Lindsey Adelman, “Agnes Electro #Chandelier on Sight Unseen” #interiordesign
For all of their industrial elements — cold metal surfaces, exposed screws and joints — Lindsey Adelman’s light fixtures are better known for their refined sense of timelessness, and the way their easy aesthetic appeal allows them to slip perfectly into everything from socialites’ Park Avenue apartments to the James Hotel. And yet if you ask the New York–based designer what kind of environment she prefers to picture her chandeliers in, she conjures the dirtiest, darkest urban corners, delighting in how this fantasy contrasts with the realities of her everyday contract work. She got her wish last May, when she took over a windowless corner of the Noho Design District’s 45 Great Jones building, a former lumber warehouse that was barely fit for visitors, much less a pair of $30,000 lamps. Last month, at Sight Unseen’s behest, she created this similar scene outside the window of her own studio, featuring a new edition of her Agnes chandelier for Roll & Hill. Adelman also shot two other soon-to-be-released products that day, and we’ll debut those images in the coming weeks, but in the meantime, we asked her to tell us exactly how (and why) she got the shot. Continue reading …
…I spend a lot of time traveling—by foot, by bike, by subway—through the city. I soak up the moods and social pressures around me—witnessing change. Traveling the art centers of Europe (particularly Berlin), I soaked up a lot of the German aesthetic—which is very much based on the stark image. A little on the dark side, it’s something that I found fascinating. The city is like a playground on a corpse. It’s just a very open, wonderful place but very dark…a very haunted place. There is something I wanted to bring back and I think that sits well for me while living in this false optimism that surrounds us in the States.
The little tin drum boy…there’s something disturbing about his face. He confronts menace by banging on his drum as a form of artistic expression and then when that fails, he has nothing else but his horrible voice that shrieks and breaks everything around him. And I think that there is a connection between that character and our generation right now.
…I use my own photography and found imagery, process them, and make screens out of them. There’s something disposable about the screen-printing. It’s usually not meant for permanent things. I think disposable is something that hovers above everyone’s heads. There is debate over whether the world we live in is disposable and there are certain forces that are pushing it further down the tubes and then there are others that are trying to save this because we want permanency.I want to create these permanent works in a disposable world using a disposable method.
…The prints become the backdrop for my expressionist manual process. The addition of the manual allows for a margin of error that creates beautiful moments and allows me to exploit the material qualities of the paint. I feel the bridge between the two is the human error. Painting with a brush or with a knife on top of the screen-print is almost a celebration of imperfection—like liberation from the confines of perfection, whereas when my hand is seen in the actual screen print it’s seen as an error…where can these meet up? What is that space between error and liberation? I feel almost an autobiographical quality to that process, to where a lot of people see what I do / the life I live as being just crazy and others see it as just a break-out…and a real liberated way of living.
solo exhibit - March 9-April 8th
333 south 20th st
philadelphia pa 19103
**reception march 9 7-10pm
Second Friday - Pete Zebley - March 9th - 7-10 - at studio:christensen - beautiful job on the video @sukkatash ! #petezebley