LANDON METZ
Art
Space is important to Landon Metz. In his art, pools of colour float across canvas leaving vast areas of unprimed fabric. In his studio the same sense of space – and the importance of the negative – is evident in the blanks between sparsely scattered furniture and plants.
While his expansive canvases seem to be spontaneous clots of colour, in truth Metz pours diluted dye directly onto raw canvas and then slowly and meticulously manipulates it with a brush or squeegee. Similarly, the studio is studied, the furniture chosen with a discriminating eye – a Chandigarh chair, a Wassily Chair, and an Ekstrem Armchair by Terje Ekstrøm.
The entirely white studio in New York City’s Chinatown is flooded with light from steel-framed windows and bare neon tubes, a laboratory-like location for the exploration of “moments of oneness”, emptiness and the relation of form and non-form, the negative space allowing elements to work together.
Landon Metz has created an exclusive series of artworks for Ark Journal VOLUME VIII, and also talks to fellow painter David Risley.
PHOTOGRAPHY CLÉMENT PASCAL
CASE STUDY
— DISSONANT BEAUTY
As in music, interior design calls on many elements – rhythm, contrast, repetition – to create that most subjective of visions: beauty.
CINCINATTI MODERN
High on a hillside in Cincinnati, sits a two-storey modernist wonder by two unsung heroes of American architecture, built for an art collector in the 1980s and that has been given a sensitive makeover to accommodate the collection of its second owner.
CREATIVE TRANSITIONS
Based on the loops and twists of the Möbius strip, an icon of mid-century Mexican design has become an integral part of the creative process for its custodian, designer and ceramicist Perla Valtierra.
LANDON METZ
Art
Space is important to Landon Metz. In his art, pools of colour float across canvas leaving vast areas of unprimed fabric. In his studio the same sense of space – and the importance of the negative – is evident in the blanks between sparsely scattered furniture and plants.
While his expansive canvases seem to be spontaneous clots of colour, in truth Metz pours diluted dye directly onto raw canvas and then slowly and meticulously manipulates it with a brush or squeegee. Similarly, the studio is studied, the furniture chosen with a discriminating eye – a Chandigarh chair, a Wassily Chair, and an Ekstrem Armchair by Terje Ekstrøm.
The entirely white studio in New York City’s Chinatown is flooded with light from steel-framed windows and bare neon tubes, a laboratory-like location for the exploration of “moments of oneness”, emptiness and the relation of form and non-form, the negative space allowing elements to work together.
Landon Metz has created an exclusive series of artworks for Ark Journal VOLUME VIII, and also talks to fellow painter David Risley.
PHOTOGRAPHY CLÉMENT PASCAL