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photo credit: Art Miami Fair

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photo credit: Redwood Media


L if e s t y le

photo credit: Redwood Media

A generation ago, Miami was considered a cultural wasteland – coined “Paradise Lost” by Time Magazine – but instead of succumbing to urban disaster, a coalition of business benefactors, civic leaders, and art visionaries found a lifeline in the arts when a wave of energy suddenly swept over the city in the 1980’s as a host of art museums and organizations suddenly began to populate the artistic landscape, and a single benefactor’s $5 million dollar donation galvanized the city’s art

philanthropy community; while the area’s cultural mix infused the creative community with a unique flavor. In the 1990’s, the art market plummeted as Art Basel searched for a satellite location, so, when it bounced back with the American market being the strongest, Miami – serving as a neutral zone for North and South America, much like Switzerland does for most of Europe – proved the perfect spot for collectors to view and purchase art while

spending time enjoying one of America’s ultimate vacation spots. The first Art Basel Miami, confirmed for December 12­ 16, 2001, was scratched off the global art and culture calendar due to 9/11 and the anthrax scare, but several local collectors – refusing to pass up the opportunity to enhance the city – opened the doors of their homes to the public, exchanging fair booths for their cozy mini museum living quarters; which resulted in the creation of local art

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Ar t institutions like De La Cruz and The Rubell Collections. The first official Art Basel Miami taking place in December of 2002 hosted 15 events, increased to close to 300 in 2013, and exponentially expanding to troves of VIP’s chartering jets to come to one of the most important global art happenings of the year in 2014 and 2015. In 2016, thousands of local and global art lovers, collectors, curators, art dealers, and museum experts flooded the booths at Art Basel Miami Beach and its satellite fairs: Aqua Miami, Design Miami, Fridge Art Fair, Ink Miami, Miami Project, NADA Art Fair, Pulse Miami Beach, Satellite Art Show, Scope Miami Beach, Untitled, X Contemporary Miami Beach, Art Concept, Art Miami, Conception Art Fair, Context Art Miami, Miami River Art Fair, Pinta Miami, PRIZM, New Red Dot Miami, Spectrum Miami, and Superfine! The Fairest Fair. Alongside the conventional fair venues,

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local and global artists rented rooms in scores of Miami Beach hotels, local artists opened their studios, and galleries and cultural institutions held a myriad of events. In Wynnwood’s artistic neighborhood, Tony Goldman, a key figure in SoHo and South Beach’s revival, became the main driving force in orchestrating its gentrification by acquiring

"The once dormant downtown area has become the ultimate place to work, live, and play in Miami"

studios, restaurants, and a growing number of high­end boutiques that spill over from its neighboring Rodeo Drive style design district. But, as is often the case, artists pave the way for progress, and developers pave over the artists; consequently, as the Wynnwood art community is pushed out by rapid development and the design district’s need for additional space, the art fairs that dotted the area with pristine white tents each December are being re­located to downtown’s beautiful, vibrant arts, museum and entertainment district. In this instance, the move is the perfect one for the city’s continuously growing cultural landscape, as the once dormant downtown area has become the ultimate place to work, live, and play in Miami; with easy accessibility to Art Basel Miami Beach, the airport, the beaches, hotels and restaurants, and an endless array of cultural events and a vibrant night life scene.

sizable chunks of warehouse space in 2006. A visionary with an uncanny knack for imagining thriving arts neighborhoods where others saw urban plight, Tony created an open air murals gallery he named: “Wynwood Walls”; which debuted during Art Basel 2006. The famed neighborhood ­ visited by thousands of locals and international tourists throughout the year ­ hosts The Little River area to the monthly art walks, and is north of Wynnwood is also home to galleries, art


Ar t opening its doors to pioneering creatives who cannot afford the Wynnwood/downtown steep prices; some of the re­ located galleries, having learned their lesson, are opting for purchasing rather than leasing their spaces to assure the longevity of the new budding arts district.

influence, including: The Perez Art Museum in Downtown Miami, The University of Miami’s Lowe Art Museum, The Bass Museum of Art in Miami Beach, The Museum of Contemporary Art in Miami Beach, CubaOcho Museum and Performing Arts Center in Historic Little Havana, The Institute of A beneficial side effect of a Contemporary Art in strong art scene if the Miami, The Rubell Family offshoot of museums and Collection, The Margulies cultural institutions that have Collection at the popped up throughout the Warehouse, Wynnwood city, exponentially enhancing Walls, de la Cruz the vibrancy of the artistic Collection, the Haitian

photo credit: Art Basel Fair

Heritage Museum in Little Haiti, and Art Fusion Galleries. When the hustle­bustle of Art Basel Miami Art Week dies down, the city of Miami no longer curls up and goes into a dormant state until the next art week rolls around, as artists, galleries, museums, and institutions continue to nurture and share the magic of creativity with locals and year­round tourists with monthly events art walks, and gallery openings, and open artist studio visits.

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photo credit: Leonard Volk

D a lla s T h e D a lla s a r t m u s e u m a n d g a l l e r y s ce n e , a l w a y s v i b r a n t , h a s b e e n n e w l y i n vi g o r a t e d b y s o m e r e ce n t e x ci t i n g e ve n t s . T h e D a l l a s M u s e u m o f A r t h a s a n e w D i r e ct o r ; t h e C r o w C o l l e ct i o n o f A s i a n A r t o f f e r s s a n ct u a r y a n d p e a ce t h r o u g h i t s a r t ; t h e N a s h e r S cu l p t u r e C e n t e r p r o d u ce s s o m e i n cr e d i b l e , p r e s t ig io u s e x h ibit s , a n d t h e D a l l a s C o n t e m p o r a r y n e ve r ce a s e s t o a m a z e , f r o m f a s h io n s h o w s t o p h o t o g r a p h y e x h ibit s . M a n y a r t g a l l e r i e s h a ve m o ve d t o a n e w a r e a

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photo credit: Leonard Volk

B y Ki m b e r l y A s t o n , A s t o n A r t A s s o ci a t e s o n D r a g o n St r e e t t h a t h a s b e co m e a m a j o r d e s t i n a t i o n f o r l o ca l a r t p a t r o n s . T h e D a l l a s A r t F a i r co n t i n u e s t o g r o w a n d t h e ci t y a n t i ci p a t e s i t s a r r i va l a n d s u r r o u n d i n g e v e n t s e a ch s p r i n g . L e t ’ s s t a r t w it h t h e n e w D M A . T h e ci t y i s a b u z z a bo u t t h e d y n a m ic n e w E u g e n e M cD e r m o t t D i r e ct o r , D r . A g u s t i n A r t e a g a , w h o h a ils f r o m M U N A L ( M u s e o N a ci o n a l d e A r t e ) i n M e x i co C i t y . H e h a s b e e n e m b r a ce d b y t h e ci t y o f D a l l a s a n d e v e r y o n e i s e x ci t e d t o s e e h o w h e w i l l

l e v e r a g e h i s i m p r e s s i v e t r a ck r e co r d . A f a b u l o u s r e ce n t D M A e x h i b i t i n cl u d e s L u ci e St a h l , a G e r m a n a r t i s t e n j o y in g h e r f ir s t U S m u s e u m o p e n i n g . St a h l ’ s s u b j e ct m a t t e r r a n g e s f r o m t r a s h t o m a g a z in e im a g e s , a n d s h e u s e s a f la t be d s ca n n e r t o p r o d u ce v e r y l a r g e s ca l e i m a g e s t h a t a p p e a r t o co m e o u t o f t h e r e s i n w i t h w h i ch s h e e n ca s e s h e r w o r k s . T h e im a g e s lo o k ve r y g l o s s y a n d e x p l o r e m o d e r n th e m e s o f co n s u m p t i o n a n d b r a n d i n g . T h e D M A i s a l s o cu r r e n t l y


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Visitors have become acquainted with contemporary artists from around the world, including the paintings of Shen Wei.

s h o w i n g “ D i vi n e F e l i n e s : C a t s o f A n ci e n t E g y p t , ” w h i ch f e a t u r e s ca t s a n d l i o n s i n Eg y p t i a n m y t h o l o g y a n d t h e ir r o le a s s y m bo ls o f d i vi n i t y . T h i s i s a n e x a m p l e o f t h e d i ve r s i t y a n d f a s ci n a t i o n t h e D M A o f f e r s . O n t o t h e C r o w ! E x e cu t i v e D i r e ct o r A m y L e w i s H o f l a n d h a s cr e a t e d a n a m a z i n g s p a ce m e a n t t o e v o k e ca l m , w e l l n e s s , a n d m in d f u ln e s s . T h e p e r m a n e n t A s ia n a r t co l l e ct i o n s i n cl u d e s s t u n n i n g p i e ce s , s u ch a s a co m p l e t e

se t o f Ja p a ne se sa m u r a i a r m o r . N e w e x h ibit io n s a l w a y s e x ci t e , i n cl u d i n g o n e ca l l e d “ D i v i n e P a t h w a y s : So u t h a n d So u t h e a s t A s i a n A r t , ” w h i ch e x p l o r e s t h e i n f l u e n ce s o f H i n d u i s m , B u d d h is m , a n d J a in is m in d if f e r e n t m e d ia . D a lla s a r t l o ve r s l o o k f o r w a r d t o u p co m i n g e x h i b i t s a n d e v e n t s , i n cl u d i n g “ W i s d o m o f C o m p a s s io n : T h e A r t a n d S ci e n ce o f I w a s a k i T s u n e o , a J a p a n e s e a r t i s t a n d s ci e n t i s t w h o p a i n t e d a s a n a ct o f d e vo t i o n t o h i s f a m i l y . T h i s

e x h i b i t d o v e t a i l s n i ce l y w i t h D a l l a s ’ a p p l i ca t i o n t o b e a 2 0 1 7 C it y o f C o m p a s s io n , a p r o ce s s t h a t i n cl u d e s a f o r m a l ch a r t e r a n d a co m m i t m e n t b y i t s m u s e u m s , co r p o r a t i o n s , s i t e s o f w o r s h i p , a n d i n d i vi d u a l s t o f o cu s o n t h e i m p o r t a n ce o f co m p a s s i o n a t e a ct s . A n d t h e N a s h e r ...T h e p e r m a n e n t co l l e ct i o n i n cl u d e s s cu l p t u r a l m a s t e r p i e ce s b y J e a n A r p , C o n s t a n t i n B r a n cu s i , S co t t B u r t o n , a n d Jo se p h B e u y s.

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T h e J o e l Sh a p i r o e x h i b i t t h i s p a s t s u m m e r w a s s im p ly s t u n n i n g a n d r e p r e s e n t a t i ve o f h is g e o m e t r ic co n s t r u ct i o n s o f f o r m s t h a t s u g g e s t d if f e r e n t t y p e s o f b o d i e s ; h o w e ve r , t h i s e x h i b i t r e v e a l e d a n e w d i r e ct i o n f o r Sh a p i r o : t h a t o f i m a g e s s u s p e n d e d i n t h e a i r , w h i ch e vo k e a d i f f e r e n t s o r t o f e x p e r i e n ce , i n cl u d i n g p o w e r f u l u n e a s e . A cu r r e n t e x h i b i t t h a t i s ve r y t i m e l y i s t h a t o f Ka t h r y n A n d r e w s e n t i t l e d R u n f o r Pr e s i d e n t . T h e L o s A n g e le s ­ ba s e d a r t is t e x p lo r e s t h e r e la t io n s h ip b e t w e e n p o p u l a r cu l t u r e a n d p o w e r s t r u ct u r e s , m o s t n o t a b l y g o ve r n m e n t . A n d r e w s p r e s e n t s bo t h h is t o r ic a n d im a g in e d p r e s i d e n t i a l ca n d i d a t e s a n d vi g n e t t e s r e l a t e d t o t h e e l e ct i o n p r o ce s s — f r o m ca m p a i g n i n g t o t a k i n g o f f i ce to th e e n d o f a te r m . T h e D a lla s C o n t e m p o r a r y is a l w a y s a l i v e l y s p a ce , f r e q u e n t l y o p e n f o r s p e ci a l e v e n t s , s u ch a s t h e d i v i n e M T V R e d e f in e a n d t h e S t a y i n g A l i ve F o u n d a t i o n , w h i ch b u i l d s a w a r e n e s s f o r H I V / A I D S, a n d A r t T h i n k , a w o n d e r f u l o u t r e a ch p r o g r a m f o r h i g h s ch o o l s t u d e n t s . C u r r e n t e x h i b i t i o n s i n cl u d e


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photo credit: Leonard Volk

L a e r ci o R e d o n d o ’ s “ P a s t P r o j e ct s f o r t h e F u t u r e ” , Pe d r o R e y e s ’ “ F o r F u t u r e R e f e r e n ce , ” a n d B r u ce W e b e r ’ s “ F a r F r o m H o m e .” L a s t bu t n o t le a s t is t h e a r t g a l l e r y s ce n e i n D a l l a s . W h ile it u s e d t o be m o r e f r a g m e n t e d , i t s p r e s e n ce i s n o w f u l l y ce m e n t e d o n D r a g o n St r e e t ( a n d o n s i d e s t r e e t s o f f D r a g o n St r e e t ) , w h i ch i s a l s o s m a t t e r e d w i t h ch i c b o u t i q u e s . T h e m a j o r g a l l e r i e s i n cl u d e L a u r a R a t h e , Sa m u e l L y n n e , C r a ig h e a d G r e e n , B a r r y W h is t le r , a n d C h r is t o p h e r M a r t in . T h e s e g a lle r ie s a r e a l l w e l l ­ r e s p e ct e d i n t h e co m m u n i t y , ca r r y e s t a blis h e d ( a n d s o m e e m e r g in g ) a r t is t s , a n d h o s t co m p e l l i n g e x h i b i t s a n d e ve n t s . D r a g o n S t r e e t

G a l l e r y n i g h t i s a n e s p e ci a l l y f u n e v e n i n g i n w h i ch a r t p a t r o n s ca n g a l l e r y h o p a f t e r h o u r s . T h e s t r e e t r e t a in s a n e d g y , u r ba n f e e l a s it r e m a in s m o s t ly g a lle r ie s a n d in t e r io r s s to r e f r o n ts . M a n y o f t h e s e g a lle r ie s p a r t i ci p a t e i n t h e a n n u a l D a lla s A r t F a ir in A p r il ( e ig h t y e a r s o ld a n d g o in g s t r o n g ) , w h i ch h a s g r o w n q u it e la r g e a n d d r a w s a n i n t e r n a t i o n a l cr o w d . T h e A r t F a ir p r e s e n t s a n in s p ir a t io n a l w e e k e n d a t t h e F a s h io n I n d u s t r y G a lle r y ( F I G ) , a s w e l l a s o t h e r l o ca t i o n s , s u ch a s t h e D M A , D a lla s C o n te m p o r a r y , th e G o s s ­ M i ch a e l F o u n d a t i o n , a n d T h e P o w e r St a t i o n . I t i s a v e r y b u s y t i m e i n t h e ci t y a n d t h e h o t e l s a n d t i ck e t s s e l l o u t f a s t , e s p e ci a l l y f o r

t h e u b e r ­ ch i c V I P e v e n t s . T h is is bu t a s n a p s h o t o f t h e a r t s s ce n e i n D a l l a s , a ci t y t h a t h a s a d e e p co m m i t m e n t t o a n d p a s s io n f o r a r t . T h e r e is a la r g e ( a n d f a s h io n a ble ) cr o w d o f a r t l o v e r s a n d p a tr o n s w h o , y e a r a f te r y e a r , co n t i n u e t o s u p p o r t i t s l o ca l a r t co m m u n i t y .

