A guest showing by artist Yvette Coppersmith
The stars have perfectly aligned and the wind has blown in just the right direction to bring you a very special collection. We are thrilled to present a guest showing of works by the highly accomplished and current Archibald finalist, Yvette Coppersmith.
Yvette Coppersmith completed a Bachelor of Fine Arts at VCA in 2001 and has since been a finalist in many prestigious awards including the Archibald three times including 2016 with her self portrait. Kicking off her career she won the Metro Art Award in 2003 taking out the award against runner up, Ben Quilty !
Yvette is well known for her portraiture but over the years her practice has spanned realistic portraiture, performance art and more recently experimenting with styles from expressionism to cubism interpreted through Yvette’s own contemporary lens. BEERS London – the UK gallery where she is currently part of a show - described her work ‘being firmly rooted in the domestic, Coppersmith’s works often portray their subjects as sharp and angular, with bold shapes and lines being indicative of a refined yet still deeply experimental practise.’
This guest showing presents works from Yvette’s personal collection that span the last 2.5 years where her Modernist influences have come to the fore through explorations of contemporary still life inspired by the great Italian painter Morandi, Matisse/Picasso inspired nudes and rich abstract studies of colour and texture.
“My paintings are made to be lived with, they are born in the sanctuary of the domestic environment. It’s wonderful to exhibit in a place where the art of the domestic is at the core.”
These works will be available for a limited time at Modern Times. Works go on show in store and online Monday. Consider adding one to your collection or just drop by and appreciate them.
Modern Times News
Feature Artist Q&A Esther Olsson
Today we introduce our second feature artist here at Modern Times. Every month or so we will bring together a series of artwork focusing on some of our fave local artists and designers.
Esther Olsson is a 23-year-old emerging artist from Melbourne, Australia. After starting out with a qualification in graphic design, she went on to work as an assistant to Melbourne artists Kirra Jamison and Beci Orpin.
With the encouragement and mentorship of these two successful and talented creatives Esther has launched her own painting career and developed a highly personal and idiosyncratic style. Her works are vibrant narratives within graphic grid systems bolstered by her attention to detail and sense of colour.
This series is part of Esther Olsson’s latest body of work ‘Hoops’ (2016). Hoops, takes its inspiration from gold earrings, girl gangs and basketball courts. With throwbacks to hip-hop, female sexuality, and her own experiences of moving from the country to the city ~ Esther has transformed her observations into vibrant modern allegories.
One of the most exciting emerging artists in Melbourne right now! Read more about Esther in our Q&A below.
Tell us a bit about your background. I.e. where did you grow up, what did you originally study?
I grew up in a small town in country Gippsland, Neerim South then moved to Ballarat to complete my year 11&12 studies. I studied graphic design and advertising in Melbourne.
Can you give us a little insight about the body of works in this series?
This body of work all revolves around my friends and I (age 23) being super young and trying to shoot goals in life, sometimes missing and sometimes winning.
Where about are you based? And, how dose your creative process usually unfold?
I’m currently based in Hawthorn.
I begin my creative process with a story from my life, and then try to portray that visually. I usually draw up super rough plan, which almost always changes when adding colors. This is mostly because the colors will change spacing and layout quite a lot.
What mediums do you love to work with?
I work mostly with gouache with my hand painted work and occasionally I will create a vector artwork on my computer when working on a print.
What dose the typical day in the life of Esther Olsson involve?
A typical day for me would start with a large list of jobs I need to complete on that day. I often like to go for a swim in the morning to clear my mind, and on the way back to the studio I will pick up my extra strong coffee to fuel the rest of the day. I usually paint all day until super late at night, and that’s when I will reply to all my emails.
Which other creative are you inspired by?
Ren Hang (photographer) hiphop music always, Alex Gardner (painter) PAM (clothing) James Jarvis (illustrator)
What would be your dream creative project?
I would love to work and collaborating with interesting brands or artists.
Is there any new inspirations/ new art pieces on the horizon?
I really enjoyed running an interactive art installation at NGV Art Party, an underage rave.
My newest inspiration is boxing; I’m super into the analogy behind the move THE ROPER DOPE!!!
I’m currently working on small group shows and some personal projects, and constantly trying to improve myself and construct new imagery.
Favorite basketball player?
New school- LeBron James
Old school- Allen Iverson
Opening night gallery! Elizabeth Barnett's 'Interiors'
A huge thank you to everyone that come down to Modern Times to help celebrate Elizabeth Barnett's exhibtion 'Interiors'. We had a such a wonderful night, and met some extordinary people!
The exhibition will be open until the 8th of September.
Photography: Brigette from Modern Times
Upcoming exhibition by Elizabeth Barnett | Interiors
Modern Times is delighted to present an exhibition of new works by Australian artist Elizabeth Barnett. Opening on Thursday 25 August 2016, ‘Interiors’ showcases a series of 24 vibrant paintings that depict both real and imagined still life arrangements that hint at their most recent inhabitants.
Elizabeth’s works are portraits of domestic intimacy, the colourful scenes feature abundant potted plant life and flower arrangements with familiar cookbooks and art titles sitting askew Modernist furniture pieces and richly patterned rugs. The acrylic paint is built up in shimmering translucent layers and the influence of painters such as David Hockney is evident in her highly developed yet naiÌˆve style.
The word interiors tends to conjure up the manufactured perfection of designer homes featured in glossy magazines and coffee table books, however, Elizabeth’s work reclaims the word ‘interiors’ and depicts a more truthful and sentimental interior which is full of life, warmth and creativity. “Everything is relaxed about Elizabeth’s work – her compositions, fluid drawing style and choice of subject matter. It’s homely, warm and inviting”, says exhibition curator and Modern Times director Amy Malin.
Elizabeth has studied art extensively, most recently completing a Master of Arts at the Camberwell College of Art,London.Elizabeth was awarded the Collie Print Trust scholarship at theAustralian PrintWorkshop in 2006 and in 2010 co-founded the seminal Schoolhouse Studios in Abbotsford. Since largely making the transition from printmaking to painting her profile has been rapidly on the rise demonstrated last year by her sell-out painting show ‘In a Temperature Climate’, for The Design Files ‘ TDF Collect’.
Modern Times – 311 Smith Street, Fitzroy 3065
To register for pre-sales contact firstname.lastname@example.org.
Saturday Artist Talk Event:
Join artist Elizabeth Barnett and Modern Times director Amy Malin in a casual discussion exploring the inspiration, motivation and processes behind Elizabeth's exceptional new body of work 'Interiors'.
Proudly sponsored by Everyday Coffee.
Date: Saturday, 27 August, 9am - 10am
Get your free tickets here.
For enquiries contact Gemma Leslie email@example.com / +61 3 9913 8598
Feature Artist Q&A Madeleine Cruise
Today we introduce the first of our new Feature Artist series. Every month or so we will bring together a series of artwork focusing on some of our fave local artists and designers.
We debut the series with Madeleine Cruise, a name that has been circulating around Modern Times for a few months now!
Since completing her Masters in Painting at The National Art School in Sydney, Madeleine has since been practicing from her studio in Newcastle. She is also the founder of an artist run initiative ‘NANA’, a not for profit gallery, shop and performance space located in the CBD of Newcastle.
Best known for her energising palettes and lively compositions her paintings are filled with personality. Working with acrylic paint, Madeleine paints effortlessly with bold brush strokes, layering her canvases with plentiful colour and detail.
In this series of paintings for Modern Times, Madeleine is richly influenced by emotional experiences in contemporary life, whilst maintaining a playful and engaging aesthetic.
Madeleine’s work combines abstract shapes with those borrowed from nature so that the eye can journey through the work and piece together its own unique interpretation.
Playful yet considered they have that simple balance. Using mixed mediums she layers and reworks the surface until the warmth and textural qualities are harmonious.
Madeleine’s works are truly amazing up-close. The scale of the artwork is generous, and you can easily imagine how her palette of bright colours, alongside bold dark and neutral pastels could lift any contemporary space.
Madeleine took the time to have a chat with us about her process, inspiration and gave us a few insights of her day-to-day life. Truly a rising star!
Tell us a bit about your background. Ie where did you grow up, what did you originally study?
I grew up in the country towns Camden and Bowral in New South Wales. I left home when I was 18 to study at The National Art School in Sydney, for a small town girl the city lights blew my mind and it was an important time of self-discovery. After majoring in Painting I won a Scholarship to complete Honours and graduated in 2010.
Can you give us a little insight about the body of works in this series?
This series is the result of a significant period of creative development and comes as the answer to the question I asked myself: What can paint do?
A couple of years ago I decided to work with less intention, in a more playful and experimental way, in the hope of locating my own language and a greater understanding of what I wanted to paint. Working without pre conceived ideas or the pressure to complete, I was able to work ‘with’ the medium and discovered some wonderful techniques. Most significantly though, the process revealed pathways to my subconscious and with it, a world that I am compelled to paint. These discoveries have informed my current mode of practice and can been seen in this series.
I like to think of these works as psychological landscapes, in the sense that they represent internal experiences and give form to sensation and emotions. They are deliberately ambiguous so as to operate as spaces for contemplation. I have combined abstract shapes with those borrowed from nature so that the eye can journey through the work and piece together its own unique interpretation.
Where abouts are you based? And, how does your creative process usually unfold?
I am based in Newcastle NSW. My creative practice is most often based around a series that I will work on for a number of weeks or months. However I have noticed that there is a limit to which I can focus on one idea or way of working, so I will often develop another very different series alongside it. Sometimes it feels like I have split painting personality but I think that perhaps it is a way of extending ideas and reduces the possibility of overworking individual paintings or becoming bored with them – which never leads to a good end result!
What does a typical day in the life of Madeleine Cruise involve?
I work from home where I have a studio out the back of my share house. I will most often sleep in and wait for my housemates to go to work before I get up so that I can have the house to myself. I then drink coffee, do some internet research, check emails and work on any art applications that I might have underway. When I get to the studio I will select some music and then lead a fairly regimented day – stopping for lunch but working through till late afternoon. My Australian Terrier Louis and I will then walk to the dog park where I’ll buy a takeaway from the conveniently located bottle shop next door and we’ll both catch up with our ‘friends’ and unwind till sunset.
Which other creatives are you inspired by / loving at the moment?
I am really inspired by fashion at the moment and have come to appreciate the amazing historic lineage of fashion houses and their reflection of contemporary culture. I love the continuous re invention of tradition, the wear ability of such amazing creations and the spectacle of the catwalk and promotional campaigns. The whole oeuvre of a season collection, in clothing, make up, set and sound is so immersive and powerful. Some of my favourite designers at the moment are Gucci and Dolce and Gabbana.
What would be your dream creative project?
I would love to collaborate with a Synth Pop musician someone like Grimes or Tame Impala, so as to create the backdrops to their live performances. I imagine making giant animated paintings that change colour and formation with the music. I could imagine that this type of collaboration would really satisfy my pursuit of creating immersive spaces as well as my alter ego of being a pop star.
What is your proudest career achievement to date?
It would probably be founding and directing the artist run initiative NANA contemporary art space. NANA was a not for profit gallery, shop and performance space located in the CBD of Newcastle, which operated from 2013 for two and a half years. As an emerging artist new to the city NANA was a project designed to facilitate community and exposure for like-minded contemporary artists in Newcastle. My role as director encompassed many unexpected responsibilities and I found myself juggling the role of curator, photographer, caterer, install team, secretary, graphic designer, mediator and cleaner at any one time – whilst trying to maintain a personal art practice and hold down a paid job! It was a big project and I am proud of all that NANA achieved.
Is there any new inspirations / new art pieces on the horizon?
I am working on a new series of paintings that work closely with music and are an extension of my current collection at Modern Times.
Interest free loans are available for artworks priced from $750 to $20,000. After paying a 10% deposit, you can take your artwork home and pay the remaining balance over 9 months, interest free! Apply online for instant approval, take your art home and pay for it later. It's super easy and simple to apply.
The wonderful world of terrazzo, and it's dear friend marble!
Let us take you back 500 years ago when terrazzo was discovered in Italy. Terrazzo literally means ‘Terraces’ in Italian, and was born out of frugality in the 15th century, when local Italian marble workers were unable to afford marble for their own terraces. Settling odd-size discarded marble pieces from paying jobs in clay, they created attractive patios or terraces for themselves.
1. Venetian marble workers first started using broken and discarded marble pieces off custom marble slabs to build terraces around their homes in the 15th century.
2. As the marble pieces were set in clay, they created rough, uneven surfaces. To even the surfaces, a stone was rubbed all over it to smoothen it out. The process started out by hand and later evolved to a long-handled grinding stone called Galera.
3. Goats milk was used as floor sealant. Yes … you read correctly! Goats milk was applied over the surface which gave it a fantastic bright sheen to the marble pieces.
