PaperCity Magazine

January 2015 - Dallas

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DECORATION M uch-loved artist Hunt Slonem — of the bunny, butterflies and tropical bird paintings — has launched wallpapers, fabrics and carpets through Groundworks at Lee Jofa. Slonem also collects Louisiana plantation houses (he has two, as well as a mansion in Upstate New York), which he decorates in fantastical exotica with eye- popping color, troves of larger- than-life Neo-Gothic antiques, his rich paintings and now, his woven and embroidered fabrics digitally printed on linen, carpets woven in New Zealand wool, and wool and silk bamboo combination and wall coverings. Hunt Slonem, to the trade at Lee Jofa showroom. I n one of the most ambitious contemporary installations ever undertaken in Texas, French grand master/international provocateur/Venice Biennale and Louvre-exhibited Loris Gréaud arrives this month for his epic show at the Dallas Contemporary. At 26,000 square feet, this grande Gréaud — a site-specific piece devised exclusively for Dallas audiences — features details intensely guarded and creatively fermenting in the artist's mind up until their moment of execution. We venture to guess the Gesamtkunstwerk for the DC will be edged in surrealism and spectacle, darkly surprising and an artwork whose encounter could be a thrilling experience that you'll recount for years to come. "The Unplayed Notes Museum," inspired by the arcane, time-etched traditions of natural history museums, at the Dallas Contemporary, January 18 – March 21; Read our exclusive Gréaud interview at Catherine D. Anspon M att Camron Rugs & Tapestries' new Midcentury Modern flat-weave collection is inspired by iconic patterns and designs from the Bauhaus era, "recolored to make them brighter and more fun," says creative director Sarah Tringhese, whose father, Matt Camron, founded the company more than 30 years ago. In lieu of dark earth tones, you'll see cheerful yellows, reds, blues, pinks and oranges. Hand-woven in Egypt and Afghanistan, these flat-weaves have the casual esprit of a cotton dhurrie or Kilim, but their 100 percent wool fibers are thicker, making the rugs lay better on the floor, Tringhese says. Custom sizes and colors available, with a zippy 10- week turnaround time for an 14' x 8' rug. $2,800 to $5,600, through Interior Resources; mattcamron. com. Rebecca Sherman Maya Romanoff's legendary wallpaper was represented by Donghia for a whopping 24 years. Now the line has left that roost, teaming up in Dallas and Houston with George Cameron Nash showrooms. To celebrate, Nash has created a dazzling jewel box of a display — and, in Dallas, a public art installation à la Christo. There's plenty of reason to rejoice: Nash and Romanoff, who died in April, go way back. "Let me tell you a bit of history about me and Maya Romanoff," Nash says. "In 1987, when I was working at Hargett [the now-defunct showroom in the Dallas Design District] and I was just starting my own showroom, Maya was the only one who came with me. He believed in me. I opened up, called everyone after I got the lease, but nope, not a single one who'd promised they'd come with me did — except Maya. He said, 'You have a brilliant, artistic career ahead of you, and I want to be a part of it'. So, I went after it the way I am now, and put in a really exciting showroom display." Three-and-a-half years later, Nash lost the line to Donghia, who offered the Chicago-based wallpaper genius a seven-city deal. Romanoff and Nash remained friends for more than two decades, and shortly after Romanoff's death in 2014, Nash got a call from the company, asking to come back. "It's not a line you just throw up on the display wings and show," he says of the dazzling handcrafted designs that include mother-of-pearl, inlaid seashell, micro-thin wood veneer and flexible glass beading (which has been inducted into the Cooper-Hewitt National Design Museum's permanent collection). Nash had a glass box constructed to showcase the large panels and illuminated it all with gemstone lighting. As a tribute to his old friend, Nash plans to drape a building in the Dallas Design Center with Romanoff panels, similar to what the wallpaper company has done in the past at the Chicago Sun Times building and Fort Lauderdale's design center. "Everything comes full circle," Nash says. "It's an opportunity to sell an artist like Maya's great work." To the trade at George Cameron Nash. Rebecca Sherman A BIRD ON THE WALL MY,MY MAYA LORIS TAKES DALLAS COURTESY LORIS GRÉAUD/GRÉAUDSTUDIO. PHOTO PHILIPPE SERVENT. PHOTO GRÉAUDSTUDIO WOW-HAUS! Hunt Slonem Hutch Gold wallpaper for Goundworks/Lee Jofa Hunt Slonem Finches wallpaper for Goundworks/Lee Jofa Hunt Slonem Bunny Wall Ivory for Goundworks/Lee Jofa Hunt Slonem Bunny Wall Black for Goundworks/Lee Jofa Loris Gréaud's The Geppetto Pavilion, 2011, at the Venice Biennale Bess's Sunrise installation by Maya Romanoff on the Chicago Sun-Times building, 1988 Loris Gréaud Precious Metals II Type II Vinyl, an interpretation of Maya Romanoff 's Precious Metals hand-leafed paper Beadazzled Sparkle Geode, a flexible glass bead wallcovering handmade in Maya Romanoff 's Chicago studio River Bed hand-painted wallpaper, crafted in Maya Romanoff 's Chicago studio Matt Camron Mid-Century Modern flat-weave collection COURTESY LORIS GRÉAUD/GRÉAUDSTUDIO Loris Gréaud's "The Unplayed Notes Museum" materializes at the Dallas Contemporary

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