Serpent Woman

Serpent Woman for #inktober by Alison Day

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Authentic Charm

Here's the November issue of Danish magazine: Jean d'Arc Living featuring my second interior design article, this about a family house in Wassenaar, In the Netherlands. Written in a collaboration with the distinctive photography of Van Belkom Productions.

Internationally available in eight languages. The photo is from the English version of: French Christmad with Authentic Charm (12 page spread). Look out for my third article — January 2015.

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Harmony & Soul

I'm really pleased to share a few photos from the October issue of Danish, interior design magazine: Jean d'Arc Living.
Featuring the first of three articles I have written for the magazine, as a result of interviewing the owners of houses with beautiful interiors; a collaboration with the distinctive photography of Van Belkom Productions.

Internationally available in eight languages. The photo below comes from the Dutch version of: Harmony & Soul (14 page spread). Look out for the next two — November and January (2015).

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June - July Connections

Here's the June - July issue of the Connections.

FYI it is also my last issue, as I head off into the sunset total freelancer.
Enjoy!

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May Connections

The May issue of the Connections is out, follow the link to read more!

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Carolijn Slottje: Interior Design

Decorations in the park (the Noorderplantsoen), during the ten days that the annual Noorderzon Performing Arts Festival is held are often refreshingly original, and in some cases thought provoking for the viewer. Summer 2012, saw the inclusion of an unusual collection of birds throughout the park: outlines of over 30 familiar species native to the area, and they were constructed from detailed, three-layered laser cutouts of mirror. Each was mounted on heavy iron bases by metal nuts and bolts and displayed at intervals throughout the park; one could spy a kingfisher hanging from a pole, a heron balanced on a branch staring intently into the distance, or groups of birds standing in the water’s shallows.

A promotional postcard from the festival, which turned out to be a pitch to the CBK (Centrum Beeldende Kunst) to realize the project, led my curiosity to contact interior designer, Carolijn Slottje.

Carolijn told me that apart from the obvious decorative aspect, the thinking behind this project was to make people aware just how many bird species are resident in the Noorderplantsoen, and what effect the presence of a festival can have on the indigenous flora and fauna.

I met her at her studio, in part of an enormous, high-ceilinged old school premises destined for demolition, and run by the anti-squat organization, Carex. It is here that she has all the room necessary to work on the five or so projects that she completes per year; either under her own name, or as part of the collaborative label (with Eileen Blackmore, Martijn Westphal): Young and Hanson. We ascend a series of bright red wooden stairs to the slightly warmer, large-windowed, mezzanine area of the studio, and sit in the sun, with large glass beakers of hot amber-coloured tea.

A graduate of Minerva, Carolijn has had a great deal of interest surrounding her work, beginning with her graduation project: Capilliar. This organically formed and ‘intelligent’ display structure has exhibited in Berlin, been written about on blogs, and drawn attention from museums for its originality. Looking like a magnified cross section of blood vessels and arteries on a glass slide under a microscope, and constructed from a series of adjustable rubber membrane cells, plastic straws, and with grey plastic tubes as inner display areas, this book case can be adapted to fit any space.

I ask Carolijn where she gets her inspiration from. It seems that her design philosophy and approach comes from her interest in natural structures, the stories contained within patterning, sustainability and fair trade. Finding inspiration in the mechanical working of things, for example bionics, she then figures out how she can translate this for human use. Or from nature: the already documented information on how a leaf unfurls, or the resistance of a riverbed. Knowledge gained from the former has already been applied to the technology of how a satellite opens in outer space. The natural world for her is inspirational through its planned chaos: “If you fill a pot with stones, whether big or small, they will naturally fall to accommodate each other within the pot, and find their own level.”

It can take up to a year before Carolijn can finally launch a new product on the market. Not only does the designed object have to be able to exist in its surroundings, but there is the question of feasibility; materials have to be costed, the end design has to be tested for safety, and then there is the question as to whether there is a market for it.