4. Skipping to this modern day, terrazzo has never looked so good in any interior situation. We’re completely obsessed.
Here are some modern day highlights that are worth mentioning …
(above) British designer Max Lamb developed a multi-coloured engineered marble for Dzek, which was used to build furniture that appears to merge with walls of the same material for an installation in Milan.
Flat-pack marble tables by Australian designer Jonathan Zawada. Each table is a combination of three pieces of marble or granite.
We're so lucky to have some beautiful terrazzo and marble pieces in-store at the moment. Check out the beautiful Dutch Terrazzo coffee table, the stunning Modern Times marble coffee table (available in pink marble too!), the Dutch rectangular coffee table and the charming Dutch square coffee table. We're always getting new designs in at Modern Times, so it's always great to drop by the store or browse our collection online if you're looking for anything special!
Check out the Modern Times Pinterest page for some inspiration on terrazzo and marble.
Luxurious and light-hearted is how we would first describe this room! With an unmistakable glamorous pink palette, this room was ultimately inspired by the Cleopatra Daybed! Originally designed in 1953 by Andre Cordemeijer for Auping (Netherlands) this piece has a wealth of character and history.
Modern Times owners, Amy and Joel sourced a handful of Cleopatra Daybed frames on a recent trip to Denmark, and wanted to bring the design back to Australia to share it with everyone!
Above: Andre Cordemeijer, designer of the Cleopatra Daybed
The fantastic thing about this piece is that you have the opportunity to create your own story through our selection of upholstery options. There is a variety of fabrics offered! Pink, check, wool, linen, green, navy, grey – there are several amazing options and variations you can choose from. Check out our Pinterest page for some daybed inspo!
Above: Cleopatra Daybed Advertisement 1950s
For further informatin on the The Cleopatra Daybed, you can either drop by the store, email firstname.lastname@example.org or call (03) 9913 8598.
Have you heard of Art Money?
Art Money is awesome! Art Money offers interest free loans to buy art!
At Modern Times we believe art should be for everyone. Good art is good for the soul, no question. Hanging a piece of art that you truly love can mark the point when your house becomes your home. But sometimes your bank account vs. your passion can get in the way! Therefore, we're very pleased to be joining with Art Money to make buying art easier. It's a little bit like an old fashioned lay-by, but you get to take your purchase home sooner.
Interest free loans are available for artworks priced from $750 to $20,000. After paying a 10% deposit, you can take your artwork home and pay the remaining balance over 9 months, interest free! Apply online for instant approval, take your art home and pay for it later. It's super easy and simple to apply.
If you find some art you love on the Modern Times website, you can see how much repayments will be for your purchase here ... for more information about applying for an Art Money loan visit www.artmoney.com.au. Or, send Pip an email at email@example.com.
Modern Times News
Four Dutch designers you should know
One of the first things you notice when you see these pieces together is a more industrial take on modernism that's very different from the hand-crafted Scandinavian style of the same era. The rigorous use of straight, horizontal and vertical lines, geometry and primary colours served as a foundation for many mid-century Dutch designers.
When thinking of Dutch mid-century furniture, one might be inclined to imagine a variation on Danish mid-century furniture where the focus was on beautiful natural materials and hand finishing. In fact, Dutch design of this same period is quite the opposite! Whilst it is wholly informed by the same modernist principals that guided the Danes (read an earlier blog post about this!), the Dutch interpretation was led by the burgeoning manufacturing technologies emerging in Holland at this time.
Here's a rundown on four influential Dutch designers that have helped shape the landscape of mid-century design today.
Friso Kramer created some of Holland's most iconic modernist designs. In 1953 he produced a chair, called "Revolt" which was shown at the 1954 Milan Triennial and in the same year he designed the "Reply" drafting table designed with Wim Rietveld for Ahrend de Cirkel. The work surface pivots at two points and can be configured into a office desk, standing desk or anything in between. Inspired by Jean Prouvé, the design won a "Signe d'Or" award for the design in Brussels.
"You may design a beautiful chair, but put six around a table and something starts to happen. You say, 'It's too much this or that'. So you have to remove the irritation you will develop over time." – Friso Kramer
Friso Kramer's "Reply" Drafting Table and his "Revolt" Chair
Another Dutch designer of the period that is highly valued for their contribution to Dutch Modernism is Cees Braakman. At the age of 17 (what a young-gun!), he began working at Pastoe, a Utrecht-based furniture manufacturer, where he learned the trade. Check out this three-legged desk he designed whilst at Pastoe!
During the 1950s and ’60s, Braakman placed particular emphasis on modular storage solutions. In 1955, Pastoe launched Braakman’s Made-to-Measure cabinets, which allowed customers to choose from a variety of woods and configurations and self-assemble them. This was all in keeping with the Dutch idea of creating accessible design that was functional and affordable.
The youngest son of architect and designer Gerrit Rietveld (who designed the seminal Red/Blue Chair in 1917), Wim Rietveld (1924-1985) is considered to be another pioneer of Dutch Industrial design.
“The product needs an overall improvement. That means considering form, function, colour and price.” -Wim Rietveld.
Wim Rietveld took over as designer for company Gispen in 1949 and mainly designed office furniture and lighting. He introduced ‘furniture for simple interiors’ in line with the thoughts of “Goed Wonen” (Good Living), a foundation set up to promote well-designed domestic goods.
You might have spotted Rob Parry’s ‘Easy Chairs’ in our most recent campaign - see the pic at the top of this post or the full campaign here! These chair designs are just one project in an extensive body of work comprising furniture, typography, interiors, exhibitions and architecture, all in a contemporary style, appropriate to a prosperous welfare society in the making. Parry really proved he was a high achiever in all aspects of design.
Easy Chairs by Rob Parry for Gelderland
Modern Times Annual Warehouse Sale!!
It’s that time of year again! Modern Times is opening its warehouse doors to the public, for it’s exclusive annual sale. Come down and browse through the furniture jungle (Modern Times warehouse) for Danish leather sofas, teak chests, extendable tables, coffee tables, dining chairs, lounge chairs, desks, bureaus, artwork, homewares and more.
Also just a quick note to also let you know, we’ve moved warehouses, so please visit us at our NEW location at 1A / 433 Smith Street.
Doors opening 11am-5pm Saturday 18th – Sunday 19th of June
Modern Times Warehouse – 1A / 433 Smith Street, Fitzroy
Modern Times News
20th Century Design Legends
As you know, the vintage furniture we specialise in at Modern Times is usually of the Danish, Dutch or Italian variety but that doesn’t mean we limit ourselves! We currently have some pieces by icons of French and German origin so I thought what a great time to shine the light on two legends of twentieth century design – Maison Jansen and Ludwig Mies van der Rohe.
Shot by Brooke Holm. Styled by us! Falcon Chair by Sigurd Ressell, Drinks Trolley by Artemide, Palm Lamp by Maison Jansen, 'Nevada', Photograph by Brooke Holm, 'Animals' Painting by Esther Olsson, The Barcelona Couch by Mies van der Rohe, French Lucite and Brass Side Table, Rugs by Pampa
Maison Jansen was one of the world’s first truly international interior design firms and arguably the top design firm of the twentieth century. They were founded in Paris in 1880 and by the turn of the century their services were in demand by aristocracy and royalty across Europe. From here the firm continued to expand, opening up offices and ateliers in South America, North America, Europe, and Africa. The Maison Jansen style was luxurious and dramatic with a touch of the exotic but mainly drew on traditional European design.
Coco Chanel's 1930's Paris apartment by Maison Jansen
The furniture they manufactured, often one-off commissions, was mainly 18th century reproductions but Maison Jansen were not afraid to incorporate contemporary trends including Modernism and Art Deco into their interiors and custom designs.
Maison Jansen pieces are highly collectable and their interior projects that remain are preserved for posterity. The firm’s most notable project was The White House during the Kennedy years.
The Maison Jansen Palm Lamp, designed in the 1970’s, was produced in many iterations and it’s blingy brass with dramatic and opulent form oozes 1970’s hollywood glamour. Shop Maison Jansen Palm Lamp here.
Ludwig Mies van der Rohe
Mies van der Rohe was an esteemed German architect, in fact he is credited as a pioneer of modern architecture! He designed numerous buildings including the famous Farnsworth House (1945) and the German Pavilion at the International Exhibition in Barcelona (1929) which both embodied his rigorous modernist principles. Mies summed up his design philosophy with his favourite sayings - ‘less is more’ and ‘god is in the details’.
The Farnsworth House designed by Ludwig Mies van der Rohe in 1945. Image via Beth Bullock
Mies, like many architects of the time, designed furniture that also followed these new principles of modernist design, doing away with the ornate decoration of the previous eras which were seen as excessive and a waste of effort and material.
The Barcelona Couch originally in Harry Seidler's MLC Building, Sydney
The Barcelona Chair is Mies’ best known furniture design, originally designed for the Barcelona Pavillion in 1929, and a true icon of modernist design. The beautiful Barcelona Couch was added to the collection the following year both of which have been produced to his exacting specifications ever since.
The Barcelona Couch that we currently have in our collection came out of the Sydney MLC Building, an important building designed by our own proponent of Modernist design, Harry Seidler, in the late 1970s. The condition is excellent, testament to the enduring quality of the original design. Shop The Barcelona Couch here
Upcoming exhibition by Brooke Holm | Salt & Sky
We’re delighted to present an exhibition of new works by Melbourne photographer Brooke Holm. Opening on Thursday 23 June, Salt And Sky brings together Brooke’s amazing landscape photography with her keen eye for linear compositions in a series that depicts the salt fields of Western Australia.
Brooke is interested in both the tension and bond that exists simultaneously between humans and the natural world. The salt field landscapes that she captures are based within the UNESCO Heritage site of Shark Bay and in her eyes provide “a visually stunning example of nature and human intervention entwined.” Shot from above, the salt ponds and harvested fields create graphic compositions with painterly textures in ice-cream hues.
Brooke masterfully utilises minimal composition, while also creating images that are rich in detail and sensory experience. “At a distance they can be enjoyed as pure studies in colour and composition but on closer inspection the smooth, creamy and powdery textures of the works are palpable as is the sensation of a breeze as it whips up the surface of the ponds," says exhibition curator and Modern Times director Amy Malin.
Brooke is an acclaimed commercial and fine art photographer published in numerous Australian and International publications including Trendland, AD Spain, Vogue Living and Belle. Salt And Sky will be Brooke’s last show in Australia for quite some time as she is set to head off for New York mid-show where her star will no doubt continue to rise.
Join Brooke and the Modern Times team at the exhibition opening for a celebratory drink kindly supplied by McPherson Wine Co, The Melbourne Gin Company and Capi!
Opening 6-8pm, Thursday 23 June 2016. RSVP is a must, to firstname.lastname@example.org
Exhibition Dates: 23 June – 7 July 2016
Modern Times – 311 Smith Street, Fitzroy
For catalogue and to register for pre-sales email us here.
Brooke Holm and Modern Times director Amy Malin in a casual discussion exploring the inspiration, motivation and processes behind Brooke's exceptional new body of work 'Salt and Sky'.
There are limited seats, so please secure your seats here.
Saturday, 25 June 2016 from 9:00 AM to 10:00 AM
Modern Times - 311 Smith Street, Fitzroy, VIC 3065
Winter Light - Access All Eras
We love to collect and bring together pieces from different countries and design era's. This scene from our current Winter Light campaign epitomises this aesthetic with pieces ranging from the atomic style of a 1950s Louis Kalff lamp to the sharp lines of the 80s in the FM60 Cube lounge chair by Dutch designer Raboud van Beekum all softened with the warm hues and organic material of a Danish Gunni Omann sideboard.
All the pieces we collect have fascinating stories and histories...read on to get the back story on a few featured here!
Matteo Grassi is an Italian company with rich heritage. Their craft centred approach has it's origins in their beginnings as a saddlery company.
This sophisticated lounge chair from the late 1970's utilises innovative construction with its leather covered frame and balances the strong square design with subtle stitching and seaming details. See their video to fully appreciate Matteo Grassi's amazing attention to detail and craftsmanship.
Striking and sculptural! What an amazing statement chair that is a perfect expression of modern Dutch design aesthetics. Inspired by the Dutch artistic movement De Stijl (think Mondrian and Gerrit Rietvelds Red and Blue Chair) Raboud van Beekum has distilled his FM60 Cubic chair into its essential linear forms – a cube intersected with the two planes of a chair. The saddle leather used for the seat and back is the perfect material as it follows the linear forms of the chair while providing a comfortable place to recline.
We are all familiar with the name Phillips, synonymous with all things electrical, but did you know that Phillips brought on an incredibly talented industrial designer in the 1920's? Louis Kalff guided the company to adopt a more modern and colourful approach to their entire business and worked on numerous design projects including a range of innovative and beautiful lamps Louis Kalff lamps are rare and valuable, sought after for their space age silouhettes and simple design details such as perforation, colour and mix of materials that are all used with restraint and purpose.
