Wallpapers always had their ups and downs. For example in the second half of the 1700s the Remondinis – printers from Bassano del Grappa in Italy – produced wallpapers that became popular at the time that they were used in La Fenice, Venice. Recently wallpapers have become very en vogue again. One example of wallpaper designers who have become widely appreciated nowadays are Timorous Beasties. Alistair McAuley and Paul Simmons started out in Glasgow in the 1990s concentrating their attention on hand-printed wallpapers, fabrics and blinds. They

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first worked for bars, restaurants and later also designed for big furnishing companies. Lately they worked for the UK Supreme Court in London, Ogilvy and Mather in Dublin, etc. Timorous Beasties’ motifs include giant bees, huge butterflies, thorny thistles or sensual fuchsia orchids adorn some of the wallpapers; iguanas and scary looking pheasants. One of the designs that made Timorous Beasties popular was their Glasgow Toile. Wikipedia defines toile as a type of decorating pattern consisting of a usually white or off-white background on which a repeated pattern depicting a fairly complex scene, generally of a pastoral theme such as (for example) a couple having a picnic by a lake. Toiles also often consist of an arrangement of flowers. The pattern portion consists of a single color, most often black, dark red, or blue. Originally toile was made in France in late 1700 to compete with the painted and printed cotton fabrics imported from Asia. Timorous Beasties’ toile looks similar to the old toiles, but, on close inspection, rather than pastoral or rural scenes, it features images of addicts shooting up in the Necropolis, tramps sleeping on park benches and a young lad clad in a tracksuit peeing against some bushes, while, in the background, you can spot the Glasgow University Tower, the Charles Rennie Mackintosh Church and the Armadillo building. Nina Levett is still starting out on her first wallpaper collection. She is facing technical problems with her in-house manufacturing technique. She sees similarities between her own narrative wallpapers and the works of Timorous Beasties. Most of the content here is inspired by an article about Timorous Beasties written by Anna Battista. Read the complete article here. Nina Levett talks about her new wallpaper collections and the work of Timorous Beasties. Watch her video below: http://www.youtube.com/watch?v=grw_u33VW3o

This collection encapsulates much of what makes Nina’s style so challenging and bold. The work was commissioned in 2009 by Illustrative an organization that showcases fresh, innovative and new design, and Cult Work. The purpose was to celebrate the centenary of the Italian car manufacturer, Alfa Romeo. Nina Levett had spent a month of frantic activity and considerable financial expense to interpret the design brief. In her porcelain she creates a complex swirl of action and movement in which she juxtaposes the hard, metallic, powerfully male automobile against the softer, more sexual and provocative female figures who tangle the design. She explores the car as an extension of male power that impacts forcefully on its environment. Her work fearlessly explores the negative impact of the automobile. For example, if you look

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at the wallpaper she created for this project, she transposed the Alfa Romeo snake logo into a human intestine, expelling faeces. In the accompanying collection of porcelain lampshades, cups and bowls, female figures and phallic cars dissolve into one another and are absorbed into the structure of the object. Ironically, although perhaps unsurprisingly, although Nina worked with many of the unspoken, subliminal values and images that are crucial to the success of car advertising – power, masculinity, sexual dominance and sexual prowess – the explicitness and exaggeration of Nina’s interpretation might have been too bold and unsettling for Alfa Romeo. They withdrew support for the project, leaving Nina considerably out of pocket and demoralised, but artistically invigorated by the design process itself. The project crystallised in her mind the difficulty that she faces when trying to make her frequently difficult work commercial, but the experience also resulted in the birth of a new style of art. The dense, complete coverage of a surface that she created for this project was to reappear in much of the art that followed on from it and has become a hallmark of her design technique.

The story of how Nina Levett’s studio became a Rainbow Studio

Nina Levett works with the Galerie Rudolf Budja since 2010. In the last two years a lot of energy has gone into exhibitions with this gallery: first solo exhibition “Neurotica” in March 2010, group exhibition “Femme Fatale” in summer 2010, Art Salzburg fair in summer 2010, Art Miami fair in December 2010, Luxury Please fair in November 2010, solo exhibition “Candy Girl”  in February 2011, opening of Yoshis Corner in spring 2011, group exhibition “Role Models – Role Playing” in summer 2011, solo exhibition “Round Goes Square” in November 2011, Art Miami in December 2010. Besides the cooperation with the Rudolf Budja Galerie Nina Levett also was invited to participate in other exhibitions: Milan furniture fair 2011 with Concept Store Stamm, the Austrian Museum of Applied Arts has done three events with Nina Levett in 2010-2011, Messe Frankfurt invited Nina Levett to participate at Ambiente Messe and Tendence Messe, Alessi decided to keep Nina Levett’s cutlery samples at the Alessi Museum,…

The last exhibition was deinstalled last week. Some moveable wallpapers were brought back to Vienna for the next exhibtion which will take place in Vienna this spring. The Rainbow Studio is the result of hanging the moveable wallpapers which were brought back in the studio. On the pictures you can see the effect created by hanging the modular wall panels: before and after.

If you like these works and would like a 2012 calender with these artworks please contact Johannes Schwaninger of the Steinerwirt. I attach a link to a blog article about the calender.

Austrian designer Nina Levett creates narrative ornaments for wallpapers

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and textiles. In this installation Nina Levett shows a wallpaper that tells the story of a young prostitute who has married a client but finds herself losing her identity. The title is “Believe Liar”. During the day her husband wanders about the city in search of prostitutes instead of going to work whilst she lies at home in bed trying to sleep. Words like “lie, sleep, trust” add the narrative element to the artwork. The woman is hiding behind the cushion. This is one of the options she has to escape the violence of her relationship. This is the design for the wallpaper. The background wall is made of 10m x2,5m handprinted fabric.

Dezeen has published an article about Austrian designer Nina Levett. The article states that Nina mixes imagery from punk and pop culture into her designs for textiles, wallpaper and ceramics.

Quote from the article: “I have been concentrating on ornaments for tableware, wallpapers and textiles following the tradition of the Wiener Werkstaette at the beginning of the last century but integrating ideas derived from the internet into my work,” says Levett. “It’s best summarised with three to five P’s: POP, PUNK and PORN – and maybe PROTEST but that sounds so harsh – so maybe PAIN would be better”.

Dezeen has also published a series of movies showing Nina Levett working in her studio. Watch the Dezeen movies »

Read the Dezeen article here.