Part of the latest photoshoot from the distinctive British designer Tom Faulkner takes place along the British Coastline. Needless to say, the pieces personify a complete homage – Tom Faulkner has created pieces that look born of the organic Camber Sands of Sussex while also reflecting the rugged industrial work of man. There is a flow between the images captured on the dunes of Camber Sands when viewed in conjunction with the more architectural interior hero shots. The earthy tones & materials sing together no matter where they are placed. Continue reading The Beauty of Tom Faulkner
R HUGHES believes in curating fresh & exciting pieces that transform a room. We’re not one that go with trends, but rather what we find compelling to tell your story outside of the noise. Here are the nine themes we’re hoping to incorporate more of in 2024.
“While modern and contemporary shapes have dominated as of late, there’s a growing resurgence of more traditional upholstery,” said Luxe Magazine. You can still conjure an elegant power that suits modern, sparsely furnished spaces as well as more traditional rooms with the right pleat. You can count on us for that.
Whether you’re working from home more or still experiencing PTSD from mandated stay-at-home orders, we know how significantly nature can improve our well-being by awakening our environment.
Pictured: Janus II by Sirak
After years of witnessing Scandinavian-minimalist decor takeover homes & retail spaces, we are welcoming the dopamine boost that color offers. Whether it’s with paint color, upholstery, furniture, or lighting…we’re itching for a room that displays a playful & harmonious affect.
Pictured: Golia Stool by Draga & Aurel
While there has been a workforce movement back into the office place, there is no denying we’re living in a hybrid world. There is a resurgence of designing homes to include an office. Instead of treating it as the often cold space found in actual workplaces, add artful pieces to bring it to life.
Pictured: Officium Desk by Pierre Augustin Rose
Brass and matte black have certainly dominated within product offerings. However, metallics like silver, chrome, & nickel are back offering variations in cool and warm hues.
Pictured: Onos Adjustable Pendant by Hector Finch
While we’re still fans of gallery walls & they play a roll in the right spot, we’re appreciating how impactful a singular piece of art can be from sheer scale. Don’t be afraid to go big here.
Pictured: Infinite Butterflies by Jocelyn Marsh
The underlying theme with home furnishings and decor we’re witnessing is a magnetic pull towards the desire to feel warm in a space. No, we’re not talking temperature. We’re talking about the energy of a space. Brown has shown itself to be a clever color – blending into various color palettes more seamlessly than black. Whether it’s a rustic or retro look, there is shade of brown that evokes just the mood you’re going for.
Pictured: Pia Sofa by Collection Particuliere
If a space you’re designing will be overwhelmed with additional metallics, might we suggest high sheen lacquer on cabinetry or furnishing. It provides an unexpected dimension that elevates a space.
Pictured: Elevate Coffee Table
While curves & organic shapes have become increasingly popular over the years, there’s a continued reason. They help to soften a space by balancing the hard lines of a room’s architecture or square-set decor.
Pictured: Helios Mirror by Pierre Augustin Rose
We’re dashing, we’re dancing, we’re prancing this holiday season as we search high & low for the perfect gifts. From sleek puffer jackets to futuristic cat beds, bronze side tables to vibrant resin lights – here’s this years edition of the R HUGHES gift guide.
A Pandemic Purchase Turned Design Paradise
Like most of us in the design industry, the beginning of the pandemic brought a sense of urgency for us to get our homes in order…knowing we’d be spending so much more time in them. It was with this realization that motivated Ryan Hughes to find a project that would inspire him outside of the confines of the urban landscape.
That’s when a newly framed home in Serenbe caught Hughes’ eye.
Located in Georgia’s Chattahoochee Hill Country, Serenbe is known for its red clay earth, pastoral hills & restful silence, as well as its intentionally crafted neighborhoods.Beyond the idyllic design vernacular that is honored throughout the 1,000+ acres, Serenbe provided respite & ultimately a malleable canvas to get creative in a new community. So Hughes decided to partner yet again with Smith Hanes to pen his vision to paper & bring the 2,300sq feet, 3 bed/3 bath to life.