Ellie Malin | Old City, New World
This month, Modern Times is excited to present an exhibition of new works by Melbourne-based printmaker Ellie Malin. Opening on Thursday 28 April, Old city, new world showcases the latest work from this unique printmaker – a master of colour, texture and distilled form.
Old City II, unique state woodblock print. Part of Ellie Malin's upcoming exhibition.
“Spring greens, and oceanic blues draw in a world of nature while circles, arches and squares evoke memories of old worlds,” states Ellie. Large scale, brightly coloured shapes are individually inked and laid down layer by layer in a process that may take months from beginning to end. Compositions go from loose and chaotic to orderly, meticulous and condensed.
Old City V, unique state woodblock print. Part of Ellie Malin's upcoming exhibition.
The work has a distinct architectural feel so it is no surprise Ellie cites the work of Japanese architect Tadao Ando as an inspiration. But, just like her technique, what informs the work is also multi-layered. “I might lay down a colour in order to challenge myself and push the boundaries of my work. For example, I have introduced intense clarets and yellow ambers, colours that challenge me, in my endeavour to understand them and find harmonious resolutions.”
New World I, unique state woodblock print. Part of Ellie Malin's upcoming exhibition.
It is evident that Ellie looks back to artists such as Malevich and Kandinsky for inspiration, however Old city, new world is nothing less than original, fresh and contemporary.
Shadows, unique state woodblock print. Part of Ellie Malin's upcoming exhibition.
Exhibition co-curator, Pip Stevenson, describes her take on the work: “Ellie’s new work literally took my breath away when I first saw it. Her use of colour has continued to evolve and her subtly evocative compositions are mesmerising. Overall it displays a new maturity and a consolidated personal style.”
Ellie has exhibited widely and her work has been acquired by collectors both here and overseas, she collaborated with Gorman in 2013 and most recently entered the archive of the National Gallery of Australia, Canberra.
Join Ellie and the Modern Times team at the exhibition opening for a celebratory drink kindly supplied by McPherson Wine Co! All welcome but please RSVP to email@example.com by 25 April.
For catalogue and to register for pre-sales contact firstname.lastname@example.org
Modern Times News
Modern Times In Conversation
We are hosting an exciting series of free talks on your favourite topics throughout February and March and we'd love you to join us!
Visit mid-century architectural gems in LA and Palm Springs without leaving your seat with interior architect David Flack, get my insights into buying art and the commission process when I share the stage with artist Sarah Kelk and learn from the best in the biz with interior styling expertise from Simone Haag.
Big thanks to Denton wines who will kindly be supplying the libations.
Wed 17 February, 6.30pm
Architecture – In Conversation with David Flack
Interior architect and rising star David Flack recently immersed himself in an architectural tour of Modernist paradise, Palm Springs and LA. Instead of us having to be quietly jealous, he is so kindly going to share what he learnt, what he saw and what will be inspiring his next projects. It’s the next best thing to being there! SOLD OUT
Wed 02 March, 6.30pm
Art – In Conversation with Amy Malin and Sarah Kelk
Buying art can be scary! Thought about commissioning a piece but don’t know where to start? Allow us to remedy all that anxiety and demystify the basics. Modern Times director Amy Malin shares her expert knowledge on selecting the right art for your space and budget and artist Sarah Kelk talks about her artistic practice and the commission process.
Free event | Spaces are limited | RSVP Now MORE TICKETS TO BE RELEASED
Sat 19th March, 10.30am
Interiors – In Conversation with Simone Haag
Interiors Stylist Simone Haag will generously share her wealth of knowledge on the ins and outs of furnishing a space that reflects your character and lifestyle. The core principals are covered including budget, colour and materiality, along with her many personal insights into the process itself; including scale, placement and the importance of greenery. Love it!
All events are now sold out. We had such an overwhelming response and even with a doubling of original ticket numbers, some of you still missed out so I'm very sorry to those people.
We'll have more events coming soon! Make sure you are on our mailing list to be the first to know!
Modern Times News
An exciting time of year for Ellie Malin.
Ellie Malin is one of the most successful artists we show at Modern Times. Ellie’s prints showcase her superb eye for colour, form and composition. We asked Ellie to curate her top gifts from Modern Times and her selection reflects this. “When looking for gifts at Modern Times these pieces jumped out at me. Colour is usually the first thing that draws me in, followed by beautiful textures and functionality,” she explains.
The gifts curated by Ellie Malin reflect her love of colour and texture. Image styled by Nat Turnbull. Shot by Elise Grace
We love the dark and moody palette of Ellie’s curation of gifts with highlights of deep green and beige. If Ellie had to choose just one of these gifts for herself she says, “It’s hard to choose just one favourite, BUT at the top of my wish list is the dark green glass bonsai by Amanda Dzeidzic, a timeless piece reflecting colour and light. Simply beautiful!”
Ellie sums up her philosophy behind choosing the right gift, – “I’ve chosen these gifts because I believe functionality and beauty should always be purchased in pairs. One for you, and one for me!” Discussing further, I love her idea that “in giving something we love and adore it’s like we give a token of our self.
I think the same can be said for entertaining. This year Ellie has had her favourite Ottolenghi recipes out and tells me she is planning a tomato and roasted lemon salad as her contribution to the family Christmas. Yum! It sounds as though it’s just one part of a delicious spread too as Ellie explains, “our food style is a cross between Argentinian, Italian with a touch of classic Australian. Christmas lunch generally folds into dinner then into supper. All in all, it’s a fairly relaxed day with family and friends.”
A relaxed day will be just what Ellie needs as she has had a bumper year. Ellie tells me the highlights have been a printmaking residency at Megalo studio in Canberra, renovating her future home and most of all preparing for her first baby! With the baby due on 28th December, it might just be a completely different Christmas for Ellie this year…and certainly an exciting 2016!
Good time giving with Billie Justice Thomson
Melbourne artist, Billie Justice Thomson is known for her playful and humorous paintings but when we asked Billie to curate her top gifts from Modern Times she came up with a surprisingly sensible yet sophisticated edit. Billie was kind enough to enlighten us a bit more on her selection but added that her family always gives to charity at Christmas so doesn’t get too caught up in the Christmas present-buying madness – there’s a lot of sense in that too, hey.
The gifts curated by Billie Justice Thomson are all about everyday luxury. Image styled by Nat Turnbull. Shot by Elise Grace
If Billie does need to pick up a gift or two she simply chooses things that she would want for herself! “I’m drawn towards things that are practical yet luxurious. That’s what everyone wants in a present isn’t it?” The Grafa garden tools are a perfect example of this and Billie says they’d be at the top of her list “because I feel like they’re a lifetime investment in your gardening. Something that will never break and will age beautifully.”
If you have friends and family who are not so easy to buy for (because let’s face it, most people are pretty hard to buy for), Billie makes a great suggestion for those very folks. “The picnic rug, it works for anyone of any age, there’s no one who doesn’t like picnics!“ she says.
The lovely Billie with a work, Convenient Dom, from her sell-out show this year. BTW..it's now available as a print.
Despite Billie’s charitable approach to her own Christmas gift-giving she does seems to have it sorted. I almost expect Billie to tell me she does a soup kitchen on Christmas Day but she tells me - “I have a large extended family here in Melbourne and if there was anything less than the FULL traditional spread there would be a riot.” One of the draw cards being her mum’s famous trifle – “a sort of a pavlova/trifle hybrid. It’s ridiculous,” Billie explains.
Billie’s approach to Christmas is refreshingly sensible without missing out on her fair share of festive season indulgences. Billie’s steadfast family tradition of giving to charity at Christmas is one we could all make part of our own traditions too...if it's not already!
Sarah Kelk has Christmas covered!
At Modern Times, we strive to bring together the best in Australian art and design so it’s the perfect place to start your Chrissy shopping. For some extra fresh inspiration, we asked four of our favourite local artists to curate their own selection of gifts that will top their Modern Times wishlist this year!
Gifts Curated by artist Sarah Kelk. Image styled by Nat Turnbull and photography by Elise Grace.
Lets start with painter Sarah Kelk, whose sell-out show this year left us all on a high. Where she finds the time with her business Hello Polly, her successful painting career and family life I have no idea but I’m so thankful I could get the lowdown on her top gifts and her general approach to the festive season.
Sarah’s curated selection has a graphic yet organic aesthetic, she says “I wasn’t looking for anything specific, but was drawn to inspiring products that Id love to be constantly surrounded by.”
Sarah Kelk on her home studio.
As a self-confessed ceramics addict combined with her love of texture and pattern, it’s no surprise Sarah is attracted to the stunning work of Katia Carletti and Louise Kyriakou. Sarah says, “I love anything with pattern or texture, and these pieces are no exception. I absolutely love giving gifts to people, and often take way too long choosing the perfect thing for people I love. I think I always end up giving pieces that I’d quite like to have myself (thats common right???).”
Sarah’s best efforts to avoid the whole ‘One for you, one for me’ routine are not always successful – “ I’m a sucker for homewares , shoes and sunglasses!!”
In fact, Sarah tells me her go-to gift for that friend or family member who has everything would be anything ceramic. “Ceramics! You can never have too many ceramics”
Sarahs Gifts Curated includes original print by Ellie Malin, ceramics by Lene Kuhl Jacobsen, Katia Carletti, Concrete tray by Studiokyss and Suds Collar by Two Hills. Image styled by Nat Turnbull and photography by Elise Grace.
With such good Christmas shopping advice, Sarah sounds like she has it covered and when I ask about Christmas more broadly, I’m convinced!
Sarah blends together the best of her family traditions with her personal experience from spending many years in Europe. “I grew up with the traditional Christmas fare (Turkey, Ham, Pav etc) but always with a summer afternoon running race or cricket game with the cousins thrown in for good measure. After spending 8 years having wintery European Christmases, I’ve picked up a few extra Northern hemisphere additions that all seem to blend together to make a fun family Christmas.”
When Sarah starts talking about her secret family recipe for the perfect baked ham, the obligatory Pimms and bubbly, all followed up with a Boxing Day family picnic at Heide I start to wonder how I might wrangle an invite to this picture-perfect sounding Christmas!
The Best Christmas Gift Ever | Orders Close Soon!
We really love to mix up a little bit of the old with a little bit of the new. In the new camp we have the supreme talent of local furniture makers; Alex Rains of the 'Lex' range and Adam Markowitz of cross-breed 'Fred' table fame.
We know so many of you have been lusting after one these tactile, hand-crafted tables made from Australian Timber. Don't miss out on getting yours in time for the holidays! Think of it as the Best Christmas Gift Ever!
The Lex Table Designed by Alex Rains. Available made to order at Modern Times!
Corner Detail of the Lex Dining Table By Alex Rains. Available at Modern Times!
The Fred Table Designed by Adam Markowitz. Made to order from Modern Times!
Leg Detail of the Fred Table by Adam Markowitz. Available to order from Modern Times!
Orders for Pre-Christmas Delivery Close 2nd November!
Furniture, Modern Times News
Billie Justice Thomson | The Order of Things | Now Open!
Billie Justice Thomson in the studio with paintings from her exhibition The Order of Things
We couldn't be prouder to wrap up the exhibition calendar with an oustanding exhibition from the effervescent and utterly talented painter, Billie Justice Thomson.
'The Order of Things' showcases a series of Billie’s playful and humorous paintings in the illustrative and nostalgic style she is so well known for.
Your Invitation! Bring your friends! Invite design by Seld-titled.
Billie gleans endless inspiration from the everyday and the unique lens with which she views her world. "My paintings pay homage to the kitschy delights of eating, drinking and the bizarre day to day miracles of existence," she says.
Loved by us and Modern-Times-art-lovers alike, her colourful and graphic style is immediately striking but the particular way she presents familiar subjects means the viewer often finds one or two pieces that especially resonate with them.
Whisky on the Rocks by Billie Justice Thomson
Toast by Billie Justice Thomson
The exhibition moves through a range of subject matters, from the familiar - in a painting of a red pair of socks, to the creepy – a cleanly severed, perfectly manicured hand.
“When viewed together, they create a narrative where the images are arranged and rearranged into a sequence that can tell many stories, it all hinges on the state of mind of the viewer,“ states Billie. “There is a departure into slightly more sinister territory with my latest series”.
Red Socks by Billie Justice Thomson
Severed Hand by Billie Justice Thomson
We're spoilt with stunning wines from Gomersal Wines and cider and beer from Young Henrys so mark September 24 in your calendar and join us to celebrate this clever and funny exhibition from 6-8pm at a NEW VENUE 466 Smith Street, Collingwood. Please RSVP to email@example.com.
The exhibition is open at Modern Times from 25th September and will run until the 8th October. See you there!