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Ph a m i e G o Ph a m i e G o w i s a n in t e r n a t io n a lly r e n o w n e d S co t t i s h m u s i ci a n , s i n g e r , a n d co m p o s e r . B e s t k n o w n f o r h e r s o n g s " C a r o u s e l" , " W a r S o n g " , a n d " D a n ci n g H a n d s " , G o w h a s p u t a n i n n o va t i ve s p i n o n i n s t r a m e n t a l m u s i c, t r a n s f o r m in g t h e g e n r e f r o m t h e t r a d it io n a l t o a t r u e co n d u i t o f p l a ce a n d t i m e . H e r w o r k o n in s t r u m e n t s , s u ch a s t h e p i a n o a n d h a r p , i s bo t h t r a n q u il a n d h a u n t in g , s p e l l b i n d i n g a n d u p b e a t . Sh e s p o k e w it h m e a bo u t h e r in s p ir a t io n , h e r p a s s io n , a n d h e r u p co m i n g w o r k .

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By Dale Howard


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photo credit: Aiden Stephen

The ART of (TAO): How does location, either the place you are in or the subject, influence the creation of a piece?

photo credit: Peter Rear

countries (England, France, Spain, US) and that has very much acted as a sort of muse. New sounds, new languages, new people, new smells, new music, all helps The location or ambience of the creative juices flow. I where I am writing very love being in nature also and much influences how I write. feel that always helps I am very visually aware, and rebalance myself in order to have often gone to places stretch things creatively. that I find beautiful and interesting or that enhance TAO: You start a new the feeling of being alive. I project or piece of have lived in a few different music. What is the

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first thing you do?

Every time I start a new project or musical composition, the process is always different. For example, if I am being commissioned to write music for a theatre or dance production, or a film, I very much have to respect the wishes and desires of the director. A few years ago I musically scored and directed for a play that was set in the Victorian period in New York. So before I even wrote a note of music, I


Ar t experience in a day that stimulates the creativity. I am incredibly open, deeply sensitive, and generally pretty aware, and in touch my feelings all the time. I use this intensity and awareness to write and play new music that is very much an expression, deeply from my heart and soul, which draws upon the myriad of emotions that sometimes I don’t want to talk about, but can speak through the language of music.

photo credit: Douglas Cutt

nature. Although, I have to say, when I play the harp, I really love to use it as a palette to express things that may be very new and unique on the instrument. For example, I play very rhythmically on the instrument and sometimes feel like I’m playing a double bass, a piano, and percussion all at the same time. I don’t tend to identify with the instrument in its most ‘typical’ way that people would expect. Yes, it can sound angelic (which is what most people expect TAO: You play from this instrument), but it several different can also sound incredibly instruments, including exciting, or jazzy, or very the piano, harp, and uplifting, and can transport accordion. What are you to places you would not the different expect. However, I think it’s personalities of these important to note that it’s instruments and how not necessarily the does their use instrument that makes it influence the process sound the way it sounds. It is

listened to a lot of music from that era and place so that I would have direct influences with the right feel for that specific project. It’s always lovely to still manage to write something that allows your original ‘voice’ to be heard, however may also have remnants of existing of styles. making When I write my own projects, the process can be different. I may wake up in the middle of the night, and have a new melody in my mind and quickly have to write it down before I forget. Or perhaps I’ll have an

songs?

Each instrume nt can tap into different emotions by its very

photo credit: Peter Rear

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Ar t the person behind the other, and actually, I find instrument that conducts the wherever you focus your instrument. attention on is where the art of being is. How you express I love to write for the piano, that later is drawing upon the and I always feel I have the pool of stimuli you have whole orchestra in my absorbed one way or hands. As a composer, I can another, transforming or often hear other instruments what I call ‘alchemizing’ your in my head as I play the experience of life itself. piano, which no doubt Although one can be changes the way I play it.

however I simply have to write because it’s a form of meditation and a way of tapping into a deep peaceful zone beyond thought.

TAO: There are some who believe they are merely radios that transmit creativity from some outside, sometimes divine, source. What is your "I love the idea of opinion on creating TAO: You wear healing through my art? Does it come several different hats music, and from the artist or an as a musician, transmitting different outside source using including singer, expressions of love." the artist as a songwriter, and conduit? producer. In your opinion is variety the solution to boredom passionate about ones craft, I am very aware of the fact that I am a conduit where I within one’s craft? In its important to always be other words, how open to other things in life open myself up to a Higher does one maintain too. For example, loving and place, and sometimes it is like having an outer body passion in their appreciating art, or experience when I am chosen field? photography, or nature is I personally don’t believe in boredom full stop. There is always something you can learn or appreciate, or basically enjoy in simple terms. I do love the variety I have created for myself, which no doubt keeps the creativity fresh and stimulated. One feeds off the

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just as important as working on your music and writing a new song. All these other aspects are like fertilizers for the creative soul. For me, writing music is my interpretation and understanding aspects of life itself and each composition or song very much has been inspired by something I have experienced, felt, seen, read about, or heard. Sometimes,

composing. It’s a fine line, a delicate dance where you have to be very present, and grounded in your body, but allow yourself to be open, not think too much, listen deeply to your inner ear, and almost enter a sort of dream state with full awareness. I have written many compositions from start to finish in this state of mind, of being at the piano, and


Ar t opening up and entering into that divine magical place, and catching the composition. Almost like reaching up beyond the sky, beyond the stars, and grasping from thin air, a new work, an absolute gift from the universe. Sometimes I don’t like to take too much credit for the works I have written because of this reason. However, the artist, even if they are connected to a Higher source, is equally as important in the whole process. What I’m trying to say, is the artist has an important role, but it takes other things outside the artist to make the magic of creativity happen.

TAO: What do you think and/or hope is your effect on others through your music? Most of my compositions have a story behind them and so I often like to take people on a musical journey. Many of my piano compositions are written in a fashion that provoke a lot of peace and tranquility and I am happy for people to feel peace through my music. Through the years, the

responses have been regardless of lives challenges. amazing from my followers and I have been told that TAO: Any projects you they listen to my music in are excited about times of grief, joy, hope, loss, right now? etc. It has helped comfort them and give meaning. I’m soon to record my new Somebody once said my album (9th release) and I am music was a soundtrack to also collaborating with an their life. I really don’t like acclaimed film director and to manipulate things too some astronomers on a much and I generally write project to do with the stars, from my heart to express a using my composition ‘The deeper part of me. I am not Milky Way’, which is the looking for the affirmation of title of my new album, that is others. However, it seriously due for release in 2017. A makes it all worthwhile when new music video will also be people do write to me saying released in connection with wonderful things. If this. anything, I love the idea of healing through my music, and transmitting different expressions of love. But I actually feel all music has these very qualities anyway. I think the actual act of creating is what inspires people and I believe if you can inspire, you have the capability to make a change and a difference to the world. I am humbled throughout the years when people from all walks of life tell me that I have inspired them. That encourages photo credit: Aiden Stephen me to carry on

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Chris Valle

Branded By Dale Howard

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Ar t In Chris Valle’s LV Double Moss, the model is fragmented, her visage, the Louis Vitton background overlapped with graffiti letters. The picture is cluttered, a clear view of Kate Moss, or the product she is selling,

producing, not just advertisements, but all media. There is layer upon layer of artifice, according to Valle, which masquerades as reality but hides the true nature of humanity. In this context, Valle’s art, in its insistence to never present a

The subject of the portrait is often voiceless, an abstract construct rather than a living being; put up for display, but not meant to give anything to society. In the case of the viewer, an unclear image forces her to engage in a more attentive

impossible. And yet, in this muddle is a clearer representation of reality than the often hyper clear HD advertisements Valle is critiquing. “Because we are bombarded with these images on an everyday basis, we just accept it as part of our reality,” he states. What seems real is anything but when considering the amount of staging, makeup and Photoshop that goes into

clear, unadulterated image, is a more honest representation of the world. A major theme of his artwork, especially his portraits in his latest Branded series, is a fragmented view of the world. In most of his art, the image is discernable, but unclear. Familiar, yet unrecognizable. The allure of such an image, according to Valle, is how such art works on different levels.

way. There are no easy answers within the portrait. One must look deeply and figure things out on one’s own. In this way, Valle’s art is more visually arresting. “If you want a panting to look more like a photograph, why don’t you just take a photograph?” Valle jokes. Of course, we have to laugh at the irony of this statement since the

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artifice of the modern photo is exactly what Valle is identifying in his portraits. His critique of the media is often the key subject of his work. “The images mass media presents become self­ fulfilling prophecies, media thus shaping popular culture rather than merely reflecting it.” However, the images the media often presents to the public is anything but realistic. “These advertisements that construct reality are far from real; they look very programmed, artificial, and at times clown­ like.” Valle

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appropriates those images from advertisements and popular media and disrupts the tidy perfection of the image, doing what media should do for culture but doesn’t: reflect its nature. He is not afraid of using the same medium that he is critiquing. On the contrary, Valle understands how his participation in the proliferation of such media can be construed as contradictory to his message. However, the purpose of his work is not to condemn, nor chastise the media, but merely raise awareness of the media’s essence. There is a

playfulness to his criticism, like an old friend teasing another. “I’m sort of poking fun at it, but at the same time, I’m part of that discourse. There’s really no way around it.” In contributing to the construct he is critiquing, Valle’s work reminds the viewer to look beyond the curtain of artifice to remember what the media is truly trying to accomplish. In the creation of these images, Valle revels in experimentation. “If you name it, I’ve tried to paint with it at some point in time,” he says. This vicariousness allows him to create unique images, setting him apart from other painters who will stick with what they know or what is traditional. The purpose of his experimentation, of course, is art, but in a more technical way, Valle wants to maintain a sense of excitement in the projects he creates. The final product is not the result of a fully­ formed vision at inception, but rather of the creative process, where the abstract


Ar t flow of ideas moves the project to completion. Oftentimes, Valle will take a digital image of his unfinished work and play with it on Photoshop, allowing the work to evolve on its own. This process not only makes the finished product unique, but motivates Valle to continue making art. This motivation is something he likes to instill in the students he teaches at the University of Tampa. He does this by teaching the students how to “see” their world. “Everybody sees passively. They can walk through a door, and I ask them, ‘what color is the door,’ and no one can really tell me what color the door was; they don’t look at it.” Once students start actively seeing the world, they can begin to look at it in new and exciting ways, unlocking the possibilities that no one else has tried. In other words, through teaching students how to paint, Valle teaches them how to motive themselves to be successful. According to Valle, “only 4% of students with a B.A. in Art are unemployed.”

These students learn the value of the creative process and are tuned into the world in such a way they are motivated to succeed, whether in art or any other endeavor. As a student himself, Valle was often told he could not use certain materials in his paintings. Instead of holding him back, these constant prohibitions drove him to seriously experiment, an act which has been both fruitful and difficult. In his own classrooms, Valle does not stifle his students’ creativity by telling them they cannot do something. To do so would be to handicap the students’ sense of discovery and limit them to simply what has been done before. To do such a thing, would be to become part of the problem Valle sees in the media. An acceptance at face value the images we see would be to surrender

ourselves to an illusion. The only counter is to remind ourselves of what is honest and what is artifice. Basically, we need to learn how to actively see the world for what it is and shape it in a way no one else has.

Isabella Garucho Fine Art

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L if e s t y le

Investing in the Perfect Wave: Passion and Payoff by Lisa duBusc Miller

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L if e s t y le what it was, why it made Consistency, money, why guests loved it diversity in breaks, and and how we could replicate small crowds: the three it, so that we could take that traits of the perfect surf secret sauce, put it in a bottle spot. Ryder Thomas, CEO and go do it somewhere and founder of Pegasus else.” The key was in Lodges and Resorts believes recognizing and embracing that he has found that spot the business as a “fragile in The Telo Island Lodge ecosystem” and that it’s “the in westernmost Indonesia. people that make the place.” A Pegasus investor even admits that “he’d never get a “We recognize that there’s a look at this kind of wave growing market that values anywhere else in the world. authenticity of place above the perfectly polished edges “The scarcer that of traditional, predictable, resource, that empty homogenous, hospitality wave, becomes, the offerings.” As Ryder more valuable it’s enthuses, “guests want to going to be.” experience Indonesia in Indonesia and Samoa in And that’s really what Samoa. It’s not about the people are paying us to thread count or the club provide them: an escape sandwich, it’s about the from all of the social mess quality surf guide and the that comes along with relationships that are built. surfing." That is what creates an The Telo Island unparalleled surf travel Lodge, with consistent year­ experience.” round long period swell, 83­ Nowadays, as degree water, and surf the chance of finding your breaks galore, was Pegasus’s own wave dissipates, that first acquisition in June experience becomes harder 2012. They saw it as a to find. platform investment to build Palos Verdes an empire of surf resorts Estates, one of California’s around the globe. “We most coveted surf breaks, is wanted to really understand a prime example. A class

action lawsuit, which even includes a police officer in its list of plaintiffs, claims harassment by a surfer gang

“His garage is stacked high with boards of all shapes and sizes, even one with what appears to boast a shark bite.” known as the Lunada Bay Boys. Though the charge contradicts the image of the laid­back, peace­loving surfer, Ryder explains why such harassment is a familiar reality. “What’s always offended me about surfing, particularly where I grew up, is that it was very exclusive, unbelievably insular. Every time you paddle out, you face the threat of physical violence in a place where you aren’t a local. There’s always that tense negative energy that’s associated with it. “What I love about what we do is that we take people out of that. We are taking them to places where no one else is around. That’s the magic of surf

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L if e s t y le travel ­ finding these empty places where you can experience surfing in its true essence, rather than being subordinated by all the trauma of the negative side of the culture. “Surfing is a primal, almost selfish, activity. You enjoy it when it’s all yours. ‘It’s my wave’. You are not sharing waves. If you catch a wave, it’s your wave. “The scarcer that resource, that empty wave, becomes, the more valuable it’s going to be. And that could mean you pay money to attain it, to chase it, like our clients do, or you can attain it by being a brutal enforcer of

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localism. But truth be told, either way you are succumbing to the scarcity of it. Ryder passionately conveyed this wisdom. Then with his eyes sparkling, he tried to put into words his love for surfing, “surfing has always been the siren. It lures people to places like Hawaii, Bali, Costa Rica, and even the frigid sharky waters of San Francisco,”. He grew up as a Hawaiian­born child of privilege in a 5th generation family where, “it was a rite of passage to be active in the water, and every male in the family must be a waterman.” Later in Ryder’s career, he

shyly admits “I ascended the ranks in banking enough to be able to have some free time. And that is when I reconnected with surfing.” Ryder hopes to offer this special connection to surfers around the world through the establishment of Pegasus Resorts. But none of this would be possible without Jeremy Boe, a colleague and friend of Ryder’s. Jeremy was raised in land­locked Nebraska, a far cry from Hawaii. Surfing was not a part of his childhood. He attended Harvard and unlike Ryder, didn’t discover his passion for surfing until the age of 20. But today, as one walks into his beautiful sunny Bedford home there is very little doubt that Jeremy is a certified surf addict. His garage is stacked high with boards of all shapes and sizes, even one with what appears to boast a shark bite.


