There is no favorite listings!

Make Them Think

Discovering a passion that you can enjoy pursuing through all phases of life yet also makes for a spectacular 50-year career is like striking gold. This is exactly how life has played out thus far for Sante Fe abstract expressionist Brian McPartlon. McPartlon’s finely honed artistic approach aims to utilize layers of various shapes and rich colors to showcase depth of field and capture the attention of viewers.

McPartlon describes his personal style as “exploratory,” and he favors using acrylic on canvas to create his breathtaking works of art. “I start with no objective. I start with color, and when color meets color, it makes a shape. I take the shape, I refine it. It develops on its own and I follow it.”

Color plays an integral role in all of his creations, and he uses a lot of water — sometimes gallons — on his larger pieces as a blending tool. “They’re gestural and abstract, and then they dry and I go back and find forms that are suggestive of ideas. When I’m trying to direct it and it takes me down a path that I didn’t expect, that’s when I feel like I’ve really accomplished something.”

McPartlon utilizes various colors and textures in this acrylic on canvas painting titled “Starling.”

Over the span of his artistic journey, McPartlon acknowledges that his personal art style has grown and changed right along with him. “You keep doing something over and over again and you get better at it. [Also,] the environment you’re in changes the way you look at things.”

A single painting could take anywhere from 10 minutes to a whopping 40 years to complete, because, according to McPartlon, nothing is so sacred that it can’t be improved upon. He is fully disposed to diving back into a painting he created decades ago and changing things up. “I mean, there are some things from high school that I’ll probably leave — I’m 75 years old. That’s a lot of work.” he explains.

McPartlon discovered his zeal for art when he was just a teenager. “When I was 16 in high school, I wasn’t very good at many things. I got straight As in history, and Ds in everything else,” says McPartlon. “I took an art class. I did a drawing and the teacher took notice of it, and the class took notice of it. It made me want to do more. Then, I studied really hard, drew with charcoal and studied any art books that I could get. I was encouraged — I had supportive parents, supportive teachers.”

“Travis” acrylic on canvas

When he was 17, McPartlon entered a local art show and was recognized as “Best in Show.” His work was featured in a gallery amongst established adult artists. “I didn’t even know what an opening was, I had no idea what I was doing.”

McPartlon went on to attend the School of Visual Arts in New York, where he studied drawing, painting and sculpture. “I learned classically — how to draw and paint, realism, portraits, still lifes, and I was really turned on by abstract work. I had the opportunity to, while I was in New York, go to museums quite a bit. That’s where I really decided that I wanted to be an abstract painter.

“Cosmos” acrylic on canvas

“That changed my life forever. I decided that I was going to be an artist and that was that. Nothing else.” McPartlon then moved to California to attend the San Francisco Art Institute to further his art education, where he continued to fine tune and develop his personal art style. In 1973, he received a Bachelor of Fine Arts degree and began his art career.

Maintaining a sense of passion toward any long-term career or hobby requires a constant flow of inspiration. Having been an artist for decades, finding inspiration in everyday life is what has kept McPartlon going. He finds this through studying the work of other artists, visiting museums and galleries, observing his environment, and traveling.

“Marge Cosmos” acrylic on canvas

“I’ll give you the best inspiration I have,” says McPartlon. “This is kind of my mantra, ‘inspiration is perspiration.’” You can’t wait for inspiration, you have to start working. The satisfaction comes from completion. You’ve got to start with one step. It sounds really simple, but it’s so true. If you are waiting for inspiration, it’s never going to come. The inspiration comes from trying.”

McPartlon believes that art can lift your spirits in ways nothing else can. “My type of work provides a window of perception unlike the view you may see out a window,” he says. “Mine’s a different view; it’s a view of your intraself. If you have a high-end home full of beautiful views, my work can be looked at as a window into oneself or into one’s personality.”

“Fire Cosmos” acrylic on canvas

McPartlon stresses the importance of the viewer construing their own meaning of a work of art, rather than figuring out the artist’s interpretation. “Find something in it that you relate to. Everyone that views the work has a different insight, a different reaction,” he explains, noting that good abstract work should provoke thought.

As for the future, McPartlon emphasizes that he is still working to create his masterpiece. “I think that that’s the goal of every artist.”

Comments Off on Make Them Think

A Musical Masterpiece

In the illustrious world of pianos, few instruments can claim a lineage as rich and distinctive as the 1889 Steinway Artcase grand. After being crafted in Hamburg, Germany, this unique piano then embarked on a transformative journey under the skilled hands of Anton Bembé of Mainz, Germany, emerging as a true masterpiece of musical and visual art.

External artwork
External Design

The piano’s grandeur is immediately recognized by the external artwork. Adorned with an elaborately painted case, the Steinway Artcase grand boasts intricate hand carvings, gilded accents, and meticulously applied wood designs. Each brushstroke and carving is a testament to the artistry of a bygone era. “It is truly one of a kind,” says Dan Murphy, president of Mid-America Piano. “It sounds beautiful, and the original ivory keys are perfect. The paintings are stunning and the matching beveled mirror is special all by itself. The complete package is so unique and unusual!”

Paintings
Adornments

Artcase grands, such as this 1889 Steinway were commonly commissioned by families to celebrate special occasions or presented as gifts to commemorate weddings, anniversaries, and more. The exteriors often featured personalized paintings and carvings that preserved the sentiment of the events. “Steinway is one of the premier piano makers in the world,” says Murphy, and it seems no detail was considered too small when creating this grand musical instrument.

The hammers, soundboard, and tuning pins.
Keytag

While the exterior carvings and details remain in pristine condition, the hammers, soundboard, and tuning pins have been meticulously restored. These updates and the quality of craftsmanship allow for a warm and resonant tone that will delight music lovers. In addition, the original ivory keytops are still in prime condition. “The original key even has an etched ivory “keytag,” says Murphy, which is a testament to the care that’s been paid to the instrument throughout the years. 