Now Open! Sarah Kelk - All Things Now
Sarah Kelk in her studio with paintings from All Things Now
All Things Now is a warm interpretation of the world around us, evoking visual memories and allowing the viewer to decode their own meanings.
Sarah's soft edged abstract paintings have an exquisite balance of strength and lightness to them that makes them so appealing.
Layered by Sarah Kelk, from All Things Now.
Sheltered by Sarah Kelk from All Things Now.
Under the canopy by Sarah Kelk from All Things Now.
We are so pleased to announce Trophy Wife Nail Art will be having a Pop-Up in-store for tonight only! You can get your very own Sarah Kelk inspired feature nail painted for just $5 (or $10 for 2!) while you drink a glass of wine! Line up ladies!
Sarah Kelk Inspired feature nails by Trophy Wife Nails!!
All Things Now! Image courtesy of Peter Kelk
A happy crowd at Modern Times celebrating All Things Now by Sarah Kelk. Image courtesy of Peter Kelk
Drinking and mingling at Modern Times! Image courtesy of Peter Kelk.
The beautiful paintings of All Things Now by Sarah Kelk at Modern Times
All Things Now will be hanging in-store until Thursday 6 August and you can see the paintings all online here!
Warehouse Sale This Weekend!
It's that time again! Warehouse Sale time!!!
We'd love to see you at our warehouse sale this weekend. You will find a whole range of fantastic pieces at CRAZYYYY!!!! prices so we can make way for new stock. Browse our 500sq metre warehouse and you will find lots of bargains on both restored and unrestored items from Denmark, Italy, Holland and beyond.
Loads of Danish Leather Sofas $500 - $1800
Teak Chests $300 - $600
Extendable Dining Tables $550 - $950
Coffee Tables from $150 - $650
Dining Chairs from $90 - $300
and more including desks, armchairs, bureaus, side tables and homewares...
466 SMITH ST, COLLINGWOOD
SATURDAY 13TH - SUNDAY 14TH JUNE
Modern Times News
Top 4 with Sharon Muir
A collection of Sharon Muir's ceramic art on an Italian Desk. Rug by Pampa, artwork Christopher Wool, Danish armchair. All available at Modern Times.
Sharon Muir's stunning ceramics have had a special place at Modern Times for some time now and we keep falling more and more in love!
Known for her distinctive work with red and white clay and her ceramic collage, each piece makes a statement on its own and and looks even better in a collection of your favourite pieces!
A graduate of RMIT, Sharon has a Masters of Fine Arts (high distinction!) and her skill and creativity speaks loudly in her ceramic art, which she has proudly exhibited both Internationally and within Australia.
We are humbled to be her sole stockist in Victoria and love seeing her hand dishes and geometric planters nestled amongst our Danish sofas or atop detailed Italian desks.
L-R: Arch Point Atomic Planter, Mini Mona Dish and Cleopatra Eye Dish. All available at Modern Times.
We chatted recently with Sharon about her signature style and she even revealed which treasured pieces she keeps at home!
How would you describe your style?
My husband, an art history adademic, calls it 'modern archaic'. I would describe it as graphic, streamlined and neatly crafted. I have always admired the gestural organic style of ceramics but I've never been able to produce it.
What are your major influences that come together to create this style?
If I had to narrow it down, I would say the palette comes from ancient Greek and South American pottery while the forms are inspired by modernist and vintage shapes. But I really find inspiration everywhere- I have recently been looking at road markings and thinking what nice abstract shapes they are.
What are your top 4 pieces (personal favourites!)?
I don't really have any favourites but there are pieces that I have at home, so I must like them a little more than the others. I have a black and white pebble pot, two black and white saucer vases, a hand dish and a bullet vase. And a black and white lamp prototype that's based on one of the vases. The lamp is the piece that excited me the most. It's not in production yet even thought I've been working on lamps since last year!
L-R: Hand Dish, Pebble UFO Vase. Both by Sharon Muir, available at Modern Times.
L-R: Pebble Pot, Bullet Vase. Both by Sharon Muir, available at Modern Times.
Tell us a little story about yourself....
When I left school I wanted to be a Graphic Designer. I'm glad I'm not a Graphic Designer. I'm much better at making pots!
We are quite sure you would have made a great Graphic Designer, but we are pretty happy you turned your talented hands to ceramics! Can't wait to see those lamps!
Pick your own favourite to start your Sharon Muir collection from our online store, or come and see our shelves filled with Sharon's work in our lovely shop!
Q + A with Stephen Baker
Stephen in his Studio with works from 'After Hours.' Photograph by Brook James.
The countdown is on, 'After Hours' by Stephen Baker opens tomorrow night! We hope you'll be joining us for the opening.
In the lead-up to the exhibition Stephen was kind enough to chat with us about sketching girls in dive bars, finding colour inspiration in the trash and seeing the romance in solitary moments.
Tell us a little bit about ‘After Hours’, how did the series come to be?
After Hours is a continuation of a theme I've worked with for some time now involving girls and late night dive bars. I'm trying to capture the solitude one can have, the escape from the outside world for a few hours at these venues. They don't always have to be bars, I find the same romantic notion in a hotel lobby or airport lounges. I get a great sense of one's self in the world when I'm seated at a quiet bar- hotel rooms and airports have the same affect on me. Maybe it's the reflective mood these locations create, I always seem to just sit back and watch the world when I'm in either of these places. I think I feel free from the daily grind and a sense of excitement and freedom all rolled into one. I enjoy trying to capture this mood within my works, there a reference of a feeling, something that can be used as medicine or treatment when needed.
What attracts you to sketch your subjects? Do you think they ever aware they are being sketched?
I'd have to say it's about a 50/50 split between actually being there sketching a subject or taking a mental or actual photograph. I actually sketch scenes that seem to capture a real life act I guess, something that's everyday and not hard to relate to. In saying that, the latest works are very much scenes I've put together in my head based on relatively believable situations. I felt these scenes had to be created and orchestrated outside of reality to capture the exact moment and feeling I wanted to portray.
Stephen in his studio with sketchbook. Photograph by Brook James
How does your experience as a graphic designer influence the way you work as a painter?
Quite a lot actually! I spend a lot of time on the computer when piecing together shows and also creating colour palettes. I like to work through various palettes before settle on what I feel is the best for the work, I can only do that by using a computer. I don't always work this way either, I'll chop and change depending on how many works are being created. My background in design has definitely allowed me to be more proficient with my painting. Also with the idea that graphic design focuses on conveying a simple and bold message- I too am painting with a very stripped back minimalist approach, much like a graphic designer. But that's being fairly generalised in regards to the design industry.
Your colour selection is beautiful, tell us about how you choose the palette to work with?
I choose most of my palettes from studying Pantone Reference books and also putting together palettes on the computer. I usually have a key pop colour, then mix in my mids and then throw in a couple of sharp darks to give depth where needed. Sometimes I'll stumble across amazing palettes on my walks to the studio, it could be colourful signage or trash in the gutter! I'll always take a snap shot on my phone and keep it for reference later.
Works from the 'After Hours' Exhibition. L-R 'Smoking At Bar - Part 1' and 'Smoking At Bar - Part 2'.
How do you see your work evolving? Do you see yourself working on a larger scale again like your work at the Fitzroy pool mural?
Oh I'm always on the hunt for mural work, I love working on larger projects. Being outdoors and up a ladder painting is always fun, except in winter… but even then. I have a few larger projects that will take me away from the canvas this year, one involving a large 2.5 metre fibreglass kangaroo.
We can't wait to have Stephen's beautiful paintings hanging in-store and will be delighted to share them with you over the next two weeks!
'After Hours' By Stephen Baker opens at Modern Times on Thursday 23rd April from 6-8pm kindly sponsored by Vale Brewing.
The exhibition will run until 7th May at Modern Times on Smith Street, all paintings are available to view online. For any enquries please call Modern Times on (03) 9913 8698 or email us firstname.lastname@example.org.
Beauty in Unexpected Pairs
Tom Blachford and Brooke Thorn hanging out together in store.
Photographer Tom Blachford recently delivered some works from the second series of 'Midnight Modern', including this seriously amazing shot of the Kaufmann House by night. I actually can't describe how incredible this image is....
Anyway, not long after, ceramicist Brooke Thorn dropped by with a selection of her 'Serving Suggestions' ceramics range in the most beautiful deep sea blue glaze.
In a surprise moment - when we paired them together, each one brought out the beauty in the other. The palette of Brooke's ceramics brought out the midnight hues in Tom's photographic masterpiece and it just worked!
This inspired us to create some more unlikely pairings of Tom's photography with Brooke's ceramics. Here are some of our favourites!
Stephen Baker - After Hours
Modern Times is pleased to announce our upcoming solo exhibition for Melbourne artist Stephen Baker. 'After Hours' extends Baker's signature trajectory: translating familiar scenes and imagined narratives into abstract geometrical compositions.
Paintings from his upcoming show. Left: 'After Hours - Palette 2. Right: 'An Evening In' - Palette 1
"In recent years I've learnt to focus on the process of creation and not just the final result," explains Baker, who carries his sketchbook with him everywhere he goes. Working from Collingwood's Everfresh Studios, Baker explores his urban surroundings on foot—finding inspiration around every corner. In bars and cafes, Baker sits and sketches—not only his physical surroundings but also the stories they evoke. A feeling of escapism (in the filmic sense) permeates the work. Brooding interiors; the mood evoked by a room; a sense that there's something unfolding just beyond view.
Stephen's paintings are first imagined as sketches. Photo by Brooke James.
Returning to the studio, Baker brings his sketches to life by re-imagining them as a series of geometric shapes. He adds colour using a palette arranged from Pantone reference books.
Inside Stephen's worksapace at the Everfresh Studios in Collingwood. Photo by Brook James
Each is mixed and matched by eye before being applied to canvas or board."To me, these scenes only come to life once the bold lines are applied, providing divisions between the colours." It's an exacting process that results in an aesthetic both distinctive and familiar.
Paintings from his upcoming show. Left: 'Smoking' - Part 1. Right: 'Smoking' - Part 2
That familiarity might arise partly from Baker’s quickly rising star. Coveted on tote bags and double tapped on Instagram, his pared-back shapes, colours and lines have also recently entered the public realm in the form of Fitzroy Pool’s newly beloved mural, ‘Pool Parade’.
Stephen in front of the Fitzroy Pool mural. Photo by Brook James
Put the opening night in your diary - we would love for you to join us!
'After Hours' opens 6-8pm Thursday 23rd April – kindly sponsored by Vale Brewing.
Exhibition dates 23rd April – 10th May
For catalogue requests and pre-sales click here!
International collection: Wrapped Coast
Photograph by Harry Shunk. Signed edition of 300 printed by La Poligrapha S.A. Barcelona, 1982. Copyright Christo 1969.
Modern Times is introducing selected limited edition artworks by some of the world's most renowned and collectable artists. This work is part of this exciting new international collection.
This is a spectacular image of the first international project staged by environmental artists Christo and Jeanne-Claude, commissioned by Australian collector, John Kaldor. This project is now legendary in Australia’s cultural memory.
Wrapped Coast included one million square feet of fabric and 56.3 kilometers of rope shrouding a 2.4 kilometer long section of the Australian coastline and was the largest single artwork ever made at the time. The staggering scale of the project is evident in Harry Shunk’s now iconic image of the work.
Photographer, Harry Shunk, documented many important ephemeral artworks and performances of the twentieth century and these images not only provide important historical references but many are acknowedged as works of art in themselves.
Work in progress; men work by harness to wrap 2.4km of coastline in 1 million sq feet of fabric, photograph by Harry Shunk.
Photograph by Harry Shunk of the staggering Wrapped Coastline by Christo and Jean-Claude
Photographer, Harry Shunk, documented many important ephemeral artworks and performances of the twentieth century and these images not only provide important historical references but many are acknowedged as works of art in themselves.
Photograph of Wrapped Roman Wall by Christo and Jeanne-Claude by Harry Shunk.
Harry Shunk’s documentation of ‘one-time-only’ events enables historically important artwork to be immortalized. For this reason, Shunk’s images are in collections of the major art institutions of the U.S. and Europe including the MOMA, New York; Pompidou, Paris and Tate Gallery, London.
A contemporary re-framing of the image in an aluminium box frame reflects the cool palette and enhances its cinematic qualities.
Look out for the more of our International Collections online or pop in and see them in-store!
To see a little more about the Wrapped Coast, click here for a cool video put together by the Art Gallery of NSW.
For more details please contact us at email@example.com or call (03) 9913 8598
A Warm Welcome to Bonnie and Neil!
The Holiday Collection! Made by Bonnie and Neil and proudly stocked at Modern Times. Image Bonnie and Neil
Exciting news! Bonnie and Neil have joined us and we couldn’t be happier!