L if e s t y le

In spite of wildly different backgrounds, Jeremy and Ryder struck up a friendship based on their mutual love for surfing at dawn on a California beach 7 years ago. Their friendship is a private equity story about leaving behind high­powered careers to invest in a passion and a hunch. With symbiotic skill sets, they are smart, visionary, gutsy, and certainly passionate about surfing. Jeremy, with a sense of unabashed awe, even described Ryder as “The Indiana Jones of surf hotel exploration. He was born to do this,”. Jeremy described himself affably as “a geeky

same every year. I hand him a map and tell him to pick a surf spot, within a few months we pack our bags and go!” But it was on a boat trip in the Maldives, in the wake of Lehman collapsing, that Jeremy got hooked on the idea of investing in surf travel. He started seeing these small spreadsheet guy with a surf hotels as “the distilled pocket­protector.” But essence of what private despite being an emerging equity used to be. It’s about markets bond salesman at little mom n’ pop shops, investment banks like extraordinarily inefficient, Deutsche Bank and Merrill unsophisticated, fragmented. Lynch for 25 years, Jeremy No one’s ever bought two. has still found ways to get his No institutional money has surfing fix in, mostly out in ever gone into it. That is Rockaway, sliding into a where we can make an wetsuit and squeezing early impact.” morning sessions in before the workday. His love for surfing has even become a large part of his family life, and has extended across the globe. Jeremy and his 16­ year­old son Stephen have been to over 15 countries together, stretching from New York to Singapore. In fact, Jeremy says that “my son’s Christmas gift is the

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L if e s t y le

à{x

ART ÉyA A A

T h e Af g h a n Meet Rex, Tucker, Leah, Taru, and Gigi. They visit us at K9 Studio twice a month, the minimum grooming schedule their coats need to stay clean and comfortable. They are one of the rarest and oldest breeds and are the National Dog of Afghanistan. The Afghan Hound, also known as the Baluchi Hound or Persian Greyhound, were guardians to old­world dynasties and were once bred to hunt agile

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animals in the harshest of terrain. In the States they have traded pouncing on prey to standing on their hind legs to greet and hug man when they feel like being in the limelight. Under the finest, long and luxurious hair is a slender figure that frames its sophisticated stance. Time ago the Afghan Hound was not available for purchase. Many of them reached the Western world only as gifts from royal families. Today, those lucky

enough to connect with the right breeder can enjoy their companionship and most peculiar personality. The character of this breed is calm and cautious indoors, but make sure you plan on investing in training or a strong leash due to their endless energy outdoors. They are known to be aloof. Taunting their caretaker is fair­play for the Afghan Hound. The beauty of this breed can now be found in popular books, film, and


L if e s t y le of course the top dog shows. the Afghan Hound was officially recognized in 1926 by the American Kennel Club. Standing at an average shoulder height of 27” and weighing an average of 55 pounds, it's hard to mistake this breed with any other, especially when taking note of its almond shaped eyes, long lavish ears, narrow head, and extra long jawline. At times their lush hair covers their black snout and eyes, but trust that they are always watching your every move. The most distinguishing of attributes is their curled tail that serves for balance. My favorite feature are their big paws. Leah, the puppy of the bunch, has the softest pillow­ like paws I’ve ever seen!

Photo Credit: Mario Pablo

K9 Grooming Process 1) We first detail the Afghan Hound’s height, weight, and current hair length. Full grooming can take one to two full hours based on the breed’s current size. 2) Three baths will assure the Afghan Hound’s coat will be fully washed and cleaned, removing all external odors that embed under the animal's hair. Odor removal on longer hair breeds is always more difficult; patience is the key. 3) Deep conditioning softens and shines the breed’s coat, we recommend organic shampoos to bring out the breed’s true color. Afghan Hounds coats can be black, black and tan, black

masked red, blue, brindle, cream and white, and domino (black and white). 4) Hand­drying and light heat favors the Afghan Hound since they are very sensitive to pain. Make sure to dry their paws well as they have a tendency to stay wet. Weekly hygiene, including ear and teeth cleaning, is highly recommended to promote the animal's health. 5) Lastly, its fur should never be too trimmed. We follow the natural cut of the Afghan Hounds hair, which serves as a natural coat for this breed.

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L if e s t y le

by Susan Izzo

A s a S p o r t s A g e n t I h a ve h a d t h e p le a s u r e o f r e p r e s e n t i n g t h e b e s t a ct i o n s p o r t s a t h le t e s in t h e w o r ld o ve r t h e p a s t 1 8 y e a r s . T y p i ca l l y I s i g n m y t a l e n t w h e n th e y a r e te e n a g e r s a n d s p e n d a n a ve r a g e o f 1 0 y e a r s h e l p i n g t h e m a ch i e v e t h e i r d re a m s. T h e r e is n o

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C o m p e t in g t o w in

g r e a t e r j o y t h a n w it n e s s in g y o u r a t h le t e s h a r d w o r k p a y o f f a n d w i n t h a t f i r s t e ve n t b e ca u s e y o u k n o w b e h i n d t h a t f i r s t w i n w e r e co u n t l e s s h o u r s o f p r a ct i ce , s a cr i f i ce , f a ilu r e , s e lf ­ d o u bt , a n d h a v i n g t o p i ck t h e m s e l v e s u p o ve r a n d o ve r a g a i n t o f i g h t f o r t h e ir d r e a m t o be t h e be s t .

So t h e r e t h e y a r e , o n t o p o f t h e n u m be r o n e s p o t o n t h e p o d iu m , h ig h e r t h a n t h e r e s t , t r o p h y in h a n d , ch a m p a g n e b e i n g s p r a y e d o n t h e m , a n d in t h a t m o m e n t t h e y h a ve s o l i d i f i e d t h e m s e l v e s a s a co n t e n d e r . T h e y h a ve g o n e f r o m b e i n g t h e h u n t e r t o be in g t h e h u n te d . W h a t h a p p e n s n e x t


L if e s t y le

i s cr i t i ca l i n m a k i n g o r b r e a k i n g t h e i r co m p e t i t i v e ca r e e r . W i l l t h i s a t h l e t e co n t i n u e t o co m p e t e t o w i n o r co m p e t e n o t t o l o s e ? T h e m e n t a l a s p e ct o f co m p e t i t i o n i s e q u a l l y a s im p o r t a n t , if n o t m o r e , t h a n t h e p h y s i ca l t a l e n t t h e y p o s s e s s i n t h e i r r e s p e ct i v e s p o r t . T o be a ble t o s h o w u p a n d s e e a n o p p o r t u n it y e a ch t i m e t h e y co m p e t e ve r s u s s h o w i n g u p n o t t o lo s e m a k e s o r br e a k s a ca r e e r . T h o s e w h o s e e e a ch co m p e t i t i o n a s a n o p p o r t u n it y t o d o t h e ir be s t , t h o s e w h o h a ve d o n e t h e w o r k t o be p r e p a r e d , id e n t if y t h e ir f e a r s a n d w e a k n e s s e s t o o n ly m a k e t h e m t h e ir

s tr e n g th s a r e th e o n e s w h o w i l l co n t i n u e t o r i s e t i m e a f t e r t im e . W h e n a t h le t e s g e t in t h e ir h e a d , q u e s t io n in g if t h e y a r e g o o d e n o u g h , i f t h e y ca n r e p e a t a w in , t h a t a r e m o r e f o cu s e d o n n o t l o s i n g , t h o s e a r e th e o n e s w h o te n d to f a lt e r . I co n t i n u a l l y t e l l m y cl i e n t s t h a t e a ch t i m e y o u e n t e r y o u r co m p e t i t i o n , e a ch r u n , e a ch h e a t i s a b l a n k ca n v a s t o cr e a t e a n e w m a s t e r p i e ce . W h e n w e h o l d o n to w h a t h a s n o t w o r k e d o u t v e r s u s s e e k i n g w h a t ca n b e cr e a t e d , w e h o l d o u r s e l v e s b a ck ; w e h a v e a lr e a d y lo s t . C o m p e t i t i ve a t h l e t e s a r e n o d if f e r e n t t h a n a n y o f u s

t h a t w a k e u p e a ch d a y t o d o o u r be s t a t w o r k , be p r e s e n t f o r o u r f a m ilie s , a n d p u s h o u r e f f o r t s t o b e co m e t h e b e s t ve r s i o n o f o u r s e l ve s . Y o u r b l a n k ca n v a s a w a i t s y o u t o d a y . Y e s t e r d a y is in t h e p a s t, n o w g o o u t th e r e a n d w in .

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L if e s t y le

T h e N e x t C h a p te r By Sylvia Beckerman

When does the next chapter start? I confess: when I start reading a book, I sometimes peek ahead, mostly to see what is coming next. Actually at times I might even read the last page, curiosity getting the better of me

future.

Many who go through the trauma of divorce, separation, or loss are afraid to turn the page. Some even find Books are already written, themselves life, however is not. We don’t know as much about spending a lot of time re­ reading previous ones. Even our life and what the contents and length of any of reliving past trauma can be our chapters will be. There better than facing the stark white pages of tomorrow’s is no peeking ahead to see chapter. how scary, sad, funny, By the time we are adults, we adventuresome, or lonely have gone through so many each day will bring. chapters. We go through Additionally, we cannot each life phase from infancy predict with certainty what to toddler, pre­teen, opportunities our experiences and changes will teenage…. and we do it without even thinking of present. them as chapters. And yet, For so many, the unknown so many of our milestones could be the capstones for next chapter is a scary each chapter. The first date, proposition. Others find the first time you drove a car, excitement and endless the first house you bought. possibilities in the Some seamlessly lead into undiscovered

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the next while others showcase a significant shift from the past. Twenty­eight years ago, I became a divorced, single mom to two small boys. Knowing that there was no going back, no chance of waking up from what at times felt like a nightmare, I could only move forward into my next chapter. The best part is that I've discovered in my journey that it's possible to make each chapter different and some better than the last. The family dynamic had changed.


L if e s t y le

And then two years ago I once again found myself a divorced woman, this time with two grown adult men. They were out on their own and I was by myself for the first time in twenty­eight years. The situation was familiar and at the same time alien. There were family dynamic changes to go through, different than the last…more difficult or less? That didn’t matter. After the logistics of the divorce and finding a new home I focused on beginning my next chapter. This time there was no one but me. With this freedom came loneliness

and the discovery of the need for comradery with others going through the same emotional stages and challenges of divorce, loss or separation.

'happiness and perseverance'.

As we begin this New Year, I encourage you to take a look at that blank page. You hold the pen, the artist’s brush, the pallet of vibrant colors. I've heard from so many You have the power to shape people in similar circumstances. Many have the story, your story. Find your center, breathe deeply shared how hard this transition is. They are right. and discover your inherent When we think that life has creativity. thrown us a curve, it probably has. I learned that Have a friend write your prompt…what a novel idea. it’s what we do with it that makes the difference. And so for the beginning of my next chapter I've decided to start it with the words

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B a l a n ce

Ar t

Jo h n V a n A ls t in e by D a le H o w a r d 32


Ar t

in air, rather discarded by the than placing all its manufacturers, but it is in this weight on the metal pile of rejection that Van If we were to boil frame. But the balance is not Alstine finds the objects with down the essence of John just in the placement of stone the best potential. The stones Van Alstine’s art to a single and steel. It is in every aspect he picks, for instance, “are theme, it would be one of of the process from the ones for one reason or balance. Aesthetically, beginning to end, an entire another that the balance is a clear foundation philosophy centered around manufacturer can’t use of every sculpture. His art is a push and pull of creativity because they are irregular or the “marriage of the natural and the limits of physical the grain is weird. But these and man­made.” Nature is reality. are the ones I am more represented by stone in many Van Alstine’s interested in because they forms, while the manmade is projects start out mostly with have character and spirit that steel and other manipulated found materials he I can incorporate into the metals. The stone is placed appropriates from quarries design of the steel.” When precariously upon the steel at and steel mills near his home he goes out, Van Alstine “the apex of its implied in the New York looks for pieces that move motion,” giving the illusion Adirondacks. All his and speak to him in the rock is somehow floating materials have been some way. “I am

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Ar t Van Alstine’s the proper way, he can let not forcing my will on the stone, but accepting them for process is one of flow. The them down again and start anew. The stone is often what they are. It is a very sort design is driven by the of Asian, Japanese, Chinese material’s natural features, rigid, jagged, and allowing for experimentation unadulterated, an imposing way of looking at the material.” The juxtaposition and play. He does not rely body at the heart of every on math or formula, but piece. The steel is often of such acceptance in the more on what he calls a curved and shapely, a natural material is “farmer’s intuition.” Over painted support that manipulation of the manmade steel. In working forty years of experience has accentuates the raw energy of shaped his understanding of the stone. the metal, Van Alstine is In his large work representing the “can­do,” the material’s energy and industrial way of thinking that how it will best be paired with Catapulta, Van Alstine’s piece of slate is shaped like is most associated with the the steel, which can be Western or American spirit. shaped very easily to fit his the head of a massive His work is an amalgamation needs while still maintaining dinosaur. It hangs of the Eastern and Western its strength and stability. He precariously off the end of a has a large crane which hoists metal beam, creating the bodies of philosophy, the pieces into position so he impression that the rock will creating pieces which may look at the movement of be launched into the air at illustrates the beauty of nature, subtly manicured by a the piece before committing any moment. The catapult, frozen in time human hand to showcase its to the arrangement. If the different parts do not flow in loo true spirit.

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ks effortless in how the different pieces were placed, and yet, the sculpture is a product of its own practical and physical limits. All the stones can detach from all of his pieces in order to reduce stress while traveling. All his metal is dipped in Zinc and powder­coated to prevent weathering. But, what Van Alstine is most proud of in his work, especially in Catapulta’s design, is the way he is able to problem solve while still maintaining the aesthetic integrity of the piece. “Finding a way for that

piece to support itself, with that stone hanging way out there, and do it in an elegant and sort of way that seemed to compliment the rest of the sculpture was difficult.” He solved this problem by adding the red semicircle to the base. “That half circle is inch­thick steel. It weighs half a ton so there is weight to it. It was a way to aesthetically and structurally hold the piece together, that I feel was very effective.” Van Alstine’s art is pulled into a holding pattern of balance, one where the material’s own structure, both its strengths and limitations, pushed the piece into a finished work. Van Alstine’s most proliferate body of work, the Sisyphus Series, is also the most important to the artist. It does not take a stretch of the imagination to understand why the myth of the Greek king forced to push a boulder uphill only to have it roll back down again is alluring to the artist. Of course, his material of choice draws parallels, he uses giant

rocks after all, but what most attracts Van Alstine to the myth is a different way of looking at the act of pushing the boulder. He sees the act not as a punishment, but as representation of the process of an artist. For him, the myth is a self­portrait of how he creates his work since every time he finishes a project, he must return to square one to start again. For every artist, the process of creating artwork is an eternal uphill battle which both abuses and enriches their lives. But in this endless loop of creativity, where the artist succeeds only to start back at the beginning with a new project, there is still a sense of equilibrium. By constantly ending and beginning anew, Van Alstine does not move in a linear path, but an endless circle, always maintaining harmony within his craft. This movement, like a single wheel staying aloft because of its momentum, can be seen as the perfect form of balance.

