pomp apartment: studio toogood

Faye Toogood

... "In all of my work I’ve tried to link the conceptual to the visual, although it’s much harder with the objects and furniture because they have to work, whereas a photograph only needs to evoke an emotion and a space an experience." <a href="http://farm7.static.flickr.com/6117/6256007325_c82e8d8445_b.jpg"><img alt="" border="0" src="http://farm7.static.flickr.com/6117/6256007325_c82e8d8445_b.jpg" style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 698px; height: 923px;" /></a> "Bubble drifting, Into a place Where planets shift and, The moon's erased, Its features lift in the glare" <a href="http://www.youtube.com/watch?v=UGuOm7_yOL8">(here)</a> <a href="http://farm7.static.flickr.com/6058/6266467925_069e0d455b_b.jpg"><img alt="" border="0" src="http://farm7.static.flickr.com/6058/6266467925_069e0d455b_b.jpg" style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 698px; height: 698px;" /></a> Delicate Interference: Assemblage 3 There is something about the latest works from Faye Toogood that premiered at <a href="http://www.phillipsdepury.com/press/2011/uk-faye-toogood.aspx?year=2011">Phillips de Pury</a> that remind me of space. Not deep space, the space you might get lost in forever, but perhaps a grounded, softer space, one where you can live, coexist with the stars, and planets, taking notes about the shifts of shadows off the moon. There are few designers working today, crossing lines, and combining elements with such ease as <a href="http://www.studiotoogood.com/">Faye Toogood.</a> Her work simply knows no limits, appearing effortless, as if she is simply making objects for a world only she is aware of. This latest series is evidence of her desire to produce works of timelessness, something every object maker dreams of. Monica Khemsurov, from the incredible Sight Unseen interviewed Faye Toogood for the catalog, which has been on my nightstand ever since I received it. Track this catalog down, or read an excerpt of the interview on <a href="http://www.sightunseen.com/2011/09/faye-toogood-on-assemblage-3-for-phillips-de-pury/" style="color: rgb(153, 0, 0); font-weight: bold;">Sight Unseen here.....</a> - David John <div style="text-align: center;"><a href="http://farm7.static.flickr.com/6214/6267036100_bc9def3c8a_b.jpg"><img alt="" border="0" src="http://farm7.static.flickr.com/6214/6267036100_bc9def3c8a_b.jpg" style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 704px; height: 947px;" /></a> watercolour drawing of cage for birds 2011 <div style="text-align: left;">excerpt from interview.... </div></div><div style="text-align: center;"><div style="text-align: left;"> </div> </div> What would you say is the thread that unites all three of your professional identities—the stylist, the interior designer, the object designer? Not adhering to the rules when it comes to the process of design. In all of my work I’ve tried to link the conceptual to the visual, although it’s much harder with the objects and furniture because they have to work, whereas a photograph only needs to evoke an emotion and a space an experience. I’m also trying to challenge the perception of materials and constructions and our emotional connection with the objects we choose live with. Not in a worthy way that will change the world, but just in a way that allows people to look at things differently..." "Well styling is about reinvention, and about picking up on what’s going on. If you’re a particularly good stylist, you pick up on it before anyone else does. While I hope that my objects and furniture aren’t fashionable or trend-based, I do think they appeal to people for the same reasons my styling does—it’s intuitive, it captures the attitude of its time, and it’s coming from someone who is obsessed with observing the world around us. I think those are the qualities that give my work relevance and longevity. I’m much more interested in longevity now that I’m designing three-dimensional spaces and objects. After working on magazines and the transient image, one ambition I had for the pieces is that they have permanence; they shouldn’t be something you tire of. Perhaps their heaviness also helps imply that, as they’re not easy to move and thus won’t be easy to get rid of." <div style="text-align: left;"><a href="http://farm7.static.flickr.com/6173/6266411179_f60f05db07_b.jpg"><img alt="" border="0" src="http://farm7.static.flickr.com/6173/6266411179_f60f05db07_b.jpg" style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 701px; height: 623px;" /></a> <div style="text-align: center;">Alter Piece 2011 steel, patinated sandcast bronze, iridescent glass </div></div> <a href="http://www.studiotoogood.com/">Studio Toogood </a>designs, directs and executes interiors and environments from concept through to creation. Offering a full creative direction and interior design service, the Studio’s projects range from the two-dimensional page to the three-dimensional space, and from the real to the conceptual. Under the creative direction of London-based designer, Faye Toogood, the Studio collaborates with clients who seek alternative ways of developing their brand or their interior. Its distinctive approach disregards convention in favour of something altogether more brave, joyous and impulsive. -------------------------------

