Jenny Van Sommers x Series 9

by Elia

Still life photographer Jenny van Sommers transforms the pages of late French cultural magazine Réalités with strategically placed shapes in her surreal Series 9 project.

Using cardboard cutouts and covering them in brilliantly colored oil paint pigments, Van Sommers re-appropriated the design-lovers’ magazine, which featured essays and editorials on arts, culture and politics.

As well as winning praise for her eye-catching and carefully constructed still lifes for the likes of Apple, Hermès and Vogue, Van Sommers is an art world favorite, and has photographed Damien Hirst’s diamond skull, “For the Love of God,” at London’s iconic Hatton Garden.

Avidly collected by her father, Réalités has a personal connection for the London-based Australian. “I just couldn’t quite throw them away,” says Van Sommers of the inherited magazines. “I had them sitting in the studio and knew I should use them.”

The resulting process saw Van Sommers coarsely tear out her favorite images before sieving the pigment onto geometric shapes and shooting them from above on a Hasselblad.

“The picture of the horse has always been my favorite cover,” says Van Sommers on her choices from Réalités. “The beautiful old chrome color which is really bright, but faded at the same time.”

+ jenny van sommers   |   via: nowness

De Kooning on Matisse

by Elia

Matisse, too, was often in his thoughts. He admired the graphic simplicity of La Danse, which he had often seen in the Museum of Modern Art, and he loved the spirit of the cutouts. “Lately I’ve been thinking,” he said in 1980, “that it would be nice to be influenced by Matisse. I mean, he’s so lighthearted. I have a book about how he was old and he cut out colored patterns and he made it so joyous. I would like to do that, too- not like him, but joyous, more or less.”

Quote from the book de Kooning: An American Master (page 589).

top: Matisse spread fom Life Magazine, Aug 1970
de Kooning photo by Linda McCartney, from Linda’s Pictures, 1976
de Kooning’s Untitled, 1982