lifestyle

Rolex’s Sensational Submariner

Lifestyle / yachtstyle2020

Rolex’s Sensational Submariner

December 21, 2020
3:37 pm

Built to conquer the deep, Rolex’s new Oyster Perpetual Submariner reaches new heights of craftsmanship.

The new Rolex Oyster Perpetual Submariner features a redesigned, slightly larger 41 mm case

Rolex is introducing the new generation of its Oyster Perpetual Submariner and Oyster Perpetual Submariner Date, watches that exemplify the historic links between Rolex and the world of diving. Both timepieces now feature a redesigned, slightly larger 41 mm case – whose profile is highlighted by the light reflections from the case sides and lugs – and are fitted on a remodelled bracelet.

They are equipped with movements at the forefront of watchmaking technology – the Submariner with calibre 3230, unveiled by the brand this year, and the Submariner Date with calibre 3235, offering both time and date functions, and used in the Submariner range for the first time.

True to its aesthetic heritage, the new Submariner in Oystersteel has a black dial and rotatable bezel with matching Cerachrom insert. A yellow Rolesor version (combining Oystersteel and 18 ct yellow gold) of the Submariner Date presents a royal blue dial with a rotatable bezel and a blue Cerachrom insert.

The new-generation Submariner is equipped with calibre 3230, a movement entirely developed and manufactured by Rolex, and launched in 2020

Two versions of the Submariner Date, one in Oystersteel and the other in 18 ct white gold, bring distinctive colour combinations, with the dial and Cerachrom insert in different hues. The first watch blends a black dial with a green bezel, while the second proposes a black dial and a blue bezel.

Like all Rolex watches, the Oyster Perpetual Submariner and Submariner Date carry the Superlative Chronometer certification, which ensures excellent performance on the wrist.

EXTRAORDINARY HISTORY

The creation of the Submariner is linked to the development of deep-sea diving. In the early 1940s, the exploration of the deep marked a significant turning point with the advent of scuba diving. At the time, Rolex played an important role in the development and manufacturing of waterproof chronometer wristwatches, particularly due to the Oyster case, patented in 1926.

As the brand wanted to create a watch that met divers’ practical needs as closely as possible, in the 1950s it began an experimental process that involved many successful collaborations with diving pioneers. The experiments carried out and subsequent technical advances led to the introduction in 1953 of the Submariner, the first divers’ wristwatch waterproof to a depth of 100 m (330 ft).

The model has evolved from the first Oyster case, patented in 1926

Just a year after its launch, the waterproofness of the Submariner was increased to a depth of 200 m (660 ft). The watch was soon fitted with other technical innovations such as a luminescent disc on the hour hand to clearly distinguish it from the minute hand, and a crown guard.

In 1969, Rolex unveiled the Submariner Date, adding the date function. Its waterproofness, then guaranteed to 200 m, was extended in 1979 to a depth of 300 m (1,000 ft). The waterproofness of the Submariner achieved the same depth in 1989.

Over time, the appeal of the Submariner and Submariner Date has extended well beyond the marine world. With their proven performance, these tool watches have become archetypes of the action watch on land as underwater.

LEGIBILITY AND FUNCTIONALITY

When diving, being able to read the time with absolute certainty is a matter of survival. Therefore, the dial of the Submariner and Submariner Date is designed to be clean and unambiguous. The hour and minute hands, clearly differentiated in size and shape, and the hour markers in simple geometric forms – triangles, circles and rectangles – enable instant and reliable reading, preventing any risk of confusion underwater.

The dial of the Submariner and Submariner Date is clean and unambiguous, preventing any risk of confusion underwater

The Submariner and Submariner Date also feature a Chromalight display: the hands and hour markers are coated or filled with a luminescent material that emits a long-lasting blue glow in dark

conditions. On the bezel, the triangular zero marker is also visible in darkness thanks to a capsule containing the same luminescent material.

HIGH-TECHNOLOGY CERAMIC

Rolex played a pioneering role in the development of special ceramics for creating monobloc bezels and bezel inserts. Not only are these materials virtually scratchproof, their colours are also of a rare intensity and are resistant to environmental effects.

Rolex has developed exclusive expertise and innovative manufacturing methods that grant it complete independence in the production of these ceramic components.

The Submariner in Oystersteel with a black Cerachrom bezel and a black dial

On these versions of the Submariner and Submariner Date, the unidirectional rotatable bezel is fitted with a 60-minute graduated Cerachrom insert in black, green or blue ceramic that allows divers to confidently monitor their dive times.

The moulded, recessed graduations and numerals are coated with platinum or yellow gold via PVD (Physical Vapour Deposition). The bezel’s knurled edge offers excellent grip, to comfortably set dive time even when wearing gloves.

ROLESOR: MARRYING GOLD AND STEEL

Rolesor, the combination of 18 ct gold and Oystersteel on a Rolex watch, has been a signature feature of the brand since 1933, when the name was registered.

The Submariner Date in yellow Rolesor (a marriage of Oystersteel and 18 ct yellow gold) with a blue Cerachrom bezel and a royal blue dial

It is a meeting of two metals: one, noble and precious, attractive for its lustre and stability; the other, known for its resistance to corrosion, ensures strength and reliability. All these qualities perfectly mirror the elegance and performance that come together in a Rolex watch.

On the yellow Rolesor version of the Submariner Date, the bezel, winding crown and centre links of the bracelet are in 18 ct yellow gold, while the case and outer links of the bracelet are in Oystersteel.

OYSTER CASE

A paragon of robustness and reliability, the Oyster case of the Submariner and Submariner Date is guaranteed waterproof to a depth of 300 m (1,000 ft). Its middle case is crafted from a solid block of Oystersteel, a particularly corrosion-resistant alloy, or from 18 ct white gold.

The Oyster case of the Submariner and Submariner Date is guaranteed waterproof to a depth of 300 m

The case back, edged with fine fluting, is hermetically screwed down with a special tool that allows only Rolex watchmakers to access the movement. The Triplock winding crown, fitted with a triple waterproofness system, screws down securely against the case and is protected by an integral crown guard.

The crystal is made of virtually scratchproof sapphire and, on the Submariner Date, is fitted with a Cyclops lens at 3 o’clock for easy reading of the date. The waterproof Oyster case provides optimum protection for the watch’s movement.

PERPETUAL CALIBRES

At the forefront of watchmaking technology, these self-winding mechanical movements led to the filing of several patents, and offer fundamental gains in terms of precision, power reserve, resistance to shocks and magnetic fields, convenience and reliability.

Calibres 3230 and 3235 incorporate the Chronergy escapement, patented by Rolex, which combines high-energy efficiency with great dependability. Made of nickel-phosphorus, it is also insensitive to

magnetic fields.

The Submariner Date in Oystersteel with a green Cerachrom bezel and a black dial

The movements are fitted with an optimised blue Parachrom hairspring, manufactured by Rolex in an exclusive paramagnetic alloy that makes it up to 10 times more precise than a traditional hairspring in case of shocks.

The blue Parachrom hairspring is equipped with a Rolex overcoil, ensuring the calibres’ regularity in any position. The oscillator is fitted on the Rolex-designed and -patented high-performance Paraflex shock absorbers, increasing the movements’ shock resistance.

Both calibres are equipped with a self-winding module via a Perpetual rotor. Due to their barrel architecture and the escapement’s superior efficiency, the movements’ power reserve extends to approximately 70 hours.

OYSTER BRACELET, OYSTER SAFETY CLASP

These versions of the Submariner and Submariner Date are fitted with an Oyster bracelet. Developed at the end of the 1930s, this three-piece link bracelet is known for its robustness. The Oyster bracelet on these new versions is equipped with a Rolex-designed and -patented Oysterlock folding safety clasp, which prevents accidental opening. It also features the Rolex Glidelock extension system, designed and patented by the brand.

