Interviews

Interviews

INTERVIEW * Stephen Antonson


Stephen Antonson at his studio
 A · Firstly, can you tell us a little bit about yourself?
I studied painting and sculpture at Carnegie Mellon and received an MFA in Mixed Media from Hunter College. My first solo show came out of a semester I spent studying at Lacoste in France. For more than a decade, i showed my work in galleries in New York, London, and L.A. In the last decade, I turned my attention to design and decorative art, specializing in plaster. I have a line of lighting and accessories — chandeliers, lamps, sconces, frames and candlesticks—that have lead to   commissions  with top interior designers including Peter Marino, Miles Redd, James Huniford,  Victoria Hagen. My studio is in brooklyn.
B · What’s your favourite part of the design process?
 the dialogue with the client who commissions a custom piece can often be a great thing particularly if they have a very good idea of what they want.  the dialogue leads to a  drawing and that yields a prototype. The prototype is perhaps my favorite step because that is when you know if the piece will work as envisioned  or if changes are needed. this is also when surprises can happen.
C · Please tell us more about your art and design background and what made you become an artist and designer?
I have always been interested in objects from a sculptural standpoint as well as from a craftsmanship perspective.  For as long as I can remember, I have been making things. But  I could make things all day long to no end, which is why I appreciate having a context for them, whether it’s  a gallery, museum, or decorative arts setting such as a private home.
D · Where do you get inspiration?
I’m a little wary of the word inspiration. I  get my ideas by doing the work—all the time. looking and listening are key too. Of course, I look to The greats: Calder, Giacometti, and Rauschenberg  but I also tap into my children with their sense of the absurd and constant need to play. Sometimes its just a bag being blown down the street or a mitten on the sidewalk.
E · What was the movie or book that impressed you the most?
There are so many. Anything by the Marx Brothers.
F · Can you describe your style, how has that style developed over the years?
I don’t give it much thought really. each work has to work within its intended context. thats the important thing.
G · For you what makes a product rare?
Making a piece by hand certainly suggests uniqueness. Most of my work up until recently has been custom one-offs. I have been wanting to design products for the mass market for some time and have just been given an opportunity. i hope to do more.
H · Regarding the future, are you afraid of something?
I am frightened by those lacking imagination and/or sense of humor.
 
Icicle Chandelier White

Specially for DESIGN GALLERIST Stephen Antonson has send a couple of pictures of his new creation!

http://www.stephenantonson.com
…………………………………………………………………………………………………………………………………………………………………………………………….
INTERVIEW * Bo Reudler
Slow White series
Designer: Bo Reudler
Photography: Bo Reudler Studio
 
 
 
A · Firstly, can you tell us a little bit about yourself?
We are a product and interior design studio, led by designer Bo Reudler. Based in Amsterdam. We are storytellers through matter. We love materials: following their hidden qualities to bring out their natural beauty, experimenting to discover things we could have never thought of. We love the immaterial: charging things with imagination and meaning.
B · What’s your favourite part of the design process?
The first part of the design process I like most is the very first inception of an idea, because at that stage everything is still possible. Secondly, the moment in realisation, building. That shows me that the idea was worth all the effort. Those two moments can be truly magical.
C · Please tell us more about your art and design background and what made you become an artist and designer?
As a child I was always building things: thrones, tables, instruments, tree houses. My dream was to become a carpenter. When I grew older I wanted to become a writer. Now I’ve combined both ambitions as I am telling stories through objects.
D · Where do you get inspiration?
Nature is my biggest source of inspiration. Twice a year I retreat to a little house on a hilltop in the forest, without electricity, internet and other modern luxuries. I switch off my phone for one week and I stop thinking, designing, doing. Often when I stop, I get ideas instantly. This has always been a very rewarding week of inspiration and reflection.
E · What was the movie or book that impressed you the most?
The movie Requiem for a Dream directed by Darren Aronofsky has been a big inspiration.
One day I came home late and swithched on the television, not knowing what was on. (It was Requiem for a dream…)   I remember myself sitting on the edge of my seat, with my toothbrush in my mouth for the whole duration of the fillm.
To me this movie shows the true meaning and possibilities of the medium film.
Where most movies are actually not much more than a story decorated with moving images, Aronofsky tells his stories not only through text but makes full use of the possibilities of film. Very impressive and truly inspiring.
F · Can you describe your style, how has that style developed over the years?
Material has always been my starting point. If you follow the qualities of the material itself, the outcome is a product that looks like it should just be that way.
What changed over time is that before I spent a lot of time thinking and now I work much more intuitively. For my last two collections I abandoned the computer and started building using my hands again, making the design decisions while building.
G · For you what makes a product rare?
When I was a child one day I found a little piece of antique pottery in our garden; over the course of a couple of years I dug up the whole garden and found many more treasures.
All these pieces once belonged to everyday pottery used by ordinary people. Although standard models/designs of pottery were used, no two pots were ever identical because the maker left behind their ‘hand’ so to speak, on the product.
It would be great if we could implement this element in our contemporary products, even with the limited-run and mass products. To find ways of production that make every piece unique. It would be great if every single product would be rare. Every piece could have it’s own little soul.
H · Regarding the future, are you afraid of something?
I think the challenge for the future will be to find a way to live in harmony with nature.
For that I think we need to re-establish our bond with nature, our surroundings, the seasons. etc.
I do see that more and more people are realizing that we need to make changes, so I’m hopeful of the future.

