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Some furniture from my Max Morris modular house.
Some are developed based on furniture created by other users.
Our little boy Max poses for his photo in the backyard. Needless to say the whole pack got a treat for being so cooperative! We love dachshunds!
Almost traditional looking Max Canyon. I had ran out of black saddle hackles and used a black pheasant rump instead.
Continuing on with John Newbury's "Time Machine Fly Box" collection of steelhead flies. See flyfishnw.com for more info.
Denver, Colorado
This photo is available under a Creative Commons license. If you use this photo, please list the photo credit as "cooper.gary" with a link back to here (Flickr).
iPhone 4S IMG_1576
Us presento a Max, el meu gat, és un Gat del bosc de Noruega i és el rei de la casa
Os presento a Max, mi gato, es un Noruego de los Bosques y el rey de la casa.
It's Max, my cat, is a Norwegian Forest Cat and the king of the house.
Max Romeo
Local: Clube Suzaninho - Suzano/ SP - Brasil
Data: 07/06/2012
Mais fotos: www.facebook.com/CronosImagens
It goes without saying: an Excellent Lunch.
(We had to change his diaper three times there... Yeesh!)
Ziglam and Brook present what appears to be the idea of a lamp as much as a functional object: their work resembles artist Michael Craig-Martin’s outline drawings, in which he tests whether we recognise an object from the most basic information about it. What are our archetypes of furniture forms? Stripped of their normal colours, and every other attribute other than the outline of a form, can we still register the ‘lampness’ of an object? The Wire lamps are like 1970s computer drawings of real things: they are the essence of an object. We recognise a symbol of a lamp – a representation of it as much as anything else. The disjunctures of scale, form and function that Ziglam and Brook play with are meant to invite us to consider whether ‘traditional’ or ‘modern’ are competing choices of style – or whether they are two sides of the same coin.
Max Lamb has created some of the most exuberant, boldly coloured and adventurous furniture of recent years. He has a commission in the V&A this October, having studied in the North-East five years ago, before continuing at the Royal College of Art and working with Tom Dixon.
His two pristine aluminium tables created for manufacturers Deadgood uses very a simple, straightforward material to stunning effect. Lamb has made an ingenious use of the most standard process used to treat aluminium – anodising – to create gentle fades of colour across each plane. This process mean that each object is unique rather than being ‘standardised’. It also means that each work remains ‘true to its materials’ – we see the material that it the structure is made of, rather than it being covered by a separate skin of paint.