Time-honoured solemn belief meets contemporary female power. The concept of mutual existance in natural order, a new interpretation of feminism with modern abstract Chinese ink painting.
JENN LEE 2019 FALL/WINTER
Twins, balance and coordination.
The collection is an ode to the idea of Tai-chi, the harmonious mash of opposites. Taking inspiration from the symmetrical concept of contemporary abstract ink artist Rick CHAO's paintings, paintings are deconstructed and pieced together to form new sillouettes, constructing new images with black, silver and white, shaping new interpretations of ink paintings. The artist Rick CHAO creates multi-layered paintings, liberating flow from its confined flat surface . Utilizing rich layers in the paintings to tranform to flowing futuristic lines, metal rings of different sizes reinterpreting exquisite constrast. Lustrous futuristic metallic fabrics, smooth glistening silk, metal gauze woven wool, high-quality textured cowhide leather, the collection fabric selection is based on the artist's work, abundant and intensely multi-layered, motionless but yet seemed to bear its own rhythmic drift. To imbue the contrasting end of a female, the modern malleable attitude of female competency, complemented by the gentle sophisticated side of femininity.
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S. Leiter
Saul Leiter , 1923 - 2013
"I never thought of the urban environment as isolating. I leave these speculations to others. It’s quite possible that my work represents a search for beauty in the most prosaic and ordinary places. One doesn’t have to be in some faraway dreamland in order to find beauty. I realize that the search for beauty is not highly popular these days. Agony, misery and wretchedness, now these are worth perusing." - Saul Leiter
Saul Leiter’s ground-breaking work in photography and painting is only now receiving the international recognition it deserves. Born in Pittsburgh in 1923, Saul Leiter was the son of a distinguished Talmudic rabbi. Leiter’s interest in art began in his late teens, and in 1946, when he was 23, he left Cleveland and moved to New York City to pursue painting. That year he met the Abstract Expressionist painter Richard Pousette-Dart, who was also experimenting with photography. Leiter’s friendship with Pousette-Dart, and soon after with W. Eugene Smith, and the photography exhibitions he saw in New York, particularly that of Henri Cartier-Bresson at the Museum of Modern Art in 1947, inspired his growing interest in photography.
Leiter’s earliest black and white photographs show an extraordinary affinity for the medium, and by 1948 he began to experiment in colour. Edward Steichen included Leiter’s black and white photographs in the exhibition 'Always the Young Stranger' at the Museum of Modern Art in 1953. In the late 1950s the art director Henry Wolf published Leiter’s colour fashion work in Esquire and later in Harper’s Bazaar. Leiter continued to work as a fashion photographer for the next 20 years and was published in Show, Elle, British Vogue, Queen, and Nova.
Leiter made an enormous and unique contribution to street photography. His abstracted forms and radically innovative compositions had a painterly quality that stands out among the work of his New York School contemporaries. Perhaps this is because Leiter continued through the years to work as both a photographer and painter. His painterly sensibility reaches its fruition in his painted photographs of nudes on which he has actually applied layers of gouache, casein and watercolour in a whimsical and sensuous way. His masterful use of the two media is apparent in these remarkable pieces.
Martin Harrison, editor and author of Saul Leiter : Early Color, writes, “Leiter’s sensibility…placed him outside the visceral confrontations with urban anxiety associated with photographers such as Robert Frank or William Klein. Instead, for him the camera provided an alternate way of seeing, of framing events and interpreting reality. He sought out moments of quiet humanity in the Manhattan maelstrom, forging a unique urban pastoral from the most unlikely of circumstances.” - Max Kozloff