The Oyster bracelet is equipped with a Rolex-designed and -patented Oysterlock folding safety clasp

This particularly inventive mechanism comprises a rack located under the clasp cover and a toothed sliding link that locks into the chosen notch. The Rolex Glidelock on the Oyster bracelet has 10 notches of approximately 2 mm, allowing the length of the bracelet to be adjusted easily, and without tools, up to some 20 mm.

On the 18 ct white gold version of the Submariner Date, the Oyster bracelet includes ceramic inserts inside the links to enhance its flexibility and longevity. In addition, a concealed attachment system ensures seamless visual continuity between the bracelet and case.

SUPERLATIVE CHRONOMETER CERTIFICATION

Like all Rolex watches, the Oyster Perpetual Submariner and Submariner Date are covered by the Superlative Chronometer certification redefined by Rolex in 2015. This exclusive designation testifies that every watch leaving the brand’s workshops has successfully undergone a series of tests conducted by Rolex in its own laboratories according to its own criteria.

The Submariner Date in 18 ct white gold with a blue Cerachrom bezel and a black dial

These certification tests apply to the fully assembled watch, after casing the movement, guaranteeing superlative performance on the wrist in terms of precision, power reserve, waterproofness and self-winding.

The precision of a Rolex Superlative Chronometer is of the order of −2 /+2 seconds per day, or more than twice that required of an official chronometer. The Superlative Chronometer status is symbolized by the green seal that comes with every Rolex watch and is coupled with an international five-year guarantee.
www.rolex.com

A His and Hers Merry Bvlgari Christmas featuring Bvlgari Classics: Roma, Serpenti, Lvcea and Diva

Lifestyle / yachtstyle2020

A His and Hers Merry Bvlgari Christmas featuring Bvlgari Classics: Roma, Serpenti, Lvcea and Diva

December 17, 2020
2:31 pm

‘Tis the season to be jolly with Bvlgari classics. By Joseph Low

The festive season has finally arrived and with the season of gifting just around the corner, here are some gift ideas for you from the luxury jeweller, Bvlgari who has been creating extravagant pieces since 1884. From iconic timepieces like the Serpenti to the Octo Roman Watch, this “His and Hers Gift Guide” will definitely be handy for this Christmas.

For Her:

Serpenti Seduttori

This is perhaps one of the most recognised watches from the Maison, the Serpenti is cult favourite ladies watch in the market. The new Serpenti Seduttori is a riff off of the Serpinti with its slimmer snake-head case but unlike the Serpenti, it has a leather strap or a bracelet crafted with hexagonal patterns resembling scales of a serpent.

The Serpenti Seduttori comes in either white gold, rose gold or stainless steel, and options of getting diamonds set in the bezel are also available. This watch is perfect for a glamourous date night or simply an everyday watch you would wear to work.

Diva’s Dream

Another iconic motif is reimagined and incorporated into the Maison’s collection of watches. The Diva’s Dream’s fan-shape design is seen on the watch’s lugs as opposed to the necklaces and earrings where it is traditionally seen. The Diva’s Dream floral petal pattern represents femininity and sensuality, and has been stealing hearts since years ago. This time, the Diva’s Dream has once again been pushed the brand to achieve greater prowess and craftsmanship, debuting the world’s thinnest ladies’ minute repeater to date.

Gleaming diamonds are assiduously set around the case as well as the perimeter of the lugs, and its peacock motif dial combined with blue alligator strap is an ode to the opulence of the brand’s luxurious past.

Lvcea Skeleton

This collection is representative of Bvlgari’s exquisite jewellery and watch expertise. While it may seem geeky to see all the inner workings of the watch up front, under the watchful eyes of the design team from Bvlgari, it gave a breath of new life into the stale and mechanical layout. The Lvcea Skelaton is a beautifully constructed, with the moving parts resembling a carefully synchronised dance, serving as a backdrop to the Maison’s logo.

FOR HIM:

Octo Roma Watch

A clever union between Italian creativity and preeminence of Swiss watchmaking culminated into the creation of the Octo Roma watch. This distinct watch has been a mainstay at the Maison since 2012 due to its unique shape that is neither round nor square. This design code permeates the Octo Roma collection and while the overall structure has not changed much, the watch is updated to fit the contemporary styles of today. This watch is an icon of discreet luxury ideal for the modern man.

Bvlgari Aluminium Watch

While we have decided to put the Bvlgari Aluminium Watch under the list for “Him”, this 40mm timepiece is actually designed to be genderless. This 90’s symbol has a new iteration this year and like its predecessors, the watch is composed of unconventional materials such as its aluminium case and rubber bezel. This collection is a sports piece as it confers the watch up to 100m of water resitence making it highly versatile, taking you from office to the pools.

B.zero1 one-band ring

Drawing inspiration from the famous amphitheatre, the Colosseum, the B.zero1 one-band ring is now one of the Maison’s most distinguished piece of jewellery. An interesting point to note about the ring is the name “zero1”, while the “B” stands for Bvlgari, the latter actually represents the Maison’s first jewellery in the second millennium. Its design is fairly simple, the Maison’s logos are engraved on the outer side while the inner part of the ring allows for personalisation where you can have your initials inscribed. Highly minimal yet visionary, the circularity of the ring is a metaphor for the harmony of the past, present and future.

Visit Bvlgari’s website to shop for the gifts.

All images courtesy of Bvlgari

Indonesian Artist Bahaudin Seeks To Exhaust All Means of Peace Through His Vibrant Paintings

Lifestyle / yachtstyle2020

Indonesian Artist Bahaudin Seeks To Exhaust All Means of Peace Through His Vibrant Paintings

December 10, 2020
9:49 am

“Aren’t people bored to disagree and spill their blood on the earth we love?”, our differences are what make this life beautiful, but it wouldn’t it be nice to find some common ground? By Julia Roxan

Ketersambungan, 50 x 40 cm, Acrylic, Decorfin Paint on Canvas, 2020 by Bahaudin

In some cultures Bahaudin means, ‘The magnificent of the Faith’. As a young man with a powerful name, and an equally powerful set of skills, Bahaudin harnesses his talents for the greater good. Depicting messages of peace and love, regardless of one’s individual affiliation or creed, this Indonesian artist has dedicated his career to unveiling the deep-seated mysteries of humanity and the issues which it spawns, through vibrant and childlike imagery.

Indonesian Artist Bahaudin Seeks To Exhaust All Means of Peace Through His Vibrant Paintings

Pesona Nurani, 145 x 95 cm, Acrylic, Decorfin Paint on Canvas, 2019 by Bahaudin

You are now established in Yogyakarta which can be considered as the art capital of Indonesia. Tell us more about your first steps as an artist?

I’ve liked drawing since i was in elementary school. My mom was the first to tell me that she really loved the stories my drawings told. My knowledge and artistic experience has increased since studying at Indonesian Institute of Art. Apart from completing the academic process, my artistic experience was also influenced by working as part- time art handler with Serrum.

In 2015, I conducted my first solo exhibition at IAM Gallery Yogyakarta as a form of initial introduction to the public. The work showcased printmaking techniques as an achievement in visual techniques. Several months after the solo exhibition, there were many things that I still needed to learn and develop in order to become an artist. Luckily, I met Anton Subiyanto, who is also an artist. I had learned many things from him over a period of 2 months, he gave me many tips and taught me how to survive as an artist.

Working as an art handler was one of the most important career decisions I made. Through that experience, I discovered a lot of beautiful works from various artists and I was proud to display their work. The experience boosted my self confidence, inspiring me to immediately start my career as an artist and end my side job as art handler.

Refleksi Kesadaran, 100 x 70 cm, Acrylic, Decorfin Paint on Canvas, 2020 by Bahaudin

Your art is vibrant with vivid colours and cartoonish characters – yet it is easy to sense a not-so-hidden criticism of our modern societies. What message do you wish to send across in your art?

I really love the pattern of peace. For this reason, many of my works always start from a question within oneself, “Aren’t people bored to disagree and spill their blood on the earth we love?” Differences of opinion are common in the living patterns of life. Differences make colors in the beauty of life, however, it would be nice if these differences are always sought for a common thread so that they do not turn into futile feuds.

