style, particularly with the popularity of the Lomo camera in the last decade. Both were enjoyable shows and felt important in the history of photography as a genre.
With still only half the day gone, Kel and I popped our heads back out in to the sunlight and cycled across to West London for a BBQ with Chris & Karin and friends.
Robin, Tim & Kel prepping the plates
In a blisteringly warm afternoon sun, we ate and drank and the hosts even indulged us in a little Easter egg hunt in their garden.
Served
Hannah had baked and brought along a fantastic plum tart, that we all demolished for dessert.
We left about 7pm, cycled back across to East London, dropped off the bikes and met friends at the Talbot pub, in Dalston, (after a quick arrangement made earlier). Here we carried on the late Sunday drinking.
Gathered
We were even presented with left over Yorkshire puddings, which were gratefully received!
All in all an incredible and jam-packed day. What an Easter Sunday!!
Thursday, 7 April 2011
366 Goodnight Stories....
.....Very happy with this.
After spotting it at Andy's, I ordered this 1963 edition of 366 Goodnight Stories - which has exactly that.
But also lovely illustration too, as showcased by this brilliant Flickr set.
One for the, erm, future.
After spotting it at Andy's, I ordered this 1963 edition of 366 Goodnight Stories - which has exactly that.
But also lovely illustration too, as showcased by this brilliant Flickr set.
One for the, erm, future.
Monday, 21 March 2011
The Man Who Knows Everything....
...In the same week that Max launched Joy of Living, his equally talented other half, Hannah Martin launched her latest collection, at Dover Street Market.
The Man Who Knows Everything has been inspired by Masonic imagery, occultism and general dark arts, spawning, in particular, a stunning Pyramid ring at the heart of the collection.
Pyramid ring
But this was more than just a jewellery launch - it was also a state of the art, world first - this ring, by the wonder of technology and augmented reality, can be tried on by anyone the world over. Just download the App.
Geeky eh?! The collection has been photographed by Joss, and can be seen here. The show itself is on at DSM until March 30th, so pop along.
The Man Who Knows Everything has been inspired by Masonic imagery, occultism and general dark arts, spawning, in particular, a stunning Pyramid ring at the heart of the collection.
Pyramid ring
But this was more than just a jewellery launch - it was also a state of the art, world first - this ring, by the wonder of technology and augmented reality, can be tried on by anyone the world over. Just download the App.
Geeky eh?! The collection has been photographed by Joss, and can be seen here. The show itself is on at DSM until March 30th, so pop along.
Joy of Living....
....Max conceived and curated this exhibition, The Joy of Living, in aid of Maggie's Cancer Caring Centers.
He has worked tirelessly to collate 100 artists and designers to respond to the same brief - on a single piece of A4 graph paper, create a desirable artwork that expresses the joy of living.
The result is a breathtaking and ultimately moving body of work, where craftmanship and raw emotion have created a special exhibition, at Somerset House. Each artwork is for sale for £250, with the artist remaining anonymous until after purchase - and with the close of the show today, Max has made an astonishing £25,000 for Maggie's.
Joy. By Richard Ardagh
But the show must go on - so it does, online, where a couple of pieces remain for sale and ongoing initiatives will lead Max to a target of £50,000 raised. Incredible.
It Is My Heart. By Hannah Martin
I went along today and bought a piece that turned out to be a John Pawson original - so as well as a good cause, it could prove a good investment too.
Artist House, Highgate. By John Pawson.
Take a look. Please.
He has worked tirelessly to collate 100 artists and designers to respond to the same brief - on a single piece of A4 graph paper, create a desirable artwork that expresses the joy of living.
The result is a breathtaking and ultimately moving body of work, where craftmanship and raw emotion have created a special exhibition, at Somerset House. Each artwork is for sale for £250, with the artist remaining anonymous until after purchase - and with the close of the show today, Max has made an astonishing £25,000 for Maggie's.
Joy. By Richard Ardagh
But the show must go on - so it does, online, where a couple of pieces remain for sale and ongoing initiatives will lead Max to a target of £50,000 raised. Incredible.
It Is My Heart. By Hannah Martin
I went along today and bought a piece that turned out to be a John Pawson original - so as well as a good cause, it could prove a good investment too.
Artist House, Highgate. By John Pawson.
Take a look. Please.
Sunday, 20 February 2011
Ruth & Andy's place....
....Almost a year to the day after getting the keys in their hands, Ruth and Andy have transformed their home from this, in to this:
Incredible.
Incredible.
Sunday, 13 February 2011
Valentines day -1....
....Kelly and I decided to do this today, so we could have a day together, rather than a rushed evening on the Monday. We started the day with breakfast at the newly opened Railroad in Hackney.
A wonderful Moroccan eggs dish and sausage sandwich, washed down with Square Mile coffee from homemade earthenware mugs.
(Just like dad used to make!)
We then cycled up to the Museum of Everything, on it's final day of it's third installment.
This time, Sir Peter Blake was given the reins to fill the space with his collected ephemera. Everything from assemblies of Punch and Judy, the mesmerising embroideries of self-taught tapestrist Ted Willcox to the Victorian animal empire of Sussex legend Walter Potter.
It was a fascinating peak in to a weird and wonderful world of collected artifacts. We cycled home, just beating the rain, to relax before heading out for a Sunday roast at the Kenton. A great feed in a lovely pub and the apple crumble was a winner.
Once home again, we settled in with the BAFTAs on the telly, (The King's Speech winning everything, yawn!), making it a wonderful day. Happy Valentines!
Sunday, 6 February 2011
BOXPARK....
...."An industrial retail market space".