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F a s h io n

à{x

ART ÉyA A A

VtÜx

Maintaining Leather & Fur Outwear By: Mel Castro Photo credit: Gomez Brand

If first impressions are everything, outerwear, your outermost layer acts as a mirror or wall to one’s true character. I came to this conclusion after noticing the personal attachment our patrons have particularly with their leather jackets and fur coats, among other treasured garments and outfits entrusted to the care of my family's hands at Gruber’s Cleaners & Tailors. We

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handle seasonal outerwear garments and provide meticulous maintenance to Armani, Chanel, and Loro Piana to name a few brands. Fine leather is never out of style and can last a lifetime with consistent care. Treatment is dependent to the condition and cut of your leather. Deterioration can occur from chemical damage, oxidation, and internal or external abrasion caused by time or heavy wearing. All leather needs to be lightly

oiled every six month, similar to the special coating they are given by the tanneries they come from. Older or worn­in leathers should also be treated with an extra eye assuring the natural shape stays the same.


F a s h io n Leather Stain Removal Tips Old and new stains can be pressed out immediately after applying the right chemical mix. More often than not we run the garment through our light stain removal process multiple times and in most cases the third time's the charm. ­Hand testing should always be tried first before running through the machine or press. ­Multiple color leather garments are favored fashion statements but require professional cleaning to assure the colors don’t fade into each other. ­Running garments individually through the cleaning process is the best way to assure your investment. Make sure your preferred cleaner details their cleaning process before you pay for your service. Photo credit: Gomez Brand

Fur Storage Tips Furs are claustrophobic, never squeeze a fur coat into a tight spot and always hang your fur on a broadly covered clothes hanger. Storage bags should be made out of cloth or fabric, never store fur in plastic as it will begin to dry out and this is non reversible. During hot months, we strongly recommend storage spaces offered by furriers in temperature controlled vaults, furs are just one of the many garments we store here at Gruber’s. ­ When selecting a fur, touch it with the back of your hand, the oils on your fingertips can damage or discolor your garment. ­ Never store in plastic, tight, or unbreathable storage spaces. ­ Keep away from high heat and direct sunlight.

Photo credit: Gomez Brand

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B e a u ty

à{x

ARToyA A A

f xtáÉÇtÄf vxÇàá

b y Su e P h i l l i p s H a p p y 2 0 1 7 ! As y o u r e f l e ct o n t h e f a d e d m e m o r i e s o f t h e r e ce n t H o lid a y s , p e r h a p s s o m e o f t h e m e m o r a ble m o m e n t s y o u e x p e r i e n ce d w e r e t r ig g e r e d by f a m ilia r ‘ s ce n t i l l a t i n g ’ a r o m a s a n d t r a d it io n s y o u s h a r e d w it h f a m ily a n d f r ie n d s , i n cl u d i n g s p e ci a l ce l e b r a t i o n s , e x ch a n g i n g l o v e l y g i f t s , a n d o f co u r s e e x p e r i e n ci n g t a s t y f o o d a n d e x o t ic d r in k s ! W it h o u t a d o u bt , m a n y o cca s i o n s a r e s p a r k e d by

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t a n t a l i z i n g s m e l l s b e ca u s e o u r s t r o n g e s t s e n s e is lin k e d t o m e m o r ie s & e m o t i o n s . Ou r s e n s e s o f s m e ll a n d t a s t e a r e co n n e ct e d , s o t h e r e i s n o t h i n g t h a t a n n o u n ce s a ch a n g e o f s e a s o n i n a m o r e co m p e l l i n g w a y , t h a n n e w s e a s o n a l f l a vo r s a n d a rom a s.

( a lt h o u g h s n o w d o e s n ’ t r e a l l y s m e l l ) . H o w e ve r , a s A l a n H i r s ch , a n e u r o l o g i s t a n d p s y ch i a t r i s t i n C h i ca g o s a id , " W h a t y o u t h in k a s m e l l w i l l b e i m p a ct s w h e t h e r y o u lik e it a n d w h a t y o u p e r ce i v e i t t o b e . So , i f y o u g o o u t s i d e i n t h e w in t e r , a n d y o u a r e u s e d t o s m e l l i n g s n o w o r ch e s t n u t s i n t h e f i r e o r w h a t e ve r y o u h a p p e n t o s m e ll o u t s id e , t h a t ' s w h a t y o u w ill i n t e r p r e t s m e l l s t o b e ."

N o w t h a t s p i cy , a m b e r , a n d p iq u a n t n o t e s o f F a ll a r e be h in d u s , W in t e r a r o m a s a r e u s u a lly f ille d w i t h t h e s ce n t o f p i n e N e w Se a s o n s h e r a l d n e w n e e d l e s , w o o d ­ s m o k e , a n d b e g i n n i n g s ! Sp r i n g i s a l l t h e cr i s p s m e l l o f s n o w a bo u t br ig h t s p a r k lin g


B e a u ty ci t r u s s ce n t s ­ r e f r e s h i n g a r o m a s o f le m o n s , lim e s , be r g a m o t , n e r o li ( t h e f r a g r a n t f lo w e r s o f t h e bit t e r o r a n g e t r e e ) , a n d o f co u r s e , g r a p e f r u i t . T h e r e i s n o t h i n g w h i ch r e f l e ct s t h e s ce n t o f S p r i n g m o r e t h a n t h e i n v i g o r a t i n g , n a t u r a l , f r e s h cu t g r a s s a n d l o v e l y s ce n t o f S p r i n g b l o s s o m s a f t e r r a in . A h h ! H a ve y o u e ve r w a l k e d d o w n t h e s t r e e t a n d s t o p p e d i n y o u r t r a ck s w h e n e n co u n t e r i n g a f a m i l i a r a r o m a ? Pe o p l e a r e u s u a l l y r e m i n d e d o f p a r t i cu l a r m e m o r i e s w h e n e n co u n t e r i n g a r e co g n i z a b l e s ce n t , s u ch a s p o p co r n f r o m e a r l y ch i l d h o o d m e m o r i e s ; g r a n d m o t h e r ’ s a t t ic w h e n s m e llin g d u s t y h a r d ­ co v e r e d b o o k s ; h o w t h e w h i f f o f b a b y p o w d e r i m m e d i a t e l y t a k e s y o u b a ck t o a b e a u t i f u l n e w b o r n b a b y ; o r a s ce n t w a f t i n g i n t h e a i r ca n r e m i n d y o u o f y o u r f i r s t k is s ? D e s i g n e r C a r o l i n a H e r r e r a r e f l e ct s , “ I a l w a y s r e m e m b e r m y ch i l d h o o d h o u s e w it h h a p p y m e m o r ie s . T h e r e w a s a be a u t if u l g a r d e n , a n d o u t s id e m y be d r o o m w i n d o w w a s a j a s m i n e v i n e w h i ch w o u l d o p e n i n t h e e ve n i n g s , g i vi n g o f f a d i vi n e s ce n t ” . W h e t h e r y o u l o v e a f a v o r i t e s ce n t e d ca n d l e d i f f u s i n g i n y o u r h o m e , o r h a v e d i s co v e r e d a s ce n t y o u ca n ’ t l i v e w i t h o u t , o r e ve n i f y o u w e a r y o u r o w n “ s i g n a t u r e o r b e s p o k e ” f r a g r a n ce , p e r f u m e s t o u ch o u r d e e p e s t e m o t i o n s a n d r e f l e ct t h e t r u e s p i r i t of a p e rson. W h a t y ou w e a r, h ow y ou w e a r it , a n d w h e r e y o u w e a r it s a y s e ve r y t h i n g a b o u t y o u . S o m e b o d y w h o i s ca r e f r e e , ca s u a l , a n d l o v e s

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B e a u ty

t h e o u t d o o r s w ill u s u a lly s e l e ct a cr i s p , r e f r e s h i n g ci t r u s y s e n t w i t h l i g h t f r e s h f lo r a l n o t e s o f L ily o f t h e V a lle y , J a s m in e a n d b e r g a m o t . T h i s o l f a ct i v e ca t e g o r y b e l o n g s t o t h e “ F R ES H ” f a m i l y o f f r a g r a n ce s a n d i n cl u d e s be r g a m o t , a n d g r e e n n o t e s s u ch a s f r e s h ­ cu t g r a s s , h y a ci n t h , a n d w a t e r y o r ' o z o n i c' n o t e s ­ l i k e t h e s m e ll o f t h e a ir a f t e r a r a in s t o r m o r a m a r in e o r o ce a n i c s ce n t . T h e s e s ce n t s a r e r e f r e s h i n g a n d s p ir it e d j u s t lik e a br e e z y Sp r i n g d a y .

f r a g r a n ce s y o u l i k e , a n d y o u w ill be a ble t o id e n t if y y o u r d e s i r e d F r a g r a n ce F a m i l y a n d cr e a t e y o u r o w n u n i q u e f r a g r a n ce t h a t r e f l e ct s y o u r i n d i v i d u a l i t y a n d p e r s o n a lit y . A p e r f u m e s h o u ld be a s i n d i vi d u a l a s t h e p e r s o n w h o w e a r s i t . R e ce i v i n g a co m p l i m e n t o n t h e f r a g r a n ce y o u a r e w e a r i n g An d m e n ? M a n y m e n va l i d a t e s y o u r t a s t e a n d l i k e t h e z e s t y , cr i s p , y o u r s t y le ! T o d a y , b r a ci n g s ce n t o f l e m o n “ be s p o k e ” p e r f u m e s a r e co m b i n e d w i t h d e e p e r b e co m i n g m o r e a n d m o r e o u td o o r n a tu r a l n o te s o f s a n d a l w o o d t o g i ve t h e m a p o p u l a r , a s p e o p l e d o n ’ t w a n t to w e a r w h a t m a s cu l i n e , l o n g ­ l a s t i n g e ve r y o n e e l s e w e a r s . – s ce n t . An d w h e n s o m e o n e a s k s On t h e o t h e r e n d o f t h e w h a t y o u a r e w e a r in g ? D o y ou know w h a t y ou r f r a g r a n ce s p e ct r u m , i s t h e O l f a ct i v e f a m i l y Y o u ca n a n s w e r : “ I t ’ s m e F L OR A L / OR I E N T A L p r e f e r e n ce s a r e ? T a k e o u r a n d m i n e a l o n e ! ” f a m i l y , a n d t y p i ca l l y , a S ce n t p e r s o n a l i t y q u i z s o p h i s t i ca t e d w o m a n w h o h t t p s : / / s ce n t e r p r i s e s . co m / s h a s a f la ir f o r t h e e x o t ic ce n t ­ p e r s o n a l i t y ­ q u i z / t o w ill u s u a lly p r e f e r d i s co v e r w h i ch f a m i l y o f s m o l d e r i n g s p i ce s , h e a d y f l o r a l s , i n ce n s e , v a n i l l a a n d m u s k y n o t e s , a s w e ll a s l u s ci o u s ch o co l a t e a n d ca r a m e l f o o d n o t e s . O r i e n t a l s ce n t s a r e w a r m , lu x u r io u s , s e n s u a l, a n d a p e r f e ct co m p l e m e n t t o a b o l d , r e d ­ h u e d ca s h m e r e co a t .

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Ar t

D o n Fr o st freebyfDoalre Hmoward

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Ar t the ART of (TAO):You were recognized for your work at a very young age (6 years old). How do you think this early recognition affected your development as an artist? Acquiring such acclaim at the innocent age of six was two­sided. This award gave me a direction and purpose that very few people get at any age, if at all. The award also had such a powerful effect on a six­year­old that there was very little room left open for alternative life choices. I am quite pleased the way my life has unfolded as an artist and concede to the present observation of my life being a creative experiment in every facet. “We are what we repeatedly do. Excellence, then, is not an act, but a habit.” Aristotle

TAO: You have created pieces, both large and small, for patrons all over the world, including Saudi Arabian royalty. How do different cultures influence the taste of the client? How do you adjust your process to accommodate these different tastes? The sculptures have been quite well accepted around the world because of the non­ representational shapes. They can fit into any culture in any location without causing offence. Because of this it isn’t necessary for me to adjust my art to fit the tastes of others; they simply like my sculptures or they don’t.

TAO: You found out you were colorblind as a teenager. How do you think this situation has benefited you in

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Ar t your development as a sculptor? I have essentially always been a sculptor and the discovery of colour­blindness in high school just gave more justification to my 3D commitment. It may actually aid me in being more attracted to shape than colour so it is probably an asset to me rather than a liability. Sculpture is not the most popular choice in the world of creativity because it requires tools and is significantly less romantic than say ‘watercolours’. Sculpture in my world is a problem but it is also very stimulating and rewarding because of this perpetual challenge to invent and construct something that has never been made before. After embracing some of the challenges that I have encountered, the problems of day to day living are in comparison extremely trivial if not enjoyable.

TAO: What is the allure of freeform images in sculpting? How does it differ from more traditional sculpting, such as sculpting people? I have dabbled in many styles of sculpture and used just about every material available to create a sculpture in. It seems that my goal or at least my drive in life was to find the material that most favoured my chosen style of freeform sculpture. Most materials were too rigid, expensive, difficult to work with, slow moving and generally unfriendly to a whimsical, emotional imagination. The material which I presently work with offers virtually limitless potential and even after making a thousand sculptures it is exciting to ponder a new idea

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Ar t turn helped to establish a very loose philosophy on life and art, for which there is no difference at this point. There is no established grading system in becoming a sculptor. It is not like I stepped out of college and then had to repeat myself endlessly until death. Every sculpture is a new learning experience and that learning plateau involved in creating the most present sculpture is what feeds the imagination to go just a little bit further on the next sculpture. It is the art that changes me, and it is me that changes the art in this continually and create something self­imposed challenge to challenging relationship. completely new. I had the attempt to cause an The concept of retirement naive understanding of emotional reaction in others simply does not exist in my being a successful artist that through a sculptural shape world. To stop doing what I absolutely original art was that had never been seen do would be to stop eating, required before one could before and had no drinking, listening, loving be considered great. This is relationship with anything and vividly experiencing why I took the direction of else on the planet. I was every emotion possible. It is freeform sculpture since trying to get an emotion into the next sculpture that I am copying another artist was a rigid form. about to create that is the unacceptable behaviour. next dream that I live, the Freeform was such a What are you working next romance I have with a fascinating pursuit because on now that you are form and an unknown there were no limitations, excited about? outcome. It is exciting and I rules, regulations, and when am indeed grateful for being a piece was finished it was I believe that the almost able to survive in a world not immediately compared infinite freedom to express where I can bring fantasy to a similar piece; it was the through my use of into daily life. original. There was also the composite material has in

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F a s h io n

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ART ÉyA A A

j | É | j |Ç Çà àx xÜ ÜY Y ÉÄ Ä |t tz zx x u x uç ç~ ~t tÜ Üx xÇ Çw w xÇ Ç| |á áx xz zÉ ÉÅ Åx xé é

46

p h o t o C r e d i t : Ol g a R e y e s


Hom e

p h o t o C r e d i t : Ol g a R e y e s

I’m obsessed with giving nature new roles. I look at something, anything, and I want to dress it with feelings and emotion. Holiday foliage is my medium. I opened a box full of fragrance, tones, and texture and I see her silhouette. Cedar, juniper, short needle, and pine are my selected ingredients for her spirit. Lady in Green lives in a quiet forest left bare by Mother Nature's cold visit, a blank canvas. She is the strongest of evergreens a true juxtaposition.

