Spotlight Series: Valentina Padilla

For April’s feature of Spotlight Series, I spoke with Valentina Padilla who is an advocate of bringing sustainability into our lives through beauty and fashion. Valentina who is the force behind account @sunflowervalentine, and also is the co-founder of @thankyouplantbasedgod with her partner that highlight and showcase ways of interrogating a plant based lifestyle to their viewers (both of which you should be following if you are not). I’ve been following her for a while, and I am very fortunate to say from Instagram we have become friends and I am so excited to share this interview with you guys. We spoke about sustainability, the best ways to thrift and talk about some of her favorite designers.

This was my first interview in person, and I have to say I loved this experience and hope to have more in the future as things start to open up. I hope you all enjoy and make sure to see how I bring sustainability in my own way to my posts this week!

Oil and Threads: How would you describe your style? On Instagram over the last several months you have been sharing these “closet clean outs” where you have been parting with clothing that don’t serve you anymore. With that in mind, what is your approach with buying clothing now?

Valentina Padilla: I strongly want to say that my style is a mixture of both my feminine and masculine energy and when I say that I channel both, if I am very masculine in what I am wearing, I tend to be more feminine and visa versa. I think that approach also reflects my mood and the emotions I am going through, I am not the person that will dress cute if I am feeling like shit. If I am feeling terrible, that will be displayed in how I dress myself that day, or if I am feeling very neutral I will dress in a neutral way. I know there is that cliche of “dress up and you’ll feel better”, but that doesn’t work for me.

How I approach my style when it comes to thrifting, I think about the pieces that I already have. When I go thrifting or shopping, I like to think about what I have and what I don’t need to buy. If I am to purchase something and I know I have a piece at home that serves that same purpose, I have to get rid of the one that I have and find someone else who can use that piece. When you are picking the one item to keep, it has to serve the purpose and you have to be able to up style it with anything.

Every time I go shopping I like to get my partners second opinion because he is very good at being minimal and essential in his wardrobe. He will never tell me yes or no, but will ask me if I will actually wear that, and it is so sincere and is genuinely asking me to think about it if I will wear it and not just because I can afford it but if it will be something I wear. I would say that this is my approach now with thrifting and shopping, because you can get lost in thrifting because you see clothing that is affordable and you just want to style everything, but there is a healthy limit to thrifting!

O&T: What would be your best tips for living a sustainable life and do you think are the best steps to approaching it into ones daily life?

VP: This is such a great question, and one to ask yourself when starting to think about being sustainable. When I started my sustainability journey, I was in a place where I didn’t know where to start, and how to even say if one thing is sustainable or not. I will say that my tip for being sustainable is to take a step back and introduce that level of awareness, for example you can ask yourself my closet sustainable and where is it not?

I think it helps to categorize areas that you can tackle and be successful in, whether that is a closet clean out, changing your diet, or living a better life for yourself and the planet! I think separating those questions will help you become more aware and more conscious of the next step. For example, for myself the next step in being sustainable was cleaning out my closet, getting rid of things that I had in my closet for over four years and just keeping them as a safe keep.

Interesting enough, when I started to think about why I was keeping these things it brought me back to my childhood. When you are little, you want to have everything but that isn’t the case because one you are not working for your things and for many their parents perhaps couldn’t afford that, so you kind of just take what you get. When you are older you have the possibility to perhaps be in a position to get things that you really want, but once you have it then you ask yourself, “so now what”? These items begin to be an impulse to fulfill a gap, and in the end do you really need that? Eventually you will realize and become aware that these impulses and gaps aren’t really serving you.

O&T: How did you find your voice on Instagram, and how do you feel you are able to connect and grow with your audience?

VP: This is also such a good question, and one that I haven’t been asked before. You have to think about your voice and tone, then how it communicates to the right audience because you really want to be engaging with your followers and really hold on to them to continue having conversations with them. I feel like I found my voice with a lot of trial and error, and that is just the process. The process of healing is a long one, and I feel like finding your voice on a digital platform is the same, especially since it changes so much.

However, if you have a foundation of what your values, morals, and what you really care for within your foundation will help you define your stages in finding your voice and tone. I think it really helped having a background in doing this for five years before I did it for myself. If you think about it there are so many different beauty influencers out there, just like there are so many brands out there asking you to go to them, with that being said you have to do research and figure out what works for you and why people want to follow you, and it is an ongoing process., where you shed old skin to grow new skin and this is part of keeping and sustaining your following.

O&T: I have to ask who are some of your favorite designers?

VP: Well I am a huge fan of Stacey Bendet, of Alice and Olivia. Her creations are magical and whimsical, almost child like in her designs. Something that really resonates with me about her designs is that they are youthful and feel like a representation of her, it reminds me to stay young and enjoy it all!

I also love Marc Jacobs and the business that he has created. One thing that I admire about Marc is his ability to create a full range and is very versatile when it comes to fashion. This idea of versatility is something that I find very important in life as it allows you to be open and only helps you see the bigger picture.

Then of course, Telfar. I love how Telfar is able to elevate a community and the space he is creating and pioneering is admirable!

O&T: What would you consider a successful thrifting trip?
VP: I would say going in and buying what you aimed to buy/find! Thrifting is an experience and a journey. You want to be able to style the new pieces you have thrifted with what you have in your closet. But, success is when you actually start using and styling what you have thrifted.

