a space by Joel D'Angelo
The Golden Hour
I think…I just saw Hexxus at the airport.
The New York Times recently had this interesting writeup about a new material for wetsuits, via Patagonia.
It may not be a surprise that Patagonia would be involved in using a less damaging material for wetsuits, but I was interested that the company has chosen to encourage others to work with material — instead of protecting the right to use it for competitive reasons. That seems cool!
The suit, which has begun hitting the market, is made not from conventional, petroleum-based neoprene but from a natural rubber derived from a desert shrub. It is one way Patagonia is trying to nudge along a sport that has not always been environmentally conscious despite its roots in the natural world.
Patagonia executives are also convinced that the many years of development and testing they have supported have resulted in a revolutionary material that will wind up not only in wet suits but also in everyday items like sneakers and yoga mats.…
But if they have their way, only a few of those products will bear the Patagonia name. Instead of holding the manufacturer of the rubber, Yulex, to a yearslong exclusive contract, Patagonia is encouraging its competitors to use the product, hoping to see its use grow and drive down the price.
Other wet suit and athletic apparel companies have shown interest, and Quiksilver plans to have a biorubber wet suit on the market next year.
Brooklyn-based artist Alyssa Monks is a figurative painter, blurring the line between abstraction and realism. “Using filters such as glass, vinyl, water, and steam, I distort the body in shallow painted spaces. These filters allow for large areas of abstract design - islands of color with activated surfaces - while bits of the human form peak through. In a contemporary take on the traditional bathing women, my subjects are pushing against the glass “window”, distorting their own body, aware of and commanding the proverbial male gaze. Thick paint strokes in delicate color relationships are pushed and pulled to imitate glass, steam, water and flesh from a distance. However, up close, the delicious physical properties of oil paint are apparent. Thus sustaining the moment when abstract paint strokes become something else. When I began painting the human body, I was obsessed with it and needed to create as much realism as possible. I chased realism until it began to unravel and deconstruct itself, I am exploring the possibility and potential where representational painting and abstraction meet - if both can coexist in the same moment.” Monks’s paintings have been the subject of numerous solo and group exhibitions, and her work is represented in public and private collections.
© All images courtesy of the artist