ALANA WILSON

In/Out: Alana Wilson

In/Out: Alana Wilson

In/Out: Alana Wilson

In/Out: Alana Wilson

In/Out: Alana Wilson

In/Out: Alana Wilson

In/Out: Alana Wilson

In/Out: Alana Wilson

In/Out: Alana Wilson

In/Out: Alana Wilson

In/Out: Alana Wilson

In/Out: Alana Wilson

In/Out: Alana Wilson

In/Out: Alana Wilson

Sydney-based ceramicist Alana Wilson’s new collection II has a tiptoeing poise and a sense of lightness evocative of Degas’s ballet dancers. With a dancer’s sense of graceful composure and movement, their feminine forms hover high on fine bases, their sweeping tops generously flared.

Delicately poetic, they have a preciousness that only comes from something so tenderly crafted. Wilson uses a slip cast technique to ensure multiples of one form. She then applies layers of stoneware glaze, creating imperfect surfaces of warm milky whites and metallic dense blacks and bronzes so that each piece has completely unique.

The captured images of Wilson’s work, styled and shot by floral artist Simone Gooch of Fjura, echoes Wilson’s other inspiration; Ikebana, where the two elements – vessel and flora – unite humanity and nature. Wilson’s vessels are an integral partner to the blooms, open throated they sing for their host.

Wilson’s work is exceptional, her love for the contextual, intertwined with her quest for experimental contemporary glazing techniques, ensures that the result is something that is so very captivating and mesmerisingly ethereal.

Credits: Ceramics & Creative Direction by Alana Wilson, Photography, Styling & Florals by Simone Gooch

THIS & THAT: ELLERY PRE-FALL ’15 & TREVOR MEIN

In/Out- THIS & THAT: ELLERY & TREVOR MEIN

In/Out- THIS & THAT: ELLERY & TREVOR MEIN

In/Out- THIS & THAT: ELLERY & TREVOR MEIN

In/Out- THIS & THAT: ELLERY & TREVOR MEIN

In/Out- THIS & THAT: ELLERY & TREVOR MEIN

In/Out- THIS & THAT: ELLERY & TREVOR MEIN

In/Out- THIS & THAT: ELLERY & TREVOR MEIN

In/Out- THIS & THAT: ELLERY & TREVOR MEIN

In/Out- THIS & THAT: ELLERY & TREVOR MEIN

In/Out- THIS & THAT: ELLERY & TREVOR MEIN

Australian creatives fashion designer Kym Ellery, and photographer Trevor Mein, come powerfully together in this ‘This & That’. Daring and defiant, their art forms are visually arresting; an atmospheric envelopment, one rebelliously tailored, the other wild and vast.

Voluminous, tonal forms of strength and fluidity, Ellery’s funnelled bell silhouettes and colossal dress coats are in sync with the engulfing presence of Mein’s cloudscapes, which tempestuously swirl above us on the eve of winter.

Credits: Images courtesy of the artist Trevor Mein via Otomys Gallery and Ellery

OUT/ABOUT: Laura Jones ‘Still Life’

In/Out - OUT/ABOUT: Laura Jones 'Still Life'

In/Out - OUT/ABOUT: Laura Jones 'Still Life'

In/Out - OUT/ABOUT: Laura Jones 'Still Life'

In/Out - OUT/ABOUT: Laura Jones 'Still Life'

In/Out - OUT/ABOUT: Laura Jones 'Still Life'

In/Out - OUT/ABOUT: Laura Jones 'Still Life'

In/Out - OUT/ABOUT: Laura Jones 'Still Life'

In/Out - OUT/ABOUT: Laura Jones 'Still Life'

In/Out - OUT/ABOUT: Laura Jones 'Still Life'

In/Out - OUT/ABOUT: Laura Jones 'Still Life'

In/Out - OUT/ABOUT: Laura Jones 'Still Life'

In/Out - OUT/ABOUT: Laura Jones 'Still Life'

In/Out - OUT/ABOUT: Laura Jones 'Still Life'

In/Out - OUT/ABOUT: Laura Jones 'Still Life'

In/Out - OUT/ABOUT: Laura Jones 'Still Life'

Sydney artist Laura Jones‘Still Life’ paintings are a celebratory expression of life. It’s not just the subject matter that embodies this, but also the artist’s emotional interpretation in which she invites us to share with her the captivating joys around us all.

