WE NEED TO TALK ABOUT: CATHERINE INCE, THE SLEEP HOTEL & POP ART DESIGN



 
As mentioned two weeks ago, A-Gent of Style was invited to interview two key speakers at the 2013 Sleep event, the yearly hotel design trade event in London.
After interviewing Inge Moore of The Gallery HBA, A-Gent had the privilege to speak to Catherine Ince, curator of the current Pop Art Design exhibition at the Barbican Centre and also one of the three judges of the Sleep Hotel competition – the brief this year was Pop Art hence Ince’s collaboration with the event – before she announced the winner live from the Sleep Hotel Bar that evening.




Catherine joined Barbican Art Gallery in 2010 and last year she co-curated the brilliant ‘Bauhaus: Art as Life’ exhibition, the largest survey of the school to be staged in Britain in over 40 years. Her first project for the Gallery was
‘Future Beauty: 30 Years of Japanese Fashion’, a retrospective of avant-garde fashion from Japan drawn from the Kyoto Costume Institute collection. She also organised the 2011 Curve Gallery installation Architecture as Air by Junya Ishigami. Prior to joining Barbican Art Gallery, Catherine was Acting Director of the
British Council’s Architecture, Design and Fashion department where she organised touring exhibitions, commissions and special projects about contemporary British design and architecture. As Assistant and Co-Commissioner, Catherine was responsible for the British Pavilion exhibitions at the 2006 and 2008 Venice Biennale of Architecture. Previously, she was curator of Contemporary Programmes at the Victoria & Albert Museum. Catherine studied art and design history before completing an MA in Curating Contemporary Design at Kingston University.

Art work by Roy Lichenstein

Art work by Roy Lichtenstein


Over fifty years after it exploded onto the art scene, ‘Pop Art Design’ is the first comprehensive exhibition to explore the exciting exchange of ideas between artists and designers in the Pop age. Pop artists commented on the cult of celebrity, commodity fetishism and the proliferation of media that permeated everyday life in America and the United Kingdom after the Second World War.
Radically departing from all that had gone before, artists delighted in adopting the design language of advertising, television and commerce to create work that was playful but often also intentionally irreverent and provocative. In turn, designers routinely looked to Pop Art as a constant source of inspiration. ‘Pop Art Design’ paints a new picture of Pop – one that recognises the central role played by design. Bringing together more than 250 works by over 70 artists and designers, the exhibition includes iconic and lesser known works by such artists as Peter Blake, Pauline Boty, Judy Chicago, Richard Hamilton, Roy Lichtenstein, Claes Oldenburg, Joe Tilson and Andy Warhol, shown alongside objects by Achille Castiglioni,
Charles and Ray Eames, Peter Murdoch, George Nelson, Gaetano Pesce and
Ettore Sottsass. Pop Art Design also presents a wealth of graphic material from posters and magazines to album sleeves, as well as film, photography and documentation of Pop interiors and architecture.


 Verner Panton, 'Swimming Pool', 1969

Verner Panton, ‘Swimming Pool’, 1969


The exhibition, which runs until 9 February 2014, brilliantly portrays a panorama of the intersection and overlap between art and design and A-Gent of Style is pleased to say that Catherine Ince and her team have nailed it. As you meander through the various, thematically curated rooms on two levels, be ready to be dazzled and enlightened by the colourful, bold and playful art, objects, film and architecture of the influential and radical movement, which altogether provide a cultural experience you should not miss. A-Gent of Style, a self-confessed 20th C antiques fan-atic, was thrilled to see for the first time some unusual pieces by Eames and Sottsass.

Ice Cream 1 by Evelyne Axell, 1964

‘Ice Cream 1’ by Evelyne Axell, 1964




– THE INTERVIEW –


You will be announcing this evening the winner of the competition and therefore you can’t divulge too much at the moment. What are your first impressions of the Sleep Hotel?

I like the diversity of the approaches. I think it is interesting that everybody seems to have made a nod to the conceptual theme of the brief but really pulled it back to make something that is a workable, viable, pleasant environment for a hotel context instead of going too extreme in the other direction to the point of not being purposeful.


Cullinan Interiors & Infinite Architects, winners of the Sleep Hotel 2013

Cullinan Interior & Infinite Architects, winners of the Sleep Hotel 2013


Has there been any surprises in what you have seen so far?

