Honor Titus, punk band frontman-turned-painter: ‘jazz is the catalyst for everything’

Sitting down to write about Honor Titus – one of five contemporary creatives spotlighted by Wallpaper* guest editor Kelly Wearstler in her October 2022 issue takeover – scrolling through images and recalling the instances I have pondered on his work, I feel the immediate compulsion to play jazz. ‘I listen to jazz because it makes me feel good. Jazz is the catalyst not only for my work, but for everything,’ he tells me later when I mention this. This much is clear.  Before transfixing the art world with his flat planes of colour, Titus was the frontman of hardcore punk band Cerebral Ballzy, which he formed with his friends as a teen. Music is in Titus’ genes. His luminous tones captured within thin black lines give musical drama to his faceless figures. Portrait of Honor Titus. Photography: © Gia Coppola. Courtesy of the artist and Timothy Taylor, London/New York They are stills from recalled memories: a woman rushes down to the subway in white stilettos under a red sky; a penny-loafer-wearing girl swings her legs on a balustrade; a tennis player contorts backwards to meet the racket with the ball with such extremity that she almost skews the perspective in the composition. They are whimsy and wonder, with a touch of knowing irony that makes it endearing. ‘My parents danced in front of a piece entitled Brownstone Waltz at my first exhibition in New York,’ Titus divulges. Such a scene would work well within his oeuvre. ‘Honor is one of the most coveted artists working today. His paintings feel both fresh and timeless, they are clearly part of a tradition, but are also full of life’ – Kelly Wearstler How does Titus think of his work? Narrative and feeling play heavily into the imagery: ‘I’ll say that I am quite sentimental in my work. What does the produced picture conjure? How does it make me feel? Said produced picture can be very comparable to a perfect stanza, chapter or tune.’ The work is extremely self-referential, but when has it been possible to strip the lives of the artist from art-making? With Titus, it seeps through with purpose and conscious awareness that putting paint to canvas conjures intimate passages in artists’ lives. ‘This makes me think of Pierre Bonnard and the Intimist movement, when these fabulous French painters would depict their domestic lives. Both are very personal and also quite anonymous,’ says Titus. Honor Titus, Roland Garros, 2020. © Honor Titus. Courtesy the artist and Timothy Taylor, London/New York ‘The scenes conveyed are inspirational and inviting; they also make me think of my found photo collection. I love to imagine their struggles, hopes and trysts. Also to admire their beauty in that very specific moment.’ Standing in front of his work, we question which page we are on, what moment has been crystallised and why this crystallisation of moments feels unstable. ‘I’ve been told that my work feels as though there is a before and after. I love that.’ In his new series, to be unveiled at his solo exhibition at Timothy Taylor in London in November, Titus looks at traditionalism and class, to make a ‘loose yet dynamic take on debutante culture’. He adds, ‘to capture coming-of-age youth at parties, in ballrooms, dancing, in gowns and bow ties makes for a good picture. It can be that simple.’ Honor Titus, Self Protrait, 202. © Honor Titus. Courtesy of the artist and Timothy Taylor, London/New York Titus is deftly straightforward yet enigmatic at once. While telling it as it is, he leaves room for flourish and drama. Much like his references: pop, French painters such as Félix Vallotton and Maurice Denis, a fusion of bold, bombastic and intimate, romantic sensibilities. Where does that put Titus? ‘I’m just a sentimental Black boy from Brooklyn who has read Evelyn Waugh, played with Black Flag and The Strokes, now dances to Charlie Parker, sat with the works of Édouard Vuillard and Edward Hopper, who is still seeking to learn after all these years.’ §
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Kyoto’s Maana Kiyomizu boutique hotel is the epitome of modern craftsmanship

