Contemporary Wallpaper Biography
Source(google.com.pk)When curator and Wallpaper* editor-at-large Suzanne Trocmé was looking through Russian resumés for the designers who would ultimately form Born in the USSR, launched at Gallery Elena Shchukina as part of the London Design Festival, she noticed a peculiarity in the bio. 'It said he was born in Leningrad, but he studied in St Petersburg,' says the London-based designer and curator. 'It made me wonder what it means to be born into one cultural environment and practicing in another.'
Trocmé cast her net wider to include designers born in the former USSR before 1991, pre-Perestroika, yet on the cusp of their nation's dissolution - which eventually exposed them to a world of imagery. A student in Russia in the 1980s, she had a unique perspective in the matter. 'There was no advertising,' she says of life behind the curtain then. 'No one else's opinion got in the way. In fact, that absence of visual bombardment was a luxury.'
The final cut of 14 includes some designers who have never left what is now Russia. And yet they design with sophisticated clarity, humour and national spirit. 'The designs I found, out of hundreds of pieces,' says Trocmé, 'embrace Russian traditions but are truly contemporary.'
She points to the wood 'Dot' table by Lera Moiseeva, born to space engineers in Tarusa, Central Russia, in 1986. It is mobile, like a wheelbarrow, with a front wheel that pivots around the main surface 'like in the cosmos'. A collection of clay whistles in the shape of birds by Siberian-born Anna Denisenko reference the old acorn whistles used by Slavic watchmen to warn of approaching enemies.
The exhibition, launched in partnership with Wallpaper*, aims to upturn the stereotype of Russians in London. That the hub of Russian activity in London overlaps, Venn-like, with the Knightsbridge hub of the Design Festival is a stroke of luck.
As for the wider relationship between the two cultures, 'Sanctions are not always useful. It's important to support good talent wherever in the world you find it,' says Trocmé. 'I just wanted to show that Russian design is very cool and has a place in the world, and to support it - despite the geopolitical situation.'
Cole & Son was founded in 1875 by John Perry, son of a Cambridgeshire merchant. In those days the company was situated in Islington, north London, an area famous for the 190 hand block printing companies working there in the 18th and 19th centuries.
Throughout the 19th century Cole & Son printed for all the large well-known companies of the time including Jeffrey & Co, Sanderson and Shand Kydd. In addition to high quality block printing, the company was renowned for supplying beautiful stripes and jaspes.
In the early days the company built machines that allowed the re-introduction of the process of pan coating and also revived the process of Flocking, invented in Holland in 1680, imitating cut velvet.
In 1941 the company was bought by A P Cole, proprietor of the company Cole & Son (Wallpapers) Ltd, with showrooms and offices at Mortimer Street in Central London.
The Cole & Son block archive includes designs produced by J C Crace & Son to furnish many stately homes, palaces, castles and theatres throughout Britain and overseas, including the wallpaper designs of A W Pugin for the Palace of Westminster. The amalgamation of the two businesses in 1941 meant that Cole & Son became the custodians of the most significant collection of wooden printing blocks in Britain.
In 1949, Cole’s Design Director created one of the first screen print studios in Europe in response to the revolutionary new Contemporary design movement which gave birth to the wild wallpaper designs of the
Today, the Cole & Son archive consists of approximately 1,800 block print designs, 350 screen print designs and a huge quantity of original drawings and wallpapers, representing all the styles from the 18th, 19th and early 20th centuries. Amongst these are some of the most important historic wallpaper designs in the world. Cole & Son has provided wallpapers for many historic houses including Buckingham Palace and the Houses of Parliament.
Our magnificent archive is on occasion the source of new designs within our collections. Designs are carefully selected, adapted and coloured by our designers and printed by craftsmen to produce wallpapers faithful to the character of the original document, yet contemporary in feel.
Timorous Beasties’ work embodies a unique diversity of pattern, ranging from design that echoes a golden age of copperplate engraving (a time-honoured classic is the Thistle range; or Merian Palm superwide wallpaper) to example of a distinctly edgy nature, an elegant transgression, a display of chic irreverence. Yet, the studio fully engages a design discourse with textiles history by lending an aesthetic evolution to time-honoured motifs.
In 2004 Timorous Beasties unveiled their critically acclaimed Glasgow Toile: by reversing the pastoral context of toiles de Jouy, they transformed the traditional toile device to create an exclusively modern urban genre. The Hotch Blotch fabric series challenges a 1000-year old aesthetic mode by placing disorder within the structure of damask pattern to reveal the inherent beauty of splatters, drips and blotches. Hunting Toile and Urban wallpapers mark a synthesis of 18th-century chinoiserie groupings, Rococo swirls, and Victorian silhouette paper cuts to create a uniquely contemporary ornamental textiles pattern repeat.
The art critic John Ruskin related a universal connection between nature, art and society. Timorous Beasties share a similar world view, where plants, animals and society are visually inextricable. They are devoted to how that impacts as pattern design in our daily experience of furnished spaces, from one-bedroom flats to country villas, to the halls of civic and government buildings, departure lounge backdrops, boutique enclaves, restaurants, and hotels.
Some Timorous Beasties brand clients include Famous Grouse, Nike, Fortnum & Mason, and Philip Treacy. The Studio’s gallery of cultural design commissions includes the Edinburgh International Festival 2009 graphics and book covers for Penguin, Magna, and Granta.
Home accessories include exclusive lines for the Scottish National Portrait Gallery, Brintons carpets, Liberty London, and John Lewis Department Stores.
Ranking among the Studio’s strong record for bespoke furnishing and installation commissions are the V&A boardroom, UK Supreme Court, Wellcome Trust, the Art Institute of Chicago, and the Robert Burns Museum. Exteriors range from engraved stone cladding for Bristol’s Cabot Circus to the extravagant aluminium decorative façade for Princes Square, Glasgow. Christies, Claridges, the Inter-Continental Hotel Group, and Hilton-Waldorf Astoria rank among a heady list of our commercial clients.
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