Pop naturally goes with the 1960s so the language gets expanded beyond quotation of Pop; it’s more about that moment in time and this sort of meeting of a modernism from an earlier period with something else with colour, palette and texture. I’ve been enjoying thinking about some of the approaches in that way and also how some of those five design companies with an established visual language and approach have retained their identity but managed to twist it a bit for the competition. But I came with an open mind today.




What do you think of the slick DJ table ‘Apollo’ designed by Evoni on which Michaelango L’Acqua will be spinning his tunes this evening at the networking party? It somehow reminded me of some pieces by Ettore Sottsass.

Yes, it’s rather cool. Not wishing to put words into the mouth of the dead, I don’t know what Sottsass would have made of events like this. Obviously, the equivalent is the Salone in Milan which uses exactly the same as this, people looking to exchange ideas and information about new products. Sottsass was quite spirited, he liked new things and he was always interested in forms of personal expressions not necessarily in a commercial context but in the context of doing something provocative or questioning. But I don’t know what he would have made of DJ decks.
He might have approved!




What would you like the visitors to leave with from the Sleep Hotel apart from an urge to visit the exhibition at the Barbican Centre?

Well, yes of course, that’s the number one, top priority! More seriously, I guess the premise of the show is looking at how pop also had an expression in disciplines and areas beyond purely fine art. People think of Pop culture, fashion and music but actually it did tip over into product design, interior design and these kind of fantastically, total environments that either were proposed as a sort of theoretical idea which played out in the life of certain individuals or with certain projects. I think reminding people that the language of Pop was expressed in different ways is interesting but also this is the point of post-modernism; the interesting thing is the coming together of these different moments in times and being responsive to high culture and low culture and this great mélange of things. I think that’s been interesting in terms of the responses that these particular companies have made; each picked up on quite different reference points and turned them into something contemporary, which I think is brilliant.





Do you think the definition of Pop Art has changed over the years?

Yes, I guess so. Pop Art was very quickly absorbed into the art market. There was a certain sphere of people who would have been familiar with it but what’s interesting in our exhibition is the way it’s infiltrated different types of media. Now of course that there has been fifty years and there’s been lots of scholarship but also people referencing Pop Art in lots and lots of different ways, it’s very much of the public consciousness because on many levels it’s quite accessible. It’s inevitably different because you can look back and you can make different judgements about things.
It’s also having become a movement with very big figures attached to it that people find endlessly fascinating. There has been a lot of reappraisal of Pop Art in recent years and the definition has broadened. I suppose it’s not just located in connection with certain individuals. There’s a show coming up at Tate Modern in 2015 called Global Pop which looks at Pop manifestations outside of Britain and continental Europe and also the US, and it will be very interesting to see how different countries choose to define that particular movement and attitude.
I think it is an attitude, isn’t it, which I quite like.

Picture credits @ The Barbican Centre



What do you think the young generation will value in the exhibition?

It’s hard to say but I think the opportunity to see art works particularly and lesser known design pieces they may have not ever seen before except in a book. I think the material nature of these works is something that is absolutely wonderful, richly textured and varied and Pop is quite surprising in that sense because there is such a huge variety of material expression and material choices that are incredibly important. It’s not just sleek surface and things that are very distancing but actually there’s a lot of subjectivity and a variety of media; the handmade is something that comes through too. That first-hand experience of seeing things in the flesh and not in a book is fantastic, seeing in reality things you’ve learnt about is great and I think they will be surprised by some of the colours, the vibrancy, the form and the reference of popular culture. I guess it’s not new anymore and hopefully people might be able to think about what it might have meant in that particular time period.


Picture credits @ The Barbican Centre



Additionally to ‘Pop Art Design’, Christie’s Mayfair ran an exhibition about Pop Art last month called ‘When Britain Went Pop!
British Pop Art: The Early Years’. Why Pop Art now? Why this timing? Is it time to reassess Pop Art considering the last big show in London was in 1991 at the Royal Academy?

