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
THE REAL PHILLIP LIM
Phillip Lim has changed. The designer sees beauty in another way and his simple beachside shack on Long Island was a catalyst to a shift in perspective and priorities.
DOWN SIZE, UP CYCLE
When creative director at Marimekko Rebekka Bay and her husband Ricky Nordson decided to scale down their lives and living space, they knew their new Copenhagen apartment would require tailor-made design solutions.
FORMAFANTASMA
— THROUGH THE LOOKING GLASS
Milan-based duo Formafantasma are agents of change, investigating through exhibitions, research projects, symposia and teaching the ecological, historical, political and social forces shaping design today.
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