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Eye on the Arts: James Brooks bursts onto the art scene in vibrant color

Eye on the Arts: James Brooks bursts onto the art scene in vibrant color
“Pinky” – acrylic on canvas.

By Marc Gave | New Pelican Writer

In my daily Facebook post, “The Artist’s Life,” I write about a staggering variety of visual artists, many of whom made art for decades and are no longer with us. Of those who are still working, the majority have produced a sizable body of artwork in one recognizable style or in a specific range of styles and media.

James Brooks with a sampling of his recent works. [Courtesy]

When writing about a young up-and-coming North Lauderdale artist such as painter James Brooks, the story is only beginning to be told. He is exploring his main medium, acrylic paints, along with watercolors, and extending his range.

This South Florida native states that he “always had a knack for art. I began drawing and coloring when I was around three. My grandfather is a retired architect, and I believe I inherited my talent from him. It came naturally. I won a contest at Broward Mall at a very young age.”

Eventually, Brooks attended the Art Institute of Fort Lauderdale, which helped launch his career as an artist. He now lives in the area where he grew up. Previously, he was a resident of Coconut Creek and before that of Coral Springs, where he recently exhibited his work at the Coral Springs Museum of Art and is a member of its Artist Guild.

While he creates paintings on commission – especially animal pictures and pet portraits – and left to his own devices, Brooks says his “inspiration can come from anywhere and anything: from nature, from going to the movies. It’s like a sixth sense.”

When he addresses the easel, he strives to work outside of traditional norms, rendering his subjects “in colorful, eccentric ways but with a classy elegance.” Brooks said he’s considering experimenting outside his traditional media. “Perhaps I’ll work in oils – or coffee.”

One experiment he has recently undertaken is applying three-dimensional flowers to canvas. “I bought silk flowers at a local store, spray-painted them, and glued them onto the canvas. It’s a long process, as it takes the flowers several hours to dry. But I got the idea and wanted to challenge myself to see what I could do with them.”

Inspiration comes from encountering other artists’ work as well. “It gets me to see different people’s perspectives, giving me experiences beyond what I can experience firsthand.”

One such recent experience was a visit to the Dalí Museum in St. Petersburg. “It was very amazing to see his out-of-the-box paintings.” Brooks said. Another visit was to the immersive Van Gogh exhibition last year in Miami. “I felt myself transported to his world.”

While he doesn’t strive to imitate their styles, they do greatly enhance his vision and his approach to painting.

Brooks finds Broward County to be very supportive of the arts. “It is open to art and artists in an ever-expanding way. This works in two positive ways: letting our (artists’) voices be heard and building a public appreciation for artists. As art is my passion, I paint from my heart, and I believe my art has a healing factor as well.”

He continues, “My biggest thrill comes when I inspire other artists who haven’t painted in a long time to return to their work.”

Visit Artist Touch – James Brooks Facebook page to see more of his work.

Unique outdoor patriotic photography exhibit in Normal Heights

Unique outdoor patriotic photography exhibit in Normal Heights

freedom on the fence

Award-winning, local gay artist Todd Bradley presents “Freedom on the Fence,” a captivating outdoor photography exhibition that captures the essence of the Normal Heights community’s beliefs and personal interpretations of freedom and America. This unique and thought-provoking event will take place on the picket fence at the home of David and Mindy Hayes, hosts of an annual Fourth of July event. The photography exhibition will run briefly from July 1 to July 4 evening.

“Freedom on the Fence” brings together the diverse voices of the Normal Heights community, showcasing their perspectives on freedom and what America means to them. Through a series of photographs taken over a year, Todd Bradley artfully captures the spirit and diversity of the neighborhood, all while emphasizing the unity that binds the community together.

This four-day unconventional exhibition fosters community engagement and highlights artists’ challenges finding traditional gallery spaces to showcase their work. Art institutions have been closing at alarming rates lately. And the scheduling for solo shows at museums or galleries is often years away. Artists like Todd Bradley have turned to innovative methods to bring their art to the public.