Jones’ bright blooms, bountiful foliage and exotic fruits burst forth with youthful vigor from their canvases. Rich in pattern and colour and styled with casual grace, they are free-spirited bouquets that uplift the soul. Gifts from the earth; dragon fruits, pineapples, orchids and gum blossoms, are offerings from Mother Nature at her best. The seasonal joy of Jones’ handpicked harvest of flowers is bighearted, abundantly festive yet at other times beautifully solitary. The backdrops are extensions of the bountiful sentiment; patch-worked colours, abstractions of space, or dense inky black, opening up or condensing our focus.

Working with hand-picked flowers, Jones’s time is limited to their lifespan, their detail depicted broadly so that all that remains is the true essence of their spirit. Her subject matter is ageless but her lashings of confident brushstrokes are completely contemporary.

As it is we are not alone in our admiration, this exhibition is a retrospective of Jones’ work since 2012. Laura Jones appetite for life is contagious, inviting us to capture the moment, to celebrate and to share its joys.

We have cherished Jones’ vivacity since interviewing her for a ‘Chat in a Chair’ back in 2013.

Laura Jones ‘Still Life’
Hawkesbury Regional Gallery
Deerubbin Centre
300 George St
Windsor, NSW
Monday, Wednesday, Thursday and Friday: 10-4
Saturday, Sunday: 10-3
Until 24th May 2015

Credits: Courtesy of the artist Laura Jones and Hawkesbury Regional Gallery

HOTEL COVELL

In/Out - OUT/ABOUT: HOTEL COVELL

In/Out - OUT/ABOUT: HOTEL COVELL

The Hotel Covell in Los Feliz, the epicentre of Los Angeles’ east-side hipster scene, has been called a modern day descendant of the Chateau Marmont, born with old soul. Set within a 1930s building over bar owner and entrepreneur Dustin Lancaster’s Bar Covell and designed by Sally Breer of Co-Mingle, the five-room hotel is a snapshot of five chapters in the life of a fictional bon-vivant writer character named ‘George Covell’. Loosely shaped by the collective stories of Lancaster & Breer’s own lives, Covell’s fictional tale is narrated from room to room starting in his hometown Oklahoma journeying to New York, with a brief sojourn to Paris and to his adventures beyond.

In/Out - OUT/ABOUT: HOTEL COVELL

In/Out - OUT/ABOUT: HOTEL COVELL

Chapter One, called the ‘Oklahoma Room’, imagines George Covell’s rustic and earthy hometown and is inspired by the Mid-West with its humble sense of comfort, recycled timber and aged leather.

Chapter Two, the ‘1950s NYC Flat’, takes us to Covell’s new found world of industrial and functional rigour. Modernist design inspirations (the design of Room 02 is so very Charlotte Perriand) share the stage with iconic midcentury design classics by the likes of Charles and Ray Eames.

In/Out - OUT/ABOUT: HOTEL COVELL

In/Out - OUT/ABOUT: HOTEL COVELL

In/Out - OUT/ABOUT: HOTEL COVELL

Chapter 3, ‘A Parisian Atelier’ imagines the lodging of Covell’s girlfriend with soft textures and a bohemian feminine sensibility. A blush pink Eileen Gray Bibendum chair alludes to the romance of Covell’s 1970s Parisian dalliance.

In/Out - OUT/ABOUT: HOTEL COVELL

In/Out - OUT/ABOUT: HOTEL COVELL

In/Out - OUT/ABOUT: HOTEL COVELL

In/Out - OUT/ABOUT: HOTEL COVELL

In/Out - OUT/ABOUT: HOTEL COVELL

In/Out - OUT/ABOUT: HOTEL COVELL

In/Out - OUT/ABOUT: HOTEL COVELL

In/Out - OUT/ABOUT: HOTEL COVELL

In/Out - OUT/ABOUT: HOTEL COVELL

In/Out - OUT/ABOUT: HOTEL COVELL

The richly layered, palette of Chapter Four ‘Supreme’, finds our character George Covell adding to his collection with travels far and wide to Monaco and India.

