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  • North London Residence

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    North London Residence
    Interiors by Sarah Ward has teamed up with our consultants to source art work for an elegant, large North London property. This extraordinary mansion was developed by Octagon in a Conservation Area in North London. It’s comprising 21,630 square feet and was built in the Georgian style.

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  • Carlow House

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    Carlow House
    Carlow House is a glass domed residential building, converted from an Edwardian warehouse into an archetype of Art Deco architecture and refined contemporary design, that holds 85 loft-style apartments in bohemian Camden.

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  • Our Top 10 Tips for Artwork Procurement for Interior Design Projects

    With high profile property developers and private clients looking to furnish their properties with original art and sculpture, designers are fast becoming impromptu curators! If you have a project coming up in 2017, get prepared with our top tips below:

    1. Start Planning Early

    It’s always best to start early, to get the most out of your art journey with your client. Use images of artwork and sculpture as part of your early mood board, to inspire and impress clients! Contact galleries to request imagery, and use social media platforms such as Pinterest, Houzz and Instagram for ideas.

    If you find a piece of artwork you like, request the artist’s whole portfolio and back catalogue; it’s best to have as many options as possible. By planning early, and using art procurement right from the concept stage, the clients will not only be prepared, but will also allocate the appropriate budget.

    C2S16YKWEAAijY5 Project with Gordon-Duff & Linton. Artwork by Jennifer.

    1. Let The Clients “Discover” The Artwork

    With the subjective nature of artwork, and the emotional attachment one forms with art, it is imperative the client is able to “discover” the artwork for themselves, in a similar way to if they went into a gallery or an art fair and were wowed by an unexpected discovery of fantastic art. This is particularly crucial where clients are very time poor, but in need of art.

    You should be able to present an array of art to the client, which they then choose from. By working with an art consultant/gallery, this need is fulfilled for you! The consultancy or gallery will have a range of artists to choose from, along with the service of art viewings as and when they are needed.

    CwcGDYYXAAUk1PS Luminaire Arts Gallery, in central Belgravia

    1. Establish A Budget

    There’s nothing worse than finding the perfect painting which a client absolutely loves, only to realise it is way out of budget! To avoid this pitfall, ask clients to give you a maximum budget per project for artwork pieces. That way you can present a selection of artworks and potentially mix and match with more premium artists for key areas and more affordable works or prints for other areas.

    1. Get to Know Your Client’s Taste in Art

    Try to establish your client’s taste in art; what kind of artwork do they already own, which artists do they like or dislike? What do they dream of owning? Even if your client has a lower budget, and cannot afford a original Rothko or Turner, there are many emerging artists who take inspiration from famous and established artists.

    1. Create an Artwork Plan for the Property

    Create a plan of rooms where artwork and sculpture are required. Note down the dimensions, and include them in your architectural drawings to show the client. It will be helpful for the client to navigate their way round their purchases, and the relocation of existing work. Additionally, the plan is a great guide for your art consultant or gallery, to help them visualise the space the art is intended for.

    1. Arrange an Art Viewing with Your Client at the Gallery

    The gallery should also provide you with refreshments, arrange a meeting area, and take care of any other requirements, so you can show your client artworks in a comfortable setting. At the Luminaire Arts Belgravia showroom you can book a seated area for meetings with clients – it’s right in central London so the location is ideal!

    The New Dawn ‘The New Dawn’ by Paul B

    1. Immerse Yourself in Art

    View as much art as possible, go to galleries, art studios and art fairs, take photographs of artworks to use on mood boards. Ask the gallery owners and artists to tell you more about works you are interested in, so you can fully present artwork to your clients.

    Novotel12small Installation at Novotel Canary Wharf, by Sam.

    1. Bring the Gallery to Your Project

    When you or your client are time poor and you want to see how the artwork will look at the property- request an art viewing at the site. At Luminaire Arts, we are more than happy to bring selected artworks to your projects for clients to view.

    Studio John Franzen 4 Luminaire artist John in his studio.

    1. Go Bespoke

    Do your projects require larger canvases or sculptural works? Would your client like something created especially for them?  Have you found the perfect painting, but need it in a different colour/composition?

    Design clients can go bespoke with anything from furniture to fixtures, so why not with artwork? Having a bespoke, commissioned artwork is a specialist service where an artist can create something truly unique for your client and the interior. Find out more about commissioned art and how it can add to your interior design service.

