A n aî s by I s ab e l l e B o u t e i l l e t C o b a l t
NO°1 M AR C H 2 019
P U B L I C AT I O N S
Editor’s Pick , p 64
Rev i e n d ra l e t e m p s by A l i s o n B i gn o n Represented by Miaja Ar t Collections
What is Art But the reflection Of one’s heart It stands for freedom It stands for passion Art is a powerful word That rocks the world Art is a voice That shouts loud The silent struggles Of the shy minds Art is the glue That binds people Unifying languages Ideologies and beliefs Expressed in various mediums Eyes shut one can feel The powerful rhythm That lays beneath A single stroke I stand humbled In front of each piece As I can see in it The Artist’s soul stripped Revealing the essence Of all humankind The thread that weaves The very fabric Of our Humanity
By Isabelle Miaja Januar y, 2 019
Ar twor k
S h e W i l l B e by A l i s o n B i gn o n Represented by Miaja Ar t Collections
Journal Artistique
Editorial Team
Editor in Chief
Isabelle Miaja
Content Editor
Sophia Smith
Magazine Design Artist
Brenna Soong
Editorial Feature Writers:
Mar y Gostelow, Mr. Q, Lucie Pugnot , Mollie Jean De Dieu , Aleksandra Lis, Naomi Stahl, Bernard Y. Chatel Art Contributors Edition I
Alison Bignon Isabelle Bouteillet Cobalt Sponsors Edition I
SMEG Singapore Nespresso Singapore Bang & Olufsen Singapore Fromental SORAA Lighting Goodrich Ar telier Cosentino Million Lighting
For Editorial, Sponsorship and Distribution Enquiries, please contact: Sophia Smith T. (+65) 6737 8979 | M . (+44) 7875 938084 E . press @ miajadesigngroup.com
Journal Artistique is published by “aime aime� publications and is a company magazine by M A I S O N M I A JA M A I S O N M I A JA Brands Miaja Design Group
Miaja Gallery
Miaja Art Colle ctions
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T. +65 6737 8979
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EDITOR’S NOTE For a long time, it has been a dream of mine to suppor t Ar ts and Craftsmanship from ever ywhere in the world. As a designer, and more recently owner of two Ar t Galleries, I have the chance to meet many talented Ar tists from all genres. Design meets Ar t meets Craftsmanship - I hope with Journal Ar tistique to bring all facets of them together and show how they often merge to contribute to create a world of innovation, imagination and passion. Collaborations between Ar tists and all types of disciplines are voicing this powerful message for a new lifestyle. Ar t and Function finally merge and Journal Ar tistique’s vision is to be not only the witness of such collaborations, but also to become an instigator. For our Fir st Edition cover, I have selected the wor ks of Isabelle Bouteillet Cobalt. She embodies the essence of our magazine with a clean and powerful message of strength and self-confidence. Ever y cover will be available as a Limited Edition for our reader s to star t their Journal Ar tistique cover collection. My motto clear ly states what we stand for and it has never sounded more tr ue. “The Essence of Style is to Live the Art of being Unique.” We hope you will enjoy the diver sity of subjects we bring to you in this magazine. Ar t Is Ever ywhere!
I s ab e l l e M i aj a Editor in Chief
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CONTENTS
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O N T H E C OV E R I s a b e l l e B o u t e i l l e t C o b a l t
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A R T I S T I N T E RV I E W D av i d Ya r r o w
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A R T F E AT U R E t e a m L a b : D i g i t a l A r t B e y o n d B o u n d a r i e s
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S M E G Sicily is my Love
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F R O M E N TA L S t y l e - d e f i n i n g Wa l l C o v e r i n g s
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F E AT U R E L U X * N o r t h M a l e A t o l l b y M i a j a D e s i g n G r o u p
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N E SPR E S S O Creating Har mony: The Ar t of Coffee Making
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SA R T O R I A L W I S D O M S t y l e a n d E l e g a n c e f o r Tr o p i c a l D w e l l i n g M e n
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A R T D E L A TA B L E I n t e r v i e w w i t h C h e f d e C u i s i n e H e i d i F l a n a g a n
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D E S I G N E R BA N G & O L U F S E N B r o n z e C o l l e c t i o n | B e o s o u n d E d g e
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S O R A A The Ar t of Lighting
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A R T & W E L L N E S S T h e H e a l i n g A r t o f We l l n e s s
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G O O D R I C H F e a t u r e Wa l l s
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A R T E L I E R T h e Wo r l d o f A RT i s a n s h i p
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C O SE N T I N O Dekton® By Cosentino Unveils Stonika
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M I L L I O N L I G H T I N G One in a Million Lighting
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A R T S C E N E S i n g a p o r e , L o n d o n , Pa r i s
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E D I T O R ’ S PI C K Alison Bignon
C O N T R I B U TO R S
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S OPHIA SMITH Sophia Smith is the Content Editor of Journal Ar tistique and Heads the PR & Communications at Maison Miaja. Raised in Oxford UK, she completed a Media & Communications degree at Spain’s prestigious Universidad de Navarra. For the past ten years, Sophia has worked in Publishing, Media & Marketing. In recent years, she set up a Marketing & Communications Consultancy; working in the UK, US and Singapore.
MARY G O S T E L OW
MR. Q
LUCIE PUGNOT
Mar y Gostelow is Global Ambassador of International Luxur y Travel Market ILTM. Arguably the guru on luxur y hotels and resor ts worldwide, she travels over 300 days a year to keep ahead of trends and news. She writes two columns a week in HOTELS, based in the USA, and she also appears regularly in LATTE, out of Australia, and Travel Market Repor t, also USA. She produces www.girlahead.com authoritative travelogue, and her monthly Gostelow Repor t market intelligence repor t is considered by many the pulse of the industr y.
Obsessive. Relentless. Curious. Just three words, but in those words lies the definition of my modus operandi and personhood - at any point, I am at least one of the above ... in my best moments, I am all three at once.
Born and raised in southern France, in the idyllic Alps meets Provence landscapes, Lucie was initiated to French cuisine & wine by her parents in their family farm. For over a decade she has explored the world and experienced ar t, craftsmanship, culinary and oenology appreciation around the world: from Paris, Italy, India, Russia, Hong Kong to Singapore where she currently lives. In 2008, meeting Pino Grasso - renowned Italian designer for Chanel and Versace - in his Milan workshop, revealed her passion for Ar t & Craftsmanship. For the past six years she has worked within the luxur y industr y, including Krug Champagne. Lucie loves to share her appetite for Ar t with her twin sister, an emerging photographer in France and her Culinar y Ar t with her par tner, celebrated Chef for his #reinventingbritish Cuisine.
I have been designing men’s clothing for ten years now and The Prefecture has been in business for four years ; dressing men in their finest tropical sar torial wears. Here's to another decade!
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MOLLIE JEAN DE DIEU
A L E K SA N D R A LIS
NAO M I S TA H L
B E R NA R D Y. C H AT E L
A self-proclaimed citizen of the world, Mollie grew up between Africa , France , the United States and has made Asia her home for the past twelve years. Mother of two, aged six and four, Mollie currently resides in Singapore with her family where she carries the busy role of General Manager for the French Maison, LONGCHAMP. Her stamina in life resides in the continuous seeking of channels that cater to wholesomeness, empowerment and mindfulness. She sees life through a grounded rose coloured lens whilst holding onto the firm belief that ‘those who don’t believe in magic will never find it.’
Aleksandra has been working as art manager and ar t consultant for over 10 years in Singapore both representing local and international artists. She has been managing commercial art galleries and selling artwork on both primary and secondary markets. Aleksandra has organized art exhibitions for both emerging and established ar tists including artists like Yaacov Agam, Salvador Dali and David Gerstein. Prior this she was the General Manager of Singapore Dance Theatre and Festival Manager of Singapore International Film Festival. Her art career began with the Polish Embassy in Singapore where she worked as the Culture Officer for over 5 years organizing concer ts, exhibitions, performances, gala events, lectures and many other diplomatic events. She holds a Master’s degree in Law from the University of Warsaw and worked as a lawyer in the European Cour t of Justice in Luxembourg and with leading European law firms in Warsaw and Munich before relocating to Singapore in 2003.
Naomi is an ar t consultant based in London, UK, and has gained extensive experience working with international ar tists and set designers to produce evocative exhibitions across Europe and Southeast Asia.
Born in Casablanca (MOROCCO), he has been an Ar t collector for many years. He has spent 30 years travelling around the globe for business and leisure.
She earned her first-class fashion design degree in London, with an emphasis on the environmental impacts of consumer retail habits. This triggered her timely transition into the field of ar t management and she went on to complete curatorial studies at the Sotheby’s Institute of Ar t. Today, curating immersive exhibition experiences for her clientele continues to be a central focus of her practice, and inspires her community outreach initiatives that look to create emotional connections between ar t and new audiences.
Currently he is the owner BY CHATEL Gallery in Paris next to Place des Vosges – Le Marais. His contemporary art gallery focuses on solo and group ar t exhibitions.