Coming to my doorstep later this year apparently. I'm not totally convinced, although it is a better use of space than as it currently resides - unused grassland. Watch this space.
Coming to my doorstep later this year apparently. I'm not totally convinced, although it is a better use of space than as it currently resides - unused grassland. Watch this space.
Friday, 10 December 2010
Reverting to Type....
....Richie has stepped up his typographic game.
For a few years now he has been collaborating with Graham Bignell & New North Press to create beautiful, much sought after letterpress posters. Together they have now conceived, curated and created an exhibition full of new work from collaborators world wide. If the 'Reverting to Type' Private View, at Standpoint Gallery, was anything to go buy, it is a wild success, and should hopefully allow it to become an annual exhibition.
Read more here, see Richie's blog here and his website, here. Following, a few of us grabbed a bite to eat around the corner at Busaba to discuss the finer points of ligatures, serifs and kerning.
Alice, Doug, Harrie, Rich, Lynn, Liam
Oh, and make sure you visit the show....and if you like, buy a few too! Congratulations Richie.
For a few years now he has been collaborating with Graham Bignell & New North Press to create beautiful, much sought after letterpress posters. Together they have now conceived, curated and created an exhibition full of new work from collaborators world wide. If the 'Reverting to Type' Private View, at Standpoint Gallery, was anything to go buy, it is a wild success, and should hopefully allow it to become an annual exhibition.
Read more here, see Richie's blog here and his website, here. Following, a few of us grabbed a bite to eat around the corner at Busaba to discuss the finer points of ligatures, serifs and kerning.
Alice, Doug, Harrie, Rich, Lynn, Liam
Oh, and make sure you visit the show....and if you like, buy a few too! Congratulations Richie.
Friday, 8 October 2010
Things organised neatly....
Sunday, 26 September 2010
Hannah is 30....
....Today we celebrated the lovely Hannah Martin's 30th birthday. Dinner for 20 people was had at Hel Yes, with drinks afterwards at the Wenlock Arms.
The food, (as per last week!), was very tasty and as we've grown accustomed to, the company was exceptional.
We filled the cavernous space with a wonderful rendition of Happy Birthday before retiring to the pub. Perfect. Happy birthday Hannah!
The full reel:
The food, (as per last week!), was very tasty and as we've grown accustomed to, the company was exceptional.
We filled the cavernous space with a wonderful rendition of Happy Birthday before retiring to the pub. Perfect. Happy birthday Hannah!
The full reel:
Sunday, 19 September 2010
HEL YES!...
....Kelly and I had lunch at this pop-up restaurant in a disused warehouse in East London.
Hel Yes is an amalgamation of design and food from Helsinki, Finland, that is relocated here temporarily to coincide with this years London Design Festival. It is a cavernous space, filled with abundant tables and an open kitchen.
Sunday's brunch menu was limited in choice, but not in character and wonderful in taste - all served on mis-matched, reclaimed iittala crockery. (Previously, plates were traded in, in return for a free dinner. These plates were then used in Hel Yes.)
Our starters were a 'surprise', (not listed on the menu), but were fantastic.
Whitefish tartar with radish and rye bread croutons.
Roasted beetroot with sour cream and dill.
For main I went for Gravad lax - smoked salmon, potatoes with sour cream & fennel and cabbage. Kelly ate poached egg on 'mushroom hash', (which was a base of root vegetables and wild mushrooms with watercress).
Gravad Lax
Poached egg on mushroom hash.
Both were absolutely fantastic - nothing too fancy, simple Finnish food, well presented and well tasty. Regardless, however, it was the dessert I was most looking forward too - particularly as on this occassion one seemed so unusual to me. I chose the liquorice creme brulee and Kelly the whipped raspberry manna with vanilla milk.
Liquorice pudding
Raspberry Manna
The liquorice was incredible - much more subtle that I thought it might be. Like a creamy creme brulee with a wonderful aftertaste. Kelly's Manna was simply a mousse / sorbet with the slight quirk of a touch of milk added. It was really good too.
A fantastic meal, unique in it's taste as we had never eaten Scandinavian food before, but also unique in terms of the environment, We're very glad we got here before it vanishes again. Excellent.
Hel Yes is an amalgamation of design and food from Helsinki, Finland, that is relocated here temporarily to coincide with this years London Design Festival. It is a cavernous space, filled with abundant tables and an open kitchen.
Sunday's brunch menu was limited in choice, but not in character and wonderful in taste - all served on mis-matched, reclaimed iittala crockery. (Previously, plates were traded in, in return for a free dinner. These plates were then used in Hel Yes.)
Our starters were a 'surprise', (not listed on the menu), but were fantastic.
Whitefish tartar with radish and rye bread croutons.
Roasted beetroot with sour cream and dill.
For main I went for Gravad lax - smoked salmon, potatoes with sour cream & fennel and cabbage. Kelly ate poached egg on 'mushroom hash', (which was a base of root vegetables and wild mushrooms with watercress).
Gravad Lax
Poached egg on mushroom hash.
Both were absolutely fantastic - nothing too fancy, simple Finnish food, well presented and well tasty. Regardless, however, it was the dessert I was most looking forward too - particularly as on this occassion one seemed so unusual to me. I chose the liquorice creme brulee and Kelly the whipped raspberry manna with vanilla milk.
Liquorice pudding
Raspberry Manna
The liquorice was incredible - much more subtle that I thought it might be. Like a creamy creme brulee with a wonderful aftertaste. Kelly's Manna was simply a mousse / sorbet with the slight quirk of a touch of milk added. It was really good too.
A fantastic meal, unique in it's taste as we had never eaten Scandinavian food before, but also unique in terms of the environment, We're very glad we got here before it vanishes again. Excellent.
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