The exhibition features photographs of community members taken over the last year, with a significant portion captured during the Fourth of July ice cream social at the Hayes’ home. Other images were taken in the studio with a black background. Participants were allowed to express their thoughts on democracy by selecting a framed blackboard with “Freedom is” or “America is” or by writing their own message. The chosen images strikingly portray the neighborhood’s diversity and the richness of our nation.

“Freedom on the Fence” will display large 2-foot by 3-foot images printed on vinyl strapped onto the white picket fence at the Hayes’ home on the corner of 35th Street and North Mountain View Dr. This daytime exhibition will be a focal point of the annual Fourth of July celebrations in Normal Heights. The exhibition will open to the public on Saturday, July 1, in the morning and will remain on display until the evening of July 4.

To celebrate the exhibition and strengthen the community bonds, a special reception will be held on July 4 at 11 a.m., coinciding with the annual ice cream social. Attendees will be able to engage with the artist, Todd Bradley, to gain deeper insights into the stories behind the photographs and participate in the project by voicing their opinions on a chalkboard about Freedom or America while having their portrait taken.

“Freedom on the Fence” encapsulates the true spirit of Normal Heights, showcasing the community’s shared values while respecting the diverse perspectives within. Join us in this celebration of art, freedom, and community.

City of Seattle’s Food Equity Fund invests $2 million in 21 community-initiated projects

City of Seattle’s Food Equity Fund invests $2 million in 21 community-initiated projects
Photo credit: Young Women Empowered

The City of Seattle is investing $2,000,000 to support community-led projects through the Seattle Department of Neighborhoods’ (DON) Food Equity Fund General Grant. Twenty-one community groups will receive awards ranging from $49,688 to $100,000 to advance projects that increase equitable access and opportunities to grow, learn about, and/or eat healthy, affordable, and culturally relevant foods. The projects are varied and include food distribution, Indigenous food sovereignty gatherings, youth food justice cohorts, sustaining community farms, supporting food entrepreneurship, hosting intergenerational community dinners, Black-led early childhood cooking segments, and more.

“Partnerships with local cultural organizations are core to our One Seattle vision, leveraging City support and resources to help meet the unique needs of our diverse communities,” said Mayor Bruce Harrell. “We know that food insecurity remains high in our region which is why the Food Equity Fund is a critical investment in the health and wellbeing of our community, ensuring that every neighbor can access fresh, affordable, and culturally relevant foods.”

“We are honored to invest in these community-driven visions for creating access to culturally relevant food,” said Jenifer Chao, Director of Seattle Department of Neighborhoods. “These projects make it clear that the organizations and individuals leading this work know exactly what their communities need in order to thrive.”

The Food Equity Fund was developed in 2021 in response to recommendations from the Sweetened Beverage Tax Community Advisory Board to increase investments in community work led by those most impacted by food and health inequities: Black, Indigenous, People of Color (BIPOC) communities, immigrants, refugees, low-income individuals, families with young children, youth, and elders. The fund is supported by the Sweetened Beverage Tax. 

For 2023, approximately $2.3 million is available for funding through the Food Equity Fund and those funds are distributed through two grant programs: General Grant and Capacity Building Grant. The General Grants announced here have a maximum award amount of $100,000. Capacity Building Grants, which are currently open on a rolling basis through October 31, have a maximum award amount of $20,000 and are focused specifically on community organizations with annual budgets under $500,000.

Seattle Department of Neighborhoods received 86 eligible applications for the 2023 General Grant, reflecting a total of $8 million in funding requests. The grant review process included community leaders with expertise in racial justice, food systems advocacy, and health disparities.

To learn more about the Food Equity Fund visit:  http://www.seattle.gov/neighborhoods/programs-and-services/food-equity-fund-.