Spotlight Series: Danny Baez

This month I had the privilege of speaking with Danny Báez for the April ‘21 edition of Spotlight Series. I met Danny in 2019 at an art opening and have been following him ever since. What drew me to Danny was how he spoke about Art and the Artist, at times this can feel like one of the last pieces of the equation but he is a true champion for keeping the artist first. Danny has is a co-founder of MECA Art Fair, co-founded the non-profit ARTNOIR, and most recently has created a welcoming and inclusive space for Artists to connect with one and other and show their work at REGULARNORMAL. If you are in New York, REGULARNORMAL is a destination you must put at the top of your list, and I hope you enjoy this feature.

As always, check out my Instagram to see what works I styled from past shows Danny has curated or hosted!

Oil and Threads: Danny Danny Danny! Well firstly thank you for allowing me to interview you and pick your brain. I thought you would be a terrific guest for my feature "Spotlight Series" as you are a voice in this crazy world that I admire and highly respect, the view moments we have exchanged words I have always left learning something new or being questioned in a way that leaves me wanting to discover more. I love discovering artists either through your posts or shows which you curate. I wanted to take some time to get to ask you about your thoughts about what is happening right now in the "Art World", about REGULARNORMAL and all of the other things you do. I guess the first question is, how did you find your voice and what you want your viewers to walk away from after they have experienced something that you have worked on?

Danny Báez: Getting together with artists and bonding with them is at the core of everything that I do. Whenever I work on anything I  want the viewer to feel joy, to be curious, and to ignite them to inquire more. 

I found my voice because even though I am always open to listening to others I’ve always wanted to find out how it feels like to make something the way I’ve envisioned it in my head. 

O&T: I read recently in an interview you didn't refer to REGULARNORMAL as a gallery space and that stopped me for a moment. It started to make me think about what the idea of a gallery is, and how we relate to the gallery space now in New York. I have my own opinions on what the idea and concept of what the gallery space has turned into, but I would love to hear yours and why you decided to call REGULARNORMAL a Project Space?

DB:I like to refer to this endeavor as a community space for the artists. When it comes to commerce we operate like other galleries. However, at the core of it, the central idea is to create a welcoming atmosphere that encourages dialogue between artists and others who are curious. Galleries should become educational institutions.

O&T: You are a man that wears many different hats, with co founding MECA Art Fair, part of the ARTNOIR Team and now opening REGULARNORMAL However, with each of these different projects you bring the same energy and always keep the artist first (my opinion as a viewer). Being in different parts of the ecosystem of this so-called "Art World", what is the lesson or mission you want to convey and share with viewers through these different platforms?

DB:I might sound repetitive but truly the one thing that I find most important is that the ARTIST should be at the center of it all. Using me as an example I want to show that you can be part of this ecosystem in more ways than just traditional roles such as gallerists, art historians, curators, artists, etc. You can find your own place and create your own path.

O&T:Since the death of George Floyd and the protests for BLM that happened last summer, we have seen institutions, galleries, and museums start addressing many of the different internal issues that have unfortunately been silenced and have been a part of the foundation of how things have been created / run. Do you have faith that these different institutions will finally take the moment to unlearn what they have been taught is correct and will make serious change? Not only with having a diverse roster or certain exhibitions, but to make internal change and be responsible for creating safe and inclusive environments; what are your thoughts in regards to this?

DB:I would love to see real change however, given the patterns I am having difficulties to fully believe what they’re preaching at the moment. Before 2020 there were plenty of people of color with the capacity and talent to be put in positions of power to implement changes but most of these appointments happened after the death of George Floyd which makes me question the intention behind it all? Of course, I hope that I am wrong.

5- As this is a place to showcase my love of Art and Fashion. I would love to know who are some of your favorite designers and creators that you enjoy either wearing or that you enjoy watching out for their new collections?

DB: I am truly into Marcus Paul’s curation of Black Spaces at Nordstrom and his recent eyewear collaboration with Haffmans & Neumeister. Also, if you know me, you know that I LOVE sneakers and I am very specific about the designs that I like. Currently, I am waiting for the second drop of Bad Bunny’s current collaboration with Adidas. Sort of digging the all pink Forum Low. The good people at IDIOMA are also doing a great job. Keep an eye on them. And definitely, all of the Aya Brown’s merchandise drops.

Danny Baez at REGULARNORMAL

Spotlight Series: Will Whitney

For the February installment of Spotlight Series, I had the opportunity to speak with Will Whitney. I was introduced to Will via Instagram by Sebastian Jean who you all may remember from our October feature. I met Will late last year when I was strolling around galleries on the Lower East Side, and now have had the honor to speak with him for Oil and Threads. I wanted to feature Will on Oil and Threads as we have some similarities with spending time between Italy and New York, and both being exposed to Art at a young age. However, one of the big differences is he had the pleasure of growing up with two magnificent artists as parents. Will now lives and works in New York City, creating his path in the Arts through writing and working in galleries! I hope you all enjoy, and tune in to my Instagram to see the pieces of art Will picked for me to style this week from our recent trip to the MoMA.

Oil and Threads: What made you want to decide that you also wanted to be a part of this world? Are there particular aspects of it that you want to help change?

Will Whitney: I spent most of my childhood and adolescence around musicians, artists, and poets. I always appreciated how unique that was, but I didn’t know I wanted to actually be a part of the art world until I left all of those people behind and went off to college up in Waterville, Maine. Colby [College] has a wonderful art program and a gorgeous museum on campus, which I was lucky enough to spend lots of time in during my four years there. Slowly over the course of my time in Maine, I began to realize how important and impactful my childhood experiences of roaming art museums and listening to poetry had been. Ultimately, when I came back to New York following graduation, I knew I wanted to work in the art world in some capacity, and I’ve been exploring different aspects ever since. 

In regard to changing the art world…. I’d like to help in the continuation of breaking boundaries in regards to who is considered “welcome”, whether that be socially or financially. I think the more people who are able to feel like they belong or have a place in the arts, the better. 