    Screen Shot 2017-02-15 at 14.08.09 Luminaire artist Katharine in her studio.

    1. Make it Work For You

    Make the journey easier for you by using an approachable art consultant, who is happy to support you and your project! By providing an art sourcing service for your client, you will be embarking on an exciting journey to supporting them in discovering artwork they will love and cherish for years to come. Don’t forget to ask for discounts, viewing and anything extra you feel will help your client!

  • Abstracts in Gold, Copper and Steel – Inside Chelsea’s Studio

    “The world filters into my studio: colour, light, politics, religion, people.” – Chelsea

     

    What first inspired you to paint?

    Art books, paper, pencils and felt tip pens were my weakness ever since I had pocket money. My poor mum had to endure tables covered in half completed drawings, homemade cards and then more and more ambitious paintings in my teens. I loved art homework and painting backdrops for school plays.

     

    One of my earliest memories was trying to copy Velazquez’s ‘Venus at her Mirror’ in the kitchen on cobbled together pieces of canvas as it grew ever larger. Even now the blood red curtains, languid shape and form are mesmerizing. The way your eye is drawn around the painting is everything I strive for in my work. Then as I got older and could travel and study my pilgrimages became artworks I’d seen in books and wanted to be up close to. Seeing Alison Wilding’s sculptures, Rothko, Paula Rego’s paintings or Anish Kapoor, just cemented that this was the only world I belonged to.
     

    Caramelo

    ‘Caramelo’

     

    In your artist statement, you mention the world around you as being a strong influence on your work. How do you aim to reflect that in your artwork?

    Being in a studio alone for some people can be solitary as a blank page can be daunting. I’ve never found that. I carry in my head phrases I’ve read, snippets from news items, exhibitions I’ve seen, images I’ve captured, walks I’ve taken, countries I’ve visited as if they were with me in the moment, there’s always music on and on loud.

     

    Psychedelic rock bands like Toy or the Fews create a trance like state when the alchemy of all my thoughts begin to distill into a title or shape. Somehow the thoughts bubble up, clarity comes and titles form; Where Two worlds Collide and Where East meets West talk of the conflicts between cultures, religions and political dogma. ‘Desire Lines’, ‘Blood Meridian’, and ‘The Sea The Sea’ reference books by Iris Murdoch, Cormac McCarthy and Bruce Chatwin.

     

    Architecture and its Rules of Harmony as described by Palladio remind me of the harmony I try to find in each painting. The seasons spill into the studio, thoughts of balmy summers in the Costa Brava, westerlies lashing the Cobb on Monmouth beach in Lyme Regis, watching the huge swells roll in and away.

     

    How has moving to Barcelona influenced your practice?

     

    Light and colour flooded into my work, from having used predominantly concrete and lead, although copper was my first and most expensive love. It was hard to resist once I was here to amalgamate it all! I can’t imagine having moved in such a direction if I had stayed in London although I still use the counterpoint of mild steel in much of my work. You can’t deny what you’ve made or where you’ve been and I can see overlaps of my time in London, the West Country and now Barcelona.

     

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    Chelsea applying the finishing touches

    Which piece of work are you most proud of?

     

    There is a painting that that I completed after the Tsunami in Japan, it is called Undertow and is monochrome with a hint of gold. I cried whilst painting it and couldn’t let it be seen so I kept it. It somehow held my grief and horror as well as the immense power of Mother Nature. However any piece that someone chooses to cherish makes me so proud. I am incredibly fortunate to be able to paint every day.

     

    And finally, what direction do you see your work moving in next?

     

    I’ve been very aware of my sight and breathing recently and from that I began a new series titled Inhale/Exhale and Flow. It is a given that there is no night without day, or that spring follows winter, they are simple ideas but I am drawn to opposites and connections. How the tide ebbs and flows, how the seasons come and go, how dusk slides into night and back into dawn or how the horizon blurs on a hazy summers day.

     

    ‘Watermark in Silver’ 50cm diameter 5cm deep, black steel, oil, silver leaf €650

    ‘Watermark in Silver’ , 2016

    'Watermark in Copper’ 50cm diameter 5cm deep black steel, oil, copper leaf €650

    ‘Watermark in Copper’ , 2016