Interview: Talking Art with Amadea Zuri Setian

Meet Amadea Zuri Setian; a young artist with an incredible passion for art. Her love for painting started when she was only 18 months old. Since then, she has been creating the most amazing works of art, primarily with acrylic, oil and watercolors. Most recently, her work has even become the inspiration for jewelry and fashion.

Amadea’s artwork portrays an abundance of happy emotions with her use of colors, always brimming with life. Gathering inspiration for her work through nature as well, her paintings come to life in a surreal way. Its our pleasure to get to know more about this rising star in the art world and talk more about her unique style of painting.

Your art is so full of happy emotion. That said, what is your inspiration for your unique style of painting?

“My inspirations come from nature, primarily during hikes and beach walks; I watch the patterns and colors of the clouds, the trees, the flowers, the canyons, the sky, and then I use them in my paintings.“

How has your early childhood influenced your artwork?

“Seeing my mom being a busy artist and having a large variety of artist mediums around our home gave me a head start. She let me try all of the choices, until I found my favorites. Another important influence on me was our frequent visits to Carmel, where the beauty of nature is truly extraordinary. And in Carmel , Tony Vanderploeg opened the door of his gallery Amsterdam for my art when I was 10 years old.“

Can you tell us more about your current collaboration with Kareno?

“Kareno founder Kamal became inspired by my art and created a luxury fashion brand. I continue giving Kamal my new painting patterns and he incorporates them into his inspirational designs.“

Are there any artists that left a deep impression that played a major influence on your growth as an artist?

“Mainly my mom. She has been my true inspiration. My mom encouraged me and nurtured me throughout my journey. And of course my dad, who gave me his warm-hearted support.”

What are your future goals?

“I’d like to study art more, learn more , and grow more . And my wish is, to make even more people happy with my art .“

How has your style changed since you first began painting? And are there any other mediums you’re looking to explore further in the future?

“As I grew up , I explored different brush techniques that gave me the results I wanted. A few years ago, when I began using oils, my style changed, and my technique changed with it. Lately I’ve been enjoying oil pastels.”

How would you describe your creative process?

“For me, creating an art is a fluid process, like a river. It flows and flows, never the same. My brush and I flow with it.”

Where can we follow you?

“You can find my art and the latest news on my website. www. Amadeazurisetian.com”

also see QR code for Kareno

TCHA: A Pop-Up That Blends Art, Food & Design

Stemming from her passion for matcha bars, Joya Burda came up with an exciting new way to incorporate an interactive environment with culinary creations. Founded in January, she created Tcha, a unique experience in the form of a pop-up that also hosts several engaging activities from a number of luxury brands.

The concept takes an even more lively turn as she meticulously goes over themes for her pop-ups that result in one spectacular party. There is always a different theme when Tcha opens in a new space, from ‘Garden of Eden’ to ‘Mad Hatter Invited Marie Antoinette’. One of the most recent pop-ups in Germany had its theme based on its space in a factory, being dubbed ‘Studio 54 Goes to Factory’. The artistic ingenuity that Joya puts into the space is phenomenal, which begins with her creating a vision board with the brands she selects.

“That is exactly what Tcha is,” says Joya. “It is an experimental concept that each time I bring something new to Tcha, sometimes things that haven’t even hit the market. I had these fantastic dried apple and egg white candies that I brought to Paris [and] I have this really fantastic jewelry brand [called] Moxie that is being launched today.”

Due to the nature of the pop-up, there is no set location and every couple months they open up in a new location. However, whenever a space is set and ready to let the party commence, personal invitations and social media connectivity will allow guests from all over the globe to know where Tcha is next in the world.

“I am going to do Gstaad next,” states Joya. “Then I have Berlin, Amsterdam and Paris. I have quite a lot coming up. That is what keeps Tcha alive. It’s like a monthly magazine.”

Images Courtesy of: Joya Burda

Aspen Trees: Talking The Holga with Artist Molly McCall

When we imagine an exceptional camera, rarely does our mind transfix on an inexpensive Hong Kong made instrument, but the Holga is no ordinary camera, nor are professional photographers its typical user. Carmel Valley based artist, Molly McCall, is one of the devices greatest advocates. To learn more about the Holga’s unique properties we sat down with McCall for a deep dive Q&A on how she captured the natural beauty of Aspen through her Holga’s lens.

How did you learn about the Holga camera?

“A fellow darkroom photographer first introduced me to the Holga camera and I was instantly interested in the effects of the plastic lens because of the diffusion and optical distortion that it created. I was already using my other film cameras with a soft-focus technique, so the possibility of taking that further was intriguing to me. The ephemeral images that come from the Holga perfectly conveyed my interest in exploring memory and the passage of time.

There’s a spontaneity that I felt when I first starting using a Holga camera in 2004. It’s as if my interest in photography had fallen asleep, and suddenly it was awakened. There’s nothing precise or planned with a Holga; it’s all about chance; and it allows room for experimentation. I had studied antiquarian photographic processes in art school in Laguna Beach and later discovered pictorialism, an artistic photography movement from the late 19th and early 20th centuries that emphasized using photography to mimic painting. I was immediately drawn to this transitional art period when photography was beginning to be thought of as a creative process rather than purely for documentation. I quickly could see that the Holga provided an image that I could incorporate with other artistic techniques.

The loose definition of subjects and the distortion around the edges gave me a doorway into a more creative way to work with my photos. Finally, I could marry my two interests—painting and photography—which I had been chasing for decades.”

What was the inspiration for this series on Aspen?

“I have a great reverence for nature and the landscape; the endless cycles of life and change all hold poetic meaning for me. As my travels are usually planned around the natural landscape, parks, mountain ranges, water, etc., I like to read about the history of these places and the influence that their natural beauty had on other artists, writers, and explorers. My work almost always begins with a literary reference, a poem, or a title, which opens up the door to begin a dialogue.

These Aspen images are part of my fascination with the West, and the natural beauty that drew pioneers this way; the expansive sense of freedom to build a life and an identity of one’s own choosing; to be closer to nature, animals, and the elements. It’s all very poetic to me and I found Aspen presented a unique landscape with the native Aspen trees, which hold such energy and inspiration. The way the light reflects off the light bark and dances through the delicate lacy leaf formations is extraordinary.