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Anaîs
Artist: Isabelle Bouteillet Cobalt Isabelle Bouteillet is a self-made ar tist. She knows the Ar t world well; she was an Ar t Galler y Director in France for eighteen years. Her studio is based near Paris, in Saint-Germain-en-Laye, where she creates her collections with different mediums such as paper, metal, cement or clay, oil or acr ylic. Her illustrations or little figurines are created with collages and colours, oil or water-based paint, with pencil or pastels. Her imaginar y world is a happy one . Her characters are often little “bonne femmes”, “petites nanas” which in English are hard to translate, but the expression carries an endearing connotation showing tenderness towards her creations.
Text | Isabelle Miaja Ar tworks | Isabelle Bouteillet Cobalt
She can be a ver y colourful ar tist, dressing her “little women” with bright coloured outfits and they por tray a love for life, which she emphasises with enchanting words. Her collections go by themes … angels, trees and characters. For the Journal Ar tistique cover, we chose from her graphic work, a piece called “Anaîs” in black and white. In this ar twork, she depicts a modern woman full of life and spirit. The simple yet singular ar tistic expression is like a “trait de crayon” - a brush stroke … it goes to your hear t. This ar twork will be available as a Limited Edition Fine Ar t print and will be available to collectors who would like to star t their Journal Ar tistique cover collection.
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Limited Edition Prints by Isabelle Bouteillet Cobalt are available at Miaja Ar t Collections. For more info, contact : aleksandra@miajaar tcollections.com
Liloie
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Artist Interview: David Yarrow World-renowned fine ar t photographer David Yarrow’s evocative and immersive work has earned him an ever-growing following amongst ar t collectors. Ahead of the opening of his solo exhibition “It’s Five O’clock Somewhere” at Miaja Ar t Collections, Journal Ar tistique spoke to David in LA. From wildlife adventures to photo shoots with iconic supermodel Cindy Crawford; his ar t has a stor y to tell.
Inter view | Sophia Smith Photos | David Yarrow
“ A good picture has to transcend at many different levels. Emotionally, it has to be something that grabs people’s attention and holds it; whether in its content or in terms of how evocative it is. ”
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SS: What memories do you have of when you first picked up a camera, and when did you know that photography is your art? DY: I started at age fourteen or fifteen; but I wouldn't say had I a talent for photography at that age. Very few people have the emotional intelligence required to be a good photographer when they are that young. You can have technical confidence, and you can learn the language of how to work the camera, but I think that's very different from having a talent. Photography is something you get better at as you get older. I have a memory of when I saw the pictures coming through in the darkroom aged sixteen; that's when I had some sort of epiphany that this might be a significant part of my life. SS: We live in a world where we are exposed to a photographic content overload since the launch of digital photography and social media. How do you make sure you stand out and create iconic photographic art? DY: I think it's for others to say if I stand out, I just try to be the best that I can be. I think to stand out it's essential to have a strong edit and recognise that people don't need to see 99.9 % of the pictures you take. If I can take four or five good pictures per year, that's my goal. A good picture has to transcend at many different levels. Emotionally, it has to be something that grabs people's attention and holds it; whether in its content or in terms of how evocative it is. Proximity is also an important feature of my work. I don't take loose pictures of landscapes; in my photography, the subject tends to be very close to the camera. When the subject is far away you can lose a lot of the emotion in the shot. A lot of photography is very dull, so I have a very high bar in terms of what I think is interesting and evocative enough to stop people in their tracks. I make pictures, rather than take pictures; I have a preconception of what I want to capture, rather than just turning up somewhere and seeing what happens.
SS: You are world-renowned for wildlife photography and for travelling to remote parts of the world, sometimes in dangerous and harsh environments. Were you a daredevil as a child? Where does this thirst for adventure come from? DY: I don't think I'm a daredevil. I certainly don't put myself in harm's way. To an extent; there's always an element of risk in certain locations, like South Sudan. There, the greatest risk is from people, not animals. For wildlife work, I do my homework; and I never do anything stupid. With people, you have to be careful if they are high on weed, drinking or they carry guns, and in some places in Africa, they do all three; so you never know what could be around the corner. Those are the parts that can be risky. To photograph wildlife at close proximity, my team and I do our research and work on being smarter; whether we use remote controls or cages. I do always say to people, I'm not a wildlife photographer. The idea that the subject you capture determines who you are is more than a little bit obtuse. If I'm photographing a zebra one day, and Cindy Crawford the next, the idea that I'm better at photographing the zebra because I do a lot of wildlife photography is a little bit silly. I take pictures of what interests me, and it just so happens that I take a lot of photographs of animals. I'm just a photographer. SS: We see two styles in your art. In your “Stor y Telling” work; you have the control. You use models, and like cinematography; you create a scripted, thought-provoking scene. In your wildlife and “The lives of others” art; you are waiting for a shot, obser ving, allowing life and nature to take the lead. Can you tell us more about these two artistic styles, and what does this work say about you? DY: In both styles there are similarities; the lead subject is close to the camera, and both are produced in black & white. When you work on a staged picture, generally you have the control; you can search for a degree of intricacy in terms in composition that you can't find in the wild.
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In the staged shot, even though you might have a wild wolf in the shot, you have more control, if the composition is flawed, you have nobody to blame but yourself. I tend to be quite critical of myself with staged work; there is a lot of pressure as often these shoots are very expensive per day to set up. I don't have a preference for either style. I need to move between the two all the time. I would say the wildlife work is about 70% of what I do, but then again, people seem to enjoy cognitive process of interpreting the storytelling work. I have to say, some wildlife photography I see is uninspiring and photographers can sometimes have an inflated version of their self worth - just because you've been to Africa and taken a picture of a Lion, the world doesn't need to see it, there has to be something more to it. Last year, “Africa” was a big picture, one of the most important pictures of my life and I think within a day of it being taken we had sold half a million dollars in prints. When you see that a photograph has that type of effect on people, and the demand it has created - you know it's big. It was emblematic in its composition; Africa's most famous elephant next to Africa’s most famous mountain. SS: In 2017, you worked on a commercial shoot with Cara Delevingne, resulting in the iconic photographic art piece “Cara Cigar ” – a shot of the famous model with a lion in the background. Why do you think this shot captured the attention of so many, and do you relate to Cara, who is known for her sense of freedom, being daring and her individuality?
DY: Firstly, this image captured the attention of so many because it was displayed in every airport in the world! It is a picture with so much intensity, and a picture many people know; which is rare for a photo from an ad campaign. The awareness of the picture had a lot to do with the advertising machine behind it, but yes, it is an incredibly strong picture. With regards to Cara she's very authentic, original, and professional, and that's a great combination. Cara Cigar, 2 017 Of course, she's very striking , we all know that; but she's also genuine. To capture the shot which was my concept, she trusted me, I trusted her, and it was a team effort. I relate to Cara's work ethic; we are both strong workers. She's a free spirit, and so am I. I'm a disruptor - in a good way. SS: You are an advocate for conser vation, clearly reflected in your photographs of beautiful wildlife. What is the focus for conser vation work for 2019, and plans for the future? DY: Last year we gave back two million dollars to charity, part of it was for conservation, but we also support other causes, such as Children's Cancer and Education. As far as the future, I let things develop organically. Today I am in LA, and I never thought I'd have the chance to work with some of the icons I'm working with, whether it be Cindy Crawford or Tom Brady. Most of all, I always try to do the best job possible.
David Yarrow's exhibition: “It’s Five O'Clock Somewhere” is open to the public from 15 March – 11 April , 2 019 at Miaja Ar t Collections Galler y 9 Muthuraman Chetty Road, APS Building, Level 4, Singapore 238931
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Top: Africa, 2 018
| Bottom: Road Trip II, 2 018
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teamLab Digital Ar t Exhibition at Miaja Galler y Waves of Light, 2018 © teamLab
teamLab : Digital Art Beyond Boundaries Formed in 2001 by Toshiyuki Inoko (born in 1977 in Tokushima, Japan) ar t collective teamLab consists of specialists such as ar tists, programmers, engineers, CG animators, mathematicians and architects. Digital technology has allowed ar t to liberate itself from the physical and transcend boundaries. No longer limited to physical media, teamLab’s digital work has made it possible for ar tworks to expand physically, enabling it to exist independently and evolve freely, with a greater degree of autonomy within the ar twork or space.
Text | Sophia Smith Concept and Ar twork Wording | © teamLab Photos | Miaja Galler y, teamLab
Inspired by themes about nature, life cycles, and the infinite movement of par ticles, they describe their digital ar t as groundbreaking : “teamLab sees no boundar y between humans and nature, and between oneself and the world; one is in the other and the other in one. Ever ything exists in a long, fragile yet miraculous, borderless continuity of life”.
