Coherent Contrast
We live in a world of contrast.
Light and dark, thick and thin, happy and sad, yin and yang, simple and complex, night and day.
The dual nature of our universe gives us contrast, which sometimes can be good, and of course, can sometimes be bad. As the adage goes, there are two sides to every coin and two sides to every story.
Why is contrast important?
First and foremost, our lives would be quite boring without it! Mundane, uninteresting, and bland.
Much of what we desire emerges from the experience of contrast within our lives and what we see in our surroundings.
Contrast gives us an opportunity to see and understand something from another perspective. It helps us see and feel things that we might not have noticed or felt otherwise.
And that is how inspiration is born.
In the context of visual design, contrast is simply the difference between two or more elements in a composition. The greater the difference between them, the easier it is to compare and understand.
The object that is most obvious and that stands out is the object with high contrast known as the primitive object. This is where our eye in our visual processing goes first, even before our consciousness.
In our Regents House Project, we used a large piece of artwork in monochromatic crimson to contrast the depth of this spacious white bathroom bathroom for a bold yet minimal, modern feel.
Regents Park House project by Callender Howorth
Some typical primitive objects are size, colour, depth, shape, motion, orientation, curvature, line terminators, and closures.
The Wow Factor
Ever walk into a room and immediately be taken in by the Wow factor?
For interior designers, contrast is the secret design principle that originates in our cognitive bias when we view two elements with opposing characteristics.
Our perception is then one of comparison known as the contrast effect.
We compare two elements in order to understand the differences between them such as making something appear lighter when it is placed against a dark background.
The most known example of visual perception of contrast is the Gestalt psychological concept of figure-ground where one sees a form or figure and its surroundings or ground.
The use of positive and negative space determines what the viewer will see. Gestalt theories of perception are based on human nature being inclined to understand objects as an entire structure rather than the sum of its parts
Contrast in Design
When you have the Wow factor of space, what you actually are witnessing is the proper use of contrast in design.
Contrast with lines, forms and large objects.
Contrast creates a memorable impact and visual interest by coherently pulling the whole room together.
Contrast in colour, pattern and movement.
Colour is the key element in interior design.
Contrast can be created in monochromatic variations, in the use of bold colours and levels of intensity, in patterns and textures, and in lighting.
In our Mayfair Mews House project we used natural light to contrast the darker tones in the living room with an impressive large glass wall partition.
Capturing all the natural light from the skylights above the staircase, the darker tones of the living room were contrasted with the visual impact of the staircase. The living room feels open and airy with a larger sense of space coherent with the light and space from the interior garden.
Mayfair Mews House project by Callender Howorth
Monochromatic contrast with texture.
Contrast with colour and placement.
Contrast with colour.
Contrast with curvature and depth.
Contrast with lines, curvature and luminosity.
Contrast with different materials and texture.
As a fundamental principle of interior design, contrast is what draws the focus of your eyes while keeping the space coherent and relatable.
It is this dynamic punch that compels us to further immerse ourselves into that space in full appreciation of the experience and intimate awareness.
Architectural Ideals
A repository of our ideals…
In some shape or form, the influence of architecture has seemingly infused into your life.
In our psyche lies the Empire State Building in NYC, the Eiffel Tower, and Big Ben. Whether visiting or simply just reading about impressive structures around the world on the internet, architecture plays a significant role on who we claim to be.
Inside view of La Sagrada Familia by architect Antonio Gaudi.
The sense of awe when you walk into Antonio Gaudi’s La Sagrada Familia in Barcelona or the Duomo in Florence, Italy reflects our sense of context and perspective within these luminous and esoteric spaces.
Architecture gives us the opportunity to visually and conceptually understand different periods of existence and into the mysterious minds of their creators.
While some structures reflect the past or future, architecture is a roadmap of identity whether physical, cultural, and/or spiritual.
For some the greatness in architecture lies in the complexity and detail, for others it resides in its simplicity, order, and precision.
Symbolic aspects of sacred geometry in religious structures tell a story of faith and dogma to which practitioners will find themselves elevated to a higher level of religious and spiritual connection.
These sanctuaries serve as guardians of identity. While some can be greater-than-life in their ornate grandeur, others can be an extraction of all-that-is in its bare space.
Whether deeper meanings are inscribed in archaic texts and/or mystical frescoes on the walls with secret codes built in the architecture itself, ancient churches, temples, and structures in their entirety represent a living entity of its proper doctrine.
Yet the nature of architecture is organically mirrored in our humanity.
