A Moment with Jeremy Sutton
Jeremy Sutton in front of "Moment in Time"
A moment in time slips away before we know it, yet may be filled with a depth of feeling. Jeremy Sutton has captured such a moment in his painting, A Moment in Time. Though his work requires intense concentration and attention to detail, Sutton gets the feeling of the essence of a scene the moment he sets sight on it. For us to see in this way, we need to stop our busy lives. We need to set time for looking at things and we need to learn seeing in an artful way. When we are mindful and aware, we can start living in the moment.
In this interview, Jeremy Sutton answers questions about his approach to art. You can see his paintings and meet him in person on May 14th at the Swing in the Spring event.
What is your approach to portraiture?
Sutton: I am tuning into my subject the very first moment I meet them. In a sense, my painting begins when I first set sight on them, even if I don’t know it at the time! It is not a matter of what I look for, it is more a matter of simply being open and receptive to what I feel in response to that subject. What is the feeling? What needs to jump out of the painting? There is no specific time needed to get a sense of what I want to convey in a portrait. I can paint a portrait immediately; however, I will always take a few seconds to breathe and observe before making any marks on my canvas. Often I will first draw the portrait out in the air with my hands.
How did you get started in art?
Sutton: When I was about three years old, I picked up a pencil and started drawing and never stopped! I covered the walls of my bedroom with drawings as far as I could reach. Mum said it was okay, as long as I only drew on my bedroom walls and not other walls in the house!
Did you grow up in an artistic environment?
Sutton:Yes, my Mum is an artist and I grew up surrounded by her drawings and paintings. She went to the Camden School of Art in London while I was a child. Later, she studied at the prestigious St. Martins School of Art, earning a Masters Degree in Fine Art. There were always drawing materials around the house.
As a university student, you studied physics as well as art. Tell us about your interest in physics.
Sutton: When I was about twelve or so, I visited the laboratory of one of the key developers of the linear induction motor, Professor Eric Laithwaite, at Imperial College, London, and was so inspired that I then decided that science was the direction I wanted to pursue. I was fascinated with the fundamental questions that Physics addressed such as what is the nature of forces and matter that leads to the physical reality we experience?
Does your science background influence how you think about art?
Sutton: Studying Physics at Oxford University was a training for the mind that influences my approach to problem solving. In Physics, you look for the essence of a problem, the underlying a priori assumptions and boundary conditions and apply the language of mathematics in building up verifiable predictions and phenomena based on those underlying principles. In art, I seek out the essence of my subject, honing into the essential elements of light and shadow and the varying contrasts and colors. Painting and drawing are, like Physics, about problem solving. How do I describe a subject and communicate the story, the feeling, the personality, in the most elegant, simple and effective way? In this sense, my Physics training has greatly influenced my art.
Tango dancers in front of Moment in Time
The Physics approach to breaking down a subject into a well-structured analysis that starts with the simple building blocks and “big picture” also influences how I teach. I like to make things accessible and easily understandable. I try to break down the barriers of jargon and intimidation and lead a student methodically through a process, step by step.
What roles do digital and traditional media play in your work? How has their relationship evolved over time?
Sutton: From childhood through 1991, I used exclusively so-called traditional, i.e. non-digital, art media. It was in 1991 that I was introduced to digital painting and loved it! For the following ten years or so, digital paint became my primary art medium. Over the last decade, I have been mixing digital with traditional media more and more, returning in some senses to my traditional roots. Now, almost all my digital artwork also involves a traditional media phase and ends up being a truly combined media artwork. My latest public work, the large Heart currently displayed in Union Square, San Francisco, is an example of this.
Detail, San Francisco Heart
Could you briefly describe the process of incorporating digital media in your paintings.
Sutton: I create freehand brush strokes with a wide variety of brushes on a digital canvas using the tools of the Macintosh computer, Corel Painter software and the Wacom graphics tablet. This original hand-painted digital painting is then printed out on canvas onto which I continue to paint with a variety of traditional paint media such as gels, acrylics and sometimes oils.
The theme of dance and movement enters a lot into your work. What is it that attracts you to that?
Sutton: Dance and movement is an important part of my life. I have danced since I was about thirteen and love Lindy Hop swing dancing most of all. This passion is reflected in all I do—the way I paint and, often, my choice of subjects.
[Hopefully, we will see Jeremy in action at Swing in the Spring!]
