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
design /delight: A PLATFORM FOR CONTEMPORARY DESIGN
During Shanghai Art Week, the city’s cultural landscape was shaped by the second edition of design /delight, an emerging platform dedicated to contemporary collectible design and functional art.
SPATIAL GESTURES
The wearable objects Yuta Ishihara makes under the moniker Shihara play tricks on us. “The hardware is in focus, incorporated into the design itself,” says Ishihara.
LAKE COME DESIGN FESTIVAL 2025
The city of Como once again hosted the seventh edition of the Lake Como Design Festival, under the theme Fragments. The festival invited visitors to reflect on fragmentation not as a sign of rupture, but as a catalyst for creative rebirth, for the preservation of memory, and for a regenerative approach to design.
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