“From our first meeting, Ryan had a vision for his place. The style direction was clear. He wanted a floor that would communicate the feel of a country house, but executed in an elevated style, ” says Smith Hanes. “He wanted a place that felt warm and inviting, with art and design touches that inspire and excited him. He wanted a vibe, a feeling for this little place in the country.”
“Working with Smith & his team on the showroom was such a special period of my life, and I knew that I wanted to relive a bit of the emotions I felt when designing something so personal with someone who I could trust would collaborate with me,” Hughes shared. “I’ve always enjoyed sharing a dialogue with Smith when it comes to creating spaces with feeling.”
Hughes’ intention was to experiment with art & build a narrative around the color stories in relation to those works using various furniture & lighting from designers like APPARATUS, COUP Studio, OCHRE, Fisher Weisman and BassamFellows, as well as vintage pieces. “Through this process of constructing four walls from the ground up, it gave me appreciation of what I wanted to invest in – the little things that may not be on the top of the list for others, but were important for me,” Hughes said. “Things like the plumbing fixtures, the plaster, the lighting. I mean we decided to plaster the ceiling! It felt like a wild idea, but it was one of the first things people noticed when they walked in.” “Ryan truly was the design decision maker and force behind this strong and beautiful home,” Smith revealed. “We acted as sounding board, and documented the ideas he envisioned for finishes and interior architecture. Ryan chose all furnishings and art throughout.”
This house became an opportunity to not only test out firsts for Hughes, but also for to play with nostalgia. “White painted floors – it’s always been something I’ve wanted to do & finally had an opportunity to just go for it.” Hughes commented. “But also, I wanted to have some familiar touches. Like, growing up, my grandparents house had two twin beds that sat a little higher off the ground. I have special memories of that room, so I paid homage with a new spin that included covering 14 foot walls in a chunky jute wall covering.”
These were the very same signature R HUGHES elements that attracted various buyers when Hughes put the house on the market. After about a year of enjoyment, he knew that he needed to sell the home to begin a new chapter in Atlanta.
“His goal to have a “simple cottage getaway” is energized by his choices throughout: confident furniture shapes, rich colors, and an expressive collection of art,” Smith added.
Living Room: COUP Studio Italian Chairs in LIAIGRE Linen, Elizabeth Eakins Rug through Holland & Sherry, Vintage Coffee Table, Sandra Jordan Drapery Fabric through Holland & Sherry
Kitchen: BassamFellows Spindle Counter Stools, clé Tile, RW Guild Lamps, Collection Particuliere BOS Vases, Urban Electric Bishop Flushmount, Sandra Jordan fabric on Cafe Curtains through Holland & Sherry, Hardware through Matthew Quinn Collection
Dining Room: OCHRE Sable Chairs, Vintage Table, Fisher Weisman Custom Gilded Cage Chandelier, Perrine Paris Drapery Fabric through Wareco, Paint Color – Bancha by Farrow and Ball, Bastiaan Woudt Photography through Jackson Fine Art
Bar: clé Tile, Henry Bar Faucet and Brass Basin by Waterworks, Custom Shelving designed by Smith Hanes Studio
Master Bedroom: Lawson Fenning Bed in Zak+Fox Linen, J Liston Charred Wood Nightstand, LIAIGRE Acier II Table Lamp, Phillip Jeffries Wallcovering, Rug through Moattar, Drapery in Holland & Sherry Linen
Media Room: Vintage Sofas through Eneby Home, Woven Chair through The Renner Project, Chandelier and Art Lights from Visual Comfort, William McClure Painting, Rug through Moattar, Tuell+Reynolds Shinjuku Drink Table, Drapery in Zak+Fox Fabric through Holland & Sherry
Guest Bedroom: The Beautiful Bed Company Twin Beds, Vintage Lamp, Hickory Chair Nightstand, Zak+Fox Drapery and Pillow Fabric through Holland & Sherry, Phillip Jeffries Wall Covering, Bruce Lee Paintings through the Webb Gallery.