What Grantees Are Saying

“We are ecstatic to have been awarded funding from the 2023 Food Equity Fund. Since the beginning we’ve worked around food equity, bringing our community together through multicultural kitchens and other aspects of the food system in our center. These funds will open new opportunities and greatly contribute to our efforts of having our community design the project, using their untapped skills, and most importantly, leading their own future. ¡Si se puede!”

Peggy Hernández, Co-Director, Lake City Collective

“One of the strongest community-driven outcomes of the COVID-19 pandemic was a resurgence in Indigenous ecology and food sovereignty. Young leaders were able to gather outdoors and plant thousands of native seedlings, food and medicine bundles were distributed to elders, and we remembered the practices of our ancestors to restore our well-being through our relationship with the land. Through the generous support of the Seattle Department of Neighborhoods’ Food Equity Fund, the Na’ah Illahee Fund is able to continue this work through our Yahowt Program, of ‘lifting up the sky, together’. This grant will enable the urban Indigenous people of Seattle to continue to have the resources to gather, learn, and practice the traditional ecological knowledge that is a cornerstone of what food equity means in the Pacific Northwest.”

Susan Balbas, Executive Director, Na’ah Illahee Fund

“The Food Equity Fund will be instrumental in Basilicas’ programming for the next two years, helping us both to sustain current food justice and community education initiatives, and to start new initiatives centered around food justice and youth leadership. This fund will support a new food distribution support program called MINT, the Bridge to Youth Leadership Program, and will continue to support Basilica in paying our team a livable wage. Meals in Need Today (MINT) will work by providing hands-on support, education, and promotion for food distribution events in Seattle. The program will build a well-connected network of food distributors, educators, and community members to help produce, prepare, and distribute healthy produce in Seattle, while also putting more BIPOC community members in leadership positions in Seattle’s food distribution network.”

Jordan Jackson, Co-Founder, Basilica Bio

2023 Food Equity Fund – General Grant Awards

The following community organizations will receive Food Equity Fund General Grant awards for 2023:

$100,000 to Basilica Bio to sustain and expand programming that supports education around food and environmental justice in schools; connects students and community members to experiential learning opportunities; and delivers accessible food and environmental justice workshops in a STEM context. This grant will support a new Community Classroom Initiative Bridge to Youth leadership program, Meals in Need Today (MINT) food distribution programming, and the addition of new team members.   

$100,000 to Black Dollar Days Task Force for the recurring costs of the Clean Greens Youth programs at South Shore Community Center and behind the Amy Yee Tennis Center. This funding will also support the implementation of the Community Herb Bank, organic honey processing, environmental trainings, workshops, and community gatherings. 

$100,000 to Black Farmers Collective to support long-term sustainability and community programs at the organization’s farms. The grant will also support staff in building community, running educational programs, and growing food for and by BIPOC folks with a focus on uplifting and distributing resources within the Black community.  

$100,000 to Casa Latina for 60 Latino immigrant workers to participate in a cohort-based program based in the organization’s community kitchen. Cohort members will build food service skills and prepare and share cultural meals with their fellow workers each week, who will access and enjoy nutritious, homecooked foods. 

$100,000 to Cham Refugees Community to educate and train youth interns and empower individuals to take leadership roles in advancing Cham Refugees Community’s mission of increasing equitable food access through community identified solutions and access to healthy, local foods for all community members. This grant will support a series of intergenerational community dinners and increase capacity in their community garden. 

$100,000 to Eritrean Community in Seattle and Vicinity to create a cultural and traditional gardening co-op at their community center. Farming is a large part of the Eritrean legacy, and this project will allow for generations of farming history and gardening techniques to live on in the following generations. 

$100,000 to FEEST for the Student Organizer program, which will engage up to 25 students per year to increase their understanding of food justice and develop their organizing and leadership skills. FEEST will promote access to fresh, free, culturally relevant food for low-income youth and youth of color in South Seattle through food justice trainings and food provision, embodying the type of food access they want to see in schools.