Takdir Kasih, 50 x 40cm, Acrylic, Decorfin Paint on Canvas, 2020 by Bahaudin

The inclusion of sunflowers in your art is quite frequent, what is this a symbol of?

The sunflower is not a single symbol. But to be more precise, any flowers in my works including sunflowers are part of the hopes and prayers related to beauty and peace in life.

Fourteen Thirty Eight, 145 x 95 cm, Acrylic on Canvas, 2017 by Bahaudin

What is your creative process like? Where do you find your inspiration?

Confusion in today’s problems is very mature in terms of perspective. If a red thread is drawn, my work is related to the value of peace. One of the supporting elements of the word peace is the ability to know ourselves more deeply so that we don’t always have problems outside ourselves, if there are people who do not share our understanding. I always use the packaging for the meaning of love to see other people so as not to prioritize bad prejudices.

I use a lot of colors in my work even though there are some works that use monochrome colors. For me, each color has its own energy which reinforces each other. Just like humans who have their own strength within each person.

Reference to think before making a work is about how to rearrange whatever is seen and the ideas that are caught by translating them back together with the method of contemplation. Emha Ainun Nadjib is one of the people who helps provide a bridge for broad-mindedness because he always talks about life and many things that are used as self-learning. As for me I have a close friend the curator Arga Aditya who has always helped to become a partner for discussion about anything. But the most important thing for me is the goodness of God for allowing me to get inspiration for His creation to be made into artwork.

The Sanguine, 100 x 160 cm (2 panel), Acrylic, Decorfin Paint on Canvas, 2018 by Bahaudin

You love to express yourself outdoors. You enjoy when your art is visible to all. In your mind, what is the role artist play in the society? How important is the space given to artists in modern Indonesian society?

Because artists are part of society itself, by merging artists into society, many things will be obtained such as understanding directly the problems in society and then using their own perspective to draw a common thread that can be used as a simultaneous learning curve in each work. At least for self-introspection, it is grateful if it is useful for others. Space for artists is very important because apart from being a place for work presentation, it is also a place to exchange ideas.

Ruang Lintas, 167 x 122 cm, Acrylic, Decorfin Paint on Canvas, 2020 by Bahaudin

Any current or past Indonesian artist who has influenced you?

I have great friends, they don’t hesitate to share anything with me about the world of art namely Pupuk DP, Eko Nugroho, Ronald Apriyan, M.Lugas Syllabus, Justian Jafin, Gilang Fradika, Danni Febriana, etc.

Conscience Clad in Rhetoric, 200 x 300 cm, Acrylic, Decorfin Paint on Canvas, 2018 by Bahaudin

The five words that best describe your art?

Believe, Contemplation, Sharing, Energy and Peace.

In which city can we expect to see your next solo exhibition?

I am in the process of preparing and looking for a suitable place.

Humans Today, 33 x 132 cm (4 panel), Acrylic, Decorfin Paint on Wood, 2019 by Bahaudin

Can you let our readers which is your favourite art museum in Indonesia?

MACAN Museum is my favourite as it offers many things. Beyond displaying visual works on the walls and providing available space, this museum has created several programs that invite people to know more about fine arts.

Where can we see some of you work online, are these for sale?

You can visit my Instagram to find out more.Life Resources, 150 x240cm, Acrylic, Decorfin, Silicone, Mirror on Canvas and Wood, 2018 by Bahaudin

If you were to name one mentor who has inspired you in your life and path as an artist, who would that be?

Because I love peace, the figure of Emha Ainun Nadjib offers quite a lot of perspectives on the reasoning of thinking from interpreting the debris of life so that it becomes meaningful and does not become mere waste. Mahatma Gandhi, Abdurahman Wahid and Emha Ainun Nadjib they all have their respective functions regarding peace. Emha Ainun Najib has also influenced the wisdom of living life. Becoming an artist is not just talking about the ability to understand technicalities but also formulating ideas.

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Bahaudin is contactable via email at udienaee@gmail.com or through Instagram.

Bugatti Takes Flight With An All-New Chiron Sport Dubbed “Les Légendes du Ciel”

Lifestyle / yachtstyle2020

Bugatti Takes Flight With An All-New Chiron Sport Dubbed “Les Légendes du Ciel”

December 10, 2020
9:35 am

Bugatti breathes life into steel once more with the all-new “Les Légendes du Ciel”, a concept car designed in tribute of France’s legendary pilots and race car drivers.

Highlighting the little-known link between some of its earliest race cars and aviation with a limited-edition variant of the Chiron Sport, Bugatti pays tribute to the notable and successful race driver, Albert Divo, Robert Benoist and Bartolomeo ‘Meo’ Costantini, who also flew in the French Air Force. Through unveiling an all-new Les Légendes du Ciel, the French car manufacturer of high-performance automobiles aims to cater to both vintage car and airplane buffs alike.

Bugatti Takes Flight With An All-New Chiron Sport Dubbed “Les Légendes du Ciel”

Dubbed Les Légendes du Ciel or “Legends of the Sky”, the new limited edition build represents courage, speed, and extraordinary technology, all wrapped in one. Dressed to the nines in matt grey or “Gris Serpent”, the Les Légendes du Ciel mirrors the metallic exterior colour of early 20th century planes, with a broad high-contrast, white gloss runway-like centre stripe which spans over the car’s complete body from the back to the front.

Reminiscent of the historically popular Nieuport 17 biplane, Bugatti’s latest design incorporates a double wing front, alongside mesh patterns on the horseshoe radiator grille which are intended to resemble planes flying in parade formation. Other design details include a propeller logo and “Les Légendes du Ciel” lettering across the car’s left and right front fenders, and exposed-carbon-fibre side sills painted in a Bleu-Blanc-Rouge French tricolour, which pay tribute to both BUGATTI’s and the Daredevils’ origins.

With the option of a Sky View glass roof, the Les Légendes du Ciel comes complete with a brown Gaucho leather interior, as fine and robust as the original Nieuport 17’s cockpit, whilst the parade formation, propeller logos and lettering details are repeated in the seat’s stitching, on the head rests, and along the aluminium inlay of the middle console.

Characterised by its minimalist design, the Les Légendes du Ciel lives up to the high regard, legendary pilot Roland Garros once viewed founder and proprietor, Ettore Bugatti. Describing him as an “incomparable artist who alone knows how to give life to steel”, the Les Légendes du Ciel is yet another example of expert craftsmanship and design.

Thanks to the inclusion of an advanced 8.0 litres W16 engine, this beauty takes flight effortlessly, delivering up to 1,500 PS and 1,600 newton metres of torque, whilst accelerating to maximum speeds of 420km/h. Limited to 20 units worldwide, Bugatti has since announced the commencement of production by end 2020.

New Bell & Ross BR 05 chronograph is the 1970s watch you wanted

Lifestyle / yachtstyle2020

New Bell & Ross BR 05 chronograph is the 1970s watch you wanted

December 9, 2020
9:02 pm

High on masculinity and full of character, the new Bell & Ross BR 05 chronograph exudes a quiet strength which belies its subtle elegance, hiding its perfection in the details. By Jonathan Ho

Oversized, instrumental and immediately distinctive, the new BR 05 chronograph joins the family of integrated bracelet Bell & Ross BR 05 watches. Featuring the same aesthetics driving the brand’s most iconic models, the BR 01 and BR 03, the new BR 05 chronograph is the latest in the series to play up the signature “circle within a square” element in the popular sports watch genre.

“This type of design harks back to a category of watches which appeared in the 1970s and when infused with Bell & Ross’ signature identity, the resulting graphic style is both striking and modern.” – Bruno Belamich, Bell & Ross Creative Director

“The case and bracelet form one unit” explains Bruno Belamich, the brand’s Creative Director. The new Bell & Ross chronograph is 42mm, up from the base-model 40mm BR 05 while applying the same design elements like perfectly flat satin-polished surfaces and polished bevels which enhance depth and volume, but the biggest update is reserved for the twin super-ellipse (rounded square) chronograph registers which anchors the entire look by mimicking bezel and midcase.