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Waves of Light Digital work, 6 channels, endless 108 x 366 x 15 cm, Edition of 4 2018 © teamLab
The movement of waves in water is simulated in a computer-generated three-dimensional space. The water is expressed as a continuous body after calculating the interactions of hundreds of thousands of particles. To visualize the waves, the behavior of the particles of the water was then extracted and lines were drawn in relation to the movement of the particles. The wave created in a 3-D space is then turned into an artwork in accordance with what teamLab refers to as ultrasubjective space. In premodern Japanese painting, oceans, rivers, and other bodies of water were expressed as a series of lines. These lines give the impression of life, as though water was a living entity. This form of expression leads us to question why premodern people sensed life in rivers and oceans. Also, why did they behave as if they themselves were a part of nature? Perhaps something can be discovered by fusing the fixed objective world of today’s common knowledge with the subjective world of premodern people. While viewing this artwork, if we feel a sense of life in the collection of lines – what can be called the subjective world of premodern people – then perhaps this is one aspect of objective recognition. When viewing this artwork, as opposed to watching waves shot with a video camera, people may feel that the barrier between themselves and the waves disappears. They feel immersed in the work, perhaps even feeling life in the collection of lines, as if the waves are luring them in. Perhaps we can find a connection to the way premodern Japanese people perceived the world and consequently behaved toward the world. If we regard ourselves as a part of nature, and consider nature not just as something to be observed, we might join premodern people in perceiving rivers and oceans as living entities. This is a way of seeing the world that lures us in and allows us to feel that there is no boundary between ourselves and nature.
teamLab Digital Ar t Exhibition at Miaja Galler y Peony Peacock, 2017 © teamLab
Peony Peacock Digital work, single channel, randomized video loop, 3 sequences, 5 min 20 secs, each, 145 x 83 x 8 cm, Edition of 10 2017 © teamLab
Fleeting Flower Series. Everything exists on a fragile continuity of life that knows no boundaries and has continued for a long, long time. The image of a peacock appears in peony flowers that are born and blossom. In time the flowers scatter. At the moment each flower scatters that part of the peacock scatters.
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teamLab Digital Ar t Exhibition at Miaja Galler y Impermanent Life, 2017 by © teamLab
Impermanent Life Digital Work, 4 channels, 10 min (loop) 121 x 274 x 15 cm, Edition of 8 2017 © teamLab
teamLab Permanent Exhibitions in Singapore: Miaja Galler y, in collaboration with Ikkan Ar t Galler y FUTURE WORLD: WHERE ART MEETS SCIENCE Ar tScience Museum, Singapore
In the background, cherry blossoms bloom and scatter, the cycle of life repeats. From the center of the background a circle is born which increases in size with a constant rhythm. Depending on the circle the light and darkness of the background world changes.
Stor y of the Forest National Museum of Singapore, Singapore Digital Light Canvas Marina Bay Sands, Singapore Visit : www.teamlab.art
SMEG
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Sicily is my Love: a Unique Project, Made in Italy Dolce & Gabbana and Smeg join forces to create design art for the home Sponsored by Smeg Singapore
Iconic designers Dolce & Gabbana have joined creative forces with Smeg to create “Sicily is my Love�. The new small appliance collection is produced by Smeg with an unmistakable Dolce & Gabbana touch and style signature.
Text | Sophia Smith Photos | Smeg
SMEG was founded in 1948 by Vittorio Ber tazzoni from Guastalla, a town near Reggio Emilia in nor thern Italy, and is today one of the countr y's leading home appliance manufacturers. For over 70 years now, Smeg appliances have come to be seen as tasteful and elegant solutions to the demands of contemporar y living as a result of the company's par tnerships with world famous architects. The Smeg Group, thanks to a corporate culture which dictates that maximum emphasis be placed on product quality, technology and design, is consequently known all over the globe as one of the key representatives of "Made in Italy" standards.
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The “Sicily is my Love” range consists of toaster, kettle and citrus juicer, with more products coming soon. The appliances are decorated with gold lemons, citrus fruits, prickly pears and bright red cherries - just some of the typical Sicilian decorations framed in triangular motifs called crocchi. There are also delicate floral motifs inspired by the coasts and landscapes of Southern Italy, and images of fascinating Mt. Etna, surrounded by ornamental friezes and picturesque ruins of the Greek temple of Castor and Pollux in the Valley of Temples – all symbols of an aesthetic inextricably associated with Sicily, home to the souls of Domenico Dolce and Stefano Gabbana, and more generally with Italy, of which Smeg has always been an interpreter of excellence.
The scenery, food and produce typical of Southern Italy - the roots to which the hear t cannot but return from, inspired these small but precious kitchen appliances which are the fruit of Smeg’s longstanding experience in the appliances sector, blending craftsmanship and technology to create design ar t for the home.
For more information about SMEG’s “Sicily is my Love” appliances, please visit: https://www.smeg.com/sicily-is-my-love/ Visit Smeg Galler y: 9 Muthuraman Chetty Road, Ground Level, Singapore 238931 T. 6950 0900 | E . smegsales@smeg.sg
F R O M E N TA L
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Style - defining Wall Coverings
Text | Fromental Photos | Fromental
Sponsored by Fromental
Known for their contrasting use of colour, the British wallpaper atelier Fromental creates beautiful hand painted and hand embroidered wall coverings for customers across Asia, Europe and the USA. The designs are made using the highest quality paper, silk and velvet grounds and purchased by discerning customers for residential, hospitality and corporate environments.
The creation of Fromental’s style-defining wall coverings entails ar tists spending up to 600 hours unconsciously painting and embroidering the individual wall panels. As the first company to hand embroider wallpaper, Fromental’s modern take on re-defining traditional styles to create new and exciting designs utilizes both monochromatic and vibrant colourways paving the way in reviving the wallpaper aesthetic.
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Founding par tners Lizzie Deshayes and Tim Butcher created Fromental with a mission to make the world’s most beautiful wallpapers, fabrics and accessories. Combining the finest skills with luxurious fabrics, their distinct style blends traditional craftsmanship and ar tistr y with a forward-thinking approach to design and creative techniques resulting in contemporar y, timeless interiors. Signature collections sit alongside custom-made designs, with each wallcovering featuring elements of hand painting. Working alongside leading interior designers, Fromental’s designs can be found in some of the most prestigious commercial and residential proper ties across the globe including: The Goring, London; The London NYC & West Hollywood, The Mandarin Oriental and The China Club in Hong Kong.
Asia contact : asia @ fromental.co.uk Visit : www.fromental.co.uk
F E AT U R E
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Water Villas at LUX* Nor th Male Atoll
LUX* North Male Atoll: Luxury Beyond Boundaries LUX* Nor th Male Atoll Resor t is open, harnessing a fresh and unique vision of the Maldives by Miaja Design Group. This one of a kind luxur y resor t by French designer Isabelle Miaja is inspired by the glamour of boat life, the pristine waters of the Indian Ocean and the adventures of James Bond. A shor t transfer from Male by private speedboat, the resor t is a visual feast of nautical forms and tones. It has taken years to painstakingly perfect this resor t on Olhahali, a six-hectare island fringed by white-sandy beaches. For the first time in the Maldives, each of the 67 residences is crowned with a magnificent private rooftop relaxing area.
Introduction | Sophia Smith Resor t Review | Mar y Gostelow
This innovative take on a Maldivian Resor t presents a disruption to the traditional thatched villas. The architecture and interior design of the over-water villas; ultra-modern oversized penthouse residences, blends super-yacht panache with a South Beach pulse; the constant colour scheme throughout the resor t is white with fuchsia. The James Bond Maldivian resor t is born ... designed with sexiness in mind, cur ves and generous planes, the Architecture of LUX* Nor th Male Atoll emulates a luxur y yacht ready to take sail from its amazing lagoon.
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The details and fittings of the interiors are reminiscent of Riva boats & luxur y yachts; angled, clean lines, with beautiful craftsmanship. The furniture and fittings are contemporar y and all rooms come equipped with the latest in technology and connectivity, yet there is still a focus on the simplicity and comfor t synonymous with relaxed Maldivian island life. A truly unique paradise retreat - where breezy island living meets jet-set chic LUX* Nor th Male Atoll is luxur y beyond boundaries.
I can repor t that for those who are drawn to the white-blue chiaroscuro of Mykonos or Santorini, or the vibe of Miami Beach, this is just the perfect luxur y resor t for you here in the Maldives. Apparently the three owners, all first-time hoteliers, are already thrilled: they did trials over Christmas, though they could not use LUX*’s signature London red telephone box to Call A Friend, back home in Moscow or wherever, as the instrument had not arrived.
Travel Journalist Mar y Gostelow recently visited LUX* Nor th Male Atoll and shares her experience:
GM John Rogers moved to this 67-villa resor t four months ago. I have seen him run the oh-so-English Tresanton, and La Residencia on Mallorca, and Carlyle Bay on Antigua, and the first difference he notices in the Maldives is that all staff have to be housed. For Maldivians, this is not an issue – because of the extended layout of the islands, about 823 km from nor th to south – ever yone is brought up knowing they will have to travel. On this trip, during my days in The Maldives I spoke to many hotel staff about how they save up their time off and then fly to their home island for a good stay.
On Februar y 1st, 2019, LUX* Nor th Male opened: the week before, on Januar y 26th, over 30 global media and self-styled influencers were hosted for a preview of this luxur y resor t – and two weeks before that I, as is my lucky wont, was there for the first preview of all.
