Jeremy Everett on his New Repossi Installation at DSM New York

Jeremy Everett on his New Repossi Installation at DSM New York

Jeremy Everett on his New Repossi Installation at DSM New York

The piece is a celebration of Repossi's newest capsule line, inspired by Japanese simplicity.

The piece is a celebration of Repossi's newest capsule line, inspired by Japanese simplicity.

Text: Mariana Fernandez

In a new work for Dover Street Market New York, multimedia artist Jeremy Everett created an installation to accompany the launch of Repossi’s Antifer en Chute collection, a capsule line available exclusively through DSM stores.

On the ground floor of DSMNY sits Everett’s compilation of clear blue boxes, a work that while maintaining a clean preciseness also manages to seem raw, almost unfinished. Like Repossi’s minimalist, Japanese-inspired collection, Everett’s piece lacks superfluous elements, relying instead on simplicity and repetition.

After obtaining a bachelor’s degree in landscape architecture from Colorado, Everett went on to study art with Bruce Mau at the University of Toronto. His work, heavily influenced by architecture and Land art, possesses the same austerity and open-endedness as that of Robert Smithson and Michael Heizer.

V spoke to Jeremy Everett about the intersection of architecture and jewelry, Rem Koolhaas, and what makes spaces interesting to him.

What was your inspiration behind this installation?

I am interested in the architecture of inventory and the notion of storage and how this architecture can be easily adapted to any space or situation. Forms such as stacks and piles are very modular objects. They refer to systems in architecture and modular infinite possibilities. It all relates to the possibility of creation of forms within repetition.

How does the concept behind it fit into Repossi’s Antifer en Chute collection?

A stack of windows is a very honest, raw shape; there is no unnecessary design or aesthetic superfluous elements. I wanted to combine this function with refined materials and create a new concept for the classic jewelry box that is entirely about framing a space for the object inside. The boxes create a transparent framework and pattern for viewing and an unconventional volume to fill the pop-up space entirely with the object that is being presented: the new collection of jewelry. I studied and worked several years with Bruce Mau and entered Rem Koolhaas's world. I think they reinvented displays for Repossi questioning the entire retail structure in the Jewelry world by presenting Gaia's work in a sufficient environment, which I think, is in perfect balance with her work.

Can you talk about the other installations you have created for Repossi?

The last installation I did for Gaia at Dover Street Market London used plants growing against architectural constraint. Grass adapting to and growing out of a steel cage. An orchid jammed in an open display. Or an oversized tropical plant growing against the architecture of Rem Koolhaas and OMA. This vocabulary relates directly to Gaia's work. Each piece of jewelry is worn and adapts to the body, possibly scratched by objects in daily life. The accumulation of marks from living and the adaptation of a piece of gold to your body is what makes jewelry interesting to me.

A lot of your work has a relationship to plants and to life, but this one seems a little different, slanting more towards architecture. Can you dissect the piece?

I am interested in the moment architecture is naturally modified by the functions of daily life. The framework of boxes gives each piece of jewelry a volume for contemplation by the viewer, a moment to understand visually and physically the precise handmade shape of Gaia's new collection.

Cities and landscapes seem to be a big part of your creation process. Did the fact that it would be exhibited in New York play a role in your creation of the piece?

With this concept I wanted to express a universal system or language. Land art, Smithson, and the freedom of the environment are to me essential references. The space and its angular shape were more of a work that required construction, whereas in London it was more an accident, a work in situ where the space had to surprise. I imagine this display traveling to Tokyo Ginza or London, the shape of the elements will adapt to specific needs of those spaces.

The Antifer en Chute collection is available in black gold, rose gold, and copper gold, in all Dover Street Market stores.

Credits: Photos courtesy of the artist and Dover Street Market.


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