Using a broad array of disparate artworks, furniture, vehicles, and even bongs—a Mapplethorpe photo here, a limited-edition Lamborghini there—May has managed to put together a show that is cohesive and oddly moving. He balances out the raw and severe with some cozy and colorful moments. On a surface level, it also looks like the zenith of modern goth-tinged bachelor pads.
Judging by the roster, May appreciates those who moonlight in design or pivot their creativity into another sphere. There is a clear fashion overlap with contributions from Jonathan Saunders, Rick Owens, Mugler’s Casey Cadwallader, and Rich Aybar . A room is devoted to Aybar’s lamps, compelling conglomerations of scavenged construction debris and cast rubber.
One of May’s own chairs is also featured in the show, and before he embarked on becoming a design guru, he was a painter. “You used to have to pick a lane,” May says. “I’m interested in the ingenuity of the maker and thatto create.” May took us on a tour of “Industrialism” on its opening day. See photos of the exhibition below.Robert Mapplethorpe’s. “If you flip it over, it becomes a coffee table. Flip it over one more time, it’s a book shelf.” Photo: Clemens Kois.
“Michele Lamy is a close friend and collaborator. We’re developing an exhibition opening in September in L.A.,” May says. “This headpiece was worn by a model in her last runway show.” Rick Owens,“We’re all familiar with weird glass sculpture which isn’t the most exciting. But [Beirut-born London-based] Flavie Audi does something unique, creating her own solar systems,” May says. “The way the colors talk to each other really makes sense.
She is a very young LA-based artist. I really believe in emerging talent being in the same room with established work.” Photo: Clemens Kois.Untitled
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