At the root of architecture is the notion that we are different people in different spaces..a repository of our own ideals. Are we the same person at home as we are in the pyramids of Egypt or the Burj Al Arab in Dubai?
Inside view of the atrium at the Burj Al Arab hotel, Jumeirah, Dubai, United Arab Emirates.
So then a question arises. Does our identity cling to the concept and construct of another’s ideal? Or are these structures windows into a landscape of possibility that carries intentionality to design who we want to be and become it?
A provoking question especially when we are both the creators and the audience of the creations.
Our homes serve as our physical refuge from the outside world, a refuge from everything that we are vulnerable to. Our homes are also our psychological sanctuary that reflects our identity and our state of mind.
As our evolution shifted into the modern age, the architecture of our homes, buildings, and new landmarks corresponded accordingly.
The Heydar Aliyev Center, in Baku, Azerbaijan by architect Zaha Hadid. The building designed as an undulating piece of graph paper.
One only has to think of Zaha Hadid’s Heydar Aliyev Center, in Baku, Azerbaijan to understand the focus and intentionality of breaking free from constraints of past tradition and history and instead of setting our sights on designing a drastically different future.
The modernist movement whose creative focus on living by design presented us with radical expressions of science and technology that presented a new roadmap to contemporary existence at its core.
The staircase at Villa Savoye in Poissy, France designed by Le Corbusier.
Encapsulating this new architectural language in modern living was Charles-Édouard Jeanneret (1887-1965), known as Le Corbusier, whose Villa Savoye avant-garde style and highly criticized novel aesthetic paved the way to a new climate of reinforced concrete pillars, flat roofs, open-plan living, and horizontal windows we see in today’s most influential homes.
The Glass House by architect Philip Johnson in New Canaan, Connecticut.
Kauffman House by architect Richard Neutra immortalized by Slim Aron’s 1970 photograph Poolside Gossip, a pop culture icon.
Neither limited by shape or form, the modernist movement somehow embraced the unusual and unexpected as elegant fashion.
An example of untethered architecture comes for the highly celebrated Palais Bulles or more commonly known as the Pierre Cardin House located in Theoule-sur-mer An unexpected design of optical curves and perspectives represents more harmonious living according to the the architect Antti Lovag.
Monsieur Pierre Cardin. Palais Bulles, Théoule sur Mer. The 15 May 2019. © Julio Piatti
Actually, Lovag considers spherical design more in alignment to our human nature because as she explains, “Straight lines” is an aggression to human nature as the circular range of motion produced by our bodies as well as our social behavior, social circles and cycles of life. Lovag’s philosophy similar to that of Antonio Gaudi who believed that straight lines do not exist in nature.
Also embracing curve lines is the Crescent house in Wiltshire designed by Make Architects.
Here the home is made up of an inner crescent and outer crescent. The inner crescent has concave floor to ceilings windows that allow the home social area to connect completely with its outdoor garden surroundings. The bedrooms are in the outer crescent with a shielding solid wall protecting it from the adjacent road.
Architecture is an element of living that influences how we feel and perceive our external world. It is an understated influence that we often take for granted.
By spending time appreciating differing types of architecture that inspire different kinds of thoughts and concepts, we realign ourselves to the present moment in time in our humanity.
From that mindful perspective we can naturally ask ourselves, Where do we want to go next?
And who will that require us to become?
Blooming Bold and Bright…Spring is here!
As we remove the heavy cloak of a winter in lockdown, the notion of spring slowly arrives into our consciousness.
After an unprecedented pandemic year of 2020, we are joyfully and gallantly stepping into spring with a bolder vibrant energy in our step!
Call it a new found appreciation or respect for life that perhaps many of us took for granted and from which we now carry a newly transformed expression of intentional optimism and gratitude.
Spring, a symbolic narrative
The vernal spring equinox, which lands on March 20th this year, is rooted in our ancient history that has stood the test of time with the symbolism of a new beginning. In fact, up until the 18th century in Europe it marked the start of the new astrological year during which time it was common for people to perform rituals to clear out old energy in both their homes and in their minds. Synonymous with what we call spring cleaning.
Since primitive cultures were more closely tied to the earth, the sun’s journey across the equator was the way in which ancient civilisations ran and built cities and grew crops. The spring equinox was a time of renewal, regeneration, and reproduction.
However, the deeper meaning that the vernal equinox bears is its intrinsic concept of balance, an equilibria as the amount of light during the day equals that of the darkness of night. Equinox derived from its latin root aequus (equal) and nox (night).
A symbolical narrative that is a part of our humanity through natural law.