The mountains are equally as powerful, with their glacial striations and formations reflecting time and history, and most of all, possibility. My work often includes themes of memory, beauty, the passage of time, and belonging, which have all been present in my imagery over the past two decades. The combination of the Holga imagery with the encaustic medium creates a beautiful ethereal veil that humanizes those thoughts. The wax adds a warm, tactile surface while diffusing the image underneath, and slightly abstracts the imagery in a way that allows room for the viewer to place their own feelings into it. It’s a slow, evolving process that requires a lot of patience and waiting, and I find the work is more of a conversation as a result of the added layers.”

When you went to Aspen, did you only take the Holga?

“Yes. The Holga became my travel camera because it is so lightweight. The meniscus lens creates really interesting effects with natural matter, so it became my camera to use for landscape very easily. Using the Holga has also become part of my overall creative process— the spontaneity of image making is more exciting to me with a Holga than using any of my conventional cameras. The randomness of the results are like “living on the edge,” and with a Holga, there is only one shot, there is no backup, like a digital camera with a chance to capture multiple images. With all its quirks and oddities, you hope something odd happens—some light leak, or distortion—it’s what sets a Holga image apart.”

How did you create these images of Aspen?

“I had a studio visit with a friend from Aspen last spring and was showing her my recent work taken locally in Carmel while hiking during the COVID lockdown. Lushly treed landscapes, with oil paint and wax. She mentioned that she would like something similar, but for her house in Aspen, and could I send her some ideas. I immediately thought of these Holga images that I shot in Aspen while traveling with my husband through Colorado several years ago en route to his godfather’s ranch in Montana. I asked her to send me photos of the walls where the images would be installed, and using Photoshop, I dropped my images onto her photos, and she could see exactly what they would look like in place. I sent her several choices and she chose the diptych titled “Unintended glimpse”, a phrase I borrowed from a John O’Donohue poem.

The process I chose for this diptych included several steps starting with the original film negative shot with the Holga camera, scanning, printing on to archival canvas, then stretching the images over two Birch Wood panels. The canvas images were then covered in layers of encaustic medium, a combination of natural beeswax and Damar resin.

Using a gas handheld blowtorch, the wax was slowly melted away using a natural goat bristle paintbrush, revealing the images underneath, excavating the photographs through the cloudy, diffused wax. The process is similar to dodging and burning in the darkroom, as you select areas of importance in the image to reveal, and conceal others with the opaqueness of the wax. After many experiments, I realized that encaustic was the perfect, natural medium to complete my photographs. I’ve worked with many different surface materials such as resin, varnish, fiberglass, cold wax, gel medium, and glue, but I like this soft diffused effect from the encaustic the most.”

IMAGES COURTESY OF: MOLLY MCCALL

An Interview with Chef Takeo Yamazaki of YOSHI

Chef Takeo Yamazaki has made YOSHI one of Monaco’s premiere dining establishments by pushing aside restaurants like Nobu, with his innovative approach to Japanese Cuisine. Yoshi’s selections of maki, nigiri, sashimi, and classic hot dishes bridge the gap between eastern and western flavors. The fruits of these efforts have resulted in YOSHI becoming the only Michelin Star Japanese restaurant in the region since 2010.

Located within the Hotel Metropole Monte Carlo, Yoshi’s exceptional cusine is complimented by a fine drink selection and a sober atmosphere. A menu of sakes and green teas were hand selected by the sommelier. YOSHI’s elegant dining room was designed by Didier Gomez and the menu of fresh local produce is served alongside a view of a Japanese-inspired garden. 

To learn more about Yoshi, we spoke with Chef Takeo on how YOSHI continues to wow their loyal following of patrons.

What is the inspiration behind YOSHI?

“My inspiration comes from my mentor Joël Robuchon who was in love with Japanese culture and gastronomy. We realised at the time that there was no great Japanese restaurant in the Côte d’Azur and we started to work on the concept of Yoshi.“

How do you balance traditional dishes while incorporating modern techniques?

“My passion is blending  traditional Japanese dishes with French delicacies. For example, adding Foie gras or caviar to an otherwise typical Japanese dish. You can use the Tataki, Agemono and tempura techniques and incorporate products that are European and make it a great plate.“

“So, I would say I use traditional techniques but with products that are not usually included in Japanese gastronomy. A great example of this is our wasabi puree which is a side dish that really pleases our guests. It’s interesting to integrate a very traditional Japanese product into a very popular dish like mashed potatoes.”

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What elements do you believe set Yoshi apart from all of the other Japanese restaurants on the Riviera? 

“YOSHI has an amazing design with a Japanese style garden so it sets the tone when you enter. It is as if you were in Japan. YOSHI is also an intimate restaurant, which allows us to cater to our guests in a very personalized way. We are the only Japanese restaurant on the French Riviera to have been awarded a Michelin star since 2010 and this star still shines since we obtained it.“

What is the greatest challenge to maintaining a menu that appeals to both Western and Eastern palates?

“It is challenging; however, when we opened YOSHI, it was more of a challenge. Nowadays our clientele is well travelled and their palates have adapted to Japanese cuisine. They would be keener now to taste a traditional dish without having to adapt it to western palates. However sour flavors and gelatinous textures are still difficult for most Europeans.“

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Have you always had a passion for European and Japanese flavours? 

“Yes, because I love to travel and find my inspirations through these moments where I go taste different restaurants around the world. It’s funny to see now that it’s common that Western dishes are reinvented into Japanese styles where Japanese ingredients get new foreign treatments and foreign ingredients get Japanese treatments, respectively.”

In a previous interview, you stated that if you were not a chef, then you would be an interior designer. With this in mind, how do you believe Yoshi’s remarkable design contributes to the overall dining experience?

“Yoshi is an experience and the design by Didier Gomez plays a big role in the contribution of our overall reputation. Visual presentation is an absolutely essential ingredient – it’s as much a part of the dining experience as the actual taste of the food.”

