Hasta La Ideas

Phenomenological art from a Detroit native

Discovered on our recent trip to Re:view Gallery in Detroit, Greg Fadell is an abstract artist hell-bent on taking messaging out of art. His massive grayscale aesthetic channels the rawness of abstraction and makes for a piece that is nothing if not experiential. The brother of Tony Fadell—former iPod designer and inventor of the Nest Learning Thermostat—Greg Fadell seems to share his brother’s desire to innovate and change. We recently caught up with Fadell in his Detroit studio, situated in an old public school building that has been converted—in that patently Detroit sort of way—into a movie theater, Montessori school and studio space.

The concept for Fadell’s current series, “Nothing”, came during a Parisian sojourn. Walking down the street, he came across a building undergoing renovation. The windows had been whitewashed for protection, and Fadell became obsessed with the spectral quality of the material. With his elementary command of French, he was able to ask the owner, “Qu’est-ce que c’est le blanc?” or “What is the white?”

Fadell went on to buy the substance, a fine powder, and develop his own paint using polymers and an acrylic base. Applying the paint with homemade brushes, Fadell quickly realized that the paintings lost depth from layering day after day. “I have to work wet, so once I start I cant stop,” he explains. With nearly two gallons of paint used for each work, it’s surprising that the works dry perfectly flat. The difference between white-on-black and black-on-white pieces is vast—white produces a cold color temperature while black is notably warmer.

The result of his effort is a painting that has a great degree of perceived depth, yet on close inspection appears to be a digital print. The sharpness disappears and the lines becomes noisy and indistinct. The effect is so convincing that a New York gallerist once accused Fadell of photoshopping his work. Her mind was changed when the piece was reversed and the paint-covered edges could be seen through the floating frame. Following this, Fadell learned the importance of showing his hand, and now exhibits the series unframed.

There is a lot of theory behind Fadell’s work, mostly surrounding the phenomenological notion of art as experiential and viewer-informed. This makes the work essentially irreproducible online, where the enveloping effect of his floor-to-cieling works is lost. Fadell is adamantly opposed to cleverness, and the title “Nothing” is more of an invitation to viewers rather than an artist’s statement. “There’s all this issue art,” says Fadell. “I have enough issues. I don’t need to create any more. I wanted to create something that allowed the viewer to bring their own impressions to it.”

An artist like Fadell is a rare phenomenon in the art world. Painters are increasingly a dying breed as concept art moves from the fringe into the mainstream. Mostly, his point of differentiation goes back to his years of skateboarding before skate culture had developed. Back when the sport was new, Fadell explains that there was nothing preset, no sense of what he was doing or why. “It’s like detroit,” he says. “I saw opportunity and potential in skateboarding.” That spirit eeks into his works, which have a spirit and energy that extend outside of time and place.

Gary Panter and Joshua White tune you in and trip you out with an array of mind-bending works

Meeting Joshua White and Gary Panter is like stepping back in time. Not because White is responsible for creating the Joshua Light Show—the beautifully psychedelic backdrop that entertained thousands at Fillmore East concerts for Janis Joplin, Jimmy Hendrix, The Who and more in the 1960s—but because they continue designing experiences with the same childlike nature they likely possessed as creative young kids decades ago. This skillful, ingenuous approach is evident in their retrospective-like exhibition currently on view at the Museum of Contemporary Art Detroit, where Panter’s playfully simple illustrations and hypnotic graphics glow under White’s tightly orchestrated theater lights.

While kindred in spirit, the two are actually from slightly different eras. Panter neatly sums it up when he says, “Free love didn’t happen to me.” White began synthesizing music and lights in the late ’60s, making a name for himself among the rock ‘n’ roll crowd in New York shortly after graduating from USC. Panter, who grew up in Texas, read about the Joshua Light Show in magazines at his local drug store. A trained painter and genuine magpie, after graduating college Panter moved to New York and began hosting small shows at record shops in Williamsburg, where he would wiggle a flashlight behind a shiny piece of film while making weird noises with abandoned beat boxes. White saw one of these shows, thought he could help Panter streamline his production, and their friendship and working relationship began.

We recently visited Panter’s studio, an airy space on the top floor of his Brooklyn home, filled with random shiny objects, stacks of records, acrylic paintings, sculptural mobiles and around 200 sketchbooks. The duo calls much of this miscellany “light show potential”—things that can be thrown in the mix to modify the already trippy liquid light show. At its foundation, the spectacle’s lava lamp quality is as simple as colored water and colored oil continuously moving around on top of an overhead projector.