The distinction is that, for us, it’s not a pop art survey; it’s looking at very specific connections between the work of artists and designers at that point in time. Those boundaries were collapsing and designers were working in quite an autonomous fashion like an artist; artists were referencing the visual language of the design world and mass culture, mass industry and mass communication so it’s very much reflecting these commonalities and these intersections. Maybe that for us feels like it was a good moment to assess because it’s very much what defines a lot of contemporary design practice. Pop endures as a subject matter because it is not that far away in time; it still feels very fresh, these ideas feel very current and the work feels new in a way. Look at some of the ideas; you see a lot of designers particularly still playing with what Gaetano Pesce started in mid to late 1960s. We’re following on from a big Lichtenstein retrospective, there will be a Richard Hamilton retrospective at Tate Modern three days after we close, then this Global Pop exhibition at Tate.
As a subject area, it doesn’t go away and I think it’s interesting there is a depth to the inquiry and it’s blue chip art; this stuff is really insanely valuable. Much of it, Warhol, Lichtenstein and the likes, is associated with ‘corporateness’ now but I think there is a lot of people out there who are still interested in the ways people made work, why they made work and what this particular post-war attitude was about and it still feels quite exciting. I’ve got this great film programme accompanying the exhibition which launches in a couple of weeks. For instance, Kubrick and all of these people were doing very innovative things. When you are programming, you have something that is of subjective interest in you and you think it will be of interest to other audiences but you can’t always be sure and you just hope your passion and interest in the subject convey.


Hamilton, 1956 collage, 'Just what is it that makes today's homes so different, so appealing?'

Richard Hamilton, 1956 collage, ‘Just what is it that makes today’s homes so different, so appealing?’

 

Do you think British pop artists were overlooked by the public?

Not necessarily. The public has a huge affection for Peter Blake for instance. Figures like Richard Hamilton are having another assessment which is long overdue. Hamilton’s work is not just about Pop, it’s just much more complex than a strict categorisation. Maybe some British artists went out of fashion for a while but there’s lot of people who worked at that time who are still working now and they are in their eighties and they are still making work which has some connection or affinity with what they did at that particular period. Maybe some of the women have been overlooked because the main protagonist who studied at the Royal College with all of these people was Pauline Boty who died tragically at the age of 28. Not only did she disappear physically but her work stopped, therefore there’s a small body of work. There are a lot of people out there at the moment who are trying to re-appraise and re-establish her importance and her stature within this world. I think people see it very much as an American phenomenon but pop culture here was incredibly influential. If you think of the Beatles and underground jazz clubs, the work of lots graphic designers and film makers who were based in London at that time is not something that one can cast aside easily. It’s been responsible for everything that followed.

Colour Her Gone by Pauline Boty, 1962

‘Colour Her Gone’ by Pauline Boty, 1962



This exhibition regroups just under 300 objects, a considerable amount of pieces to regroup and curate.
Where do you start and where do you stop?

Where you finish is when you are actually there in the gallery installing things. There are things that did not get installed because sometimes you think there is enough here. Sometimes it happens with graphic and ephemeral material. Obviously, the practicalities of making exhibitions of that scale is to be thought through and planned meticulously. There is some material which can swim around a bit and you just decide to hang it in a different way to that which you’ve conceived of. The exhibition is entirely structured, it’s looking at these thematic ropings and motifs and methodologies within Pop; it’s a kind of meander through different processes and different ideas that connected artists and designers. It became very difficult knowing where to stop because you could just go on and on, adding and adding because it was so richly productive. There was so much work that was being made. Print exploded at this time, it was hugely exciting, you had lots of fantastic artists working with people who were very well versed in commercial, industrial printing methods, and then there were graphic design agencies publishing and working for companies doing branding. I added the film titles that Robert Brownjohn designed for
‘From Russia with Love’, the James Bond film, because he was a very important designer and art director, an American working in London at this time who was invited to make these titles which were groundbreaking. To me, those works and ideas reflect the energy of all territories and experimentation that one can explore within this period. That would have very direct application in media like film in a very commercial situation. It was hard to rein myself in and not add anymore that I did because so much of it is so great. The density, the layering, the collaging, which is an important medium within the world of Pop, was key.


Picture credits @ The Barbican Centre



Were there any discoveries for you?

I added a few pieces by Jann Haworth who was an American artist based here in the 1960s and one object that I got to know more was this cowboy that she had made, this life-size, soft sculpture of a cowboy, this very cinematic idea of a cowboy that she had made which references the influence she took from her father who was a Hollywood film production designer. I just delved into her work a bit more and appreciated this kind of filmic quality, this idea of object as prop, something that exists on a film set to tell the narrative and create this sort of fictional world. Haworth did it with this sort of handcrafted, quite feminine process and media.
It’s been fascinating to get to know her a bit more and hear a bit more about that time and the role she played in the making of Sgt. Pepper’s Lonely Hearts Club Band album cover. There are always opportunities to personally enrich one’s knowledge of individuals and their works or things that happened that are lost a little bit in history.