Images courtesy of Hotel Metropole

Discovering ASKA With Guy & Maki Kaplinsky: The Innovators of The Flying Car of The Future

Have you ever dreamed of owning a flying car? Well, Los Altos, California based start up ASKA is working on bringing that dream to life. Founded by husband and wife duo, Guy & Maki Kaplinsky, ASKA is working hard to deliver their flying cars to customers by 2026. Priced from $789,000 USD, The ASKA™ is defined as ‘an electric Vertical Takeoff and Landing (eVTOL) drive and fly vehicle.’ The thought behind the idea is a solution for individuals who need to work in the city, but have the flexibility to live in a more remote suburb. The Aska is said to allow owners to reside around 100 miles from an urban area and travel ‘into the city in 30 minutes or less!’ Guy Kaplinsky believes this will allow individuals to enjoy nature and affordable housing, while subsequently improving their quality of life.

“It’s taking people to the next level of flying,” says Guy. “A lot of people came from the automotive industry because they want to be in the air, but they like the convenience of the car. It’s like a project for you. You have to go to the airport, park your car, go fly, and then when you land you need to arrange another car, [such as] a taxi or go rent a car. It’s okay for the weekend, but [not] if it’s [on] a daily basis, [while] looking for or [going to] work. [It’s fine if] you want to be 10 miles away from your work, but if you want to be 50, 100, [or] 150 miles [away] and still be within 30 [minutes] to 1 hour, that’s the solution. Because you get there, get to your car [and] go someplace that you can takeoff [from]. You can takeoff from wherever a helicopter or an aircraft [can], so if you takeoff vertical it’s taking more energy, but if you go forward on the runway you can save up to 60-70% of the energy.”

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“We introduced what we call ‘ASKA on The Fly’,” says Guy. “It’s a time share program so you don’t need to buy. Until now we were collecting pre-order, people want to own that [for] $789,000. There is [a] $5000 pre-order payment which is deposited in an escrow account, and 100% refundable after 1 year, [and] you get the option to receive one share in the company. That is for limited edition, so you can customize the interior and exterior. [There] is a new program where people just pre-order and say they want it from Tuesday to Wednesday, and you buy 50 hours, 20 hours, 250 hours a year and we maintain that for you. You book ASKA, and get the vehicle .”

Although a pilots license is required to operate the ASKA, requisite training for customers is included in the base price. Customization is also an important element at ASKA, clients will be able to configure their own personalized interior as well as selecting exterior colors. For those who are hesitant to commit to a nearly $800,000 full purchase can enjoy ASKA’s new timeshare/partial ownership service that makes the vehicle available to a wider audience of potential users. ASKA On The Fly is said to become the future online platform for summoning your ASKA through a web based portal if you decide to opt for partial ownership. A hallmark of this service will be the ability to access 24 hour booking data. Through this platform customers will be able to either pick up the vehicle at a central location or have it delivered to their home via VIP service. Another highlight of partial ownership is that a service team takes care of both maintenance and cleaning to ensure that your ASKA is always ready for use.

“We target consumers,” states Maki. “Through various designs, we have the same mission to drive, to fly, vertical takeoff and landing and short takeoff and landing. ASKA can make Air Mobility possible without relying on new infrastructure. ASKA can use the existing landing strips, parking spots, charging stations and gasoline stations; and that is how we are different from other eVTOLs. We are very excited to introduce ASKA to the luxury area of aircraft and cars. Hopefully this is going to be an exciting addition to their collection.”

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“Its [weight] is about 5,000 pounds, and can fly up to 250 miles with the weight of 4 passengers,” says Guy. “And if with less people [you can have a greater range. Also, the selection of the batteries is the key issue for us to select the batteries that [are] very safe. So we went more into the direction of existing batteries that we know are safe to use. We don’t want to stress the batteries, [which] is why we are not yet ready for full electric because of safety issues. Because it’s [for] a consumer, you need a private pilot license, you need to learn 40 hours training and the cost for the training is included in the price. It’s very easy to fly, just like [piloting] a drone.”

An air mobility learning center is a cornerstone element of ASKA show room in Los Altos, at this location events are held through out the year for those who have joined the Founder’s Club by placing a $5,000 deposit for their future ASKA. Founders Club members meet every 3-5 months either at the showroom or online to learn about updates around the air mobility industry. According to ASKA, the deposit is held in an escrow account and becomes refundable after one year.

Talking Art with Trevor Martin of Post Gallery

When we imagine a great cultural exhibition, rarely does our mind transport us to a resort art gallery, but Post Gallery is no ordinary gallery, nor is Post Ranch Inn an ordinary resort.  The Post Gallery which is situated near the center of the 100 acre property that is Post Ranch Inn is an exciting cultural oasis in the no man’s land of Big Sur, California. Post Ranch, seated prominently on a ridge that is 2,000 feet above the Pacific Ocean enjoys the surrounding of nature’s bounty. The Post Gallery’s Director, Trevor Martin describes the environment of his gallery as being “surrounded by coniferous forests and meadows, with a multitude of resident species including deer, raptors, turkeys and the occasional bobcat.” The gallery has some rather interesting neighbors too, being just adjacent to the resort’s furniture workshop and a garden for Sierra Mar, Big Sur’s premiere dining destination.

Trevor Martin, previously of FIFTY24SF Gallery in San Francisco, takes a unifying approach of transcendence and love to his exhibitions at Post Gallery. Martin, whose passion is immediately apparent when describing the space, is quick to credit the Gallery and neighboring garden as the “soul, or spiritual center, of Post Ranch Inn.” The Gallery which is filled with unique fine jewelry, photography, and sculpture is curated through a collaborative approach that Martin shares with Post Ranch Inn Founder, Mike Freed, Buyer, Stacy Lauer, and local artist Trevor Meeker. Together the team selects what Martin calls “exquisitely hand-crafted products and objets d’art that are synonymous with the experience we create for our guests here at Post Ranch.”

To learn more about Trevor Martin and his unique approach to the Post Gallery, read our Q&A below.

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Do you employ any particular philosophy when selecting new pieces?

“While we represent artists across a wide range of styles, universal criteria that we employ when selecting new pieces include: excellence in execution, unequivocally representative of the artist’s unique voice, and restraint. As far as exhibitions are concerned, we look for continuity, character development, rich storytelling, and a cohesive narrative that takes the viewer on a mini-journey within their experience here at Post Ranch.”

What special step do you take to ensure an exhibit, or piece truly connects with the environment at Big Sur?

“Our visionary founder, Mike Freed, laid the groundwork for what Post Ranch has become today back in the 80s. Having worked with renowned architect Mickey Muennig to create a unique design language throughout the property, we rely on the framework of the environment and buildings themselves to inform the artwork selected. Our goal is that each exhibit or piece be intrinsically connected to the original vision and current spirit of the environment at Post Ranch.”