$100,000 to InterIm CDA to support the Intergenerational Food Equity and Food Access Project in the Danny Woo Garden in Chinatown International District (CID). This culturally relevant, intergenerational learning and food production project will help increase and exchange knowledge between youth and elder Asian and Pacific Islander generations about growing and eating culturally relevant produce, creating infrastructure that supports ongoing food security, and growing produce that supports the nutritional and food accessibility needs of low-income elders in the CID. 

$100,000 to Lake City Collective for the creation of a “Cook It Yourself” recipe kit that includes community gatherings around family recipes and a youth-led zine that will capture their recipes and stories. Funding will also support Si se puede Foodpreneurship Cohort to provide information about starting a food business and renovation to the Collective’s Garden which serves as a source of culturally relevant vegetables and as an education tool to teach community how to grow traditional produce adapted to their urban environment. 

$100,000 to Na’ah Illahee Fund to advance food security and food sovereignty in Seattle’s urban Indigenous community. Through integration with the Native Youth Trails Program the group will plan and implement community events on the Indigenous lands of the Daybreak Star Indian Cultural Center in Discovery Park as well as increase community knowledge and skills in traditional harvesting practices. These will include planting parties of native traditional foods and medicinal plants, community traditional foods workshops, annual virtual Indigenous Food Sovereignty gatherings, Buffalo harvesting, and honoring luncheons for the community. 

$100,000 to Rainier Beach Action Coalition to expand the services offered by an existing Farm Stand to better support BIPOC farm partners in collecting and distributing their produce to Rainier Beach residents. The organization plans to complete tenant improvements to their Food Hub and will make available dry and cold storage, a washing and packing station, and transportation to farmers in order to increase access to free, fresh, and culturally-relevant fruits and vegetables. 

$100,000 to Union Cultural Center to pilot the Nourishian Training Program, which will provide life skills and job skills to young adults ages 17 – 25 in the Rainier Beach area. Life skills include meal planning, shopping on a budget, basic cooking skills, and nutrition knowledge. 

$100,000 to yəhaw̓ Indigenous Creatives Collective to steward a South Seattle site on the ancestral homelands of the Duwamish, Muckleshoot, and Suquamish peoples, in Coast Salish territories. They will host a series of seasonal Creative Residencies, where interdisciplinary Indigenous artists and thinkers are invited to complete a self-determined project on site. They will also partner with the University of Washington to understand the best locations and formats for food plant growth and build an Indigenous community garden with Native plants.  

$97,969 to Young Women-Empowered (Y-WE) Y-WE Grow’s mentorship-based empowerment programs focus on environmental justice and healthy food systems in BIPOC communities, serving diverse young women ages 13-24 through a lens of healing and belonging. Through urban farming and food justice activities, participants gain knowledge, skills, and resources around growing and eating healthy, culturally relevant food. This work is an ongoing expansion of our existing Y-WE Grow program and paid summer internships, which engage youth who are most impacted by systemic inequity and lack of access to nature.

$99,650 to Wa Na Wari for Love Offering: Community Meal Program. The program provides free-of-cost African diasporic food and Native American-inspired soul food made by Black/Indigenous chefs every Tuesday, Wednesday, and Thursday at Wa Na Wari from 4-6pm. Love Offering promotes economic stability for BIPOC caterers, increases access to nourishing meals, and cultivates community and a sense of belonging around cultural dishes. 

$99,532 to Look, Listen, & Learn TV for the production and distribution of the cooking segments for upcoming seasons of our Black-led children’s TV show. With this Food Equity Fund grant, they will film local children and adults collaboratively preparing and enjoying healthy snacks and tasty treats for up to three seasons of Look, Listen and Learn

$96,066 to Ethiopian Community in Seattle to address food inequities in the Ethiopian community by offering increased access to Ethiopian cultural food through cooking demonstrations, sharing of meals, provision of bags of ingredients from ethnic shops, and storytelling. The program will especially focus on youth and young adults who have expressed their need to learn more about Ethiopian food and the rich culture that surrounds it. 