A contemporary sunken bathtub in soft sand shades with views across a 16th-century shrine; a clean-lined Danish sofa alongside a room of delicate washi paper panels; and an abstract French pendant light plus crafted screens of woven bamboo. Welcome to Maana Kiyomizu, home to a sleek Kyoto collision of past and future. The latest addition to the ancient city’s hospitality and creative scene, the boutique hotel spans a network of renovated century-old machiya townhouses on a quiet lane in the Higashiyama district. Eating, sleeping and shopping at Maana Kiyomizu One of the suites at Maana Kiyomizu The project ticks off a hat-trick of activities – eating, sleeping and shopping – with three suites for overnight stays; POJ Studio, a shop specialising in modern Japanese craftmanship and art; and Kissa Kishin, a stylish cafe serving up seasonal cuisine. ‘Our vision for this project is to bring the essence of ancient Kyoto into the modern world, through an intimate journey of food, crafts and stays,’ explains Hana Tsukamoto, co-founder and COO of Maana Homes, which produced the project and also runs two other machiya residences in Kyoto. View from a suite Co-founder Irene Chang adds: ‘We wanted to bring creative and vibrant energy into the neighbourhood community with an unexpected, refreshing approach to machiya. We hope to inspire a renewed perception towards them, and how they can be reimagined to fit into our modern lives.’ From the outside, Maana Kiyomizu – which opened its café and shop this month and will launch suites in November 2022 – blends in easily with a typical Kyoto streetscape of low-rise machiya. Stepping inside, however, the ambiance immediately tilts into a more contemporary dimension. Renovated by Kyoto architects Shigenori Uoya and Takeshi Ikei, the spaces are contemporary and minimalist, with smooth textures, soft curves and a light-toned palette that evokes a refreshing edge for machiya interiors. The first suite has a calming backdrop of sand-toned walls, which encase the bed and flow into a sunken bathtub, alongside abstract paper lanterns and a wall of windows overlooking nearby Toyokuni Shrine. The second has a contemporary living space, with a serene ‘Petal’ pendant light by Elsa Foulon, Karimoku Case Study dining chairs and a nook room with a minimal arc entrance, wrapped in a warm orange shade by Copenhagen’s St Leo. The bathroom – a signature feature for Maana Homes – has a bespoke Shigaraki ceramic bathtub handmade by artists in Shiga, beneath a delicate eggshell-like hanging pendant crafted by artist Gaku Nakane (whose work will feature in a POJ Studio exhibition from October). Bathroom Upstairs is another scene of modern craftsmanship: the master bedroom is wrapped in lattice-like screens of woven bamboo known as takekomai – a structure that is normally hidden beneath traditional tsuchikabe (wattle and daub) plaster walls. A further guest room is serenely cocooned in panels of handmade washi paper by artist Wataru Hatano. The modern Zen-like atmosphere continues in the third suite, with its smooth, softly toned expanses of plaster, minimal seasonal blooms and antique wooden bench, balanced by the clean, modern lines of a sofa from Danish brand Menu. Peppered throughout are POJ Studio details, from the clutches of abstract chochin lanterns to the amenity boxes, plus items such as tea sets, all available to buy next door. The shop itself sells a curated selection of its homeware and crafts, while also offering intimate workshops in activities such as kintsugi (repairing broken pottery with gold) and a concierge service specialising in access to artisans and artists. Interior and exterior of Kissa Kishin café Kissa Kishin is the final ingredient. The little sister of a celebrated restaurant in Kamakura, a coastal town just outside Tokyo, the new Kyoto café has a clean-lined façade of glass walls and a white noren curtain. Inside, against a contemporary backdrop of bespoke Maana Homes-designed Aria furniture, paper lanterns and artworks by Akari Karugane, relaxed Zen-inspired cuisine is served up (the signature breakfasts are already a favourite locally).  ‘Our design process has always been organic, not constrained by any style or trends,’ adds Tsukamoto. ‘For Maana Kiyomizu, we really aimed to push the boundaries and challenge typical perceptions of machiya. Until now, there hasn’t been such a risky, contemporary attempt at machiya renovations.’ § POJ Studio at Maana Kiyomizu
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Modernist design codes breathe new life into a 1960s São Paulo house

