Valéria Nascimento

Over the years, my work has come to focus on large commission based installations. I always take into consideration the space that my installations are going to be housed in, to me it is very important that they blend in to their environment, complementing the space. My inspiration is drawn mostly from the natural world, though my work carries references to both architectural and botanical forms. For as long as I can remember I have always been fascinated with repetitive sequencing in my work, combining separate elements to form a cohesive group. Nature is full of reoccurring patterns and rhythms; spirals, waves, repeating petals and leaves. As in nature, each piece of my work, though seemingly a duplicate, is unique. Porcelain has the smoothness and the malleability that I need to create new shapes, manipulating them to appear in some cases defiantly weightless. My work is a celebration of nature itself. I aim to create works that inspire, connect and touch in an emotional way, taking the viewer on a journey through different ethereal, botanical and peaceful landscapes.

 
Christopher Boots 

His handmade work – including lights, furniture and objects – explores the architecture and geometry of organic shapes, and is often inspired by forms found in plants, animals, and minerals. Christopher’s Greek heritage is reflected in his repeated fusion of natural and classical, with mythology a core concept permeating his work. All products are handmade with love and care in his Melbourne atelier using a broad variety of artisans – amongst them glass blowers, copper smiths, ceramicists, sculptors, and bronze casters, ensuring a commitment to quality. With each project Boots seeks to elevate and transform his materials in a way that highlights their natural beauty. Christopher graduated from industrial design at the National School of Design (Prahran, 2005). An apprenticeship with lighting pioneer Geoffrey Mance followed, leading to a half decade training in various techniques of designing and making lighting. Christopher launched his studio in 2011 and in the short span of time since, Christopher Boots has grown from a one-man-show to a team of 20 people. In late-2014 Christopher Boots designed the legendary Hermes holiday windows for both stores on  Madison Avenue, New York City. Christopher Boots has worked closely with a diversity of clients and collaborators – including Cult, Hermes, National Gallery of Victoria and Elenberg Fraser – to deliver limited-edition and made-to-order products. The work of Christopher Boots accents and adds to the dramatic experience of extraordinarily designed spaces. When not travelling, Christopher lives in his studio in Fitzroy, Melbourne.

 
Pierre Bonnefille

Pierre Bonnefille is a chromatic alchemist. He draws inspiration from his journeys and distils the colors he encounters into the infinite richness of his work. The material, colours and light are inseparable in Pierre Bonnefille’s work. The artist creates his own materials and textures, made from mineral powder, limestone, lava, marble, earth, from natural pigments and metallic powders. A veritable explorer, Pierre Bonnefille draws his inspiration from the colours of nature and his architectural references in Venice, Pompei and even Kyoto. The artist creates his colour palettes starting with the earth and the materials that he collects, and then analyzes their colorimetric structures. The intensity, the colour and the movements of the light propose a ceaseless, new interpretation of colours and textures created by Pierre Bonnefille, giving them a unique and particular identity. Inpired by nature and landscapes, the lively and vibrant surfaces of Pierre Bonnefille’s work, an artist of color and material, fill the room, creating a unique experience that plays on the senses.