$99,000 to Queer the Land to empower the QT2BIPOC (Queer, Trans, Two Spirit, Black, Indigenous, and People of Color) community through stewardship and sustainability. This grant will support managing a community garden and greenhouse where community members can volunteer and actively participate. Through partnerships, Queer the Land will offer workshops on plant care, nutrition, and herbal remedies. They will create a thriving, inclusive space where the community can learn, grow, and celebrate together while fostering a deeper connection with the land.

$88,595 to It Takes a Village for monthly events where participants will learn about food economics, creative development, food service job skills, and growing food in small spaces. The group will deliver 300 hot meals to community members and host six cultural events focused on food, storytelling, and creative arts that engage and feed community members. 

$69,500 to First Tongan Senior Nutrition Association to support over 80 seniors a week with food distribution and community meals for Pacific Islander and other low-income seniors near the Highland Park neighborhood. Over the next two years, they will continue to be a place for elders to gather, communicate in their familiar language, stay healthy, and feel less lonely.

$49,688 to Concord International Elementary Native/Indigenous Students Club to hire Native and Indigenous educators and Elders to share traditional ecological knowledge with Native/Indigenous students and families at Concord International Elementary. Funding will support field trips to forage and learn about traditional and culturally relevant ingredients and medicines. In addition, they will work with local Native and Indigenous chefs and restaurants and traditional medicine practitioners to provide access to traditional and culturally relevant foods and medicines for students and their families as well as lessons in food and medicine preparation.

V&A’s new centre reveals pivotal role photography plays in reflecting and shaping our world

V&A’s new centre reveals pivotal role photography plays in reflecting and shaping our world

In May, London’s Victoria and Albert Museum opened the much-anticipated second phase of its Photography Centre. Set to be the UK’s largest permanent photography display, it will survey the medium’s past, present and future. With plans to rotate displays across seven galleries, it reflects the V&A’s renewed commitment to photography.

The centre has the feel of a museum within a museum and is clearly designed to cultivate debate, as it also houses a dedicated reading and research room that aims to examine the relationship between photography and the book as a form of publishing. The centre’s archive has been opened to researchers and the public alike.

The centre will provide not just a new home for the V&A’s extensive photography collection (which dates back to the 19th century), it will also go some way to cementing the status of photography as a leading form of expression within contemporary visual culture.

An Indian woman pulling a fishing net up a beach in the wind.
Longing for Love from the series A Myth of Two Souls by Vasantha Yogananthan.
V&A

The V&A’s new addition will, like London’s long-established Photographers’ Gallery, contribute to our understanding of the pivotal role that photography has played in reflecting on and shaping our world.

A quick tour

Sidestepping the pitfalls of categorisation by genre, the opening rooms, Photography 1840s – Now, present a more idiosyncratic curation of images. Visitors are presented with juxtaposing images under a programme of changing themes, starting with Energies: Sparks from the Collection.

The theme prompts visitors to meditate on the way the medium captures the energy of a subject in an image. It also asks them to consider the way images are manipulated through photo-chemical processes.

A desert scene with copper-red sand and dusty landscape.
Untitled from Hoda Afshar’s Speak the Wind series.
V&A

It will be interesting to see to what extent this approach will produce new perspectives on the diversity of images held in the V&A’s collection. Navigating darkened galleries with backlit displays, it becomes clear that these unique commissions and new acquisitions will become the site for developing knowledge of the medium – expanding notions of photographic practice by making links between historical and future techniques and processes.

The works selected for another theme, Photography Now, set a political agenda and echo pressing themes for our times: climate change, socio-political conflict, gender and identity and the legacy of colonial histories.

A woman walking towards a wall-sized photograph of a woman's shadow.

Self Portrait as Walking Woman with Bag by Tarrah Krajnak.
V&A

A foray into decolonising the canon is exemplified in the work of Sammy Baloji. In his mirror prints, fragmented images of raw copper ore float over archive photographs of the Congo’s colonial past.