The New Bell & Ross BR 05 chronograph is the modern 1970s watch you never knew you wanted

While the iconic BR 01 and BR 03 are undeniably aviation cockpit inspired, it bears mentioning that the new BR 05 chronograph is evocative of an era of automotive racing watches like the 1970s Heuer Silverstone. This isn’t a criticism though, where the BR 05 chronograph excels is the fact that it is highly sculptural, recognisably modern while still seductively refined as its smaller, authentically retro counterparts

High on masculinity and full of character, the Bell & Ross chronograph exudes a quite strength which belies its subtle elegance, hiding its perfection in the details. Large Arabic 12 and 6 numerals firmly echo the design language of the original icons while not forcing the squircle chronograph registers to co-exist with 9 and 3 o’clock markers.

The 42mm BR 05 chronograph also enjoys more flexibility with layout thanks to increased dimensions, allowing the design to breathe a little better. The integrated pushers also serve as a defacto crown guard which creates a fluidity of lines not commonly found in many traditional chronographs: What results are two variations of a highly wearable Bell & Ross sports chronograph dubbed “Black Steel” and “Blue Steel” for its dial variations and available on both a rubber strap and an integrated bracelet.

The angle of the attachment to the bracelet has been carefully designed to follow the contours of the wrist, ensuring a secure and comfortable fit. The BR 05 chronograph’s identity is also built on a multitude of small technical and aesthetic details which truly elevate it: By blending fluidity and robustness, the continuity of the lines of this piece becomes a part of its identity.

BELL & ROSS BR 05 CHRONOGRAPH PRICE & SPECS

Movement Automatic calibre BR-CAL.301 with 42 hours power reserve
Case 42 mm stainless steel with 100 metres water resistance
Strap Rubber or Bracelet
Price US$5,900 on rubber / US$6,400 on bracelet
SGD 8700 on rubber / SGD 9500 on steel bracelet

Filipino Artist, Darel Betita Javier’s Surreal Visual Illusions

Lifestyle / yachtstyle2020

Filipino Artist, Darel Betita Javier’s Surreal Visual Illusions

December 9, 2020
10:38 am

Forever endowed with the pleasure of experimenting in every aspect of his work, Darel Betita Javier comes from a long line of esteemed Filipino artists. By Julia Roxan

SCREAM. Colored, pencil, 40inx30in.

Born and raised in a family of artists, Darel Betita Javier, unlike his two siblings, was not quick to follow in the footsteps of their parents. Graduating with knowledge of architecture in 1992 from La Consolacion College- Bacolod, Darel spent much of his time in North Carolina, working on construction projects, before finally returning to the Bacolod City of Philippines. Finally pursuing what he was always meant to, Darel is now a full time evolving artist, forever endowed with the pleasure of experimenting in every aspect of his work.

Filipino Artist, Darel Betita Javier’s Surreal Visual Illusions

KING, QUEEN & THE PRINCE.

You grew up in the Philippines in a family of artists. How important has been this positive family environment in allowing you to express your art?

Art for me is just like a sport. It’s a playful thing. I never imagined that someday I will be just like my late dad doing art and enjoying it. I did not take art seriously when I was younger. My two brothers were already joining art competitions from the time we were elementary and high school, but not me. It was only after I came back from the US that I became a full time visual artist.

You then emigrated to the US for a few years (North Carolina). A major culture shock and a substantially different environment from the Philippines. What major learning(s) did you bring back from the US?

To be on time. In the US, it is important to be on time for an appointment or a meeting. The people there are always punctual and they always respect everybody’s time.

THIS GIRL IS ON FIRE.

How important for you, was the recognition of your talent in 2014 when you won the Philippines Art Awards- Visayas (Juror’s Choice Awards)?

2014 is the one of my most memorable years of my life. This award is important to me, as this is where I gained confidence to work harder in my field. This was the first time my work was displayed in Manila and the first time I saw and met famous visual artists in a show. It was the time I realized that the art world in the Philippines is alive and I’m so excited to be part of it.

SELF PORTRAIT.

You are always looking for new techniques in your art (coloured pen, pen and ink, paper cutting). How would you describe your style?

For me looking for a new style and technique in art should be continuous. I’m always curious and it’s a never ending learning experience. I want to explore learning new things and styles. I think I will never be content in doing or discovering new techniques, materials and ideas.

Some of my work looks like a collage but actually it’s a painting. I often use surrealism, conceptual realism, and collaged styles.

MOTHER’S PARADOX.

You were born and brought-up in the Philippines, a Catholic country where religion is a central pillar within society. How important is religion in your art? What religious references do you like to refer to?

I am a christian, I respect all kinds of beliefs and I don’t really touch religions in my art.

What is your creative process like? Where do you find your inspiration?

I usually draw it first on paper or tracing paper before finalizing it on a canvas. I often find my inspiration from my family especially from my wife, who has always believed in my work, since the beginning. She is a very supportive wife, and for an artist that is a very important thing.

ARISE.

Which is the role the artist plays in the society? How do you view the current art scene in the Philippines? How important is the space given to artists in modern Filipino society?

Artists help people and communities find their voice to be heard through art. It helps people express their feelings and learn to appreciate colors, textures, emotions and the beauties around them.

The Art scene in Philippines is very alive! A lot of new art galleries have opened, and more art exhibitions are happening. More young people have begun to appreciate art, and there are more younger art collectors emerging. The art scene in the Philippines is getting more exciting every year.

STUDIO.

Any current or past Filipino artist who has influenced you?

I have a lot of present Filipino artists who influenced me a lot. I call them my art idols or the “masters”. Some of which are, Ronald Ventura, Rodel Tapaya, Andres Barrioquinto, Lynyrd Paras, Jon Jaylo and Jason Montinola.

Can you let our readers know of your favorite Art Museum in the Philippines?

Ilomoca, Bencab & The Pinto Museum but I have never been there. The Pinto Museum is on my wishlist for when this pandemic ends. It’s the most instagram-worthy museum of Asia. As it is an hour from Manila, I tried to go there many times when I have group shows in Manila but it was to no avail, I’m always short of time. Because I usually stay only for 2 to 3 days and then go back again to Bacolod. Manila is so crowded, it’s a big city. I don’t belong there. I only go there when I have group shows.

SANCHUPAPA. Oil on canvas with Toilet Pump.

The five words that best describe your art?

Exceptional unique, expressively composed, and evolving.

In which city can we expect to see your next solo exhibition?

In Manila. I have upcoming solo shows but because of the pandemic, they were rescheduled.

Where can we see some of your work online, are these for sale?

You can find my artworks and upcoming shows on my Instagram. Each post is labelled ‘available’ or ‘sold’.

SELF PORTRAIT SERIES.

If you were to name one mentor who has inspired you in your life and path as an artist, who would that be?

Of course my late dad, Eng. Eduardo D. Javier. He was an engineer, a visual artist, a muralist (who made the longest wood mural in Asia 1969), a sculptor, a Dad and a mentor.

Relive The Fragments of Luh Gede’s Memories in Her Series of Awe-Inspiring Oil Paintings

Lifestyle / yachtstyle2020

Relive The Fragments of Luh Gede’s Memories in Her Series of Awe-Inspiring Oil Paintings

December 8, 2020
10:22 am

Luh Gede’s immaculate oil paintings, effortlessly induce a sense of youthful serenity and excitement.By Julia Roxan

Representing a new generation of breakthrough artists in the Indonesian art scene, Luh Gede Gita Sangita Yasa, not only a fresh graduate from the Teknologi Institute of Bandung, but also a needle in a haystack. Realising her dreams and purpose much sooner than most, Luh Gede was quick to make the necessary life adjustments in order to achieve her goals – which have since paid off, considering her swiftly escalating recognition. Worth every bit of the attention she’s garnered, Luh Gede’s immaculate oil paintings, effortlessly induce a sense of youthful serenity and excitement.

