Pre Paris

Fashion, books, short stories, poems, comics, cartoons, culture and myself. In no specific order.

Jimmie Martin Ltd

Posted 2011-12-26 16:29:24 | Views: 12,052

The chairs that Jimmie Martin Ltd. designs are surely part of the Slow Home movement – it basically “benefits the planet without sacrificing quality of life” – and display a cool and urban print combined with sophisticated shapes. The creativity of the designers also leaves room for their client’s own visions: “All pieces are individually finished off to either the customer’s personal taste, or to the ideas of the founders, Jimmie and Martin.”


Take a look at each of the chairs – they all have something amazing to show off, whether it’s words, colours or dog illustrations. They play with different colours and symbols, like the Union Jack inspired upholstery, the neon green sausage dog upholstery or the classy commisioned chairs with words written on their earth-coloured upholstery. The colourful designs can bright up the atmosphere in an urban apartment or even give a sophisticated artistic vibe in a club. We found them on ChairBlog and it’s up to you and the interior designers to place the right chair in the right setting – and trust me, there are a lot of designs to choose from.

Jimmie Martin Ltd - Chairs





The Muse Penelope Tree

Posted 2011-12-19 18:45:12 | Views: 15,958

Muse of the photographer David Bailey, Penelope Tree was one of the most prominent models of the Sixties in London. A name and a face difficult to forget!


Only child of Marietta Peabody Tree, woman in the world and political activist Democrat and Ronald Tree, journalist, investor and Conservative MP, great-granddaughter of U.S. retailerMarshall Field and the Reverend Endicott Peabody educator, Penelope Tree was photographed by Diane Arbus at 13 years old.  Continue reading




Penelope Tree, Richard Avedon, 1967

Penelope Tree, David Bailey

Penelope Tree, Vogue UK, 1968

Penelope Tree, David Bailey, Avril 1968

Verschiebungsersatz at Kimmerich

Posted 2011-12-19 13:05:41 | Views: 12,002

 The displacement of psychic energy is a salient characteristic of the primary process, which governs the system of the unconsciousness. As a virtually objective correlative to this idea of the free displacement of psychic energies, the intense physicality of Cecily Brown’s paintings can be seen as emblematic of the exhibition’s theme. In this world of fragmented vitality, built of interleaving brushstrokes, Brown reserves an interior space for extravagance in opposition to repressive force. Sergej Jensen’s, Untitled (Bad Dreams), uses a similar density of layered figuration, only to reveal the dreamwork’s critical play in the substitution of a carpet fragment for the painter’s craft.

Wilhelm Sasnal, Thilo Heinzmann, and Eberhard Havekost all engage the inherent tensions between masking and revealing form as subject. Heinzman’s Heinze appropriates the naked form of the classic haystack armature as a standing sculpture, its spiked arms recalling the inherent dangers of support systems. Sasnal’s painting of strobe lights characteristically withholds in his search for a meaningful subject to paint. The surface of Havekost’s Minus 2 Meter 2, is unheimlich in its luxuriant depiction of a folded blanket that is also a veiled and masked surface.


In works by Charline von Heyl, Tom Burr, and Jacqueline Humphries, the specter of physicality is evoked through subtle reference to constraint, loss, and desire. Von Heyl, in the very title of her painting Idolores, achieves a Verschiebung that resounds throughout the formal dislocations of the object. Suggestions of confinement and loss echo through Burr’s triptych of pinned t-shirts.

-- Keep Reading

If catastrophe and repressed passion operate in a space between the silence of disavowal and the trickery of disguise, they share with certain profound currents in contemporary art an abstraction of representation and an elision of mimetic didacticism. The German word “Verschiebungsersatz” conveys this sense of displacement—a postponement in time, a dislocation in space—with respect to the formation of a substitute.


(Verschiebung means displacement; ersatz, substitute.) Yoked together, the two sides of this term portray the often unstated value of works of art during times of instability by bringing expression to meanings and experiences that are not yet possible to state in more conventional language. As an exhibition, “Verschiebungsersatz” brings together a group of artists whose work transvalues those elements of psychic life which are otherwise prohibited expression. These artists find ways to introduce the work of art into the realm of primary processes associated with the unconscious and to elide the bar of censorship.


Curated by David Rimanelli 






Only Style Remains

Posted 2011-12-11 19:43:46 | Views: 13,319

Fashion fades, 

only style 

remains the 


- Coco Chanel 

Charlotte Taylor 2012 Collection

Posted 2011-12-10 15:45:39 | Views: 12,558

Its springtime and the Cherry Blossoms are in Flower. We stumble upon a Bonsai tree nursery, a cohabitation of all colours, shapes and sizes. Many a generation of Bonsai stands by admiring their blossoming saplings. Sakura, a tree surgeon by trade effortlessly glides through the tree families, pruning away their untimely growth spurts, quenching their thirst and warming their hearts, bellies, leaves and trunks with a calculated move to a sundrenched lounger for an afternoon of relaxation. As the sunlight dances through their leaves Sakura makes haste for the bee hives. 

The cultivation of Bees and tree nurseries has been a fascination of hers since childhood and the dusting of intricate artwork and tattoo craftsmanship that shrouds her skin is a testament to this. Her body is the essence of the garden, personified....every inch is considered and camouflaged, from the nape of her neck, to the tips of her finger nails. 