I built an armature of metal chicken wire below the waist of the mannequin to create volume and body. The four selected elegant greens were strategically positioned from the ground up based on length and fullness. I would alternate the placement of each stem until it created a mosaic of highlights and shadows. My eyes would study the subject from near and far assuring that I was maintaining composition and form. By facing the cedar underside up I was able to introduce a mint tone that complemented the foreground. Juniper berries were also added at the bottom train of the gown to symbolize the fruitful ground she stands upon. After countless layering of greens I reached p h o t o C r e d i t : Ol g a R e y e s her waist. I broke apart the full stems into spriggs and gently pinned them onto her bust, creating a fitted corset that discreetly revealed her sensuality. Her back was left open with nothing more than a black satin bow. A Freedom Rose, the final touch, is the perfect accessory for her gown, a living ruby. Placing Lady in Green in the chosen site is what embodies our design. Neither of the two is complete without the other.

p h o t o C r e d i t : Ol g a R e y e s

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Hom e

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ARToyA A A

B e t t e r B a ck H e a l t h

F o u r T h i n g s Y o u r B a ck W o u l d L i k e Y o u t o Kn o w by Lori DeRocco

A r e y o u o n e o f m a n y p e o p l e w h o m o v e t o o l i t t l e a n d s i t t o o m u ch i n e v e r y d a y l i f e ? A s l o n g a s w e d o n ’ t h a v e a n y b a ck p a i n , w e d o n ’ t g i v e i t m u ch t h o u g h t . B u t t h e r e ’ s p l e n t y y o u ca n d o t o p r e v e n t a n d m i n i m i z e t r o u ble t h a t m a y a r is e in t h e f u t u r e . I t is im p o r t a n t t o s le e p in a be d t h a t p r o v i d e s p r o p e r s u p p o r t f o r y o u r b a ck a n d k e e p s y o u r s p i n e i n a s t r a ig h t lin e . Y o u n e e d a be d t h a t r e a lly u n d e r s t a n d s y o u r bo d y co n t o u r s t o f e e l t r u e s u p p o r t a l o n g t h e l e n g t h o f y o u r b a ck . N o o n e ca n p r o m i s e y o u w i l l co m p l e t e l y a v o i d b a ck p r o b l e m s w h e n y o u s w i t ch t o a n e w , b e t t e r b u i l t b e d . B u t w e ca n p r o m i s e t h a t e v e r y H ä s t e n s b e d i s b u i l t t o g i v e y o u t h e b e s t s l e e p e x p e r i e n ce f o r m a n y , m a n y y e a r s t o co m e .

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Hom e W H A T C A U S ES T H E P A I N ?

T h e ca u s e s o f p a i n a r e n u m e r o u s a n d e x p la n a t io n s d if f e r w id e ly , d e p e n d in g o n B a ck p a i n f a l l s i n t o r o u g h l y o n e o f t w o w h o m y o u a s k . T h e m o s t co m m o n t y p e s : p a i n i n t h e l o w e r p a r t o f t h e b a ck e x p l a n a t i o n s f o r a cu t e b a ck p a i n i n a n d p a i n t h a t r a d i a t e s d o w n i n t o o n e l e g o r t h o p e d i c ci r cl e s a r e s m a l l t e a r s t h a t o r s o m e t im e s bo t h . o ccu r i n t h e d i f f e r e n t m u s cl e s , t e n d o n s L u m ba g o is a s u d d e n s h a r p p a in in a n d lig a m e n t s . V e r y lit t le is k n o w n t h e l o w e r p a r t o f t h e b a ck . I t ca n b e a bo u t t h is t y p e o f in j u r y , a s t h e d a m a g e ca u s e d b y l i f t i n g i n co r r e ct l y o r s o m e ca n n o t b e s h o w n w i t h t h e u s u a l X ­ r a y o t h e r s t r a i n , s u ch a s a w r o n g m o v e m e n t m e t h o d s . T h e e x p l a n a t i o n y o u u s u a l l y d u r i n g s p o r t s a ct i v i t i e s . I t i s n o t u n u s u a l g e t w h e n a s k i n g s p e ci a l i s t s w h o t r e a t f o r p e o p le t o w a k e u p w it h lu m ba g o . b a ck p r o b l e m s b y m a n i p u l a t i o n T h i s o ccu r s a l l t o o o f t e n w h e n a b a ck ( n a p r a p a t h s , ch i r o p r a ct o r s , d o ct o r s t h a t h a s be e n s t r a in e d d u r in g w o r k o r t r a in e d in o r t h o p e d ic m a n u a l t h e r a p y e x e r ci s e d o e s n o t r e l a x s u f f i ci e n t l y a n d p h y s i ca l t h e r a p i s t s ) i s t h a t b a ck p a i n d u r i n g s l e e p . A s u i t a b l e b e d i s e s s e n t i a l i s ca u s e d b y r e s t r i ct e d m o v e m e n t a n d f o r b a ck r e l a x a t i o n . t e n s e m u s cl e s .

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Hom e D I S C I N J U R I ES T h e d i s cs o f y o u r b a ck a r e f o u n d b e t w e e n t h e v e r t e b r a e . A d i s c co n s i s t s o f t h r e e s e p a r a t e co m p o n e n t s : • a s o f t j e l l y ­ t y p e co r e , w h i ch i s e n cl o s e d b y • a t o u g h r i n g o f ca r t i l a g e , a n d • a n o u t e r m o s t l i g a m e n t ­ t y p e l a y e r t h a t h o l d s t h e d i s c i n p l a ce . T h e d i s cs h a v e a s h o ck ­ a b s o r b i n g f u n ct i o n a n d d i s t r i b u t e p r e s s u r e b e t w e e n t h e v e r t e b r a e s o t h e s p i n e ca n b e n d a n d t u r n w i t h o u t d a m a g e . T h e d i s cs a r e t h e p a r t o f t h e b a ck t h a t f i r s t s h o w s s i g n s o f a g i n g . T h e d i r e ct b l o o d s u p p l y t o t h e d i s cs ’ ca r t i l a g e ce a s e s a t a r o u n d t h e a g e o f 2 0 . T h u s , t h e ca r t i l a g e i n t h e d i s c d o e s n o t e a s i l y r e co v e r f r o m d a m a g e b e ca u s e t h e p r o p e r t i e s t h a t g o v e r n r e co v e r y a r e f o u n d i n t h e b l o o d . W e k n o w t h a t s m o k i n g , f o r e x a m p l e , s t r o n g l y i m p a i r s t h e d i s cs ’ n u t r i e n t s u p p l y , w h i l e e x e r ci s e h a s a p o s i t i v e e f f e ct . S o m e t i m e s a s l i p p e d d i s c o ccu r s , w h i ch i s o n e o f t h e f e w d e f i n i t i v e p a t h o l o g i ca l ch a n g e s t h a t a r e cl e a r l y l i n k e d t o ce r t a i n t y p e s o f b a ck p a in . W h i l e l y i n g i n b e d , t h e p r e s s u r e o n t h e d i s cs i s a t t h e l o w e s t , a n d i t i s t h e r e f o r e i m p o r t a n t t o g i ve s o m e t h o u g h t a s t o w h e t h e r t h e b e d y o u s l e e p i n i s p r o p e r l y co n s t r u ct e d . E I G H T Y P E R C E N T OF P E OP L E S OM E T I M E S S U F F E R F R OM B A C K P A I N T h e h u m a n b a ck i s w e l l co n s t r u ct e d . T h o u g h o u r u p r i g h t p o s t u r e cr e a t e s a g r e a t s t r a i n o n v a r i o u s s t r u ct u r e s i n t h e s p i n e , o u r b a ck i s b u i l t t o co p e . A n d y e t , a p p r o x i m a t e l y 8 0 p e r ce n t o f p e o p l e s u f f e r f r o m b a ck p a i n a t l e a s t o n ce i n t h e i r l i f e t i m e . M o s t a r e f r e e f r o m a ch e s a n d p a i n s a f t e r a w e e k , b u t m o r e p e r s i s t e n t p r o b l e m s m a y l a s t f o r m o n t h s . I t i s r a r e f o r b a ck p a i n t o b e ca u s e d b y a b a d b a ck ; i t i s o u r l i f e s t y l e t h a t a f f e ct s t h e s p i n e . S ci e n t i s t s h a v e s h o w n t h a t s m o k i n g a n d s i t t i n g b o t h i n cr e a s e t h e r i s k o f b a ck p a i n . I n o t h e r w o r d s , i n a ct i v i t y i s n o t g o o d f o r t h e b a ck a n d i n a p p r o p r i a t e m o v e m e n t s t h a t a r e r e p e a t e d , f o r e x a m p l e l i f t i n g w i t h a b e n t b a ck , m a y ca u s e i n j u r y , e s p e ci a l l y t o t h e d i s cs .

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Hom e

Pr o p e r l y r e s t e d m u s cl e s g i v e t h e b o d y m o r e ca p a ci t y t o h e a l a n d r e j u ve n a t e i t s e l f . A g o o d n ig h t ’ s s le e p is o n e o f t h e be s t I n co n t r a s t t o e a r l i e r b e l i e f , i t h a s b e e n s ci e n t i f i ca l l y p r o v e n t h a t l o n g p e r i o d s o f r e s t t h i n g s y o u ca n d o t o g u a r d a g a i n s t b a ck p r o ble m s a n d p r o m o t e y o u r h e a lt h in a n d i n a ct i v i t y d e l a y t h e p r o ce s s , a n d b a ck g e n e r a l. p a i n a ct u a l l y i n cr e a s e s . T h e d i s co m f o r t ca u s e d b y a cu t e p a i n , f o r e x a m p l e l u m b a g o , H ä s te n s ca n b e s o i n t e n s e a s t o i n ca p a ci t a t e t h e p e r s o n . R e s t i s u n a v o i d a b l e i n t h i s ca s e , b u t i t i s r e co m m e n d e d t o o n l y r e s t f o r s h o r t p e r i o d s o f t i m e , a n d o f co u r s e , i n a p r o p e r be d . I n t h e ca s e o f a cu t e b a ck p a i n t h a t d o e s n o t r a d ia t e in t o t h e le g s , it h a s be e n s h o w n t h a t a p e r io d o f t w o d a y s ’ be d r e s t is s i g n i f i ca n t l y b e t t e r t h a t l o n g e r p e r i o d s o f b e d r e s t . I t i s n o t d a n g e r o u s t o m o ve a r o u n d t o s o m e d e g r e e , e ve n i f y o u e x p e r i e n ce a b i t o f b a ck p a i n . H o w e v e r , i t i s vi t a l t o g e t t h e s e ve n t o n i n e h o u r s o f s le e p t h a t y o u r bo d y n e e d s p e r d a y . A V OI D L ON G T E R M R ES T

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by G e o f f r e y W a ls k y


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Š 2016 Coldwell Banker Residential Brokerage. All Rights Reserved. Coldwell Banker Residential Brokerage fully supports the principles of the Fair Housing Act and the Equal Opportunity Act. Operated by a subsidiary of NRT LLC. Coldwell BankerŽ and the Coldwell Banker logo are registered service marks owned by Coldwell Banker Real Estate LLC. If your property is listed with a real estate broker, please disregard. It is not our intention to solicit the offerings of other real estate brokers. We are happy to work with them and cooperate fully.


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Sergio Valenz S t or i e s

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By Dale Howard


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TAO: You have had over 90 individual and collective exhibitions. TAO: Where have you What draws people to studied? What your work? inspired you to study The universal language this? created through intense very important part of my life.

I chose a graphic design career to keep practicing my skills. Later I was seduced by advertising because my creative side needed to get As an Artist out. I also became a graphic design teacher in a the ART of (TAO): How did you find your university. I like to discover and share a person’s ability passion for art? Ever since was a child I was to create and help them become professionals with a passionate about drawings high ethical sense. and expressing myself through art so I never Exhibitions experienced a search because art was already a

colors combined with simple drawings. It catches the eye while giving you a deep breath and bringing back simple memories everyday.

TAO: How do you picture your art to be displayed? I love people to be in touch with my pieces, so its fun to watch how they interact with them in public spaces.

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contributes to culture harmoniously, enjoy more environments, you become and society?

Art is the way in which First the design is the idea, aesthetics and feelings come then passed to the wood together to make life more where the cut will be drawn beautiful, in some cases it out, highlighting necessary becomes a means of details. Later the wooden complaint, but in my case I plate is inked and through a like that people identify with manual process of printing my work; they enjoy it and on special paper with lithographic ink. I generally make about 15 copies of each drawing.

TAO: How do you choose the colors in your pieces?

part of it, and it helps you grow. It's a nice form to have objects and things in your space to distract you and make your life better.

TAO: Where else in your life do you find the essence of art? First in my family, my immediate surroundings and stories of my people, and in my own stories.

TAO: How has your culture and experiences changed you and your art?

I'm constantly growing. I like to stay up to date with art and read a lot about the contemporary art scene. feel attracted to the color and shape. I’d like to think I need to be in contact with my work makes a better life. art. Now I do art fairs in the U.S. and London, SOFA in Chicago, the Art Expo in TAO: How can the New York, Art Fair in Palm everyday person Springs, and Wynwood, make art a part of Miami. Contact with art gives The Bigger Picture their lives? I feel that art is a way of life. you more oxygen to be an artist and live happily making TAO: How do you When you include art in art. feel art your life, you live more Colors are an important part of my work, I choose intuitively, I am not random, I don’t like the color to be the center of attention of the work, but accompanying the drawings and making them stand out.