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With the reality of most resort galleries being rather mundane, to what specific element do you credit your unique inventiveness?

“We are lucky to have local artists and friends of Post Ranch who are incredibly creative individuals. We feel a responsibility to honor the incredible beauty, both natural and man-made, that surrounds us here, challenging us to select works of art befitting of this special place. One artist that exemplifies this is Trevor Meeker, who also happens to be the Curator of the entire property. He has worked as a fine artist locally for the last 20 years, creating collages of recycled metal, and producing truly incredible work. He creates vibrantly colorful, painstakingly crafted works of art from discarded metal that would otherwise have been melted down or ended up in a dump.”

One specific element that truly sparkles, is your collection of fine jewelry by artist Sasha Samuels. Can you tell us about some of your favorite pieces from the collection?

“My favorite thing about Sasha’s work is its connection to the artist, herself. I asked her one day, “How do you even do that?” To which she answered, “Just 40 years of hard work, is all.” I am humbled by the opportunity to represent an artist with the uncommon ability to master ancient techniques, such as Etruscan-style 22k gold granulation. Her expertise and artistry was recognized with “The Contemporary Etruscan Jewel” award from the Museo Archeologico Nazionale, located in Pontecagnano, Salerno, Italy.

The amazing thing about Sasha is that she has achieved an extremely high level of specialization while still managing to produce exceptionally well-executed work across a wide spectrum of styles, ranging from art nouveau, to art deco, to avant garde. Unlike many artists who tend to stick to one discipline, she is always challenging herself and seeking new inspiration; you never know what kind of work she’s going to surprise you with next. Her eye is unparalleled and her technique unrivaled.

I am particularly fond of the Tanzanite Wave Ring that features a superb trillion-cut tanzanite stone. The contrast of the deep violet with the 22-carat granulated gold bezel is scintillating. However, the Watermelon Tourmaline Shard Suite really takes the prize. Just the pure audacity required of someone to even consider attempting such a creation is hard to fathom. In this suite, Sasha has beautifully brought together a set of hand-fabricated, geometric, gold-linked earrings and matching bracelet with a jaw dropping shard necklace. The bracelet hooks into the necklace modularly to extend it if desired, and the cohesive design language throughout makes for a one-of-a-kind treasure. “Cosmic high-priestess” comes to mind when attempting to describe this beauty.”

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In addition to jewelry and sculpture, the gallery also showcases black and white photography, with that said; can you walk us through your latest exhibit by Robert Knight?

“Robert is one of our most talented local artists who has a fine art photography gallery located in Carmel. Not only is he full of positivity and love for his craft, he’s truly a joy to work with. In the current exhibition entitled “Spiritus,” Robert takes us on a spiritual exploration of his journies to Bhutan and Myanmar during some of their more peaceful times. Robert’s artist statement says it best:”

“I see my work as opportunities in mindfulness. Each photograph is a meditation. The work on display is from journeys to Myanmar and Bhutan.  The prints are celebrations of the people and icons of these countries, honoring their devotion to Buddhism. The prints are expressions of this connection and moments on the path to enlightenment.” 

“I hope the photographs provide a peaceful emotional response when viewing them. For me they feel like an opportunity to take a deep breath and remember the importance of awareness and compassion.”

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One piece that visitors find difficult not to be infatuated by, is a drawing of a dystopian scene of Paris, titled MORIAPOLIS by Octave Marsal and Theo De Gueltzl. How do you believe this specific piece fits into the collection at Post?

“Yes, these two young artists are on-fire at the moment, having recently completed some very impressive product collaborations with the French luxury designer, Hermés. We are truly lucky to have had the opportunity to collaborate with Theo and Octave on exhibiting this piece, entitled MORIAPOLIS, which is a “4 handed” pen & ink drawing (they happen to be ambidextrous) that took over a year to complete. This massive and mind-bendingly complex drawing fits squarely into our sustainability ethos which has been part of Post Ranch Inn since its inception. It’s a foreboding warning against global-warming, outlining the aftermath of a mysterious cataclysmic event in 2106 that left the human race with only fragments of nature, preserved within giant glass terraria. The inspiration for this piece came from the phantasmagorical novels of Thomas More and Yevgeny Zamyatin.”

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What’s next for the Gallery?

“We are just finishing the installation around 20 large-scale bronze sculptures throughout the property by a group of Bay Area based artists including Jud Bergeron, Mars-1, Wayne Shaffer, Albert Dicruttalo and Grant Irish. The work ranges from cubic/geometric, to industrial, to wildly psychedelic, to dystopian hyper-futuristic. We can’t wait to share it with our guests our ongoing guided art tours , every Friday and Saturday at 1:30pm.

Where can we follow you?

IG @PostGalleryBigSur / Postranchinn.com

Images Courtesy of: The Extravagant & Post Ranch

Talking Luxury Real Estate Auctions with Trayor Lesnock of Platinum Luxury Auctions

This week, The Extravagant connected with Trayor Lesnock of Platinum Luxury Auctions to explore the world of luxury real estate auctions. Lesnock’s firm has handled some rather impressive non-distressed properties, such as this Fifth Avenue condo we covered back in February. Aside from the unique properties often offered by Platinum, there are many benefits to purchasing luxury real estate at auction; to learn about these enticing advantages to purchasing a property from Platinum or another luxury auction, read on.

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For those of us who are not already familiar with Platinum Luxury Auctions, can you tell us about your firm and the types of properties you represent?

“Founded in 2010, Platinum Luxury Auctions is a firm that specializes in what is broadly called the “non-distressed” auction sale of multimillion-dollar residential properties throughout the US, and occasionally abroad. The “non-distressed” nature of our sales means that our clients are generally affluent sellers who don’t need to sell their property (that is, there is no financial pressure motivating them to do so) but want to sell. Typically, they have also become frustrated at the inability to sell their property using the traditional brokerage process. While this sounds competitive to the brokerage industry, we actually conduct 95% of our sales in cooperation with the given listing brokerage/agent, protecting their commissions in the process. As such, much of our time is spent educating and informing the luxury real estate industry about our service platform. Most of our properties are in the $2- to $20-million range, and our team recently reached $1 billion in closed sales experience. We also developed the term “luxury auction” as it applies to this method of non-distressed auction sales, and we own the federal trademark rights to the term. It is now widely used in reference to high-end property auctions.”  