O&T: Spending most of your time between different areas of Italy and New York, both being cultural hubs in their own regards. I wanted to ask you about your time in Italy, as I don't meet too many people who are in the contemporary art world who spend or have spent a lot of time in Italy. When I was studying in Rome, most people I met were studying either Baroque or the arts of the Renaissance. 

How would you say spending time between Italy and New York has affected your appreciation and love of art? What are some traits or aspects of Italy that perhaps you have brought to your career in New York?

WW: I think my time in Italy instilled me with a conviction regarding great art’s ability to remain relevant over time. Over there it seems that there’s that cultural appreciation for the arts. To be involved in the arts is a real honor in my opinion. Also, my time in Italy gave me an appreciation for the small things in life...an enjoyable cup of tea in the afternoon or a good meal for lunch or dinner. These are not things to be rushed but rather to be enjoyed. I try to balance that appreciation with an avid work ethic, something which is undoubtedly American. I believe it gives me a good work-life balance, even in covid! 

O&T: After spending some time reading some of your features in the Brooklyn Rail, you write about art in a very approachable and digestible way. In your writing, you give context and explore with your reader, which I felt especially with your review of Nina Chanel Abney's shows 'Safe House' and 'Seized the Imagination'. I personally have always felt very intimated about reading about art and feel that art critics tend to create a space to challenge the viewers knowledge prior to engaging with the writing. As an art critic and writer, what do you want to portray in your writing?

WW: I would say one of the differences in my writing compared to any other art writer or critic, is that I didn’t come into writing from an art history background. I was a government (political science) major in college, and I’d like to think that gives my writing a sense of directness that maybe one wouldn’t get elsewhere. In my writing, I really try to portray my thoughts and emotions in a very simple manner. As you see in the works I’ve chosen, I find that mastering the simple things is key. There’s this word in italian, Sprezzatura, which refers to a casual elegance in which one’s appearance or mode of being. That’s generally what I strive for. There is a level of mastery required in making things appear effortless that I find to be so rewarding. 

O&T: I saw on your instagram stories a couple months back that you had a studio visit with Reginald Sylvester II. Which I thought was cool to share a moment of your visit, as at times it can feel almost impossible to get to interact with artists either due to their galleries or how this industry can make people feel on the outside. I wanted to ask you about who are some of your favorite artists at the moment that you are really excited about?

WW: Yes! My visit with Reggie was wonderful. I was actually introduced to the work through a friend and then had the pleasure of meeting Reggie at one of his recent openings. Shout out to Reggie again for the invite over,  I love what he’s doing right now and I’m super excited for the world to see his latest work. Studio visits are always something I treasure, especially with younger artists where the conversation can really focus on what the future holds. 

I’ve been spending a lot of time with Mary Heilmann’s work—her last show at Hauser & Wirth was fantastic. She’s another example of someone doing so much with seemingly so little. 

A few other of my favorite artists include Philip Guston, Brice Marden, Al Taylor, Gordon Parks, Joan Mitchell, Theaster Gates, Robert Rauschenberg. Obviously, my parents, Stanley and Marina, as well. David Hammons...the list goes on and on. 

In terms of “younger” artists I’ve been following Reggie for some time, as well as Alteronce Gumby and Anthony Olubunmi Akinbola. Anthony has a show up right now at False Flag, that I’m eager to see.  Covid has made it a bit harder to see new work in person, but I’m always looking for new artists or artists whose work I’m not as familiar with.

O&T: Last but not least. I have to ask as this is a space of the love of Art and Fashion,who are some of your favorite designers?

WW: Duro Olowu, first and foremost, I love what he does with color, patterns, and shapes. Definitely become familiar if you’re not already. 

Then, in terms of menswear I'd say Massimo Osti—who founded both C.P. Company and Stone Island—and Nazareno Fonticoli & Gaetano Savini, the founders of Brioni.

Spotlight Series: Clara Darrason

Welcome to 2021, and our first feature of the new year! To kick off the year, I had the privilege of getting to interview a woman I deeply admire and a force in the art world. With great pleasure, I introduce you all to Clara Darrason, I got the chance to ask her about her first gallery space in New York, The Chimney and ask a few questions about what it is like to be a galleriest. Clara was able to create an oasis in New York, which housed incredible site specific exhibitions. I hope you all enjoy this month’s feature and make sure to tune into my Instagram to see which works she selected for me to style!

Oil and Threads: How did your journey in the art world begin? Was there a particular work of art or exhibition that began your curiosity into getting into the field?

Clara Darrason: I grew up between the South of France and Paris, and was always exposed to art.  

I interned for a gallery when I was 18, and was astonished by the tight community existing within and beyond the white walls. I perceived such venues as second homes for artists - ones in which their visions were understood, cared for, and given free reign.

O&T:When did you realize you wanted to create The Chimney and what was the mission or idea you wanted to convey with your space and with your different exhibitions?

CD: Back in May 2015, I noticed on Morgan Avenue, Brooklyn, an abandoned 23ft high brick building that had recently been refurnished with black stucco exterior and a brand new roll up garage door. Its roof was capped with a chimney. I was fascinated by this stand-alone black cube located at the edge of the Newtown Creek, a vestige of a former oil refinery. I approached the owner who accepted to let me use it during a weekend dedicated to art events and open studios in the neighborhood. After an incredible 48h turnout, I convinced the landlord to let me keep for several months, and without rent, what I had renamed “The Chimney”. I organized 8 exhibitions that first year, without heat or electricity installed in the venue, and started in parallel a full time day job in an Upper East Side gallery. Down the road, a formal lease was signed, small heaters and electric outlets installed, and over thirty exhibitions hosted… 

The Chimney was thought as a gallery exhibiting predominantly site-specific installations, conceived by the artists with the building’s architecture in mind. I recently read “Listening to Stone: The Art and Life of Isamu Noguchi” by Hayden Herrera. She quotes the American-Japanese artist writing: “There is mystery in a cube, especially a black cube – when does it become a sculpture?”  This could be a good definition of The Chimney. Or, to quote my friend and artist Matt Taber : “It was a container that epitomized its contents”.