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à{x

ARTÉyA A A

g táàx “ Y o u h a ve t o e x p e r i e n ce t h e f o o d b e f o r e y o u w r it e a n y t h in g , ” L a u r a o f C h r is t ie C a t e r s t e lls m e d u r i n g t h e i n t e r vi e w . A s a n o ve r a l l r u l e I d o n o t r e f u s e f r e e f o o d , b u t i n t h i s ca s e I w o u l d h a ve b e e n a n a bs o lu t e f o o l n o t t o a g r e e t o t h e g lu t e n ­ f r e e p u m p k in br e a d , p e a n u t n o o d le s , a n d o r g a n ic g in g e r br e a d co o k i e s . O f co u r s e , s h e i s r ig h t . T o f u lly u n d e r s t a n d t h e e x q u i s i t e e x p e r i e n ce o n e m u s t t a k e t h e f ir s t bit e . I h a d s e e n t h e p i ct u r e s o n I n s t a g r a m , t a lk e d w it h a f e w o f L a u r a ’ s cl i e n t s , a n d i n t e r vi e w e d h e r o n h e r p r o ce s s , b u t t h e h y p e co u l d n o t p r e p a r e m e f o r th e p u r e j o y o f t r y i n g e ve r y d is h . A t C h r is t ie C a t e r s , L a u r a a n d B ill, t h e o w n e r s a n d ch e f s , t r e a t cr e a t i n g e a ch d i s h l i k e a p e r f o r m a n ce . A t i t s f o u n d a t i o n , t h e p r o ce s s s t a r t s w it h t h e ir

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a u d i e n ce . E s p e ci a l l y f o r t h e i r ca t e r i n g b u s i n e s s , cr e a t i v i t y i s s p a r k e d b y w h a t t h e cl i e n t d e s i r e s . “ W e l o v e i t w h e n p e o p l e ca l l a n d a s k u s t o d o s o m e t h in g w e ' r e n o t u s e d t o m a k in g . W e l i k e g e t t i n g r e a l l y i n vo l ve d w it h it , bu t it h a s t o be p e r f e ct , s o w e t h i n k a b o u t h o w t o cr e a t e a n e x p e r i e n ce f o r t h e m w h i ch is p le a s u r a ble a n d o n e w h i ch t h e y e n j o y . ” F o r m a n y o f t h e s e cl i e n t s , t h e f o o d r e p r e s e n ts a m e m o r y t h e y a r e r e l i vi n g , w h e t h e r f r o m ch i l d h o o d o r t h e l a s t t i m e L a u r a a n d B i l l co o k e d f o r t h e m . So , i t i s r e a l l y i m p o r t a n t t o t h e m t o g i ve t h e i r cl i e n t s a n e x p e r i e n ce w o r t h y o f t h e m e m o r y t h e ir cl i e n t s a r e r e l i v i n g . “ W e a r e ve r y h a r d o n o u r s e l ve s , a n d I t h in k t h a t is w h a t m a k e s u s g o o d . B u t, a t th e e n d o f t h e d a y a s lo n g a t t h e cu s t o m e r s a r e h a p p y a n d e n j o y s i t , w a s a s u cce s s . ” P e r f e ct i o n i s n o t i n a

by D a le H o w a r d

f l a w l e s s e x e cu t i o n , b u t i n t h e s a t i s f a ct i o n o f e a t i n g a m e a l th a t r e p r e s e n ts a ch e r i s h e d t i m e i n t h e i r cl i e n t ’ s l i v e s . T h e r e is a lo t t o co n s i d e r w h e n y o u ’ r e i n t h e bu s in e s s o f m a k in g t h e p e r f e ct m e a l . “ I t ’ s n o t j u s t a b o u t t h e co o k i n g o r t h e f o o d , it ’ s h o w it ’ s p r e s e n t e d , t h e t e m p e r a t u r e , t h e t im in g o f e ve r y t h i n g a n d h o w y o u p u l l i t t o g e t h e r .” T h e s e a r e t h e t h i n g s w h i ch s e p a r a t e a m e a l f r o m a n e x p e r i e n ce . O f co u r s e , t h o u g h t h e f o cu s i s o n t h e f o o d i t s e l f , w h i ch k in d s o f in g r e d ie n t s y o u h a v e ch o s e n , t h e w a y y o u ble n d t h e m t o g e t h e r a n d p a ir t h e m w it h o t h e r d is h e s , in t h e e n d , t h e s e a u x ilia r y co n s i d e r a t i o n s , w h e n d o n e co r r e ct l y , a u g m e n t t h e e x p e r i e n ce o f e a t i n g f r o m a n e ce s s a r y m e ch a n i c t o a n in d u lg e n t p le a s u r e . T h o u g h th e s it u a t io n is a lit t le d if f e r e n t f r o m t h e ca t e r i n g s e ct o r ,


F o o d & W in e

Spicy Peanut Noodle

L a u r a a n d B ill’ s n e w e s t a d ve n t u r e a s t h e o w n e r s o f a g o u r m e t f o o d t r u ck d o e s lit t le t o s k e w t h e ir p h i l o s o p h y o n co o k i n g . T h e y ’ r e m e n u is s t ill ba s e d o n t h e i r a u d i e n ce , b u t s i n ce t h e y d o n o t h a v e s p e ci f i c cl i e n t s , h o w t h e y d e s i g n t h e i r m e n u s h i f t s f r o m f o cu s i n g o n t h e p e o p l e t o t h e ve n u e . Se a s o n p l a y s a n i m p o r t a n t r o l e i n h o w t h e y cr e a t e t h e i r m e n u s a n d w h a t in g r e d ie n t s t h e y a r e a ble t o u s e . F r e s h a n d o r g a n ic in g r e d ie n t s a r e ve r y i m p o r t a n t t o t h e p a i r , a n d s o t h e f o o d s t h e y u s e in t h e i r t r u ck i s p r o v i d e d b y t h e l o ca l f a r m s w h e r e t h e y l i v e i n L i t ch f i e l d , C o n n e ct i cu t . “ S i n ce w e d o e v e r y t h i n g o u r s e l ve s , t o t h e p l a n n i n g t o t h e s h o p p i n g t o t h e co o k i n g , w e d e ci d e d t o s e e w h a t w a s a r o u n d u s i n o u r a r e a .”

gluten free chocolate fudge brownie

T h e s e f a r m s i n cl u d e p l a ce s lik e B r is t o l a n d G e o r g e H a ll F a r m f o r s e a s o n a l p r o d u ce , M a r w i n F a r m f o r a va r i e t y o f m e a t s a n d p o u lt r y , a n d L o n e l y Po n y f o r m a p l e sy ru p a nd h one y a m ong o t h e r s . B e i n g d i r e ct l y i n co n t a ct w i t h s m a l l f a r m s e n a b l e s t h e co u p l e t o t a p i n t o t h e e s s e n ce o f e v e r y s e a s o n t h r o u g h t h e co m m o n cr o p s t h a t a r e h a r v e s t e d d u r in g t h a t t im e . B y d e ve l o p i n g m e n u s t h a t t a p in t o t h e f o o d o f t h e s e a s o n , L a u r a a n d B i l l ca n a d d t o t h e n a r r a t i ve o f t h e e ve n t w it h t h e ir f o o d , e n s u r in g t h a t n e w p le a s u r a ble m e m o r ie s a r e cr e a t e d w i t h t h e i r m e a l s a s a b a ck d r o p . B a ck a t t h e g a lle r y , I lo a t h in g ly s h a r e t h e f ood L a ura h a s p rep a red f or m e w i t h m y co w o r k e r s . I t i s

carrot ginger soup

e s p e ci a l l y d i f f i cu l t a l l o w i n g t h e o t h e r s t o in d u lg e in t h e g i n g e r b r e a d co o k i e s . T h e y a r e a p e r f e ct a m a l g a m a t i o n o f s p i ce , b u t t e r , a n d s u g a r . Ev e r y b i t e w a r m s m e , e s p e ci a l l y a s t h e t e m p e r a t u r e d ip s t o t w e n t y d e g r e e s . I n a n a tte m p t to s h o w m e h e r p r o ce s s , L a u r a h a s d o n e w h a t e ve r y d i s h s h e m a k e s i s s u p p o s e d t o d o : t r ig g e r a lit t le bit o f n o s t a lg ia , m a k in g t h i s p a r t i cu l a r m o m e n t m o r e e n j o y a b l e . A s a n e x cu s e , I t u ck t h e co o k i e s a w a y , s a y i n g I h a ve t o s a ve a f e w f o r m y ch i l d r e n , t h o u g h i n r e a l i t y , n o n e o f t h o s e co o k i e s w i l l s u r vi ve t h e t r i p h o m e .

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The Perfect Cup of Espresso by Cynthia Chovet

Many of us begin our day with a cup of drip coffee, a shot of espresso, a cappuccino, or latte. We reach for the coffee pot at home or stop into our nearest coffeehouse. For we Americans, coffee is what fuels us when we’re up early and out the door, ready to take on the world, or needing a mid­ afternoon pick me up. But it never seems to taste the way we remember from that café in Venice, Rome, or any other Italian city. Here are our recommendations to help you recapture that elusive taste at home.

Start with the Best Coffee To recreate that special cup, there are a couple of little “secrets” we would like to share with you. The first “secret” is that espresso is both a beverage and brewing method. Espresso is defined as the forcing of hot water under pressure through finely ground coffee. The resulting beverage is also known as espresso. The second is that espresso is not a specific variety of coffee bean, blend of beans, or roasting intensity. In fact, any type of coffee bean or roasting intensity can be used to produce authentic Italian espresso, like those certified by the Istituto Nazionale dell’Espresso Italiano (National Institute for Italian Espresso). For example, in northern Italy, where Filicori Zecchini has its headquarters and roasting operations, slightly lighter roasts are generally preferred. However, in the United States, the range is much

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F o o d & W in e wider and can vary from light to extremely dark. To create the best coffees, you must begin with the search for the perfect raw beans (Arabica, Robusta, and single­origin) to roast and blend. Since the 1960’s, thanks to Giovanni Filicori, the son of founder Aldo Filicori, we have had long­ lasting commercial relationships with our green coffee suppliers in Brazil, Colombia, India, Costa Rica, and other countries. This steady supply of excellent raw beans provides the best, most consistent, quality of coffee over time. Once the raw beans arrive in at our roasting facility in Bologna, Marco Treré, our master roaster, takes over. It is his role to ensure that each batch of coffee beans is roasted to its peak potential, in terms of both taste and color. It is only when he is satisfied with the individual roasted batches that the blending begins. Our signature blends are Delicato, Forte, and Kavè Decaf. Based on how you like to drink your coffee, with or without milk and/or sugar, we can help you find the perfect match of flavor and intensity.

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Pick the Perfect Equipment Part of what made your coffee in that café taste so good is the specialized equipment on which it was made, and the barista’s skill in making it. While you may not be inclined to have a large, professional espresso machine on your kitchen or pantry counter with your own personal barista, the popularity of espresso and espresso drinks has created the increased availability of convenient counter­top, fully automatic, pod­based espresso serving systems, such as our La Sottile. Utilizing the latest in coffee technology, you can enjoy a true, authentic Italian espresso at the touch of a button.

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According to the Istituto Nazionale dell’Espresso Italiano, there are several fundamentals which determine the quality of the espresso in your cup. Many of these can be found in most home machines, but it is only the best machines, including La Sottile, that meet all of these guidelines: the amount of ground coffee used (7 grams per single shot of espresso); water temperature as the espresso leaves the machine (185 degrees­195 degrees); temperature of the espresso in your cup (150 degrees­160 degrees); the machine’s starting water pressure (8­10 bars or 115­145 psi); the percolation time (20­30 seconds), and the amount of espresso and crema delivered to your cup (0.75 fl oz to 1 fl oz).

Take Your Time and Enjoy! A cup of espresso, or any kind of coffee for that matter, is meant to be

savored and enjoyed, whether by yourself first thing in the morning, or gathered with friends and family around the dining room table, and happily remind you of your last trip to Italy. We hope that we have provided you with the elements you need to recreate that perfect cup of espresso and rekindle your memories of Italy daily!


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V{tÇzx

T h e C h a n g e o f t h e Se a s o n s , t h e C h a n g e o f t h e Y e a r , a n d t h e C h a n g e in W in e by T h e r e s a R o g e r s

The snow kissed pine trees are glistening in the winter sunshine. The Champagne and White wine are chilling in the winter snowbank for the upcoming evening of friends, good food, wine and a roaring fire in the large ancient French Classic Chateau.

was generally shipped in barrels. In England it was illegal to sell single bottles of wine from 1636 until the Grocers act of 1860, which opened a large market. From the barrels, the wine was put into Amphora bottles. Wherever the wine was being sold, you had to rely on the merchant to know if the wine was from a good vineyard.

the label said and what was actually in the bottle were the same.

This winter, consider trying a wine from the Margaux region of Bordeaux with a great steak or braised short ribs. The grape varietal which Life like portraits of the is most widely grown is the Kings and Queens hang Cabernet Sauvignon. endlessly throughout the Included in this Bordeaux hallways. The portraits have Finally, the Bordelaise were will be Merlot, Petite Verdot looks in their eyes heavy with able to bottle in single bottles and start with corks with the and Cabernet Franc the stories actually taking place after the last bottle of names of the chateau. Most Look for vintages 2006,2008, Chateau Lafite Rothschild Bordeaux and Burgundy could be hand­labeled, but 2009, 2010 1888 was finally emptied. no telltale information of the Ch. Giscours 2008 at $79 is a true gem With a few exceptions during vineyard or its growers. Therefore, if the producer the ancient Egyptian and was selecting from a specific May Champagne be a part of Roman periods, wine was your daily noted in general terms, i.e. vineyard in the town of Palate exercise. Claret (instead of naming the Vosne Romanee, they would Too much of a good thing is specific Chateau where it was only designate the label from the town with the producer’s wonderful!! produced). The English have to this day always noted name on it. It wasn't until the nineteenth century that you Claret (which to the world was Bordeaux) because wine could actually trust that what

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ART ÉyA A A C h a s in g t h e L ig h t

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by D a le H o w a r d 72


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How do you capture the essence of a room? “Photo at its root is ‘light’,” Alan Barry answers. He has photographed several different subjects, including human models and advertisements. But what is most provocative, and difficult, is capturing an interior at its full potential; when the design and the light combine harmoniously to best portray the space he is shooting. Every element, every detail lives in the light. When Barry chases light, what he is

doing isn’t collecting as much light as possible. To do so would be to wash out the details as if you were to fill the room in darkness. Instead Barry sees how the light interacts with the room; how it draws out every detail in a balance of light and shadow. What Barry does is chase the ability “to present the viewer the elements that are in that space in the most beautiful and accurate way possible. That is the key job of the photographer.” There are some in photography who believe

one must use only the natural, ambient light if you want to capture the true beauty of a room with a camera. To Barry, there is nothing wrong with this school of thought. Indeed, talking to the photographer for only a few minutes, one can hear the absolute respect he has for all artists, their craft, and their schools of thought. And yet, Barry is the first to admit when he looks at the room for the first time, the potential light he can see in his mind is not always

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Ar t the light that is available. Like a painter looking at a blank canvas, Barry sees a room and can imagine its potential. But sometimes the time of day isn’t right, or the shadows stubbornly stick to nooks and crannies. There are times when the windows allow too much light to envelope the space. “Where appropriate I introduce my own, for lack of a better word, artificial light to create the kind of shadows and highlights I think will aid in the composition.” Barry does not want any details lost. He

wants to see all the elements he and the designers he works with think are important. Viewers of his work cannot argue with his results. His images are stunning because of his melding of ambient and artificial light. All the elements were already there; all the potential is hiding in places the natural light may not touch. Barry’s photographs are the result of a hybrid amalgamation of light. He shapes the light to his will, much like the painter manipulates his paint.

Maybe there are a few who believe what we can see is the only thing which is possibly real. However, to neglect the potential of anything is to deny its reality since all things have the ability to become a better version of itself. A true artist sees potential in his or her chosen craft and coaxes out the best part of it, revealing the truth of its beauty by any means available. By chasing the light, Alan Barry has shown his value as an artist even if he might be the last to admit it.

