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Maiko Takeda

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Logic + geometry + space form the common denominator in all Maiko Takeda pieces. It’s a world in which the simple will seem complicated and order turns to chaos. But do not be afraid to indulge, as at the end you will always find that the common denominator stands (right there at the bottom where it belongs). Maiko Takeda grew up in a post boom Tokyo where she quickly was faced with the challenge of wanting to create products of individual and timeless quality in a country slowly coming to a grinding halt. This meant that she more and more looked to areas outside of fashion and pop culture for impulses, exploring the city by foot, finding inspiration in the smallest and most random of things. Within the pieces, there is the juxtaposition of various elements. Environmental influences such as shadow, wind and gravity, create an experience of wonder and bewilderment for the adorned. The form of her work itself can never be its sole feature as the extra element is always seeking to transcend the expectations of the wearer as part of the work. After having moved to London she studied Jewellery Design BA(Hons) at Central Saint Martins College of Art and Design and is currently doing a Masters in Millinery at the Royal College of Art. Her work experience includes Issey Miyake, Stephen Jones, Philip Treacy and Erickson Beamon.

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Marion Borgelt

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Marion Borgelt is a leading Australian artist with a prodigious career spanning some 30 years. Her work draws inspiration from subjects such as semiotics, language, optics and phenomenology to create atavistic fantasies and mysteries that take form in paintings, sculptures and installations. Her work suggests connections between man-made culture and nature, continually navigating this intermediate space. It speaks to the links between the constructed and the organic world, between microcosm and macrocosm and the ever-present duality of light and dark. A lexicon of symbols and motifs, at once universal and personal, distinguishes the imagery of Borgelt’s work. Drawing on experience with a wide range of materials, including bees-wax, canvas, felt, pigment, stainless steel, wood, stone and organic matter, she hones her ideas to the demands of a given site, mediating the creative intervention with originality and sensitivity.

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The Books Shelf

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The Books Shelf is a typographic bookshelf designed to hold just those books you go back to over and over. With counters of various sizes for novels, magazines and art books, it is the perfect bookshelf for typographic obsessives. Now you can spend your Sunday afternoons endlessly kerning your furniture.

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Stefan Behlau

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Stefan Behlau <-- Born 1979, Zurich, Switzerland; Education: B.F.A. 2006, Pratt Institute, Brooklyn, NY; Lives in Santa Barbara, California.

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Bertozzi & Casoni

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Bertozzi & Casoni‘s work consists of ceramics hand-made in a realistic and richly detailed style. The two artists met while studying at the Faenza ceramic school. Giampaolo Bertozzi (Borgo Tossignano, Bologna, 1957) and Stefano Casoni (Lugo di Romagna, Ravenna, 1961) soon decided to work together and this collaboration became concrete in 1980 when they formed a society with the collective name of Bertozzi & Casoni s.n.c.: this logo was to become a symbol of their particular style. The sculptures of the two artists are both ironic and obscure, and consist of untidy trays, broken eggs, half-full overturned coffee cups, cigarette butts and old dirty newspapers; they give rise to images that provoke an alienating effect where the objects, whether common or rare, and having little to do with each other, seem to testify to modern man’s inevitable collision with consumption. They work with the most varied materials, using the industrial methods of ceramic-making, and uniting tradition and experimentation in a continuous and “contradictory” attempt to push beyond boundaries, freeing themselves from conformism and the cultural stereotypes of ceramics and so-called applied arts by an ever more sophisticated and deeper knowledge of a language that also includes techniques and materials. The works are modelled and coloured using traditional processes to be found in the Renaissance of Della Robbia and later recuperated by the Arts and Crafts movement and by Art Nouveau; to these they have added such other techniques developed by industry, graphics, and Pop Art as decals and photo-ceramics which are used in the works to create hyper-realistic effects, subtle quotations, and conceptual tricks. Amongst other interests, that in waste and its maniacal and hyper-realistic reproduction in ceramics, becomes an inquiry into aesthetic transformation, just as their analytical study of every kind of junk has led them to the most sophisticated kind of waste of all: that of culture. This has become a kind of theft from icons that are by now digested and assimilated, those belonging to the history of art and design such as the Brillo Boxes, Manzoni’s Merda d’artista, or Saarinen’s tables. Bertozzi & Casoni‘s cultural interests become products that link up on a syntagmatic plane, that of past and present time, causing to coexist, on the same level and with the same formal attention, techniques, objects, themes and clichés in an unexpected and ironically natural syncretism where decorative exuberance and the solemn artifice of sculptures made from human remains, bones, and common waste, are transformed into desecrating memento mori and eclectic post-modern vanitas. (via ArtNews)

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Nathan James

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Born in Kirkland Lake, Ontario, Nathan James spent much of his life in the Toronto area before moving to London, UK where he currently lives and works. His current series of paintings, Creepshow, is based on the idea of Pessimist Pop. A reaction to the highly-polished, busy, celebratory work of Koons, Murakami et al, James’ paintings deal in the same sort of bold shapes and cultural iconography, but look at the underbelly of these images and contextualizes them in a real, unforgiving world. Painting in oil (often making his own paints) onto canvas or linen, James focuses on the lives and worlds of the underclass, failures, perverts and slackers, rather than beautiful, successful people. Bleak comedy and personal tragedy sit uncomfortably close together in James’ characters, which draw on both the failed industrial background of his childhood and the current mood of insecurity and paranoia present in contemporary society. Joining up an almost old-fashioned, painterly approach to his art with very modern ideas of representation and humour, Creepshow is both deeply personal and also a document of lives, habits, problems and people who modern art usually overlooks.

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Hilde Kentane

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Beautiful sculptures by the amazingly talented Hilde Kentane (Belgian, living and working in Holland since 2007).

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Here Kitty Cat Paw Doorstop

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In or out? Cats can never make up their mind. If you’ve decided to keep the door open, you can call on our Here Kitty Cat Paw Doorstop to prop it purr-fectly! Buy here.

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Baitogogo by Henrique Oliveira

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‘Through a kind of architectural anthropomorphism, Henrique Oliveira reveals the building’s structure. At Palais de Tokyo, he plays on the space’s existing and structuring features, prolonging and multiplying pillars in order to endow them with a vegetable and organic dimension, as though the building were coming alive. The artist draws inspiration from medical textbooks, amongst others, and particularly from studies of physical pathologies such as tumors. Through a formal analogy, these outgrowths evoke the outermost layers of the bark of a common tree. The texture of this wooden tapumes installation inevitably calls to mind certain tree essences from Amazonian, humid tropical forests: the rivulets and other nodes constitute uncontrollable networks, in a logic that Man can no longer suppress.’ Link here.

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Adrian Cox

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” The figures in my paintings offer themselves to be felt; their vulnerability as flesh is bared and opened. Orifices and protuberances create sites at which the skin outside meets with the skin inside, forming a continuous passage between the two that eradicates their distinct positions. These grotesques become border creatures, defined by indeterminate boundaries that merge, overflow, and extend into the surrounding landscape. Despite their potentially alienating monstrosity, these characters strive to connect with each other and their environment. Their acts of singing, loving, whistling, stargazing, and wandering suggest attempts to become united with their surroundings through a state of perpetual wonder. As these characters achieve such unity, the world that opens itself to them is one full of growth and decay, shifting and transforming with their every extension. My work shows death as integral to the world of these border creatures. Rather than celebrating death itself, however, I seek to make bearable a recognition of its deep connection to life. It is in this hope that I offer an exploration of the body as open, vulnerable, and on the threshold of boundlessness.” – Adrian Cox

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