Beveled Mirror

Adding to the uniqueness of this treasure is the inclusion of a matching stool and a beveled mirror. This complete package is a singular find in the music and art world. “Due to the extensive detail, it is likely this piano resided in a castle in Europe in its early life,” explains Murphy. “Today, this rare piano deserves to be enjoyed in an upscale estate, a museum or a luxury home.” 

Comments Off on A Musical Masterpiece

File Under Pop

Inspired by the ancient and very active volcano, Mount Etna in Sicily, Josephine Akvama Hoffmeyer’s design studio specializes in handcrafted lava stone tiles. File Under Pop works in dressing walls, ceilings, countertops, floors, and more with these unique tiles, in addition to custom paints, and hand-painted wallpapers that were designed to last.

The Copenhagen-based company produces with quality being at the forefront of all its designs. “We are craftsmen and only through thoroughness do we accomplish high-quality products,” says Hoffmeyer. “Layer after layer of studies, analyses, sketches, and renderings combined with mold-making and prototypes rest behind every File Under Pop product. It is our clear objective to sustain lifelong products when we materialize colors and glazes, shapes, dimensions, tiles, wallpaper, fabrics, and more.”

“To create a space is like conducting an orchestra. You<br />
leave out some instruments, you intensify others, you<br />
insert pauses in order to create spaces for dwelling,”<br />
says Josephine Akvama Hoffmeyer.

Hoffmeyer, the founder of File Under Pop, has always been driven by creativity. The designer first led a musical career, studying and playing among international talents in New York City, hence the name choice for her design company. However, a passion for travel landed Hoffmeyer in Italy where she was soon captivated by the active volcano, Mount Etna, the lava stone, and the natural beauty of the area.

“Beauty is visual, although you can see right through it or sense it in complete darkness. It is neither a fixed image nor state of mind. Beauty exists through engagement and consciousness of all living beings,” says Hoffmeyer. Her creativity soon translated into an interest in tile making, which resulted in the tile company, File Under Pop. “Beauty is imperfect, incomplete, and impermanent. It often balances opposite directions at the same time and File Under Pop aims to make room for beauty in all aspects,” explains Hoffmeyer.

File Under Pop

Italian glazed and raw lava stone, and Spanish clay make up the individual tiles that are hand-crafted and truly one of a kind at File Under Pop. The design, textures, and raw materials prompt a natural, almost unprocessed feel to each room the tiles are placed in.

“All our tiles are developed with great care and processed by hand, making each tile a unique piece of craftsmanship,” according to a File Under Pop representative. The tiles are made with such pure materials and crafted so carefully that the natural clay or lava stone becomes playfully imperfect during its process of being compacted, carved, and converted.

File Under Pop

“Our clay tiles come from a family-owned production located just outside the Spanish town of Valencia. All the clay tiles are made using silkscreen and hand-printing techniques to create the decorations,” says another File Under Pop representative. The final product of both forms is deeply reminiscent of where it originated and its natural state.

Clay and lava stones are the specialties, though they have expanded into several other design aspects over the years. From vases, lava stone boards, sinks and more, the designers and handcrafters at File Under Pop are pushing the raw materials to new levels. In addition to the tiles, the artistic designs on the glazed tiles and painted onto the wallpapers are equally impressive and in tune with the overall aesthetic.

About the designs, a representative explains that they display “characteristics of traditional Japanese aesthetics, wabi-sabi, include asymmetry, roughness, simplicity, economy, austerity, modesty, intimacy, and the appreciation of both natural objects and the forces of nature.” These concepts can be seen in several of the designs, such as Edo Clouds, which consists of delicate cloud shapes that repeat in a simple but beautiful pattern, or the Patch wallpaper, which clearly displays large, thick brush strokes in an asymmetrical pattern that feels muted and natural, but also intricate. The raw, natural stones — either glazed or unglazed — enhance the original texture, grooves, and markings in the stone.

File Under Pop
File Under Pop

File Under Pop is just around the corner from the Color Lab, which is the company’s very own paint and tile shop that offers products, but also helpful advice, and perspective when it comes to paint colors and pairings. “Colors are not just a tool to create joy or well-being. They house the potential to unfold an endless range of human emotions and give us the chance to clarify, process, and release even states of grief or sorrow,” says a File Under Pop representative. The Color Lab offers 96 different shades and blends of colors that were each carefully curated by Hoffmeyer. To create an extremely intricate finish, and bring out more details in the design motifs, the paints are mixed with copper, silver, and white gold leaf, and 23-karat gold leaf.

File Under Pop

“Beauty is imperfect, incomplete, and impermanent. It often balances opposite directions at the same time and File Under Pop aims to make room for beauty in all aspects.”

Every File Under Pop decoration has its own philosophy and source of inspiration, according to Hoffmeyer. All together, or on their own, the various File Under Pop items help to create spaces that feel natural and cohesive, which is in alignment with the company’s style and overall goal to create lasting designs. “Most of us sense it instinctively when all elements fall into place and we align ourselves with our surroundings,” says Hoffmeyer.

Comments Off on File Under Pop

In Plain View

By Roger Grody

The art on our cities’ streets and plazas is sometimes taken for granted, but a commitment to public art is one of America’s greatest traditions. The egalitarian concept ensures that everybody, even those who may never step into a museum, can be inspired by artistic achievement. While formal statues in town squares may be the earliest efforts, public art now encompasses contemporary murals and interactive sculptures that encourage a physical, as well as emotional, connection.

Chicago is not only the architectural capital of America — the city was shaped by masters like Frank Lloyd Wright, Louis Sullivan and Mies van der Rohe — but is arguably the epicenter of public art in America. A leisurely stroll through the Loop reveals the works of some of the very same artists showcased in the revered Art Institute of Chicago, anchoring public spaces in the shadows of famous skyscrapers.