Although her income could do with a boost, Carolijn is just able to survive from her work: commissioned interior projects, and the creation of small saleable objects. For example, her fabulous up-cycled Zaanse clocks as bird houses – traditional old style Dutch clocks, with new life blasted into them. Plus of course, products from the design collective: Young and Hanson, in house at Vos Interieur.

For the future, her objective is not so much about making a name for herself, but to maybe work for Ikea or Hema, producing products with the underlying philosophy of them being financially accessible and attractive to all. Also, she would like to use her knowledge for the design of a “good chair for a well-known label.”

If you’d like more information about Carolijn’s work: www.carolijnslottje.com. Or call her: here.

© Alison DayFirst published in the Connections magazine #38 Winter 2013

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Connections Winter Issue 2013

Theme this issue: Health

First published as the Connections magazine cover #38 Winter 2013
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Illustration: © Alison Day Website: Alison Day Designs 
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Connections Summer issue 2012

The Summer issue of the Connections magazine is out and coming to a place near you! Or... if not, why not become a member? ... Info: here

Editor & Design: Alison Day Designs

Connections Spring

Current issue 2012 still available - Summer issue just back from the printers and coming to a place near you soon. Alternatively why not become a member and receive it quarterly in your mailbox?  Connect International

What's Hot What's Not - Beam me up Scotty

The next step in the evolution of sky travel seems to have resulted in the partial dispensing with the check-in staff.

Booking online, checking in online and printing out your boarding pass at home, to avoid the queues at the airport, has become standard procedure for most people, but at Schipol Airport they've taken it one step further at the baggage drop.

I am ushered by KLM ladies, impeccable in their bright blue uniforms and practiced smiles, to an area with a series of short queues of fellow travelers. It is here we wait for our turns at a row of waist-height white and silver cabins, each with automated, latticed metal mesh fronts that open and shut at intervals, like hungry mouths.

My first reaction is that I’m about to be enjoy a new kind of treatment at a wellness spa, but the surroundings quickly put that idea to rest. The cabins look reminiscent of the decor from a set of the popular sci-fi series, Star Trek of the 70’s, and, as I suppress the urge to shout “Beam me up Scotty” at the top of my voice, I can’t help wondering if they have finally mastered the art of moving objects from one place to another, through space and time.

I realize I’m not the only one who’s new to this procedure, as I listen to the whispered anxieties of the Australians behind me, who then proceed to watch what I do, eagle-eyed. Blind leading the blind, I’m afraid, but, when the illuminated screen to my left requests that I heave my suitcase into the cabin, handle upwards, I oblige. A quick scan of the boarding pass and all your details appear along with the suitcase’s weight, and your allowance of 23kg. You are then asked, if this is you - ‘Press yes’. Momentarily, I wonder what kind of devilish chaos I could create if I chose ‘No’, but decide not to piss-off my fellow travelers by holding them up for my own amusement. ‘Did you pack your bag yourself’, is smile-worthy, but the potential ensuing sarcasm would be lost on a machine, at least in this century. And yes, I did omit: sharp objects, bombs, and nerve gas…this time!

All correct so far, the baggage label is printed out with the idea of being attached to your bag’s handle. Seen it done a million times, it should be easy you’d think. It’s not - the sticky part is very sticky indeed, and if you don’t get the ends attached to each other in one go, you run the risk of adding long tresses of hair, the machine wall and any rogue small children into the equation.

Final ‘Yes’ pressed and the metal mesh descends, partially obscuring the visibility of the luggage.  When it opens again, abracadabra! The suitcase has vanished. Good to go, I turn on my heel and throw a parting comment to the queue behind me: ‘And, your luggage is never seen again!’

Ok, now to spoil the magic. It does not de-materialize, the floor does not open up and swallow it, nor is there a vertical wind tunnel to dramatically suck it out of sight. If you peer through the mesh, you will see the floor rise to an incline, knock over the case onto a conveyor belt, which then carries it off (hopefully) to the loading bay.