A dedication to all the beautiful Mothers & Motherly figures in our lives.
There are many reasons to be grateful for my mother, including her support with R HUGHES through the years. Without her, I’m not sure it would be the success it is today. There’s only so many words to tell Susan Hughes thank you for her endless encouragement, so here’s a roundup of her favorite items.
With the desire to continue sharing the beauty & intention behind Refractory, this is part II of our interview with founders Angie West and Alberto Vélez.
RH: I would love to dig deeper into the Refractory Manifesto.
01 Draw // Inspiration from past and present.
In Refractory’s backstory, you all have mentioned “While inspired by the powerful and mysterious forces of nature, evolution, and transformation, the work also bears the mark of disciplined, classically trained designers.” Who from your past has had the greatest impact on Refractory and the designs we see today…
AW: Obviously our deep tenures with Bill Sofield and Holly Hunt have been influential, and we have also been fortunate to be surrounded by creatives in our families and youth – including designers, architects, and photographers. The designs you see today however are a pure and forward move; they are unto themselves.
02 Craft // New languages of design.
Design as is with art, can feel reductive or worse, derivative. The idea of creating a new word, much less an entire language, feels insurmountable. Where does this process of speaking a new design language start for you both? A sketch, a material, a mood, a song?
AW: It can be a sketch, a building, or an earring. It can be a leaf, a bone, or a tool. It can be an aerial view, a map, or an anomaly in nature.
AW: We share a love of nature and the creatures that we share the planet with. Admiring and celebrating the textures of their armor is just a state of mind for us. In new work, this will lean toward oddness and creatures that are not typically perceived as luxe. In one new work, we celebrate the geometry and magic of the inside of the armadillo’s armor.
04 Illuminate // New ways of seeing the world.
This feels deeply personal to me. We have many lenses in which to see the world. Lenses of inherent bias, personal privilege, social media, politics, etc. If you are offering Refractory as a new lens for the world around us, what do you hope we see?
AW: We hope you see an ecosystem of mind, heart, and hand. Our work is as much about our team of artisans as it is about the work or design itself. It has a purpose to further and sustain American craft under many pressures. We want the work to beg the question: “who made this?”
05 Honor // The tradition of American workmanship.
Angie, you have built and nurtured an ecosystem of artisans that by any number of indicators are endangered of going extinct. As the bronze and glass foundries are fostered, are there any other crafts people that you would like to see under the Refractory umbrella?
AW: Absolutely. We will fold in wood fabrication as well as shade-making and ceramics in time. We are also interested in working on a small scale in terms of wearable design.
06 Make // The most of the time we have.
Time is fleeting yet the furniture and objects you set out to create will last decades (centuries and millennia!) beyond our short time on this earth. How do you imagine future collectors of Refractory to feel about your pieces say 100 or 200 years from now? Do you hope people find them selling at Christie’s for multiples of the original cost or as treasured finds buried deep in flea markets across the globe?
AW: We believe that both scenarios may be possible, depending on the piece, and we don’t really attach a hope of any kind toward the trajectory of the work in that way. Of course we believe the work is an investment for clients, and we savor the notion that it will be extremely rare that any of it will ever be discarded. Daydreaming about future patineurs doing restoration work on the pieces or future lighting technicians re-wiring or configuring our chandeliers hundreds of years from now is a wonderful thought.
07 Revere // The meaning of things.
I think we all agree that the meaning of things like life, love, family, relationships, and possessions change as we move through life. What felt like the end of the world in days past can feel like an insignificant blip today. Without getting too philosophical, what does Refractory mean to you today?
AW: Today Refractory is an incubating laboratory. It is a vehicle for expression and manifesting work with our crew and work family. It’s the best way we can shine a light on them and with them.