Relive The
Fragments of Luh Gede’s Memories in Her Series of Awe-Inspiring Oil Paintings

Study #44G, 2020, Oil on canvas, 100x60cm

Luh Gede

Born in Bali in 1997, you graduated from the Teknologi Institute in Bandung, majoring in Fine Arts. And we can already see your art exhibited in galleries across Asia – that is fast ! Tell us more about your first steps as an artist?

That sounds like an overstatement, but I’ll take that as a manifestation mantra.. Graduating in the middle of the pandemic actually sucked, I took a long 3 months rest after the chaos of my final project in university then started working as a graphic designer in 2 different start-ups but quit after a month each. I could say I was bored, lost and had nothing to do but to get a job since all my art supplies were still locked in my campus studio. It was not until I faced the stress of an office workload that I realized, a 9-5 isn’t really for me nor is it personally fulfilling, I just don’t vibe with the whole rush. So, yeah I saved up, rebuilt my brush and paint collections, and took some small commissions. I’m still working out how to readjust things that work and don’t so yes, I am just starting to paint very slowly these days.Paradiso #3: Sebuah Sandiwara, 2020, Oil on Canvas, 120x170cm

“Fragments of memories”, this is how you describe many of your large format paintings. Tell us more about this work on memory and your latest series entitled “Paradiso”.

I daydream a lot. Sometimes I can’t tell if the pictures playing in my mind are from a distance past or if it’s a made up. I think it has something to do with my desire. Often times I found myself having an image of a perfect situation, a perfect person, anything. A desire for alternate realities, can be a future or just simply a dream. The Paradiso series actually has an explanatory title in Indonesia, “Paradiso: Sebuah Sandiwara Waktu ”. The Fragments here is translated into “sandiwara”; a play, like in theatre. Times play the play. The past and the future merging; creating the present on the canvas. The tensions created, that’s just simply how the broken record of memory and the ever so ideal future be haunting my mind. Like in one of my painting; “Boys in Canggu”, there are these 2 ghosts like form and honestly I didn’t know why I put it, I thought it was just funny and aesthetically made everything balanced but when I painted that part I was like “oh man, this whole concept of the painting I do feel like a ghost, instead of tryna be in an actual reality I watch people in my own dimension”.Where’s My Summer #2, 2017, Oil on Canvas, 70x120cm

Any current or past Pop Art artist who has influenced you? Has British artist David Hockney inspired you?

Hockney was a popular artist to take reference from in my year when I was in university, I guess people see similarity in the subject matters that we brought up; tropical images and pools but in my early days of painting I was fascinated by how James Rosenquist used Montage. Could actually drop countless names, in the last 4 years since I first started using oil I’ve gathered references from Justin Mortimer, Phil Hale, Luo Ross, David Salle to Kei Imazu. I saved so many arts on my instagram and other arts that I found interesting. I even painted them again in some of my paintings to make my own narration. My interest is too broad, I like my approach to painting now, combining “a bit realistic” images, flat area and a bit of abstraction. I plan to add more abstraction and expressive strokes in the future to emphasize the chaotic effect. Visually I want both chaos and balance in my paintings. The blank space either they are white or simply flat areas on the canvas are there to give visual break, like an interlude in a hip-hop album.Early works inspired by pop artists like James Rosenquist and David Salle’s composition

You mentioned several times that the evocation of Bali can bring out many “clichés” which you do not want to be associated with. Yet you live in Bali and love the island life. Tell us about the Bali you cherish and call home?

It’s like a love-hate relationship. It becomes annoying when most people are projecting their preconceived idea when I say that I’m from Bali. they would have this image about spirituality, traditional balinese paintings and all. At the same time I cannot run away from my identity. Not that I hate my ancestors, but these days, I realise the very core of my cultural background it’s so fluid. It has the potential to stay true to its core whilst also following modernity. So, it’s cool I guess.My Dogs Go on a Block, 2019, Oil on Canvas, 120x90cm

How do you view the current art scene in Indonesia? How important is the space given to artists in modern Indonesian society?

Been seeing the major artspots in Jakarta, Bandung and Jogja and I have to say my hometown is a bit late in upgrading the archival system and decent spaces for contemporary arts. Compared to those cities I think Bali has a different approach, the art space is often combined with other lifestyles activities. I worked as an intern in a gallery and I noticed the ecosystem is not so pretty like its reputation. And of the spaces, can’t say we lack of it but geographically it can be quite frustrating. Space is so important for me, where you show your work can show your value, not to mention how the artworks and the space can be more aesthetically pleasing by responding to each other. I think artists these days are given more chances to show their works in public spaces like the mall, a monument and stuff. It gives room for people to start a conversation by seeing but also critics for the artists. Art workshops and therapy are growing too, it’s just nice seeing how art has become a medium for healing in this vast modern world. Can’t find the right work to say it in English but; suka melihat seni bisa memanusiakan manusia, because we tend to get overwhelmed by the city’s life and here we have artists asking us to be in touch with ourselves and our surroundings.Paradiso #2: Sebuah Sandiwara Waktu – Boys in Canggu, 2020, Oil on Canvas, 120x170cm

The five words that best describe your art?

Vibrant colors, simulation, intriguing, pop.The New Now IV: Tension/Creation (Credit to Gajah Gallery Singapore)

In which city can we expect to see your next solo exhibition?

Can’t say an exact place, but I’ve been working on few new paintings so let the wait-and-see begin! In the meantime you can check my previous group exhibition at Gajah Gallery.Resin art

Where can we see some of you work online, are these for sale?

For now you can see them on my Instagram! I post snippets and partial pictures of my paintings there!Paradiso #5: Sprite Ads, 2020, Oil on Canvas, 120 cm x 70 cm.

Your favourite museum in Indonesia?

I’ve been to Jakarta alot and sadly in those countless times I haven’t gotten the chance to visit MACAN despite how desperate I was at everytime. So I guess Galeri Nasional Indonesia, they have so many artworks from old masters like Raden Saleh to more contemporary artists, they also have friendly guide with e-catalogue for some works. They hold exhibitions for established artists too from the country and outside Indonesia. You should go there sometimes, I think they installed the artworks based on the development of Indonesia’s art scene from the colonial.Paradiso #3: Sebuah Sandiwara Waktu – Girl Who Leapt Through Time, 2020, Oil on Canvas, 120x170cm

If you were to name one mentor who has inspired you in your life and path as an artist, who would that be?

Alot. When I was a child I was so intrigued with Van Gogh and children/fantasy writers, they would have these cute illustrations on the book; it was done so technically fine and precise but also not too realistic; I tried to copy it. From my hometown I also admire Antonio Blanco’s artworks, they are so beautiful and graceful, when I visited his museum I thought, “your art can open access to anything uh” as I saw his pictures going around the world and hanging out with Michael Jackson. That’s dope for that time. As I grew older I worked as an artisan for several artists and I just love hearing their stories and approach to life; how to cope with anxiety and to be yourself and express it through your art. I dont have the balls to name them all but I thank these 5 artists whom I’ve been an artisan for during my study. But as I came out from art school I realized my professor helped me so much by understanding my works that everything must not come in chronological order. That maybe by seeing the final artwork you’ll realize where you come from instead of being ingrained on an idea from the get go. It also gives me the freedom to develop and change whatever I want in the creating process. Whatever that fits at the moment.

–

For more information, Luh Gede Gita Sangita Yasa is contactable via Instagram and luhdegita@gmail.com.

Takashi Hara Breaks the Conventions of Traditions

Lifestyle / yachtstyle2020

Takashi Hara Breaks the Conventions of Traditions

December 6, 2020
3:32 pm

“The nail that sticks out gets hammered in,” and Japanese artist, Takashi Hara aims to be that nail who puts a dent in the hammer.

Nov 25, 2020 | By Ryan MarioImage by Charly Ho.

When we catch glimpses of Takashi Hara’s masterpieces, we think absolutely nothing about traditional Japanese Calligraphy, or Shodo, which loosely translates to “the way of writing”. Yet, it is just that age-old art form that the 37-year-old Japanese artist’s works invoke in both essence and execution, making the crux of their appreciation in the storied process than the outcome.