An unfolding of natural phenomena
During the spring we witness the vivid transformation of nature in full bloom such as in Japan with the Cherry Blossoms (Sakura) which symbolise the transience of life.
Each natural event brings with it our interpretation of its inherent meaning and our relationship to it.
At the Mayan Chichen Itza dedicated to Kukulcán, the pyramid serves as a visual symbol of the day and night.
Thousands gather from around the world to see the the sun of the late afternoon create an illusion of a snake creeping slowly down the northern staircase and to receive Kukulcán’s blessing of a good harvest and good health.
While here in England you will find druids and pagans flocking to Stonehenge in Salisbury Plain to watch the sunrise of the spring equinox rise over the sarsen stone circle.
Historically, it was traditional to drink dandelion and burdock cordials during the spring equinox as these herbs were believed to help to cleanse the blood and serve as a good tonic for the body after its winter hardships.
In Great Britain and in Europe people celebrate spring with the Maypole Dance symbolising the sacred tree, plentiful crops, and fertility. While Christians and Jews celebrate religious traditions with Easter and Passover respectively.
Colourful Vitality
There is no question about the vibrant energies in the colours of spring.
Luxe Deco’s Reflections Copenhagen- Manhattan Vase
As we curate our homes to tell our new stories during this period of illumination, our eyes are naturally focused on things that evoke our desires for organic opulence and meaningful nostalgia.
Dedar’s KIKU COL.2 ÉTÉ
Our senses awaken to lavender blushes, lemon yellows, cinder rose and artichoke.
Royal Stranger’s Beelicious Chair
Our minds connect to spring through the pigments and stains of blooming flowers and budding trees, while the luminosity of the sun gives us the impression that someone just turned on the lights because everything appears to be in living colour again.
Casa Design’s Blow Side Tables
A couplet of Emily Dickinson’s poem A Light in Spring always ruminates through my mind at the beginning of each spring, serving as an inspiration to this unique time of the year.
A Light exists in Spring
Not present on the Year
At any other period —
When March is scarcely hereA Colour stands abroad
On Solitary Fields
That Science cannot overtake
But Human Nature feels.
Spring is more than just spring cleaning and redecorating, is about honouring a moment in our humanity as a humanity.
It’s a time to reset our tone, recreate, rediscover, bring clarity to our intentions, and begin a new story with new energy and purpose. A moment to shift our perspective and attitudes to serve our evolutionary advantage.
A new start that is bright and bold. Spring is here!
A Renaissance Of Honest And Authentic Interiors
As the headlines of a frustrated world dominate the media, our usual ways of daily living have essentially been invited into a new forum of thought that questions our values and challenges our responsibilities and socio-cultural mores.
The trendy “new normal” phrase presented itself and became a popular visitor in our conversations and media in 2020. While the pandemic served as an impetus to take a more serious look at our physical health, climate change has steered us to adopt a new perspective about our lifestyles in a modern society of fast consumerism. An awareness of sustainability that slowly and consistently bubbled to the surface and finally entered our consciousness.
The result…a renaissance of repurposing, upcycling and recycling as one of the biggest current movements in the retail, fashion and interior design industry. The birth of a new age, the Kindness Economy.
In an article by Forbes, ‘Upcycling Your Way To Sustainability’ consumers are now looking for products whose sustainability attributes align with their lifestyle and values. This is exactly what resonates with British renown retail matriarch Mary Portas, who is actively engaged in redressing and integrating concepts of the Kindness Economy into London’s retail neighbourhoods such as High Street. For Portas, people are consciously shifting from a ‘buying from’ to a ‘buying into’ mentality which is based on the brands that connect with our values. She has coined this shift as Status Sentience.
In fact, people are now holding brands and companies to a higher sustainability standard. Vogue fashion magazine is also embracing the repurposed era as fashion designers are now focusing their creative energies to the design of unique upcycled pieces from unsold overstock.
This new era of an eco-conscious mindset has an inherent dimension that it carries because it transports us back to our roots, addressing and questioning our basic human tenets of our livelihoods, physical, emotional and mental well being. An era of intentionality through mindful choices.
Historically, vintage heirlooms and furniture pieces were symbols of class, especially in traditional English homes. Even with the shades of their faded patinas from their storied past, these unique pieces of character were never thrown out but instead reused or repurposed.
Mixing old with new is a great way to repurpose vintage pieces.
As society and innovation evolved, the simple path of living diverged into a fast paced boulevard where novelty sped the fast lane leaving tradition behind in the dust. Time and money served as the driving forces for buying fast, short-lived mass produced items where quality took the backseat and convenience took the front.