With time to spare I trot through passport control, and decide to opt for a drink at a bar and a spot of people watching. A different one to last time’s rip-off experience, where to my surprise a glass of white wine cost me € 9,25; gob-smacked, I gave the woman behind the bar ten euros, and said ‘Keep the change’. This time, however, a glass of cold Heineken and bag of Doritos came in at a saner cost of € 5,60.

So, with this new development in sky travel, and avoiding scary scenarios like the one out of the 1986 film, ‘The Fly’ (David Cronenberg), in which Jeff Goldblum accidently merges with a housefly during a teleportation experiment; I wonder how long it will take before I will be able to step into the cabin too and be ‘beamed’ to my destination. 

Hear an excerpt of the story read my Alison Day: HERE

First published in the Connections magazine, Spring issue #35, 2012

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Tarty Pantone

This looks delicious, I'll have 1797 C and a cappuccino to go... 

The idea of French food designer Emilie De Griottes these dessert tarts resemble Pantone color swatches and were created for French culinary magazine Fricote.

Via: Design Taxi

Angélique Boter

The Autumnal air is still mild as I make my way through the Rivieren neighbourhood of Groningen. My Vespa is parked a little way off outside a doctor’s surgery because of another disruptive bout of building and road alterations, leaving the street impassable. Trees line the street of my destination interview, and at the base of each trunk is a pool of bright yellow fallen leaves; nature’s annual haircut, leaving branches like un-gloved fingers pointing skywards. The clack of my heels on concrete slabs is intermittently replaced by a swishing sound, like crinoline skirts at a ball, as I wade through the dry pools of yellow to meet illustrator and muralist, Angélique Boter.

A small figure with friendly face opens the door to her second floor flat. I can see from her eyes that the thought of being interviewed has her somewhat unnerved, so I put her fears to rest as we sit down with cups of peppermint tea.

At a young age Angélique often accompanied her father, a window dresser, to his work and assumed that one day she would follow in his footsteps. However, this was not to be, as she was accepted to study drawing at the Academy Minerva in Groningen. Her study years she coupled with a job in the family business, which supplies exhibition stands and walls for public events. Enjoying life drawing and painting the most, she discovered that her strength lay in simple, black and white, line drawings, so she decided to graduate in this.

After Minerva, with a tutor’s comment still ringing in her ears that when asked to include colour in her drawings, they became forced, she decided that she would go in search of colour: “Colour is also a feeling,” she proffers. To this end, Angélique goes out regularly for coffee, alone and armed with a sketchbook and drawing materials, to draw the world at large. Sometimes, she will be in Groningen, other times she picks another city, like Berlin or Prague. With the drawings come stories, thoughts and experiences; a living diary: “It is an experience of what I see”. She hands me a sketchbook filled with sketches - snapshots. One catches my eye that of a little dog in a bicycle basket by some traffic lights; seen in Amsterdam whilst touring the city on her fold-up bicycle. Later, she skilfully pens the memory to the page; the result is pure, simple, the essence of her subject.

The sketches come thick and fast, her writings often leading to the creation of a child’s story book. With several of her ideas, she has taken the illustrative stories to colourful, printed mock ups; all she needs now is a publisher. She hands me one entitled dEUS, which takes place in the Noorderplansoen, and will include an informative treasure hunt through the park, when finally published. For this she has enlisted the help of a biologist to research her facts. 

The idea of layering within her work becomes apparent; she hopes to stimulate the viewer to discover the rest for themselves: “The less I show, the more there is for another to discover.” Playing with words and names, she wants to give children something to think about. Why should a book be obvious after only one reading? As a child grows mentally, why not offer them a book which grows with their fantasy and perception as well; a book can be an interesting re-read at a variety of ages?

In today’s highly competitive world, like many illustrators, Angélique is determined to publish her work. With several illustrative commissions in children’s books already to her name, and regular assignments for a local newspaper, her work is out there for all to see.

