Theda Bara, 1915 — promotional material.
Nude with Skeleton, 2002 — Marina Abramović
Showing posts with label EEM. Show all posts
Showing posts with label EEM. Show all posts
02/11/2010
Not Unparalleled by EEM
Theda Bara, 1915 — promotional material.
Nude with Skeleton, 2002 — Marina Abramović
17/09/2010
Maria Luisa Paris Spring Summer 2011
Maria Luisa Paris
Collection Spring Summer 2011
Photography by Mike Hemy
Style by Lotta Volkova Adam
Design by EEM
29/07/2010
Beyond Adornment - EEM x Stockman Haute Couture Busts
Paris based Emmanuel Bossuet is one of the rare art directors of his generation to conceive his work with such an intense decorative dimension. Graphic prowess is the genuine credo of this Paris best-kept secret.
Debuting as a graphic consultant at Philip Starck’s he very soon after established EEM as an agency aimed to one-of-a-kind projects. Studios like Martine Sitbon or Sonia Rykiel to name few requested him for his skill as a decorative designer. Alongside, brands like Cartier, Lalique, Swarovski or Knoll often asked him to express in sound terms their immaterial heritage.
Emmanuel also usually looks for new ways to express his fascination toward display installations. One of his favorite game is to divert them from their prior function and turn them into arresting pieces.
As an new opportunity came up this year with a carte blanche offered by the M&K Paris agency, Emmanuel decided to collaborate with historic mannequin masters STOCKMAN to produce limited edition "haute couture" busts.
His plan was clear : to turn the basic shape into a blank canvas for the very patterns he is used to, but colliding with it, enhancing it, resetting it and ultimately adorning it. As a result, a variation of 3 pieces, all black and white, reveals in a unexpected light the atemporal aura of the archetypal silhouette.
These pieces final coverings made with printed fabrics were demanding for accurate and unparalleled adjustments. They were possible thanks to the know-how of the STOCKMAN workshops : as every bust is till now entirely made by hand according to the grand tradition of the brand dating back from 1867.
The Haute Couture Busts will be exhibited in Paris from September
before touring to London and Milan.
21/05/2010
14/05/2010
06/05/2010
Not Unparalleled by EEM
Oiseau dans l'espace — Constantin Brancusi, 1932-1940.
Fluocaril Toothbrush and holder — Philippe Starck, 1989.
03/05/2010
28/04/2010
Not Unparalleled by EEM
Intonarumori, Luigi Russolo —1913.
Blume video, Einstürzende Neubauten — 1993.
20/04/2010
NOT UNPARALLELED by EEM
Profilo Continuo ("Dvce"), Renato Bertelli — 1933.
Ray stool, Radi Designers — 1999.
05/12/2009
11/11/2009
31/10/2009
Conversation with EEM : TRANSCOMMUNICATION ROMY
TRANSCOMMUNICATION ROMY
During the eighties a german retired technician, Klaus Schreiber, supposedly succeeded in taking ghosts screen captures thanks to a closed-circuit video feedback apparatus of his invention : a camera pointed at its playback monitor.
In 1985, after a brief audio transmission from beyond with actress Romy Schneider announcing she wanted to show, he got this impressing picture to appear on his TV set through a slowly focusing beam.
Some austrian lab later stated that the picture may have come from a sequence of the film "Max and the Junkmen" but they never were able to find the exact matching still be it in the movie or in the unedited rushes, they claimed.
"I wish I could come and visit you the day after tomorrow…".
During the eighties a german retired technician, Klaus Schreiber, supposedly succeeded in taking ghosts screen captures thanks to a closed-circuit video feedback apparatus of his invention : a camera pointed at its playback monitor.
In 1985, after a brief audio transmission from beyond with actress Romy Schneider announcing she wanted to show, he got this impressing picture to appear on his TV set through a slowly focusing beam.
Some austrian lab later stated that the picture may have come from a sequence of the film "Max and the Junkmen" but they never were able to find the exact matching still be it in the movie or in the unedited rushes, they claimed.
"I wish I could come and visit you the day after tomorrow…".
25/10/2009
Conversation with EEM : EX BIBLIOTHECA
"Few days ago I found again a work I did when I was 16.
It was a poster for a rock band and copies got posted then throughout town for concerts.
I often wondered afterwards if I hadn't simply daydreamed the whole sequence. I hadn't.
It was a poster for a rock band and copies got posted then throughout town for concerts.
I often wondered afterwards if I hadn't simply daydreamed the whole sequence. I hadn't.
As a child I was an occultist, curiosa fiend and collector.
My mother hated this work, along with many other things.
And as a matter of fact she threw one day all my books and artworks directly into the rubbish bin while I was occupied elsewhere.
She was still sane at the time."
06/06/2009
A Look Into The EEM
Tearjerkers No.2
"Cornucopia" mirrors for Ascète"EEM Genesis Nebula"
Behind those three letters, stands a graphic designer and independent art director, a spontaneously generated character that recalls the mysterious Comte de Saint-Germain, " leaving behind him a thick furrow of smoke". EEM came up to Emmanuel Bossuet as an eliptic statement in the how visual year 1999, on an alcohol fueled night out between the Lan Kwai Fong bars and the Lama island, following his own Graal quest around the Honk Kong Bay.
