Tag Archives: Inspiration

ALABAMA CHANIN – ROBERT THARSING: PARADISE

ROBERT THARSING: PARADISE

If you had only seen his most recent paintings, currently on view at Workshop (Christian Berst), you might assume that Robert Tharsing’s idea of paradise resembles a lush and colorful landscape full of palms, ferns, and the occasional volcano. In reality, the artist has contented himself with simpler pleasures: a decent sized room with access to woodworking tools and enough space to lay a large piece of canvas on the floor. Since 1971, Robert Tharsing has occupied a total of six studio spaces, most within walking distance of one another in downtown Lexington. These studios became the backdrop to his practice but also provided a retreat from the daily challenges and responsibilities of teaching at the University of Kentucky.

ALABAMA CHANIN – ROBERT THARSING: PARADISE
Robert Tharsing in studio, circa 1992

For this piece, Tharsing’s friends and family submited photographs of the artist in his studio. They span over forty years and show works in various stages of completion. From this small set of images, one can view the evolution of his work, but also identify the consistent forms, shapes, and colors that have dominated his practice. Hard-edged geometric forms clash against or lie over top of organic shapes, plants, and animals, often glowing in vibrant, nearly florescent hues.

ALABAMA CHANIN – ROBERT THARSING: PARADISE
Robert Tharsing with mobiles, 2002 by Suzanna Scott

ALABAMA CHANIN – ROBERT THARSING: PARADISERobert Tharsing in studio, 2007 by Lina Tharsing

ALABAMA CHANIN – ROBERT THARSING: PARADISE
Robert Tharsing starts a new painting, 2015 by Lina Tharsing

ALABAMA CHANIN – ROBERT THARSING: PARADISE
Rainforest Stream, oil on canvas, 40″x54″, Robert Tharsing

Paradise Interrupted, Tharsing’s current exhibition, presents a culmination of his techniques and aesthetics in a newly personal manner. The studio is present in these works—in references to lotus flowers and other plants from his courtyard garden—but so is the artist, grappling with years of exploration and engagement with his medium. These paintings, somewhat uncharacteristically, bear Tharsing’s reflections on personal circumstances: health, mortality, and the interference both have wrought upon body and mind. They combine places both real and imagined, the view from the studio window and from the mind’s eye.

ALABAMA CHANIN – ROBERT THARSING: PARADISE
Transitional Plant Pond Elements, oil on panel, 16″x23″, Robert Tharsing

ALABAMA CHANIN – ROBERT THARSING: PARADISE

–Phillip March Jones

All images Courtesy of Christian Berst Art Brut (New York/Paris) and Ann Tower Gallery.

light drawings_rinne allen-201507099299

INSPIRATION: RINNE ALLEN

Rinne Allen and Alabama Chanin first crossed paths almost a decade ago, when Rinne attended one of Natalie’s early “Alabama Adventure” weekends—which included picnics, short workshops, music and storytelling. (Those early weekends became what is now our annual company picnic + workshop weekend.) After that, it seemed that we began to cross paths more frequently—at Southern Foodways Alliance events, through friends, logically, working together became the most natural next step. Rinne has produced photography for the Alabama Studio Book Series, our collections, the website and Journal—and she perfectly captured the process of our Alabama Cotton collaboration with Billy Reid—including a beautiful piece for the New York Times online magazine.

Rinne currently lives and works in Athens, Georgia. One glance at her website shows her distinctive eye and diverse skill set. She can find and photograph a special moment in any environment and she seems to have an innate understanding of light. She also has a keenly developed understanding of natural elements. In fact, she and her husband Lee have spent the last 15 years maintaining the garden of Dr. John Linley, the late professor of landscape architecture at the University of Georgia.

ALABAMA CHANIN - INSPIRATION: RINNE ALLEN

For the last two decades, Rinne has worked as both a commercial and fine art photographer. In addition to Alabama Chanin, she also collaborates with Hable Construction, R. Wood Studio, and Selvedge Magazine. Her long-running series Harvest, documenting harvests across the south, is published regularly in T Magazine, The New York Times Style Magazine. She works regularly with artists and authors, notably with Hugh Acheson on his James Beard Award winning cookbook, A New Turn In the South. Her book, Citizen Farmers, made with farmer Daron Joffe, won the 2015 IACP award for Food Matters. Currently, Rinne—along with Kristen Back and Rebecca Wood—curates a beautiful website, Beauty Everyday. The accompanying book, Beauty Everyday, which highlights 365 beautiful photographs of the South, can be purchased in our online store.