We are so proud to present the stunning collection of textiles and homewares by Bonnie Ashley and Neil Downie as part of our curated collection of local artists and makers
Since the launch of their eponymous brand in 2010, Bonnie and Neil have flourished into one of Australia’s most beloved textile and homewares brands (not to mention one of our favourites!).
Easily recognized for their eclectic mix of bright colours, painterly botanical prints and cheeky bird motifs, Bonnie and Neil’s beautiful handmade textiles have a signature look that has quickly earned them cult status. These are the cushions to clash and collect!
Vibrant cushions and tiles from Bonnie and Neil's Holiday collection. Image Bonnie and Neil
We absolutely love that Bonnie and Neil have stayed close to their roots, designing and manufacturing everything from scratch here in Melbourne. Their bustling studio is a hive of activity employing 5 people (with 2 more joining the team soon!). Their textiles are carefully screen-printed by hand in their Brunswick studio on pure linen, and cushions are lovingly filled with duck feather inners.
Unwavering quality and a sense of uniqueness in every piece keeps loyal fans coming back each season. Along with a selection of Bonnie and Neil ‘classics’ (those cheeky birds!) we are excited to have in-store a selection from the aptly named collection ‘Holiday.’ With a softer palette of pretty peach-ey tones and washed out blues, the cushions are part dreamy and part geometric. A little bit playful and a little bit relaxed.
Left to right: Shapes cushion, Cockie 2 cushion, Scarf tile cushion. All Bonnie and Neil
Loved by stylists and industry folk too, Bonnie and Neil have been widely used in magazine editorial, with an endless list of credits. This month in fact, their vivid Jungle Green cushion makes a graceful appearance on the April cover of Real Living magazine and their Cockatoo cushion features inside Home Beautiful.
Bonnie and Neil 'Jungle' cushion, featured on the April 2015 cover of Real Living Magazine. Image: Real Living
A nod from our friends at The Design Files a few years back gives a fantastic sneak peak into the home of the delightful pair. It’s clear to see their combined love for of floristry, art, textile and furniture are reflected as much in their products as in their own personal style.
Images of Bonnie and Neil's home, as featured on The Design Files. Images: Armelle Habib for The Design Files.
A truly inspiring creative couple, with a very cool brand to boot. We are huge fans and we are super proud to share the collection with you!
Check our Bonnie and Neil range online or pop in and see us in-store, we’d love to help you choose your own perfect combo!
Featured Artist – Q + A with Leo Greenfield
Today we introduce the first of our new Featured Artist series. Every month or so we will bring together a range of product, special blog content and even exhibitions or product collaborations focusing on some of our fave local artists and designers.
We debut the series with Leo Greenfield, a name that has been circulating in the fashion and design realms for a few years. Best known for his sartorial street fashion illustrations, Leo Greenfield has illustrated the likes of Anna Wintour in Paris, local passers-by down at Fitzroy Woolworths and much in between. Each piece is drawn from memory alone, highlighting his remarkable attention to detail and individual interpretation of those who catch his eye.
Leo Greenfield at work. Photo by Clare Pathé, Paris.
Leo has been living and working in London, where he continues his practice of social commentary on contemporary fashion, on and off the catwalk.
He took the time to have a chat with us about his process, inspiration and gives us a few tips on other rising stars we might like to watch.
Can you please introduce yourself and tell us a little about your practice and technique?
My art practice is primarily about people, social actions and how we move in the public sphere. A major investigation into this element of culture has seen me examine fashion and how we dress via drawing.
I am a studio based artist and love working with physical materials such as paints, pencil and papers. My drawings are always of real people and places I have experienced. All drawings I curate on my blog are draw from memory.
Autumn Coat, Leo Greenfield.
What inspires you? What is it about your subjects that attracts you attention?
Currently I'm inspired by venturing into new worlds, from my new neighborhood of Hackney in East London, to the endless galleries here in the city. I'm keen to soak up the history of image making and art practice that the great museums offer.
Rose Street, Leo Greenfield.
How has your practice evolved over time? Have you explored dofferent themes or gone thorugh the process of working on different exhibitions and projects? Please tell us a bit about your history as an artist.
My practices can change with each project, from a book to a film or an exhibition, the work can take on many different forms. But for me drawing is always the starting point, it's the process I think through.
I've loved drawing since a young age but I started using it to document fashion as a teenager when visiting Japan. This led me to studying Art History and then a Bachelor of Fine Art at the Victorian College of the Arts.
During this period I became fascinated with media, from magazines to digital publishing. I wanted to share my work, see the drawings inhabit different platforms and reach different audiences.
I saw the fashion world as an interesting element of visual culture and I began to investigate. Creating works for Vogue magazine gave me further insight into this world, but the runway shows of Paris have always been my favorite source of material.
Melbourne was an incredible base as an artist and gave me the confidence to relocate to Paris and now London. Here in the East End I have set up a studio and building a collaborative team around my work, and we are experimenting with new mediums and stretching the drawings into animations.
Leopard Print, Leo Greenfield.
Who or what is inspiring you right now? Have you got any hot tips for instagrammers, bloggers or magazines we should be tuning into?
We it comes to media it's always a wash with me. I really love just exploring book shops.....I jump in and out of Instagram, but like to see what contemporary galleries are posting such as Ditto Press and what artist friends such as Rachel Ang and Sarah McNeil are sharing. The New Yorker is my all time favorite and keeps me company in the studio with pod casts.
We currently have a sweet series of original pen and ink drawings by Leo Greenfield featuring the colourful characters of our very own Collingwood and Fitzroy! Check out his artist page for details.
Win a $500 gift voucher
Fancy winning a $500 gift voucher for Modern Times? It's a fantastic prize and it's super easy to enter.
Simply visit us in store and Instagram the one thing from our range of Australian made and designed gifts that is at the top of your Christmas wishlist. Just make sure you tag @_moderntimes_ and #givemodern to be in the draw for this awesome prize.
The hardest thing about entering this comp will be choosing your favourite piece!
The competition closes on Christmas Eve but you can Instagram a new entry everyday if you like! Until then, start browsing our homewares and gifts, art or furniture and start imagining what fun you could have with that $500...
Modern Times News
Halloween, Hollywood and mid-century Modernism
Thanks to Tom Blachford's exhibition Midnight Modern, we've spent the past month immersed in the world of mid-century Palm Springs architecture – surrounded by eerie, large-scale photographs of moonlit Californian modernism. If you missed the show, don't worry – Tom's prints are now up in our online store
Anyway, with Halloween having just passed us by it seems like the perfect time to keep on wallowing in that midnight feeling. But, beyond Tom's masterful framing and use of light, what is it exactly about Palm Springs modernism that evokes such a weird sense of unease? This week we came across a zine that spookily aligned with our current obsession:
Benjamin Critton's zine Evil People in Modernist Homes in Popular Films is currently on display in the library at The Good Copy (our lovely neighbours just around the corner from Modern Times). Drop in and check it out if you get the chance. Flipping through the new edition, we discovered one obvious fact we hadn't considered: Hollywood villains pretty much always live in modernist houses!
Cue: Halloween modernism-movie marathon! Here are some of our favourite mid-century Palm Springs bad-guy lairs. The homes link to the Google map addresses so you can get a bit creepy yourself and snoop around the neighbourhood.
The Big Lebowski. In the movie it's the home of wealthy pornographer and loan shark Jackie Treehorn.
E. Stewart Williams.
The Damned Don't Cry. In the film, the exterior used as a gangster's desert hideaway.
Diamonds Are Forever. In the film, it's the home of reclusive billionaire Willard Whyte and the scene of James Bond's acrobatic fight with villains Bambi and Thumper.
LA Confidential. In the film it's the home of wealthy pimp Pierce Morehouse Patchett (operator of Fleur-de-Lis, a call-girl service that runs prostitutes altered by plastic surgery to resemble film stars).
Lethal Weapon 2. In the film it's the home of the main antagonist, South African diplomat and smuggler Arjen Rudd.
Less Than Zero. In the film it's the unwelcoming family home of college freshman-turned-addict Clay Easton.
Body Double. In the movie, it's the house from which struggling actor Jake Scully witnesses the murder of his mysterious neighbour Gloria.
So... why do so many of Hollywood's villains live in houses designed by John Lautner? Check out Ben's zine for some interesting theories.
Workbook - an extra special collab from Brooke Holm & Marsha Golemac
We've managed to squeeze in another goodie before the mayhem of the silly season is upon us. This time it's Melbourne stylist Marsha Golemac and photographer Brooke Holm who are launching Workbook, a collaborative photography project in the form of a visual diary and exhibition.
After the book and exhibition launch at their studio, all the beautiful prints wil be packed up and sent down the street to Modern Times to be exhibited for another 2 weeks. Yay for us!
The visual diary is a concept book that methodically positions Golemac’s signature minimalist styling alongside Holm’s dramatic landscapes, encouraging the viewer to not only acknowledge the juxtaposition but to celebrate it.
Quiet form contrasts with vivid colour. Polite restraint meets dramatic terrain. And clean lines oppose nature’s unpredictable path. Yet despite these contradictions, or perhaps because of them, Golemac and Holm are at home together. Theirs is a partnership that champions beauty in the organic and inorganic.
“As frequent collaborators, we are equally passionate about exploring the abstract in the studio, as we are about hiking across a mountain in search of that elusive shot,” says Golemac. “This project allows us to convey both worlds, highlighting that while initially they feel contradictory, that’s not always the case.”
With dramatic landscapes from as far afield as New Zealand and Canada, Holm says the project was a chance to reflect on the differing challenges of studio and outdoor photography.
“The beauty of working in the wilderness is the urgency that comes from attempting to capture the perfect moment in the perfect light,” she says. “Theoretically the studio environment offers more control, but that doesn’t make it any easier. We really wanted Workbook to highlight the beauty in both.”
For Golemac and Holm, the project is the culmination of years of collaboration across editorial and commercial assignments, seeing the pair forge successful careers independently and together. And like the subject matter of Workbook itself, it’s in working side-by-side that they bring out the best in each other.
Workbook officially launches at the studio of Brooke and Marsha on Thursday 30 October 2014, 6–8pm. Just down the road from Modern Times at 466 Smith Street, Collingwood. All welcome, however RSVP is essential: firstname.lastname@example.org
If you can't make it to the launch, the exhibition continues from 31 Oct to 16 Nov at Modern Times – large-scale prints will be available for purchase instore and online from October 30.
We wish Brooke and Marsha a successful launch and look forward to making these works available through Modern Times.
Art, Modern Times News
Q + A with Tom Blachford
With just two sleeps to go until our next exhibition opens, we caught up with Tom for a chat about the making of Midnight Modern.
Tom photographed by his girlfriend Kate Ballis out the front of the Parker Hotel in Palm Springs.
Tom Blachford's new series of works captures California's famous mid-century modernist homes under the midnight glow of a super moon. The journey from one late-night discovery to a finished series has involved two trips to Palm Springs, quite a few late-night scouting missions and some amazing street light serendipity.
1030 West Cielo Drive. Photograph by Tom Blachford for his exhibition Midnight Modern.
When I think of Palm Springs, I think of harsh, bright sunlight. What made you choose to photograph these houses in the dead of night? Do you think the idea to shoot this way would have occurred to you in your hometown of Melbourne?
These houses have been around for 60 to 70 years and I imagined they had been photographed from every angle thousands of times. We were also pushed for time to see everything so we needed to squeeze in some shooting and exploring after a dinner one night. I guess that's how it originally came about. We lucked out and noticed it was a full moon and I thought it might be interesting to see how they looked under the moonlight.
After seeing the first few images I was hooked. My eyes nearly popped out of my head when the first image appeared on the screen after the 30-second wait. After experimenting with a few houses I found that the only shots that would work were when all the lights were off, except for perhaps one lamp inside the house. Curiously, all the older palm springs suburbs have no street lights, which also helped.
1133 N Vista Vespero. Photograph by Tom Blachford for his exhibition Midnight Modern.
What led you to making this collection of images? At what point did you realise you were working on a series?
I absolutely love the mid-century tract houses, and admiring them during the day on our first trip I was struggling to capture them in a way that felt unique. On the first trip I shot about six images and we were exhausted so we headed home. Returning to Melbourne I looked at them over and over and kicked myself for not staying up to shoot more. I knew I had to return so we (my girlfriend and I) checked out the dates of the moon and found there would be the first of three super moons for this year in July. We planned our trip around being there for the moon with a couple of days to scout beforehand and a few days to relax by the pool afterwards!
The sparseness of these images can lead the viewer to imagine their own narrative. Is there a feeling that you’re catching these houses when they are recharging, or in between scenes?
I love to imagine what is going on behind closed doors. These images of the houses raise so many questions and possibilities for stories. Even better is the thought of the scenes that have already played out behind these doors in their 60-plus years of existence. Every time I look at them I like to imagine something different going on behind the breeze-bricks.