Around the World, (2020) 200x300cm, Acrylic and charcoal on canvas.

What were your first steps into the art industry like?

Aged 6, I was already convinced that I was to be an artist in the future and informed my parents of my decision – much to their dismay since I was constantly angering my mother by doodling on any surfaces and in pages of every possible book I managed to get my hands on. One year later at 7-years-old, I began my studies in calligraphy, which became the foundation of my artistic ventures down the road. For 2 years after high school, I was under the tutelage of prominent calligrapher Koshin Soeda. Unsatisfied with honing my skills in a single art form, I further pursued an education in the arts, thereby attaining a double B.F.A. in Fine Arts (painting and ceramics) from the University of Regina in Canada and an M.F.A. in ceramics from the Arizona State University in the United States.Beautiful Scar, (2020) 115x140cm, Acrylic and charcoal on canvas.

With traditional calligraphy as the initiating art form taught to you, the visual elements of your works are not reflective of it; so, what is the artistic direction of your style then?

I would not go so far as to say that my works do not correspond with the knowledge I have acquired in Shodo. While my pieces do not look calligraphic, they are still encapsulations of the style’s energy, brush strokes, fusion of intentional and accidental texture, and most importantly, texts. Artists like CY Twombly, Robert Rauschenberg, and Willem de Kooning are my go-to references for my adoption of the expressionism style, and Mark Rothko’s colour field paintings are the muses for my colour application. Since I made the decision to break out of my mould in artmaking, colours are what separate my style from Shodo, the present from the past. Some of my works are presented with colours and brush strokes as the subjects in themselves rather than figurative forms. I do adore the vibrant energy colours can evoke within my pieces. Also, my stints in multiple countries have taught me that remaining within the premise of a single art style will not get me very far in my career, so I began exploring with other means and mediums, such as to abandon the paintbrush and smear pigments from my fingers, to keep my artforms eclectic and relevant to the ever-shifting landscapes of society today. I would say that my style is as malleable and wavering as what the French would call the “Punk and Zen Art”.Social Survivor, (2020) 29x21cm, Acrylic and ink on kozo paper.

Could you enlighten us on the ideas behind your artworks?

Shodo prides its focus on the introspection of mind-body connection in every individual; my approach in art is similar in its concern for what lies beyond the self and extended towards social constructs in a more personal-social connection. In Japan where I currently reside in, the communities here function greatly on herd mentality. As an artist who has lived and was educated abroad, I now face a certain degree of ostracism by the creative communities as I am neither part of the local university alumni groups nor art clans. Adverse as that may seem to me, I decided to use it as the framework for my art and shed light on issues plaguing society. On top of that, artists in Japan just do not hold a candle to the likes of T.V. personalities or celebrities – contemporary artists are too stoic in comparison. As such, I began embracing my identity as a non-conformist who is exclusive in my own rights. I adopt a variety of imageries as allegories for these issues the same way Aesop uses animals in his fables to cover religious, social, and political themes. As the Japanese saying goes, “The nail that sticks out gets hammered in,” and I aim to be that nail who puts a dent in the hammer.Raging Ladybugs, (2020) 140x162cm, Acrylic and charcoal on canvas.

What are the personal achievements you have amassed with your art and what are your next steps in your creative career?

Since 2004, I have considered myself as an international artist whose works are mainly showcased in Canada and the United States with many more solo shows in parts of Asia and Europe. Due to my international presence, I managed to secure several collectors and am working closely with galleries like A2Z Art Gallery. I have to say that my achievements as an artist should be credited to renown Canadian ceramic artist Victor Cicansky. Back when I was in Canada, I became his final disciple and assistant for two and a half years, which I benefited tremendously through his guidance on professional artistic practice

I have several exhibitions planned for the next year, including my next solo show that was is slated to happen in Paris, but all will depend on the status of this pandemic. One of my more prevailing themes that I have been working on is the symbolism of pigs as a critical element in my commentaries of a manipulative society. I will be expanding on and exploring this idea works for my upcoming shows.

Around the World, (2020) 200x300cm, Acrylic and charcoal on canvas.

For those who wish to explore the fabulous fables of Takashi Hara, drop by https://www.takashihara.com/index.html or his Instagram page, @ art_x_tak.

Agus Saputra’s Paintings are Historical Documentations as They are Modern Interpretations of Traditions

Lifestyle / yachtstyle2020

Agus Saputra’s Paintings are Historical Documentations as They are Modern Interpretations of Traditions

December 4, 2020
9:50 pm

Inspired by one of the region’s most original and organic artforms, Agus Saputra depicts the legendary scenes and themes of daily Balinese life. By Ryan Mario

Dense, dynamic, and detailed – the classical Batuan-style artworks originating from the village of Batuan in Gianyar, South Bali, are immediately identifiable by their dramatic portrayals of legendary scenes or themes from daily lives. Albeit similar in concept to the Italian Baroque paintings from the 17th century, the Batuan style was indeed in a league of its own since, in contrast to its counterpart of the Ubud style up in the North, it had minimal to no outside influences, thus making it one of Bali’s most original and organic artforms, and also an immediate source of inspiration for a new age of Balinese artists like Agus Saputra.

Agus Saputra’s Paintings are Historical Documentations as They are Modern Interpretations of Traditions

Kau kah itu tuan Spies?, 150x180cm, oil on canvas, 2020

Born in Payangan in 1992, you graduated in Bali (Denpasar) where you are now established. How was your initiation into art like?

In Junior High School, I started with sketching and drawing, and at times, attempted to paint. In Senior High School, I attended a school that offered a Fine Arts major. In 2008, I was fortunate to have been offered an internship under Indonesian artist Gede Mahendra Yasa. It was through him and an extensive learning process that I was able to cultivate my interest in Fine Arts, especially paintings. Thereafter, I furthered my creative studies at the Indonesian Institute of the Arts Denpasar to obtain my academic degree.Hope #2, 150x180cm, oil on canvas, 2020

Whilst working alongside acclaimed Indonesian artist Gede Mahendra Yasa, what were the key learnings you received from this experience?

Aside from painting techniques taught to me in his studio, I was also guided on how to view and analyse the paintings through knowledge in the subjects and looking at things through different lenses. Moreover, he granted me access to his library to read and research on art and art history, which I had done so voraciously. I do acknowledge that he was paramount to my development as an artist and I am grateful to him for that.Conversation with Mead, 150 x 150cm, oil on canvas, 2020

What are the various considerations that go into the construction of your artworks?

My paintings are mostly large-scaled ones since the size does matter in my storytelling process. As a Balinese, working up from traditions is second nature to me, and telling stories comes in close second (think wayang kulit). The Batuan style which I have adopted in my works blends harmoniously with the imposing dimensions of the canvas. My rendition of said style retains its key component of creating a dense and compact landscape of elements that correspond and interact with one another. As the visuals expand from one area of the composition to another, so do the stories that weave through these imageries, thus creating a narrative that unfolds in different ways for every audience of mine.Homage to 5 Foreigners, 300x200cm, oil on canvas, 2020

You speak much of the narratives in your works; could you elaborate on some of these?

There have not been many records of the Batuan art style that is easily accessible to the masses. I have taken it upon myself to continue the legacy of this artform that is unique to our rich Balinese culture and to further document its application in modern times.

In a few of my recent works, I have purposefully conceptualised them around celebrating the efforts of I Nyoman Ngendon – one of the first Batuan painters who embraced the modernization of Balinese art that took place around the beginning of the 1930s. On top of that, my compositions also pay tribute to a few notable personalities who played a role in pushing the recognition of the Batuan art form into the spotlight. Russian-born German primitivist painter Walter Spies, Dutch artist Johan Rudolf Bonnet, and Swiss painter Theo Meier lived and worked extensively on the island of Bali, which contributed to its art scene significantly. Anthropologists Margaret Mead and Gregory Bateson who were stationed in the village of Batuan to conduct research were also instrumental in attracting the attention of Western cultural figures to Balinese culture and art. Their appearances, coupled with Indonesian pop-culture icons, within my painting Homage to 5 Foreigners reposition the value of modern Balinese art as a potential conduit for a still-life documentary that serves to inform and educate that the Batuan style is actually largely and positively influenced by external injections.Betrayal, 200x150cm, oil on canvas, 2019

What are the next steps you will be taking for you career as an artist?