She has created a unique, natural light drawing process that combines elements from her garden with alternative photo processing methods she learned in some of her early college photography classes. She and her mother gather clippings from the garden and place them on specially treated light sensitive photo paper and lay them in the sun. After a certain amount of exposure to sunlight, a cyanotype emerges. Each of these beautiful pieces is completely one of a kind. A selection of Rinne’s light drawings are now available through our website for a limited time.

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Rinne’s work has been featured alongside Alabama Chanin, Butch Anthony, and Mr. John Henry Toney, as part of the Alabama on Alabama exhibit at Heath Ceramics’ Boiler Room in San Francisco. This Sunday, August 16th at 3:00pm, she will present “A Harvest Talk” at The Boiler Room wherein she details the process behind the creation of the Harvest series. The event is free. For those unable to attend the event, we invite you to explore Rinne’s work in detail. Visit her website for just a glimpse of her talent.

P.S.: Check back often as we add more of Rinne’s light drawings to our website over the coming weeks.

ALABAMA CHANIN – AUGUST + SWATCH OF THE MONTH

AUGUST + SWATCH OF THE MONTH

The months of June and July were wonderful and hectic in lots of beautiful and fun ways. There was plenty of travel, including our trip to Blackberry Farm and the cross-country train trip that Maggie and I took to San Francisco. With August comes a welcome bit of calm, just before our house gets back into the more regimented groove of the school year. (I hear the collective sigh of, “Where did the summer go?”)

Even though they weren’t as fastidiously tended to as I would have liked, my tomato plants are still producing a few beauties. I’m savoring these all while questioning if I put up enough for the coming year and knowing that I didn’t.

But, if there’s some solace to be had it’s that peach season has arrived—and August is in fact National Peach Month. I’m going to dust off my favorite peach ginger smoothie recipe, throw some peaches on the grill, and hope that maybe Lisa Donovan will send over some of her famous peach hand pies. (A girl can hope.) For those in search of a perfect peach-related cocktail, The Peach Truck offers this recipe for Fresh Georgia Peach Bourbon.

Our Alabama on Alabama exhibit @ Heath Ceramics will continue through August 23rd, so you still have time to visit if you have not already.

August 3 – National Watermelon Day. I think we will slice one up on the back deck, pin on some napkin bibs, and get messy.

August 8 – I laughed out loud when I read that this day is known as “Sneak Some Zucchini Onto Your Neighbor’s Porch Day”. Anyone who has ever been overly blessed with their zucchini and squash harvests knows exactly what this means…

August 9 – Wrapping up our Studio Style DIY Trunk Show at A Verb for Keeping Warm in Oakland, California.

August 26 – Women’s Equality Day, commemorating the 19th Amendment to the U.S. Constitution granting women the right to vote. If you are not registered to vote, there is no better day than today. Find more information and register here.

August 27 – We’re happy to announce our upcoming Friends of the Café Dinner @ The Factory with chef Rob McDaniel. A fundraiser for the Southern Foodways Alliance and in celebration of the Billy Reid Shindig. Purchase tickets here.

Hopefully, you can find some downtime this month to work on the August Swatch of the Month—embroidery, appliqué, and reverse appliqué in our Small Polka Dot stencil.

For detailed instructions and photographs please consult Alabama Studio Sewing + Design. It has information on each technique and its variations.

Purchase a membership to 2015’s Swatch of the Month Club here.

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ALABAMA CHANIN – AMTRAK: ALABAMA TO SAN FRANCISCO

AMTRAK: ALABAMA TO SAN FRANCISCO

A few notes from the road:

We packed way too much. One suitcase and a favorite pillow would have done.

We haven’t taken nearly enough pictures to describe the magnificent journey this has been.

Snacks are good.

Rain from a train is very beautiful.

Tunnels can be a little dark and scary.

Origami makes people happy.

The absence of cell phone service and Wi-Fi can be a blessing.

There is a beautiful juxtaposition of rugged industrial and breathtaking scenery to be found along railroad tracks (and sometimes side-by-side).

Great satisfaction can be found in just sitting still.
xoNatalie and Maggie

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ALABAMA CHANIN – Q&A: CATHY BAILEY | CREATIVE DIRECTOR

Q&A: CATHY BAILEY | CREATIVE DIRECTOR

Over the last five years, our work with Cathy Bailey and Robin Petravic has been some of the most productive, exciting, and meaningful work that we’ve had the opportunity to do. Robin and Cathy are husband and wife, parents to Jasper, writers of the new book, Tile Makes the Room, and the owners and operators of Heath Ceramics. Cathy was an early member of our Makeshift initiative and has participated in almost every major Makeshift event since its inception. Our ongoing collaboration with Heath is one of our proudest (and longest lasting) joint design ventures. And throughout the process, Cathy has become a trusted friend.