879 N Monte Vista. Photograph by Tom Blachford for his exhibition Midnight Modern.
How important is the physical scale of these works?
I wanted to recreate these homes as large as I could possibly print whilst maintaining quality – but also hoped that I could give them a diorama effect by shrinking them into little boxes on the wall. There are a couple of images that I swear could be doll houses with little painted mountains behind. Even when I’m standing in front of them sometimes I swear those mountains are a painted backdrop – the slight haze over them makes them look so unreal.
What initially attracted you to photography? What attracts you to it now?
I’m obsessed with the way the camera is able to warp both time and perspective to capture the world in ways I was never able to see with my eyes.
This series is very much a renaissance for me. I initially fell in love with photography when I was playing around with long exposures and light painting. The first time the shutter closed and I saw a streak of light painted across the image I was hooked. I played around with it for a couple of years very early on but left it behind to explore other techniques and complete commercial jobs that weren’t interested in such magic. It was amazing to be back out in the darkness and using long exposure to create work again.
What kinds of images are you interested in making next?
I’m not sure what my next series is. I would definitely like to work with the moonlight again, potentially explore a new style of architecture - and I guess, in turn, a different unspoken narrative. I love the stilt houses of northern Australia and I have a fascination with the littered lawns of the suburbs in our urban sprawl. I might try to work up the courage to shoot four hours a month under the full moon somewhere a little closer to home.
I also became obsessed with shooting from a helicopter earlier this year and I'm hoping to get up a few more times over summer to put together some more shots in my Aerial Summer series.
MEET TOM AND CHECK OUT HIS INCREDIBLE LARGE-SCALE WORKS AT THE EXHIBITION OPENING THIS THURSDAY 2 OCTOBER, 6-8pm.
Midnight Modern – Tom Blachford
Today we announce our last exhibition for the calendar this year. On October 2nd we will unveil a collection of incredible images of iconic Palm Springs architecture taken by Melbourne photographer Tom Blachford, under the light of a super moon!
Tom's dark and dramatic photography series Midnight Modern is a big departure from our usual bright and illustrative offering. When I first saw Tom’s evocative depictions of mid-century Palm Springs architecture, I imagined sitting back in a Falcon Chair, admiring his spectacular Edris house image looming large over a Hans Wegner sideboard! I can't wait to see these haunting, modernist streetscapes exhibited in store alongside vintage pieces from the same period.
925 Crescent Drive. Photograph by Tom Blachford for his exhibition Midnight Modern.
In this new series, Tom set out to explore "the relationship between the moonlight, the forms of the houses and mountains as a backdrop." Shot over two separate trips to Palm Springs (the second timed to coincide with the super moon) the photographs suspend California's famous mid-century homes in an eerie half-light. Deepened by shadows and dashed with stars, each image represents a 30-second exposure. The results appear both deserted and uneasy. (These buildings might be iconic, but in 'Midnight Modern' they seem to sit outside of time.)
877 Via Las Palmas. Photograph by Tom Blachford for his exhibition Midnight Modern
Tom's images go far beyond everyday architectural photography. The images resonate with the balmy night heat of Palm Springs and I find myself wondering who lives in these houses and what goes on behind those closed doors? The works make a fantastic statement, framed impeccably by United Measures and presented at large scale (around A0).
872 N Coronet Circle. Photograph by Tom Blachford for his exhibition Midnight Modern
As you can probably imagine, a midnight/moonlit shoot halfway across the world isn't easy. From historical research and home-scouting missions to last-minute cloud-cover dramas, there are some fantastic stories behind these works. Feel free to barrage Tom with questions at the opening from 6pm on Thursday 2nd October. We hope you can join us!
To receive a catalogue of works and pricelist prior to the opening please email me email@example.com
The Midnight Modern series will be available for sale on our website from 2nd October.
Opens 6-8pm, Thursday 2nd October. Sponsored by Coopers.
Exhibition dates 2nd – 19th October
Art, Modern Times News
Lisa Lapointe – Interview
With the opening this week of Sydney-based artist Lisa Lapointe's first solo Melbourne show, Behind The Sun, we're getting a little bit excited about seeing her large-scale, original pencil works up close.
In her own words, Lisa's drawings are "chaotic yet serene". They combine the primitive with the futuristic through bold colours, strong graphic elements and mythological references. Ahead of this Thursday, we asked her a few questions about her meticulous, labour-intensive process – and the Shamanistic stories that have inspired this particular series.
Sydney artist Lisa Lapointe's first exhibition in Melbourne opens this Thursday August 14.
How did you begin your journey as an artist – and what attracted you to drawing particularly?
My father tells me I was always an artist – that out of his six children I was the only one who always knew what I wanted to be "when i grew up". I was always furiously making and creating when I was a child, and would sit for hours on end on my projects – no time to go to the bathroom – no time to eat. After school I formally studied and did a bachelor of fine arts degree majoring in painting at CoFA, UNSW. I predominantly experimented with textiles, jewellery (and obviously paint) but it wasn't until much later that I discovered the pencil.
Soothsayer by Lisa Lapointe. Original pencil drawing on paper (1140mm x 770mm). To be exhibited at her forthcoming exhibition Behind the Sun
Can you explain a little about your process? (Do you experiment with materials other than pencil? Do you set which colours you will use before you begin, or do you change them as you draw if your mood or reaction to the work changes?)
I am currently very dedicated to the pencil. I imagine myself exploring other mediums in the future, but not for a while. I do small scale mock-ups of my drawings in colour – these sometimes go exactly to plan or change – I intuitively feel them and know straight away if a colour isn't going to work out.
Lisa at work in her Sydney studio.
The largest work in this show is almost two metres wide - how long does it take to hand-colour a piece this size?
Anywhere from 6 to 12 weeks – it all depends on the drawing – some are harder than others.
Lisa's labour intensive technique with colour pencil creates dramatic results.
What are some of the inspirations for the body of work you'll be exhibiting in Behind The Sun? Can you introduce us to some of the themes in the show?
I am most inspired by spiritual, religious and indigenous mythologies. I reference and explore the meanings behind these themes. I'm currently particularly interested in Shamanism, which is evident in many of my works, particularly the 'Panther', 'Hara', 'Owl', 'Valley of the Serpent' and 'Cajoling the Moon'. I focus on creating images of power and encourage the viewer to dream forward – into the future – not backward into the past.
Cajoling The Moon by Lisa Lapointe. Original pencil drawing on paper (1140mm x 1050mm). To be exhibited at her forthcoming exhibition Behind the Sun
Can you tell us a little more about the elements of Shamanistic folklore featured in the works?
The key themes I currently draw from Shamanism are healing, power and dreaming – ultimately our connection to spirit. I am particularly drawn to the connection Shamanism has with nature and the earth. How plants can be great healers and animals powerful guides. I like the idea of a Shaman being able to mend the soul with this great knowledge. The ability to read one's environment and understand one's ailments or discord through these signs and symbols.
Owl by Lisa Lapointe. Original pencil drawing on paper (1050 x 770mm). To be exhibited at her forthcoming exhibition Behind the Sun
What's next? Since focusing on your art practice full-time, have you worked on any textile or fashion collaborations or are you focussing primarily on your 2D work?
I will be doing an artist in residency in St Leonards, Sydney with Brand X as soon as I return from Melbourne. I will use this time to do another show – this time in Sydney. But I have no collaborations on the cards as yet…
MEET LISA AND CHECK OUT HER INCREDIBLE WORKS AT THE EXHIBITION OPENING THIS THURSDAY 14 AUGUST, 6-8pm.
Modern Times News, Art
Behind The Sun – Lisa Lapointe
We are very excited to announce our upcoming exhibition Behind The Sun, a collection of new drawings by Sydney-based artist Lisa Lapointe.
Opening on Thursday 14th August, this will be Lisa's first solo show in Melbourne—although you may be familiar with her amazing work thanks to her Instagram feed. You might also have seen her range of digital art prints we've had in the shop over recent months.
Maji, original pencil on paper by Lisa Lapointe (1700mm x 1140). The largest work to be exhibited at our forthcoming exhibition Behind The Sun. This spectacular work measures almost two metres across. Phenomenal!
While Lisa's work translates beautifully in her digital prints, I've been keen to get my hands on some of her originals which can measure up to almost two metres wide! Her original drawings reveal a fascinating, labour-intensive technique in which rich pigment is built up with fine measured pencil strokes, saturating the paper from edge to edge.
Lisa's labour-intensive technique uses coloured pencil to spectacular effect in her large scale drawings.
This meticulous process combined with Lisa's bold sense of design allows her to produce works that make strong graphic statements while also being full of texture and nuance. As she says, the results are "chaotic yet serene".
Panther by Lisa Lapointe. Original pencil drawing on paper (1100mm x 900mm). To be exhibited at her forthcoming exhibition Behind the Sun.
Drawing upon spiritual, religious and tribal iconography for her subject matter, her drawings have an obvious connection with the primitive, but this is contrasted with a futuristic colour palette. Describing the works she's made for Behind The Sun, Lisa told us, "I am currently particularly interested in shamanism, which is evident in many of my works, particularly the "panther", "hara", "owl", "valley of the serpent" and "cajoling the moon". I focus on creating images of power and encourage the viewer to dream forward - into the future - not backward into the past."
Valley Of The Serpent by Lisa Lapointe. Original pencil drawing on paper (1400mm x 1050). To be exhibited at her forthcoming exhibition Behind the Sun.
Since graduating from a Bachelor of Fine Arts degree at CoFA, UNSW in 2002, Lisa has worked in the worlds of fashion and interiors—with labels and designers including Orson and Blake, Ksubi, Mark Tuckey, Pamela Makin and Romance Was Born. As of last December, she decided to focus on her art practice full time.
We’d love all of you to join us in celebrating the opening of Behind The Sun from 6pm on Thursday 14th August—with some delicious drops kindly supplied by McPherson Wines. Thanks guys!
Behind The Sun
Opening 6–8pm, Thursday 14th August
Exhibition dates 14th – 31st August
Modern Times News, Art
Fred Wins Vivid
Who's Fred? He's a table designed by Adam Markowitz exclusively for Modern Times. We've been really excited to collaborate with Adam, having closely followed his Markowitzdesign studio projects since he returned from studying at the Royal Academy, Copenhagen.
The beautiful detail and joinery which attracted the judges attention at VIVID
With his practice now based in Melbourne, Adam continues to focus on "the intimate connection between design and fabrication," looking at the intersection between modern digital processes and traditional craftsmanship. He describes Fred as "a mongrel. A cross-breed." In fact, Fred is named after one of the Children of Princess Mary (who originates from Adam's spiritual home state of Tasmania) and Prince Frederik of Denmark. In short, he's "a royal of mixed blood."
We asked Adam to tell us some more about the inspiration behind the piece:
"We decided that a table would be our first collaborative project, as it can be visually striking whilst being of reasonably straight-forward construction. I set about designing something that was at once evocative of the training I had recently received whilst studying at the Royal Academy in Denmark - I had the ghost of my Danish professor in my ear: "What is this piece for? What is it doing? Can you take it away?". However while I wanted it to feel at home amongst Modern Times's mid-century pieces, I also wanted to introduce elements that were more contemporary - stronger lines, more assertive angles - and a celebration of joinery and materials that is more reminiscent of my time at the furniture school in Hobart."
Fred's award was presented yesterday by Jan Henderson, co-editor at (inside) magazine. The judges described him as
"quite elegant and sophisticated with very fine detail. The Fred table celebrates the beauty of natural, sustainably sourced Australian timber (Tasmanian Oak and Jarrah) combined with a modern and classic Danish design"
NGV Visit! Mid-Century Modern: Australian Furniture Design
One recent frosty morning we cranked up the coffee maker, logged into our email and found an invitation to the opening of Mid-Century Modern at NGV Australia. A great start to the day! It's also a great exhibition – the first major survey show dedicated to Australian furniture design of the post-war years. As well as a fascinating overview of the materials and manufacturing systems that shaped Australia's take on modernism, it pulls together rare pieces and sketches that reveal the working processes of key designers including Grant Featherston, Douglas Snelling, Fred Lowen and Clement Meadmore.
Modern Times-er Penny Rogers went along to the opening and brought us back this photo diary. Thanks Penny!
The first pieces you see when you walk into the exhibition are these Douglas Snelling chairs, designed in 1946. They were part of the first collection of modern furniture to be mass-produced in Australia. The webbing was actually made from the same synthetic used in the production of parachutes during the war.
There are some fascinating publications on display throughout the gallery. This spread shows the Snelling Line armchairs in situ. Their use as indoor/outdoor furniture reminds me of the Børge Mogensen Spanish Chair, which has a similar feel and works well in both contexts (provided it's given some protection of course!).