Picture credits @ The Barbican Centre

 

Jann Haworth 'Cowboy', 1964

Jann Haworth
‘Cowboy’, 1964

 

Are there any favourite pieces of yours in the exhibition?

The ‘London Knees’ by Claes Oldenburg! I want to see it installed as this huge public monument on the side of the Thames. That’s absolutely one of my favourite things in the show because, sculpturally, it’s kind of fantastic; his reference points are architectural, archaic but they are also completely contemporary to that period and this very fashionable look that was exploding at this time which London was the epicentre of. It’s a maquette but when you look at the portfolio, the drawings that he had made of the knees on the banks of the Thames were incredible. The knees would have been of an insanely monumental scale. Just thinking that public art could be like that, that would be amazing. Even the fourth plinth in Trafalgar square would be too small. The ‘London Knees’ should be in Battersea Power Station chimneys!

Claes Oldenburg, 'London Knees', 1966.

Claes Oldenburg, ‘London Knees’, 1966.

 

Claes Oldenburg

Claes Oldenburg



The exhibition is coming from Sweden. How much did you have to change it for London?

It’s a partnership between ourselves and the Vitra Design Museum in Weil am Rhein, Germany, the Louisiana Museum of Modern Art in Humlebaek, Denmark and the Moderna Museet in Stockholm. It draws largely on their collections but we have quite a number of additional lenders. It’s been on a continental tour; it started in Germany then went onto The Louisana then the Moderna and now us. We worked with an architect here in London on the exhibition design. Spatially and aesthetically, the design for the show is very different as we used much more colour and heavy quotation. I added a lot of work by British artists and designers to give that inflection that I felt was important for a showing here in London, a major city at the forefront of all of this work. I might have added 60 or 70 works to the checklist. Quite a lot. Each iteration of the show has changed because of this necessity to sort of reflect different places and different period times. Everybody’s looked at their local, cultural, sociopolitical context to try to draw out things that were relevant, things that they wanted their audience to see. That’s the nice side about a touring exhibition; you can adapt it for your own gallery spaces but also your particular situation and context.


Picture credits @ The Barbican Centre



And finally, where is the exhibition going next?

In this current form, it won’t go anywhere, there’s a possibility it will travel somewhere else in Europe, maybe to the US but we don’t know.


Picture credits @ The Barbican Centre

 

There is an exciting host of events complementing the show.
Join A-Gent of Style for the Exhibition Tour with Catherine Ince
on 31 January 2014 at 7pm.

And don’t miss the pop-up Pop Bar at the Barbican Centre. Go and treat yourself to a ‘Warhol’, ‘Cowboy’ or ‘Pow Wow’ cocktail, A-Gent of Style‘s favourite’.

Treat yourself to a Pow Wow, Warhol or Cowboy  cocktails. A-Gent's is a Pow Wow

 









RED LETTER DAY






“When in doubt, wear red.”

 – Bill Blass –

India Mahdavi

India Mahdavi

 

Jeanne Moreau

Jeanne Moreau

 


Tracey Emin

Tracey Emin

 

Joe Nye

Joe Nye

 

Gabriella Crespi

Gabriella Crespi

 




Rock Hudson

Rock Hudson

 

Rene Gruau

Rene Gruau

 

David Hicks

David Hicks

 

The Chrysler shoe by Louboutin

The Chrysler shoe by Louboutin

 

L'Objet pour Fortuny

L’Objet pour Fortuny

 


Tracy Hardenburg

Tracy Hardenburg

 

Dolce & Gabbana

Dolce & Gabbana

 



Greenbrier Hotel by Dorothy Draper

Greenbrier Hotel by Dorothy Draper

 

C.Z Guest

C.Z Guest

 

James Nares

James Nares

 




Ours Polaire by Jean Royere

Ours Polaire by Jean Royere

 

Dannii Minogue

Dannii Minogue

 


Paul Newman

Paul Newman

 

Jacques Adnet

Jacques Adnet

 

Erwin Blumenfeld

Erwin Blumenfeld

 




Anne Wintour

Anne Wintour

 

Aerin Lauder

Aerin Lauder

 


Astrid & Rudolf

Astrid & Rudolf

 

Hotel Plaza Athénée

Hotel Plaza Athénée

 



Lisa Fine Paris home

Lisa Fine’s Paris home

 

Amish Bowles

Amish Bowles

 


Valentino store

Valentino store

 

Centauro concept store, São Paulo

Centauro concept store, São Paulo

 

Lee Radziwill

Lee Radziwill

 