Soaring 50 feet and weighing more than 160 tons is an untitled Pablo Picasso sculpture at Chicago’s Daley Plaza, a piece endearingly characterized as resembling a giant insect or baboon. Picasso donated the steel fabricated artwork — the eccentric artist did not specify his inspiration for the piece — to the people of Chicago in 1967 and it has become one of the city’s most iconic works of art. Among the first to depart from a historic theme, the sculpture ushered in a wave of modern and abstract expressions by other famous artists on the streets of Chicago.

Alexander Calder’s “Flamingo”

Perhaps the most iconic of Chicago’s downtown sculptures is “Flamingo” by Alexander Calder, an arching 53 foot structure placed outside the Mies van der Rohe-designed Federal Center. The color of Flamingo is technically vermilion, but has become so closely associated with the commission that it is frequently referred to as “Calder red.” The sculpture has long been one of the most photographed sites in Chicago, but in the era of Instagram it has been eclipsed by Millennium Park’s “Cloud Gate.”

None of Chicago’s 20th-century monuments currently receive as much attention as Cloud Gate, the curvilinear structure by Indian-born British artist Anish Kapoor, dedicated in 2006. The 110-ton, highly polished steel sculpture — people are allowed, even encouraged, to touch — captivates visitors walking around and under it as the Chicago skyline is reflected in its elliptical form. “Cloud Gate, affectionately called ‘The Bean,’ is a great example of a wildly popular public artwork,” reports professor Erika Doss of the University of Notre Dame, an authority on public art in America. “Why do people love it? Because they can play with it, use it for photo ops and wonder how it was made, why it’s so shiny,” explains Doss, who admits visiting the site many times herself.

Anish Kapoor,’s “Cloud Gate”
Thomas Heatherwick’s “Vessel”

Lydia Ross, the city’s acting director of public art, reports that Chicagoans’ embrace of public art runs much deeper than those world-famous sculptures. In addition to Chicago’s celebrated downtown public art, handsomely funded by corporations, there is a vibrant public art culture driven by social consciousness in the city’s less glamorous neighborhoods. “Chicago is a city that supports public art, and local artists are committed to creating a better and more just world,” says Ross of two parallel but equally significant public art movements.

Despite the Windy City’s riches, New Yorkers will not concede public art supremacy to Chicago, as the streets of the Big Apple are filled with both historic and contemporary pieces of engaging, sometimes interactive art. Enduringly popular is the 1989 “Charging Bull” statue by Arturo Di Modica in the financial district, literally a metaphor for the stock market, while sculptor Kristen Visbal’s more recent “Fearless Girl” near the New York Stock Exchange is an homage to female empowerment.

Gilmore D. Clarke’s “Unisphere”

Public art in New York’s Zuccotti Park includes “Red Cube” by sculptor Isamu Noguchi and Mark di Suvero’s towering “Joie de Vivre.” Near the Museum of Modern Art sits “Love,” the instantly recognizable piece by Robert Indiana, while modern artist Jeff Koons’ distinctive “Balloon Flower (Red)” sits in the hallowed shadows of the World Trade Center. Engineer Gilmore D. Clarke’s “Unisphere,” a nostalgic remnant of the 1964 World’s Fair in Queens, is monumental, eclipsed only by New York City’s preeminent piece of public art: the Statue of Liberty.

One of New York’s most prominent and controversial modern works of public art is “Vessel” at Hudson Yards, an intricate structure of interlocking stairways completed in 2019. With approximately 150 flights of stairs (2,500 total steps), it creates an imposing, beguiling centerpiece to the ambitious $25 billion mixed-used development. Conceived by British designer Thomas Heatherwick, Vessel remains closed until new safety measures can be incorporated into the 150-foot-tall structure, but it remains a striking piece of visual, if not interactive, art.

The value of public art installations in open spaces was heightened during the pandemic, according to the Public Art Fund, a nonprofit dedicated to bringing art to wide audiences in New York City. “The pandemic has highlighted our shared outdoor spaces as essential community resources and spaces of both physical and spiritual renewal,” observed artistic and executive director Nicholas Baume, noting that the organization’s resolve only intensified when local museums were shuttered.

Claes Oldenburg’s “Clothespin”

In the spirit of Chicago’s towering downtown artwork is Philadelphia’s “Clothespin,” the 45-foot steel sculpture by Claes Oldenburg, a master of public art who recently passed away. Gracing a plaza facing Philadelphia’s City Hall — that historic building being crowned with a bronze statue of William Penn — Clothespin creates a quintessential juxtaposition between historic and contemporary public art.

For an emerging metropolis, Charlotte, North Carolina, boasts a surprisingly impressive portfolio of contemporary public art. Most conspicuous is the glistening “Metalmorphosis” from Czech sculptor David Cerny, a 31-foot-tall head rising from a reflecting pool on a plaza at Whitehall Corporate Center, a development featuring an entire collection of public art.

The piece, clad in mirror-finished steel plates, consists of rotating layers that create abstract forms, but when they are all aligned, water flows from the mouth of the perfectly formed head into the surrounding pool. The fluidity of Metalmorphosis provides a sense of symmetry with the water feature and its otherworldly looking face demands attention. “Pillars of Dreams,” a cloudlike structure of perforated aluminum by Brooklyn-based architect Marc Fornes, is another significant piece of public art in the Queen City.

David Cerny’s “Metalmorphosis”
Marc Fornes’s “Pillars of Dreams”

“Pillars of Dreams,” a cloudlike structure of perforated aluminum by Brooklyn-based architect Marc Fornes, is another significant piece of public art in the Queen City.

Los Angeles has a strong tradition of public art, from the Watts Towers to artist Chris Burden’s addictive “Urban Light” installation, an interactive collection of 200-plus vintage streetlamps. The city also boasts an extensive collection of independent and publicly sponsored murals fueled by the city’s rich history of street art. Felicia Filer, acting assistant general manager and public art division director of the City of Los Angeles’ Department of Cultural Affairs (DCA), reports, “Murals and street art continue to be some of the most publicly accessible public art forms in Los Angeles.”