R HUGHES Welcomes Refractory to the Showroom
Founded by Angie West from Texas and Alberto Vélez from Bogotá, the studio embraces a fascination with materiality, a deep respect for craft as an integral aspect of design, and an obligation to participate in the shepherding of American making. Based upon a sense that there are stories as-yet untold in design, the work is both provocative and exploratory.
This embrace of the unusual, the unforeseen, as well as the durable and resilient, are part of Refractory’s ethos, as expressed in its name. The term refractory references an unyielding nature and applies to both personality and process. While inspired by the powerful and mysterious forces of nature, evolution, and transformation, the work also bears the mark of disciplined, classically trained designers. Refractory is engaging in an open-ended renaissance of American artisanship and small-scale urban manufacturing.
When we came across Refractory, we felt it was seemingly conceived overnight. The real insider secret is that this kind of finesse takes decades of experience and editing to perfect. It burst into our imaginations with its innovative use of noble materials and inspired branding. We are thrilled to introduce this once in a generation brand to the Southeast design community and hope to grow with Refractory for many years to come.
Q&A with Angie West and Alberto Vélez
R HUGHES: You both have extensive experience in the design industry. It begs the question, how did you get your start? What drew you to this life?
Angie West: I was born and raised in rural West Texas. From a young age I was naturally drawn to composition of objects and forms, curation, and proportion. During college years this propensity carried through to photography studies, and I later became a commercial photographer in the design industry. My personal passion for photography lies in reportage, street, and journalistic image-making, but for some reason I knew how to look at a chair… perhaps because I saw it as a sculpture and not a chair… and that was a way to make a living in two worlds that I loved. Via working in different capacities in the industry, I had an opportunity to purchase a tiny foundry in Chicago (over 12 years ago now), and that has afforded me the privilege of working with phenomenal talent on the design side as well as the magic-making fabrication side.
Alberto Vélez: I grew up in Bogota, Colombia, blessed with a family with several accomplished creatives in arts, photography, architecture and design. It just felt natural to follow the path and was influenced and exposed to that world very early on. I was the kid that dismantled and rebuilt every toy before playing with it and also spent countless weekends lost in nature which was a huge influence as well. I studied Industrial Design and worked at my uncle’s interior and architecture studio through college doing mostly CAD drafting. Later, I moved to New York and those technical skills opened doors for me, becoming a very competent draftsman and design illustrator while slowly finding a voice and refining my aesthetic judgment as I worked with some of the best in the business at the time. I gradually specialized in furniture and moving to Chicago to lead the Holly Hunt design studio really consolidated my interest and expertise on the subject working with her on hundreds of concepts over a decade. Angie & I met in 2010 and started a prolific collaboration as client/fabricator through my previous job and we became good friends in the process.
The Beginning of Something Exciting
RH: How did you two meet?
AW: In 2010, after working in various capacities for HOLLY HUNT for eleven years, I was looking to shift toward entrepreneurship. I had packed up my things to move to Austin, and Alberto was on his way to Chicago from New York to take my position as Design Director at HOLLY HUNT. Just before my departure, I was celebrating my birthday with some friends when one of them mentioned that a small foundry we had once worked with at HH was going to close.
Still thinking about it the next morning, I told my roommate, who knew me very well, “I think I need to buy this foundry.” Her exact response was, “I don’t know if you should, but I think you can’t-not.” I made a phone call, we had a meeting, and a week later, I was having lunch with Holly to tell her about the idea. She said, “It’s a little crazy, but you should do it. I’ll keep you busy.” Immediately, she tasked Alberto to design items for West Supply to fabricate. There is no way we would we be sitting here if she hadn’t been so generous and visionary about where it could lead. She knew I had the passion and the potential to do well and that what we would make would also be good for her company, so she advocated for us. That’s fundamentally how it started and made it through the first few years.