Aside from generally transparent market based pricing, what are some other benefits to buying luxury real estate at an auction as opposed to a conventional sale?

“For a buyer, there are several benefits such as: 1) Simple, “brass tacks” terms of sale with no surprises; 2) Rather than dealing with the daunting nature of high-end property negotiations between a buyer and seller, an auction buyer instead gets to compete against other real buyers in that ever-important “transparent market” forum; and 3) A seller offering their property at auction is generally a serious seller, and buyers love to deal with serious sellers as opposed to those who are simply “testing the market” or are unrealistic as to pricing.” 

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Can you share with us some of your stand out auctions? What made them special in your opinion?

“This is a tough one for me, as many auctions stand out for various reasons beyond hitting a record price. For example, we just had a terrific, 8-figure auction sale on Feb. 19 for a condo on 5th Avenue in NYC facing Central Park- a previously unheard-of occurrence for such an asset in the Big Apple. While the price made us happy, what really stood out was having 14 registered bidders- all of an impressive caliber- participate in the sale. Another one of my favorite auctions occurred in Florida in February 2013. After learning the sales price from the auction (an equestrian estate that sat on the market for 3 years before we arrived), the seller arrived back on site and literally ran over to me and jumped into my arms, happily screaming about the price as we hugged and twirled around. It was just like out of a movie and I always wish I had that captured on film! Then she popped champagne for everyone on our team.”

What do you believe sets Platinum Luxury Auctions apart from your competitors?

“We pay meaningful attention to the rest of our industry – it’s an important part of staying competitive and relevant for any business. Thick layers of self-reporting and publicity are commonly used to frame the public’s perception of a success or failure in the real estate auction industry, so one has to look beyond that to assess real performance. By analyzing the real data (metrics such actual-vs-expected pricing, sales-vs-list-price, actual-vs-reported closings, etc.) and then measuring it against that within our track record, we consistently find that Platinum’s sales generate higher pricing on a pound-for-pound basis. We might not hold the highest auction sales price or the greatest volume of sales, but Platinum achieves the most pennies on the dollar on a per-property basis. That is our main differentiator, and our operating model is designed to achieve this result.”

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Where do you see the future of luxury real estate auctions heading?

“This is always a popular topic of discussion. Presently, so much of the answer depends on how the traditional brokerage industry continues to change. For example, while Platinum works openly with all luxury brokerages and agents, it currently has more formalized service contracts to provide luxury auction services to 3 major brokerages: Sotheby’s International Realty Affiliates, Berkshire Hathaway HomeServices and Engel & Volkers, U.S.A. This type of formalized, B-to-B relationship was relatively unheard of when I first entered the auction industry, as the luxury brokerage and auction worlds were simply too far apart at that time. While I expect to see continued and increasing harmony between the brokerage and auction worlds in the future, there is a lot to be said about luxury property auctions not being a “one-size-fits-all” process. They should be used when the right conditions are met, rather than universally. So, while I embrace growth and progress within our space, I remain slightly cautious as to the process being over-applied.”

What’s next for Platinum Luxury Auctions? Any special upcoming sales we should follow this spring/summer?

“We just capped two great sales- one in NYC and one in Miami- and are approaching our next round of offerings to close out Q1 this year. A couple of properties that we strategically held back last year due to COVID (such as a Fijian island that was inaccessible for nearly all of 2020 due to travel restrictions) should also see their campaigns launch this year. Plus, we’re in the midst of a brand refresh, recently hired a new public relations team, hired a new copywriter and are trying some new concepts on both the marketing and service model sides of our business. It’s a busy time indeed!”

Talking Fine Porcelain With Carleigh Queenth of Christie’s

From the Marly Rouge 19th Century Sevres dessert service for Napoleon I to the the 18th Century Nymphenburg porcelain trompe l’oeil dinner service from the private collection of Jayne Wrightsman; pieces of fine decorative art such as these are more than meets the eye. What may appear to be merely a beautiful service of fine porcelain, may in many cases hold a deeper story. Whether that be a comedic hand painted pattern or an interesting story behind the reason for their creation. Fine porcelain services made by Haviland Limoges for American Presidents or Sevres for French Monarchs have witnessed a great deal. These pieces of history have often been privy to world shaping conversations, and certainly do possess a story worth telling.

Today collecting fine porcelain is not simply a process of gathering rare and splendidly crafted decorative arts, but a lifestyle one creates for themselves. To explore what is an often overlooked category of collecting, we’d like to introduce you to Carleigh Queenth, Christie’s Head of Ceramics, who has carried a passion for porcelain since childhood. Growing up in a family that held a place for both collecting and creating ceramics in their hearts, it is no surprise that this talented 18th to 19th Century ceramics expert continues to inspire collectors with her passion and extensive knowledge. We hope the below Q&A will inspire you to consider exploring, touching, and investing in fine ceramic arts.

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What advice would you give to someone who is just beginning their journey into the world of collecting fine ceramics and glass?

“I would tell people to buy what they love, and not to be scared of breaking items—I find the more nervous you are around objects, the more likely you are to drop or break something.  Also, don’t be afraid to walk into a dealer’s shop or into an auction preview and ask lots of questions. As a specialist, I’m always happy to educate others on my area of expertise, and I know my colleagues at Christie’s feel the same.“

When it comes to porcelain services, what advice would you give collectors? What in particular should we be paying attention to?

“My advice is to use them!  Stop waiting for a special occasion and live fabulously every day.  If you are new to buying antique china, you should always ask for a condition report.  A few chips here and there may be fine, but you want to make sure there aren’t too many cracked plates and that the items are fit for use.  Also look out for restoration, which could be fine if you just want to display the pieces in a cabinet or on a wall, but potentially toxic if you plan on eating off them.“

How should we go about living with these objects that some would say are “too nice” or “to valuable” to use in everyday life?

“I would say if they are “nice” and/or valuable, you will get far more value for your money enjoying them day to day than only bringing them out for special occasions.  Think of how often your grandparents or parents used their “special” china—probably not very often.  They would have gotten far more joy from those objects if they enjoyed them regularly.” 

