Alchemist HQ

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ana-ventura:

‘mannequin’ by René Herbst 1930

Plywood, wood, aluminium.
59.1 x 37.8 x 12 cm (23 1/4 x 14 7/8 x 4 3/4 in.)
Produced by Les Établissements Siegel et Stockman Réunis, France. Metal fixture impressed with manufacturer’s label SIEGEL/MOD DÉPOSÉ/BREVÉTE SGDG.
Estimate £3,000 - 4,000  
SOLD FOR £11,500

ana-ventura:

‘mannequin’ by René Herbst 1930

Plywood, wood, aluminium.

59.1 x 37.8 x 12 cm (23 1/4 x 14 7/8 x 4 3/4 in.)

Produced by Les Établissements Siegel et Stockman Réunis, France. Metal fixture impressed with manufacturer’s label SIEGEL/MOD DÉPOSÉ/BREVÉTE SGDG.

Estimate £3,000 - 4,000  

SOLD FOR £11,500

(via thomortiz)

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Maskull Lasserre 

Fable 2012
Chair, axe 26 x 23 x 37 
Young crow skeleton carved into a chair and axe

In the Canadian Art interview with Lasserre he is described as the Mike Tyson of the Canadian Art scene. His work has meaning for me on many levels; he questions value, elicits important questions with the use of the familiar in available materials and his work has an alchemical aspect to it. I am drawn to anything hand made and the skill of carving in this work is impressive.

      
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jewelsallaround:

Concrete Fragility series - “petrified” - quail eggs, light concrete, bandage - ANJA EICHLER-DE
“
""A rockpile ceases to be a rockpile the moment a single man contemplates it, bearing within him the image of a cathedral." Antoine de Saint-Exupéry In our life, we are surrounded by things that we use on a daily basis. These are common objects, disposable items or food. These things are so known to us that they do not bear any surprises. My work is about these common goods. It fascinates me that there is a lot to discover in this seemingly all too known field. All that is needed is leisure and something that I call a ‘loving eye’. Prepared like this, one spots interesting surfaces, colors, shapes, and much more. The ‘loving eye’ for these small things sparks off enthusiasm. And the enthusiasm is the incubator for seeing new potentials in the seemingly well known. Especially intriguing for me is to set these goods, to which we have an already plugged in relationship, into a new association with us and our body. January 2012”
see : http://www.klimt02.net/jewellers/anja-eichler”

jewelsallaround:

Concrete Fragility series - “petrified” - quail eggs, light concrete, bandage - ANJA EICHLER-DE

""A rockpile ceases to be a rockpile the moment a single man contemplates it, bearing within him the image of a cathedral."

Antoine de Saint-Exupéry


In our life, we are surrounded by things that we use on a daily basis. These are common objects, disposable items or food. These things are so known to us that they do not bear any surprises.

My work is about these common goods. It fascinates me that there is a lot to discover in this seemingly all too known field. All that is needed is leisure and something that I call a ‘loving eye’. Prepared like this, one spots interesting surfaces, colors, shapes, and much more. The ‘loving eye’ for these small things sparks off enthusiasm. And the enthusiasm is the incubator for seeing new potentials in the seemingly well known.

Especially intriguing for me is to set these goods, to which we have an already plugged in relationship, into a new association with us and our body. 

January 2012”

see : http://www.klimt02.net/jewellers/anja-eichler

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limilee:

Ann Cottington Rast - fingerprints: mixed media fiber processes including: twining, netting, knitting, random weaving utilizing linen, cotton, caning, reed, copper and paper.   
The purpose of the National Basketry Organization is to promote the art, skill, heritage and education of traditional and contemporary basketry. 

limilee:

Ann Cottington Rast - fingerprints: mixed media fiber processes including: twining, netting, knitting, random weaving utilizing linen, cotton, caning, reed, copper and paper.   

The purpose of the National Basketry Organization is to promote the art, skill, heritage and education of traditional and contemporary basketry. 

(Source: kleidersachen)

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jamiemclellan:

Camper Palm shoe designed in 2003 by Ionna Vautin as part of the yearly group to experiment with materials and design.