Yet it is in our traditions where our principles are rooted. And so by taking the inward journey, emotional nostalgia transports us back to remind us of what sincerely makes us feel good, loved and secure.
Headboards, night tables and lighting are great finds to easily upcycle.
When it comes to interior design, this means answering a new call to design and craft spaces that cultivate kindness. A space that is authentic and honest honouring the uniqueness of its inhabitants and the spirit of where they came from.
Look to your communities to locally source vintage art.
The Sanskrit word Metta has the meaning of benevolence, loving-kindness, friendliness, amity, good will, and active interest in others. A spiritual practice that is renown for illuminating our inner integrity.
“We can open to everything with the healing force of love. When we feel love, our mind is expansive and open enough to include the entirety of life in full awareness, both its pleasures and its pains.”- Sharon Salzburg, Loving Kindness
These aspects are what the team of designers at Callender Howorth are currently tasked with as we set out to remodel the 10 cottages at Broughton Hall Estates in Yorkshire, a sprawling countryside sanctuary and wellness retreat.
This inspiring purpose-led project will be up-cycling some of Broughton Hall’s relics as well as locally sourcing pieces to repurpose.
A holistic collaboration of honest, sustainable materials, thoughtful patterns and textiles, emotional colours and inspirational art and decor will comprise a soulful final edit that breathes and reflects Broughton Hall’s philosophy of a new humanity.
A humanity that is mindful of our personal interconnectedness to the harmony of nature and to our divine selves by offering a serene and spiritual place to renew, recover and shift the fundamental energies of our personal, societal and environmental values.
A place that serves us to illuminate our inner integrity and where we are inspired to become a part of a new Kindness Economy.
Revisiting the January Blues
The January Blues…the infamous period after the rush of the holiday season that bestows upon us moments of nostalgia and temporary sadness.
Rooted from the usual suspects of spending quality time with loved ones or their absence, our sluggish bodies recovering from the aftermath of sinfully rich holiday meals and spirits, while the prospect of new years resolutions loom over us.
And of course the sigh of getting back to work after holiday rest.
No wonder we feel blue! While the good news is that it is not a lasting condition, we do acknowledge the weight that the January Blues can carry on our emotions.
But why Blue?
The concept of identifying our moods around the colour blue is quite interesting.
Donned one of the most favourite colours in the world normally because of the sea and sky, blue psychologically offers a feeling of serenity and calmness.
It can foster feelings of tradition and conservative esteem, and curiously can boost our productivity as well as bringing down our heart rate.
Blue’s non-threatening nature gives us a sense of stability.
And yet, while blue can subconsciously prompt us with feelings of appreciation and beauty, its paradoxical emotions of sadness and aloofness are just as deliberate.
Femme Assise by Pablo Picasso 1902-1903.
The gloomy and monochromatic blues that pervaded Pablo Picasso’s works during his blue period from 1901-1903, carried melancholic themes of despair and loneliness.
And just like the cliche of the starving artist, Picasso became poor because no one wanted to buy his depressing works of societal anguish for their homes.
Curiously, according to historians, the colour blue is not mentioned at all in the Greek texts. Scientists have even formulated the theory that perhaps blue wasn’t even colour seen by early humans. In the ancient greek poem the Odyssey, Homer actually references the sea as “wine dark”.
The iconic blue doors of Morocco.
Culturally, colours are not universal in the feelings they invoke or how they are perceived.
For the Moroccan culture, the colour blue serves a more functional purpose for reducing the heat and mosquitos as in the case of the blue village of Chefchaouen which eventually led to its becoming an iconic destination for their inspiring ethnic tones of blue.
Chefchaouen, Morocco
As we revisit the concept of the January Blues, we find the inspiration to redefine its compelling artistic notions that embrace us not only with its beauty, but moreover with the earnest emotions of composure and peace of mind.
Blue marble used in the kitchen at Heath Drive project by Callender Howorth
In the depth of its hues, lies the quietude and tranquility we desire.
The Blow Away Vase by Moooi. A classic Royal Blue Delft porcelain vase. “The beauty of the vase lays in the fact that it is bent and not defeated.”
The January Blues are then a catalyst that serves us as a reminder of our ability to shift our focus to a different perspective imbued with affirmative sincerity in all its forms.
The narrative given by Moooi for the beauty of the Blow Away Vase best illustrates this lesson especially during these times of, “being bent, not defeated”.
