I carried Fabien Claude’s his words, his piece and my interpretation. My flow of thoughts out if his. His thoughts mingling with mine. Forming new ideas and perspectives, but also forming the following way of reflecting on his piece. Open for any interpretation, like an extend of his piece.
The decay of painting
All decay holds a form of beauty that at one point loses itself. It touches every other truth in the world and at the same point becomes a lie. The truth and a lie are the same, but seen from another perspective. Once, like a young child accepting all. Now departing from its own structure. Denying everything, denying its existence. At the point of the final decay, like peace at the bottom of an empty heart, the search for our thoughts, emotions and desires is fulfilled. It is what we searched for in painting from the beginning.
After each step, there is always one in front/behind. Riding the same vessel. At one point in the wounds of the decay of painting we would plant our seeds. But now it is time for painting to open up, leaving not only wounds to put our seeds in.
Between the words I refer to elements like Jesus and the void. They are meant as a metaphor. Not only to explain the piece but also to underpin it.
On the piece, a recuperation of images, corrosion has grown and taken its place. Forming a balance which tells a story about development. Once about a long gone society, now about the modern days. About modern art. Alike alloy, easy in maintenance but after a long time it will be weather-beaten. Corrosion forms on its body, giving a dynamic and organic structure. Never deforming its origin but intervening with its meaning.
Jesus and his crucifixion: a metaphor for painting itself.
The deformation of him (Jesus/painting), a building stone of our society. The vision of strength and distance. We used to differentiate ourselves from it. And not let ourselves become the personification of the work. Alike how we put other humans in pigeonholes. Again differentiating, not ready to use it as reflection.
He was the blank piece of paper, but given to us were words. Not all words, only those fitting on his body. These words were dominant and sadly not able to carry free speech. The dominance was equal to another time. A time long gone. In the time after new words have formed. The spaces left blank are easily filled. These new words carry more freedom, more strength. As they are not very different, the main difference is the will to be interpreted more widely. The combination of past and current times, mixing what once was and is. Like taking a look at the stars of a clear summer night: they are the visible proof of our history. You can see what once was, and still is visible.
The base of the construction.
The cross proves no resistance to external forces. The image of a showpiece, on its shoulders a message without density, has passed. The construction proves that in its basis after all this time, it still is fertile for a new way of thinking. After all still connected to a strong fundamental basis.
No clear image is visible, to fill in our void. Most of the uncreated part is visible, we create it. Finding our own thoughts in our own image development. What do we see in this traditional base and add. What did we find, and thus need to reflect on ourselves. Elements like suffering and education are still available in the piece, but it is the piece and us revealing it together.
The empty void on the canvas.
Painting was poetic and demanded artistic attachment. It was the representation and reflection of current times, and what goes on. The result was a clear painting, for anyone. It was less or not self centered at all. Now, as specialization and individuality are words of our time, we feel the need to see work that is unfinished. Making it a piece of ourselves, mingling our thoughts with the piece. Finishing it.
The power of the current form of painting, depends on the force of its own destruction. It shall consume itself time after time, like a star consumes its own matter. Time after time providing enough energy for the next consummating of itself. Anything that is too heavy to be consummated, like in stars iron, makes this topic interesting. Where in stars iron takes more energy to consume, than it can produce. These heavy parts actually fill itself up with energy. Our image of the artform becomes too heavy. Like a star, it becomes a supernova for a short time. Interesting, but it has a short life. Because the artwork is uneasy to view as a total, smaller pieces are picked up. Going anywhere, exploding like the supernova. Sprouting itself into anything and anywhere. Who knows where it might be an influence. At this rhythm, we might see poetic and critical art on the same canvas.
‘Crucifixion’ is finished: viewing you. At both sides of the piece, the emptiness will not be filled. The reflection comes from the void. The piece itself hardly matters in its own ‘darkness’.
Painting still is a reflection on society, on us. Like a revolution; society changed and together we have put strength in the deformation/corrosion of painting. But at the same time we actually decipher art, we deform the corrosion. In our mind a clear painting forms, like once before. At a certain point we are able to appreciate the corrosion, perhaps like collecting a piece of the Berlin wall. The counterrevolution has already begun.