Should you want to know more about Angélique her website can be found here:

www.angeliqueboter.nl

© Alison Day
First published in the Connections magazine #34 Winter 2012

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Roos Van Pagée - Autumn issue - Connections

A terracotta pot filled with tiny white-faced violas marks the start of the ascent to the first floor house in multi-toned redbrick, in the Korreweg neighbourhood of Groningen. Tripping lightly up similarly coloured brick steps, I pull on the brass bell handle and wait. The door is opened by Roos van Pagée, bronzed by the sun and recently returned from her holidays in France. A slight figure, dressed in a light black shift dress, dark locks of hair tumbling past her shoulders. Momentarily embarrassed, she admits that she thought that our meeting was next week, but invites me in anyway.

She leads the way into an open plan living room, stylish in its décor; walls covered with artwork, that of her own and other artists. Before we head up another flight of stairs, drinks in hand, to her studio, her son: 10-years-old, denim shorts and green and white striped T-shirt wistfully asks if he can take the baby guinea pig out of its cage, a new addition to the household. “Later” is the reply.

The space upstairs, is a large open plan area, half serving as a bedroom the other half a studio. Flooded with sunlight, white curtains flap idly in the opening of the balcony doors and in the middle of the room there is the most enormous and stunning ornately carved, Indonesian bed, raised high off the ground on four sturdy wooden legs, so that you really have to climb up into it. Turning left, we enter Roos’s studio; two enormous canvases each several metres across of work in progress, flank the room: figurative, life-like, ethereal in colour and experimental in composition, both exuding a calm similar to their surroundings. Water-based oils are Roos’s preferred medium; she likes their oily consistency, the long drying times and resulting movability of the paint.

Having viewed her website I am curious as to where Roos finds her inspiration. She has her own personal twist on reality from which she draws in order to realize her creations. Like most artists she is influenced by her own experiences, as well as the world around her. This she uses as a base, but feels that her work should also encompass the intangible too; it should pass the realms of ‘the ordinary.’ As she says:

“When you enter the realms of imagery through emotions, as opposed to reality, you enter a world that cannot be described bywords.”

Her figures come to life through reference to photos made of people she has asked to pose for her; they are realistic in skin tone and facial features, but the poses are unusual. A model may lie with her head close to a table surface, whilst another, sword in hand and dressed for fencing, has a stabbing duel-like stance. This is then furthered by the inclusion of the esoteric, in the depiction of beautiful materials and colours, but she says, the trick is to make sure that it doesn’t become too superficial.

A particular series, Meisjes van Verkade, which caught my eye, is where it is not just one female figure that occupies the canvas but two (and occasionally three). The figures are mirror images or twins, with maybe one tiny discrepancy that one figure will be looking out at you whilst the other looks away. The reason for this Roos explains that there is more of a universal dimension in two of something as opposed to one:

“With two there is more than one…as a result of this it can continue living on without me…also, the two of them have something in common with each other.”

Initially, Roos trained to be a creative therapist as a back up to the Art College Aki she had followed in Enschede, which meant she was also qualified to teach. Finding that she was never able to get down to her own work, she left employment in the former in favour of giving lessons in drawing and painting. This she still continues to do for small groups, some of which take place in her studio.

So far this year, she has exhibited in the library in Groningen and has several up and coming exhibitions in the Province later this year. She has a very distinctive illustrative style, which has meant that she has come in the top twenty-five people, four times in a Belgian, kid’s book illustration competition; the book has yet to be published.

When it comes to the art market, she finds the German market the best. There people are more prepared to pay for artwork, particularly when a recently purchased house needs re-styling.

If money was no object she would like to have a second, very large studio, preferably in a beautiful land by the sea and continue as now, painting.

If you’d like to see more of Roos’s work go: here

© Alison Day 
First published in the Connections magazine #33 Autumn 2011

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Connections Cover Autumn issue #33, 2011

© Alison Day 

First published in the Connections magazine #33 Autumn 2011

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