Haute Bamboo series
Designer: Bo Reudler in collaboration with Olav Bruin
Photography: Bo Reudler Studio
 
low White cabinet
Designer: Bo Reudler
Photography: Ilco Kemmere
Bo Reudler studio | www.boreudler.com
…………………………………………………………………………………………………………………………………………………………………………………………………………………………..

INTERVIEW * Arihiro Miyake.

Arihiro Miyake.
A. Firstly, can you tell us a little bit about yourself?
I am a kind of twisted, selfish, difficult person.In a way, all designer kind of people wants to be different from others, so. . . : )
And I am always thinking what to do, which also means thinking of what not to do in another word. However, I am not living so strictly on myself . . . my goal is to become nasty, lazy old man, but a good designer!
B.What’s your favourite part of the design process?
Model making.
Sperks of welding, smell of oily steel, sound of machine, smell of freshly cut wood and smell of product freshly painted. During my school time, in Japan and in Finland, I wend to workshops to build models before making drawings. I am not educated as craftman, but playing real materials and seeing the object in real life (real scale) was the most exciting part of thinking design for me.
C.Please tell us more about your art and design background and what made you become an artist and designer?
mmm. . .I do not know. . . I just like thinking new, thinking of the
future. . . Perhaps, in my childfood, my parents were not so welthy who can provide fun for kid, like taking me to the amusument park on weekend, buying me a lot of toys or going for familiy trip on holidays. Instead, I must had found fun by myself. Catching fish and insects in the river and mountain. Making the bow out of bamboo cut from mountain. Stealing fruite from firmers land. Trying to reach as far as possible by bycicle in one day. . . so on.
D.Where do you get inspiration?
Everything. . .Observation and thinking on them.
E.What was the movie or book that impressed you the most?
Cannot tell just one, but if I have a hobby, besides making things, it  is watching movies. I almost wach something everday, and if I like it I wach several times. My favorite directors are, for example, Luc Besson(Many of his earier movies), Hayao Miyazaki(animations),  Krzysztof Kieślowski, Partrice Leconte.
F.Can you describe your style, how has that style developed over the years?
I would like to discribe my work in a few words which I keep in my mind all the time.
1, Al dente Of couse, this is Italian word, as you know, the straight translation is “At the teeth”. When I use this word for design, I mean the design which is not over cooked, which is at right moment. The design which has a space for the users, how to use it and where to use it. In another word, I want my design to compleate on the hand of user, like Pasta should be right moment to eat on the table, not at the kitchen. Each user can find the way to live with it. I could explain it als with the word “Playfullness”, which i do not mean toy or guggets like fun. But something, users can also put thier mind in it in simple manner. For example, “Miyake”Lamp (Carat in former name),I like Japanese and Italian food most!. . ., because both of the food appriciate the original materials in the way that you always know what you are eating. I prefer to eat fresh shurimp in the shurimp shape rather than eating it as the pudding shape patè . . . I have the similer preferable in design as well.
2, Serendipity
Although you may know it, I discribe a bit, This is the english word which had created in the 18th century by a British author. And I heard there is any other language has a word for the same meaning. “Serendipity” means that the ability or talent of discovering the valuable or interesting matter accidentaly while looking for something else. I like this word very much, becasue the word dose not point the fact of discoverly itself, but the ability of leading yourself to the discoverly. I think the word is more common amoung the scientists, becasue many of great discoverlies and inventions had been made unporposely. But I believe this word works perfectly for designing work as well. Something like, go to the mountain to pick up the mashrooms, and find the truffe by finding the track of a wild-pig digged holes. . . Many of my designs are born apart from an original porpose of thinking, I am always trying to keep my mind open and flexible . . . trying to not rule myself by own knowlege, or juge the matters only with my own moral. . . for not missing unexpected interests. Serendipity . . . keep reminding it myself
3, A way to the future
For me, only way to justify the further production, materialization, consunption and so on is to seek the future. I would like to create something which leads us to tomorrow, which makes us dream about tomorrow’s life. I believe design is very good language to realize it. Ofcouse, it is not only about form, but also functionality, useability, material, technilogy and sastainbilty issue concerning the future. There is one my favorite words(I forgot who said that. . .), When Aporo has landed on the moon, someone said “American made it not because they worked hard and find the way, but because they desided to go there in the begining.” or “all the great inventions in our world had started as one’s ideal and ended as everyone’s reality.” This one is said by Austrian politician who first had the concept of EU. Designing is not exactory the invention, more like culture and living activity itself which human has been doing for long long time since we start use stone as tools. But the idea of useing stone as help of hand brought us to next step of civilization. Therefore, even today, I believe what I do or designers do is the contuniation of it. The attemption of creating better, safer, more comfortable and more intriguing future.
So for me, design is “a way”, a way to the future!
G.For you what makes a product rare?
Seriouse challenge of designer and producer.
H.Regarding the future, are you afraid of something?
No. I am not afraid of anything. We have been always creating the future with seriouse concerns of the time.
Do! Cutlery Kit by Arihiro Miyake.

Studio Arihiro Miyake
www.arihiromiyake.com
……………………………………………………………………………………………………………………………………………………………………

Interview with Vincent Grégoire * NellyRodi

Exhibition Maison et Objet, with the creative director of the agency NellyRodi.


Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s