Beach Villa Lounge at LUX* Nor th Male Atoll
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Water Villa Lounge at LUX* Nor th Male Atoll
LUX* always has a reputation for cool design, and here Miaja has gone for three rhyming words, bright, light and white. The images speak the language far better than any words. Since all the 67 villas not only have private pools, at ground level, but flat rooftop decks above the main buildings (smallest interior size 110 sqm), I can easily imagine guests here having a swim and then retreating up to their rooftop to lie under a canopy and enjoy a couple of scoops of mango ice cream. Yes, as is the norm at LUX* proper ties, there are such cool-fun details as ICI ice-cream parlors, offering sensational flavours, all day long (they are all made here). Main restaurants, by the way, include ceviche tastings, and healthy all-day dining in GLOW. There is also, as in all LUX* proper ties, on-site coffee roasting, and here the Café LUX* coffee shop, another brand signature, is upper-level, above what could be called 'reception', although LUX* was one of the first companies to realise that that function, as such, is now as dead as a dodo.
John Rogers and I had a great lunch, outdoors at Beach Rouge – simple fresh fish and salad – and then espresso, for me, and cappuccino, for him, up in Café LUX*, looking out across its outside deck and down to the resor t's jetty (it is a great advantage for any Maldives resor t to have a jetty so that arriving and depar ting is direct plane-to-land rather than having to travel via an offshore pontoon). My plane arrived, and I had to leave this idyllic whitehaven resor t. Next time I will be able to stay, and take par t in morning yoga on an upper deck above the LUX* Me Spa's welcome house, and perhaps tr y a Shirley Page aromatherapy treatment, and enjoy learning, later, about the night sky with Steve Owens, visiting the resor t's ar t studio, and possibly taking a trip to a nearby local island, to meet Kashidoo villagers… yes, there is plenty to look forward to at a resor t that offers a stylish alternative to what could be called the Maldivian norm, thatch and R. Crusoe. – by Mar y Gostelow.
NESPRESSO
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Creating Harmony: The Art of Coffee Making
Text | Sophia Smith Photos | Nespresso
Sponsored by Nespresso Singapore
Engraved into our lifestyle and culture; one of the first things many people think of in the morning is their first cup of coffee. Coffee is not a routine, it’s a daily ritual. A person tasting coffee experiences an immediate sensation of enjoyment produced by the beverage’s typical acidic and bitter taste, but how is this unique flavour produced?
Coffee making is the ar t of conducting and controlling the transformation of the cherr y fruit into roasted coffee fit for the preparation of the beverage. The beans are removed from the fruit, cleaned and then dried, the order and the manner of these stages dramatically influence the development of the aromatic potential, and in all cases make the beans ready for the final transformation of roasting. It is only at this moment, under the action of the heat, that the aromas will be delivered.
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Creating perfect harmony means - above all - generating the combined pleasure of taste and smell in the almost simultaneous consumption of two substances. However, it is not sufficient to simply taste two products of excellent quality in order to obtain a satisfying result. An indispensable condition is that the sensorial perceptions of each (which are alternated and sometimes melded together for a symphony of combined flavours) are not hindered or neutralized by the perception of scents or tastes that are unrelated or too aggressive. Instead, they must find a natural accord in an opposition or concurrence of sensations.
Thus, in order to create perfect harmonization, good coffee should have equal intensity, subtlety and persistency. Finding that balance is an ar t that can be contemplated sip by sip. Thereafter, you can feel ready to star t your day.
Nespresso is an Official Coffee Par tner of Maison Miaja. You can enjoy a cup of Nespresso at Miaja Ar t Collections Galler y CafĂŠ. 9 Muthuraman Chetty Road, APS Building, Level 4, Singapore 238931 For more information about Nespresso Singapore, please visit: www.nespresso.com/pro
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Mr. Q - Founder
Style and Elegance for Tropical Dwelling Men
Text | Mr. Q
“ express confidence without too much hubris; care without too much fuss; and above all, simplicity with a little wit thrown in ” Born and raised in the small but revered (and feared) township of Mzilikazi, Bulawayo in Zimbabwe for the first 13 years of my life, through sheer luck I have moved and seen many par ts of an extraordinar y world and have finally set roots in Singapore (at least for now). I have been a menswear designer for almost 10 years now and have been operating my own bespoke clothing and styling business for 4 years. Unsurprisingly, clothing for me is a lot more than the sum of its par ts and I have proudly delivered an array of designs that have ser ved as a nuanced expression of each person’s individuality.
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“...patience, in an extraordinarily impatient world, yields copious gratification” I can never remember my grandfather saying anything about his clothes, but throughout my childhood his clothes said ever ything about him. One of the diktats I gleaned from him as a child was that as a man you needed to present the best version of yourself at all times. That may sound like a lot to ask of a man, but the “con” was in making it look natural and effor tless- what the Italians refer to as “sprezzatura”, a calculated nonchalance. Each day without fail he would wear something to the effect of sharply tailored clothing while eschewing their rigid confines and spend most of the day reading the newspaper on the veranda or at other times dozing off. All the while I would be sitting close by, and I could hear his smar t SEIKO dress watch ticking steadily, his elbow on the arm of his chair and his head rested against his folded fist. Born in 1919, he carried a strict demeanour about him. If formative years are the foundations of an individual’s character, then my grandfather’s must have been imbued in a frame of rigid formality and discipline. In retrospect I realise I was in awe of his unequivocal sense of masculinity and confidence, albeit quietly so. His masculinity and self assurance were no doubt his essence, while his unyielding sense of style and lack of compromise in his daily attire for tified the impression that he made, and inspired in me a fascination with how to define oneself as a man. At The Prefecture, we believe in a process of slow cultivation. To this end, when we create clothing for an individual, the clothing itself is simply the end result of our real objective: to create an identity around you, the wearer. Time is an expensive and rare commodity and increasingly so in today’s digital age. The challenges presented by the times we live in mean that small luxuries, like visiting your tailor, can be more elusive than they need to be. With that in mind this column will delve into the broad details, as well as the occasional finer nuances, of the components that make up the best of a man’s wardrobe but specifically for the tropical region, as is the specialism of our brand.
The Prefecture has ever y intention of retaining all that’s good about the traditional craft of tailoring: individuality, high quality products made by specialists and great ser vice; however the brand aims to extend these aspects and bring them under a single umbrella that forms a lifestyle headquar ters for men. Rarely do tailored ar ticles present themselves in relaxed form, instead always preferring to stay within the confines of formality, thus we present our interpretation of bespoke wares: fun, casual, finely designed clothing that takes its inspiration from a combination of British tradition and the tropics of South East Asia. While dressing well is an emphasis on good manners and self respect, perfection and formality tend to be overrated at the expense of real individual expression, so we at The Prefecture invite you to play... in style. We live in a Southeast Asian tropical wonderland, colours should be lively, eclectic and full of life- this is the kind of man we have in mind when putting their collection together. Unafraid of expression without being garish, the emphasis lies in projecting a sense of playfulness that lends you something of a sophisticated Bohemian aspect, while retaining a sense of relatable masculinity. Underlining our entire ethos in ever y collection is Elegance, Sophistication and Masculinity. The materials used in our garments speak volumes in communicating these elements. Largely comprised of linens, we also use voile, bamboo and Japanese silk- fabrics that not only add aesthetic ease to your silhouette but also express it in textures throughout. After all, if texture evokes emotion but men are emotionally reticent by nature, then the subtleties of the textures in fabrics ser ve to add that silent but still palpable note of expression in their wearer. We look forward to making your acquaintance. Mr. Q
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Origin Grill at Shangri-La Hotel, Singapore
Finding the ORIGIN of flavour
Inter view | Lucie Pugnot Photos | Shangri-La Hotel, Singapore
Interview with Chef de Cuisine Heidi Flanagan Set in the Shangri-la Hotel Singapore, Origin Grill is inspired by the origin of flavours, travel adventures and Singapore’s illustrious histor y of bountiful trade, colonial charm and tropical splendour showcasing fresh, authentic flavours from curated, unique and quality-driven ingredients.
Hailing from Sydney, Australia, Origin Grill Chef de Cuisine, Heidi Flanagan crafts courses from sea and land – such as line-caught sustainable seafood from marinecer tified coasts in New Zealand and the Philippines, and a bespoke beef selection featuring grass- and grain-fed pure, crossbred and full - blooded Angus and wagyu cattle from Australia, Ireland and Japan.
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As the restaurant’s name implies, the point at which Origin Grill begins is the ingredients. Origin Grill focuses on responsible sourcing and sustainability at ever y chance it gets. Origin Grill searches out interesting suppliers with bespoke products that create a sense of excitement and encourage discussion due to their origin, whether that’s beef from afar, seafood from the region, or tropical fruit sourced locally. Lucie Pugnot speaks to Chef Heidi to find out more about the ar t of her cuisine. LP: In your opinion, how does cooking relate to Art?