A 1960s house in São Paulo has been given a modernist rethink by BG Studios, which has created a minimalist base for furniture brand Wooding from Nino Ferraz’s original 1962 design. The house, in the residential neighbourhood of Alto de Pinheiros, now encompasses the clean design codes of Rafael Espíndola’s furniture brand. Wooding, created in 2018, is defined by its sleek pieces that incorporate wood, making for streamlined forms. Inspired by the pure elements of Scandinavian design, the refurbished house design drew on the original drawings as a starting point for the refurbishment. Everything from the structure to the aesthetic was reworked, from a broken floor in the entrance hall being lovingly restored to the intensity of the lighting adjusted. ‘We wanted to make our language more plural, to bring different perspectives with regard to design,’ says Espíndola of the concept, which reflects Wooding’s distinctive aesthetic. ‘Discovering how to approach a redesign process was fundamental,’ adds architect Murilo Gabriele, who centred the design around Rodrigo Oliveira’s naturalistic landscaping. Outside, the rich green tones of the foliage make a verdant frame for the deck, originally a patio and pool area and now covered by a wooden marquee. A reworked metalwork main staircase makes a striking focal point for Wooding House, which is filled with furniture from both Espíndola’s own brand and Brazilian and European brands Zanini de Zanine, André Grippi, Rodrigo Ohtake, Ricardo van Steen, and Studio 3955, making for an elegant space that will also act as a destination for art, design and architecture events and exhibitions. ‘We had the vision to breathe new life into the house, not just as our space, but as an architecturally significant building for the city, a project worth saving, and preserving for future generations to enjoy,’ adds Espíndola. §  
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Purple iPhone 14 wallpaper pack

With the iPhone 14 Pro in Deep Purple and iPhone 14 in Purple, I am really excited about the upcoming lineup. While the iPhone 12 also came in purple, this is the first time a Pro level device is being...
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These home accessories by Massproductions feature ‘the rules plus some magic’

When Massproductions’ design director Chris Martin presented the company’s new collection of domestic accessories, he dubbed the collection ‘the rules plus some magic’. The Swedish furniture brand is known for its neo-modernist furniture collections that blend well-considered design and attention to the manufacturing process. ‘The Little Things’, as the collection is called, includes smaller furniture pieces and accessories, objects ‘with the ability to gild everyday life’. ‘Trippy’ vase, £1,303, shown at the Massproductions store within an installation by Paul Vaugoyeau  The Little Things includes mirrors made of polished aluminium, a candle holder, a rubber door wedge, a shelf, a wine rack and a vase and a small table. Cushions and wall hangers, launched by the brand over the past few years, complete the collection.  ‘I wanted to change the scale of the things I normally design,’ says Martin. ‘It turned out that it is a similar process as when I design furniture; it is the same struggle, even for smaller objects. But the reward is worth it, because as the saying goes, it’s the little things that make a big difference.’ ‘Universal’ door wedge, £82 Martin describes the creative process for the collection as a transition from the rational to the madness, creating a contrast between an object’s functionality and the design approach. The shape of the ‘Trippy’ glass vase, for example, is defined by ‘the mood and creativity of the glassblowers that day’, while the ‘Memory’ mirrors simply feature a folded piece of polished aluminium (a decision based on learning the environmental impact of glass mirror manufacturing). The collection is presented at Massproductions’ store, which opened in February 2022 in an Art Nouveau building in Stockholm’s Södermalm, originally designed in 1912 by architect Sam Kjellberg with new interiors by Massproductions’ creative director and CEO Magnus Elebäck in collaboration with Specific Generic. For the launch, multidisciplinary designer Paul Vaugoyeau created a foil-clad room at the back of the store. ‘Although all objects in The Little Things come from one and the same hand (Chris’ left hand), they have no obvious relationship,’ comments Elebäck. ‘But just like with our furniture collection, it is only when you look closer and live with the products that the common thread emerges. A thread that is spun by ingenuity, function, relevance and tactility.’ § ‘Marcel’ coat rack, £570 ‘4PM’ table, £576 ‘Silo’ modular winerack, from £127  
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Wolfgang Tillmans on shaping photography as we know it: ‘I want to lay reality bare’

