One glance through 'saudade'























© from Jeremiah: Inspired Interiors by Jeremiah Goodman and edited by Dean Rhys-Morgan, published by powerHouse Books.

One is never the same again, even if someone wanted to. After glittering a fashionable pounder of dust from a piece of nice furniture, those ages are in place to tell a story about time and life itself. To crystalize a moment in a painting about interior design architecture, in a period where fast tweets are a fashionable downsize to ground zero of empathy, is something one have to lay back and stop to see. That is to make a point, and not a version. Because time putted to place in pastel colors is something which refers to a present that is already out of date. For some. But not forever.

The work made by American illustrator Jeremiah Goodman (1922-2017), is interior, literally, in this sense of belonging to a place, and being also an external evidence of something very intimate. The interior design and architecture of buildings after owners have taken and transforming them. Some are just there for ages. Where we place objects, dispose spaces and welfare, reveals a personal choice. So personal real thoughts and clear or not so clear evidence of thinking is designed to cover the void. And if the void is just inexistent? For some it is easier to posture welfare then for the main population. Rich people are to attach some knowledge to what world is made off, because they can, a knowledge that as to be connected to a kind of cultural insight, and the word ‘kind’ here is not an adjective. 

Is better for that and a culture to have meaning! The world is very detached from a formal and universal idea of balance. Differences are higher and in strong contrast. So, maybe is because Jeremiahs work belongs to a cultural heritage, we cannot dissociate from, maybe that’s the reason it makes covering details from someone’s everyday life so interesting to address and see and reproduce as a visual opinion to take on account. As a probe for a future memory bank. To see with those eyes who make a fair interpretation about a glance look inside the (interior) world we are not used to see. Why not? 

At some point of this book, within the text from a long interview with Dean Rhys-Morgan, editor for and by means of an interior-fashion-artist-promotion setting and work load approach, with beautiful painting works combined lettering to introduce some aspects of Jeremiah Goodman work, he (Jeremiah) confesses to like this Portuguese word named “saudade”. For its capability of summarizing a feeling of belonging to a place and things one is far away from, but that are more permanent in his memory. The most significant side of that approach is that Jeremiah refers “saudade” as being quiet. When sometimes, or most of the time, it is not at all quiet, what makes him a very generous person.

Yes, people tend to transfer their thoughts through a combined and complex setting of ideas, colors and dreams. Jeremiah translated them to paper. Not in the 'web', despite the web ability it demonstrates when reluctant but assuming a non-fatal risk. Initially, within interior decoration cover magazines and at some stage free lancing his talent to newspapers, where strong contrasts are needed because paper 'absorbs' many layers. Asked regularity and good pay checking helped him crossing the fairs of not knowing a person in the business, carving the path through stuff in life. And life, everyone knows, is difficult.



© from Jeremiah: Inspired Interiors by Jeremiah Goodman and edited by Dean Rhys-Morgan, published by powerHouse Books.

People in general does not live like Jeremiah Goodman lived. This book is also kind of a chronologic piece for his own lifespan, presented and edited with a purpose of helping strangers to understand meaning and importance of working with our own hands, drawing, sketching, also through complex agendas, wills and demanding deepness one can only maintain with a strong and very well based interpretation of life and matters. For it reveals thought, site seeing and a package of cinematic ulterior images putted in a canvas, plus long hours and previous rehearsal to convey an author and his venue. Not always by choice, but being in the right place at the right moment, and taking a chance through the somehow absurdity of not knowing exactly how tomorrow would end up. 

This book edition to be launched in October 2018, is a good message for either those who deny their past or present when it relates to interior architecture design, or within ‘interior’ decoration world, because avoiding it for its apparent setting of pastiche. Or for those shamefully opposing some of its excess, colorfully using of fabric and diverse materials enhancing an idea of ‘comfort’. This counter act opposition is of course made in absolutely ignorance, because based on knowledge it is of course not done at all.   

In a way, minimalism and function, reduction to an essence, are more modern and beautiful, as a white wall with a strong contrast color put out in an object is a most common image perception to adapt. White calms down to a certain degree, sometimes with a boring smashing of dying light not thought through to end that way. Real minimalism is a reaction but also fusion, a turning point to play a message of self-awareness and capability for living with this 'I just placed in my living room, over this beautiful piece of exclusive furniture’. That’s good, and also so important as the message Jeremiah tried to pass. Like modernism or contemporary interior design. Or contemporary architecture. 

A sense of livability maybe, by one hand. A quiet rest and provocation, on the other. Because an interior/exterior concrete wall can be so texturized and seen as piece of art designed or chosen specially by its corner edge or pathos, and because we are talking about art and an artist who went over some corners to present his work as a turning point edge for interior illustration world of design. Jeremiah Goodman portraits of spaces empty of people are like a perpetual circle no one can escape from, because inserted, connected and deprived from any fear of living. People are there, but not almost there. They are a message that elapses and outbursts from any single piece he tried to describe. Sometimes better than the original space. Light, ‘always the light’, contrast and color choice, enhanced what is to be well seen and illustrated. A sophisticated glance of him talking about life into action. Out of the canvas, where strangers and well-known friends were drinking a cup of tea in expensive Chinese porcelain. (edited in 29.08.2018).

Title: Jeremiah: Inspired Interiors
Author/Editor: by Jeremiah Goodman, edited by Dean Rhys-Morgan
Publisher: powerHouse Books (Brooklyn, New York, EUA)

 

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