Chef de Cuisine, Heidi Flanagan
Flanagan’s apprenticeships and first junior sous chef positions star ted in Sydney. Moving to Europe in 1997, Chef Flanagan continued to expand her skills with engagements in the British gastropub scene and Asian fusion restaurants, settling in Ibiza, Spain, for three summers as head chef of Sake Bar. Returning to Australia in 2000, Chef Flanagan completed several engagements at luxur y hotels, restaurants and wineries as executive chef. Thereafter, she was posted in Bali to lead the culinar y team at an award-winning wellness retreat, where she was also flown as a private chef for high-profile celebrities at Turks and Caicos, Caribbean. Chef Flanagan loves to collaborate with like-minded individuals of different cultures who are passionate about creating the ultimate guest experience through an extensive array of ingredients from around the region. “The inspiring thing about food is that you don’t just eat it. It has the power to bring people together ”.
HF: I can't draw a clear comparison but I do have a great appreciation for Art. I think Art is beauty and Art allows self-expression. For me, the creation goes into the plate, like a canvas; I decorate it. My mum managed an Art Gallery for 12 years in Sydney in the late 70s and I was immersed and educated in this universe of beautiful Art collections. I have visited many museums across London, Australia and Paris. Living in Indonesia for 3 years I really appreciated the masks, sculptures and the other artefacts. I am touched by Art that evokes my memories. LP: Because of the beauty of your culinar y creations, you’ve been compared to an Artist. Do you consider your process similar to that of an artist? HF: Yes and No. I am still incredibly passionate about cooking, but with a strong business approach when you work in a hotel. When you work on a recipe, it is a step-by-step project which requires a larger team than the kitchen. This starts with the selection of ingredients. For example, if snow crab is coming into season, I think of ingredients that could work well in a crab dish; such as pepper, cilantro, lemon grapefruit or orange. These are flavour combinations influenced by my visits to the Caribbean. I compare it to building the foundation first and then the walls: you imagine the way of cooking and the plating. You need to have a clear idea in your mind.
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Raw Tuna on Seed Flat Bread
A RT D E L A TA B L E
LP: What dish do you consider to be your Masterpiece? HF: The Tuna Cracker, my signature dish, is a cracker made with seeds in a dehydrator. It is nut-free and dairy-free which replaces bread of grisinni. Then we top it up with tuna, nori salt, avocado and dried tomato pesto. It is only seeds, vegetables and the right amount of protein to feel satisfied. LP: Public opinion makes a distinction between chefs as “skilled artisans” versus chefs as true artists. Would you make such a distinction, and what would a chef need to show in order to be considered a true artist? HF: Every chef has his or her style or approach. In the end, the public is the final judge of what is Art when it comes to food. Nowadays, there are a lot of TV shows such as Top Chef and Masterchef. There is also the Michelin Guide and 50 Best restaurants, in all of these, the aesthetic of the food plays is important. My approach to food is more simple. The visual is of course important but the taste, in my opinion remains the key.
dining experience could be perceived as very skilful because it is more spontaneous and pushes the boundaries of your imagination. LP: Who is your favourite artist or work of art and why? HF: I like Gaudi, Salvador Dali and Banksy. I also love Norman Lindsay; he was a famous Australian Artist. I have a collection of various art pieces at home, but some don’t really resonate with me anymore – I think taste in Art evolves & changes with experiences. I think my favourite piece is a Norman Lindsay artwork my mother gave me. LP: For Proust, a taste recalling home and childhood was a madeleine dipped in tea. What food tastes like a memor y and holds the most emotion for you? HF: My dad was a fantastic cook. He had a restaurant in the early 80s, so my favourite dish would probably be something he would cook. You might laugh but it will probably be Curry! I also love Australian barbecue because it reminds me of sharing special moments with my family.
LP: Is sustainability an Art in cooking? HF: To be educated is very powerful and it can also encourage creativity. Cooking has evolved and factoring in sustainability into the ingredients of a menu or
Origin Grill, Shangri-La Hotel Singapore Lobby Level, Tower Wing, 22 Orange Grove Rd, Singapore 258350 www.shangri-la.com/singapore
Slow-roasted Crispy Pork Belly
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BANG & OLUFSEN
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“. . . the earthy aluminium bronze tone, the epitome of warmth and timeless elegance, with bespoke multi-coloured wool yarn from Kvadrat and premium walnut wood . . . ”
Beosound 2
Introducing the Bronze Collection by Bang & Olufsen
Text | Bang & Olufsen Photos | Bang & Olufsen
Sponsored by Bang & Olufsen
Taking inspiration from the architectural and interior trends of using warm colours and contrasting materials, Bang & Olufsen’s Bronze collection is a limited-edition family of the brand’s most popular multiroom speakers. The collection tastefully adds alluring dark, naturally warm hues, character and even more vivid sound to the modern home. “People are drawn to spaces and objects, where contrasts and details enhance each other. For the Bronze Collection speakers, we combined the earthy aluminium bronze tone, the epitome of warmth and timeless elegance, with bespoke multi-coloured wool yarn from Kvadrat and premium walnut wood. The bronze tone stays neutral from day to
night, season to season and year to year – maintaining its elegance and splendour regardless of trends and changing fashions.” say Bang & Olufsen architects and designers Anne Mee Dybbroe Andersen and Anna-Sophia Brune. The Bronze Collection brings together the iconic and powerful Beoplay A9 floor speaker, the Beoplay M5, Beosound 1 and Beosound 2 with 360-degree sound as well as the all-new Beosound Edge speaker, designed by Michael Anastassiades for Bang & Olufsen. All the speakers in the Bronze Collection are wireless multiroom speakers, allowing you to connect them to a home sound system and have Bang & Olufsen Signature Sound flow seamlessly throughout your home.
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Beoplay A9
Beosound Edge
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Designer Michael Anastassiades with his latest creation for B&O the Beosound Edge
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Beosound Edge Designed By Michael Anastassiades The Beosound Edge is a new powerful wireless speaker for the home that completely reimagines how we live with sound. Created in collaboration with globally acclaimed designer Michael Anastassiades, Beosound Edge is a thoughtful design that transforms the ever yday mundane to musical master y and adds aesthetic value to the home.
Text | Bang & Olufsen
driver on one side, which has an innovatively slim design and long excursion, while both sides of the speaker enjoy a dedicated 4” midrange and a ¾” tweeter.
To deliver a powerful sound experience at high volume, Beosound Edge debuts a ground-breaking acoustical technology named the Active Bass Por t1. The Active Bass Por t unites two classical concepts of loudspeaker The circular shape of Beosound Edge allows design, the so-called “closed-box” design and for two placement options. On the floor the “por ted design”. The acoustic analogy as a stunning centrepiece, amplifying resembles that of a car’s spoiler that “ . . . With visually and blending in with the colours of automatically raises as the car simple products, there speeds up. When playing at lower the furniture standing next to it, is nothing there to give volumes, it is using the closed or placed on the wall as a true you that first attraction. cabinet principle for the most gravity-defying statement that accurate sound reproduction, divides spaces in the home. No visual disturbance. But Proximity sensors detect when and as you turn up the volume when you see it the second you get close to the speaker, the Active Bass Por t opens to time around you suddenly output more energised bass. discreetly illuminating the pay attention and by the aluminium touch interface. third encounter you “We constantly pushed ourselves Adjusting the sound is as magical become even more to distil the idea of removing layers as the sound coming from it: you upon layers until what remained was a gently roll Beosound Edge forwards intrigued. ” and backwards to increase and decrease visibly pure and simple object. Because the volume. Softly to change the volume what happens when you experience highly moderately, while a stronger touch will change it more visual complex products is an initial impact, but once the dramatically. Let go, and it gently rolls back to its novelty of that impact dies there is nothing left. With original position. visually simple products, there is nothing there to give you that first attraction. No visual disturbance. But when you Drawing on acoustical technologies from Bang & see it the second time around you suddenly pay attention Olufsen’s advanced BeoLab por tfolio, Beosound Edge is and by the third encounter you become even more surprisingly powerful despite its compact footprint. To intrigued,” says Michael Anastassiades. deliver impressive bass capabilities, the Bang & Olufsen acoustic engineers have put in a huge 10” woofer bass Bronze collection and Beosound Edge are available in-store at Grand Hyatt flagship store, Takashimaya , TANGS at Tang Plaza , and selected B & O retail stores.
SORAA
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Crocker Ar t Museum, Sacramento, California
The Art of Lighting Interview with James Tan, Master Printmaker, in association with Soraa Lighting Renowned photographers, ar tists and galleries look to Master Printmaker James Tan for one-of-a-kind, high- quality fine ar t prints. With his advanced lighting design knowledge, James also produces impactful photography exhibitions. He spoke to Journal Ar tistique about his skills and techniques to master the ar t of lighting.
Inter view | Sophia Smith Photos | Soraa
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the artist uses to bring digital creations into the physical world. I need to connect with and understand the artist and their works and use craft to refine and bring forth the artwork, to create an exhibition true to the intent of the artist. It’s been 12 years since, and although I received my formal Fellowship as a printmaker from the Master Photographers Association (MPA) of the UK in 2009, I felt my that my journey had barely begun.