Wolfgang Tillmans has shaped the world of photography as we know it. Over a prolific, 35-year career, the German photographer has infused an unvarnished intimacy and a playful sense of observation into his images. Today, his fascination with the everyday is emulated in so much of the imagery that envelopes us. The full extent of his wide-reaching influence is palpable when walking through his first major survey in New York, now taking over the entire sixth floor of the Museum of Modern Art. Titled ‘To Look Without Fear’, the stunning retrospective brings together approximately 350 photography, video and multimedia works, displayed in a loose chronology for the first time.  Curated by Roxana Marcoci, MoMA’s senior curator of photography, the exhibition is a profound and emotional look back on Tillmans’ career. Spread over 11 galleries, it charts the artist’s depictions of identity, sexuality and gender, his political and social engagement and activism, his fascination with astronomy, science and technological advancement, as well as his passion for music, instrumentation and composition. An accompanying catalogue and a separate tome of interviews and writings, titled A Reader, complete this deep dive into Tillmans’ multifaceted practice. Installation view of Wolfgang Tillmans: ’To look without fear’, on view at The Museum of Modern Art, New York from September 12, 2022 – January 1, 2023. Photography: Emile Askey A culmination of eight years of work – including five devoted to shaping the show and over a year-long delay due to Covid-19 – ‘To Look Without Fear’ is intricate and multilayered. It begins in 1986 with early abstract experiments with a photocopier, including Tillmans’ first self-portrait, and soon gives way to images chronicling the development of his non-confrontational style, representing sexuality and gender in the mid-1990s. Among the notable bodies of work are his odes to club culture, as seen in Chemistry Squares (1992) a series of intimate close-ups taken on a single night at the weekly Chemistry party at London’s Soundshaft nightclub. Elsewhere, the artist’s obsession with Concorde is captured in a wall grid of 56 photographs from 1997, documenting the plane’s take-offs and landings. There is a beautiful tension in directing attention to the mundane – instead of elevating it, Tillmans recognises it for what it is. ‘That insistence on being honest was at the core of what I wanted to convey in the early 1990s,’ Tillmans says, a week before the opening. ‘To take an honest look at life and to take me and my generation seriously, not to look at us as a passing phase or as crazy young people, but to look at the seriousness of life, which now I say without fear. I felt all the joy and exuberance of partying, but I also felt the weight of existence. It’s hard to be alive and hard to bear that hardship. I guess that’s what sets [those pictures] apart. It’s not something one can claim, because it can’t be faked. I want to lay reality bare. Somehow, the pictures show reality and life in its complexity and its beauty, but it’s also not embellished.’ Wolfgang Tillmans, The Cock (kiss) (2002). Image courtesy of the artist, David Zwirner, New York / Hong Kong, Galerie Buchholz, Berlin / Cologne, Maureen Paley, London This authenticity is especially pronounced in the way Tillmans has configured the exhibition, which he personally installed over 16 days with his studio team. In defiance of institutional conventions, the work oscillates between being taped, hung with bulldog clips and mounted in frames on the walls. There are also magazine pages and the artist’s collections of newspaper clippings that have been printed and exhibited with equal reverence. The scales and formats at which images have been printed and displayed are also specifically designed for MoMA, reflecting Tillmans’ push for creating a visual democracy. By ignoring institutional norms and signals, the installation reassigns values to the works on view. ‘I like the viewer to attribute value [to images in] the way they see things themselves, and not to guide them by a system [like] the biggest picture is the most important and the smaller ones are some flotsam or side dish,’ he says, while explaining how a small picture of a Shaker building in Maine (Shaker Rainbow, 1998) was actually presented as a 12-foot-tall print in another major museum exhibition. ‘It’s really a question of play; I wanted to retain a playfulness in the process of making this exhibition because that element has also led to other exhibitions which people loved, and only because I did those exhibitions, did I end up at MoMA. Not being burdened by the exceptionality of the setting was important.’ Installation view of Wolfgang Tillmans: ’To look without fear’, on view at The Museum of Modern Art, New York from September 12, 2022 – January 1, 2023. Photography: Emile Askey He adds, ‘When discussions first started, MoMA was still holding two concurrent exhibitions on the sixth floor. In 2019, that policy changed with the opening of the new building [by Diller Scofidio + Renfro], and since then they have occasionally opened solo shows on the entire floor. I feel incredibly lucky that I was taken forward as the first exhibition to reopen the sixth floor, [which] had been shut since the Donald Judd exhibition [in 2020].’ ‘Now that I look at 35 years of work, it’s become justifiable for me to actually order it chronologically, which I normally don’t do in exhibitions,’ he continues. ‘A large part of the audience will not have been old enough, or even born, to have seen my exhibitions in the 1990s, so I wanted to give people this experience to see the work in the context of its own time, and to revisit its relevance.’ Installation view of Wolfgang Tillmans: ’To look without fear’, on view at The Museum of Modern Art, New York from September 12, 2022 – January 1, 2023. Photography: Emile Askey With so much of Tillmans’ past and present work focused on forging togetherness and human connections, there’s an added poignancy that comes with the retrospective opening after people have endured prolonged periods of isolation. The first rooms of the show and being met by a plethora of candid portraits and documentary images depicting youth subcultures, fashion and music from the late 1980s and early 1990s, revives the original subject matter with a deeper resonance, simply by capturing what we have been recently deprived of – revelry, spontaneity, physical contact. ‘The friendliness of people going out and sharing a safe space in a club is something quite spiritual,’ Tillmans reflects. ‘I’ve often felt that a loving club moment is not so dissimilar [to a spiritual experience] because there’s a sense of solidarity, which is the only thing we have. The word sounds kind of socialist, but solidarity is actually only putting yourself in the shoes or in the mind of someone else.’ Wolfgang Tillmans, Silver 152, chromogenic print, (2013). Image courtesy of the artist, David Zwirner, New York / Hong Kong, Galerie Buchholz, Berlin / Cologne, Maureen Paley, London Empathy is a grounding element in the artist’s work, even beyond Tillmans’ portraiture. His ‘Silver’ works from the 2000s, where photographic paper is fed through a developer that has purposefully not been cleaned, capture unpredictable chemical reactions, encounters and reflections, which are then enlarged, prompting introspective contemplations about existence and humanity. There are also new additions to Truth Study Center (2005-present), which features collections of photocopied news articles, printed online stories, photographs and other ephemera that mingle together collage-style on architectural display tables, and continue the artist’s interrogations of what we think of as truth.  The survey also notably includes Tillmans’ first ever listening room, where his inaugural full-length album, Moon in Earthlight, primarily made during the pandemic, makes its debut. Each of the album’s 19 tracks is accompanied by a video work, ranging from footage of hermit crabs on the beach to strips of paper arranged on the bed of a photocopier, creating a full, sensorial experience that digs into the interpersonal, while articulating both the strength and fragility of relationships.   Installation view of Wolfgang Tillmans: ’To look without fear’, on view at The Museum of Modern Art, New York from September 12, 2022 – January 1, 2023. Photography: Emile Askey ‘Wolfgang’s interest in new forms of technology comes from his very early engagement with astronomy and his passion for understanding his own position [in] on a larger planetary context,’ says exhibition curator Roxana Marcoci. ‘You can truly appreciate how his work crosses genres and is about the intersections between nightlife and portraiture, cameraless abstractions and documents of the social. Regardless of format or medium, Tillmans continues to bring authenticity and sincerity to his images, which is especially potent in an era where there is a camera in almost everyone’s hand. ‘As I look through the [MoMA] show, I can really say why something is where it is and what it signifies in this ongoing consideration of thinking [about] what pictures mean today, and what making pictures mean. When I started, I had no idea that photography would be so at the core of everyday life, and [that] the work [would] still have its own territory,’ he reflects. ‘I’ve always felt that I want my photographs to look like what it feels like to look through my eyes.’ § Wolfgang Tillmans, blue self–portrait shadow (2020). Image courtesy of the artist, David Zwirner, New York / Hong Kong, Galerie Buchholz, Berlin / Cologne, Maureen Paley, London  
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Astrophotography Milky Way galaxy wallpapers for iPhone

Enjoy the colors of our own Milky Way galaxy with these astrophotography iPhone wallpapers.
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