Here are some of favourite Blue decor selections from our suppliers:
Bishop Lamp Azure with Brass Collar from Porta Romana
A Contre Jour by Dedar Milano
Versailles Cube Urn from Jonathan Adler
Algebra from Lolli e Memmoli
Couture Round Wall Mirror designed by Lorenza Bozzoli for Artemest
A Time To Design Our Wellbeing
If there is any lesson that 2020 has taught us it is the absolute necessity to refocus our attention to our own wellbeing and to the wellbeing of others.
Ever changing social landscapes continue to unfold around us as we refuge in the comfort of our homes, socially distanced from one another and learning to adapt during these uncertain times. At the forefront is our emotional engagement to ourselves and each other underlying the value of human connection while globally we all patiently wait to get back to our sense of normalcy.
Yet what we are witnessing is the unfolding of a subtle and organic paradigm shift to an era of conscious wholeness. A time where each of us is coming to recognise our collective impact, and thus creating a new model of sustainable living, personal habits and creative skills to assume our personal responsibility in moving forward towards a new future.
Photo courtesy Broughton Hall.
A new path to a renewed connection.
More in demand than ever, people are seeking respite and healing by investing in long stay nature inspired retreats to enjoy a life of imbued wellness equipped with working spaces so that work can continue from a space of inspired tranquility and reflection.
One of Callender Howorth’s newest projects, Broughton Hall, is just this kind of place.
A historic wellbeing sanctuary in the English countryside of Yorkshire dating back to 1597 that has been under the custodianship of the Tempest family 33 generations for the last 900 years.
Broughton Hall Estate
The serene nature of this 3000 acre property is idyllic for the restorative healing and the healing force for such transformational experience through its interconnectedness to nature.
As one of their driving core values, they have committed to reforesting the land with the planting of 350,000 trees this year and next year, with the ultimate goal of planting 1 million trees.
With the intention of healing the land as a part of the collective healing process, they are working with earth energy expert Rev. Dr. Calen Rayne to identify the sacred energy points of this land.
While steeped in English history, Broughton Hall Estate seeks a higher purpose through spiritual connection, healing and nature in order to serve the world in what they call an era of a “new humanity”.
Avalon Wellbeing Centre at Broughton Hall.
Their state of the art Avalon wellbeing facility serves as the peaceful hub of personal transformation, self-exploration and creativity.
Radiating the energy of intention from its very foundation, blessed energy crystals were symbolically placed in the building’s foundation when it was being built at the estate.
Image courtesy of Avalon Wellbeing Centre at Broughton Hall.
Classes at Avalon Wellbeing Centre at Broughton Hall.
Avalon’s inspired idyllic setting for a sacred and life-changing inner voyage of mind, body and spirit is intended to serve a new way of conscious minded living through their customised private, corporate and individual retreats, classes and therapies and connection to the peaceful surrounding nature.
Mark Howorth outside one of the estate cottages that will be renovated as part of this exciting project for Callender Howorth.
Callender Howorth Creative Director Mark Howorth explains, “Our aim with this restyling project for their holiday homes is to further elevate the naturally positive and emotional engagement of their spaces. We are really looking forward to consider lighting, organic fabrics and paint and repurposed pieces to transform these homes. It’s all about making the interior reflect the ethos and energy of Broughton Hall….a fantastic design challenge.”
Transformation is the sign of the times.
In addition to transformational wellbeing retreats, adventure zen eco-lodges are havens for those seeking wilder nature while new vacation themed platforms of hybrid cooperative work/play/live like-minded spaces are changing the traditional ways of living and bringing forth new ideas about how we want to spend our time.
Workspaces are using biophilic design to connect people to nature.
Companies are transforming headquarters and buildings into incredible biophilic creative spaces and hubs intended to create a diverse and culturally rich experience intended to keep employees loyal and more productive.
And lastly, even our own homes are changing into multi-use personal habitats with proper home offices, converted basements and attics into entertaining spaces and lounges, and our backyards are becoming extensions of living areas of our home with year round pool houses while gardens are extending inside with biophilic designs.
The pace of all these changes to how we live and work seems quite maddening, but underlying all this change is the driving core value of wellbeing.
A new narrative…
The thought of designing our well-being is indeed alluring and exciting. But the truth is we are actually creating a unique personal narrative that begins the relationship between a person and the space.
Image courtesy of Avalon at Broughton Estates.
The thought that these unique spaces can increase how good we feel, how we relate and connect to others, our productivity and an overall state of feeling well is impressive because of the positive impact we are contributing to in the collective sense.
Can you imagine how the world would be with everyone feeling well and living up to their maximum potential? While we are far from that, we can certainly appreciate the fact that feeling well matters.