Marly Rouge 19th Century Sevres dessert service

Today are you seeing more collectors looking to use and truly live with pieces or is their focus geared more towards the investment potential of these fine decorative arts?

“For a long time there seemed to be a need for collectors of 18^th and 19^th century furniture to create perfect period rooms in their homes, which could sometimes feel like living in a museum. The trend today is to create interiors with a mix of items from different dates and styles for a fresher look, and collectors are truly living with them.  Having older pieces in your home makes a statement, and creates wonderful experiences for you and your guests– reading your favorite book in a comfy Louis XVI bergère or letting your guests drink out of 19^th century glasses turn ordinary activities into something a bit more special.  It’s also green/sustainable to live with pieces from auction—you get to enjoy well made pieces that have been around for hundreds of years, and will be for hundreds more, rather than something that has just been manufactured.  You just need to remember to treat them gently; you are their steward, and someday someone else will have them.  It is the opposite of disposable culture.“

Whether it is a dinner service from Sèvres, Royal Minton, Royal Copenhagen, or even Haviland Limoges, we often see such a wide difference in values and levels of collectability. How should we evaluate the importance of a set or pattern?

“Dinner services certainly come in a variety of price points that depend on how many pieces are in the service as well as its age, rarity, and provenance. For example, 18th century Sèvres services can be quite pricey as they have survived hundreds of years and often have detailed factory records that can give important information about who the service was originally made for, whether it be for French nobility or intended as a diplomatic gift. Newly made Royal Copenhagen services in the ‘Flora Danica’ pattern also remain quite expensive as they are, to this day, still beautifully hand painted in Denmark. Their artists look directly at the original 18^th century sheets from the Flora Danica, a compendium of all the plants in Denmark, for inspiration. Most modern services, like those from Bernardaud or Haviland Limoges, can often be obtained for a fraction of their retail price at auction.“

At Christies, you’ve just completed the magnificent Jayne Wrightsman sale; with this in mind, what were some of your favorite pieces from the collection and why?

“My favorite dinner service in the Wrightsman collection was made by the Nymphenburg manufactory in Germany and dates to the late 18^th century.  It has fabulous trompe l’oeil decoration—each piece was painted to look like a different tattered monochrome landscape drawing nailed to a wooden board. It’s simultaneously rustic and incredibly chic. As far as individual objects go, my favorite item is probably a small Meissen snuff-box made to look like a rat seated on a cushion—there is one nearly identical to it at the Metropolitan Museum of Art.“

18th Century German Dinner Service with trompe l’oeil decoration

What are some pieces that are really becoming more appreciated at the moment and what are some that you are starting to see fall from popularity?

“To be quite honest, there has been a real uptick across most categories in the decorative arts since Covid began.  With people spending more time at home, they are thinking about enhancing their living spaces.  People are starting to shy away from minimalist tendencies now that most of their experiences are at home.“

Anything upcoming that we can look forward to seeing from you or Christies soon?

“At the end of January, we will have two auctions dedicated to the collection of Mr. & Mrs. John H. Gutfreund– they had an amazing 12,000 square foot apartment at 834 Fifth Avenue designed by Henri Samuel that overlooked the Central Park Zoo.  The collection includes lots of wonderful dining wares, and the online sale will be specially dedicated to the theme of entertaining at home.“

Where can we follow you? “You can follow me on Instagram at @breakingisbad.“

Images Courtesy of: CHRISTIE’S IMAGES LTD 2020

The Evolution of Fine Art Galleries During COVID-19: An Interview with Johann König

Thirty-nine year old German Art Dealer Johann König has built a collection of galleries in Berlin, London and Tokyo, as well as a significant following on a concept that is almost entirely nonexistent in the art world: “transparency”. In a recent interview to discuss the effects of the Global Pandemic on art galleries, Mr. König told us “I think we are able to introduce a lot of new people into the art market.” He went on to explain that providing straightforward transparent pricing is instrumental to König’s success, adding that “we could see that especially it was newcomers into the market, like people from the start-up tech scene. It is much easier for them to enter via transparent [pricing] than if it is behind closed doors.”

Born to a family of artists and museum directors, Mr. König founded his gallery in Berlin nearly two decades ago. Today KÖNIG GALERIE represents a group of 40 mainly young modern, interdisciplinary artists. Instillations at König’s galleries range from a mix of sculpture, video, sound, painting, printmaking, photography to live performance. Over the course of the last decade, the gallery has experienced considerable growth opening 3 premiere locations in the most unconventional of spaces. Despite being partially blinded due to a childhood accident, almost nothing seems to stand in the way of one of our generations most prolific modern art dealers.

To learn more about König and the current climate of the art market during Covid 19, please read on to our Q&A to immerse yourself in one of today’s most exciting galleries.

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For those of us who are not already familiar with KÖNIG, how would you describe your gallery?

“I think we are more of a media house or a kind of communication amplifier for art [rather than a typical gallery]… We really try to bring art to the people on all levels.”

Can you tell us how the pandemic has affected your day to day at KÖNIG Galerie?

“We kind of answered the pandemic with new ideas like the art show “Messe in St. Agnes”, that translates to ‘St. Agnes Fair for Contemporary Art’, which [lasted until the 20^th] and [brought] together works from the primary and secondary art market. [This] was the answer to the effect that all major art shows were canceled. And then another thing, which [was] kind of [an] idea born in the pandemic: Instagram Live Talks, I always wanted to do it in the evening, but then my wife said “why can’t you do it at work hours?” And then I did it at 10 A.M. in lockdown [hence the name 10 AM Series].

But [it] was worse in the evening because it was always 10 A.M. where my guests [that] I talked to came from; so it was artists, museum people, and [curators], but always kind of surrounded [by] art. Later on we even started to [host] open calls because I started [to feel it’s] very difficult for these artists that have no spokesperson and no gallery. I tried to give them a form in hosting these open calls where random artists can just join and present their works to a wider audience, and apparently great things came out of it, like sales. I mean not to us, but to them, and group participations. So it was kind of a digital community building.”

Have these digital forms of communication reached a new type of collector than KÖNIG has reached in the past, or are you connecting with the same type of collectors and just reaching them in a different way?

“I think I had this conversation yesterday with a very big collector of ours, who because of [how] Art Basel was [cancelled], we held the first edition of “Messe in St. Agnes” in Berlin at the exact same time Art Basel would have taken place in June. For knowledgeable and established collectors, they know what’s behind every gallery name. But I think that if you look at the growth of luxury products, in the end art is a luxury product because we really need it to live, but in the end we don’t really need it.