You sometimes develop paintings at events in front of an audience. I have an image of artists who constantly change what they have done, throw paint angrily at what is already there until they see their vision come true. How do you perfect and achieve your vision in front of others?
Moment in Time
Sutton: Vision, vulnerability and commitment! I start off tuning into my subject and visioning where I want to end up. Then I let go of that vision and allow myself to be completely vulnerable in the moment, making marks on my canvas that reflect an intense observation of my subject. I don’t ever “undo”—I always move forward, continually resolving my canvas, working from general to detail. I don’t throw paint angrily. I do take risks. My process is intense, focused and concentrated, not angry. I am continually stepping in and out of my painting mentally, analyzing what’s working and not working and responding accordingly, but without judgment. I continually move paint around, sculpting my subject from the canvas. I am committed to the process and to moving forward no matter where it takes me.
Come enjoy Jeremy Sutton’s art, along with the music of Noam Eisen’s swing quintet, good food, and of course, dancing, on May 14th at FHCC in Los Altos Hills. To book tickets, please click here:
Hoppin’ in the Hills
Noam Eisen, portrait by Jeremy Sutton
Happiness exists in simple details of life. It can be found in sounds and colors, the taste of food, and companionship. You can connect to music, to a painting or to a dance. You can connect to your partner, just sitting at your table, looking at each other and talking. Noam Eisen, pictured above, has been making people happy for over twenty years. Although he has degrees in Business and Physics, his greatest love is for music, especially jazz improvisation and swing. Not coincidentally, he is an enthusiastic dancer who excels at dances such as the Lindy Hop.
The Lindy Hop was a product of the Harlem Renaissance, a time of great musical creativity and innovation during the 1920’s, and it has remained popular ever since. It is an improvisational and social dance, offering expressivity and fun to both partners. It is a quintessentially American, vernacular dance that encourages interaction and invention.
Noam’s new swing quintet will be featured for the first time at Chez Mana’s Swing in the Spring event on May 14th.
Noam’s portrait captures his sunny nature and zest for life. Its creator was Jeremy Sutton, an accomplished San Francisco-based painter. Like Noam, Jeremy has a background in physics, with a degree from Oxford, in addition to an extensive education in the arts, including study at the Ruskin School of Drawing and Fine Art and the Vrije Academie in the Hague. As he explains,
My paintings evolve like improvisational dance. I sculpt in color and form, continuously transforming and remolding my image, like working with wet malleable clay. I am inspired by the masterful use of color by Claude Monet and André Derian, and by the expressive brush work of Vincent Van Gogh, John Singer Sargent and Joaquin Sorolla.
Jeremy Sutton, Summer Afternoon, pigment & acrylic on canvas, 38" x 63", 2005
Jeremy is also a fantastic swing dancer!
Vannina Malekzadeh comes from Corsican roots and has recently moved to the Bay Area from France. She paints with acrylics on canvas and combines it with collages. In her view, the two forms complement each other. Acrylics give great freedom to play with colors and create something entirely new, while collage depends on the accumulation of small details. Together, they present a striking contrast. She also combines acrylics with digital imagery. She seeks to turn everyday life into a more textured reality. Effective use of color is one of her hallmarks.
Vannina Malekzadeh, Fly Away, acrylic painting and collage, 2010
Influenced by my childhood in the sun, I put the color in the center of my work. To me, It is synonymous with gaiety, pleasure and life. It allows me to give relief and fantasy to what surrounds me, to exaggerate my emotions and let my imagination run free.
Vannina says, “When people see my work I would like them to feel happy, just happy.”
The work of Sutton and Malekzadeh will be on display at Swing in the Spring and the artists themselves will also be present. To help the audience get to know them better, I will interview them briefly about their backgrounds and artistic goals, but of course, you will be able to interact with them personally, and maybe even dance together! I am hoping that these artists will be able to touch you in their unique ways. One thing that all three have in common is that they are trying to bring joy and happiness to all of us while savoring it themselves in the process of creating.
Often in our busy lives, we lose track of simple things. On May 14th, Swing in the Spring will give you an opportunity to reconnect and savor happiness in the company of Noam Eisen and his band, Jeremy Sutton, Vannina Malekzadeh, and you and your partner.
