On my mind

From top left: a Unique Amber Cast Glass Sculpture by Karin Mørch, Ore Patinated Brass Pendant Light/Chandelier Ceiling Sculpture, nesting tables by Edward Wormley, pink St. Charles Armchair by Volk, rose marble pedestal dining table by Ettore Sottsass, contemporary ceramic coral sculpture, and a “Guerriero” marble sculpture by Cesare Arduini.

“Tarquinia Chair” by Roberto Matta

“The function of art is to unveil the enormous economic, cultural and emotional forces that materially interact in our lives and that constitute the real space in which we live.”

Roberto Matta was a celebrated painter and an equally talented furniture designer. His furniture design was strongly interconnected with his art, each creation was the result of a vision, no matter how it was labeled.

Nick Alm

“Sleeping Blonde”, oil on canvas, by Nick Alm.

I visited Nick in his studio at Lidingö outside Stockholm. It was absolutely fantastic, his work is more than captivating, it is just mesmerizing. I bought a lithograph, “Café Scene”, which I just want to be a part of, in the middle of the Parisian vibe, drink coffee, champagne or both. Another fav work by him is “Champagne breakfast”. See more of his work here.

Evert Taube

Skola kan ge bildning, men icke skapa konst. Konst kan skapa skola men icke konst. Trevande efter stil är levande konst. Färdig stil är icke konst.

Det stora kan nu ske endast undanskymt. Konst uppstår enbart ur känsla, behag, lynne, hemligt, förkrossande arbete och förfärlig ensamhet.

–Evert Taube

Lucano House

“With the completion of the Casa Lucano in 1951, a large apartment in the elegant Fiera district in the northwest of Milan, Gio Ponti reached the apex of his quest for the Fantasy Home, a type of house that echoes both Italian Metaphysical and French Surrealist art of the early and mid-twentieth century within the domestic realm. This approach has almost no equivalent in pre-war Europe except perhaps in Le Corbusier’s Beistegui apartment (1929-31) and Carlo Mollino’s Devalle apartment (1939-40). It is a testimony to the inspired patronage emerging from the dynamic cultural environment of that period. Soon after the war, Ponti harnessed those currents with resounding success in Milan, where he engaged in constant dialogue with his peers and his patrons among the enlightened Milanese society.”

Read more at Phillips.com.