I am a firm believer that artists are knowledge powerhouses who are in the field to educate and enlighten the public on subjects they are most familiar with. I intend to continue conveying what I know about history and my personal experiences through my paintings that will only grow in dimensions with each piece I produce. I do have an intention to ultimately paint a piece so large the human subjects in my work will be directly proportionate to the size of an average human.

In the coming years, I will be building towards my solo exhibitions in Jakarta, and Bali, whilst hoping to further my exhibitions throughout South East Asia.

–

Contact info:

Agus Saputra is contactable via Instagram and agustha2@gmail.com.

CG Art Space Gallery which showcases Agus Saputra’s work is contactable via Instagram or christianagouw@gmail.com.

Louis Vuitton Tambour Damier Graphite Race references Virgil Abloh’s aesthetics

Lifestyle / yachtstyle2020

Louis Vuitton Tambour Damier Graphite Race references Virgil Abloh’s aesthetics

December 3, 2020
11:11 am

Fluorescent green accents of the new Louis Vuitton Tambour Damier Graphite Race reference the strikingly bold colour palette of Louis Vuitton’s Men’s Artistic Director Virgil Abloh, a man widely touted to have catapulted Louis Vuitton into a major streetwear contender. By Jonathan Ho.

Louis Vuitton continues to march to the beat of its nascent watchmaking creativity with the new Tambour Damier Graphite Race, a sporty-chic timepiece combining modern design and watchmaking know-how. Emblematic of 21st century watchmaking, the new Louis Vuitton Tambour Damier Graphite Race makes audacious use of beloved brand motifs, while remaining faithful to its resoundingly successful original shape.

Energy and creativity come together in this new Tambour wristwatch, dark grey graphite PVD coated steel case contrasts with polished steel horns and then combined with a watch face of Graphite Damier on the dial, recalling the house’s most distinctive visual leitmotifs.

Virgil Abloh’s Aesthetic influence on the New Louis Vuitton Tambour Damier Graphite Race

The polished indexes and the fluorescent green accents of the new Louis Vuitton Tambour Damier Graphite Race, make reference to the strikingly bold and intense colour palette of Louis Vuitton’s Men’s Artistic Director Virgil Abloh, a man widely touted to have catapulted Louis Vuitton into a major streetwear contender.

Louis Vuitton watchmaking typically takes minimalist approach to design but for the new Tambour Damier Graphite Race, signature Abloh aesthetic sensibilities like fluorescent green and black recall the House’s latest menswear collection. The black strap arrives with eye-catching green accents, and can be swapped out for an even bolder green version. These same green hues appear on the dial.

While it’s not as architectural as its high-end (and more premium priced Tambour Curve Flying Tourbillon cousin), the Graphite Damier pattern beneath the subdials and numerals with the Gaston-Louis Vuitton’s V emblazoned across the dial from top to bottom, creates a visually modern and sportive appearance.

Crafted by the brand’s dedicated watchmaking division at La Fabrique du Temps Louis Vuitton, the 12, 4, 8 typography is unique to the brand, blending its deft graphic artistry with its watchmaking prowess with automatic time-only and chronograph calibres assembled at its own La Fabrique du Temps Louis Vuitton manufacture headed by watchmaking legend Michel Navas.

Louis Vuitton Tambour Damier Graphite Race Pricing and Specs

Movement La Fabrique du Temps Louis Vuitton assembled movement with 50 hours power reserve
Case 41.5mm or 46mm Sandblasted stainless steel case with anthracite PVD coating with 100 metres water resistance
Strap Rubber
The sporty, new Louis Vuitton Tambour Damier Graphite Race watches are available in 41.5mm automatic and 46mm chronograph editions at LouisVuitton.com. Prices from US$5,750.

The Rolls-Royce Neon Lights Collection Was Inspired By Sami Coultas’ Travels

Lifestyle / yachtstyle2020

The Rolls-Royce Neon Lights Collection Was Inspired By Sami Coultas’ Travels

November 26, 2020
1:20 pm

Showcasing prestigious Rolls-Royce editions in never before seen shades, this collection mimics the glow of neon lights and its natural distortion at speed.

Forget all you know about the Rolls-Royce Black Badge collection. Designed for those who reject conformity and live on their own terms, this series of all-black trailblazers has unveiled an all-new bold variety. Kicking things up a notch with added flair and vibrant colors, Rolls-Royce presents its latest Neon Lights collection.

The Rolls-Royce Neon Lights Collection Was Inspired By Sami Coultas’ Travels

Showcasing the prestigious Cullinan, Dawn, and Wraith Black Badge editions in never before seen shades of Lime Rock Green, Eagle Rock Red, and Mirabeau Blue, with Scivaro Grey, Selby Grey, and Arctic White interiors, this collection mimics the glow of neon lights and its distortion at speed.

Conceptualised soon after a suite of Black Badges grabbed headlines at the 2019 Pebble Beach event, which saw Ghost, Wraith and Dawn finished in Bespoke pastel colours, the all-new Neon Lights collection was initially designed for clients within the United States. Since then, three further iterations of each colour are now available for commission worldwide, securing a limited run of just four examples in each shade.

Representing a vibrant trilogy of Rolls-Royce Black Badges, whose inspiration come from nature in the form of near-luminous Australian green tree frogs, the flowers of Ōhi‘a lehua in Hawaii, and the exotic Rhetus periander butterfly – this collection, in the eyes of Sami Coultas, the Bespoke Designer Colour & Trim of Rolls-Royce Motor Cars, provides dramatic contrast and appeals “to patrons around the world who really dare to be different.”

A Greedy Capitalist is No More Than a Beast on Shafiq Nordin’s Canvas

Lifestyle / yachtstyle2020

A Greedy Capitalist is No More Than a Beast on Shafiq Nordin’s Canvas

November 16, 2020
7:31 pm

Malaysian artist, Shafiq Nordin takes no prisoners when illustrating certain nefarious forces as the skinless muscle-bounded beasts they are.

Regarded one of the most uncompromising and hard-hitting artists of his generation, Shafiq Nordin is anything but vanilla. Leaving the depictions of victims and casualties of geopolitical games to his less imaginative counterparts, this Malaysian artist takes no prisoners when illustrating certain nefarious forces and their evil capitalist agendas as the skinless muscle-bounded beasts they are. Drawing specific attention to the monstrous nature of humanity’s imperialist ambitions and insatiable greed, Shafiq Nordin is revered for his strong imagery, unique style, coarse outlines, and well-composed satire.

A Greedy Capitalist is No More Than a Beast on Shafiq Nordin’s Canvas

I’M INNOCENT by Shafiq Nordin, 90x90cm, Acrylic on Canvas stick on Board, 2020

You are now 30 years old, yet you started painting and drawing at a very young age of 10. How important was it for your family to allow you to express your art? Tell us more about your first steps as an artist?

Yes. My early journey into art started when I was 10 years old. At that time, cartoon characters such as Dragonball, Digimon and Pokemon were my important subject matter. As they were very popular among kids, I used to bring all my drawings to school and sell them to my friends. Back then, my starting price ranged from 50 cents to one ringgit, according to their favorite characters. I also made my own comics by drawing on my exercise books.

Family is my main support in this venture. They recognized my passion and allowed me to take art as a subject during high school. When I attended my diploma, graphic design was my first choice and fine art was the second. I didn’t have a clue about what fine art actually was. During the interview process, we were required to prepare some drawings, which would help determine the course that fit us. After the process, the interviewer classified my drawings as fine art, and from that day, I began my journey with zero knowledge in this world. That was my starting point.

During my degree industry training with Samsuddin Wahab for three months, I began to unravel my journey and career as an artist. Samsuddin gave me plenty of tips and steps on how to survive as an artist. It was during that time, that my interest toward surrealism began to arise.