Behind-the-scenes of the editorial including Anecho ready-to-wear pieces created exclusively for S/T CONCEPT S/TORE by Haans Nicholas Mott & Anastasia Khodkina. Model Klara Puski & Derek Thomson photographed by Laure & Sarah www.laure-sarah.fr at Florian Tatsuhito's studio. Soon to be published on SOME/EDITORIAL.
About Anecho :
Haans Nicholas Mott (of private label and shroud) is quietly launching the first iteration of a prêt-à-porter collaboration with Anastasia Khodkina entitled anecho(from anechoic chambers). Anecho is presenting a selection of pieces through SOME/THINGS private concept store in Paris. Although the pieces revealed in Paris will be exclusive fabrics to some/things, they will serve both as a first look at the anecho methods, materials, and sensibilities and a lead into the full capsule available in stores this coming autumn.
Haans Nicholas Mott is a wandering builder.
Anastasia Khodkina is a treasure hunter.
Special thanks to the Head of Cultural Programming and Special Projects Vittoria Matarrese and the wonderful team at Palais de Tokyo.
French artist Vincent Lamouroux has transformed Siver Lake's deserted and derelict Sunset Pacific Motel into a temporary and ephemeral art installation.
Projection is produced by Please Do Not Enter and generously supported by Creative Migration, FLAX, Lycée international de Los Angeles and Institut Français. Sunset Pacific Motel provided by Frost/Chaddock.
"On Sunset Boulevard and Bates Avenue, a transitioning facade, an abandoned motel as a commonplace, archetype of the constant mobility of contemporary society. A white coat now adorns the architecture. The limewash thoroughly covers the building and the adjacent billboard, as well as the palm trees that surround it. The urban space is disrupted. An abandoned space is transfigured and enhanced, perhaps eluding its last glory. The motel's intriguing aspect is accommodating an imaginary drive away from our habitual quest for sameness.
Projection induces both an appearance and a disappearance; it revisits our existing landscape with new eyes and envisions the building’s surfaces as screens for the projection of our desires." - Vincent Lamouroux
Photography by Alice Dison
Trained at the Milan Polytechnic, Vincenzo de Cotiis marries the sense of space of an architect with the sensibility to materials of a plastic artist. He forges pure forms — either design objects, ambiences — by following an organic process which allows the final product to retain traces of the process. Touch is as important as sight, and generates structures and solutions.
Crystalline, pure lines are charged with a new energy in the counterpoint of textures and parts. Materials – precious, raw, sometimes salvaged, always with intense evocative power – characterize every single project. Style results from the raw precision of the finishes, from the unexpected associations of parts, from a choice of faded colours that incorporate the signs and scratches of time. De Cotiis esthetic is all about perfect imperfection.
With Progetto Domestico, a series of limited-edition, non-duplicable furnishing pieces more akin to sculpture than design with a functional purpose, de Cotiis takes a step further into experimental design.
Progetto Domestico reinterprets furnishings using materials and salvaged parts that have been treated with experimental procedures and techniques. This interpretation goes beyond the limits of pure design and its obsession with lines, proposing a vision that is closer to contemporary art than to design.
The unusual appearance of handtreated surfaces with texture-effects on objects and materials that characterise the production of Progetto Domestico as recycled wood, fibreglass, resin, leather, brass and iron, are true visual and tactile experiences. None of the Progetto Domestico’s shapes are subject to the function — they appear as poetic objects intended to the art of collecting and to the limited edition.
Available at L’Eclaireur Saint Ouen.
What is your background before starting to work with TLC? (Childhood, education, work etc.)
Well, I was born and raised in Jutland, Denmark - but as my mother is Norwegian, I also spent a lot of time with my family in Norway. Those trips meant simple living - skiing, hiking and fishing and I guess that is where my love for the functional and understated comes from. Of course this also served as a foundation for my passion for items you can make with your bare hands. My education and early work experiences have all been of mercantile nature, but when I look back, I have always positioned myself in the direction of something that involved design - but back then it was mostly furniture and interior design.