AV: Fast forward to 2020, I had been through a decade of product development cycles at HOLLY HUNT and introduced literally hundreds of concepts and collections there. It was wonderful, but as a designer, I think you’re always yearning for what is next. I had started itching to try something new. As it turns out, the jolt of the pandemic created a perfect window. After departing HOLLY HUNT, Angie was my first phone call. We were both just trying to stay alive, literally, but, in speaking further, we realized in this moment of stillness, we had a unique opportunity to do something new.
AW: In February 2020, just before everything shut down, I had just finished building out a big, beautiful, white studio above the foundry so I could also begin producing my own work. When COVID hit, it was sitting there, empty, and we didn’t have any orders coming in from usual clients. We either had to start reducing staff or create work to do. After many sessions with Alberto, we saw this window to start a new endeavor, which we later named Refractory. The small business stimulus from the government allowed us to protect our fabricators’ paychecks, and the empty studio space became a cocoon for our creativity.
This pause, that we otherwise never would have had, has been a silver lining for our team and all our existing clients. We were able to innovate, experiment, and have essential, long conversations with the fabricators that we were previously too deep in our lanes to have. This allowed us to unlock talent and potential at West Supply in the form of a truly new chapter.
RH: When did you realize that Refractory was what you were meant to do together?
AV: We started Refractory together in late 2020 during the pandemic and as was true for so many other creatives, it was necessary to start something new, to make use of this forced pause and keep Angie’s crew intact and inspired. Our first collection was launched in late 2021 and consists of about 35 pieces. Now we have closer to 45.
AW: Refractory launched October 1, 2021. This was basically the moment that we came into existence via an online presence. We debuted our work internationally at Alcova during Milan Design Week June 2022, and domestically in New York at Salon Art & Design November 2022. The first collection consisted of an ensemble of various editions that formed the foundation of our offerings. The work will veer in more conceptual directions from this base.
The Debut Collection
RH: What do you want people to take away from the debut collection? What emotion do you want people to experience when they see these pieces?
AW: Lately we have been leaning hard into the word durability. We want the work to be touched and to bear the evidence of use over time. We also intend for the works to have aesthetic durability.
RH: What’s an upcoming project you are most excited to be working on?
AW: We are working with Erden on a dining/sitting room in Telluride in which the furniture and the custom rug will be in concert with one another. This will be via motifs, shape, as well as mechanics. The dining table will be able to split into two and pivot, and some of the adjacent sitting area furniture will seemingly grow from the rug. It is definitely a collaboration that goes beyond “custom” in the typical sense of the word. It will be a very functional art installation in many ways.
AW: The Scimitar Dining Table is a monumental and formidable work. The full ends in bronze coming together with the wood top – matching radius and detail, intensive construction from the underside, installation and assembly, etc – its simplicity is misleading.
RH: We are big on monthly playlists at R HUGHES with our OFFICE Radio series. So help us out, what song would you add to our next playlist?’
Cozy Meal that Fill the Heart: Waverly Inn, NYC
Walk Down Memory Lane: Athens, GA
Showroom Affair: Adam Otlewski – Series 03 Sconce – Goatskin Parchment
Modern Ballad: “Fallingforyou” – The 1975
Love Swap: The Holiday
Food for the Heart: Atoboy, NYC
City of Love: West Village, NYC
Showroom Affair: Collection Particulière – LEK Banquette
Serenade: “A Song For You” – Carpenters
Romance Abroad: Notting Hill
Some Like it Hot: Abbalé Telavivian Kitchen, South Beach
Foreign Fling: Sevilla
Showroom Affair: Apparatus Talisman Loop Sconce : Sepideh
Epic Love: “Wild” – John Legend, Gary Clark Jr.