O&T: As an admirer of The Chimney and the different exhibitions you have curated and hosted it appears to the viewer that the artists have a big role in the curation of the show and space. One of the aspects I loved most about visiting a new show at the space, was not knowing how it would appear, and I think this has to do with the relationships you cultivated with the artists who were invited to present their works at They Chimney. What do you believe as a gallerist is your biggest job or role in your relationship with your artists and what role you play in supporting them?

CD: Developing a relationship with The Chimney was an essential step for the artists invited to exhibit there. Multiple visits were necessary to domesticate the space, to absorb the absence of windows, the large steel beams, and the faded red of the bricks. 

I see myself as a trait d’union, a “hyphen” between the artist and an audience. My greatest joys have stemmed from discussing a seemingly impossible project, witnessing its various stages of growth, and helping its maker to turn a vision into shape. The gallery is also a public space –free and open to all. It is a platform for new ideas to circulate, and for regular community gatherings. 

O&T:What do you see for the future of the Chimney moving into the new year? In the Summer of 2019 you took the magic of The Chimney to a much larger space in Brooklyn to present a showcase of different artists which all blended so beautifully. Would you want to create more of these offset spaces or do you want to find another space which to call home?

CD:  One of the core missions of The Chimney for 5 years was to introduce international artists to a New York audience through 4 hours long opening receptions, studio after parties, talks, performances, video festivals and workshops. This model could not exist in a pandemic stricken 2020, and the co-director of the space and myself decided to end this Brooklyn’s chapter last July. 

  We could not have imagined back in 2015 having an installation view of one of our exhibitions in full page of the New York Times, or two Artforum reviews, or to be on the cover of New York Magazine last December. It has been riveting to see several artists who, after exhibiting at The Chimney, moved on to present their work in prestigious institutions - like the Palais de Tokyo, the Whitney Museum, the Villa Medici, and the Hammer Museum. 

  The world has mutated several times in the past months, and continues to do so in violent and unexpected ways. Now is a time to let this first entrepreneurial experience unfold, all the while envisioning new projects between the United States and France.

O&T: What are some of your favorite art spaces in NYC to check out when you are exploring?

CD: Friday nights at the Met Museum. The Noguchi Museum in Queens. Galleries in Brooklyn I’ve loved over the years such as  Microcope, where Yasue Maetake is having a solo exhibition until 03/14, or International Waters, located behind Newtown Radio.

O&T: And finally, as this is a place for the love of art and fashion, how would you describe your personal style and what are some designers or brands which you gravitate towards?

CD: I gravitate towards French classics: silk shirt / blouse, straight-leg black/blue jeans, leather jacket. Some of my favorite dresses are from the Parisian brand Sandro. I love thrift stores, and have acquired a coral dress I wore at my wedding and a customized Grease “Pink Lady” jacket with a Chimney logo on its back. This winter I am mostly wearing urban biker boots from Breaking Hearts Burning Leather, leather Lace up boots by Marie Laffont, and classic black Nike sneakers. 

My own personal thoughts on Clara’s personal style, is sharp and chic. She knows how to dress for her body, which is no easy feat and has a great eye for finding pieces that stand out and create effortlessly cool outfits!

Spotlight Series: Studio Visit with Artist and Photographer Kevin Claiborne

For the December feature for “Spotlight Series” I had the pleasure of getting to spend some time with Kevin Claiborne. I met Kevin earlier this year at the opening of Vaughn Spann’s exhibition at Almine Rech snd have been following him ever since. Kevin is an artist and photographer currently based in New York City. After I saw his show this Fall at Thierry Goldberg gallery, BLACK ENOUGH. I wrote about my experience with the exhibition on my weekly favorites in November if you want to know more about that exhibition. Kevin was kind enough to invite me to his studio to get to see what he is currently working on, his wonderful film camera collection and get some more insight into his world. I hope you all enjoy this month’s feature and make sure to see how we collaborated on Instagram!

Oil and Threads: How and where did your love for photography begin? Was there a moment in your life where you gravitated towards the camera?

Kevin Claiborne: I have been interested in photography for many years and cannot remember an exact moment where it became a love. I remember I would shoot pictures while at social events and on vacations because my memory was terrible. Once I started shooting film years ago, I got more passionate about photography as an art form, creative outlet, and mode of expression. Finding vintage cameras to use also became an exciting part of the process as well. Developing a bond with old, fragile tools, and spending time learning how to be intentional about capturing and creating images truly helped my practice.

O&T :This past fall you had a solo show at Thierry Goldberg gallery in the LES, which was a beautiful presentation of your photographs that you took earlier this year at Joshua Tree, with questions and ideas silk screened onto them, along with three sculptures and a video piece. From Instagram, I enjoyed seeing how much time you spent at the gallery while your show was up and interacting with the viewer and getting to spend time with the audience. Many artists don't usually revisit their shows often after the opening day, what made you decide to spend time at the gallery and interact with your viewers? What was one of your biggest takeaways from this experience?