Prior to her work at Heath, Cathy founded One & Co., a design consultancy with clients like Microsoft, Palm, and Apple. (Prior to THAT, she worked as a footwear designer at Nike in Portland.) In 2004, she and Robin purchased and rehabilitated Heath Ceramics, founded by Edith Heath in 1948 and run by Edith and her family until Edith was in her 80s. When they made the purchase, both were searching for more satisfying outlets for designing and making—and found that at Heath, which required hands-on work to revive and preserve, while keeping the original design aesthetic intact.

ALABAMA CHANIN – Q&A: CATHY BAILEY | CREATIVE DIRECTOR

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STELLA ISHII: 6397 + ALABAMA CHANIN

STELLA ISHII: 6397 + ALABAMA CHANIN

I met Stella Ishii over a decade ago, as I was just beginning to define who I was as a designer. She was simultaneously likeable and intimidating—but intimidating only because of her impressive resume and effortless cool. She began her career in fashion not because she was fluent in design technique—but because she was fluent in English. Japanese-born Ishii heard of a job opening for a translator at a design house and eventually was hired to work for Rei Kawakubo at Comme des Garçons. By the mid-90s, she was head of Staff USA—a branch of Staff International, the Italian parent company of fashion brands like Maison Margiela and Vivienne Westwood. Ishii and Staff USA were key to introducing these (and other) brands stateside.

Stella launched The News in 2001, a sales and press agency—slash—showroom and incubator located in a Soho loft. The News has helped nurture and grow designers and brands like Alexander Wang, The Row, and 3.1 Phillip Lim. Just about 3 years ago, she and her business partner Lasse Karlson launched 6397 (N-E-W-S on a telephone keypad), a denim-oriented line of clothing designed by Stella—a true denim aficionado. Stella has long depended on denim as her most reliable (almost iconic) wardrobe staple. 6397 captures the androgynous elegance that well made denim can offer.

STELLA ISHII: 6397 + ALABAMA CHANIN

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ALABAMA CHANIN – A MONTH IN INSTAGRAM: JUNE 2015

A MONTH IN INSTAGRAM: JUNE 2015

This week we reach the three-year anniversary (and the 10,000-follower milestone) of our Instagram account. We’ve enjoyed the projects you’ve shared through #theschoolofmaking and the meals you’ve had at The Factory through #alabamachaninfactorycafe. Thanks for all of the ongoing conversations and for following along…
xoNatalie

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ALABAMA CHANIN – POSTCARDS FROM AFAR

POSTCARDS FROM AFAR

When I was a little girl, I started a postcard collection. Postcards were then—and are now—a low cost memento of a trip (and a low stakes investment for a parent to make on a souvenir). I don’t remember how old I was when I started accumulating these paper treasures, nor can I identify the first postcard that found its way into the old shoebox that housed the collection. As any collector knows, there is often no clear rhyme or reason behind why something appeals to us. It sometimes requires years of study for a true collector able to identify trends and collecting tendencies. After a half of a century of amassing them, I have begun to understand that the postcards were my first connections to travel and to experiencing the world.

I can look through the shoebox and clearly see that early postcards reflected my grandparents’ trips to Florida—to visit a rogue branch of our family that left north Alabama for parts unknown. The photos were of places and attractions that felt exotic to a child. Finally, I made my first trip to the Florida panhandle and Panama City—what today we call the “Redneck Rivera”—when I was 5 years old. After an overnight drive with my mother and a group of her friends, I awoke as we neared our destination and declared, “It snowed!” because the beaches were so white. A collection of 1960s style post cards document that trip: Goofy Golf and images of white sand and turquoise blue waters.

A few years later, my cousins moved to Texas and my grandparents’ adventures expanded. I received postcards from Hot Springs, Arkansas, the John Fitzgerald Kennedy Memorial in Dallas, Texas, and all the stops in between. My Aunt Elaine took a job as a teacher with the Armed Forces and set off for the Azores, and my collection grew further. I remember clearly sitting down across from her with a spinning globe between us, searching for the tiny archipelago of islands off the coast of Portugal. From there Elaine began to send a series of postcards that documented every stop of her travels. As my collection continued to multiply, friends and family members would purchase postcards for me from every place they went. Sent and delivered from around the world, these small rectangles of paper most likely created in me a need to travel and see as much as I could in my life.

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