HISTORY
Hand-painted silk wallpapers were originally produced in China in the
1700s using millennia-old brush painting techniques. The material is made up of finely woven silk mounted onto a paper backing. By the 1800s, hand-painted silk wallpaper came to dominate the European market and was particularly loved by wealthy English and French collectors. The word chinoiserie (from chinois, the French word for “Chinese”) is still used today to describe the creative melange of European and Asian design. This Regency era favorite can still be seen in the preserved interiors of that period.
SOURCING SILK
The substrate for my silk wallpaper is made to order by a workshop in China. It comes in half-meter to meter-wide rolls. Because it’s a handmade item, irregularities are inevitable. Thus, part of my work is identifying characteristics of a particular roll and using that to help guide the design principles. For instance, some pigments stain more or less on certain batches of silk; other batches might facilitate more sheen, or a grainier texture. This creative constraint has produced some of my most interesting work.
PIGMENTS & GOLD LEAF
I’m personally interested in pigments
that might fade or shift over time
and therefore have a life you can observe. That said, I defer to my clients’ expectations regarding immutability as this kind of liveliness vs. permanence
in a home is an important personal preference. In this collection, all the pigments are listed at lightfast for over 100 years. I still recommend avoiding unnecessary direct sunlight on any artwork or fine furnishings if you want to preserve their original color.
The differences between translucent pigments and opaque pigments are extremely important, and another fascination of mine. Translucent pigments act as stains that soak into the silk while opaque ones function topically, as a layer that sits at the surface. The translucent pigments have little to no effect on
the texture and sheen of the material, whereas opaque pigments overwrite a new finish on to it.
Contrasts between opaque matte colors and silk-textured translucent colors appear subtle at some angles of light, but quite obvious at others. I love the way these differences produce a painting that changes over the course of the day, depending on the direction of the light and position of the viewer.
Another element you’ll see in this collection is gold leaf. I use a 24k double gold leaf for a very opaque, metallic shine. It’s applied with gold size and a series of specialized brushes.
ABOUT THE BRAND
The First Edition artworks were painted on white, silk wallcoverings. It was produced where it was conceived, in
my Los Angeles home studio. In the tradition of hand painted chinoiserie, it’s uncommon for the designer to work as the sole technician. This presents some unique challenges and benefits.
For instance, I don’t employ copy artists to reproduce my designs. Each project is unique and each seemingly repeated motif is imbued with its own subtle differences. This approach is not conducive to working with copy artists. Because of that, there is a fixed limit on the amount I can produce, so I’m selective with my projects and careful not to overbook work.
This drive for individual character is something I’m passionate about, and is easily one of the biggest inspirations for me to work in this medium.
This way of producing artwork, while certainly more time consuming, ensures the most character and individual value in every piece.
Each work is, by its very nature, a one-off, fully distinct.
DESIGN PROCESS
New designs begin in rapid brainstorm sessions with a pencil and paper. I sketch five to ten motifs in quick succession, picking only a few to refine. I research the subject matter and create test swatches where I conceive the palette and choose my painting techniques.
From there I work with my client, rendering
a precise composition that fits the design specifications. This is done digitally with the sketch overlying a blueprint or photograph. In some cases we can project the digital sketch directly onto the wall and develop the design in situ. I find this particularly helpful with larger installations.
Next, I transfer the design to substrate (paper or silk) using pencils. I then use Chinese and German made brushes to apply my pigment using a two-brush technique. A small brush applies the pigment. A second larger brush, held in the same hand, is used to blend the pigment out. Depending on the motif, I layer between three and ten applications of paint to achieve the desired look.
My last step is more abstract but equally important. Here, I need to spend a little time with a piece before it is finished, assessing whether it feels appropriately characterful, magical, and full of love. I ‘ll make minor tweaks until I get a sense of connection, and a feeling that the painting is, in a sense, content with itself.
Once the work is complete it’s carefully crated and delivered to the art framer or wallpaperer for installation.
PRICING & LEAD TIME
The First Edition collection is a jumping off point, meant to inspire interior designers and home owners. Each client project is unique, and pricing and lead times will reflect material costs and design complexity. In this collection, I endeavored to show a diversity of work that reflects my range. Projects as small as a square foot, and as large as a wallpapered room, can be accommodated.
As a rule of thumb, freehand, spacious designs like that of Tumble begin at $200 per square foot. On the other end of the spectrum, detailed, ornate styles like that of Brix and Scoville begin at $1200 per square foot.
Lead time on a small artwork (under 36″ in either dimension) is generally two to four weeks. Lead time on an art panel (under 108″ in length, 36″ in width, not abutting) is four to ten weeks. Lead time on projects with multiple abutting panels will vary.
Some of the original small artworks in this collection are available as of the print date of this book. To view available pieces, or request a consultation please visit www.KPSINGH.art