KC: I was interested in seeing my friends and family attend the show and to thank them in person for their support, and I also wanted to observe the ways in which people experienced the work. I was curious to see which works people were drawn to, how long they spent in the space, how much time they spent with the pieces, and which ones they. I also wanted to attend in person to be available to answer questions or offer additional dialogue to viewers about how the works function as a collective body. I enjoyed being able to serve as a resource to the people who took their time to visit the gallery. One of my biggest takeaways from my experience was to always consider the relationship between the commercial aspect of a gallery setting and the content of the works, and challenge myself in my approach to creating an experience where the “work” extends beyond the objects, beyond the walls, beyond physical space(s). I also was reminded that it is okay if your work is not easily understood.

O&T: At your studio, we spoke about the idea of creating an identity and story within one's work, and the idea of how much does one give to their viewer? This idea has been something I have been thinking about since, and why I decided to select the works of Thornton Dial to style for you to photograph, as I was able to get an insight into his life through the works but he didn't feed it directly to his audience, it took time with the work and some prior knowledge of Dial. Moving forward with this new body of collage based works and incorporating your family's story and text, how much do you want to give? As well, ideally what would you want your audience to learn from you?

KC: With my collage works, I am interested in playing with the ways we read images and text when there is no immediately discernible narrative. With the act of layering and altering legibility, I hope that there are new histories that arise from the work. I have been very invested in “gaps in histories”, much like the Great Unconformity in geology, and looking into similar gaps in my own family history. While digging into my family photo archive and history, I am exploring and learning so much about myself and my engagement with “truth” as a concept. I am not sure how much I want to reveal or share in terms of specific details, but I hope there is a connection with others about the universal function of families (the ones we are born into and the ones we choose).

O&T: I had the pleasure of getting to work with you and shoot three different works with you recently. I can't wait to share the images along with this interview, I loved how playful the shoot was and felt very comfortable shooting with you which is not always the case the first time around. What is your approach when it comes to shoots that are planned versus shooting while you are out and about? Are there any inspirations or other creatives that you admire and bring into your process?

KC: When shoots are planned, it’s important for me to do what feels natural and necessary in the moment, and when people are able to feel most comfortable, I like to lean into that. When I shoot my friends, I try to make sure they’re able to fully be themselves and then I just try to disappear and capture them as best I can. It’s always easier when people let their guard down and stop trying to “be” something or someone else. When I’m shooting street photography, it depends on my mood. When I’m protesting, sometimes the camera is secondary to my protest. Sometimes I take a more active approach. I shoot what I naturally gravitate towards and try not to think too much. I shoot the communities and people and environments I care about most, and hope that my love and passion come through in the images. I also rarely show my photographs, so most of what I shoot is just for me to see. I mainly get inspiration through just being outside in the street, walking around getting fresh air. I feel like I’m always inspired but not always in the mood to use the inspiration to create something. Instagram is also a great tool for inspiration, but it’s easy to get lost in everyone else’s highlight reel. I prefer to focus on my own voice.

O&T: As this is a place about the love of Fashion and Art, could you tell me a little bit about your personal style? Who are some of your favorite designers?

KC: I’ve been wearing all black for many years now, mainly because it’s my favorite color, but it’s probably because I’m lazy. I don’t like logos on my clothes, and I choose to buy things that I feel are quality pieces that will last a long time. I used to shop way too much when I was younger, and now, not so much. A designer/brand I’ve been watching for a while is Pyer Moss. I appreciate what the entire team has been creating and they are truly a cultural gem.

Spotlight Series: Studio visit with Artist Minku Kim

This month for the Spotlight Series feature, I went to visit New York based artist Minku Kim at his studio at the Brooklyn Navy Yards. I was first introduced to Minku by my old colleague Nicolas at Almine Rech, and we kept in touch ever since. Minku recently had his first solo exhibition with Alexander Berggruen Gallery on the Upper East Side, where he shared his foundations of painting with the world. I had the fortune of visiting his studio and getting to learn more about his practice, and ask him some questions about it all. Make sure to follow along my Instagram this week, where I style three outfits off of paintings I selected at the studio visit! Enjoy this interview with Minku and make sure to check out my Instagram for how I style his works!

Oil and Threads: When I was first introduced to your work it was through Instagram, and I found the work to be very clean and precise. After seeing your show at Alexander Berggruen earlier this Fall, I was introduced to a new body of your work where I felt less control in the paintings. When I visited the studio, you showed me both your SEP (Straight Edge Paintings) and LEP (Loose Edge Paintings) paintings. I wanted to ask you if you felt more comfortable painting SEP or LEP paintings, and why?

Minku Kim: S.E.P (2016-ongoing) and L.E.P (2018-ongoing) are like my left and right brain. I aim to have well-balanced life. I could be methodical but also impulsive in my decision makings. I feel comfortable working with S.E.Ps since I’ve been developing the series for several years now but I am constantly challenged and motivated to push myself to discover something new and different within the series. L.E.P that are varied in its use of colors and different brushworks. The series opened up all my creative output in terms of speeding up the process and allowing myself to try things that are out of my comfort zones. (Such as mixing completely unexpected colors together and using lots of browns and grey) I am more open to making mistakes and less ‘perfect’ or intentional mark. However, I do try to combine both series so that I can create some sort of an exciting balance between the two part of my traits.

O&T: At your last show, you titled the exhibition "Foundation", to show the viewer the fundamentals of your practice and it was a very formative introduction into your world. Speaking of the idea of foundations, what is the next thing you want to add to the foundations you've already paved for yourself?