To book tickets please click here:
Jean-Louis Matinier
Photo courtesy T. Radlwimmer
I was fortunate enough to see Juliette Gréco, Gérard Jouannest, and Jean-Louis Matinier perform at the London Jazz Festival in November 2010. To my delight, Matinier agreed to an interview with me in which he discusses his musical philosophy. Matinier, the world’s leading virtuoso on the accordion is a long-time collaborator with Juliette Gréco and an adventurous composer. He usually prefers to let his music speak for him, so getting an interview is a rare treat. He will be performing in a duo with Howard Levy in the near future, arranged by Chez Mana. Here is a dialogue that reveals more about this great musician.
Did your parents have a role in introducing you to music?
Matinier: My first encounter with music was listening to my father playing the violin. For an amateur, he played very well. I found the music magical and it was always a treat to play together. I always loved making noise on pots and pans, which is a bit paradoxical because I was rather a quiet and reserved child. My parents first offered me a small xylophone which amused me a lot, and then a little accordion when I was about 9 years old. I began to learn how to play them. But then the problems started when I realized that it is difficult because there is not always pleasure in the work of mastering the instrument. My parents were always very helpful and I thank them for it.
You seem to be attracted to Middle Eastern music, and non Western forms in general. What are you looking for in those collaborations?
Matinier: Yes, oriental music attracts me and so does the cuisine. My collaboration with Anouar Brahem, a master of the oud, resulted in 2 CDs: Le Pas Du Chat Noir and Le Voyage De Sahar on the ECM label. Working with him allowed me to achieve my wish, to discover another universe, playing music of refined composition, soothing, meditative, and with room for improvisation. For me, it was a very interesting way of playing the accordion, integrated into a trio with piano and oud, where it has a rhythmic as much as a melodic role.
How do you feel playing with Juliette Gréco and Gérard Jouannest?
Matinier: It is obviously a great pleasure to accompany Juliette Gréco. With a reduced orchestra of piano, accordion, and voice, or sometimes just accordion and voice, there is at the same time both great freedom and stringency.
Matinier escorts Juliette Gréco, Jouannest looks on
Photo by Chez Mana
Gérard Jouannest is a prolific composer, notably for Jacques Brel. He and I have written arrangements treating the piano and accordion as a small chamber orchestra, very responsive, dynamic and light in the interpretation, which also leaves more room for voice and lyrics. One word summarizes my feelings: respect.
Your music compositions are quite adventurous and have a free form. What inspires you and where do you see your music going?
Matinier: My music develops by chance and at the mercy of events. I make music with musicians. It is first and foremost a human relationship, no matter the instrument.
When I wrote Confluences, a quartet with bass, guitar, flute, and accordion, I wanted to try out different musical styles. I was fortunate to work with such incredible musicians as Renaud Garcia-Fons (Spain), Nelson Veras (Brazil), Bobby Rangell (USA). In general, the mixing of cultures opens the mind in a way that I find essential.
In what part of the world does your audience connect with you the best?
Matinier: Maybe in Germany, because that is where I play the most. But playing in a place where I have never played before, that’s always very exciting.
Are you excited to be performing in California with Howard Levy?
Matinier: Yes. I will be very curious to help people discover the accordion, which I think is not as popular as in Europe. The duet is a musical form that I particularly appreciate. It allows great freedom, an immediate reaction, a total dialogue, an appreciation of silence and of time. It is a very intimate musical relationship. My interest was first sparked over ten years ago, when I formed the accordion/bass duo Fuera with Renaud Garcia-Fons. Howard’s concerts, with his totally unique way of playing the harmonica, always give me great joy.
Do you have any new recordings coming?
Matinier and Riessler
Photo courtesy T. Radlwimmer
Matinier: I have two duet projects in the pipeline. One is with Michael Riessler, who plays the bass clarinet and with whom I recorded Silver and Black in a trio with Howard Levy. The other is with Marco Ambrosini, who plays the nyckelharpa.
How do you divide your time between composing and performing?
Matinier: Very simple … I think we should let the music guide us …
School of Fear
Fear can be debilitating. Fear of facing the truth about my dad was on my mind when I took the plane from London to go visit him. He is old and suffers from Alzheimer’s disease. Though I longed to see him, I had hesitated to make the long trip to Iran. I was fearful that he would not recognize me and I would feel as if a big part of me was gone. I decided to read a book on the plane to laugh a little. Its author, Gitty Daneshvari, is my cousin, and it is called School of Fear.