 
Mathias Kiss

After many years of extreme rigour and intense discipline with the Compagnons, Mathias Kiss freed himself from the codes of traditional Haussmann architecture dictated by his forefathers, to resurface as a true artist. His own true hallmark today is a radical change in approach to habitat. These days he is no longer approached to do restoration work, but instead to create works in situ for individuals and collectors, who call upon him to transform their lairs into artworks. It is not design, but installation. Mathias Kiss does produce ornamental or decorative work when collectors invite him to their homes; M. Kiss uses their personal spaces as raw material for his work. When he produces a rug for example, neither the colour nor the material are important; he extracts a shape, that he designs, between the cracks composing the herringbone parquet flooring. His vision was finely tuned through the rigour and the nobility of French architecture; he cannot refrain from distorting these codes that are etched on his heart, like a leitmotif. When it comes to the thickness of the velvet or the shade of the rug, he lets the interior designers handle it. His legacy is rich, the references he assimilated during his apprenticeship with the Compagnons belong to the past, and he now feels empowered as an artist, to circumvent and tailor them to works rooted in the present. When he talks about the “Kiss Room,” a truly monumental and habitable sculpture, fully lined with mirrors, he explains that this experimental room could well have been created at the time of Louis XIV, a sort of contemporary Hall of Mirrors, as the techniques he used are comparable to those used for ancient panelling. When he creates painted skies today, it is no longer to restore the ceilings of the Louvre, but to materialize a compelling need for air, an example of which he installed in the former headquarters of the Communist Party designed by Oscar Niemeyer. These skies no longer cover Haussmann ceilings, but vertical walls, canvases. By definitively leaving the Compagnons, Mathias Kiss almost impulsively rejected the presence of the right angle. In guise of a visual tantrum, he entitled his first series as an artist “Without 90°,” making a highly symbolic mockery of his old life. The artist constantly draws inspiration from his training indelibly marked by his experience with the Compagnons, that he decided in spite of everything to suddenly quit whilst in his thirties. He reinvented coving when he created “Golden Snake,” as part of the series “90°.” Originally placed where French ceilings and walls meet, this golden frieze found in bourgeois Parisian apartments was abused by Mathias Kiss. This artist automatically misappropriates the codes of our habitats. By Margaux Barthelemy.

 
Matteo Gonet

is a swiss based Glass Designer, driven by a love of glass and light with a commitment to nothing short of excellence. Growing up in Lugano and Lausanne, Matteo Gonet (* 1979) has been studying glass since he was 15 years old. Especially with a background in design he started at Centre International de Recherche sur le Verre et les Arts plastiques in Marseille. In 2004 he found his company Glassworks. With ten employees, he translates objects into glass for artists, architects and designers and realizes his own projects worldwide. With many high profile projects at present, Matteo Gonet most notable recent collaboration with Château de Versailles, Chanel, has cemented him as the *one to watch“ in the art / design world. "Glass making is an elaborate and difficult craft with a tradition of around 2000 years. A tradition that is not really rooted in Switzerland. No comparison to France with its traditional glass makers such as Baccarat or Lalique, Murano near Venice or the Bohemian and Scandinavian glass art. Significantly, I'm also the only Swiss in the team," says Gonet.

 
Christophe Gaignon

Gaignon’s works are unique mirrors, each one of which literally reflects his view of the world, space and the transformation which is happening with reality at the moment of its contact with art. Initially the object is really practical and prosaic, in the artist’s hands the mirror loses its conventional shape. It is turned into an object of abstract art with a deep philosophical sense and at the same time into a bright interior detail, capable of determining the rhythm and tone of the whole of it, reflecting and therefore subduing it. Gaignon’s works can be seen in Paris, New York, Miami, Dallas, Geneva, London, Munich, Madrid and Moscow. They were used in projects by famous architects and decorators such as Jean-Louis Deniot, Jacques Grange, Christian.


 
Gilles Lorin

The visual effect of his photographs often resembles that of a drawing or a painting. Most of them are platinum-palladium prints exposed on the most luxurious handmade papers such as wafer-thin Japanese Gampi or strong Arches. Some variants are backed with gold leaf. Using the platinum-palladium technique Gilles achieves an incredible range of the finest shades of grey, the texture and precision of which are reminiscent of the Old Masters. In his latest series "Portraits of Dao" he uses the cyanotype method for some motifs with equally impressive results, creating an incredibly luminous, flawless deep Prussian blue. Gilles is among the photographers who make use of old photographic processes. One almost inevitably feels reminded of pictorialism, transported into the 21st century. He seeks his subjects predominantly in his native environment. Detached from concrete contexts, he selects a scene in such a way that the captured moments appear timeless, sometimes even abstract. But he is interested in much more than the process of depicting. He imbues his work with meaning and often plays with century-old traditional religious symbols or seeks perfection in the profane things of this world. A confrontation with being and non-being; A transience or a supernatural atmosphere can be found in almost all of his series. At one point he personally experienced the fragility of his own mortality. After a serious accident, a long illness and several setbacks, he spent many months in hospital and only during his discovery did he finally find his way to photography. It became a haven of peace in his life: an occupation that gives him tranquility.