MK: I have been in love affair with colors and surface quality (brush strokes) in my work. I wanted my work to emit the shimmering sense of light through the oil painting surface texture. I achieved the effects by using meticulously controlled brushworks and sometimes haphazardly applied impastos on the canvas.  Now I would like to introduce and experiment more of ‘drawing’ and ‘collage’ aspect in my painting which were always there but not as evident as the elements of colors and texture. Picasso, Matisse, De Kooning and Diebenkorn all took the liberty of colors but had strict sense of ‘drawing’ in their practice.  I have been obsessed with the classical beauty and proportionality which will always be important to me but it is time for me to step outside of my own definition of perfection and beauty. My work has been heavily reductive in the way I compose the pictorial space. The brush marks have been often either completely horizontal or vertical. I’d like to introduce more diverse and ‘ugly’ brush marks in my work.  I want to explore kind of unfamiliar space and painterly realm on my canvas in the coming months and giving my work more context and diversity in my paint handling. 

O&T: After spending time with you at your studio, and getting to speak to you more about your thought process, the idea of music came up. I loved how you spoke about your relationship to different colors to different musical tones. Could you describe your relationship to music, and how harmony in tones reflects in your approach to colors?

MK: When I was a kid, I used to daydream of being a pianist and eventually a symphonic orchestra conductor. Music has always been integrated to my morning routine, commute and part of my studio practice. Music has emotion just as visual art does and it has been a big influence in the way I think about color and space. I’ve listened to lots of classical music and jazz when I was younger. As I grew up, I’ve been extending my appreciation to almost all type of musical genre from trap to alternative music. If you only listen to certain type of music, it is likely that you will build up a weak tolerance to different genre of music. I think it is similar to visual art where if you only look at certain type of art, you will be able to appreciate different way to approach art making. In my studio, I try to also expand my color palette and make a new painting that I haven’t really used before as I sometime force myself to listen to new music each week. There are certain colors that go well together; however, I think it is an artist job to always find new way of creating space for the things that have been overlooked or haven’t been discovered. (Such as the color combination, spatial implication and sensory experience) 

O&T: You have quite an extensive book collection in your studio, which is so beautiful. I think it is important to be surrounded by the ideas and works of people you admire, because the way you relate to it is different from another person. Who are three artists you feel most connected to and inspire you to continue pushing through?

MK: I aspire artists who work with wide spectrum of mediums and working methods.  Pablo Picasso and Sterling Ruby are my studio practice idols. They are prolific and ambitious in their studio as I feel their creative freedom. At the same time, I am inspired by the artist like Josef Albers, Richard Diebenkorn and Piet Mondrian who have almost exclusively worked on drawings and paintings throughout their life. In the recent years, Mark Grotjahn has been on my mind since I first encounter this ‘Butterfly’ paintings at Blum and Poe’s uptown space few years ago. His works are laborious and obsessive in the way that my work engage in similar subjects such as colors, lines, brushwork and space through variations of a theme. (Ex: Perspective, horizon)  I feel that he has been balancing between the idea of tight control and letting it loose in his ‘Butterfly’ and recent ‘Capri’ series. Most importantly, I feel a sense of mastery and discipline in Grotjahn’s work that I aspire too. Suzan Frecon, Katharina Grosse and James Turrell are other great artists who I pay attention to as I like to put my practice in perspective of larger art historical context; although, these artist are still in a close proximity of formal / spatial spectrum of artists who share similar interests as I do. Honestly, the artists I pay attention to are in constant flux as my studio practice evolves. 

For my ‘L.E.P’ works, I’ve been thinking a lot of Claude Monet and Yves Tanguy’s work as my paintings are becoming more and more atmospheric and a bit surreal. I think of myself as a Neo-impressionist on my L.E.P series where I am capturing the the moments of my sensory memory and sharing those painterly activities on the canvas through my Instagram. I think there is something cyber-romantic (?) about this activities of making a postcard sized painting (7 x 5 inches) and making the works with sometimes a particular individual or audience in mind online. 

O&T: A couple years ago you worked with Marina Testino in designing a limited edition scarf with her brand Point of View and Stone Shop, in total the capsule was three beautiful color wool scarves! Could you tell me a little bit about the process of translating your art into a material good? As well, how was the process working with someone else when it came to your designs? (Scarf is featured in images below!)

MK: I’ve met Marina Testino at Sandro x Bob Marley Capsule event in Brooklyn on March of 2018. The idea of limited edition scarf project came from Marina and Casilda of which I am still very thankful in these days.  My mom once told me that I would make a beautiful scarf design by looking at my colorings and drawings when I was a kid. (I was always interested in colorings and patterns). The whole process of designing and materializing the 3 scarfs came after a bit of back and forth between Marina, myself and Casilda (owner of Stone Shop). I made color sketches then Marina and Casilda would make adjustments. I contributed with color and drawing aspect of the scarf and they suggested on which materials and sizes to be fabricated.  It was an exciting and memorable experience as I would love to work on another fashion collaboration opportunities in the future.

O&T: As this is a website highlighting the love between Fashion and Art, could you share some of your favorite brands you like to purchase from?

MK: My favorite piece of clothing is from Mason Margiela. It is a black fall/winter jacket with lots of subtle details. It is both timeless and of the moment. It  feels so comfortable yet empowering whenever I wear the jacket. I love ACNE pants as well. My younger sister, KangHee recently collaborated with ACNE this past season. I also have two of Kanghee x ACNE sweatshirts pieces in my closet. I would like to add The Row, Prada and Dries Van Noten to my closet at some point. I am interested in minimal & classic clothing with unexpected subtle details that are made with quality materials and elegant design. 