School of Fear is a children’s book, aimed at the 4th-6th grade age range. It is a funny story, with nonstop humor and a cast of wildly eccentric characters. It concerns four children of middle-school age, each of whom has an excessive fear, of insects, water, enclosed spaces, and dying. These phobias dominate their lives and drive them to extreme measures, such as constantly wearing a veil of mosquito netting and a belt full of insect repellent. Having found no other means of helping them, their parents resolve to send them off to the mysterious School of Fear.
Gitty Daneshvari
At a weird, decaying mansion completely isolated in the countryside, the elderly and seemingly demented headmistress gives them lessons of no apparent relevance about competing in beauty pageants. A sudden crisis forces the children to band together on a dangerous adventure, leading to a surprising conclusion. Along the way, the children (and we, the readers) learn some important lessons about fear.
Everyone has his own fears (each chapter begins with the heading, “Everyone’s afraid of something,” followed by the name of some very exotic kind of phobia). Fears are not cured or conquered, but managed on a daily basis. Fears are personal and pressure from outside (e.g., the children’s parents) can do more harm than good. And as the children discover, when pursuing a goal of great importance, even the most daunting fear can shrink in significance. These ideas are never allowed to get in the way of the humor or the flow of the story, but are illustrated in a low-key but effective manner.
Reading School of Fear should make any child who is troubled by fear feel a little better. It even made me feel better while I was traveling. I was going to Iran after quite a long time, and the country had changed a lot but the changes to my dad were much greater. He has changed from the very intelligent, sharp, independent man I knew and with whom I had a privileged relationship to a frail person who has little interaction with the world around him and cannot even remember me.
The pollution in Tehran has become dreadful and it was a relief to drive to the pure air of Lavasan, a town some 40km to the northeast. I was visiting Gitty’s grandmother, who is in the same situation as my dad. She used to speak a beautiful, eloquent Persian, but like my dad, she has now fallen silent. Despite their infirmities, their spirit remains. I can feel my dad’s spirit in me and know that it will always be a part of me. My fear had held me back, but finally my love for my dad was the more powerful force. It made me sad to see him, but I also feel a greater sense of peace.
Warner Brothers has bought the rights to Gitty’s book, so watch out for the movie soon. There is also a second book, School of Fear: Class Is Not Dismissed!, which you should certainly read if you enjoyed the first one. I am on my way to do so.
Joy at Art in Context
On Sunday, November 7th, a small group of art aficionados gathered for the first of a series of Art in Context performances. The photos of Pierrick Gaumé were attractively displayed and several went home with their new owners. There was rich conversation, good wine and French hors d’oeuvres. But the focus of the evening was on the wonderful music provided by Deborah Crooks and her talented band. Her song Joy was one of my favorites, in the raw and moving style of the blues. Deborah states that the lyrics “have a pure intent to convey those who are no longer naive about such pursuits but are nonetheless reaching for happiness and love.” Guitarist Kwame Copeland made this recording during the event.
Joy
Lyrics by Deborah Crooks (ASCAP/Bird in the Tree Music); music by Alex Walsh (BMI/Backdoor Jams)
There’s a gypsy girl riding a mystery bus
Tie-dye king hitching Cali or bust
Man on the street says love is all there is
The moon confirms it’s the Age of Aquarius
Joy they’re going out to find it
Joy Don’t you ever mind it
Joy Joy Joy Joy
Weatherman says it’s going to rain
Cloudburst as they get in the car
Both need a little barn dance, a little moonshine bright star
Tell me where you are
Joy they’re going out to find it
Joy Don’t you ever mind it
Joy Joy Joy Joy
Roads are slick and they’ve got miles to go
He wants to go fast, she says go slow
Take the lead, baby, just take the keys
Giver her another reason to believe
Joy they’re going out to find it
Joy, Don’t you ever mind it
Joy Joy Joy
Pierrick Gaumé: The Sign of Expression
The important thing is that at a given moment one arrives at illusion.
Jacques Lacan, Ethics2
Modus Abyss
Mission TSX
Pierrick Gaumé’s photo collections should be defined as expression rather than expressive. He does not want to give anyone a particular message but brings to expression an illusion or a sign of “nothingness” while depicting “everything.” He moves us towards a poetic existence. The reflections on various surfaces are not the outer world but only the creation of an illusion of that world. The reduction of space to a surface makes mass disappear while shadows, colors, shapes and light remain.
His work is the expression of an illusion. It is the expression of a world obsessed with the presentation of things. Therefore it is a pure expression of our world.
Nothing else.