Why did you end up making shoes? Was it clear for you at an early point in your life?
My journey in the shoe-business started 15 years ago. In the beginning, this was as a retailer. In those years, my passion for quality and design, always guided me. I only bought very particular styles for my shop. So, when I got the chance to start to develop and produce myself, I immediately felt at home in the process. As a craftsman, I have always had very strong feelings about what I like – and don’t like. Therefore, after many years of learning about all the processes of making shoes, I felt that it was time to create from within. The result became a brand where I could use this wealth of knowledge and my uncompromising taste. That was when – and why - The Last Conspiracy was born.
Where have you been living throughout your life and where have you been travelling?
My studio is still based in Denmark, but I spend around one third of my time in the atelier and factories in Portugal, and one third in the most important cities around the world for fairs and simply to gather inspiration. Travelling is an important part of creation. It settles the mind.
Where and how do you choose your different materials and which materials are you using?
For us, the leather selection is essential to crafting the right expression. The treatment and finishing can change the expression completely. We love exploring these processes. However, it is only possible to end up with the perfect texture and quality if you work closely together with your supplier. You have to really understand each other. The few suppliers we have, we have known for years, and when we bring new ideas, it is like going to the playground - we experiment until the texture is right. In this tactile and highly intuitive process, we always marvel when something new and interesting appears in the process.
For the sturdier styles we use cow and horse leathers and we also have a few styles in camel, buffalo and kudu leather. When to comes to the more feminine part of the collection, some subtle goat leather is used. If we choose to put a colour in the collection, we test it on the different leathers to see on which one it comes out best. It is important that the natural texture of the leather is still there, even if it has been given a hint of colour.
Where do you produce the designs?
Everything is indeed produced in Portugal. We work with only a few factories - a team of unique craftsmen that we have been working with for more than a decade. These are people that we have developed a very close connection with. We respect each other’s skills and that means everything when crafting footwear. In many ways we operate as a close knit community.
Do you often visit Scandinavia to keep up with the ideas and aesthetics for the designs?
As mentioned, I still spend a great deal of my time at home in Scandinavia. This is where I find peace to gather my thoughts and inspirations. It is a perfect backdrop for solitude, ruggedness and clarity.
How would you describe TLC’s DNA as seen from outside?
When you combine clean lines with leathers of the best quality and skilled craftsmanship, you end up with a product where it is obvious that nothing is fake. The quality speaks for itself and nothing is hidden behind over styling.
I guess you could say that we are, first of all, shoemakers, and with a love for aesthetics, and that is what we stand for.
Are you thinking about sustainability within your way of producing the designs?
Even though we are not a totally eco-friendly company, we very much care about the environment. Most of our leathers are vegetable tanned and we are still exploring new, even gentler treatments. Leather is not wasted, as we cut to measure and produce to order. Our shoeboxes are made of 100% recycled cardboard and the print on the box we have kept to a minimum. In this manner we do embrace elements in crafting a more responsible way of creating, by contributing to sustainable innovation proactively.
Photography by Lisbeth Breland Saalmink & interview by Nicklas Thrysøe | S/TUDIO
Our latest collaborations were showcased on Thursday April 5th during Paris Fashion Week including the first ever ready-to-wear capsule collection called 'ANECHO' by Haans Nicholas Mott & Anastasia Khodkina, the cube vase made of iron with a polished surface 'A single flower vase for three flowers' by Kräfte - Japanese designer Yukio Kimura, the exquisite handmade jewellery 'ICELAND' collection in Murano glass by idonthaveasister - Alexandra Purcaru, the capsule collection of leather jackets & pants by the Italian label 10sei0otto, the buffalo horn sunglass 'S/T Pagoda' by Rigards, the strong 'Krypton' jewellery collection made from steel, chrome, gold & silver by Rock The Rocks - Ronan Masson & Vittoria Mattarese, the incredible molded leather bags 'Mytilus' by Khourianbeer, the refined black, gold & silver 'S/T Rehab 40' watches by Fob Paris and the second addition of Alicia Hannah Naomi's creation, a silver & sapphire pendant with a leather necklace 'Idris'.
Photography by S/TEAM