Spotlight Series: Men's Fashion Editor and Stylist Sebastian Jean

This month I had the privilege of speaking with New York Native, Sebastian Jean. Sebastian is a freelance Stylist and Men’s Fashion Editor at Office Magazine. I was introduced to Sebastian by some mutual friends in New York, and I have to be honest from his Instagram bio I knew I was sold on his style. The bio reads ”‘mister mix the prada with the uniqlo’ 🏄🏾”, which stood out to me. To me true style is how you are able to create a look with what you have,and not let the clothing or label dictate your style or wear you; true style is how you combine a mixture of things which he does impeccably . I spoke to Sebastian about his approach to styling, to what some of his personal favorite pieces, and he gave a great insight on how to think about designers and the brands they design for. I can’t wait to see what is next for Sebastian, from new feature editorials to the launching of his own brand. To follow this feature, this week on my Instagram I will be styling three outfits off of pieces of art that Sebastian selected himself so make sure to check that out!

I hope you all enjoy this month’s Spotlight Series and make sure to follow Sebastian on Instagram at @sebjective.

Audrey-Anna Oliveros: Could you tell us how you started your career in the fashion world?

Sebastian Jean: I got my first industry fashion gig working as an intern in the Calvin Klein fashion office. This was during my senior year in college and just a month or so after Raf Simons joined Calvin Klein as creative director. It was a super interesting time to be there, everyone was excited to see what he had in store for the brand and it was wild to be 21 years old and in the same creative space as Raf. My claim to fashion fame was handing him his coffee once, I still have the post-it note with his order on it. Following that internship and graduating from college, I spent that summer assisting stylists Melanie Ward and Simon Rasmussen, while also interning at OFFICE MAGAZINE. By the end of that summer, Simon had made me his first assistant and gave me a title at the magazine. I've been cooking with my fashion family there ever since, as well as venturing into my own freelance adventures. 

AAO: Who are some of your favorite designers at the moment, and why?

SJ: I’ve been thinking about this question differently. It’s easy for me to rattle off names that I like, but I’m not sure that I do have any favorite designers. I have favorite brands and I have favorite collections, but I’m reassessing the role that the designer plays in this consideration of preference and comparison. We know designers are credited with creating collections, but what happens when your “favorite” designer says something stupid? Does that one fall collection that you’ve known and loved become irrelevant overnight? Do you toss out that favorite pair of shorts you paid $395 dollars for? The people we revere are not without fault. As a Kanye West stan, this is something that I know all too well, (speaking to separating the individual from the art). And while it’s commonplace to regard a designer as an artist, just as you would a painter or a dancer, I find that the way a designer’s art reaches the people has a divergent route to its distribution. That analysis aside, I like Prada, Comme des Garçons, Rick Owens, and Dries Van Noten to name some. Those brands are very functional and versatile to me. They elevate the regular and haven’t said or done that many stupid things.

AAO: Recently you styled a feature and the cover shot for April's issue of Cultured Magazine. In the spread, you were styling with the designs of Kim Jones for Dior Homme. Some of the things that I loved from that shoot were that you styled a woman in clothing that is marketed to men, which I think will be the future for most fashion houses. Considering a house like Gucci, who will be moving forward with creating collections that are not gender biased, it is something that I think we will see more of in styling. I also liked with your styling you made each outfit feel easy and approachable, from the way you styled the garments to the way the photos were shot. Everything felt like it was on the move and almost imperfect, which is the reality for all of us nothing is ever as staged as the pictures we take! This being said, as a stylist what are some of the decisions and thoughts you have when pulling for shoots, and what is one thing you want the viewers to takeaway from your styled creations?

SJ: As a stylist, I think one of the most important considerations before the clothes is the photographer. Gogy Esparza, the photographer who brought me onto the Cultured Magazine production, is so good at what you recognized from the images, “everything felt like it was on the move and almost imperfect.” Gogy has an eye for the elements around us that often go unnoticed. He’s the type of individual to walk past a Chinese food restaurant at 3AM in the LES and find something captivating in the illuminated awning or the fraying away phone number decal on the storefront window. This Pre-Fall 19 Dior Men’s collection wasn’t one that I was particularly excited about, or at least from how it was presented at the show, but when we got in the room with the pieces and the talent, we began to unravel moments that brought the collection to life for us and the story that we wanted to tell. This is where a challenging collection becomes fun, by pushing you to find something that you didn't see in it before. 9/10 I’m working with pieces I’ve only seen via my computer screen, and even in cases where I’ve attended the runway show, nothing compares to being in the room with the clothes on a rack and having the opportunity to fit them on the body. Often, a production and working with a collection feels like a mystery you're trying to solve, but the catch is that there’s more than one way to solve it, and most people will solve it differently. When people see my work, I want them to see and experience my conclusion to the mystery, but also imagine and develop their own. 

AAO: What are your top three favorite pieces in your wardrobe, and why do they get that coveted spot? (Items pictured in order below)

SJ: 1- Paradise Found Vintage Hawaiian Shirt, white with palm trees and pink flamingos. One of the strongest criteria for vintage garments for me is when a piece looks designer, but isn’t. This Hawaiian shirt could easily be from Prada’s A/W16 collection, but it’s a $30 shirt that I got on Grailed. I love a come-up. 

2 - Martine Rose S/S17 striped button-up. I like playing with different archetypes, especially those where the typical character doesn’t look like me. It’s fun to explore what a CEO, hiker, or Hamptons vacationer looks like traditionally, and then seeing how I can fuck it up. Martine is great at tastefully satirizing traditional elements. Many of her pieces, like this shirt, are great because I can walk into certain spaces and play the part, but also maintain my flavor. 

3- 424 Fairfax black leather pants. These leather pants are so solid because they’re cut like relaxed-fit denim, so it’s not a battle to get them on or off. I do need to get them tailored, but a shoelace belt has been doing the trick. 