This piece by Fred Ward noticeably has more of an old-world style to it. I think the simple hardwood detailing is really beautiful. Suitably called the 'Blueprint' chair, this 1950 design evolved from the Patterncraft range, which was developed for soldiers returning from war (who usually blew a huge chunk of their money straight away on a house and car, leaving little left for furniture). You ordered the blueprints and parts and assembled the chairs at home.
This display shows the Corded Armchair, 1952, designed by Clement Meadmore (left) and the Cane-metal Chair, 1954, designed by Grant Featherston (right). To me the appeal of these chairs is all about the combination of materials – woven cotton cord and natural cane against and the hard black lines of the steel frames.
Here's the Corded armchair displayed with its matching table. These were some of the first pieces produced as part of the 'Meadmore Originals' range, after Clement Meadmore founded his manufacturing company in 1952. The cotton cord was actually also used in the manufacture of Venetian blinds.
Grant Featherston is easily the most recognised Australian furniture designer. He certainly was very popular and prolific. There's naturally a lot of his work featured in the exhibition – along with advertisements and early sketches, which give a really well-rounded impression of his work, concepts and process. The Australian Home Beautiful spread above shows the sheets of bent plywood that formed the basis of his iconic Contour chair.
The Contour chair was Featherston's most popular and celebrated design, and it's nice to see it alongside some rarer pieces from his Contour range to get an idea of the scope of his work.
The exhibition is so well considered. I think it's lovely that the early development stages of the design process are shown so you can see the humble beginnings of each piece, as in Featherston's sketches above.
Above are two displays featuring Featherston's 'Television' chair, from his Contour range. This design was released three years before TV actually arrived in Australian homes, which shows the anticipation people felt about the idea of 'televiewing'.
The exhibition also includes some great TV advertisements showing how the Contour Chair was moulded and designed. I tried to find this on Youtube and failed – a great reason to pop into the exhibition to see it for yourself!
I was so into this 'Colourflex' paint. If they still produced something similar now I'd be all over it!
It was interesting to see the different paint and textile colours that were in fashion at the time. Below is an interiors shoot from the 1950s that features a lot of the colour palette shown above.
This one was just so cute and textural that I had to take a photo! Little did I know that it's actually a covered version of the Kone chair, designed by Roger Mclay in 1948. Originally this chair was only available in plywood, and the design features a small cut-out hole through the bottom, but that didn't appeal to everyone so they made these little covers.
These were two of my favourite pieces in the exhibition. The chair is actually by Grant Featherston, although it differs from his other signature works in the Contour range. It's actually the prototype for his 'Wire' chair, designed in 1963. It's rather pared-back, using only painted steel piping. Next to it is a stunning coffee table by Clement Meadmore, who typically used a lot of steel piping for his furniture. This 1959 design is so striking, and the table seems to morph and change at different angles and view points.
Mid-Century Modern: Australian Furniture Design will be on show at Ian Potter Centre: NGV Australia until 19 October, with floor talks happening in July, August, September and October. Definitely check out the associated publication, too. It's edited by the exhibition's curator Kirsty Grant and includes beautiful photographs of more than 100 iconic Australian mid-century pieces.
Huge Warehouse SALE This Weekend!
We'd love to see you at our warehouse sale this weekend. We are clearing a whole range of fantastic pieces to make way for new stock. Browse our 500sq metre warehouse and you will find lots of bargains on both restored and unrestored items.
Loads of Danish Leather Sofas $950 - $1500
Teak Chests $400 - $600
Extendable Dining Tables $800 - $1200
Coffee Tables from $350 - $650
Dining Chairs from $90 - $300
and more including desks, armchairs, bureaus, side tables and homewares...
See you at our warehouse, just up the road from our store at 466 Smith St, Collingwood.
Modern Times News
Delving Deeper into Dutch Design
This month at Modern Times – and here on the blog – we're deep into an exploration of mid-century Dutch design. Researching the period and pulling together a range of pieces for the in-store exhibition has been a fascinating project. One of the first things you notice when you see them all together is a quite austere, industrial take on modernism that's very different from the hand-crafted Scandinavian style of the same era.
If you're interested in learning more, Perimeter Books in Thornbury stocks Yvonne Brentjens's 2013 monograph Friso Kramer's Chair.
At the heart of all this was a designer named Friso Kramer – and his ground breaking 'Revolt' chair. Friso avoided the limelight (or it avoided him) in the late 20th century, but in recent years he's been credited as the originator of the pared-back, utilitarian approach that came to define Dutch mid-century design.
You may not have sat in a Revolt chair, but there's probably no Dutch person who hasn't. Designed for furniture manufacturer Ahrend in 1953, the Revolt caused a stir at the Milan Triennale the following year, and was soon seen everywhere in Holland's schools, offices and homes. Now 92, Friso explains the thinking behind his chair's unique folded steel frame in this mini-doco about Ahrend's designers, past and present.
It wasn't just new industrial technology that inspired the Revolt. Dutch mid-century modernism developed from the pre-war De Stijl movement (read more in our blog post here!) and there's a link to that influence in the work of Kramer's friend and fellow 'Goed Wonen' (Good Living) foundation member Wim Rietveld.
Wim was the son of architect and designer Gerrit Thomas Rietveld – a major exponent of the De Stijl school, probably most famous for his Mondrian-inspired Red and Blue Chair. Wim worked with Kramer at Ahrend, designing the Result Chair in 1958 (which is sometimes credited to them both and sometimes to Rietveld alone). Pictured below left, the Result honed the production process that was pioneered in the Revolt, with sharper angles and more harmonious arcs.
Wim Rietveld and Friso Kramer's Result Chair, 1958 | Industrial Chair produced by Marko, Holland in 1964.
Rietveld and Kramer's work inspired plenty of design responses across the Netherlands. Produced by Dutch manufacturer Marko in 1964, the Industrial Chair pictured above right features the same bent steel and a sharper take on the compass point legs – a nod to French designer Jean Prouvé. You can also see those Prouvé angles at work in Rietveld and Kramer's Reply Table below, which went on to win the prestigious Brussels design award Le Signe d'Or.
The key designers of the period didn't work for single manufacturers. Rietveld designed his Model 415/1401 Armchair (below) for the Culemborg-based company Gispen. In this early example you can see the tubular steel, bakelite armrests and original red wool upholstery. Manufacturers tended to update fabrication methods and designs over the decades, which is why it's best to look to the original products to see the designers' intentions.
Pair of Model 415/1401 Armchairs designed by Wim Rietveld for Gispen in 1954.
Most Dutch school and office chairs of the period used the same distinctive West German Pagholz pressed plywood – often featuring a single moulded piece, as seen in the S22 Industrial Chair below left, manufactured by Galvanitas, Holland in 1967.
The beauty of Dutch mid-century modernism lies in its simple harmony and economy of form. It's a seriously minimal and functional style that has reached wider prominence only recently. In fact, if anyone feels like a holiday from Smith Street, Friso Kramer recently donated his whole design archive to RKD (Rijksbureau voor Kunsthistorische Documentatie / Netherlands Institute for Art History) and you can visit it in The Hague.
Friso Kramer at work designing for Ahrend in the early 1950s. Photograph by Carel Blazer.
If you can't splash out on a European excursion, visit us in the shop before the end of May to test an industrial chair for yourself – or find some ideas for injecting your home studio with a little mid-century Dutch practicality.
As Friso says, "You may design a beautiful chair, but put six around a table and something starts to happen. You say, 'It's too much this or that'. So you have to remove the irritation you will develop over time."
Dutch Design Focus
This month for our 'Dutch Design Focus' we have brought to you a selection of Dutch modernist furniture from the most renowned Dutch designers and manufacturers. Below is a 70s reproduction of the famous Red/Blue Chair designed by architect Gerrit Thomas Rietveld as part of the 'De Stijl' movement (surprisingly in 1917!). The rigorous use of straight, horizontal and vertical lines, geometry and primary colours served as an inspiration for many mid-century Dutch designers.
Click the links below for more information.
Dutch Industrial School Chair produced by Marko, 1964. | Teak Desk by Cees Braakman for Pastoe, Netherlands. | Small Raak Table Lamp by Raak, Amsterdam. | Dutch Cane Magazine Rack. | Amethyst digital print by Liesl Pfeffer.
Dutch Industrial School Chairs produced by Marko, 1964.
For more information on the history and origins of Dutch furniture design we have written a blog post here that outlines the major influences, designers and manufacturers of the time.
Modern Times Is Going Dutch
This month Modern Times presents a focus on Dutch mid-century furniture. Inspired by our European counterparts, we will be presenting a collection of furniture in a format which treads the line between retail display and exhibition. Our Dutch Design Focus will launch this Thursday May 1.
Dutch mid-century furniture is not as well known in Australia as Danish furniture of the same period but we have observed a growing interest in this period of design in Europe and are proud to be the first Australian dealer to present an extensive range of pieces.
Read on to learn more about this period in European design...
When thinking of Dutch mid-century furniture, one might be inclined to imagine a variation on Danish mid-century furniture where the focus was on beautiful natural materials and hand finishing. In fact, Dutch design of this same period is quite the opposite! Whilst it is wholly informed by the same modernist principals that guided the Danes (read an earlier blog post about this!), the Dutch interpretation resulted in a style far more austere and industrial.
Two examples of chairs which both satisfy the criteria of modernist design – ornament is stripped back, form is dictated by function, the materials are honest and the lines are neat and clean. However the left is Danish designer Borge Mogensen's Spanish Chair (1959) which emphasises natural materials and hand craftsmanship and on the right is Dutch designer Wim Rietveld's Model 415/1401 Armchair (1954) which uses industrial processes and materials such as tubular steel and bakelite.
Dutch mid-century furniture design emerged out of the Dutch De Stijl movement (1917-1931) which dictated using only primary colours and non-colours, squares and rectangles, straight and horizontal or vertical lines.
Composition II in Red, Blue, and Yellow, Piet Mondrian, 1930 | Red Blue Chair, Gerrit Rietveld, 1917. The artist Piet Mondrian and architect Gerrit Rietveld produced archetypical works of the De Stijl movement.
Whilst creativity with a more artistic and decorative focus had prevailed previously, the post-war period in Holland saw designers drive a huge push to develop industrial design in the country.
In the early 1950s members of the ‘Goed Wonen’ (Good Living) foundation became an influential force with their aim to reinstate the prewar quality of life and create a new authentic style and a new identity for the country. A leading member of this group in the 1950s was Friso Kramer and at the Milan Triennale in 1954 one of the most famous and collectable Dutch furniture designs came to prominence – Friso Kramer’s Revolt Chair.
Left: Friso Kramer’s ‘Revoltstoel’ saw the first use of U-shaped steel tubes which was cheaper than tubular steel and could be used in more creative ways. This material became a favourite of the Dutch mid-century furniture designers.
Right: This chair manufactured by Marko is clearly influenced by Friso Kramers Revolt Chair. This chairs and a number of other interpretations by other Dutch designers and manufacturers will be part of our Dutch Design Focus.
The focus at the time was very much on ‘industrial design’ with designers working closely with manufacturers. Knowing they were experienced with industrial materials, the designers favoured bent and tubular metal, painted steel, compressed plywood and modern plastics.
Left: Globe D-2000 Floor lamp designed by Frank Ligtelijn (1960), manufactured by Raak, Amsterdam. Right: Very rare wall mountable coat rack designed by Cohen De Vries (1958), manufactured by Devo. Two fabulous pieces which will be presented as part of our Dutch Design Focus, both representative of the Dutch mid-century style.
Other designers of the period that are highly revered for their contribution to Dutch Modernism are Cees Braakman, Kho Liang le, Andre Cordemeijer and Wim Rietveld – son of pioneering modernist Gerrit Rietveld.
Well known manufacturers of the period are De Cirkel, Pastoe, Marko, Spectrum, Gispen, Auping and Tomado. Examples from all these manufacturers and designers will be on display and available for purchase during our Focus On Dutch Design.
Cleopatra Daybed designed by Dick Cordemeijer (1953), manufactured by Auping. Another iconic piece which will be available.
We will be launching our Focus On Dutch Design this Thursday May 1. We look forward to you visiting and possibly even sending you home with your own piece of European mid-century design history.
Peaches + Keen - Botanical Calamity Opening Night
Thanks so much to everyone who joined us for the opening night of Peaches + Keen 'Botanical Calamity'. There was a fantastic turn out and Lucy and Lily from P+K were all smiles. The floral arrangements kindly donated by Phil from Katie Marx Flowers looked stunning (we highly recommend you check out his instagram afloralfrenzy) and the artwork and atmosphere left everyone gleaming. If you didn't manage to make it you must come in and view their new works which will be up until Sunday the 6th of April.