Referencing the city’s wealth of artistic talent, Filer states, “The artists want to make their murals and works accessible to all, and DCA does all it can to support them and their efforts whenever possible.” She adds, “The painted history of L.A., one of the major mural capitals of the world, encapsulates a great pride in this art form that continues to appeal to people with important social justice messages.”

Classic L.A. murals include “Morning Shot,” a 35-foot-tall Venice Beach image of rock music icon Jim Morrison painted by Rip Cronk, and “The Pope of Broadway” from muralist Eloy Torrez that depicts actor Anthony Quinn. Adding a touch of culture to the morning commute for 30 years is artist Kent Twitchell’s signature “Harbor Freeway Overture,” an elegant portrait of a chamber orchestra towering above a downtown freeway interchange.

Leave a comment

Telling the Story

By Ritika Jain

Looking to admire or purchase historically significant works of art? Head over to Artistoric.com, an online retail gallery devoted to showcasing exquisite ceramic pieces all made prior to the 1900s. A brief scroll through the collections presents an array of timeless, aesthetic designs on mugs, vases, tile, plates, and other dishes from all over the world. Each object is paired with elaborate research detailing its dimensions, artistic origins, and historic significance to the time period it was created in.

Artistoric started in 2020 during the pandemic, when co-founders Bailey Tichenor and Michael Assis sought out to curate a collection that paid homage to decorative arts and material culture, subjects they are both highly educated in. Tichenor sat down with The High End to expand on how the gallery came about and her long-held passion for art history.

The gallery director recounts channeling her love for antiques in high school by selling vintage wares and jewelry made from antique pieces. She then decided to major in art history in college, and went on to earn her master’s degree in the subject at Bard Graduate Center, where she met Assis. Her first love, she says, was collections management, which she developed while working in the collections departments of a few museums in Nashville.

She was most recently the curator at the Historic House Trust of New York City, where she oversaw the curatorial and collections affairs of the organization’s 23 historic houses.

Artistoric Gallery

Assis, who heads the gallery’s research program, has had prior experience managing private collections and is now a doctoral candidate at Bard Graduate Center, specializing in Medieval, Renaissance, and Baroque European arts for digital spaces. Now married, the couple is fulfilling their dream of owning and operating a gallery that celebrates their passions.

Speaking of their initial inspirations for the gallery, Tichenor relays that she and Assis “noticed that a growing interest in decorative arts and material culture in academia and museum contexts has started to trickle into the art market. More and more people are finally beginning to view these things as the works of art that they are, much like how we’ve felt throughout our entire lives.”

Material objects have the power to tell stories and preserve different moments in time, proving that art and history have always been interconnected. Many of the beautiful artifacts displayed in the gallery harken back to previous art movements and social contexts.

“A useful way to look at it is through the idea that art resonates with other social, cultural, and economic structures within the context in which it is made, and also influences them. It’s an intricate mesh, and as historians, we find this out by rooting objects in their contexts, identifying parallels, and forming scientific arguments that are based on physical evidence and a wide variety of theory and methodology that stands at our disposal,” explains Tichenor.

This relationship between art and history allows objects from bygone eras to connect with audiences today. Tichenor provides the example of Victorian pie dishes from the 1860s, which she says embodies the same concerns of exploitation of natural resources and predatory capitalism we face today. One of the most striking pieces featured in the gallery is of this sort, designed as a wicker basket with the lid depicting real-life imagery of a dead rabbit, mallard, and crow resting on a bed of leaves.

“The stories, the contexts, the feats, and the roles these objects played in history all make the pieces in our collection much more than mere antiques. It makes them meaningful and significant traces of an expansive past that personally connects people to something larger,” says Tichenor.

Artistoric is founded on the basis of research, not unlike museums, infusing a visual experience with valuable knowledge that allows audiences to build an intimate connection to these works of art. Tichenor explains that resources like relevant literature, scholarly articles, past auctions, and primary sources are used to gain more background on an object. This approach aims to bridge the gap between galleries and museums, offering consumers access to pieces of history that have transcended time.

Running the gallery also allows the co-founders to delve into forms of art they are unfamiliar with. For Tichenor, an example is the vibrant, decorative majolica collection.

“I’m also proud of our small but mighty majolica collection, which we explore in depth through our digital exhibition The Majolica Movement. Prior to curating the exhibition, my experience with Victorian majolica was limited, so the project provided the opportunity to learn more about this fascinating medium. One of the best perks of the job!”

Interested customers can browse through the selection of ceramic pieces on the gallery’s website as well as check out its creative online exhibitions, which showcase a distinct object or material with an assessment of its history and related art movements. Artistoric is a concept well executed, merging beautiful photography with thoughtful research to promote decorative arts as an art form.

Having opened the gallery in the early days of the pandemic, Tichenor and Assis hope to attend more in-person events in the future, engage with new technologies, and work with additional guest scholars, building a positive community for art lovers and history buffs all around.

Leave a comment

Caution, Curves Ahead

By Camilla McLaughlin

Design trends seem to suddenly materialize, even though most have been percolating among designers and consumer attitudes for months, even years.

“2022 is going to be a fun year to watch trends!” says Kim Armstrong, an interior designer in Rockwall, Texas. “There are so many influences that are smashing together. First off, we have the ‘coming out of COVID syndrome. We, of course, have supply chain issues, and we have a wave of younger idealistic thinkers and trendsetters entering the home decorating phases of their life. All of these things will come into play with the new trends.”

“In 2022, we anticipate the design community, in both architectural and decorative elements, to favor rich, warm autumnal tones, pattern-on-pattern, lots of layering of scale and texture, in both natural elements like wood, metals and stone as well as decorative materials like hardware, fabrics, wall coverings and furnishings,” explains Karen Karautuneian, principal at Hub of the House Studio in West Hollywood, California. “We can confidently say goodbye to whitewashed woods, boucle fabrics and brass, and warmly welcome medium-toned natural woods, boldly patterned fabrics, and bronze.”