As the MoCAD show demonstrates, their approach has expanded in concept and size over the years, but really only in a sense of refinement. The DIY vibe still lingers, evident in the shoebox mockup, sketches and sculptural models Panter created for the exhibition. The fun house effect Panter lends the show is likely a nod to his days working on the sets of Pee Wee’s Playhouse, which now provides the perfect environment for White’s immersive light show installation at the museum. Whether in a slightly more static setting like the Detroit exhibition or in their performative light shows that reflect the music playing at the moment, White and Panter’s work always stems from their art first.

Their candid analog style isn’t without any digital elements—they often distort computer-generated imagery in their light show performances—but you definitely won’t catch them doing a laser light show. “I have two problems with lasers,” White explains. “One is that it is a very strange repurposing of something that is so magnificently pure. And the other thing is the colors—well it’s not a rich palette. Kind of cold.” Instead they employ a “less is more” approach to their work, which keeps the shows from becoming what White calls “too soupy or too speedy” while allowing the audience’s minds to wander. “We have people coming up to us going ‘were there camels carrying giant bears?’ or something, and we always say ‘You saw that? Good for you!'” They toy with synesthesia, giving freedom to the people watching to interpret the visuals how they like.

Together they continue to put on performative light shows, working with bands whose musical style closely matches their own experimental nature. Separately they both work on personal projects, and soon Panter will begin a residency at the Cullman Center at the New York Public Library, which is funding the third installment and paradise version of his Divine Comedy graphic novels. Panter painstakingly dipped a chopstick in ink to draw the first two intricately detailed books, “Jimbo in Purgatory” and “Jimbo’s Inferno”.

The most obvious realization that comes across after spending any amount of time with White and Panter is that they are both highly intelligent and their work is a distillation of their hyperactive minds. Their ability to funnel ideas into various artistic forms speaks to their innate creative talents, and the results are entertaining as well as enlightening.

“Joshua White and Gary Panter’s Light Show” is currently on view at MoCAD through 29 April 2012. Panter shows his fine art work at Fredericks & Freiser gallery in NYC and performs with his band, Devin Gary & Ross at venues around Bushwick in Brooklyn.

Photos of Panter’s studio shot by Charis Kirchheimer. See more images in the slideshow.

The musician shares the tools of her trade at her Montreal studio

We recently visited the acclaimed Canadian singer Ariane Moffatt at her Montréal studio in the Mile End section neighborhood of Plateau-Mont-Royal just days before she launched her latest album, MA. Having written in both French and English, Moffatt holds an eclectic, multi-genre appeal, incorporating elements of folk and jazz into her distinct electro-pop sound. With seemingly so much of her musical inspiration stemming from her creative space, we asked Moffatt to show us her favorite instruments. Here she explains how she used these tools to develop some of the brightest songs yet.

Supro Dual Tone Electric Guitar (1960)

This electric guitar is the first instrument I ever bought on the Internet. It was purchased specifically for a performance at Victoires de la Musique (France’s equivalent to the Grammys) in Paris. I love its retro punk look, its heavy shape and dark tone—David Bowie agrees! We sometimes call it the baseball bat because of its thick, heavy neck. While recording MA, every time I had an idea for a riff, I couldn’t help myself from grabbing this baby and plugging it in to my small Vox amp. A really good-looking electric couple.

Steel Drums from Tobago

I bought these pans during a trip to Trinidad and Tobago. I always loved Calypso music and the warm sound of this metallic, percussive instrument made from old oil drums. It always surprised me how such warmth could come from a metal surface. I always wanted to transpose that magical aspect into a different style of music. I tweaked the sound using different effects, and played the instrument instinctively, since I have no formal training.

Even before leaving for my trip I had the idea to bring home pans in my suitcase. I bought mine from a young, talented player who was moving away to attend university in the U.S. He delivered them to my hotel room late one night, and included a case, the drums, stands and proper sticks. I was all set to bring them back to Montreal’s -25-degree weather! I have never been able to tune them properly since.

Roland Jupiter-6 Synthetiser (1983)

This was bought off of a friend of mine a while ago. It took me a long time to get used to this ’80s tank of a keyboard. It really is the main player on my most recent album. I love playing with its big buttons while crafting my sounds. It’s a huge machine that is totally impractical to bring on tour, but it represents the audio aesthetic of my album and I am profoundly attached to its infinite creative possibilities and strong personality.