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B u s in e s s

C u s t o m e r C o n n e ct i o n s

by Jennifer Griffin

T h e cu s t o m e r j o u r n e y s e e m s t o be m o r e f r a g m e n t e d w it h t h e a d d it io n o f e a ch s e r v i ce ch a n n e l , e . g . , W e b , ch a t , s o ci a l . I n m o s t co m p a n i e s , t h e ch a n n e l s a r e o f t e n d a t a s i l o s , e a ch w i t h i t s o w n s e p a r a t e s t a f f , p r o t o co l s a n d r e p o r t s . T h e r e is lit t le t o n o co m m u n i ca t i o n be t w e e n t h e m . F o r m a n y bu s in e s s e s , t h is m e a n s t h a t t h e e co m m e r ce d e p a r t m e n t m a y b e co m p l e t e l y u n a w a r e o f ca l l ce n t e r o p e r a t i o n s a n d v i ce v e r s a . A s a r e s u l t , cu s t o m e r s m a y r e ce i v e co n t r a d i ct o r y s u p p o r t a s t h e y m o ve

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b e t w e e n ch a n n e l s i n t h e s e r v i ce e n v i r o n m e n t . T h is s e p a r a t io n h a s a l a r g e r i p p l e e f f e ct o n t h e cu s t o m e r j o u r n e y a n d o n bu s in e s s e s ’ bo t t o m lin e . W i t h d a t a s i l o s co m e s f r a ct u r e d r e p o r t i n g t h a t l e a ve s b u s i n e s s e s u n a w a r e o f d i s cr e p a n ci e s t h a t g r e a t l y i n f l u e n ce t h e cu s t o m e r e x p e r i e n ce , l i k e co n f l i ct i n g s t r a t e g i e s a n d p r o t o co l s a cr o s s b u s i n e s s f u n ct i o n s .

The Disconnected Customer Journey • C u s t o m e r s in it ia t e a n i n t e r a ct i o n w i t h i n t h e i r

p r e f e r r e d ch a n n e l b u t a r e o f t e n f o r ce d t o s w i t ch t o a n o th e r . • C u s to m e r s m u s t r e p e a t i n f o r m a t i o n w i t h e a ch t r a n s f e r w h i ch i n cr e a s e s f r u s t r a t io n a n d e r o d e s t r u s t . C u s t o m e r s a t i s f a ct i o n ( C SA T ) a n d N e t P r o m o t e r S co r e s ( N P S ) a r e i m p a ct e d . • A n im o s it y w o r s e n s if cu s t o m e r s a r e u n a b l e t o by p a s s bu s in e s s ­ m a n d a t e s e r v i ce ch a n n e l s t o g e t t o t h e i r p r e f e r r e d ch a n n e l ( e . g . , cu s t o m e r s ca n ’ t n a v i g a t e t h e w e b s i t e t o f i n d a ch a t w in d o w , o r a r e u n a ble t o r e a ch a l i v e a g e n t a t t h e ca l l


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C u s t o m e r s e x p e ct t h e i r i n t e r a ct i o n s t o b e t r a ck e d a n d t h e ir in f o r m a t io n t o be a v a i l a b l e i n e v e r y s e r v i ce ch a n n e l . T h i s i s t h e f i r s t i n d i ca t o r o f a t r u l y co n n e ct e d j o u r n e y . I f y o u r cu s t o m e r ch o o s e s t o l i v e ch a t w i t h y o u a b o u t t h e i r p r o ble m , t h e y s h o u ld n o t be f o r ce d i n t o t h e co n t a ct ce n t e r o r e m a i l . E a ch d e p a r t m e n t a n d ch a n n e l s h o u ld be a r m e d w it h t h e cu s t o m e r co n t e x t i t n e e d s t o p r o v i d e e x ce l l e n t s e r v i ce . E v e r y u n n e ce s s a r y t r a n s f e r i s a b u r d e n p l a ce d o n t h e The Connected Customer Experience customer. If data sources are ce n t e r ) . • L a ck o f p e r s o n a l i z a t i o n o r e a s e o f s e r v i ce m a y p u s h d i s s a t i s f i e d cu s t o m e r s t o s w i t ch b r a n d s . • W i t h s a t i s f i e d cu s t o m e r s , bu s in e s s e s m a y m is s o u t o n o p p o r t u n it ie s t o s e ll, u p s e ll a n d cr o s s ­ p r o m o t e t h e i r p r o d u ct s . • B a s i ca l l y , t h e b u r d e n i s p l a ce d o n t h e cu s t o m e r t o m a n a g e t h e e n t ir e e x p e r i e n ce , a n d t h e y a r e s t i l l u n a b l e t o a t t a i n s e r v i ce o n t h e ir o w n t e r m s .

t r u l y i n t e g r a t e d , s e r v i ce i s e f f o r t l e s s a n d e f f e ct i v e ; cu s t o m e r s n e e d n o t s w i t ch b e t w e e n ch a n n e l s o r r e p e a t t h e i r a cco u n t i n f o r m a t i o n d o z e n s o f t i m e s t o r e ce i v e s u f f i ci e n t h e l p . T h i s co n t i n u i t y r e d u ce s cu s t o m e r f r u s t r a t i o n a n d i n d u ce s t r u s t i n t h e cu s t o m e r ­ b r a n d r e la t io n s h ip . B u s i n e s s e s ca n cr e a t e s e a m l e s s o m n i ­ ch a n n e l s e r v i ce b y f u l l y ­ i n t e g r a t i n g d a t a s o u r ce s a cr o s s t h e i r cu s t o m e r j o u r n e y s . W h e n a l l ch a n n e l s s h a r e t h e i r cu s t o m e r d a t a , t h e y s p e a k a co m m o n

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B u s in e s s la n g u a g e , a n d r e p o r t in g a n d a n a l y t i cs ca n g o t o w o r k , u n co v e r i n g a r e a s o f co m p e t e n cy a n d m a l f u n ct i o n . T h i s i s a n a r e a o f f o cu s f o r A ce y u s , a l e a d i n g p r o v i d e r o f co n t a ct ce n t e r r e p o r t i n g a n d a n a l y t i cs s o l u t i o n s . S a y s A ce y u s ’ V i ce P r e s i d e n t o f Su p p o r t a n d D e ve l o p m e n t , B e n V e s t a :

a f f e ct s t h e o t h e r s . F o r e x a m p le , a f a u lt y I n t e r a ct i v e V o i ce R e s p o n s e ( I V R ) p r o m p t i n t h e co n t a ct ce n t e r co u l d ca u s e cu s t o m e r s t o t e r m i n a t e t h e i r ca l l s a t t h a t p a r t i cu l a r j u n ct u r e i n t h e I V R . I n r e p o r t in g , t h is w o u ld be illu s t r a t e d by a s h if t in t r a f f ic f lo w f r o m t h e I V R t o o t h e r ch a n n e l s , l i k e e m a i l . B e i n g a r m e d w it h r e a l­ t im e r e p o r t in g h a s t e n s t h e s p e e d o f r e s o l u t i o n s b e ca u s e b u s i n e s s e s ca n m o r e e a s i l y d e t e r m i n e t h e b e s t co u r s e o f a ct i o n f o r a d d r e s s i n g t h e m is s t e p . I n t h is ca s e , t h e co n t a ct ce n t e r ca n q u i ck l y d e t e r m in e t h a t t h e o f f e n d e r is m o s t lik e ly a t t h e d r o p ­ o f f p o in t f o r a lo t o f it s ca l l s , i . e . t h e I V R p r o m p t.

Benefits Realized

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B u s in e s s e s s h o u ld a n a ly z e t h e i r cu s t o m e r d a t a r e g u l a r l y t o d i a g n o s e p r o b l e m s a cr o s s t h e cu s t o m e r j o u r n e y . W i t h a ll d e p a r t m e n t s a n d f u n ct i o n s u n i f i e d i n t h e i r r e p o r t in g , id e n t if y in g p a in p o i n t s i s s i g n i f i ca n t l y e a s i e r b e ca u s e b u s i n e s s e s ca n s e e h o w e a ch s e r v i ce ch a n n e l

W h ile a d is j o in t e d cu s t o m e r e x p e r i e n ce ca n b e p o i s o n o u s , a co n n e ct e d cu s t o m e r e x p e r i e n ce ca u s e s a m y r ia d o f lo n g ­ la s t in g p o s i t i ve s o n b u s i n e s s e s ’ cu s t o m e r s a t i s f a ct i o n a n d bo t t o m lin e . • C u s t o m e r s a r e co n s t a n t l y e va l u a t i n g w h e t h e r t h e y


B u s in e s s s h o u l d s t a y w i t h o r l e a ve t h e i r b r a n d s ; m a n y w i l l l e a ve a f t e r a s i n g l e p o o r s e r v i ce e x p e r i e n ce . A n e x ce p t i o n a l l y e f f o r t l e s s a n d e f f i ci e n t cu s t o m e r e x p e r i e n ce w i l l d i f f e r e n t i a t e br a n d s f r o m t h e ir co m p e t i t o r s , i n cr e a s i n g cu s t o m e r l o y a l t y a n d ce m e n t i n g a b r a n d ’ s s p o t i n t h e m a r k e t p l a ce . • A s e a m l e s s s e r v i ce e n vi r o n m e n t m e a n s t h a t e v e r y a g e n t a n d t e ch n o l o g y h a s t h e n e ce s s a r y r e a l ­ t i m e co n t e x t t o s o l v e cu s t o m e r i n q u i r i e s i n t h e f i r s t co n t a ct . F i r s t C o n t a ct R e s o l u t i o n t y p i ca l l y l e a d s t o h i g h e r a g e n t s a t i s f a ct i o n , N e t P r o m o t e r S co r e s a n d b r a n d lo y a lt y . • T h e va l u a b l e h i g h l y ­ s a t i s f i e d o r “ co n n e ct e d ” cu s t o m e r s e g m e n t s p e n d s m o r e p e r t r a n s a ct i o n a n d s h o p s m o r e f r e q u e n t ly t h a n o t h e r cu s t o m e r s . B u s i n e s s e s ca n n u r t u r e r e l a t i o n s h i p s w i t h co n n e ct e d cu s t o m e r s v i a s o ci a l m e d i a , e m a i l m a r k e t i n g , t e x t a n d e ve r y o t h e r s e r v i ce ch a n n e l ; t h e y w e l co m e b r a n d co m m u n i ca t i o n s , p r o m o t i o n s a n d p r o d u ct l a u n ch e s a n d a r e m o r e l i k e l y

t o p r o m o t e t o t h e i r s o ci a l n e tw o r k s . • O p t i m i z i n g s e l f ­ s e r v i ce ch a n n e l s l i k e t h e I V R a n d w e b s i t e w i l l k e e p cu s t o m e r s f r o m u s i n g l i ve a g e n t s t o r e a ch s a t i s f a ct o r y s e r v i ce . W h e n i n q u i r i e s a r e r e s o l ve d i n t h e f i r s t co n t a ct , o p e r a t i n g co s t s d i p d r a m a t i ca l l y a n d a g e n t j o b s a t i s f a ct i o n i n cr e a s e s . E v e n t u a l l y , cu s t o m e r s w i l l o p t i n t o t h e ch e a p e r ­ t o ­ o p e r a t e , s e l f ­ s e r v i ce o p t i o n s f o r t h e i r e a s e o f u s e a n d e f f i ci e n cy . • W i t h o m n i ­ ch a n n e l cu s t o m e r co n t e x t , a g e n t s h a ve a l l o f t h e r e a l ­ t i m e in f o r m a t io n t h e y n e e d t o s e r ve a n d p l e a s e t h e i r cu s t o m e r s , m e a n i n g f e w e r e s ca l a t e d co n t a ct s a n d l o w e r t u r n o v e r . S u p e r v i s o r s ca n s e e a r e a s o f i m p r o ve m e n t a n d r e s p o n d w it h be t t e r t r ia g e s y s t e m s , t o o ls a n d t r a i n i n g f o r s e r v i ce a g e n t s . I n a w o r ld w h e r e co n s u m e r s a r e w i l l i n g t o s w i t ch b r a n d s a f t e r a s i n g l e n e g a t i v e e x p e r i e n ce , a n e f f e ct i v e s e r v i ce e n v i r o n m e n t i s cr i t i ca l l i k e n e ve r b e f o r e . W i t h s e a m l e s s r e p o r t in g , a ll bu s in e s s f u n ct i o n s a n d s y s t e m s ca n a lig n t h e ir o p e r a t io n s a n d

s t r a t e g y t o t h e u lt im a t e g o a l: a n o p t i m a l cu s t o m e r j o u r n e y a n d t r u e br a n d d if f e r e n t ia t io n .

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S by B r y a n M a t t im o r e I n m y 2 5 ­ y e a r ca r e e r a s a n i n n o v a t i o n co n s u l t a n t , I ’ m o f t e n a s k e d t o h e lp s o l ve “ i m p o s s i b l e ” p r o ble m s . I t ’ s bo t h d a u n t in g … a n d f u n . O n e s u ch i m p o s s i b l e ­ p r o b l e m r e q u e s t ca m e f r o m o n e o f t h e b i g t h r e e ca r co m p a n i e s . “ C a n y o u h e l p u s i n ve n t a b e t t e r s a l e s f o r e ca s t i n g s y s t e m p r o ce s s ? ” I a cce p t e d t h e a s s ig n m e n t

80

w it h o u t k n o w in g w h a t a p a t h t o s u cce s s m i g h t b e . B u s in e s s a s u s u a l in i n n o v a t i o n co n s u l t i n g . T o h e lp m e “ g e t u p t o s p e e d ” ( t h e s e w e r e ca r g u y s ) f o r a br a in s t o r m in g s e s s io n I ’ d b e f a ci l i t a t i n g w i t h t h e cl i e n t t e a m , I w a s s e n t r e a m s o f b a ck g r o u n d i n f o r m a t i o n o n b e s t ­ i n ­ cl a s s s a l e s f o r e ca s t i n g m e t h o d o l o g i e s , m o s t o f w h i ch i n cl u d e d co m p l i ca t e d m a t h e m a t i ca l

f o r m u l a s t h a t I co u l d n ’ t b e g i n t o d e ci p h e r . O o p s . W h a t h a d I g o t t e n m y s e lf in t o ? M u ch l i k e E i n s t e i n ’ s q u o t e : “ I n e ve r m a d e o n e o f m y d i s co v e r i e s t h r o u g h t h e p r o ce s s o f r a t i o n a l t h i n k i n g , ” o n e t h in g I d id k n o w : t h e “ a n s w e r ” w o u ld n o t be m a t h e m a t i ca l . T h e r e a r e a w i d e va r i e t y o f t h i n k i n g t r i ck s w e u s e i n t o h e l p o u r cl i e n t s – a n d