Faye Toogood

... "In all of my work I’ve tried to link the conceptual to the visual , although it’s much harder with the objects and furniture bec...

9:55 AM

volume + void

.. “I started to get involved with people who were creating their own worlds. I realized I wanted to do that, and I hoped people would like it.” - Faye Toogood vs Andre Cadere worked to a system of numerical order that he had developed himself, containing errors as a secret code. Cadere developed his Barres de Bois as mobile works of art in 1970, something that he could take everywhere with him and use at any time, anywhere. <a href="http://farm7.static.flickr.com/6208/6059959784_0662125ab6_b.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" src="http://farm7.static.flickr.com/6208/6059959784_0662125ab6_b.jpg" style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 701px; height: 460px;" /></a> <a href="http://farm7.static.flickr.com/6196/6059959738_4e9929e35a_b.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" src="http://farm7.static.flickr.com/6196/6059959738_4e9929e35a_b.jpg" style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 700px; height: 466px;" /></a> Faye Toogood of<a href="http://www.studiotoogood.com/"> Studio Toogood... </a> (element table in resin, from Assemblage 2) table with VOID. "Toogood’s knack for sourcing materials and her compulsion to group unlike things derives from a love of research that harks back to her art history studies at Bristol University, and her stint at World of Interiors; when she was 22, the leading British interior design magazine hired her as an intern. “I didn’t even know what a stylist was,” she recalls, but she certainly learned. In her 10 years there, she rose to the position of senior stylist before opening her own studio in 2008, to branch out beyond creating dreamy sets that lasted no more than a few days. Studio Toogood has since designed interiors, both temporary and permanent, for various creative brands. For a display at Comme des Garcons’ flagship store in Tokyo, she took the fashion label’s deconstructed plaid – a defining pattern in its 2010 men’s collection – and recreated it on stacks of white cubes with coloured electrical tape. At The Rug Company’s New York store, she covered the walls with archival images of English houses, then painted them with graffiti. The plan was to eventually turn the murals into tapestries." <a href="http://www.azuremagazine.com/magazine/backissues/features.php?id=2184&c=2">(via here, Azure magazine)</a><a href="http://www.dezeenscreen.com/2011/07/18/interview-assemblage-1-by-toogood/">, (dezeen screen with Faye Toogood)</a><a href="http://youhavebeenheresometime.blogspot.com/2009/12/studio-toogood-via-world-of-interiors.html">, (past YHBHS post on Studio Toogood)</a>... Andre Cadere referred to his wood bars as “peinture sans fin” – “unlimited painting” – which redefined the boundaries of the medium and broke with traditional ways of seeing. The form of the rod does not prescribe a privileged point of view – it has no front nor back, no bottom nor top – but offers itself to multiple presentations instead: The bars can be laid out on the floor, fixed to the wall or can lean against it; they can also, theoretically, be moved from one place to another.<a href="http://looksee.chrisashley.net/?p=486" style="font-style: italic;"> (via here)</a> James Hyde said Andres Cadere is "probably the most important artist of the 1970s whom you've never heard of." When he died at 45, he left behind about 180 segmented wooden "barres." --------------------

volume + void

.. “I started to get involved with people who were creating their own worlds. I realized I wanted to do that, and I hoped people would like...

11:43 AM

pomp apartment

Faye Toogood

volume + void

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