File under Fantasy: Emily in Paris
Casual and Cool Eats: White Tiger Deluxe, Athens GA
Aventura Amorosa: Barcelona
Showroom Affair: Pierre Augustin Rose – Enfilade 240
Crooning Blues Ballad: “Sunday Kind of Love” – Etta James
Unforgettable First Love: Call Me By Your Name
Happy Meal: Launderette, Austin
A City Fit for a Queen: London, England
Showroom Affair: Coup Studio – Oasis Sofa
Tearjerker: “Songbird” – Christine McVie
Nancy Meyers’ Romantic Classic: Something’s Gotta Give
R HUGHES is honored to announce that De La Vega Designs is joining the showroom. Mark de La Vega opened De La Vega Designs in 2010 within a 7,000-square-foot loft in a historic dock building in Brooklyn creating bespoke furnishings for luxury retail clients such as Harry Winston, Bergdorf Goodman and Tiffany & Co.
Taking cues from a variety of global and historical references, DLV uses the highest-quality materials to re-invent forgotten techniques.
R HUGHES: What instigated you to open a 7,000 square foot space in 2010? This wasn’t a particularly easy time for the design industry.
De La Vega Designs: When we first moved into this space, it was a total steal. The rent was low, the space was gorgeous, expansive, and by the water – and we knew we would grow into it as we did. However, starting off we were just thrilled to have a place to work that was beautiful and inspiring. We used to skateboard around the loft and installed a rope swing for our kids.
Now… we have the space designed to function as a busy atelier.
RH: What is the collaboration process like between you two?
DLV: We have a great understanding of each other’s roles, and our duties are siloed for the most part—design vs operations. We do draw inspiration from similar sources and agree on most everything—we understand each other well. Maggie nudges me on certain things, but my process is more instinctual and creative, a bit like lightning.
RH: What was that first commission process like with David Collins for Madonna? Having this be one of your first residential projects is certainly a feat.
DLV: It was a thrill, and at the same time very scary. We were new and inexperienced, but we knew it was something we had to pull off. I remember volunteering to deliver it personally and waive the delivery fee. The table was huge and heavy, and navigating it through the stairs to place in front of the fireplace in the Great Room gave me a tremendous amount of pride.
It wasn’t until later that we realized just how important this table would be to the company’s success. It became a symbol of our commitment to quality and service, not only for our clients but also for ourselves.
RH: DLV designs are playful, yet refined. Mark, how do you strike a balance?
DLV: I approach my designs as if they were a sculpture. It tends to be a process rooted in historical references, which are usually from early modernism, but I always like to branch out. There is definitely something playful about the way I work, and perhaps that comes from my enjoyment of what I do. I love my job!
RH: Using materials like Coquille D’oeuf, Verre Eglomise, Cast Aluminium, Silicone Bronze, Eggshell, leather & more to create eye-catching pieces through unconventional & long forgotten methods. Firstly, what is your preferred material to work with? (You can see a list of all materials used by DLV HERE)
DLV: That would be like choosing your favorite child! I truly love them all. I think that’s part of the reason I gravitated towards design in the first place—to be able to explore new materials and new ways of using them. I believe it’s important not just to use the same tool over and over again, but also to learn how each tool can be used differently, depending on what you’re trying to accomplish.
RH: Secondly, what is one of those forgotten techniques you’ve enjoyed discovering & enjoyed exploring?
The Coquille D’Oeuf, eggshell mosaic, is definitely the most special technique. Most people have never heard of it and it allows me to play and explore my background in fine art and graphic design. I love working with the eggshells because they are so fragile. It’s like a puzzle—grouping the fragments together. The broken edges can even be used as part of the design or just left as an interesting texture.
My work has always been about combining different things that I love into one piece.
RH: What is the most challenging technique when creating pieces?
DLV: Working with wood and metal, I find the two to be equally challenging. Both have their own sets of rules that must be respected in order to become adept at craftsmanship.
RH: You’ve mentioned before that “A well made, well designed piece of furniture becomes more than a reliable friend, it becomes a member of the family”…what is one piece in your home do you view this way?
DLV: The Abuelo Bureau is actually the piece that triggered the quote that you are referencing. Not only did the original come from my grandparents home in Mexico, but it has now evolved into a beautiful and well made collection. I interact with it every day. My kids interact with it everyday… decades later, generations later.