A collection of his work will be on display on November 7th at the Art in Context event.
For further information see:
http://art-in-context.eventbrite.com
Art in Context: Music and Photography
In November, Chez Mana launches Art in Context, a series of invitation-only events hosted at small and convivial settings.
The first is scheduled for November 7th and features one of the Bay Area’s hottest songwriters, Deborah Crooks, performing her own compositions based on blues, folk and contemporary influences, backed by her accomplished trio.
“…a more diverse take on Americana with a distinctly female tone, and quite charming.” —East Bay Express
Superflows, a photo exhibit by the French artist Pierrick Gaumé, will be on display.
Songwriter/recording artist Deborah Crooks is an intimate and edgy artist whose lyric-driven and soul-wise music draws on folk, rock, Americana and the blues. Deborah’s lyrics are honed by a lifetime of writing as well as world travel, and she is an active member of the San Francisco songwriting and arts scene, leading many events and initiatives. Deborah’s performance and recording credits include an appearance at the 2006 Millennium Music Conference, the RockerGirl Magazine Music Convention, Harmony Festival, 2009’s California Music Fest as well as MacWorld 2010 and three EP’s and a full-length CD “Adding Water to the Ashes.” For Art in Context, she’ll perform a special acoustic set with her band including strings, percussion and guitar.
Tatiana Ecoiffier is balancing her life between her two passions, music and biology. Originally from France, she was classically trained as a violist at the conservatory of Strasbourg. She played in several symphonic orchestras as well a chamber music group before moving to Boston in 2006 to finish her master’s degree in biotechnology at Harvard. Now living in Berkeley, she is completing her PhD in vision science and finding her musical inspiration while accompanying several talented Bay Area artists. She has been playing with Deborah Crooks since they recorded “It’s All Up to You” last January.
Kwame Copeland first picked up a guitar as a teenager growing up in Wyoming and has written and played music ever since. In addition to writing and playing bass and guitar for a variety of notable Bay Area projects that have included The Straw Coyotes, Two Headed Turtle, Adrian West Band, Grace Woods as well as Deborah Crooks, he currently fronts his own Kwame Copeland Band.
Mike Stevens began playing drums at the age of nine and has played professionally since he was fifteen. Mike quickly became first-call sub for many of Eastern Connecticut’s music ensembles and was the resident drummer for several rock and jazz groups in the area. Since moving to the Bay Area, he’s performed and recorded with a number of local bands.
Pierrick Gaumé’s Quest
The Jaguar's Palms
I remember the foggy autumn weather when I took this photograph. Shady palm trees were going wild in the wind.
Between Castro and the Mission district in San Francisco, my eyes were wandering over the hoods of the cars. I could see warped buildings and tree limbs that looked like moving ghosts and animals until a Jaguar effigy caught my attention.
In a colorless jungle, this animal’s muscular shine looked like a call of the wild, a leap into more intrigue.
With their feeling of vertigo à la Hitchcock, Pierrick Gaumé’s Superflows offer organic and exploded visions of today’s cities. Their colors wind like hot lava through fractal, crystallized shapes that still reflect actual buildings.
Since 2007, Gaumé has been capturing these furtive reflections in French and American cities. His photographs freeze accidental collisions of sunbeams, facades and four-wheeled mirrors. The distortions are natural phenomena resulting from the intersection of architectural and streamline shapes on cars’ shiny complex volumes.
For information on future events join http://www.facebook.com/chezmana
An Evening to Remember
A large and enthusiastic crowd filled the Fremont Hills Country Club in Los Altos Hills on the night of Saturday, October 2nd, for an intimate soirée of art and culture.
The show began with a jazz poem about Teddy Wilson, followed by jazz piano master Larry Vuckovich with a spot-on rendition of “After You’ve Gone.” Kay Kostopoulos, wearing a lacy violet dress with long gloves, read poems about Billie Holiday, Bill Evans, Chet Baker, Bud Powell, and Jazz in Paris. Her lovely vocals on “Don’t Explain,” “You Are Too Beautiful,” “My Funny Valentine” and “L’Histoire d’un Amour” touched the audience. Larry followed each poem with a personal anecdote about the musicians, providing a living connection to these great jazz players of the past. He played the piano in the style of each master, from modal to bop to Latin. Akira Tana, playing on drums, was enjoying himself as much as the audience. Mike Hallsey on bass and Sanna Craig on bongos completed the quintet. Deborah Crooks and Kwame Copeland gave a preview of their upcoming performance on November 7th.