SS: How long have you been a master printmaker and what drives your passion for understanding colour and light in art prints? JT: I will answer this question in reverse as it might give a better context. I’ve always had a keen interest in physics and was trained as a mechanical engineer, and that laid the foundation for what was to come. My creative side eventually took hold of me in the early 2000s, driving me to take up photography initially as a hobby, then professionally. I started as an apprentice in a commercial photography studio; working my way up the departments and ranks to become a fully fledged photographer allowed me to steadily build and shape my ethos, which I still hold firmly to today. Photographers must be sensitive to light, shadows and colours, and master techniques to craft pictures using both natural and artificial lighting. A commercial photographer’s worth is equal to their ability to utilize light. A few years after practising as an independent architectural photographer, I ventured into printmaking simply because there didn’t seem to be anyone in Singapore who could produce prints good enough for what I desire my clients to receive. On hindsight, I guess through my career as a photographer/retoucher, I’ve been lucky to accumulate highly developed skillsets required to be a good printmaker. It takes more than a nice picture to be art. A printmaker is a conduit which
SS: How has technology changed in recent years? In what way has digital printing impacted your craft? JT: Digital printing, like digital photography, was a great enabler as well as a great disruptor. It opened up great opportunities to the masses to access what was once an expensive and extremely time-consuming process limited to those who devoted their lives to darkroom printing. Now everyone could print their pictures quickly, cheaply, easily, privately. But this wide accessibility to printing came at a cost. Prints in the last 15 years are poorly made, fade too soon, are coloured incorrectly, and perceived to be worthless because the craft and disciplines surrounding a good print have been mostly abandoned in lieu of cost and convenience. The swing back towards quality is bound to happen. Just like the widespread prevalence of fast food does not destroy the dreams and businesses of chefs dedicated to quality cuisine and serving their own unique experiences. So it is the same with photography, and with print, and lighting too.
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The Olympic Cauldron at the Museum of London, England
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SS: Can you tell us more about your collaboration with Soraa Lighting? JT: My experience with Soraa started some 5- 6 years ago; when I was tasked to light a large studio-cumgallery space for a discerning client. Prior to this project, I stayed on the safe side with halogens for their high CRI; for a short exhibition they’re sufficient, but they fail too often to be reliable in a permanent setting. There weren’t many good high - CRI LEDs around then, and after much research, only Soraa offered extreme flexibility with their Snap system and at a very reasonable price point, which I could easily integrate into all of my projects. I started as a consumer; back then I wasn’t trained in lighting design at all, but having a background of mechanical and electrical engineering, coupled with a clear vision of what I needed in order to bring out the best from the artworks, I was able to steadily build up my experience in lighting artwork in gallery settings. Moving forward, because of the ongoing work I’ve been doing on lighting analysis, the emergence of TM30-15 metrics, and the increasing awareness of how light affects the human circadian rhythm, I started working with Soraa in educating lighting designers and other related professionals on new approaches to lighting metrics and perceptual experiences. Additionally, in my opinion, Soraa’s unique violet based LED is very important for artwork illumination because it can activate optical brighteners present in
some art pieces without harmful UV. Most blue-pumped LEDs will simply create a dull yellowish surface where an iridescent white is desired, like in certain tableware or textiles. SS: How does displaying art differ in a galler y or commercial building to a residential setting, when it comes to lighting? JT: My professional experiences are mostly in gallery lighting, but if I were to draw from personal observations, the main difference would be that commercial interiors require integration of task lighting that conforms to local building standards, and residential would require additional lighting modes for living and evening relaxation settings, whereas gallery lighting’s sole purpose is artwork illumination and experience. All of which can benefit from proper application of lighting metrics and modern wellness studies. SS: Can you talk us through some tips on manipulation of light when displaying artwork? JT: When lighting artwork, my main priority is always to connect with the artist and understand the intent and sensibilities of the artwork. Only then can I employ the tools at hand to exhibit and light it properly, bringing the viewing experience as close as possible to what the artist intended.
About SORAA SORAA® pioneered full spectrum LED light sources, the hear t of which is our proprietar y LED technology manufactured in Nor thern California. Soraa’s unique approach to LED design and meticulous construction ensure our LEDs render infinite shades of white and all colors of the visible spectrum, from violet to deep red, perfectly, creating the most natural full-spectrum light possible. To achieve this, we star ted from scratch by developing a radically different type of LED -- a violet LED built from pure gallium nitride substrates we call GAN on GAN™. This fundamental breakthrough in LED science enables us to design a superior lighting platform for our unique por tfolio of lamps, luminaires, and light engines, creating an unmatched balance of uniform color and natural white rendering, superior light distribution, and clean, crisp beams that deliver beautiful light across a multitude of environments. Our novel approach has enabled and inspired lighting designers and specifiers to have unprecedented control and flexibility, giving them the ability to perfectly execute their creative vision. Visit : www.soraa.com
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Claude Monet, Water Lilies, 1908
The Healing Art of Wellness Let us face it: we live in a fast pace, stressful, consumer centric world where catching our breath to just enjoy the present moment, has become a precious commodity. The culture of scarcity we bathe in, fur thermore continuously reinforces that we are not good enough, not safe enough, not happy enough, not thin enough, not perfect enough, and I mean — fill in the blank! We pop vitamins into our system to nourish our prised equilibrium and maintain our health. For the most par t, we also tr y our ver y best to eat well, work out, meditate, practice gratefulness, and so on, as a means to round out the edges. And yet the greatest irony of it all, is that we so often forget the medicinal power of Ar t. Yes, that’s right, the medicinal power of Art. For someone like me who has been an avid explorer of holistic well-being techniques and treatments for over a decade, I am the first to admit that I seldom think of ar t as a
Text | Mollie Rogers Jean De Dieu
means to heal. Be it to reduce anxiety, stress, bottled-up anger and fear, or any other “unprocessed” ailment that calls for recover y in order to move onto greener and greater pastures in our fleeting journey here on ear th. Scientific studies now confirm that Ar t can change the structure of our brain, thereabout reducing tension and making us all-around better and happier individuals. This can be achieved through sheer contemplation of Ar t or in the Ar t making process itself. Have you ever walked into a galler y or a museum feeling blue and left with a dancing joyful skip? And let us not forget, the courageous swan-dive of making Ar t which allows for the ar tistic creation at stake to mirror the real life ‘issue’ when words are just too hard to communicate. As Edward Hopper—widely acknowledged as the most impor tant realist painter of the twentieth centur y in America—would so perfectly put it: “if I could say it in words there would be no reason to paint.” Yes, ar twork is truly a manifesto of the soul.
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Edward Hopper, Automat
“If I could say it in words there would be no reason to paint.” - Edward Hopper Psychology exists since the mid to late eighteen hundreds and whilst we can appreciate that both psychology and Ar t therapy have now joined forces, let us not forget that humans have been doing Ar t since the dawn of time. It is our most unique form of selfexpression which essentially makes Ar t a par t of our DNA. This might be a stretch for some, however I do invite the sceptics to ponder on the idea. At the end of the day, that which we can perhaps all agree upon, is that the ar ts are a powerful force that we are all a par t of in this human narrative. Yes, Ar t is so influentially packed, that in times of dictatorship or war, artists are the first to be silenced. This being said, all Ar t is subjective and hard to put into statistics when it comes to Ar t therapy; ar t therapists do not diagnose ar t to uncover the ailments at stake.
Effectively, they do not dissect patient drawings to give their medical prescriptive diagnosis. Only the patient can make sense of his or her imager y. What ar t therapy does, is give back to individuals control over their lives even if they feel helpless or hopeless. It is allowing them to seek inwardly and at their own pace. Only then and paired with proper treatment plans and goals can improvement be accurately measured. “Ar t healing is often confused with Ar t Therapy, and although ar t healing and ar t therapy are ver y similar, ar t therapy tends to be a doctor/patent healing process, whereas ar t healing is an individual/non-therapist healing process. But both use ar t to help the healing process.” Either way, ar t and wellness have a rooted seat within the holistic healing realm and it should not be forgotten. There is an unspoken magic around it. In the words of Pablo Picasso himself: “art washes away from the soul the dust of ever yday life.” And to this, I bowe.
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Gustav Klimt , Mother and Child
GOODRICH
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Feature Walls: Ways to let your walls do the talking
Text | Goodrich Photos | Goodrich
Sponsored by Goodrich
Wall ar t is an impor tant par t of interior decorating as it uplifts ambiance of a room. You can add character to any space with a feature wall in a beautiful floral wallcovering or one with a city skyline. The effect is show-stopping and contributes to a winning aesthetic. Completely easy to install, a feature wall is a quick fix to change an existing style. Choose from a selection of graphic patterns and colours, vibrant or monochromes to tone down or play up a par ticular theme.
What’s your style? Personalise your space with delectable textures, colours and prints that best define you. Free the mind and let your sense do the talking.
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Floral
Bringing nature indoors with garden inspirations.
Contemporary
Streamlined prints in easy monochromatics.
Resort
Laid back elegance with smooth lines and neutral shades.
Geometric
Bold Shapes, solid colours and unconventional patterns.
Mural
A fashionable take with flair and flourish.
Stripes
Timeless favourites with opulence, glided details and antique charm.
Modern Classic
Ornate, opulent and timeless regal old world charms.