Roland ’70s Beat Box

On the road I have a habit of shopping for vintage instruments the way some people shop for antique furniture. Finding a hidden shop or market where you can get treasures at ridiculously low prices is totally satisfying. That’s how this old wooden analog beat box and I met. It emulates beats from the foxtrot to the rhumba in a full and soft way. I can sample its different parts and construct my own beats to integrate into my songs anyway I want. During an acoustic set a few years ago the audience and I baptized it with the name “Tapageur”. It is the grandfather of all the toys in my studio.

Heintzman Upright Piano (Toronto, 1877)

There’s an old piano shop in near my home called Montreal Pianos. The owner’s son, JR, restores old pianos and brings them back to life. My Heintzman was a love-at-first-touch encounter. I keep it at home and only half-dressed to show off the gold keys and hammers inside. I find a piano in one’s home to be an important decorating element by bringing calm and openness to a room. This inviting instrument is not only an inspiring friend for songwriting, but playing around on it keeps our home feeling alive!

Photography by SPG LePigeon

A multi-disciplinary design studio’s fringe experiments combine science with art at Stockholm Design Week 2012

Note Design Studio quietly sidled into the public eye last year with its exhibition Marginal Notes, as part of Stockholm Design Week. Alexis Holmqvist, Susanna Wåhlin, Johannes Carlström, Kristoffer Fagerström and Cristiano Pigazzini run the multi-disciplinary studio, which has since built up a prolific base of collaborations with companies across Sweden and beyond, not to mention fresh interior architecture and installations like the recent Below the Snow at the Formex design fair.

This year, the studio revisited the original Marginal Notes concept to show another exhibition of experimental prototypes lifted from the margins of their notebooks. “We’re looking for those unique sketches which pop out when you look at them again, the ones you just need to realize,” says Fagerström. A recurring theme seemed to be emerging from the team’s prep-work, that of Base Camp; “Simplistic materials and shapes of scientific field exploration tools; adapted to wear and tear,” he adds.

As with its previous 2011 exhibition, the group set to taking the 2D sketches into 3D, with a diverse set of results that mix color, material and form in a light airy expression that has become the firm’s signature. Marginal Notes gave Note a chance to not only show conceptual work but also its more recent collaborations like the simple overhead lighting for Zero, a mobile project screen for Zilenzio and a group of light ash wood structures, dressed in fabrics from Afroart.

However, Note stands out mostly for its independent projects like Tuc, a group of three rotund stools which get their form from the Steve Zissou-style beanie hat and its attention-grabbing red color. The edges of the cushion are folded up to reveal an intricate lattice of metal beneath.

The piece Sifter is a scaled-down take on an excavation machine from a building site, transformed into a coat hanger with a net below to catch items that may drop from your pockets. Peep brings light into typically dark bulky storage furniture, using the same mesh as Mosquito, a selection of screens that can be used as backdrops or temporary feature walls. The Catch is a fun ceiling light that can be moved around its central pivot to resemble a firefly caught in a butterfly net.

“To fell a tree, and to cut it up into useful pieces is a thing of pride for a lumberjack or a settler building their first cabin,” says Fagerström, explaining the Settler seat. “The iconic shape of a log on a sawbuck inspired these benches, since a dead tree in the forest is really the best place for a short rest.”

Marginal Notes 2012

8-10 February 2012

Showroom Lindehöf,

Hornsgatan 29, Stockholm

Our studio visit and interview with the veteran fashion designer on her first collection in nearly 10 years

Perched on the top floor of a nondescript building in New York’s fashion district you’ll find veteran designer Gemma Kahng‘s studio. The bustling space serves as a showroom, office, archive, design studio and production workshop, housing more than twenty years of inspiration pieces, vintage couture and past collections. From here the exuberant Kahng is staging her “comeback,” as many are calling her return to regular production.

The designer made a name in the fashion industry in the early 1990s with bold women’s jackets and suiting. Her mainstream success came upon major industry praise and countless editorial spreads—including the cover of Vogue in August 1992. A decade or so later she experienced some tough times and eventually dropped out of the limelight. She never stopped designing, however, and now some 10 years since that dip, Kahng has a new team to help her build her label once again.