RH: We are big on monthly playlists at R HUGHES with our OFFICE Radio series. That begs the question, what song of his would you add to our next playlist?’
DLV: Right now, anything from Samm Henshaw – his song Broke is a real ear worm.
“Since its founding in 2012, APPARATUS has exploded. The brand has two dedicated showrooms in the U.S., with another forthcoming in London; more than 30 stockists internationally; and more than 100 employees. The company is that rare beast: both a financial and an artistic success story. It’s a result, says Gabriel Hendifar, of a design vision based around emotional resonance more than any one aesthetic.”
In an episode from early October 2022, Business of Home podcast host and NY School of Interior Design Dennis Scully interviewed APPARATUS founder and Artistic Director Gabriel Hendifar to understand the nexus of the brand’s creativity – its past, its present, and its future. Whether knowingly or unknowingly, Scully and Hendifar take the listener through a five part play, revealing glimpses into the brand’s hero journey. As the audience, we know the magic is partly in awaiting the collections – also known as ACTS – that APPARATUS launches with baited breadth, knowing the curtain is about to lift upon the most enveloping story that unfolds through various channels.
“What good is the set if you don’t actually have the play to watch? Those moments of communal joy and celebration and seduction and excitement and intrigue—that’s the whole point,” Hendifar shares.
We often get questions regarding the art collection we feature at R HUGHES, which encouraged us to reflect upon our relationship with the oldest sustained art gallery in Atlanta, Alan Avery Art Company. It is because of this partnership that R HUGHES is able to showcase an ever inspiring list of emerging, mid-career, and internationally established artists.
We asked Founder and Principal Alan Avery to sum up why he feels this partnership has been such a successful one over the years, and his answer was simple, yet profound. A much needed reminder for how we approach all collaborations, “A partnership is a relationship and with any relationship there are key components to making it work: Understanding, Mutual Admiration, Respect, Trust, and Good Communication. It was obvious that there was symmetry in the way that we viewed and valued art, so I chose to make our partnership an exclusive one.”
“Aside from being a champion of R HUGHES early on, Alan has managed to consistently curate and spotlight talent that surprises its viewer consistently for 40 years. The works from his gallery have become those missing puzzle pieces in our showroom, bringing further personality to the space,” says Ryan Hughes.
While many who visit the showroom have seen rotating works from the artists below, we wanted to properly showcase these talents in combination with Alan’s perspective of why a finishing touch to a room is often the art that provides the punctuation at the end of the design story.
Betty Merken is a lyrical minimalist that harkens back to abstract expressionism and the works of the likes of Mark Rothko and Piet Mondrian. In the edges of her color is where you see the power and movement prism as the color resolves, at the edge of the composition is where the magic of her work happens.
In the shadows of the American Pop Art and other New York artists that followed, I have always felt that Gregory Botts is one of the great American Painters that has gone unnoticed and not given his due. I love finding these artists putting them out there as collectors and institutions re-discover them and begin to give them the attention they deserve.
Her work is so complicated in its creation. Dresses made of paper painted to look like the finest fabrics, with backdrops and accessories constructed and painted the same manner. I knew from the moment I first encountered Fabiola Jean-Louis‘ work and the message underlying its creation, the work and the creator would be remembered by many who had gone before her.
Bob Landstrom is the only artist that I have ever seen working in the medium of crushed volcanic rock. His work has immense depth and often complicated, steeped with symbolism and formula, yet there is also a naivety and humor that makes you smile and feel good as they unfold.
Kathryn Jacobi captures mages of figures from a previous time painted beautifully and with precision of the old masters, yet contemporary in message and tone. Kathryn’s characters always seem to be withholding a secret like they know something more than you do.
Pascal Pierme is a wonderful minimalist modern sculptor favoring wood as his medium of choice. He has developed unique ways to patina and treat the surface in a way that fools the eye having the viewer second guessing whether the sculpture is made of glass, highly fired porcelain or metal, then discovering that is is wood throughout.