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8 ways to let your walls do the talking 1. Quick makeover : A quick fix to change a room’s style. Choose from a selection of subtle patterns and colours to tone down or play a par ticular theme. 2. Undercover : Cover flaws and protects the wall surface. 3. Visual play : A fabulous tool for optical illusion, making a small room bigger, narrow corridors wider and large rooms cosier. 4. Elegance embraced : Provides an air of quality and richness absent from bare walls.
5. Boldly Forward : Elevates character in dull rooms . 6. Personalised Ar t : An excellent canvass for creating texture with your favourite prints and patterns. 7. Express yourself : Unleash your creativity! Select a wallcovering that best represents your personality and style. 8. Textures & Tales : A more interesting option to paints, wallcoverings are econopmical, lasting, easy to maintain and install.
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The World of ARTisanship
Text | Isabelle Miaja Photos | Ar telier
Sponsored by Ar telier
I went on a journey with Artelier ; to a world of authentic textile culture. I discovered collectable textiles, accessories, fabrics and art materials from many corners of the globe, along with fascinating stories of indigenous artisans and ancient techniques.
Clothing is a visual language; without uttering as much of word you can leave a lasting impression with what you wear. Aside from being a necessity, clothing has long been a par t of the most profound expression of our personality.
Materials and production techniques allow artists and designers to project their creative ideas; in this edition of Journal Artistique, we proudly present the house of Jakob Schlaepfer.
Jakob Schlaepfer house has been an influential voice in contemporary fashion for the past 112 years, and together with the biggest icons in fashion, they have produced some of the most amazing fabrics. Influential, yet very quiet, considering the many red-carpet ovations that their stunning dresses worn by the stars have provoked at the Cannes Film Festival and The Oscars. Their ar tistic creations never go unnoticed in Vogue Magazine.
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The firm, founded in 1904 by Rodolf Vogel in the beautiful Canton of St Gallen, is at the heart of an area reputed for their textile manufacturing since the 16th century. Here, artisans were employed to make the linen that was used to bind the Gutenberg Bible, produced in mass in Germany.
This innovation and a constant encouragement for their team of designers to unleash unrivalled creativity and free themselves from the “same old” gives them the wings to create incredible textiles that not only “wow” fashion houses, but also the Interior design world.
The Region is most suitable for cultivating flax and during the right season the fields of St Gallen were said to look like white sea foam. The fabric laid out under the sun to bleach was called “white gold” due to the amount of wealth it brought to the region. To this day it continues to be a place where luxury fabrics are being dreamed, weaved and exported. Jakob Schlaepfer produces six collections per year ; with 200 textiles in each collection. This leading textile company has woven textiles and masterful fabrics for the top designers of the world, from Dior to Chanel, to Oscar de la Renta, they all have come to find inspiration within the bottomless wealth of creative and innovative textiles produced by the house. More than 60,000 fabrics hang in their archives awaiting the inquisitive mind and the great wealth of their world re-known clientele. Their archives are indeed a treasure chest; the Mecca of the fashion world. Being a pillar of the past and holding the memory of the entire fashion world does not mean being old fashioned. The longevity of Jakob Schlaepfer is the testament of their constant innovation; both in creativity and in technology. Through reforms in its processes for cotton production, the key ingredient to their success is flexibility and adaptability. “Sequins are the foundation on which Jakob Schlaepfer was built.” says Camilla Ornella Bernbach, a senior designer at the house. Having purchased the global rights to industrial sequin embroidery on shuttle machinery in 1963, it was the milestone that put the house on the world map of fashion textiles, many of the patent titles they hold show their responsiveness on the demands that are a constant in the fashion world. Jakob Schlaepfer was also amongst the first to adopt computer technology and graphic design software in the 1980’s. In 2001, the firm set up their renowned inkjet depar tment which many prestigious Maisons are hoping to emulate. Laser cutting is also being used to enhance all aspects of their visionary creations for the future.
Managing Director, Tessa Ong
At Artelier Furnishing, Managing Director, Tessa Ong, has graciously shown me the array of fabrics that will become part of my own interior designs. They inspire me to be daring and spread my creative wings. Researching the House of Jakob Schlaepfer is like entering Ali Baba cavern! I came back with glittering eyes and a new dream to wish upon. Tessa ; thank you for giving me the key to let go of the past and create a new world. Artelier pride themselves in scouring the market aiming to provide customers with the finest and most exclusive textiles and fabrics.
For more information visit: Ar telier Galler y at 276 River Valley Road, Singapore Website: www.artelier.com.sg/cp/
Dekton Kitchen - Arga (Stonika)
Dekton® By Cosentino Unveils Stonika Its Most Advanced Collection Yet Sponsored by Cosentino
Dekton® by Cosentino, the ultra-compact architectural surface with advanced technical proper ties for both interior and exterior application, introduces the Dekton® Stonika Collection — its most advanced offering yet. Comprised of six stunning new hues, the Stonika Collection draws inspiration from the most coveted natural stone materials – with spectacular shine and unrivaled durability. New findings in the manufacturing process also allow for sharper designs and in turn, an
Text | Cosentino Photos | Cosentino
ultra-realistic appeal. The Stonika Collection also offer the best resistance to thermal shock and impact in the market. This comes as a result of the manufacturer’s continued commitment to staying at the forefront of design and durability through its industr y-leading research and development. Created from a sophisticated blend of raw materials from glass, quar tz and porcelain, Dekton has a high resistance to UV rays, scratches, stains and thermal shock. Its durability and ease of care offer a wealth of applications, including flooring, facades, wall cladding, worktops, stairs and more. It is available in large format and a variety of thickness which allows for seamless creative possibilities for architects and designers for both residential and commercial projects.
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The Dekton Stonika Collection includes the following 6 colors:
Olimpo takes inspiration from the ver y best Carrara
marble for the most discerning customer. Dramatic, elegant veining against a soft white background is accented by its dazzling shine.
Taga , also inspired by Taj Mahal quar tzite, offers a more modern interpretation to align with the latest trends while maintaining the true character of the stone, with gray tones and marble veins to highlight the structure.
Bergen channels the perfection of Por tobello natural
stone. Its intricate, sculptural structure is strengthened by its lustrous finish.
Sogne captures the distinctive, weathered beauty of Gris Pulpis natural stone. With a texture that blends natural stone and aged concrete, it evokes an industrial aesthetic with the juxtaposition of it’s ultra-glossy shine.
Arga embraces the iconic texture and soft warmth of Taj Mahal quarzite. The soft, creamy background with subtle veins intensifies its dramatic structure.
Korso embodies the same texture as Sogne, but with warm, luxurious ear th tones. Gray veins coupled with its intense base makes a stunning statement.
Dekton Stonika Collection will be available for viewing in April 2019 at Cosentino City Singapore. 34/35 Duxton Road, Singapore 089499 T . 6713 9543 | E . csea @ cosentino.com
For more information about DektonÂŽ by Cosentino, please visit: www.cosentino.com
Darkroom
One in a Million Lighting
Text | Million Lighting
Sponsored by Million Lighting
Million Lighting is one of Singapore's leading lighting specialists in decorative, architectural and customised lighting solutions boasting four decades of established track record. It has car ved a niche in the market as the preferred choice of top developers, architects and interior designers seeking high- quality turnkey lighting solutions and a comprehensive full suite of ser vices, from retail and distribution, decorative lighting customisation and technical suppor t. Its strong team of lighting designers, engineers and product specialists brings in-depth knowledge and vast experience to ever y project as well as a steadfast commitment to quality, innovative design and technical excellence and comprehensive after- sales suppor t.
203 Kallang Bahru, Million Building, Singapore 339340 T. 6743 2033 | E. enquir y@millionlighting.com | www.millionlighting.com
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The Lighting Galler y
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Michelangelo Buonarroti The Lamentation over the Dead Christ c. 1540 Black chalk, 28.1 x 26.8 cm The British Museum, London Exchanged with Colnaghi, 1896, 1896,0710.1 Š The Trustees of the British Museum
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Text | Aleksandra Lis
Singapore is rapidly becoming a prime destination for Asian and international contemporary art. Much like other metropolitan cities, galleries in Singapore have a strong culture of supporting regional talents, which
gives it a vibrant and exciting art scene. The world knows Singapore as the Little Red Dot but these cultural highlights below prove that the Lion City has plenty to offer when it comes to groundbreaking art.
Singapore Art Scene March - May 2019 Minimalism: Space. Light. Object National Gallery Singapore & Ar tScience Museum 16 Nov, 2018 – 14 Apr, 2019
LFuture World: Where Art Meets Science Ar tScience Museum Permanent Exhibition
The first Minimalism exhibition in Southeast Asia is set across two venues: National Gallery Singapore and Ar tScience Museum. Led by National Gallery Singapore, the exhibition features over 150 works (including works of Frank Stella, Mark Rothko, Ai Weiwei, Anish Kapoor and many others) that explore the history and legacy of this groundbreaking ar t movement, which continues to inspire a wide range of ar t forms and practitioners across the world today.
The Ar tScience Museum at Marina Bay Sands fuses art and science to deliver fascinating stories. This iconic venue houses a permanent exhibition, FUTURE WORLD: Where Art Meets Science which has been curated and created together with world’s leading interdisciplinary ar t collective teamLab. Visitors from all around the world can experience a dynamic 1,500 square-meter digital universe of interactive ar t installations on the themes of nature, town, park and science.