Using the fresh start as a chance to showcase the expertise she’s garnered over the last 20 years, Kahng seems to be in perpetually good spirits having turned out a stunning Spring 2012 collection. But with New York Fashion Week approaching there is still much to do, and the studio is in full production mode with samples, sketches and fabric swatches hanging everywhere.

While exploring the studio I was immediately drawn to the overflowing stacks of fabric, spindles of ribbon and wall after wall of boxes filled with rare vintage materials—including 20 years worth of original Kahng handbags and garments. I sat down with Kahng to chat about the inspiration behind these current designs and where she sees her brand going.

When you first got started in the industry what would you say you were best known for?

Oh, suits. Power suits. They were so loud and a little bit obnoxious [laughs]. Everyone loved it.

With your new Spring 2012 collection it seems you’ve shifted from bold suiting to a more feminine, sexy aesthetic. Would you say this was a natural transition or a more calculated move?

I don’t think you can be that conscious with knowing what’s right, you just have to try and see what happens. And it’s been years, so I’ve tried all types of things. Not too long ago I made a piece when I was on the TV show (All on the Line) and it was basically like putting all the leftover stuff in one garment. And somehow I just created this very interesting texture and harmony. And a new idea came out of it. Judging from everyone’s reaction I thought “let me take that further” and the idea developed into this Spring collection.

The Spring collection is all about texture and mixing different fabrics and layers. I don’t want it to fall into being entirely romantic and super feminine. I want it to be a little bit edgier. That’s when I decided to put a little bit Mad Max kind of feeling into it almost—exaggerated shoulders and sheer hem lines, something a little bit more interesting.

Is this how you’d describe your current design ethos?

The vocabulary I like to use is being carefree. You know I don’t want to try to make everything perfect, to follow the rules or make everything be luxurious and proper. I try to move away from that, but of course my customers are very elegant and very fashion-conscious. They want to look perfect. But I’m putting a little bit of edge into it, so my clothes are made with a carefree spirit, but when it’s on isn’t really. That’s what I’m trying to do.

Texture and lace seem to be central to the new line. Are there any specific materials or fabrics that work best with your design style?

I like to work with chiffon. You can do so many things with it. Chiffon is very light and sometimes transparent so you have so many options. I can gather it and make it thick, or make it heavy by shirring it. I can cut it up and make ruffles out of it. Or i can just do triple layers to give thickness and still flowing at the same time. There’s so many different things, but it also depends on the season. Spring, chiffon is a very very important fabric. Also it’s very easy to get. I can get all different colors right down the street. So that makes a big difference [laughs].

You use a lot of vintage materials as well. Why do you prefer this idea of re-purposing?

I like the things that are old and aged, and have some history. It makes it more beautiful, a little bit sentimental. You wonder how long it’s been since it was made, things like that. When you look at some beautiful garment from the Victorian era it’s aged and falling apart—so delicate and precious. I love that kind of feeling.

So sometimes yeah you can get vintage material. You have to think creatively and try different things. For example right now I’m washing this wool to make it a little more “raggy”. It was perfectly pressed beautiful wool crepe, and I washed and dried it and it became very soft, like a rag. It’s very nice, I’m making a dress out of it.

Has your design process changed since the ’90s with the advent of computers?

I like to sketch. And erase. But when it comes to computers I’m always doing research online. Before I used to go to the Metropolitan libary, make an apointment and sit down to make copies. None of that anymore. Just go online and it’s all there. And I can do that just laying down right there on the studio sofa.

The new Spring collection has a rather subdued palette of black and gold, any specific reason for this?

Oh yeah black and gold. Color is very challenging for me, personally I don’t like color, but I want to try. So I’m kind of timid about it. But red, I feel very comfortable with, because red is almost basic. So I’ll be doing some red, I like to try to squeeze in some colors—little variations of red or brown, not another color but kind of different tones. Very gentle, it has to be gentle. it cannot be too shocking.

Are you currently designing and manufacturing all your garments in the studio?

Right now, yes. But I’m talking to some factories in the building. There’re two factories on this floor we just went to say “hi” to them at lunchtime today. They all want to make my samples. So that’s an idea we have in mind. But I like to do it [in the studio] so I can watch—and catch them if they’re doing something wrong haha.

Head to Gemma Kahng online to see her Spring 2012 collection. Fall 2012 launches next month at New York Fashion Week.