On the final year of my fine art degree show in 2012 at UiTM, my artworks surprisingly received good feedback from the galleries and collectors that visited the exhibition. HOM Art Trans, a member from the group, MATAHATI, offered a few of my friends and I an opportunity to undergo a short residency, named ‘THE DOOR’. It was my first step into art scene and a stepping stone in my career as a young artist. Gathering all of the sales from our artworks, my friends and I, set up STUDIO PISANG with eight members at that time.

In early 2012, I had faced an identical crisis, where my artworks were accused of being similar to those of another artist. Critics said there was no originality in my works. Nevertheless, I kept on working and experimenting until I won the Malaysia Emerging Artist Award in 2014. This achievement marked the beginning of my new identity, one that is well received among galleries and collectors. This style awarded me a Young Gun Award in 2018 and made me a finalist of Bakat Muda Sezaman (BMS) in 2019. My installation for Bakat Muda Sezaman became part of a permanent collection in the National Art Gallery (Balai Seni Negara) Malaysia.

I have explored beyond my community, by joining several international exhibitions in galleries and art fairs throughout Germany, Korea, Philippines, Singapore, Indonesia, Australia, Istanbul and France.

‘Misi Rahsia-Buka Jalan’, Acrylic on Jute, 183cm x 243 cm, 2020

Your art is vibrant with vivid colours and fantastical beasts in surreal landscapes. Tell us more about the “psychedelic imagery” you are using and the “hidden” messages you seem to be trying to push across?

My early artwork is more dark satirical, using of gore images with a dark scheme colour. These works, align with the young rebellious adrenaline and political issues which had become my main focus. During that time, most young artists were brave and loud in producing artwork regarding politics in local art scene.

The subject matter of my works, depending on the messages that I wanted to deliver, mainly focus on surreal interflow animals. During the early days of my career, there were many artists who used human figuratives, therefore these animals became my main subjects in an effort to be different, without making my messages too direct to the viewer. Each animal has their own character that can be linked to humans too.

This can be seen at my first solo exhibition, the Imperium in 2013 at HOM Art Trans. Compared to my latest solo exhibition, ALETHEIA in 2018, the starting point of using vibrant colours in my works was inspired by international artists like Kaws and Takashi Murakami. I realize, as an artist I need to have my own strategy, target for the future and not only linger in my own comfort zone. These vibrant colours are used to highlight certain issues, making my work more sarcastic with hidden messages. My recent artworks now focus more on new characters that are increasingly vibrant and bolder.

Back in years, my works appeared more provocative and were full with political elements, however now I merely focus on critical social issues based on my personal experiences as an artist.

REVOLUTION (BASED ON A TRUE STORY) by Shafiq Nordin, Painting Installation, 95x312cm + 55x37cm (Heart), Oil and Acrylic on Jute, 2018

You work contains social and political themes (your large-scale artwork “Revolution” for instance). Do you see yourself as an “engaged” artist?

Yes, I would say I am an engaged artist. I always draw inspiration from things that happen around me. This can be seen on my work titled “Revolution”, where the issues behind the painting are about huge obstacles that can be brought down by unity and togetherness. From there, I realised art collectives are important as they exist for artists to help one another, without not simply allowing us to fall prey to certain individuals. Center heart in artwork are symbolic representations of the key to success. Actually, I’m a film enthusiast. Therefore, most of my inspiration came from films I have watched. For me, it’s like therapy for artists who are imaginative, constantly generating ideas that beyond normal.

SECRET MISSION II: RESCUE by Shafiq Nordin, 155x121cm, Acrylic on Jute, 2019

Are there any current or past Pop Art artists who have influenced you?

Definitely Takashi Murakami and Kaws! I love to watch their works and journey to becoming the best contemporary artists who actively collaborate with renowned brands. This unlimits the potential of the artwork and the work itself spreads into other lines. It doesn’t sit still only in galleries. Nowadays the trends in contemporary world bring art and society closer and closer. There’s no longer a strong border between the enthusiast and the art.

“If comerciazillation is putting my art on a shirt so that a kid who can’t afford a 30,000-dollar painting, can buy one”,Haring said,”Then I’m all for it. Art is nothing if you don’t reach every segment of people” (Keith Haring,1980).

SECRET MISSION I: WE NEED GENIE by Shafiq Nordin, 155x121cm, Acrylic on Jute, 2019

How do you view the current art scene in Malaysia? How important is the space given to artists in modern Malaysian society?

In these past few years, local Malaysia arts scene shows a positive improvement due to local galleries eagerly participating in international art fairs. Thus, international galleries impressively show some interest toward local artists and express a desire to collaborate with artists from Malaysia. This is a positive improvement, compared to 10 years ago. I hope there’s more Malaysian artists who receive global recognition. I hope more art fairs can be organized in Malaysia.

Other than solely prioritizing commercial work, it is also important to maintain dedicated spaces for new media and experimental work.

SELAMAT DATANG MR. CORONA by Shafiq Nordin, 244x153cm, Acrylic on Canvas, 2020

The five words that best describe your art?

Characteristic, sarcastic, narrative, symbolic and vibrant

JUST WANT TO SLEEP AND BE FAMOUS by Shafiq Nordin, 155x122cm, Acrylic on Canvas, 2020

In which city can we expect to see your next solo exhibition?

I completed my first and second solo exhibitions in Malaysia, and I dearly hope that my third will take place internationally. I received an invitation from a gallery in Taiwan to host a solo exhibition next year. I’m so excited for this solo as the concept and list of artists from this gallery, is one of my favourite. I hope this exhibition can bring my name worldwide.

LOST IN ALETHEIA ISLAND by Shafiq Nordin, Painting Installation, Variable Dimensions, Oil and Acrylic on Jute, 2018

Where can we see some of you work online, are these for sale?

Most of my work and progress can be viewed on my Instagram. Also, a few of my artworks are available on G13 Gallery’s website. G13 gallery is one of the local galleries that actively showcase my work in exhibitions and art fairs across Taiwan, Korea, Thailand, Singapore and Philippines. For those who have questions or seek potential collaborations, I am contactable via studio.pisang@gmail.com.

I’ WILL TAKE ALL THE BURDEN by Shafiq Nordin, 190x160cm, Acrylic on Canvas on Mdf Board, 2017

Tell us more about the purpose & mission of Studio Pisang which you co-founded with fellow artists Hisyamuddin Abdullah and Sabihis Pandi?

Studio Pisang was inspired by MATAHATI, a successful pioneering artist group in Malaysia. One of the successful exhibitions is MATAHATI ke MATA DUNIA where they hold an exhibition in New York with their own initiative.

Later, they founded a HOM (House of Matahati) as a platform to help young artists kickstart their careers. They form a big competition in Malaysia specifically among young artists who want a chance to bring their work into the spotlight. The competition is called MEA (Malaysian Emerging Artist) Award. I was one of the winners in 2016. This opportunity was actually a stepping stone for me in my career. From this competition, I had began to be noticed by many. Thus, our goal for Studio Pisang was the same, we want to one day, become a foundation capable of helping young artists on their journey. That is our dream. We want to contribute back. One of the factors that we focus on, is to only have a few members who are serious and active. Hisyamuddin and Sabihis are among the young artists who actively exhibit in the Malaysian art scene.

The Black Goat Who Defended His Master, 2018, Oil & Acrylic on Jute stick on Mdf Board, 79 1/2 × 62 3/5 in, 202 × 159 cm

If you were to name one mentor who has inspired you in your life and path as an artist, who would that be?

I would say Takashi Murakami is my idol and reference. I admire his courage to readily risk and challenge himself by producing large scale artworks. His fresh ideas and collaborations make me so impressed. His career has sparked a courage in me, to challenge myself and create something great in the future. Plus, his generous attitude of helping young artists by start kaikaikiki is one of the dreams that I want to achieve.

–

Shafiq Nordin is contactable via Instagram and studio.pisang@gmail.com.

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