This is a series of retail pieces I called “Tiny Conceits,” inspired by 18th century, miniature portraits. I felt the title “Tiny Conceit” expressed both the idea of self adoration as well as alluding to perhaps a thinly veiled expose of some royal debacle — a little performance that is an exaggeration.
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I have a strong attraction to European, 18th century objects. While the textiles from this era were perhaps the most exquisite ever produced, the jewelry was a bit crude — but this is what I like about it.
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Interior Alchemy was published in 1998, and featured seven spaces that uniquely brought the past into the present. I think the book was a little before the curve on this aesthetic — it was another ten years before it attracted any attention — but it was a satisfying experience and it helped jump-start my career in styling, so nothing really to fuss over. I had several objectives for the book: imbed an aspect of my art practice by featuring nine esoterically defined interior styles; champion the idea that style was not dependant on finances and “taste” in a classical sense; showcase some incredible spaces featuring a Past-Present aesthetic; and highlight the word “hoosh.”
I managed all of this except for the art practice aspect, it was considered a bit too esoteric by the publisher, although the idea of highly disparate styles still came through.
Another objective was to work with Sue Gross and Steve Daly. Old Houses had recently been published and it was a book I found revelatory.
I had been working with Paulette Cole at A.B.C. for several years, exploring the Past-Present realm of patina and weather but at the time Old Houses appeared, I had never seen an entire interiors book devoted to the ravages of time, and the exquisite complex layering that only neglect and weather can create.
The past revisited in the present has always been evident in home décor, but it was the visual inclusion of its deconstruction that was not only ground breaking but also psychologically left of field. One just didn’t shoot an historical interiors book that featured homes that were a mess, let alone falling apart with dirt, dust and debris gathered in the corners!
Old Houses was the first — that I had seen anyway — to document this intersection of nature and a domestic setting, a declining that was simultaneously emerging as something “other.”
So it was the brave and cutting edge duo of “Steve and Sue” I wanted to shoot the images for my book as I planned on highlighting a few messes of my own. To my utter joy and amazement they agreed.
I am so grateful we had the opportunity to document the spaces in Interior Alchemy as most no longer exist. The remarkable Tribeca loft of J. Morgan Puett and Mark Dion (Expedition chapter) was dismantled shortly after publication, but not before they hosted a private martini auction with only three bidders allowed: Mark, Bob Braine and Alexis Rockman. As the guests became increasingly inebriated and vociferous, the three participants parceled out a large collection of taxidermy birds… a night to remember for the eccentric rarity of the event as well as a vodka fueled battle over a stuffed puffin that almost turned violent – no doubt the first battle of its kind.
Jeffrey Jenkins home (Simple) has been thoroughly overrun by his mounting collections (and my increasing infiltration – I live with him).
The dense, oriental-gothic apartment (Exotic), of my brother and sister William Bryan and Mary, has morphed several times since these images were taken and now is a far more quiet, albeit toy-ridden home, to Mary and my niece Cira.
My own apartment (Alienated) has turned into what I refer to as “Hotel de Lyon” — hybrid, disheveled French via the American flea.
And the afternoon folly Morgan and I created from a chicken coop for “Humble“ appropriately drifted away with the wind and weather.
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The Minoogian Portraits were interwoven with Organon 9 Worlds, an elaborate nine-part matrix that attempts to coalesce specific, aesthetic styles into a series of phases in creative production.
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I had the honor and privilege of being involved in the art direction and styling of a series of 12 labor portraits in collaboration with J. Morgan Puett, Jeffrey Jenkins, Natalie Wilkin, and an incredible group of resident fellows and participants who made invaluable contributions both physically and conceptually.
The portraits reflected the various labor practices employed at Mildred's Lane referred to as "Workstyles."
Each portrait depicted a specific titled practice and included: materials indigenous to Morgan Puett history and Mildred's Lane; a changeable architecture loosely influenced by Crivelli Paintings; elements of 18th C. labor portraits; props reflecting the "workstyle;" and aspects of the sitter's personality.
The women's outfits — "Apparatuses" —were designed by J. Morgan Puett and constructed in sections that button together to create a variety of garments.
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Recent collaboration with J. Morgan Puett and the Mildred's Lane Complexity
After digging around in morgan's archive, we came across a vintage slip that struck both Morgan and I as being unusually appealing.
Morgan worked on having the body of the slip reinvented, using antique cotton organdy, while I assembled bodices, using one of a kind lace and crochet appliques, from my library of gathered materials.
I finally started styling my own images! (Final image at end of post)
Last month Jeffrey and I set up a cramped studio in our living room, between the daybed and the coffee table. I pulled a large selection of items from my object library and spent the day placing and arranging.
The image is a test run, a combination of the opening sequence from "
To Kill a Mockingbird"
and John Derian.
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Testing out ideas for section openers, a frontispiece, possibly for inclusion with my card deck, or maybe just another way to create a hoosh.
I refer to this as a Rorschach style hoosh
This particular style of arranging is so close to a game I played as a child called "Dudes" that I felt myself regressing in age as I assembled the pieces. My hands felt as if they were child hands.
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