We live in a time of abundant design stores and online interior retailers that churn out fast furniture in a similar way the fashion behemoths turn over fast fashion. While many of us are constantly on the look out for interesting, modern, well-crafted design pieces at a truly affordable cost, sometimes it’s hard not to resort to the typical catalog companies and Ikeas of the world. Personally, I’d prefer to buy directly from a carpenter, artisan, or maker—there’s something about this exchange that feels more personal—but I often don’t find products I truly love at a price I can pay. Thankfully, OneFortyThree is here to fill the void.
The hype for Daft Punk’s upcoming album Random Access Memory is kind of getting ridiculous at this point. I took a listen to the album yesterday and my initial thought is that they’ve ditched their electronic weirdness for pop stardom… le sigh. But time (and motivations) change and we’ll always have the older albums. So instead of pointing out any of the songs from the album, I wanted to shed light on this cover of “Get Lucky” by London-based band Daughter.
I think it would be hard for anyone to out-sexy Pharrell, Daughter’s lead signer Elena Tonra gives an amazing rendition that equally matches the original. Her voice is sensual and patient, slowly breathing out each word. If you’re into this you should also check out Daughter’s new album If You Leave. It’s powerful and brilliant along the lines of Bats For Lashes and Feist.
Colorado-based artist Evan Hecox has been one of my favorite creatives for a little over a decade now. His amazing screen prints, featuring detailed images of cityscapes and the people who inhabit them, uniquely and exquisitely capture the urban lives that many of us lead. Last week Evan released a brand new site along with some really beautiful new prints.
Some artists illustrate everyday life with a sense of reality, while others infuse the mundane with magic and whimsy. Karolin Schnoor, a German illustrator and designer working in London, is in the latter category. The first time I saw her work, I was drawn to the lone female figures quietly working, lounging, or daydreaming, usually in stylish ensembles, a sense of playful contemplation up their sleeves. They seemed familiar and expressive, like abstract portraits of your best friend wearing her favorite floral coat for a bike ride or running errands in a striped tee.
These photos aren’t the end product of some sweet new Instagram filter, but of gasoline.
Photographer Peter Hoffman traveled along the Fox River in Illinois, photographing the river’s meandering surface through rural and suburban areas. Before he developed the film, Hoffman drowned the negatives in gasoline and then set them on fire, throwing water to halt the process just before the film was completely destroyed. Hoffman uses fossil fuels to disturb his film in order to reflect the very real environmental disturbances caused in the pursuit of oil. He specifically cites the Deepwater Horizon Spill in a statement about the series and in further commentary about his work he says:
“I wanted to transfer that feeling I had, which was maybe something like a sense of powerlessness or dread, to the image making process. I wanted to lose control, having the resulting work border on ceasing to exist in any recognizable form.”