This is a year of bold patterns and vibrant splashes of color. Maximalism is how designers characterize this vibrant look. “People are favoring a chic, maximalist design over a look that is minimalist and neutral. Some of the ways we have recently incorporated maximalism are with large curated art collections, oversized furniture and highly textured fabrics,” says Brittany Farinas of House of One interior design in Miami, Florida.

What’s Old is New This Year

Another strong trend highlighted by Armstrong is reuse and repurpose, spurred in part by shipping and supply delays. Designers such as Joshua Smith, owner of an eponymous firm based in Palm Springs, New York City and Vermont, expect antique furniture to take center state in 2022. “The Midcentury Modern craze we’ve seen in the last few years will be tempered by the addition of more refined antiques cleverly thrown into the design mix.”

Not only will 2022 present some surprising switch-ups on long-running aesthetics, but curves literally will be more prominent. Expect to see the form in sofas and chairs, patterns, and architectural elements such as doorways, windows and ceilings. “I think we are looking for softer lines and more comforting designs. People are loving this soft line that feels like it wraps you in a hug after being through the hard times that COVID brought on,” observes Armstrong.

Even more traditional skirted furniture will make a comeback, says Smith. “There seems to be a move toward comfort and livability and there’s something about a soft, supple chair that makes you want to sink into it.”

Color Wash

Colors shape yearly trends, and this year is awash in hues. Overall, designers say jewel tones will be hot this year, from deep purples to forest greens.

Green may have had a moment a few years ago, but it’s back. A majority of color forecasts showcased some take on green from Sherwin Williams Evergreen Fog, potentially a hot neutral, to Behr’s October Mist, which evokes the silver green stem of a flower.

Green marble is also poised to be a top trend, shares Mark Lavender, principal of M. Lavender Interiors in Chicago and Memphis. Color is also making its way into kitchens. “The trend of all-white kitchen is decreasing, and we’re incorporating more colorful stone stabs. I’ve recently worked with three different clients, one choosing white marble with maroon and red veins, another selecting black stone with brown tiger stripes, and a third loving a white and blue/green piece,” says Houston-based designer Mary Patton.

Blues will still be in vogue. As the year progresses, don’t be surprised to see periwinkle (Pantone’s color for 2022 is Veri Peri) cropping up everywhere from dining rooms to ceilings. “Veri Peri is nuanced and unfamiliar, which will inspire designers to explore its possibilities. It would pair nicely with navy, white, tan and green,” says Lance Thomas of Thomas Guy Interiors in Louisiana.

“It’s actually very versatile, as it works well in a multitude of spaces. Periwinkle can be used for walls and can be a great option for painting furniture or cabinetry,” observes Tulsa, Oklahoma, designer Mel Bean.

Searching For Privacy

Consumers still love open-concept layouts, particularly for family and entertaining, but they also want spaces adaptable to whatever life presents. Designers continue to tweak the open concept, often using found spaces to enhance privacy. “We’ve learned how important pocket spaces can be whether they’re used for work or learning or for other activities like exercising or crafting,” said Mary Cook, founder and president of the commercial design firm Mary Cook Associates.

What doesn’t change this year? Plenty, say designers. Anything considered a classic will remain timeless. What also continues to be important, according to Smith, is “developing your own personal, unique style and unabashedly creating the space you envision for yourself. Our homes should inspire our mind and nourish our spirit, which can be expressed in so many ways. It’s just so personal.”

Regardless of the year and the trend, our approach is to always incorporate classic features with new and emerging ideas, creating timeless interiors,” shares Chicago designer Jessica Lagrange.

Leave a comment

Windows of Imagination

By Roger Grody

For most people, the admiration of stained glass is reserved for worship services, tours of European cathedrals or Tiffany lamps, but the versatility of the centuries-old art is being rediscovered by craftsmen around the world. Contemporary stained glass artisans are designing windows and wall sculptures for trendsetting hotels, corporate offices and sleek modern homes, giving the ancient art an entirely new image.

Windows of Imagination

The medium’s transition from religious symbolism to a more secular, modern expression of art was pioneered by Frank Lloyd Wright, whose Prairie-style residences were enhanced with extraordinary leaded glass windows, doors and ceilings referred to as “light screens.” Julie L. Sloan, whose book Light Screens: The Leaded Glass of Frank Lloyd Wright examines several decades of Wright’s prolific glass design, confirms the architect’s aesthetics were a clear departure from those of contemporaries Louis Comfort Tiffany and John La Farge. “His clear glass in abstract patterns was nothing short of revolutionary,” reports Sloan, who notes that, unlike the nearly opaque stained glass in preceding centuries, Wright’s light screens were designed to integrate indoor spaces with the natural environment.

Windows of Imagination

Although it was founded at the end of the 19th century, Los Angeles’ Judson Studios does not treat stained glass as simply architectural salvage, but as a dynamic contemporary medium. Its artisans apply avant-garde designs and innovative techniques to a wide range of projects that transcend religious institutions. David Judson, fifth-generation company president and author of Judson: Innovation in Stained Glass, reports, “Glass has maintained its relevance over time because it reflects contemporary society. What remains unchanged is the pure, visceral impact of color and light through stained glass.”

Signature projects of Judson Studios include the Natural History Museum in L.A. and the iconic Air Force Academy Chapel in Colorado. The firm’s pioneering efforts in fused glass — this technique creates the effect of leaded glass without the need for soldered metal dividers — led to Judson’s creation of the world’s largest fused glass window in 2018. The formidable panel, encompassing more than 3,400 square feet of art glass, was installed in the Church of the Resurrection in Leawood, Kansas.

“The design world is increasingly attracted to the medium for its vibrant color and connection to tradition, the idea of taking something old and making it new,” says Judson of the introduction of glasswork into contemporary settings. He adds, “The beauty of glass is that it can withstand the environment while dealing with light in a different way … that interpretation of light can have a great impact.”