AAO: After researching some of the features and interviews you have been involved in at Office Magazine, many are with artists such as Lucia Hierro, Anthony Akinbola and fashion editing for Reginald Sylvester II; that along with your position as a curatorial assistant at the Neuberger Museum, I think it is safe to say you have a deep appreciation for both art and fashion. How would you describe the relationship between art and fashion?

SJ: I could never really draw or paint, not even in an abstract sense. However, through clothing, I’ve always been able to assemble the structure of a work of art via what I’m wearing or putting on someone else. A lot of the time, I don’t even have to be wearing the item of clothing, it could just be laying on a particular chair that I like and that serves a purpose for me. Since I first started dressing, I’ve learned to understand and use clothing in the context of a “piece,” like you would a piece of art or a piece of furniture. This mindset guides me in seeing the fashion items I own not just as things to wear, but things that affect and interact with the space around me. In many cases, I’ll be looking to purchase a piece of clothing and I’ll think about how it will look on me and how it will look draped over the back of my favorite chair, both considerations are of equal importance to me. I’ll also often leave a pair of sneakers out in plain sight because I appreciate what the color and silhouette contributes to my environment. I think where clothing and art come together for me is that that they both allow me to shape my environment, transcend time, and participate in a conversation that’s nonverbal.

AAO: Can you share some of your favorite artists, and if there is a dream work of art you would want to live with in your home?

SJ: I’ve found inspiration and intrigue in the works of Kerry James Marshall, Noah Davis, Cy Twombly, Diana Lawson, Jean-Michel Basquiat, Francis Picabia, Stanley Whitney, Helmut Newton, Fred Wilson, David Hammons, Aya Brown, Henri Matisse, and many more. There was a dream work of art that I wanted to live with in my home, but Diddy beat me to it. 

AAO: What can we see next from you?
SJ: AVOIR is coming out of the gate slowly, but surely. Will let you know what we’re up to as things progress!

Spotlight Series: Telsha Anderson of T.A.

This past summer I visited T.A. which is a concept store in the Meatpacking district of New York City, and met Telsha Anderson during my visit. I was so drawn to the way she curated the store, how everything was placed with purpose and all worked so well off of each other. I started chatting with her, and I was very impressed with how she took the time to work with me and help me locate a piece of clothing which wasn't available at the moment. When I started thinking about this series for my website, I thought about how I would want to debut it and Telsha came to mind as I loved how she approached fashion and her store. I believe she will be part of the change that the retail industry needs and will teach and encourage consumers to be more intentional with purchasing as she did with her store.

I am so honored that I was able to interview Telsha and that she is how I am introducing "Spotlight Series". To honor this feature, this week on Instagram I will be styling a pair of Barragan pants I bought from her store so make sure to look out for that. I hope you all enjoy it and if you are in New York check out her incredible store and if not, go to her website and have some fun!

Enjoy the interview:

Firstly, I would like to say I am an admirer of the ambiance you have created in T.A. all the clothing is placed so well together in the different sections of the store, and I am impressed by the curation of different brands. Two that stood out to me were Barragan and PH5 when I first visited, as those are brands I have only gotten to interact with through Instagram.

Audrey- Anna Oliveros - That being said, what are some of your favorite ways to discover new brands, and how do you determine if they are a good fit for T.A.?

Telsha Anderson - Research! Research! Research! I spend a lot of time on Instagram, Tumblr, Vogue, and other media outlets that represent or visually showcase new brands or people. I also do a ton of market research with peers in the industry. I ask peers questions pertaining to what they’re looking for in a brand, boutique, and retail experience. Those three questions, help determine what direction to move forward in regard to our brand matrix. 

 AAO- In your interview with Naomi Elizee on her Podcast "So...What do you do again?" you mentioned that you traveled to Paris two weeks after signing your lease for T.A. On that trip to Paris visiting showrooms, were there specific brands you knew you wanted to carry in the store, and if so which ones and why?

T.A - Prior to opening, I wanted to carry Situationist, Ellery, and Ottolinger. Mainly because they’re brands that often aren’t seen in retailers. The exciting thing about t.a., is that there are brands that are based overseas that often aren’t available in New York for their audiences to try-on and at t.a., they have the opportunity to do so.

AAO - As many brands are starting to move away from creating more collections such as Pre-Fall and Cruise/Resort as the demand and market has shifted, do you think this will make shoppers more conscious of making purchases that can become trans-seasonal? If so, what is important to you when buying for the store with this in mind?

T.A - Intentional buying is definitely on the horizon. I believe that as retailers shift their buying habits alongside the shift consumers are undertaking, brands will follow. It’s exciting to see brands reallocate their resources towards other parts of the brands since they aren’t participating in Pre-Fall or Resort. The shift that’s currently occurring within the fashion industry is new and exciting. It’s always important for any industry to adapt toward something new – that’s when innovation is at its best and when creativity can truly flourish beyond “the now.” 

AAO - I am a big fan of your personal style and how you are not afraid of bold pieces, especially with pants! What is your approach to creating outfits when getting dressed?

I personally dress form the bottom up! I start with my shoes and ultimately, when I have going on that day, the day dictates the shoes. Since my shoes are often times the muted element in my outfits, I’m able to play more with a staple top or pair of pants.

AAO - What are three items in the store right now that you think every fashion lover should be aware of?

·      PrsicaVERA printed pants

·      ASHYA “Sheema Slingback Bag” 

·      The entire (upcoming) Beaufille FW20 collection

AAO - As OilandThreads is a website dedicated to the love of both Fashion and Art, it is only fitting I ask.. who are some of your favorite artists?

I’m currently obsessed with Hannah Polskin. 

Make sure to follow Telsha, and check out her store!
@t.a.newyork and https://shop-ta.com/