Architect’s Cabinet (1997)

Architect’s Cabinet (1997) uses the signature colours of the Gap clothing store’s Spring 1997 collection in juxtaposition with the van der Rohe house and the furniture design paradigms. The piece includes the de rigueur painting, an interior view looking out to surrounding grounds through ample window space. Surrounding the painting and painted over a reproduction of a cabinet originally designed in the twenties by Eileen Gray is a series of stripes coloured according to the Gap hues. Placing the colours of an “annual look” over this furniture design, Van Halm contests the timelessness, the permanent relevance, attributed to modernism by matching it to the fickleness of fashion. However, employing colours designed for retail commerce also melds commodity to modernity, an accurate but now overused method of deconstructing modernism. Simply connecting colour to modernism by rendering post-painterly abstract stripes actually forms a more effective comment on modernity, again by signifying its conceptual vacuousness through the astute metaphor of non-functioning drawers.

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A similar comparison of fashion and modernity occurs in Spring (1997), in which Van Halm covers faux-furniture with two military-inspired shades of green, which were popular in the 1997 fashion season. Van Halm allows these colours to carry further signification on the theme of content masked by form, therefore reiterating Architect’s Cabinet’s most effective assertion. Military-coloured clothing connotes camouflage, an insinuation surprisingly complementary to the transparency of glass. Glass and camouflage normally would be opposites, but when related to this house, they join, along with the represented furniture designs, to further a discourse on false appearances in modern architecture. Van Halm paints the glass windows to provide an illusion of openness or of public spectacle serving to camouflage the privacy domestic space typically signifies: the closed doors, the bathroom, as well as the concept of private property itself. Ironically though, at the time of the Farnsworth House’s design and construction, glass symbolized the liberalism of modernity through an open concept house.

If you have an interest in contemporary art, welcome to look into: Artinbulk’s official youtube channel

How to Draw Star Wars Rogue One

Today we will draw a scene from Rogue One. We begin by sketching an horizontal line and then a little vertical one. From there we can sketch the cockpit and the body of this X-Wing spaceship of the rebellion. We can see it a little bit better in this close-up. Right behind it, we have the powerful engine. We almost not see the wings because of the perspective. We just see like a small triangle. One going up, and one coming down. The pilot and some more details. And the guns going forward. I´ll do slightly thinner and slightly lower, this umm… front part. Like so. That´s better! Good! Here we will sketch another one, at a distance. This will be very simplified with not much detail, just the general shape, the general outline. WIth the kneaded eraser I lighten up the lines, so as to refine them, to draw them better now, and more in detail.

We basically use the sketch that we have done, and outline it better and more clearly. We will be looking at this scene with a backlight so the ship, will be pretty dark and with no much detail inside. We draw a horizon line and then with dry soft pastels, we will paint the background. Let´s add different tones of blue and some green and yellow on this side and on this one; violet, brownish, orange and ocre. I blend them together with the fingers of my hand. It feels nice . We can reinforce any color we want. I use a brush to take the excess powder off, so as to not create a further mess than what I am already doing! And as I said we reestablish any colors as need it. This is not the kind of drawing I usually make but I have to say, I am a fan of Star Wars! I draw a third ship at the distance and some hills. A dark blue stripe over here. The hills are dark and the ships are dark, so if we placed one on top of the other one, they could be lost.