Also compelling are the evocative images from Speak the Wind, Hoda Afshar’s combination of poetic landscapes and human subjects that attempt to make visible the invisible force of a mythical malevolent wind known as “Zar”. These works expose the physical and cultural traces of the Arab slave trade from Africa to the Persian Gulf.

Elsewhere there is an emphasis on the fascination many contemporary photographers have with the medium itself. A number of the showcased artists create a dialogue with the past by adapting some of the earliest techniques in novel ways.

Notable are the performance self portraits by Tarrah Krajnak, who combines projected images with the cyanotype process. This is an early form of photographic printing using coated paper and light, later widely known as blueprinting. Krajnak uses it to explore personal identity in relation to Peru’s traumatic political past.

Collotypes (a 19th-century photographic-based printmaking technique) by Antony Cairns constitute a “translation” between old and new, taking images of urban spaces which are frozen on defunct e-reader(kindle?) screens and then reproducing them on paper.

It is positive to see a significant number of female photographers represented in the Photography Centre.

A black and white fuzzy image of a radio telescope.
Radio Telescope, Effelsberg XV September 12, 2013 by Vera Lutter.
V&A

Vera Lutter’s unique monochrome negative of a radio telescope – inscribed directly onto light-sensitive paper through an extended period of exposure using a large pinhole camera – is a reminder that photography is inextricably linked to time through the actual processes employed (exposure times, developing, printing and so on).

Concluding these rooms is the monumental sculptural photo installation, Giant Phoenix VI, by Noémie Goudal. Her complex process explores the deep time of paleoclimatology, which reconstructs the climates of ancient history. Goudal photographs trees and then inserts scale photographs back into the real world and photographs them again.

The resulting images are then layered as fragments onto towering metal panels that, when viewed from different positions, simultaneously break up and reform the picture plane, alluding to the fragility of the image and the subject it depicts.

A huge undertaking

The photograph is deeply entangled in our contemporary experience, playing a crucial role in recording and informing our understanding of the world. Which means photography has a number of overlapping histories: as a technology of seeing, a social document and an aesthetic practice.

The silhouette of a girl running from leaping flames towards the camera.
Riot Girl by Vinca Petersen.
V&A

So how do we begin to unpick and present these interwoven histories in a way that does not leave one overshadowed by another? And how best do we present each photograph to stimulate thought and action beyond the confines of the gallery? It will be interesting to observe how the V&A’s new Photography Centre navigates these challenges now that the gallery is open to the public.

Fargo’s Kary Janousek practices tintype photography

Fargo’s Kary Janousek practices tintype photography

Kary Janousek is a photographer based in Fargo, North Dakota. Her downtown studio is at the top of the Masonic Block building, and in a way, it’s a perfect place for what she does: Firstly, for all the natural light that streams through the many tall windows that line the building.

Secondly, because she does tintype and ambrotype photography. Her profession and the building where she operates her business both date back to the 1800s.

Tom Brosseau visited Kary’s studio to have his portrait taken, and see the tintype process in action. Listen above.

Photo: Tom Brosseau photographed by Kary Janousek / Old School Collodion.

This segment is from The Great American Folk Show, Episode 80. New episodes air Saturdays at 5pm on Prairie Public.

This segment is also a part of FM Arts, a special radio series of profiles, performances, and discussions with artists in the Fargo-Moorhead area. FM Arts is funded by The Arts Partnership, with support from the Cities of Fargo, Moorhead and West Fargo.

LCHD hosting amateur photography contest

LCHD hosting amateur photography contest

For the Tomahawk Leader

LINCOLN COUNTY – The Lincoln County Health Department (LCHD) is hosting a photo contest for amateur photographers.

LCHD said it is “seeking out the best parts of Lincoln County.”

“When you think of Lincoln County, what is your favorite part?” LCHD stated. “What makes Lincoln County healthy? When you brag about the county you live in – what do you picture?”

LCHD said photos should represent its “vision of a safe and thriving Lincoln County where everyone has the opportunity for optimal health and quality of life.”