As the day draws to a close Sakura heads home, meandering along the winding river.
Fishermen are snoozing in the last of the days sun whilst the humming birds and crickets provide the delicate yet arbitrary soundtrack. She sits on the bank momentarily to model a miniature penguin from some paper in her pocket. She had heard of one losing its way and emerging in Australia....what a journey that must have been!

Sakura is thankful for her choices, her passion and her life. She can and always will dance to the rhythm of her own drum.


Glimpse of the S/S 2012 collection from Charlotte Taylor (the UK).


Kiefer on Hirst - Destroying Art, It Becomes Art

Posted 2011-12-09 12:46:33 | Views: 13,007

In an action-packed interview with the Guardian (read it all, it’s great) on the eve of his biggest show ever in Britain, Anselm Kiefer talks about his affection for Angela Merkel, his plans to refurbish a decommissioned nuclear power station, and his thoughts on Damien Hirst. “To go to Sothebys and sell your paintings directly” — as Hirst did in 2008 — “is destroying art. But in doing it to such an exaggerated extent, it becomes art.”




















Hayley Warnham

Posted 2011-12-04 14:34:39 | Views: 14,765


  • How did you first get into illustration?
  • I've always been a creative person and have been drawing since I was a kid, so I decided to nurture my artistic side and recently gained my degree in Visual Communication where I specialised in Illustration. I chose Visual Communication because after finishing school I was still unsure of what direction I wanted to head, but it gave me the opportunity to work in Photography, Graphic Design and Digital Media before I finally decided Illustration was for me.

  • How would you best describe your style of illustration?
  • It's a playful mix of Collage, Drawing and everything in-between. My work could be considered quite conceptual as I believe less is more and it's always a little rough around the edges. When there's too much going on it all becomes a bit over-complicated and unnecessary - although knowing when to stop is the tough part.

  • Please take us through your design process, where do you start?
  • I usually take some time to think up an initial idea then work from there. I'm a real perfectionist, so working with Collage is perfect for me as it allows the freedom to experiment with positioning and layout of imagery without having to commit to a final composition straight away. Once I'm happy with the layout, I fix everything down and build it up from there.




  • What tools do you use for your work?
  • I'm often found wielding a pair of scissors and a Pritt-Stick, whilst being surrounded by a mountain of Magazines, Newspapers and Clippings. I'm also never far from a sharp pencil and a paintbrush.

  • When illustrating, do you sometimes get blocked for ideas? If so, how do you overcome that?
  • I think it's normal for many creatives to get blocked for ideas. Sometimes they just arrive instantly, but other times it just takes a while for them to develop. When I feel lost I tend to step away from the work and explore all kinds of interesting blogs and sites online, they're great for inspiration as well as leading you onto an endless path of other odd sites.

Works of Tracy Thomason

Posted 2011-12-04 14:03:57 | Views: 13,257

Extension/Ascension, 55 x 65 x 2", human hair, gold, terry cloth, clay, staples, and wood, 2010


I recently discovered Tracy Thomason’s work by the serendipitous nature of the Internet.


Her use of materials and juxtaposing them to make abstract yet familiar compositions is what I enjoyed most. She works from Brooklyn, NY  

Essentially Without Tomorrow, 72" x 106", oil, house paint, spray paint, earth, wind, gold leaf, fur, lambs wool, status, testosterone, and marble on canvas, 2008

Untitled (Medusa and Cassiopeia commune), 116" x 30" x 3", scrap wood, spray paint, kool aid, lambs wool, and rubber, 2008

Shriveled Glint in Cantor, 16" x 41", lame leggings, oil, and gold leaf on canvas, 2009

Billy Kidd Shot You

Posted 2011-12-01 15:28:25 | Views: 16,333

Marina Nery

I had a hard time picking which pictures to put in this post. Billy Kidd's work is fun to look at. He grew up in Pamana City, FL. He currently lives and works in Brooklyn, NY.





photos by BILLY KIDD

Igor Eskinja

Posted 2011-11-27 08:44:20 | Views: 14,276

Igor Eskinja constructs his architectonics of perception as ensembles of modesty and elegance. The artist “performs” the objects and situations, catching them in their intimate and silent transition from two-dimensional to three-dimensional formal appearance. Using simple, inexpensive materials, such as adhesive tape or electric cables and unraveling them with extreme precision and mathematical exactitude within strict spatial parameters, Eskinja defines another quality that goes beyond physical aspects and enters the registers of the imaginative and the imperceptible. The simplicity of form is an aesthetic quality that opens up a possibility for manipulating a meaning. It derives, as the artist states, from the need for one form to contain various meanings and levels of reading within itself. The tension between multiplicity and void constitutes one of the most important aspects of Eskinja’s mural “drawings” and seemingly flat installations. A void is still an active space of perception; it does not conceal; it comments on the regime of visibility, it invites the viewer to participate in the construction of an imaginary volume in an open space. The temporary nature of the artist’s spatial structures and the ephemeral quality of his carpets (where ornaments are carefully woven out of dust or ash) manifest a resistance to the dominant narratives of institutional apparatus and socio-political order.

Igor Eskinja

Born 1975 in Rijeka, Croacia