The photos from the night below:
Modern Times News
Botanical Calamity - Peaches+Keen
We have another exciting exhibition opening soon and we'd love you to come! Melbourne artists Peaches+Keen will be presenting their latest body of work Botanical Calamity opening next Thursday March 20 at 6pm.
Botanical Calamity is a series of original paintings on paper based on arrangements of plant-life collected on the daily wanderings of the pair Lucy Hearn and Lily Daley who work collectively as Peaches+Keen.
The botanical objects are then used as the foundation for chaotic yet controlled compositions reinterpreted in the bright colours they are known for.
Peaches+Keen describe the work as a combination of bright graphic colours and hand applied gold foil detailing, resulting in unique and tactile artworks. While they hang as a collective story, no two are identical.
Work in progress...
Botanical Calamity is the first exhibition for 2014 at Modern Times. We only have two to three exhibitions per year so it’s always exciting coming up to an opening. Peaches + Keen were selected to exhibit because their bright playful style perfectly reflects our philosophy behind the art we offer. We love to present original art that is light, bright and perfect for bringing a bit of fun and joy into people’s homes and Peaches+Keen do just that!
Join Peaches+Keen and the Modern Times team for a tasty Brewdog beer on Thursday 20th of March from 6pm to celebrate the opening of Botanical Calamity, which will run until Thursday 3rd April.
The gorgeous girls themselves photographed by Lauren Bamford
Art, Modern Times News
#LoveLocal This Festive Season
At Modern Times we are super proud of our range of contemporary art, homewares and gifts all exclusively made in Australia. We are passionate about supporting local artists and designers, and Christmas is a great time to put this support into overdrive!
This year we have been running a little campaign based around the concept of #LoveLocal. It's all about celebrating local art and design this festive season.
We currently have a competition running on Instagram encouraging everyone to share the love. Make sure you get your entry in if you haven't entered already or even if you have, enter again! If you aren't on Instagram, well, it is the BEST so I suggest joining up for daily doses of inspiration!
Enter as many times as you like! Winner announced Friday 20th December. Don't forget to credit the local creative too!
We also have a brilliant window installation in the store at the moment. What better way to celebrate local art and design than a collaboration with local creative Marsha Golemac. Beautiful colourful paper garlands adorn our store window, all lovingly handmade and installed by Marsha herself. All in the name of celebrating local art and design! Pop down and see us in Smith St, Fitzroy and check it out.
#LoveLocal this festive season!
Modern Times News
Ellie Malin – Interview
Thank you to everyone who has popped in to see Ellie Malin’s exhibition ‘Moonflower’ since it opened. If you missed all the pics from the opening check them out here. We have decided to keep the show up for one last weekend so if you haven’t visited already, you still have a few more days to do so.
This week I caught up with Ellie and got a bit deep with her about her work and current exhibition. Thank you to Ellie for answering my questions with such thought and generosity. Can you believe her works take 1-3 months to complete! It’s fascinating to get a deeper understanding of what goes into Ellie’s work.
Ellie mixing inks in the studio.
How did you begin your journey as an artist and what attracted you to print making particularly?
Working in a creative field was something I always wanted to do. I loved to create. It always felt like the most natural place to be. Whether it was exploring the city through the lens of a camera or making objects out of clay, even when I wasn’t actively creating stuff I would be observing my immediate surroundings, absorbing and collecting bits of visual information along the way.
I particularly liked observing the world of architecture and nature and how we move through it. I’m fascinated with the impact and importance they have on our lives and had this idea that if I could translate the beauty and vulnerabilities that captured me and communicate them back to others, that would be the ultimate challenge and somehow, it involved becoming an artist! Printmaking seemed to offer the right kind of environment to explore those themes.
Other than loads of day dreaming and philosophizing life I went to school where I completed a Cert IV in Visual Arts at Holmseglen TAFE and went on to complete a B.A in Fine Art, majoring in printmaking at Monash Uni... there were a few other courses along the way whilst ‘trying’ out different careers. Ultimately and thankfully the art is where I was at!
Ellie's preparations in the studio. It looks fun doesn't it!
Can you explain a little about your process and methods or technique you use?
All my prints are created with traditional printmaking techniques and equipment and are unique states (one offs’). The work is very much process driven and mostly developed whilst working at the press. I like to experiment with colour and tend to work spontaneously and respond to whatever’s happening on the page. Images are built up in layers over time where I’ll revisit any one print numerous times over time (generally 1-3 months, depending on the scale of the piece). I have a couple of favorite presses that I love to work on, particularly the large Hilton etching press. I’m willing to travel near and far to work on these machines. More recently I was fortunate to work in Canberra at Megalo studio and back home I’m usually printing at the APW on Gertrude St.
The printmaking process (in a nutshell) involves mixing colours, rolling up woodblock plates with inks, setting the press, laying out shapes on the press bed according to whatever configuration feels right at the time, paper comes down and then roll it through the press… There’s a whole lot of clean up that follows not to mention lots of experimenting and developing ideas!
Ellie at the press working on one of her smaller geometric series.
What are some of the influences hat inspire your work, and the themes which you have drawn upon?
I’m influenced by the everyday, streets I walk in, people I meet, design, architecture, travels, plus a good dose of daydreaming.
My process is spontaneous yet reflective at the same time. I tend to think a lot about colours and almost meditate on it before taking a print to the next state/layer. I present myself with a ‘problem’, which needs to be resolved. It’s so easy to make mistakes, but over time I’ve found that through the mistakes I also make the greatest discoveries.
Some artists and designers that I love in no particular order are: Kiki Smith, Frida Kahlo, Andy Warhol, Yayoi Kusama, Scholten and Baijings, Marimekko, Mirka Mora, Tadao Ando, Fornasetti, Japanese woodblock artists, … should I keep going?
Ellie making magic with one of the smallest presses she uses.
What is the inspiration for this current show "Moonflower”?
Moonflower is an exhibition of colourful woodblock prints depicting an inspired landscape of ‘other worlds’. The beauty of nature, the man made, and a fascination for impurities within it sparks the imagination.
In this body of work offcut shapes of paper are the starting point and are transformed into woodblocks for printing. These shapes become centre stage as the relationship between them is explored through layers of colours and textures.
Remnants, which once would have been discarded are now the stars, moon and sky and are telling a story about what might exist beyond the familiar.
Soft tones of blues and grey speak of a cirrus sky while painterly gardens of aqua marine greens and citrus orange speak of growth and light. Stories unfold over time and new discoveries made between the layers of tones and negative spaces.
Detail of one of Ellie's most recent works currently on exhibition at Modern Times.
What collaborations or projects outside your usual practice have you worked on?
The most significant collaboration to date would have to be with my all time favorite (and I’m not just saying it) fashion label gorman!
Lisa Gorman came across my work online and before I knew it we were sitting together with the gorman crew talking about art and fashion. The collaboration seemed like the most natural thing to do. I feel that we have complementing sensibilities and I wear her clothing all the time! I love that my art can be carried through into new realms of every day life and that my prints wouldn’t be confined to a frame but possibly a floaty dress.
I think there’s a lot to be said about the collaboration process. It’s an inspiring process that combines different skill sets and allows for creativity to evolve and be transferred into new realms and I can’t wait to do more of these working in different fields!
Ellie at work
Ellie's current exhibition at Modern Times, 'Moonflower', is on until Sunday.
Ellie’s first solo show ‘Moonflower’ is on at Modern Times until Sunday 8th Dec. It’s a must see!
Interviews, Modern Times News, Art
Ellie Malin - Moonflower. Opening Night Snaps
Thank you to everyone who popped along last Thursday night 21 November for the opening of Ellie Malin's exhibition, Moonflower. It was great to relax and have a drink after all the organising and planning which goes into an exhibition. I'm sure Ellie felt the same after working on this impressive new series for months!
Did you get snapped at the opening?
Not here? See our Facebook page for the full collection of opening night photos.
Modern Times News
Moonflower - Ellie Malin
It is very exciting to be presenting Ellie Malin’s first solo exhibition “Moonflower” opening Thursday 21st November.
I’m sure many of you are familiar with Ellie’s beautiful woodblock prints and may find it surprising Ellie has not exhibited on her own until now. So, you can imagine there is much anticipation surrounding this show!
New works by Ellie Malin. Left: Spring Moon, Right: MoonFlower (Gold and Green)
Since completing her degree in Fine Arts majoring in printmaking from Monash University in 2007 Ellie has exhibited widely in group shows and has been a finalist in numerous awards including The Senini Student Award at McClelland Gallery (2006), the Swan Hill Print and Drawing Award (2012), Bunyule Award for Works on Paper and recently exhibited at Australian Print Workshop Gallery (2013).
Ellie mixes up her own colours in the printing studio
Another major project, which really thrust Ellie into the spotlight, was her collaboration with cult Australian fashion label Gorman (A/W 2013).
Gorman and Ellie were a match made in heaven for the A/W 2013 collection
Ellie’s use of the woodblock printing medium is far from traditional. Ellie’s striking interplay of shape and colour is carefully balanced by a restraint and subtlety which comes through in the textures and composition.
I always think Ellie’s work is amazing in the way it can be so bold yet really calming at the same time.
New work by Ellie Malin. Cirrus Sky II and III
The new works created for Moonflower are unmistakably in Ellie's signature style yet headed off in a new and exciting direction where broader references to the natural world are intimated and composition has become lighter and seems to dance across the horizon or fall and shimmer through the frame.
New work by Ellie Malin: Painterly Sky I
“I started with offcut shapes of paper – remnants that I would normally discard – and transformed them into woodblocks for printing,” she says of her approach
“These shapes now take centre stage as the relationship between them is explored through layers of colour and textures.”
“It was a really enjoyable process, and now I can’t wait to showcase the collection of works as a whole.
Well, Ellie, neither can we!
New works by Ellie Malin. Left: Moon Garden, Centre: Floating Moon, Right: Moon Flower (Grey Stem)
We’d love all of you to join us in celebrating the opening of Moonflower from 6pm on Thursday 21st November. Helping the celebrations along will be the delicious wines kindly supplied by Sante wines and Mr Mick. Thanks guys!
To request a full catalogue of available works please email firstname.lastname@example.org
Modern Times News
Top 40 Opening Night
Thanks to everyone for coming along to the opening of Top 40. It was a really successful night and I think everyone would agree, a great show. The Golden Axe Cider went down a treat too!
For us, it was exciting to host our first exhibition and the success of the night was very encouraging.
Here are some pics of the night....
Thanks guys. See you at the next show! See our Facebook page for even more pics of the night.
Modern Times News
Interview – Eleanor Voterakis
In 2012 Eleanor started a daily drawing project with the intention of becoming more motivated and focused on her art practice. She posted the sketches on Instagram daily so her friends and family could share in the process.
As she continued to post her daily drawings she began to gain more followers and 'likes'. She noticed how certain drawings would be so popular and how her personal favourites did not always reflect the taste of her followers.
Eleanor got thinking about this reflection of taste and the possibility of 'instacurating' an exhibition of these daily drawings according to their popularity. Top 40 is that show.
Number 1! Origami Rabbit
Number 2. Big Leaf
Number 3. Puppet
With the exhibition opening tonight, we are all getting a bit excited. Yesterday after hanging the exhibition (looks great by the way) I caught up with Eleanor and asked her a few questions about the show...
Why do you choose the particular subjects of your drawings?
Partly because they are mostly things that I own, so they are readily accessible to draw from observation, which is my preferred method. And for this reason, many of the objects are banal, everyday objects...The way they remove themselves from their rather boring contexts when drawn appeals to me.
How has social media has changed things for artists?
Well I think if you put a little bit of time into sharing your work and your practice using something like Instagram then that whole process becomes very rewarding. You can really quickly and easily start a dialogue about and get an audience for your work without necessarily having representation. I think it can also be a really nice way of breaking some the of the isolation of being an artist, and I have heard quite a few artists say things along these lines. Personally, during the daily drawing project Instagram was a really positive motivator because I knew there were a few followers there waiting for each drawing.
Do you foresee any more projects using social media?
Yes, nothing is exactly formulated yet but I'm really interested in how 'Top 40' is a little reflection of the public's taste and social media is such a quick way to gauge an opinion or find out what is 'liked' ...so I want to keep working with that idea.
Of the 150 drawings, what is your personal favourite?
My favourite....well, people that know me know that I have lots of favourites. Many of my favourites didn't quite make it into the top 40...one I really like is of a bread twist-tie thingy. It's just so cute and banal at the same time. I did put it in the exhibition even though it didn't make the cut for the Top 40...it's part of the 'Artist's Edit' section.
MEET ELEANOR AND CHECK OUT THIS COOL EXHIBITION AT THE OPENING TONIGHT (THURS 27 JUNE) 6-8PM
You can also read the last post I wrote for more info on Eleanor and her Top 40 exhibition.
Modern Times News