“Please submit one or two sentences as to why your photo represents optimal health and quality of life,” LCHD stated.

Photos must be taken in Lincoln County and must be submitted as high-resolution JPEG files to [email protected] by Saturday, July 15.

No panoramic, digitally-enhanced or altered photos, and only one photo per person, will be accepted.

“Tall thin, photos from phones do not reproduce well for our use,” LCHD stated. “Please send photos that can be used as 4×6-inch or 8×10-inch prints.”

Each photo submitted must include where, when and why the photo was taken, as well as the photographer’s name, phone number, mailing address and email address.

Professional photographers and individuals who sell their photos are not eligible to enter the contest.

“By entering the contest, photographers are verifying that the image is their own and are agreeing to have their submitted photos used/copied/displayed (without fee or compensation) for the contest voting purposes in local publications, in articles relating to the contest, saved for any future use by LCHD, and on the Facebook page,” LCHD stated. “Photos that are picked will be contacted via email to sign a consent form for the use of your photograph.

LCHD said it reserves the right to reject any photo submitted that does not comply with the contest rules, is not properly labeled or is deemed inappropriate.

First-place winners will receive a 2024 Wisconsin State Park vehicle sticker. Second-place winners will receive a gift certificate valued up to $15.00.

For more information, email [email protected].

Raw and Refined: Inside a Renovated Brutalist Apartment in Rome

Raw and Refined: Inside a Renovated Brutalist Apartment in Rome

A Brutalist-inspired apartment in the suburbs of Rome in Tor de’ Cenci recently received a complete renovation by STUDIOTAMAT. Designed for a lawyer couple, the project consisted of renovating the 120-square-meter apartment, along with a coveted 40-square-meter terrace. The Casa Rude residence overlooks the Castelporziano Nature Reserve offering both wooded and sea views, an ideal locale after years of living in small apartments in the heart of the city. Now, their space is filled with natural light, original character, and modern conveniences.

“What guided us in the design was the desire to enhance the distinctive features of the unique terraced building, dating back to the 1980s, which houses the apartment. We wanted to restore fluidity to the spaces, encourage the opening, and the discovery of pre-existing materials and details, on which to set a new vision,” says STUDIOTAMAT co-founder Tommaso Amato.

interior view through dining room into brutalist kitchen

The main living area is designed much like a open plan loft with unfinished walls and the support structure’s exposed concrete visually connecting the spaces.

partial view of monotone kitchen

partial interior view of modern kitchen looking through island

Paired with the original Brutalist details are a variety of tones, textures, and materials that add up to a visually enticing space. The roughness of the terracotta tiles on the oval island and concrete pillars are juxtaposed with the smooth Patagonia marble countertops that connect the two.

partial interior view of modern kitchen with rounded island

angled interior view of modern dining room and kitchen with rounded island

A custom dining table with a Shou sugi treated wood top rests on a black base and a glossy red ceramic leg for a sleek look.

modern interior with view of big builtin wood storage cabinet

A large, multifunctional birch wood cube is built to hide the pantry, hold coats, provide storage, and house a TV.

angled modern interior with view of big built-in wood storage cabinet open

angled interior view of modern dining room and kitchen with rounded island

modern home office view with unique design held up but red circular disc

A wall of perforated bricks separates the living room and home office allowing natural light to pass through. A custom desk extends out from the built-in shelves and is held up by a circular red wheel, complementing the dining table’s leg a few feet away. The wheel allows the desk to roll along on a track to a new position.

view down hallway of modern home with sliding screen door

A pivoting door visually separates the public areas from the sleeping area, which houses a main bedroom with ensuite bathroom, and a guest room.

side view of modern bedroom with peach bedding and sliding glass doors opening up to the bathroom

In the primary bedroom, sliding ribbed glass doors offer privacy to those in the bathroom while allowing light in.