This narrative is so powerful, meaningful and compelling, where one naturally calibrates to match the experience and energy of the space simply by being in it. Our physical nature, psychology, sociality, spirituality and ecology weaves the fabric of this narrative that plays a significant role in our human potential.
By infusing wellbeing in every aspect of the design, means we are attending to the inherent needs of raising our human potential required by this new conscious phase of our evolution.
Eye on Art Series: The Gallery Perspective
The Eye on Art Series is a collection of interviews from the lens of four international artists and gallery owners to give us a deeper insight to their perspectives on art and the origins of their inspiration.
From ancient art treasures to contemporary art, the underlying philosophies and interpretations immerses us into a storied dialogue where we can harness the timeless wisdom and sensibility to generate a new context of ideas of the world in which we live in.
Jill George Gallery
How long have you been selling art?
Too long! 43 years. I worked at the V&A in London and then wished to be involved with contemporary art. I joined Thumb Gallery in Soho in 1977 a couple of years after it had been launched becoming Assistant Director in 1978 and Director in 1981.
On purchasing the gallery, I subsequently moved to a large more prestigious premises on Lexington Street still within the heart of Soho. In 1987 I changed the name of the gallery to Jill George Gallery in 1990. On the expiry of the lease in 2012, I vacated the premises and now organise exhibitions in ‘pop up spaces’ with the West End.
What is your definition of great art?
Something that makes you tingle all over and speaks to you and you can remember every detail.
Any main inspirations for your latest exhibition of Gareth Edwards?
2020 Gareth in Studio with Overgrown Garden at Porthmeor Studios.
The artist, Gareth Edwards is inspired by the sea and landscape of St Ives, Cornwall, music, especially the German lieder and electronic music. For this exhibition he listened constantly to Meredith Monk.
G Edwards The Rising and Falling, oil, 100 x 110 cm, 2020
Poetry (the title of the recent exhibition is taken from a Ted Hughes poem). Artistically Edwards admires the work of Turner, Claude Lorrain and Poussin. From the contemporary artists, Anselm Kiefer, Gerhard Richter, and Peter Doig.
G Edwards, Sunrise, Cap d’Antibes, oil, 55 x 57 cm, 2019
Where can we find your artwork?
Gareth Edwards at recent Fallen from Heaven exhibition 2020
Gareth Edwards’ exhibition “Fallen from Heaven” ended on October 3rd.
His work is available on our website: www.jillgeorgegallery.co.uk
There is an online Art Fair for the annual Art Toronto, 28 October-8 November.
The Gallery will be showing an online exhibition in December.
If you live in or near London or Cornwall, I can come and show you the work.
Eye on Art Series : The Painter’s Perspective
The Eye on Art Series is a collection of interviews from the lens of four international artists and gallery owners to give us a deeper insight to their perspectives on art and the origins of their inspiration.
From ancient art treasures to contemporary art, the underlying philosophies and interpretations immerses us into a storied dialogue where we can harness the timeless wisdom and sensibility to generate a new context of ideas of the world in which we live in.
RUPERT RECORD – PAINTER
Rupert Record, Alumni of the London’s Royal Academy in Fine Art
Self portrait, acrylic on canvas 2018
How long have you been painting and selling your art?
I’ve been painting since I was a child but started to take it more seriously when I went to Art college at 20. Drawing as investigation, it was a priority at Chelsea College of Art. I was exploring my inner identity as I drew a coastline, a tree, grass or a stream.
Spirits within the city, acrylic on canvas, 2016
The drawings went through many different processes and experiments. Firstly, with landscape and moving on to interiors and inside/outside spaces.
Cityscape, acrylic on canvas 2017
I became more interested in feelings involved with contemplation and started to practice meditation which guided me to change both the drawings and the paintings.
What is your definition of great art?
Freedom, individuality and spontaneity.
The starting points for the start of my Spartacus series of paintings include Aram Khachaturian’s ballet ‘Spartacus’ and the 1980 Stanley Kubrik epic of the same name. However, I was originally drawn to the film by the memory of watching it when I was twelve years old.
Spartacus Interior with danser, acrylic on canvas 2018
Spartacus Interior Guard, acrylic on canvas, 2020
I attempted to recreate a world bending the greed, hate and violence into auras of luminous colour, reminiscent of stained glass, to reflect the deeper emotion and uniqueness within each figure as shown in my ‘Caesar’ portrait.
The layers within each historical character transform and the individual’s internal pain to investigate “the triumph of the spirit over oppression” and visually shown within colours and textures.