Like all elusive personas, EEM never had a "master", though looking for one at certain times, neither anyone in his field he can links himself to, and so had to get acustommed to the idea of being his own referent.
EEM likes to call himself a "decorative artist", a term that used to be A level insult in the industry only a couple of years ago, and this is probably why he loves it so much : a frontal and slightly provocative approach. An approach he moved onto the fashion sphere with several collaborations, especially the significant and long lasting one with french fashion label duo Alexandre & Matthieu.
Behind those three letters, stands a graphic designer and independent art director, a spontaneously generated character that recalls the mysterious Comte de Saint-Germain, " leaving behind him a thick furrow of smoke". EEM came up to Emmanuel Bossuet as an eliptic statement in the how visual year 1999, on an alcohol fueled night out between the Lan Kwai Fong bars and the Lama island, following his own Graal quest around the Honk Kong Bay.
Like all elusive personas, EEM never had a "master", though looking for one at certain times, neither anyone in his field he can links himself to, and so had to get acustommed to the idea of being his own referent.
EEM likes to call himself a "decorative artist", a term that used to be A level insult in the industry only a couple of years ago, and this is probably why he loves it so much : a frontal and slightly provocative approach. An approach he moved onto the fashion sphere with several collaborations, especially the significant and long lasting one with french fashion label duo Alexandre & Matthieu.
Bussaco folding screen for Ascète
Silk scarf for Ascète
Fresco & Stones patterns for Alexandre Matthieu"What a pleasure to hide, but how dramatic to never be found again"
EEM's inspiration oscillates between an atmospheric phenomenon and the peculiar veining of marble.
"One needs to be tough when it comes to design, no need to look for approval or sympathy, always leave a threat above all" explains EEM, and indeed decorative art is at it's core an intimidation, a clear warning that there's an über-all power ready to put you down in just a second.
EEM works is not to be seen as a mean of self expression but more as a way to give existence to things with the desire that they might escape or overtake him, even if that turns back against him, which is sometimes the case.
Defining graphic art as "a quantitative management of surfaces" allows EEM to step into various amounts of projects without the feeling of being one of those "opportunist multi-taskers".
EEM's inspiration oscillates between an atmospheric phenomenon and the peculiar veining of marble.
"One needs to be tough when it comes to design, no need to look for approval or sympathy, always leave a threat above all" explains EEM, and indeed decorative art is at it's core an intimidation, a clear warning that there's an über-all power ready to put you down in just a second.
EEM works is not to be seen as a mean of self expression but more as a way to give existence to things with the desire that they might escape or overtake him, even if that turns back against him, which is sometimes the case.
Defining graphic art as "a quantitative management of surfaces" allows EEM to step into various amounts of projects without the feeling of being one of those "opportunist multi-taskers".
Marblized Saarinen Chair for Knoll
BlackBurst chandelier for Swarovski
Metalized Peacocks for Lalique "Curios" collection"Non sum qui post me est venturus"
Deeper into his work, EEM has some recurrent "themes" which he rather call "periods" and asked if he sees it as the EEM aesthetic, he agrees, but precises that the opposite would be quite disturbing. His interest tends to be more theoretic, working into Duchamp's concept of "infrathin" : thinking the surface otherwise than material, handling it as an emanation of itself. It is something he works with, but there's no tricks there, no pre-programmed equation, only something he studied enough to have it within, to use it almost instinctively.
When working back in a creative studio, EEM would often be asked by his collegues what was he doing that day, and he would answer " I am working for your children", a mischievous way of showing the gap he feels with the other graphic artist's motivations. But genuinely, EEM just attempts to mesmerize, Ubi et Orbi.
Deeper into his work, EEM has some recurrent "themes" which he rather call "periods" and asked if he sees it as the EEM aesthetic, he agrees, but precises that the opposite would be quite disturbing. His interest tends to be more theoretic, working into Duchamp's concept of "infrathin" : thinking the surface otherwise than material, handling it as an emanation of itself. It is something he works with, but there's no tricks there, no pre-programmed equation, only something he studied enough to have it within, to use it almost instinctively.
When working back in a creative studio, EEM would often be asked by his collegues what was he doing that day, and he would answer " I am working for your children", a mischievous way of showing the gap he feels with the other graphic artist's motivations. But genuinely, EEM just attempts to mesmerize, Ubi et Orbi.
Lyres - No.1 & No.5
"Lapis Graphica", Please! magazine
"Holograms", L'Officiel
And if he dares telling some of his clients that coherence is the cleverness of the fools, EEM easily admits his pretentiousness and does what he does just because he wants to be right. He would never fool himself in order to be able to fool others and wishes to stop worrying about what he considers to be "his fate", sticking as close as possible to this quote from De La Rochejacquelein :
"If I move forward - follow me !, if I die - avenge me !, if I back away - kill me !"
"If I move forward - follow me !, if I die - avenge me !, if I back away - kill me !"
Strass patterns for Rykiel, Winter 08/09
All images courtesy of EEM, www.the-eem.com
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