Windows of Imagination

Adamm’s Stained Glass & Art Gallery in Santa Monica, California, exhibits the works of prominent stained glass artisans, and in addition to churches and synagogues, owner Adamm Gritlefeld installs his own glasswork in trendy hotels and celebrity-owned residences. His restoration projects have included Frank Lloyd Wright residences and the former Tower Theatre in downtown L.A., recently reimagined as a particularly showy Apple Store.

While bold palettes frequently draw consumers to this medium, Gritlefeld reports that intriguing designs composed of colorless diamond-shaped glass with varying textures and beveling account for many of his current architectural commissions. “People are inspired by what they see in museums or traveling and seek to reproduce it,” explains the glass specialist, who adheres to traditional fabrication techniques. “A recent client admired some windows in Italy and wanted the same look in his Malibu villa,” reports Gritlefeld of a typical request.

Windows of Imagination

The work of Brooklyn-based artist Tom Fruin is in demand by architects, galleries and private collectors around the world. Rather than glass and lead, Fruin works with scavenged, reclaimed pieces of plexiglass and steel. The artist, who once created quilts from materials most people would consider litter, explains, “Those items showed patterns of human behavior and informed the design of my glass structures.” The artist’s glass houses, public art installations injecting explosions of color in urban spaces from Copenhagen to Orlando, transform discarded materials into enriching art.

His compelling series of water towers — vibrantly colored versions of the nondescript rooftop water towers scattered across the skyline of his adopted hometown of Brooklyn — are unexpected eye candy for motorists entering the borough on the historic Brooklyn Bridge. “Water towers, part of an overlooked infrastructure, are emblematic of all of New York, and mine change people’s perceptions about their surroundings,” says Fruin.

The illuminated, solar-powered structures have become iconic symbols of Brooklyn’s rebirth, and the artist has also created a full-size sculpture of the Statue of Liberty’s flame, constructed of broken windows from abandoned factories.

Windows of Imagination

Nadine Keegan, a prominent stained glass practitioner in Melbourne, Australia, is a self-taught artisan who fell in love with the medium after viewing the famous glass murals at Cosmovitral in Toluca, Mexico. “Broadly, I draw inspiration from the Romantic appreciation of the ephemerality of light and life as well as from textiles, architecture, history, and art,” reports Keegan, who cites Australian modernism, Japanese woodblock prints and Frank Lloyd Wright as specific influences.

“Contemporary stained glass fulfills many architectural roles. It can be a subtle accompaniment or bold centerpiece,” states Keegan, who creates both objets d’art and architectural windows. “The legacy of the craft is extremely important to me, and while I honor this in the content of my art, I don’t use pure lead, which is the main separation between my work and traditional leadlights,” explains Keegan. “I’ve developed ways of combining the use of zinc, Tiffany-style metalwork and fused glass to expand beyond the limitations of the past,” adds the artist, who reports growing interest in stained glass by both residential and commercial sectors in Australia.

Windows of Imagination

Lesley Green, owner of Arizona-based Bespoke Glass, reports, “When I started the company in Brooklyn, everyone I knew lived in apartments, so my initial idea was to make sets of small pieces that could be arranged in various ways depending on the space.” She still sells that line, which she calls “Elements,” but has moved on to larger installations in restaurants and retail establishments around the world. Green tends to employ a relatively tight palette of about 30 colors, and the copper foil method she practices (a technique often attributed to Tiffany) results in a distinct, uniform solder line.

Windows from Bespoke Glass generally reflect geometric patterns devoid of imagery, resulting in clean, modern aesthetics. Although her work is vaguely evocative of Wright’s, Green is more apt to draw her inspiration from textile design, murals and street art. With much of her work hanging from ceilings or on walls, the artist comments, “There are many more ways to bring the light and color of stained glass into your home beyond the commitment of an installed window panel.”

Leave a comment

Dark and Moody

By Alyssa Gautieri

Rich Color Palette

Moody interiors are defined by dark colors like blues, purples, and grays — as well as bold reds, deep purples, and rich greens. Depending on the hue, dark color palettes evoke distinct feelings and emotions.

According to Lance Thomas of Thomas Guy Interiors, “darker red and plum tones evoke a sense of sensual regency, perfect for a bedroom or wine room. Deeper blues tend to push more masculine and aristocratic, perfect for an office space. Deeper greens remind me of an English library and would make for a fantastic home theater or study.” Light-colored pieces pop when paired with a dark backdrop, whether it’s jet black, navy blue, or emerald green. Use light upholstery or soft wood accents to create contrast in a moody space. In an interior with dark walls and dark furnishings, crisp white ceilings create intriguing contrast and the illusion of added height.

dark home design

“A moody interior is an evocative space that envelops a sense of intimacy and warmth,” says Thomas. “Since darker walls recede, a well-designed moody space makes a room feel both larger and more intimate, simultaneously.” Moody doesn’t always mean dark. “I think you can achieve moody with mid-tones of a neutral as well,” interior designer Chad Dorsey says.

Consider warm browns and creams or soothing shades of gray. Using tones, shades, and tints of the same color can create a monochromatic look that feels deep and dramatic. “I think a monochromatic color scheme works best, along with the use of wood and metals,” adds Dorsey.

dark and moody home decor
dark home design

“A moody interior is soothing and warm; it feels like a mental break.”
— Mary Patton

Soft Lighting

Whether in the bedroom, living room, or bathroom, lighting is an essential element to craft the personality and ambiance of a space.

If a room is full of dark hues, it’s important to consider how artificial and natural light reflects in the space — particularly when dealing with dark colored walls, ceilings, or floors. Light also reflects differently when the room is full of rich textures, like luxurious velvets, plush rugs, or natural linen.

“Lighting is incredibly important when designing a moody space,” says interior designer Mel Bean. “Any direct light exposure feels like an even more intense glare in a dark space.”

Use indirect lighting, such as directional recessed lighting, to highlight elements in the room without glare. Dimmers can help ensure the space is well lit and functional throughout the day. “Ambient soft lighting is crucial,” says Thomas. “Try to avoid the use of overhead lighting, which will eliminate the beautiful contrasts and shadows a moody room requires. Lamp and sconce lighting is the surefire way to go.”