If you look at the developments in the [luxury] market [with] watches, cars, clothing, leather goods and so on, [they are] really rising, but art is kind of staggering. I think that has to do with the [lack of] transparency and opaqueness of the market; and with these conversations we had with artists and collectors and so on, people start to understand how that market functions. I think this applies to every market, if you understand how it works, then you can navigate in it. I don’t know why so many art market participants try to keep it opaque because I don’t see any reason for it to be not accessible. The more accessible it is, the more it can grow and the more it gives artists the chance to make a living out of their art.”

Have all of your Galleries been affected in the same way regardless of their location? Or have you observed differences based on each of the individual markets they cater to?

“I think we [in Berlin] for example aren’t so affected because I own the building [that] I am in, but the ones who have to maintain very expensive high streets, they aren’t. For [another] example, we also have a gallery in London; some gallery owners in London, [whom] rent from Grosvenor are rent-free now because the Grosvenor doesn’t want to have this kind of broken window theory, you know that [the galleries] will move out due to the pandemic and then all the tenants are gone, but [the] Kuwaiti Fund which [owns] the other side of the street insists on payment [of] rent. It’s really hard to say, but I think we in Germany are doing pretty well overall.”

Would you say the same in Tokyo and London as well?

“No, no. I mean Tokyo was pretty difficult also because of the cancelled Olympics and London is like a ghost town right now. And here in Berlin it [feels] pretty much as normal as always, but also the government spent a lot of money on the arts. Like if you are a mother or a single father and [are] artists and have kids, there is 1.5 million support umbrella for this. Then there was this immediate payment for artists who have no income. What’s interesting in the beginning is that we are all in this pandemic together, which we are of course because the whole world was in a lockdown, but I think that the social net is so much stronger in Germany than in the US for example.”

Have you noticed a change in the way clients acquire works?

“I think there are purchases made online, but I think only because [the collector] encountered the original body of work [by that artist] before [in-person]. So you know that somehow the people have been in-touch with the work already, and not this particular [work], but [others] from the artist. So, I think that the art is a physical experience, and will always be. There’s no way around it, that’s why we came to the idea of our art fair”

Do you believe that the pandemic has only accelerated a more remote way of showing and selling art that was ultimately going to occur eventually?

“I feel the role of a gallery [will] become more irrelevant, and solutions like Instagram offer new ways [for] safe promotion and marketing. I think this is a very interesting development.”

What similarities do KÖNIG’s forthcoming exhibitions share with past pre-pandemic instillations? And how have they evolved for today’s current climate?

“We try to avoid the white space. Our exhibitions in the main space upstairs really try [not to] always cater to this idea of a white cube. I love to do art shows or art projects in non-art spaces. So the space in Berlin is a former church. The space in Tokyo is at the MCM building, which is a luxury store. And then the space in London is in a former parking garage.”

What have been some of the exhibitions that you are doing right now since the pandemic?

“We have a [current exhibition] right now up at the space in Berlin. And then we have the open call show in London, and in Tokyo we just closed a show by Alicja Kwade, who was also [exhibiting] on the roof garden of the Metropolitan Museum.”

Where can we follow you and KÖNIG GALERIE?

“On Instagram of course, and on Facebook and hopefully soon on Netflix, but maybe that’s too early to say.” [Johann can be followed on Instagram @johann.koenig]

Featured Image Credit: Friedrich Kunath, Sensitive Euro Man, 2020, KÖNIG GALERIE NAVE, exhibition view, photo by Roman März, courtesy of the artist and KÖNIG GALERIE Berlin, London, Tokyo

Meet Molly McCall

Meet American Artist Molly McCall whose talent for creating works revolving around the passage of time delivers photographic and mixed media compositions that are not only entirely unique, but also nostalgic for many. McCall’s work, which is memory based, is focused on the beauty of California’s central coast, where McCall was born, raised, and where she continues to live today with her husband Gordon and their two German Shorthaired Pointers.

Although deeply immersed in the art world today, McCall began her career in the world of fashion with her own private label which featured in stores like Nordstrom and Henry Bendel. Having exhibited at venues such as the Barcelona Foto Biennale and Griffin Museum of Photography, McCall’s coveted work has become a part of some of the world’s most prestigious art collections where it has even been featured in taste-making magazines such as Architectural Digest.

Recently, we were given the exclusive privilege to chat with Molly between her busy schedule which includes running her family’s business, McCall Events. Read on to learn more about McCall’s current body of work, up and coming projects, and how her family influenced her passion for art.

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What are you currently inspired by?

“I have been working with an art mentor, Lon Clark, for several years through the San Francisco Studio School. He is the first teacher I have had who works with both photography and painting—my two subjects—and who was willing to take me in and work with my desire to join the two. Lon first directed me toward abstract expressionism, and I was inspired by the exuberance and energy it conveyed. I immediately was drawn to the concept of “sensate” as well as creating a sensory feeling within my work, which opened up my visual world immensely and made me look at color in a totally new way.”

How did you first become interested in art? Was it an experience in your childhood or did your passion develop later in life?

“I am a fourth-generation artist. My immediate family of seven siblings are all accomplished artists: painters, writers, musicians [and] sculptors. Our early home environment was austere, but we had our creativity to keep us engaged with one another and our surroundings. Without television, we were left on our own to create entertainment and activities as well. Making art was just what my family did as well as play acting and performing for one another.

I was introduced to classical art at a very young age. Frequent trips to Los Angeles and San Francisco always included a museum exhibition or a theatrical performance. I can distinctly remember the French Impressionism show at the De Young Museum when I was about 10 years old. I was in awe of the scale of the work and the visual boldness of the colors, the brushstrokes, and the way the subjects were captured in such a loose form. It made a permanent imprint on me and I was inspired by the way it left a lot up to the imagination.”  

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Have you always been drawn to mixed media?

“Yes. Because I was exposed to so many different types of art mediums, I have always tried to create my own artistic language using multiple layers and materials. My creative career began in textile and clothing design, so I have an affection for the surface of things as well. All of my work is based in photography, but I like to push the boundaries of the medium. I’ve used a variety of materials on my images from spray paint to house paint to collage, ink, pencil, tar, glue, etc. I’ve sanded, torn, and even burned my photographs. Photography to me is still a magical process in which I feel I will never find the end of it. It’s the process and exploration that brings me back again and again.“

Can you walk us through your process for choosing the subjects depicted in your work?