side view of modern bedroom with peach bedding and sliding glass doors opening up to the bathroom

modern bedroom bathroom with cylindrical stone sink flanked by sliding glass doors hiding bathroom

side view of modern bedroom with peach bedding

partial view of modern bed with peach and green bedding

partial view behind sliding glass door into bathroom

view into modern bathroom with green marble on walls and round floating bathtub

angled view of bathroom sink

exterior view on apartment patio with seating areas and plants

The large terrace features an outdoor kitchen, seating areas, dining space, and outdoor shower, all of which benefit from sunset views.

exterior porch view with outdoor shower

two men standing behind one woman with white shirt

STUDIOTAMAT Photo: Flavia Rossi

Photography by Serena Eller Vainicher.

Caroline Williamson is Editor-in-Chief of Design Milk. She has a BFA in photography from SCAD and can usually be found searching for vintage wares, doing New York Times crossword puzzles in pen, or reworking playlists on Spotify.

Light painting 101: How to create illuminated art with a bottle house

Light painting 101: How to create illuminated art with a bottle house

I had a rare opportunity to light paint a house made of bottles. Here’s how I made the most of it. Best of all, you can use these light painting techniques for everything.

Light painting a bottle house, Rhyolite Nevada.

What is light painting?

Light painting is a term that is often used loosely to describe any addition of handheld light to a night photograph. Really, though, light painting is a technique that uses a handheld light source to illuminate a subject during a long exposure photo. You are quite literally painting the scene with light. Night photographers have used this technique for many decades.

Here, I had the opportunity to photograph a house made of over 50,000 bottles in a safe environment. I made the most of it.

Can I make it glow from within?

My first instinct was to shine the light from within the bottle house. I wanted the bottles to light up from within. I had been inside some bottle houses and structures in the Andean countryside of Ecuador, and I loved the way sunshine made the bottles glow.

Unfortunately, I could not do that for two reasons. One is that the inside walls were plastered. There would be no light shining through these bottles. And the second is that I didn’t have access to the interior of the house.

Shadows create depth, detail and interest

However, there were plenty of opportunities to create shadows. This can be used with almost any subject. Here’s how I went about light painting the porch of this amazing house.

Three steps to light painting the porch of the bottle house

Step one: Illuminating the back wall

The bottle house has a lot of amazing texture because it’s made of bottles. I skimmed a warm white light from the ProtoMachines against the wall, just glancing it off the surface. By doing this, I was able to pick up a lot of the detail from the uneven surface. I kept the back wall slightly darker than the rest of the house to add depth and keep the focus on the front of the porch.

Light painting a bottle house, Rhyolite Nevada.
Above: an example from farther back to give you an idea of what the house looks like. The main window to the front room is to the left, just out of frame.

Step two: Creating the shadows from the porch handrail

On camera right is a wooden porch handrail. Because the porch is wooden and takes up a lot of space in the composition, I thought it might be fun to create some shadow from the handrail. I stood to the right of the handrail and held the ProtoMachines light still for a short while so that the lines would be strong and well-defined.

Step three: Blue light from inside the house

The house still looked a little empty. I decided to shine a blue light from the inside of the room. I did this by walking over to the front window and shining a blue handheld light through that. This illuminated the entire room, coming out the side window and the door window in the back.

You are the director

When you light paint during night photography, you are making creative decisions. You decide what to illuminate and what to keep in shadow. You decide what angle, what sort of texture, what sort of feel, and what sort of colors you want in your photo. It is the most actively creative form of photography that I know. You are wandering around in the scene, determining the angles, colors and brightness. Every “brush stroke of light” builds the photo.

If you do this, you are one of a very small number of photographers who try. Far less stick with it. Hopefully, articles like this inspire you to keep doing it. I cannot possibly exaggerate how addicting, fun, and rewarding it is.

How can some of the techniques — including techniques creating shadow, depth and detail — help with light painting your subjects? How might you apply this toward abandoned automobiles, cactus, trees, mountains or people? What about other subjects that are not night photography?