Installation in the City Penthouse project by Callender Howorth.
What experience or meaning do you want to convey in your art?
In the Spartacus series, I investigated both aura photography and sensing aura colours within our own magnetic field. Barbara Brennon and Leadbeater.
Change series, acrylic and mixed media on canvas, 2020
Led originally through my meditation practice and reading on Kandinsky ‘The Spiritual in Art’, I participated in new age sensing auras workshops to be able to compare aura photography and the colours from sensing auras. I examined both the aura studies of Barbara Brennon and the aura illustrations by Charles Leadbetter.
Escape series, acrylic on paper, 2020
It opened doors towards the transformation of shapes and a new way of seeing and viewing colour. The completed paintings suggest how someones energy manifests into colours, patterns, and shapes which I have reworked into the features of the face.
Any main inspirations?
I have been very interested in Susan Hiller within her aura portraits series. She uses both her childhood imagination alongside research into the coloured emanations around people captured with a high tech bio feedback imaging camera that takes a photo of your dynamic magnetic field.
Where can we find your artwork?
Eye on Art Series: The Sculptor’s Perspective
The Eye on Art Series is a collection of interviews from the lens of four international artists and gallery owners to give us a deeper insight to their perspectives on art and the origins of their inspiration.
From ancient art treasures to contemporary art, the underlying philosophies and interpretations immerses us into a storied dialogue where we can harness the timeless wisdom and sensibility to generate a new context of ideas of the world in which we live in.
MARINA HUBNER – SCULPTOR
Sculptor Marina Hubner and her installation of Pin Up at the Carlton Hotel in Cannes.
How long have you been creating and selling your art?
I left my homeland in Georgia in the Caucasus in 1990 to settle in Europe. I lived in Frankfurt, Paris and ultimately the French Riviera.
I was a bohemian artist and was known in my country for poetry. I had a career in the media arts in television, theatre and animation before finding my new expression in the plastic arts, but I play boundlessly with all my talents and impulses from my prior life.
Installation of sculptures in Monaco with His Serene Highness Prince Albert where he signed the sculptures.
I have created art in oil, crayon, ink, then paper maché and clay sculptures, but I really found my paradise in my resin and bronze wonders. A true refection of my passion for music, these sculptures are of women singing, dancing and playing instruments.
What is your definition of great art?
Art for me is a definition of my soul. It’s the real me: my Self.
Danseuse H85cm
The definition of great art? I believe, the more suffering you experience in your life, the greater will be the joy in your life and the more you have to tell to the universe through your art.
What expressions or meaning do you want to convey in your art?
My sculptures depict buxom women with bright colours. They are full of joy, humour and kindness. They are gentle yet provocative, communicative yet private. I blend contemporary and classic showing real bodies celebrating the themes of music and dance.
Violinists in bronze. H45cm
The lack of instruments contradict the symphony of emotions that are played out by these figures, making them universal and timeless. The themes include violinists, pin-ups, dancers, bass players, and clarinet musicians.
Installation of Pin Ups in Saint Tropez. H160cm.
I am a perfectionist and I design each sculpture myself. I work with the best craftsmen in France and Italy to execute the piece.
I use bronze to exercise my classical training so that I can share my knowledge of the human form. The polyester resin on the other hand, allows me to celebrate my love for colours and my joyfulness.
What are your inspirations?
I am inspired by music.
I wanted to give life to my feminine beauties, forms that are touched by musical grace and my creativity.
Installation of Violinists in the Clos de Roses vineyard. H186cm
My sculptures are born from all the cultures which have influenced my own life: Russian, Ukranian, Polish and Georgian.
Installation at the renown Negresco Hotel in Nice where owner Mme Augier chose each piece herself. Marina Hubner is the last artist in Augier’s art collection at the Negresco.
Where can we find your artwork or pieces?
Sculptures can be ordered in various sizes, and are available in smooth bronze or fiberglass covered in enamel. They are perfect for both exterior and interior exposures.
The sculptures are on display at the following galleries:
Galerie Les Lombards à Mougins (France), Galerie Spolnik à Paris (France), Gallery Mauersberger in Vienna (Austria), Gallery Nina Torres à Miami (USA), QGallery in Baky (Azerbaijan), Galerie Jean FONTAN à Honfleur et à Pont Aven (France).
Email: marinasculpteur@gmail.com
Tel: + 33 (0)6 17 21 10 99
Eye on Art Series: The Collector’s Perspective
Art has been at the center of Callender Howorth from the very beginning.