Tom Scheerer

Tom Scheerer

 

"The Crystal Ball" by John William Waterhouse

“The Crystal Ball” by John William Waterhouse

 


Valentino

Valentino

 

Soho House West Hollywood

Soho House West Hollywood

 





By Miles Redd

By Miles Redd

 



Diana Vreeland

Diana Vreeland

 

Tom Ford

Tom Ford

 

Grand Hotel, Mackinac Island (Michigan)

Grand Hotel, Mackinac Island (Michigan)

 

Stig Lindberg

Stig Lindberg

 

Valentino

Valentino

 

Miles Redd

Miles Redd









Prabal Gurung

Prabal Gurung

 

Enamel Silver Box by Rene Chauvot

Enamel Silver Box by Rene Chauvot

 

Louis Vuitton Shangai store

Louis Vuitton Shangai store

 









BELGRAVIA CHRISTMAS SUNDAY



 





MAKE IT POP: JEFF KOONS & DOM PERIGNON





Art and champagne. Two of A-Gent of Style‘s favourite things merging together. Heaven.



Contemporary American artist Jeff Koons has teamed up with legendary French luxury champagne maker Dom Pérignon to produce a scaled-down version of his stupendous Balloon Venus sculpture.






Balloon Venus

Balloon Venus

 

In tainted high chromium stainless steel with transparent color coating dress, the special edition sculpture  – only 650 hundreds specimens were created – of this collaborative project houses a bottle of the Rosé Vintage 2003 preciously cradled and guarded by its 2 ft. tall, voluptuous encasement, a modern-day,
goddess-of-wine Venus.






“The gift box was designed by Jeff Koons himself, for both Dom Pérignon Vintage 2004 and Dom Pérignon Rosé Vintage 2003”, explains Dom Pérignon, “with a careful all-embracing conception of the outside and the inside facets. The outside reproduces on a dark background the Balloon Venus for Dom Pérignon matching their colour with the cuvée: pink for the Rosé and yellow for the Blanc. A view of the artist’s studio is visible on the reflective surface of the Balloon Venus and refers to the creative energy of the artist. The image is underlined by Jeff Koons’ signature. From the outside, the gift box extends the feeling of being in the presence of Balloon Venus, as the reproduction sets à 360° view of the object.
The gift box opens to expose the bottle, unveiling first an elaborate design that simulates the iridescent interior of the original sculpture made of high chromium stainless steel with transparent colour coating dress. The iconic Dom Pérignon bottle erupts, exactly as it does from the body of the Balloon Venus
for Dom Pérignon, magnifying the revelation.”









“The bottle foils give a pop-twist to the colour of its cuvée, Dom Pérignon Blanc or Rosé, interpreting the tension between the colours and the dark bottle” adds Koons. “It bears a metallic shield with the same colour layout as the foil and the box. The label plays with coloured surface on the depth of shield, emphasizing its allure, playful and still mysterious.”

 



“‘Dom Pérignon by Jeff Koons’ prolongs the encounter between Dom Pérignon and Jeff Koons”, explains the prestige house’s chef de cave, Richard Geoffroy. “After creating the Balloon Venus for Dom Pérignon Rosé, Jeff Koons transposed its creation and re-designed the iconic codes of Dom Pérignon’s bottle and gift box, by taking inspiration from the shapes and colours of Balloon Venus. This Limited Edition is the ultimate expression of the fruitful collaboration based on absolute shared vision of the power of creation and of collaboration.” 



For the collaborative project, the sculpture with a bottle of champagne will set you back $20,000 USD, ahem, a pop – a bargain considering Koons’s twelve-foot stainless steel sculpture “Balloon Dog” sold for $58.4 million (£36.8m) at an auction at Christie’s in New York two weeks ago, making it the most expensive piece of art by a living artist sold at auction.






 “Venus of Willendorf”, a, 11cm high palaeolithic figurine found in Austria in 1908, dating back to around 23, 000 years BC considered to be one of the earliest known depictions of the human form “proposes a new kind of idol, a modern-day goddess of love who embraces her beholder in reflective curves and suggests fecundity and creation”,  Koons explains. “It’s both masculine and feminine. Well, if you look at the inside – it’s like a Rorschach, but you can pick up on some of the masculine elements, even the shape of the bottle there, and if you look at the Balloon Venus from the front, it’s so fertile.”


 

A pop-up shop was specially created in the Assouline bookshop in Claridge’s where the highly collectable took centre stage. A-Gent of Style was dazzled by this explosion of neon pop shocking pink, a true feast for the eyes, heightening the artist’s trademark creative verve and the creative collision.