“Perhaps the most important component is lighting,” adds interior and furniture designer Michelle Gerson. “Warm, dim lighting can be key to create a dark and moody space.”

dark bedroom inspiration

 

 

When I think of moody interiors, I think dark and cozy rooms with dramatic details. It feels inviting, intimate, and your choice of soothing or exciting – depending on the details.”

— Mel Bean

Luxe Textures and Accessories

From velvet to leather, luxurious textures inject personality into a room and determine the tone of space. Suedes, mohairs, leathers, flocking, and velvets work well to craft a warm, dramatic interior. “Necessary textures to enhance the moody vibe need to be tactile
and luxe,” says Thomas, who leans toward dark suede wallcoverings.

“The inspiration for my Boston Victorian home project was to create a high drama space that also feels cozy and livable,” says Michelle Gerson. “The black grasscloth walls and furniture create a sultry moodiness, while the white ceiling, patterned carpet, and metallic accents provide interest and glam.”

“Dark wood paneling is often forgotten when creating a moody space and tends to be my favorite execution of creating a moody warmth,” adds Thomas. “It’s essential to consider a range of textures in order to avoid the space feeling flat.”

bedroom decor

Gerson is drawn to natural materials such as wood, marble, and plaster to create depth.

“I’ll mix in a metallic tone for a bit of drama,” she says. Whether with gold, brass, or chrome, metallics are a great way to add a layer of intrigue to a moody interior.

Combined with rich hues, accessories and artwork also make a more powerful statement. “A moody interior is bold, but calm at the same time; comfortable, but dramatic; and finally, moody interiors are functional, but they give stage to amazing design pieces,” says Marco Costa, CEO of Boca do Lobo.

Leave a comment

Keep Things Sophisticated

Marissa Stokes

By Kristen Ordonez

For designer Marissa Stokes, home has been a variety of places. Home was growing up in New Jersey, where creative parents and a need for change led to an intense love for interior design at a young age. Home was also New York, where she earned a degree from Parsons School of Design and worked her first jobs at elite design firms, including David Kleinberg Design Associates, Victoria Hagan Interiors and Jayne Design Studio. And now as an accomplished designer, home is more than just a place — it’s every threshold she passes, every piece of furniture she chooses, every decision she makes in order to help craft the perfect space for her clients. We spoke with Stokes about her experiences in the industry and how her love of interior design has transformed her career so far.

How do you think living in New York affected your design style and preferences?

You’re just exposed to so many amazing things, being in and around New York City. The architecture alone, having incredible museums at your fingertips. I also went to school in NYC; I think that was an incredible experience, but also had a huge influence on my design aesthetic, just having everything at your fingertips, between different cultures, food, architecture. I feel fortunate to have lived there and so close to there still now. I love New York City.

When was the first time that you ever thought about working in design?

I really have always wanted to be an interior designer from a very young age…. I think it’s because my parents are both very creative people, always doing things to improve our home…. My dad made furniture, we even had a woodshop in our basement. I just had this love for transforming spaces and the process, and I just fell into it very naturally.

Did you learn wood craftsmanship yourself?

Yes! I had all the tools at my fingertips in the shop, and I am still able to use them now, a bandsaw, a tablesaw, et cetera. We also had a sewing machine, so I grew up sewing at a young age — we’d be making window treatments and pillows. I was always transforming my personal space, shifting things around, changing them or painting them. Making them look different. It was just something I always loved to do, and still love it.

Why do you do what you do, what about art and design draws you into doing it every day?

I love making people’s dreams come true. There’s something so rewarding about helping a client transform their space so it’s not only functional, but beautiful. In terms of art and design, there’s so many artists and creatives out there who are doing incredible work, and I’m being exposed to them, just learning and growing. It’s another reason why I love what I do. Every day is different and I just love that.

Are there any activities outside of work that help inspire you or your work?

Outside of work, I’m always trying to get out in nature, go for a walk or hike – nature is always inspiring. I feel like I can always pull things from that. I love to travel as well, even though it’s been a bit difficult to do so.

Where’s somewhere you love or would love to go?

My dream place I’d love to go is Greece. It really offers everything. It has ancient and historical sights, of course, but also beautiful landscapes and amazing food.

What has been your favorite project to do?

I worked on a project for Jayne Design Studio in Palm Beach. It was my first project as a senior designer for the firm. It’s a Venetian-inspired home on the Intracoastal. The clients were art collectors who wanted to enjoy the views and display their art. We designed and decorated a home that was quiet, clean and sophisticated to balance their collection and the architecture. I loved the home, its location and the clients. I will always have a soft spot for it.

When it comes to designing, what is the most important element you have to remember?

Well one thing that tends to be overlooked, I think, is the ceiling. It’s very important to design from top to bottom, to think about ceiling work, a lighting plan, and overall how it’s treated and how it affects the space.

Is there a piece of art in your own home that you would never consider selling?

Everything is here for a reason, so not one specific piece. It’s always important to surround yourself with things you love, even if it’s a bit eclectic, surround yourself with furniture and art that you love. When you do that, things just kind of work together. There’s no standard.

What do you want people to take away when they look at your work?

I want people to find it classic and timeless, something that could last forever. I don’t want someone to walk into a space and instantly date it. I want the clients to be comfortable in their home for a long time.

Keep things sophisticated.

What advice would you give to someone going into design?

Don’t be afraid to roll up your sleeves, you have to wear a lot of hats in this industry. Maybe start with an internship, but, all in all, do whatever you need to do to learn.

Leave a comment

Q&A with Chris Goddard of HGTV’s Design Star

Photos by Mark Jackson/CHROMA Photography.

Designer Chris Goddard grew up in Arkansas in a house full of built-in furniture. As his love for design started early in life, he says this situation “drove me nuts.” Now, as the principal founder of Goddard Design Group, he credits these hurdles, as well as the creative nurturing of his family, for his love of change, which continues to inspire every facet of his work.