For more information: www.minimalism.sg
www.nationalgaller y.sg/festivals/light-to-night-traces-and-echoes
Waves of Light by ⒸteamLab
teamLab Miaja Gallery in collaboration with Ikkan Ar t Gallery Permanent Digital Ar t Exhibition A selection of recent digital ar tworks by teamLab is currently on display at the Miaja Galler y in Singapore. This must-see ar t exhibition in collaboration with Ikkan Ar t Galler y includes breathtaking digital ar t pieces
such as ‘Waves of Light’. This ar twork consists of computer- generated waves that are expressed as a continuous body of water, creating a new experience between humans, nature and ar t. 9 Muthuraman Chetty Road, APS Building, Level 2, Singapore 238931 Mon – Sat, 10 am – 7pm Sundays & Public Holidays, by appointment only
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The Waterboys by David Yarrow
It’s Five O’Clock Somewhere Solo Exhibition by David Yarrow Miaja Ar t Collections 15 Mar – 11 Apr, 2019 Miaja Ar t Collections is pleased to present a solo exhibition by David Yarrow: It’s Five O’Clock Somewhere. World renowned as one of the world’s best fine ar t photographers, David Yarrow’s immersive, evocative and pin sharp black and white prints are his signature creations. The exhibition features new images from his trip to Mozambique and his recently completed project with supermodel Cindy Crawford in Montana. Yarrow’s large format monochrome images are on display in many leading galleries and museums across Europe and Nor th America. By the spring of 2017, he had firmly established himself as one of the bestselling fine ar t photographers in the world, with the limited-edition
prints regularly selling at over $40,000 a piece and his more recent work is now priced even higher. In 2016, Rizzoli New York published his latest book – Wild Encounters – with a foreword written by HRH The Duke of Cambridge (Prince William). The book was awarded “Ar t Book of 2017” by Amazon and has already sold out a second print run. All Yarrow’s royalties from the book continue to be donated to Tusk, the leading British NGO, that focuses on animal conservation in Africa. Conservation and giving back are integral to the Yarrow brand and David has reaffirmed his goals of raising significant amount of funds for conservation and charitable projects.
9 Muthuraman Chetty Road, APS Building, Level 4, Singapore 238931 Mon – Sat, 10 am – 7pm Sundays & Public Holidays, by appointment only
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Man vs. Nature The blurry lines that once existed between art, science and technology have been all but erased in recent years. We’ve seen artist Neil Harbisson extend his human limitation of colour perception by implanting a cyborg antenna into his own skull. Blockchain technology is boosting the way we track and sell art on the digital market while virtual reality enables us to interact with a computer-simulated environment, making it possible to step into whole other worlds imagined into existence. Art, science and technology have individually shaped the way we relate to beauty, objects and our surroundings
Text | Naomi Stahl
for hundreds of years, but when they meet together, do they hinder or enhance our ability to fully connect with our environments? The zeitgeist suggests our increasing desire for multi sensory experiences has had a huge influence on art today. These exhibition highlights explore how art, science and technology can alter our perception of how humans and nature have impacted each other’s existence, inviting us to reflect upon our increasingly delicate relationship with our natural world.
London Art Scene March - May 2019 We Live In An Ocean Of Air Saatchi Gallery 7 Dec, 2018 – 5 May, 2019
Bill Viola | Michelangelo – Life, Death, Rebirth Royal Academy of Ar t 26 Jan – 31 Mar, 2019
We Live in an Ocean Of Air is a 20 minute vir tual reality installation by Marshmallow Laser Feast that took place in London’s Saatchi galler y last month. The exhibition took visitors on a truly immersive journey which explored the invisible connections that we, as humans, have with the natural world. Using real-time breath sensors and hear tbeat monitors, visitors became a par t of the installation of awe-inspiring forest scenes and underwater worlds as exquisite visuals unfolded in reaction to the viewers slightest movements. “By placing the audience in the centre of these ecosystems, we aim to bring them closer to an understanding of our interconnectivity.” States Ersin Han Ersin of Marshmallow Laser Feast .
Life, Death, Rebirth explores the kinship between Bill Viola and Michelangelo, two ar tists born centuries apar t that share a common fascination with the cycle of life, each explored through distinctly different mediums. Curated together in one symbiotic show, visitors can discover some of the ar tist’s most arresting works, including Michelangelo’s drawings of The Risen Christ, and a series of Viola’s major installation works that mark the pinnacle of his career, including his Tristan’s Ascension (The Sound of a Mountain Under a Waterfall) a five-metre-high projection depicting the ascent of the soul after death. An almost supernatural connection forms between the two ar tists in this captivating union of ar tistic parallels that spans almost 500 years.
For more information: www.saatchigaller y.com
For more information: www.royalacademy.org.uk
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Bill Viola Tristan’s Ascension (The Sound of a Mountain Under a Waterfall) 2005 Video/sound installation Performer : John Hay Cour tesy Bill Viola Studio Photo: Kira Perov
Beasts of London - Hear Our Stories Museum Of London 5 Apr, 2019 – 5 Jan , 2020
Michelangelo Buonarroti The Risen Christ c. 1532-3 Black chalk on paper, 37.2 x 22.1 cm Royal Collection Trust © Her Majesty Queen Elizabeth II 2019
The Museum of London is par tnering with the Guildhall School of Music & Drama to create Beasts of London – Hear Our Stories, a fully interactive digital installation using video projection mapping. The exhibition tour will be narrated by the animals that have played a key role in making the city of London what it is today. Guided by an unlikely group of lions and elephants and horses (oh my!), visitors will be invited to take an immersive tour through time and London’s ‘beastly’ histor y, and to discover objects and curiosities that span from the Roman era through to present day, found in the museum’s collection. For more information: www.museumoflondon.org.uk
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Text | Bernard Chatel
Paris Art Scene March - May 2019 Musée Nissim de Camondo Musée Nissim de Camondo in the XVII arrondissement and next to the Parc Monceau. An Hôtel Par ticulier entirely furnished by a banker and famous Ar t collector family in XIX / XX centur y, la crème de la crème of royal furniture, porcelains, paintings and so on. From the kitchen to the bathroom of Madame, you can visit all from the ground floor to the garden.
Musée Guimet and Musée d’Art Contemporain Musée Guimet nearby Place du Trocadero, this museum has been entirely renovated by architect JM Wilmotte, and presents a splendid collection of Asian antiques. After having completed your visit, you can jump on the other side of the street and go to the Musée d’Ar t Contemporain of Paris. You’ll be facing the Seine river and Eiffel Tower.
Rober t Delaunay, A Window, 1912 Exhibition, “Le Cubisme” at Pompidou Center
Whether it's your first time or a return visit; Paris is always a great option. Here is my eclectic arty "to do list" for this time of the year:
Musée des Arts Décoratifs Gio Ponti, XX famous Italian designer, has a splendid retrospective at the Musée des Ar ts Décoratifs next to the Louvre Museum. From elegant cutler y by Christofle to ceramic tiles, Gio has brought his visionar y talent to interior design, a large selection of ar t pieces are featured in this exhibit.
Pompidou Museum In the Centre, Pompidou Museum, two exhibitions have recently star ted : Cubism (1907 – 1917), last show was held in 1953 and for this one: Picasso, Braque, Leger, Delaunay and many more are for the first time gathered and come from all over the world to reflect what was Cubism: 300 masterpieces. Besides, and in the same place, you can also discover the first retrospective about Vasarely, king of Optical Ar t.
BY CHATEL Gallery You can also come and say hello: BY CHATEL Galler y, 58 rue des Tournelles, Paris III. I'll be happy to assist you during your Parisian stay. "To be Parisian is not to be born in Paris, it is to be reborn" - Sacha Guitr y
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Editor’s Pick
Text | Miaja Ar t Collections Ar twork & Photo | Alison Bignon
Artist: Alison Bignon
For ar tist Alison Bignon, “Ar t is first and foremost an encounter.” Her work draws on exchanges with ordinar y people, and it is in her apar tment in Clichy, Paris that the ar tist listens to and transcribes people's life stories, creating them into ar t. These stories are carefully stored in what the ar tist terms an “emotional data bank.” According to Alison, to capture the inner movements of the soul, one must be a sensitive and empathetic listener and have the subtle versatility of an ar tist in order to transcribe. Combining her background and experience as a classically trained actor, director, and visual artist, Alison transcribes and creates the stories of her sitters using a range of media including videoed performance monologues, paintings, drawings and engravings.
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She describes this process as being similar to the work of an anthropologist that archives their research. Emotions form the central subject of Alison’s work, leaving one with an intricately detailed and complex composition that combines disparate elements to form a coherent and harmonic whole. Her paintings seep delicate strokes of colour – a spectrum of emotions, such as a painful wound that is difficult to heal and may scar over time. These markings of time – between past and present - are sewn together by the ar tist’s signature use of red thread, which acts as a subtle link between these intersections.
Ar tworks by Alison Bignon are available at Miaja Ar t Collections. For more info, contact : aleksandra@miajaar tcollections.com
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