The display of Nilou Farzaneh’s paintings transformed the clubhouse. Calm and grounded, the paintings were a contrast to the excitement of the night. Placed on each table, the sensual sculptures of Fabienne Bismuth added to the intimate mood and caught the attention of many. The movement in Pierrick Gaumé’s colorful reflections radiated like waves of music.
What was the purpose of this event? It showed a cross section of different art forms within a convivial social setting. From old times in Europe, art was displayed in people’s houses which allowed a relaxed environment in which guests could hear music and see visual arts. Nowadays, with the advent of galleries, the social enjoyment is gone. Museums offer a different phenomenon. It is rare to be able to go out with friends for dinner and at the same time get exposed to art. Lush Finesse aspired to bring that old era into modern times, using even the latest technology.
The goal of Chez Mana is to connect the abstract forms of communication to everyday life, which is defined by small communities linked through common interests. What are the abstract forms? There is timing, movement and rhythm not only in music but also in other art forms. The relationship between music, painting and other forms of art has been studied since antiquity. Musical keys, shades of color, textures and rhythms all share common elements. It took a century before visual artists were able to free themselves from naturalistic reproductions and seek those abstractions.
Art can have a powerful effect on its viewers and in turn the response of the audience stimulates the senses of the artists. The setting of Lush Finesse created a perfect opportunity for this interaction. The result was an unforgettable experience shared by friends and enthusiasts around their dinner tables, while they chatted, danced, and drank.
To learn more about future events, join http://www.facebook.com/chezmana
Windshield Surfer
Murals tell stories of culture, religion, and history to all social classes. In that sense, they are more of a political or street art. Murals reflect the needs, struggles, and hopes of their communities. One of the best known mural artists is the Mexican Diego Rivera. Rivera’s work appears in many of the best art museums throughout the world, including the Hermitage in St. Petersburg and the Metropolitan Museum of Art in New York.
For Pierrick Gaumé, the French artist, murals can look quite different when reflected on cars, creating a universe not seen before. “The Windshield Surfer” is an unmanipulated digital photograph shot in San Francisco at the corners of Valencia and 18th Street in the Mission district. It is so amusing that even the little boy, himself a reflection, is surfing all over to examine the colorful movements of the building’s reflection.
Pierrick has come from France, the land of formal gardens, royal castles and cobblestone streets, to San Francisco to find a different interpretation of the universe around him while walking on its streets. We leave it up to you to find yours when looking at his Automorphose series. This very friendly artist is busy with an exhibit in Tours, France, and another in California, but in his sleepless hours of work, he certainly does not want to lose his dreams of moving to California one day to capture more extraordinary things in everyday streets.
You can take a closer look at the boy examining the reflection, at the Lush Finesse event held on October 2nd at the Fremont Hills Country club. See http://lushfinesse.eventbrite.com for further information.
Tasveer: Image, Identity, and Longing
Tasveer
Tasveer means image or representation. Nilou’s new painting Tasveer makes me think of the imagery and color used during the Qajar Epoch in Persia. That period was full of stylized depictions of Persian royalty, connecting them to the greatness of the ancient Persian Empire. The Qajar paintings were a powerful vehicle for the expression of Persian culture and its aspirations.
The Qajar ruler Fath ‘Ali Shah made wide use of images to depict a revitalized Persian Empire, with himself at its center. The use of traditional settings and motifs conveyed a strong and easily understood message of continuity with the powerful Empires of the past. The luminous red of the Shah’s uniforms sets him apart from ordinary men, projecting authority and opulence. Today, viewing these paintings outside of their historical context, it is hard to appreciate their original power and impact.
Nilou provides a different tasveer, that of the evolution towards a more lighthearted world where you can admire the beauty of a simple coat with its crimson color and lining of handmade fabrics in flowers. It is contemporary and playful, detached from its historical baggage yet influenced by it.
The coat has something up its sleeve, or more exactly on its sleeve: a poem of Hafez. It speaks of our being so far from very dear friends and the longing to be reunited with them, that feeling where you want to reconnect to those lost in distance.
Tasveer will be on display at Lush Finesse on October 2nd at the Fremont Hills Country Club. This event brings together friends and artists in a single context of fulfilling those longings. Join us and meet people from different corners of the world and different cultures exchanging their ideas and creativity. For more information see http://lushfinesse.eventbrite.com.