“I have been interested in memory for a very long time. I’ve explored this subject from many perspectives: collective memory, historical memory, personal memory. I continue to be intrigued by its illusive nature and impact on our sense of identity and humanity. I’m very keen on change, the passage of time, loss, and the ephemeral nature of living.

My new work is in response to the environmental changes of our time, the parallels of flux between memory and nature, and explores the transitory state in which we live. The title of the series is The More Things Change, and is comprised of large scale color photographs created by layers of multiple images taken over a lengthy period of time.” 

Is there a particular piece that you believe defines your work best? If so, what piece and why?

“My art took a noticeable turn when I started working with Lon Clark at the San Francisco Studio School. The support of a mentor gave me both an anchor and a sail. I started to take chances and not judge my work so harshly, and I began a dedicated studio practice that shifted my work into a new place.

When I look back at this early work, I see a thread that brought me forward. The work from this time taught me how to listen to my instinct and not question it, and to just keep going. I am not sure I will ever arrive at a definition for my work, because I don’t think I will ever arrive at a definitive point. It just keeps evolving and building on itself.”  

What do you aim to express through your work?

“I am optimistic by nature, so that is always an underlying current in my work. I am also keen on the idea of expressing something visually in a way that makes people think, and leaving just enough unsaid so that they can add their own interpretation. I have always been intrigued by contrast and duality. I like the energy it conducts and the way it can transform an idea with the tension between the two.

My new work explores a sense of change by creating a simultaneous impression of one lengthy moment in time. The lack of detail plays a unique role in my composition and is achieved by various digital techniques with layered images of the same subject taken over a lengthy period of time. This technique conveys not only the passage of time, but the history that I have with these locations in a metaphorical way. Color is captured in a dynamic way to create empathy. Scale speaks to the power of nature and the way it can make one feel small. Also, I hope to convey the state flux that is shared between memory and nature and a sense of calm that can occur within chaos.“

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How do you believe that your locality of choice has influenced you as an artist?

“As a native Californian, I am predisposed to the landscape. I spent the majority of my childhood outside and have been inspired by nature my entire life. Growing up with open space, the ocean and a river close by profoundly shaped my sense of being. I also grew up surrounded by some of the most notable artists and art in the world whose work was also influenced by nature and the power of its beauty. Western artist Jack Swanson was a frequent guest in our home and close personal friend of my parents. Photographers like Ansel Adams and Edward Weston were people living in my town, and they moved around the community just like any other citizen. The artwork of California landscape painters like Maurice Braun, E. Charlton Fortune, August Gay, and contemporary artists like Wayne Thiebaud, Richard Diebenkorn. and Russell Chatham, was and still is frequently on exhibit in our community. And of equal importance were movies, the Western film genre in particular. The cinematic expanse of the landscape still captivates me to this day. My favorite Western of all time is The Big Country, filmed in Northern California. It is still studied today as one of the all-time best films for cinematic artistry and capturing the freedom of the West.”

Are there any artists in particular that you believe have influenced your work?

“I love photography and collect it as well, but I am influenced by other forms of art, mostly painting. Abstract painters like Swiss artist Uwe Wittwer, Scottish artist Pete Doig, and British artist Laura Landcaster, all of whom work from photography, and abstract expressionists like Joan Mitchell, and Helen Frankenthaler, whose work I often look to for color inspiration.”

Take us through a day in the life of Molly McCall.

“I divide my day into part work in my office with my family business and the rest of the day either in my studio or in the field. The early morning and late afternoon are optimal hours for my creativity, but I have also been known to duck into my darkroom and not return for eight or nine hours.

On a perfect day, I get an early start on a hike with my dogs at a nearby regional park, a former cattle ranch, which involves hours of soaking in the landscape and patiently waiting for a feeling to take over, the clouds to gather, the grass to blow, or the water to stand still: something that visually creates a mood. Sometimes I don’t even take a camera but bring a sketchbook. The process of drawing helps me record a different kind of response that inevitably shows up in my photography.”  

You’re currently working on a large body of work for the Quail Lodge Resort. How did this project challenge your creative process?

“I did a lot of traveling last year and decided at the end of the year that I would focus my next project on my own backyard. As memory is my main topic of interest, I thought I would explore the landscape within my own memory. Having lived in the same town almost my entire life, I am constantly confronted by the past and the passage of time, and I am keenly aware of how it has formed my artistic sensibility. This new work explores locations that I frequented as a child and attempts to capture the transitory state of the present.

The challenges to this new work were mostly internal, with movement playing a key role in conveying a sense of change and the passage of time. Part of my creative process involves the act of motion, and I wanted to embed that in the work as well. Hiking, swimming, and riding a motorcycle are all activities that unlock creative thoughts for me. There’s something about physically changing the speed at which one moves through space and time that disengages hesitation and self-judgment, somehow unlocking that first thought, that uninhibited moment before you start piling on all of the debris that pollutes it.”

Where to next?

“I have three solo shows coming up this year.

The first was to be at Quail Lodge Resort in Carmel, California, and was postponed due to the coronavirus pandemic. I will be rescheduling this show hopefully this summer. This exhibition will be of my recent landscape work titled ‘The More Things Change’ as well as a new group of cameraless lumen prints made with only photographic paper, the sun, plants from my garden, and darkroom chemistry.

The second solo show will be on exhibition this summer at the Griffin Museum of Photography in Winchester, Massachusetts, a small town about 20 minutes north of Boston. I won the honor of this exhibition last year and have been awarded a room in the museum to display my work. I will be displaying darkroom images inspired by a poem written by Irish poet WB Yeats called Into the Twilight. My exhibition is titled ‘Remembering the Twilight’.

My year will close with an October exhibition in Barcelona, Spain at the FotoNostrum Gallery. My work is included in part of the Foto Biennale, a group show of photographic artists from all over the world, as well as a solo show of my landscape work ‘The More Things Change’.“

Where can we follow you?

“I post new work, artistic inspiration, and studio projects along with images of my beloved dogs on Instagram and Facebook.“

Images courtesy of Molly McCall