B u s in e s s o u r s e l ve s – b r e a k t h r o u g h o u r p r e co n ce i v e d n o t i o n s a n d s e l f ­ i m p o s e d cr e a t i v e l i m i t a t i o n s . On e o f t h e m o s t e f f e ct i v e i s Q u e s t i o n i n g A s s u m p t io n s . T h e Qu e s t i o n i n g A s s u m p t i o n s t e ch n i q u e i s v e r y s i m p l e . Y o u s t a r t by g e n e r a t in g 2 0 a s s u m p t io n s a bo u t y o u r ch a l l e n g e . T h e n , y o u w o r k t h r o u g h t h e s e a s s u m p t io n s , a n d s e e if by q u e s t io n in g t h e m , it in s p ir e s a n y n e w id e a s . F o r i n s t a n ce , w h e n m y G r o w t h E n g i n e co f o u n d e r , G a r y F r a s e r , w a s le a d in g t h e o r a l ca r e t e a m a t U n i l e v e r a n d t h e y w e r e t r y in g t o i n ve n t a n e w b a k i n g s o d a a n d p e r o x id e t o o t h p a s t e , o n e o f t h e a s s u m p t io n s t h e y q u e s t io n e d w a s t h a t t o o t h p a s t e h a d t o co m e i n a t u be . U lt im a t e ly q u e s t io n in g t h is a s s u m p t io n h e lp e d t h e t e a m cr e a t e t h e $ 2 0 0 m i l l i o n br a n d o f t o o t h p a s t e M e n t a d e n t , w h i ch co m e s i n a n u p r ig h t , d u a l­ d is p e n s e r . S o , d i d Qu e s t i o n i n g A s s u m p t i o n s s o l ve o u r ch a l l e n g e f r o m t h e ca r g u y s ? N o , i t w a s a n e ve n s i m p l e r t e ch n i q u e . D u r in g t h e d a y ­ lo n g id e a t io n s e s s io n , I a s k e d t h e t e a m t o co n s i d e r b o t h t h e

lim it a t io n s – a n d t h e p o s s ibilit ie s – o f t h e w o r d s in o u r ba s ic p r o ble m ch a l l e n g e : “ H o w d o w e i n ve n t a b e t t e r s a l e s f o r e ca s t i n g s y s t e m ? ” T h e r e a r e s e ve n u n d e r lin e d w o r d s in t h is p r o b l e m s t a t e m e n t . W h i ch o n e d o y o u t h in k le d t o t h e br e a k t h r o u g h s o lu t io n ? W a s it “ s y s t e m , ” o r “ f o r e ca s t i n g ” o r “ i n v e n t ? ” H o w a bo u t “ be t t e r , ” “ s a le s ” o r “ w e ?” N o , t h e w o r d t h a t le d t o t h e br e a k t h r o u g h id e a w a s “ a .” W e a ll h a d a s s u m e d t h a t w e s h o u l d t r y t o i n ve n t a s i n g l e b e s t s a l e s f o r e ca s t i n g t h a t w o u l d s e r v e a l l t h e ca r co m p a n y ’ s d e p a r t m e n t s : p r o d u ct i o n , m a r k e t i n g , f i n a n ce , s a l e s , e t c. W e s u d d e n l y r e a l i z e d t h a t e a ch d e p a r t m e n t h a d d if f e r e n t n e e d s f o r t h e i r p a r t i cu l a r s a l e s f o r e ca s t . A n d s o t h e br e a k t h r o u g h id e a w a s t o f i r s t a l l o w e a ch d e p a r t m e n t t o cr e a t e t h e i r o w n s a l e s f o r e ca s t . T h e n , w e ’ d co m p a r e a n d co n t r a s t t h e i r r e s u lt s a g a in s t r e a l w o r ld s a le s ; a n d u lt im a t e ly u s e t h e b e s t p r a ct i ce s f r o m e a ch d e p a r t m e n t t o cr e a t e a b e t t e r , m o r e a ccu r a t e s a l e s

f o r e ca s t . C o u l d t h e Qu e s t i o n i n g A s s u m p t i o n s T e ch n i q u e h a ve h e l p e d u s a r r i ve a t t h e s a m e id e a ? Y e s , a bs o lu t e ly ! T h a t ’ s w h y in a d a y o f id e a g e n e r a t io n , w e t r y a w id e v a r i e t y o f t e ch n i q u e s . W e n e v e r k n o w w h i ch t e ch n i q u e m i g h t t r i g g e r t h e cr e a t i v e br e a k t h r o u g h . A n d , it ’ s a ls o w h y t h i s a r t i cl e i s t i t l e d , “ T h e A r t – n o t t h e S ci e n ce – o f S o l vi n g I m p o s s i b l e Pr o b l e m s ! ”

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by Sean Brawley M a n y l e a d e r s h a ve a f a n t a s y a b o u t a r r i vi n g a t t h e o f f i ce a b s o l u t e l y f o cu s e d , k n o w i n g e x a ct l y w h a t t h e y ’ r e s u p p o s e d to d o a n d s p e n d in g t h e e n t ir e d a y d o in g im p o r t a n t w o r k w i t h o u t e ve r g e t t i n g o f f ­ t r a ck . T h e r e a l i t y ? T h e y g e t a m bu s h e d : s o m e o n e s t o p s th e m a t th e f r o n t d o o r to p u t o u t t h e la t e s t f ir e . J u s t a s t h e y s it d o w n , t h e ir s m a r t p h o n e ble e p s w it h a n u r g e n t m e s s a g e . T h e y tu r n o n t h e co m p u t e r a n d s t a r t a n s w e r in g e m a ils a n d t h e n w o n d e r , t w o h o u r s la t e r , w h e r e t h e h e ck t h e t i m e h a s gone . T h e t r u t h is t h a t it

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is r e a lly e a s y f o r u s t o g e t d i s t r a ct e d . T h e r e a r e m a n y t h in g s in o u r e x t e r n a l e n v i r o n m e n t w h i ch ca n p u l l u s a w a y a n d g e t u s o f f t r a ck . P l u s , i n t e r n a l l y , w e a l l h a ve a “ m o n k e y m i n d ” w h i ch i s co n s t a n t l y t a l k i n g , t h i n k i n g , p l a n n i n g , a n d cr i t i ci z i n g o u r e ve r y m o ve . I t ’ s h a r d t o f o cu s w i t h s o m u ch i n t e r n a l ch a t t e r g o i n g o n ! T h i s co n s t a n t g a p be t w e e n t h e d r e a m o f t o t a l f o cu s a n d t h e co m p l e x i t i e s o f r e a l i t y ca n n o t o n l y g e t i n t h e w a y o f o p t im a l p e r f o r m a n ce . I t ca n l e a d t o a n x ie t y , g u ilt , f r u s t r a t io n a n d a s e n s e o f r e s ig n a t io n . W h e t h e r y o u a r e a n e lit e

a t h l e t e o r a C ­ Su i t e l e a d e r , t h e s in g le m o s t p o w e r f u l f a ct o r t h a t w i l l d e t e r m i n e y o u r s u cce s s i s y o u r a b i l i t y t o f o cu s o n w h a t i s m o s t im p o r t a n t . D a n ie l G o le m a n , a u t h o r o f E m o t i o n a l I n t e l l i g e n ce , s a y s f o cu s i s t h e “ h i d d e n d r i v e r o f e x ce l l e n ce ” i n a n y a ct i v i t y . C o n t r o llin g o u r a t t e n t io n is a s k ill, a n d lik e a n y s k ill, if y o u w a n t t o g e t be t t e r a t it , y o u n e e d t o p r a ct i ce i t . T h i s t a k e s co n s ci o u s , d e l i b e r a t e e f f o r t , d i s ci p l i n e , a n d co m m i t m e n t — o r w h a t I l i k e t o ca l l M e n t a l T o u g h n e s s T r a in in g f o r L e a d e r s . H e r e a r e f o u r s im p le t h i n g s y o u ca n d o t o d e ci d e


B u s in e s s w h a t is im p o r t a n t a n d t h e n s t a y f o cu s e d o n i t .

Keep Your Eye on the Ball: discover and focus on what is most critical I n t e n n is , m o s t p la y e r s s t r u g g le w it h t h e ir co n s i s t e n cy b e ca u s e t h e y d o n ’ t w a t ch t h e b a l l w e l l e n o u g h . T h e y a r e co n s t a n t l y t e l l i n g t h e m s e l ve s w h a t t o d o , w o r r y in g a bo u t m a k in g m is t a k e s , a n d be a t in g t h e m s e l ve s u p w h e n t h e y m i s s . R e a ct i n g s l o w l y t o t h e o n co m i n g b a l l r e s u l t s i n p o o r m o ve m e n t , f o o t w o r k ,

a n d b a l a n ce w h i ch m a k e s i t q u i t e d i f f i cu l t t o s t r i k e t h e ba ll s o lid ly . I h a ve f o u n d t h e s a m e t o b e t r u e a t w o r k e ve n f o r t h e m o s t e x p e r i e n ce d l e a d e r s . D i s co v e r i n g w h a t i s m o s t cr i t i ca l t o y o u r s u cce s s p r o v i d e s t h e t r a i n t r a ck f o r y o u r f o cu s . I t h e l p s d e ci s i o n m a k i n g a n d p r o vi d e s a r e f e r e n ce p o i n t t o co m e b a ck t o i f y o u d o f i n d t h a t y o u g e t “ o f f ­ t r a ck . ” P e r w a s t h e N o r d ic s a le s le a d e r o f G E ’ s A u t o L e a s e F i n a n ci n g b u s i n e s s , w h i ch h a d s u f f e r e d a 2 2 % d e cl i n e i n s a l e s i n e a ch o f t h e p r e v i o u s 2 y e a r s . H e co m p l a i n e d t h a t h e w a s

co n s t a n t l y p u t t i n g o u t f i r e s a n d h a d n o t im e t o d o w h a t h e k n e w t o be im p o r t a n t . A f t e r 3 co a ch i n g s e s s i o n s , h e “ r e d i s co v e r e d ” t h e 3 m o s t cr i t i ca l a ct i v i t i e s h e n e e d e d t o f o cu s o n — co a ch i n g h i s s a l e s t e a m , g o i n g o u t o n cl i e n t ca l l s w i t h t h e m , a n d p e r s o n a l l y vi s i t i n g t h e cl i e n t s w h i ch r e p r e s e n te d th e to p 2 0 % o f r e ve n u e f o r t h e b u s i n e s s — a n d co m m i t t e d t o a n a ct i o n p l a n . I t w a s d i f f i cu l t f o r P e r t o co m m i t t o t a k e n e w a ct i o n f o r f e a r t h a t t h e f ir e s w o u ld r a g e o u t o f co n t r o l , b u t i n s t e a d t h e o p p o s it e h a p p e n e d . A f t e r

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B u s in e s s

j u s t 3 m o n t h s , t h e bu s in e s s co m p l e t e l y t u r n e d a r o u n d a ch i e v i n g a 1 2 % i n cr e a s e i n s a le s w it h m a n y o f t h e f ir e s d is a p p e a r in g . W h a t f e w p e o p le r e a liz e is t h a t m a n y p r o b l e m s o r f i r e s o ccu r p r e ci s e l y b e ca u s e p e o p l e a r e f o cu s i n g o n u n i m p o r t a n t a n d u r g e n t t h in g s r a t h e r t h a n t h e m o s t cr i t i ca l .

10 Minute Toughness Training for Leaders: focus on 3 things a day

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R i ch a r d L o v e t t , Pr e s i d e n t o f

C r e a t i v e A r t i s t s A g e n cy , i s o n e o f t h e bu s ie s t le a d e r s I h a v e e v e r m e t . H i s cl i e n t s i n cl u d e T o m H a n k s , R o b e r t R e d f o r d , a n d S t e ve n Sp i e l b e r g . H e s h a r e d w i t h m e h i s s e cr e t t o s t a y i n g f o cu s e d a n d g e t t i n g t h e r i g h t t h in g s d o n e . I t is e x t r a o r d in a r ily s im p le , bu t n o t e a s y f o r bu s y le a d e r s t o p u t i n t o p r a ct i ce : t a k e 5 m in u t e s in t h e m o r n in g p r io r t o d o in g a n y t h in g e ls e a n d d e t e r m in e t h e 3 m o s t im p o r t a n t t h in g s y o u n e e d t o d o th a t d a y . T h e n ta k e a n o t h e r 5 m i n u t e s a t 3 :3 0 p .m . t o s t o p , r e l a x , a n d

ch e ck y o u r p r o g r e s s . “ I n s t e a d o f t r y in g t o d o 2 0 t h in g s in a d a y , d o t h r e e , ” R i ch a r d a d v i s e s . “ W h a t a r e y o u r t h r e e cr u ci a l r e s u l t s f o r th e w e e k , o r th e d a y ? W h e n y o u a r e in t e n t io n a l a bo u t t h a t , t h i s ca l m n e s s co m e s i n a n d i t b e co m e s m u ch e a s i e r t o f o cu s a n d b e m o r e p r o d u ct i v e . ” T h i s i s n ’ t t o s a y t h i n g s w i l l g o e x a ct l y a s p l a n n e d , b u t y o u ’ l l h a ve f e w e r t h i n g s t o f o cu s o n , s o y o u ca n p u t m o r e m e n t a l e n e r g y in t o m a k in g s u r e t h o s e t h in g s h a p p e n . T h e m o r e y o u d o th a t, th e m o r e y o u r b r a i n j u s t l o ck s i n .


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T u r n o f f t h e p in g o f i n co m i n g e m a i l s . C l o s e y o u r d o o r . H o l d a l l ca l l s f o r a n h o u r . Pu t y o u r s m a r t p h o n e a w a y u n t i l l u n ch t i m e — o r a t l e a s t p u t i t o n vi b r a t e . P a y a t t e n t io n d u r in g t h e d a y t o w h a t m o s t d i s t r a ct s y o u , t h e n cr e a t e a s t r a t e g y a n d m u s t e r u p t h e w i l l p o w e r t o r e m o ve t h e d i s t r a ct i o n s . R e s e a r ch s h o w s t h a t e ve r y t i m e y o u g e t d i s t r a ct e d i t w i l l t a k e y o u 4 5 s e co n d s t o g e t b a ck t o w h e r e y o u w e r e in y o u r w o r k . A n d w e g e t d i s t r a ct e d b e t w e e n 6 0 ­ 1 0 0 t i m e s e a ch day!

F o cu s i n g r e q u i r e s m e n t a l e f f o r t a n d e n e r g y . L ik e a m u s cl e , i t ca n f a t i g u e . I n f a ct , n e u r o s ci e n t i s t s t e l l u s t h a t o u r b r a i n ca n n o t f o cu s f o r lo n g e r t h a n 4 5 m in u t e s be f o r e w e g e t m e n t a lly t ir e d . So i n o r d e r t o w o r k w i t h , n o t a g a in s t , o u r n a t u r a l l i m i t a t i o n s t o s u s t a i n f o cu s , s ch e d u l e t i m e t o w o r k o n p r o j e ct s i n 4 5 ­ m i n u t e t i m e b l o ck s . T h e n , g e t u p a n d w a l k a r o u n d t h e o f f i ce o r s t r e t ch f o r 5 m i n u t e s . M o ve m e n t i s t h e a n t i d o t e f o r m e n t a l f a t ig u e ! T h e s e a r e 4 s i m p l e t i p s t h a t ca n h e l p y o u b e m o r e p r o d u ct i v e a t w o r k . A s a le a d e r , it is im p o r t a n t t o r e a liz e t h a t

Schedule 45­minute time blocks to work

B u s in e s s w h a t is t r u e f o r y o u a s a n i n d i vi d u a l i s a l s o t r u e f o r y o u r e n t ir e o r g a n iz a t io n . D o e s t h e cu l t u r e y o u h a v e cr e a t e d m a k e i t e a s y f o r p e o p l e t o f o cu s ? I s t h e r e a l o t o f i n t e r n a l i n t e r f e r e n ce ? H a s y o u r v i s i o n b e e n cl e a r l y co m m u n i ca t e d ? W h a t o t h e r f a ct o r s i m p a ct t h e i r cl a r i t y a n d co m m i t m e n t ? W h a t w o u ld h a p p e n if y o u r e m p l o y e e s b e ca m e j u s t 5 % m o r e f o cu s e d e v e r y d a y ?

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the ART of Winter Issue 2017  

the ART of Magazine gathers experts in various markets to reveal the artistry in their fields. Each article is an educational excursion into...

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