This summer’s workshop was imPERFECT FUTURE aimed to explore the idea of imperfection through “accidents” that occur in the creative process. 
 

jamiemclellan:

Camper Palm shoe designed in 2003 by Ionna Vautin as part of the yearly group to experiment with materials and design.

This summer’s workshop was imPERFECT FUTURE aimed to explore the idea of imperfection through “accidents” that occur in the creative process. 

 

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These brushes were part of an exhibition at Merci store in Paris in 2013. They express social belonging, the progress of lifestyles in relation to comfort, hygiene and well-being, the know-how linked to different cultures, the progress of industrialization and the immense creativity of those who designed and manufactured them: peasants, artisans, inventors, designers. 

These brushes were part of an exhibition at Merci store in Paris in 2013. They express social belonging, the progress of lifestyles in relation to comfort, hygiene and well-being, the know-how linked to different cultures, the progress of industrialization and the immense creativity of those who designed and manufactured them: peasants, artisans, inventors, designers. 

(Source: limilee)

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 Damien Gernay Belgian designer made this lounge chair as part of 
Depot Basel the former grain silo was turned into temporary design exhibit.
It looks like a “make shift” or make do chair from the past when everything was made by hand.


 Damien Gernay Belgian designer made this lounge chair as part of 

Depot Basel the former grain silo was turned into temporary design exhibit.

It looks like a “make shift” or make do chair from the past when everything was made by hand.

(Source: enversdudecor, via plumes-feathers)

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Igloo di pietra/Stone Igloo 1982, Mario Merz 
Sculpture Garden, Kröller-Müller Museum, The Netherlands

Merz work is considered Arte Povera, Italian for “Impoverished Art” or “Poor Art”.  The term Arte Povera originated with a small number who experimented with nontraditional and politically charged art originating in Italy in the late 1960s. Making use of cheap, commonly available and found materials Arte Povera explores the relation between art and life, manifested through natural materials and human artefacts.
 Merz made many igloo-like structures to examine the laws of nature, this one in slate. This igloo blends into its surroundings and seems like it could possibly be inhabited by nomads, intune with nature. 

Igloo di pietra/Stone Igloo 1982, Mario Merz 

Sculpture Garden, Kröller-Müller Museum, The Netherlands

Merz work is considered Arte Povera, Italian for “Impoverished Art” or “Poor Art”.  The term Arte Povera originated with a small number who experimented with nontraditional and politically charged art originating in Italy in the late 1960s. Making use of cheap, commonly available and found materials Arte Povera explores the relation between art and life, manifested through natural materials and human artefacts.

 Merz made many igloo-like structures to examine the laws of nature, this one in slate. This igloo blends into its surroundings and seems like it could possibly be inhabited by nomads, intune with nature. 

(Source: unspokencinema.blogspot.ca, via thinkingimages)

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fitzandco:

Maya Lin’s ecologically inspired works at the Parrish Art Museum

Top: ‘Accabonac Harbor’, ‘Georgica Pond’, and ‘Mecox Bay’. Three recycled silver works from the series ‘Long Island Triptych’ particularly relevant to the location of the Museum on Long Island’s East End.

Middle: ‘Arctic Circle’, ‘Latitude New York City’, and ‘Equator’. Three concentric marble sculptures that represent the typographies at each of these positions on the globe.

Bottom: ‘Pin River–Sandy’. A twelve feet long installation, composed of thousands of straight pins, that depicts the boundaries of Hurricane Sandy’s flood plain. 

The exhibition, ‘Platform’, will be on view through October 13, 2014, 

      
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Bespoke handmade shoes
Peter Feeny  is pictured here in his Toronto shop making shoes that cost anywhere from $900.00 to $1200.00 a pair made just for your foot.  I have an appreciation for hand made and although will probably never own a pair of custom made shoes think that quality over quantity is one way of stopping the madness of endless buying of cheap goods. 

Bespoke handmade shoes

Peter Feeny  is pictured here in his Toronto shop making shoes that cost anywhere from $900.00 to $1200.00 a pair made just for your foot.  I have an appreciation for hand made and although will probably never own a pair of custom made shoes think that quality over quantity is one way of stopping the madness of endless buying of cheap goods. 

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