His story, concludes with Chapter Five ‘The Heir’, envisaging the apartment Covell’s Paris-raised daughter inhabits, surrounded by her father’s life-long collection of treasures, back in New York city in the late 1970s and ‘80s.

In/Out - OUT/ABOUT: HOTEL COVELL

In/Out - OUT/ABOUT: HOTEL COVELL

In/Out - OUT/ABOUT: HOTEL COVELL

In/Out - OUT/ABOUT: HOTEL COVELL

Credits: Sally Breer & Hotel Covell

SPRING

In/Out: SPRING RESTAURANT

In/Out: SPRING RESTAURANT

In/Out: SPRING RESTAURANT

In/out: SPRING RESTAURANT

In/Out: SPRING RESTAURANT

In/Out: SPRING RESTAURANT

In/Out: SPRING RESTAURANT

In/out: SPRING RESTAURANT

In/Out: SPRING RESTAURANT

In/Out: SPRING RESTAURANT

In/out: SPRING RESTAURANT

In/out: SPRING RESTAURANT

In/Out: SPRING RESTAURANT

In/Out: SPRING RESTAURANT

Spring restaurant is a family affair with the kind of familiar warmth and ambience one might expect from the former Vogue food editor Skye Gyngell in this, her first solo venture. Designed by Gyngell’s sister, Sydney-based interior designer Briony Fitzgerald, Spring has a layered, feminine elegance which sits with charm and poise within the New Wing of the iconic neo-classical Somerset House in London.

There is an ease to the elegance and a purity to the focus at Spring. Food “is celebrated for its conviviality and the joyfulness of sharing seasonal produce”, a simple philosophy which extends through the interior design to enrich the experience of dining. Statement pieces of furniture and lighting are allowed their space giving the visitor time and serenity with which to contemplate the beauty of each piece over the fussiness of excessive detail.

The light-flooded white walled room with large arched windows and lofty ceilings have been dressed with a carefully curated palette of saddle leather, soft grey blue, brass, copper and baby pinks. Atop the wide danish oak floors sits a roomful of the iconic Cassina Cab chair, in their tanned perfection, eagerly awaiting the patina of time. Bookending the main dining space are a line of Mayor sofas by Danish architects Arne Jacobsen and Flemming Lassen in dark grey/brown and in pink delicately, paired with e15’s Habibi tables. The bar’s bold book-matched marble is framed by Vico Magistretti’s gold Atollo lamps and New York based Apparatus Studio’s hand-blown glass Cloud chandeliers.

Gracing the walls of Spring are works by esteemed British artists. ‘Peonies’, created by gilded glass artist Emma Peascod is a five panelled 22ct gold leaf, silver leaf and Japanese paper piece which announces the entrance area while Valeria Nascimento’s delicate white porcelain ‘Blossoming’ of flower motifs in various states of opening scatter the soft blue grey walls of the main dining room.

Within the centre of Spring is a beautifully serene garden atrium, an oasis of calm by acclaimed garden designer Jinny Blom. The walls of the atrium lined with panels, each bearing the fossil-like form of a huge Gunnera manicata leaf. Blom describes her intervention as “mineral-like, stony, cool, green and as natural as possible… a hint of a grotto or a ruined castle”.

The casual boxy shift dresses, delicate stripes, small black ribbons and canvas plimsolls of the uniforms by celebrated designers Egg and Trager Delaney celebrate the simplicity and the sophistication of how best to achieve a considered sense of grace and style.

Spring is honest, heartfelt, wholesome elegance at its best.

Image Credits Via: Spring Restaurant Studio Peascod Yatzer and Escapade with photography by Paul Massey and Tom Mannion for Vogue Living

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