 

Screen Shot 2013-11-29 at 09.43.53

Screen Shot 2013-11-29 at 09.37.49

Screen Shot 2013-11-29 at 09.38.11





For the ‘sweetie dahlings’ amongst us, two less lavish and more accessible limited-edition gift boxes were also created with the Rosé Vintage 2003 and
the Blanc Vintage 2004 going for £330 and £155, respectively,
available at Harvey Nichs.



“Being creative is trying to expand what the possibilities are”,
says Jeff Koons. “Within the gift boxes, we discover, with an exceptional playfulness and intensity, two Vintages of the year: Dom Pérignon 2004—intense, elegant and radiant—and Dom Pérignon Rosé 2003—vibrant, seductive and infringing.
A promise of a both divine and profane experience.”





http://www.youtube.com/watch?v=dwmtUql8h7c




Cheers! and happy Friday!






THE SLEEP EVENT ARTISTS: KIA UTZON-FRANK





“I’m a goldsmith that can’t escape my sculptural and architectural heritage.”




Following up from Tuesday’s post on the genius post-graduate student
James Stoklund from the Royal College of Art and his incredibly clever take on contemporary tableware, A-Gent of Style would like to introduce you to the second equally genius postgraduate student, fully fledged artist and fellow Danish wonderkid he met at the Sleep event last week:

Kia Utzon-Frank



With an M.A. from the Royal College of Art in Goldsmithing, Silversmithing, Metalworks & Jewellery, Kia Utzon-Frank has already won critical acclaim for her quirky pieces Most Global and Innovative Collection at the Mittelmoda competition in 2009 in Italy. Kia’s work has been exhibited at various galleries around Europe, amongst others at the RA13 showroom in Paris during Women’s Fashionweek 2010, at the Galerie Marzee in Nijmegen, Holland in 2011 and 2012 and the Victoria and Albert Museum, London in 2012. There is a myriad of fantastic projects she has invented over the years which you can see on her website.

But today, A-Gent of Style would like to focus on Kia’s latest project where she explores material and structure and, just like James Stoklund, where she takes on a mundane object and twists it in an inventive and unique way.

James and his work are on the table, on the left-hand side

Sleep 2013 – Kia’s blind can be seen on the wall on the right-hand side



‘The Louver Twisting Comb’ (working title) is a patent pending mechanism and an innovative, completely cordless partitioning and shuttering system for windows and other spaces that provides a highly aesthetic and elegant method of controlling light and privacy. It is a control mechanism rotating strips of flexible material between two slits by pulling or raising a transverse bar module. Genius. It can be used to control light, air, liquids amongst others and obvious uses are blinds, room dividers (you might remember A-Gent of Style‘s retrospective on screens ‘Screen Saver‘), discretion screens and intelligent housing facades. This flexible solution has great advantages over Venetian and vertical blinds; cords that get entangled are eliminated. The marble effect blinds are made of polyester printed on both sides and the modules/combs are made of black MDF.




A-Gent of Style
thinks they would look equally amazing in either a residential project as a practical yet elegant room divider between a living room and a kitchen for instance, or in a more commercial setting, like in a hotel lobby where two long rows of blinds placed in a hotel lobby would separate two sitting areas and form a corridor leading to the lift or the restaurant thus forming a striking structural piece which playful, modular structure could be modified regularly: fully closed for a private function, staggered on a sunny day to let the light in or pulled up just above eyeshot for an exhibition to entice visitors and Peeping Toms to come in.
Just a few ideas!
















The coloured blinds below are made of transparent vinyl (like the big vinyl stickers you put on windows) in yellow, magenta and cyan. “It’s called CMYK”, Kia explains “because of the colours that are created when these three colours overlap. I wanted to make a model of basic colour theory as I have always thought those triangles and circles we drew in school were boring. I loved (and still do) the Bauhaus colour theory models and always wanted to make my own model that described what happened when colours where mixed. That turned in to this ‘transformable reinvention of stained glass’ as my professor from RCA describes it. The modules are made of transparent Perspex to take as little focus from the colours and patterns as possible.”









You can see how these extraordinary blinds work in action by watching the video below. Kia is currently looking for a way to use the blinds electronically via a touchscreen Smartphone for instance, so if you are or know of a designer who would like to develop this groundbreaking idea, or if you are an investor, make sure you get in touch with Kia.








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