It was the need to produce something new every time, and the drive to push himself past his own creative limits, that helped Goddard become a finalist on the most recent season of HGTV’s Design Star: Next Gen.

We spoke with Goddard about his whirlwind experience of creating interior design for TV, and how his reality TV appearance inspired an even deeper love for design than he’d had in 30-plus years.

For those who haven’t watched the latest season of Design Star, can you relay to audiences your method of design?

I’m a big proponent of change, if you’re doing the same thing you did 3 years ago you’re doing something wrong. I never do the same thing twice, so in 30 years we’ve never used the same fabric twice, the same piece of furniture twice — it’s kind of my trademark. I don’t want anybody to have something somebody else has.

What has been your biggest inspiration, since you were young, to work in such a creative field?

I grew up in a very creative family, always surrounded by creativity and the arts. My family, especially my mother and my grandmother, were big on travel and exposing me to as much as possible. So I traveled a lot and spent a lot of time in museums. They would always take me out of school for weeks at a time; they always said ‘the best education was travel and experiencing things.’ I grew up a little globe-trotting kid, seeing the world, which was wonderful and super inspiring.

You received both design and business degrees in college. Have you found this type of structured education helpful as well?

I’ve found that having a business degree really makes a huge difference. Most designers are creative but can’t always run a business, and I’ve been able to strike a good balance. That’s not to say I haven’t ever screwed up — we all have — but those are called learning experiences.

You mentioned loving to travel, what’s one of your favorite places to visit?

One of my favorite places is Morocco. I try and go once a year. I’m super inspired by the colors and textures, anything that’s handmade. When you have something that’s made by hand, at least one thing in your house, it gives your house a soul and gives the room a sense of place, like it’s always been there. That’s my whole deal, creating timeless rooms. I don’t want anything to look like it was stuck in time, and the key to doing that is layering in parts of the past, present and modern so you get something that never really goes out of style.

A traditional Southern estate with hints of modern elegance in Fort Smith, Arkansas.

What is your primary focus when you’re designing a space?

I’m designing for the client, or if it’s commercial, for the space. You want to create an experience that is singular to them. I think the death of most design is becoming a trend or doing anything trendy, so I always try to be very specific in what I’m doing and make sure it’s uber-tailored to the space or the client.

I think as a designer the biggest compliment I can ever get is when someone comes in and says “Oh this looks like the homeowner,” instead of “this looks like a Chris Goddard house.” The biggest compliment is that it’s a reflection of the homeowner or the space.

What was it like to be on an HGTV show? Did you enjoy your time on set?

When I started my business I taught myself how to do everything, how to put on wallpaper, how to paint — to be a good designer you have to have an understanding of all the people that work for you. I haven’t done that [in person] in over 25 years, but [on the show] it all came back to me like riding a bike. … Each episode was like a day and a half, so cranking everything out and then being judged on it was a little tricky. In our career, our clients are the judges and you kind of have an idea of what they want, but when you go into things blind, you don’t know.

For me it was more fun because I got to push myself out of my comfort zone, which I really needed. I kind of looked at the whole experience as an opportunity to reignite my passion for design. It’s easy when I get to the level I am at and get comfortable — and I think I was feeling a little comfortable — which was the reason I wanted to compete. Doing it, I came back and I couldn’t have been more excited about design than I had in my whole life. It was the best experience I could have ever had.

What lessons have you taken away from the experience?

It’s best to go with your first thoughts. If you get too much in your head, it throws off the creative process. Don’t be afraid to try anything new. The main thing [I learned], though, was to trust my gut, be authentic and keep pushing myself. And to learn something new. I learned so many new design tips, technology tips — everyone had so many things to share. It was nice to just be able to soak it all in.

How have things progressed since going back to the firm? Any big plans for the future?

I’m excited to see what happens in the next few years, as design is having a Renaissance. Right now we’re busier than ever, since people have been stuck in their homes and they see things they want to change. They want multifunctional spaces, beautiful spaces, there’s been this huge resurgence in an interest in design. The whole world is once again interested in how they live.

The design style of this home evolved from Spanish Mission into an eclectic mixture of modernism and neoclassical, created through thoughtfully curated collections, from vintage Chinese rugs to contemporary art.
A key component to the design of this Fayetteville penthouse was the incorporation of pieces from the client’s extensive modern art collection, seen above and below. “It was a lot of fun to pull modern furniture and art together to create a new space that still resonates our client’s unique, eclectic personality,” according to Goddard Design Group.
Top photo by Rett Peek Photography.
Leave a comment


America’s Most Expensive Homes
Alabama Real Estate | Alaska Real Estate | Arizona Real Estate | Arkansas Real Estate | California Real Estate | Colorado Real Estate
 
Connecticut Real Estate | Delaware Real Estate | Florida Real Estate | Georgia Real Estate | Hawaii Real Estate | Idaho Real Estate
 
Illinois Real Estate | Indiana Real Estate | Iowa Real Estate | Kansas Real Estate | Kentucky Real Estate | Louisiana Real Estate
 
Maine Real Estate | Maryland Real Estate | Massachusetts Real Estate | Michigan Real Estate | Minnesota Real Estate | Mississippi Real Estate
 
Missouri Real Estate | Montana Real Estate | Nebraska Real Estate | Nevada Real Estate | New Hampshire Real Estate | New Jersey Real Estate
 
New Mexico Real Estate | New York Real Estate | North Carolina Real Estate | North Dakota Real Estate | Ohio Real Estate | Oklahoma Real Estate
 
Oregon Real Estate | Pennsylvania Real Estate | Rhode Island Real Estate | South Carolina Real Estate | South Dakota Real Estate | Tennessee Real Estate
 
Texas Real Estate | Utah Real Estate | Vermont Real Estate | Virginia Real Estate | Washington Real Estate | West Virginia Real Estate
 
Wisconsin Real Estate | Wyoming Real Estate

Style Selector
Select the layout
Choose the theme
Preset colors
No Preset
Select the pattern