As a former art gallery owner himself, Mark Howorth’s passion for art has expressed itself through his interior designs and continues to be the epitome of inspiration for Callender Howorth.
The Eye on Art Series is a collection of interviews from the lens of four international artists and gallery owners to give us a deeper insight to their perspectives on art and the origins of their inspiration.
From ancient art treasures to contemporary art, the underlying philosophies and interpretations immerses us into a storied dialogue where we can harness the timeless wisdom and sensibility to generate a new context of ideas of the world in which we live in.
GALERIE GOLCONDA – ART COLLECTOR BERYL CAVALLINI
Beryl Cavallini, Ancient Art Collector and President of Galerie Golconda.
How long have you been collecting and selling art?
I am more considered as a Collector compared to a dealer. I dedicate a lot of time to find the right object rather than selling. What I am looking after is to create and organise a beautiful collection of rare and very decorative pieces that can be exhibited in the art gallery but also in my houses.
I personally buy all the pieces I sell, I make no consignment, this obliges me to look only after outstanding quality. I have been collecting since I was 18, so it is more than 40 years that I accumulate beautiful artworks, however the gallery in St Paul was opened two decades ago. My story is a long run story of great passion that reflects many years at university, thousands of books on my shelves, houses full of treasures like museums.
Medieval Indian and Thai beauties taking to Chinese Neolithic vases.
We offer clients the opportunity to pick up inside a fantastic and eclectic selection of more than 2000 pieces, all absolutely ancient and certified coming from the the best provenances.
What is your definition of great art?
I do not really consider the idea of “great art” compared to other categories. Art must be a moment of emotion, which can vary. You can find poetry in a piece, or you can be attracted by its rarity, or its story and provenance. Then you also have the aesthetic part; materials, colours, patina.
A Sowei Helmet Mask from Sierra Leone from the collection of Joseph Mueller in Geneva.
There are so many elements that can make an artwork Great.
I would say for whatever reason, a piece needs to send you some vibration. And if this vibration is out of time and universal, then you can be sure you are in front of a masterpiece. Probably we could say the bases for great are worldwide universality and intense vibration.
What expressions or meaning do you want your art to convey in your art gallery?
There is an important word in the field of archaeology and it is authenticity.
Very tall Chinese Tang guardian of a tomb from the Metropolitan Museum of New York.
I only speak of and show objects of absolute authenticity. This means very few repairs, and thorough tests and controls. The objects should be well representative of their period.
I avoid late productions that are often of a less genuine inspiration however, I do like frontier pieces belonging to different inspirations. Another point is to show pieces that are worth the investment. We specialise in high quality art, pieces that are not fashionable and so universal that they can cross the waves of fashion.
Head bought during its Grand Tour in Italy in 1746 by Earl John Spencer and formerly belonging to the family of Lady Diana at Althorp. Giaconda Gallery
Our clients are all top level VIP’s, they are successful people who know the value of money. They buy at Galerie Golconda because they can rely on my taste and experience. The taste is the result of a long experience and to have good taste you must be able to reach great coherency. Many objects are fine, it is when we mix them that they can become desperately frightening. To make a good collection is also an art inside art.
Any main inspirations?
I like pieces that are clean, that can speak to you directly and immediately say what they are.
Remojadas Mexican terra cotta head from Musee Jacques Chirac.
Artwork, very skilful using high or new techniques and with a great look, is also more interesting. I like to see the work of tine on them, patinas, small accidents of their life. I enjoy eclectic houses like the Italians and French ones with a contemporary background which is classic and not too strong. A house is also a mood, and I do not like when architecture is so prominent that you cannot think of something else.
I love beautiful fabrics, colourful paintings that send a good mood to your mind. Houses should be airy and luminous to help keep you healthy. And masterpieces are there to help your mind work better. We definitely need inspirational houses to become more creative people.
Where can we find your artwork or pieces?
The Grand Salon at Galerie Golconda showing a selection of Apulian red and blackware vases fromthe 4th century BC. Formerly collection of French painter Bernard Buffet. The furniture comes from the French Royal Chateau of Versailles and Fontainebleu.
We mainly present the pieces in our gallery in St Paul de Vence, a medieval listed house in the heart of this marvelous village on the Cote d’Azur. By appointment only.
For online sales a full dossier is provided with HD photos and certificates.
Galerie Golconda – Saint Paul de Vence, FRANCE
www.galeriegolconda.com , email: presidente@galeriegolconda.com Tel: +33 (0)6 30 39 46 61
Next up in the Eye on Art Series is The Sculptor’s Perspective.
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