 
Julian Mayor

is a British artist and designer known for his sculptural works. Using high-tech design processes, the artist creates each piece digitally on a computer before building them by hand in his workshop. Born in 1976 in England, United Kingdom, Mayor graduated with a BA in Industrial Design from the University of Northumbria in 1998, followed by earning his MA from Royal College of Arts in Design Products. After graduating in 2000, he moved to Northern California and worked for a design consultancy agency as a product and interior designer. By 2002, Mayor returned to London to work for U.K.-based agencies, including Pentagram, and collaborated with British designer Tom Dixon. The artist’s work has been exhibited at the Victoria &Albert Museum, Rossana Orlandi Gallery in Milan, FAT Galerie in Paris, among others. Mayor lives and works in London, United Kingdom.

 
Denis Milovanov

has travelled through Russia in order to study local traditional craftsmen’s techniques which he updates, offering a contemporary design rooted in the vernacular. Denis Milovanov works exclusively in solid oak which he favours for its texture and resistance to raw temperature and because of its large diameter which allows him to create monumental forms. He selects old oak trees blown down by storms which he cuts up, chisels, hews, sculpts with a chain saw, restoring these fallen trees in their majesty. In order to protect the wood, he boils the pieces in linseed oil, a technique revealing at the same time subtle and meticulous finishings. When heated, the oil tans the wood, creating shades ranging from chestnut brown to carbon black. There is also something totemic in Denis Milovanov’s furniture, resulting from his inspiration drawn from primitive arts and an execution he wishes intuitive. The artist thus achieves a synthesis between the raw simplicity of the forms he convenes and extreme refinement in the wood treatment, demonstrating an authentic style.

 
Christina Oiticica

She is a Brazilian artist and has been married to Paulo Coelho since 1980. Oiticica is known for using an exotic neo concretist technique that is reminiscent of both land art and eco art, a technique that allows nature’s elements to act upon her works. Oiticica is a "daughter" of the experimental art movement of the 1970s arisen in Rio de Janeiro, where she was born, and has taken her paintings all around the world. Oiticica idealized the combination of land art – which uses nature as foundation matter – with a painting in the French Pyrenees, five years ago, when she decided to paint a 10-meter long canvas in the middle of nature in the open air, as she realized not to have a covered area that would enable her to create on such surface. Once her work was finished, she left it to dry right there, outside. On the next day, as she went back to pick it up, she found that dust, dirt, leaves and some insects had been integrated to the canvas. "With no premeditation, nature had given its unique touch to the painting."

 
Jan Gulfoss

Jan Gulfoss van Naeltwijck, artist and explorer is born in Holland on November 14 1957. Fascinated by nature from an early age, Gulfoss developed a particular interest in birds. He expressed this in his painting, and he also recorded the spectrum of sound reflected in their song. At the age of sixteen, he moved to the South of France, where he studied Law and Art in Nice. He exhibited his drawings at the Biénnalle de la Jeune Peinture Méditerranéenne and was awarded a prize. It was during this period, that he expanded his artistic experiences, by meeting the following artists: César, Arman, Poumeyrol, Christo as well as Peter Greenaway. Then starts a long period of artistic and scientific research and explorations. He studies in natural history museums, zoo's and one of the main sources of inspiration for his work has been the Musée Océonagraphique of Monaco, which he first visited in 1974 and which he regards as being his 'second studio.' At the same time, Jan started to explore new evolving technologies, with a view to integrating these into his creative work. Working with 3D applications, and a range of sound frequencies, he began to create photographic compositions of animals, and various other objects, staged in theatrical settings. One area that has particularly interested him, over the years, has been Time. By making a series of drawings on decomposing fruit and animals, he was able to develop these further into a series of videos illustrating visually, the concept of Time.

 
Atelier Haberdashery

Haberdashery studio weaves light to create emotional connections with an audience. By challenging what is possible with light through the creative use of the latest technologies and materials, blended with age-old techniques and effects, we develop carefully researched narratives into award-winning sculptures, limited edition collectables and contemporary products. This studio is stimulated by moments that make the hair on your neck stand up; when time slows down and you can lose yourself in a moment. As a universally understood medium light has the ability to communicate with all sorts of audience. Through colour and tone we can reach into the subconscious and draw on memories, challenge learnt responses and question preconceived ideas regarding what we need light for, and what its potential uses are.


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