INTERZONE 1 REVERSE ORDER IN PUGLIA

' I WAS INTERESTED IN VISUALISING SOME IDEA OR CONCEPT OR PSYCHOLOGY. IN THE BEGINNING I WASN'T SO INTERESTED IN DESIGNING CLOTHES ' ADMITS SIMONS, LOOKING RESTED AND TANNED AFTER 32 DAYS OF VACATION IN PUGLIA - A PLACE AT ONE POINT HE MIGHT HAVE DESCRIBED AS AN ' INTERZONE '. WHY DOES THIS NOT SURPRISE ME OF THE PLACE WHERE SIMONS CHOOSES TO RELAX? WE ARE STANDING ON A REMOTE PART OF THE COAST OF SOUTHERN ITALY, AT A HOUSE RIGHT ON THE TIP OF THE HEEL OF THE BOOT. ' THIS PLACE IS WHERE TWO SEAS MEET, THAT'S WHY IT'S SO WILD HERE ' SAYS RAF SIMONS.

LIGHT ZONE ARENA HOMME PLUS WINTER/SPRING 09/10 . DARK ZONE MAN ABOUT TOWN AUTUMN/WINTER 2010 . ALL PHRASES ARE IN REVERSE CHRONOLOGICAL ORDER.

INTERZONE 2 REVERSE WAVES IN PUGLIA

LEFT WAVE GÜNTER UECKER, GEWÄCHSKASTEN, 1962. RIGHT WAVE RAF SIMONS SHOE DETAIL SPRING SUMMER 2009

AFTER OWNING UP TO HIS PROFOUND LOVE OF HORROR MOVIES (BUT HIS RELUCTANCE TO SEE PARANORMAL ACTIVITY), RAF SIMONS TOLD SUZY MENKES ABOUT A FRIGHTENING MID-SEA EXPERIENCE HE HAD WHILE ON HOLIDAY IN PUGLIA LAST YEAR : REVERSE WAVES, I.E THE WAVES PROPAGATING AGAINST THE MAIN SEA WAVES. AS IS KNOWN, TWO OPPOSITE TRAVELLING WAVES OF THE SAME FREQUENCY MAY, IN TURN, INTERACT IN THE SECOND ORDER BRINGING ABOUT THE UNDERWATER PSEUDO-SOUND OF DOUBLE FREQUENCY, WHICH IS NONVANISHING VERSUS DEPTH AND GENERATES MICROSEISMS IN THE OCEAN (1, 2)

DARK GRAY TIM BLANKS. LIGHT GRAY K.I. VOLIAK, IL NUOVO CIMENTO, EXCITATION OF REVERSE WAVES BY CUBIC INTERACTION BETWEEN A SWELL AND WIND WAVES.

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STERNE UND STREIFEN MIT JIL SANDER UND AGNES MARTIN

TOP LEFT AGNES MARTIN, STARS, INK AND WATERCOLOUR, 1963. TOP RIGHT JIL SANDER SPRING/SUMMER 2011. BOTTOM LEFT JIL SANDER SPRING/SUMMER 2011. BOTTOM RIGHT AGNES MARTIN HAPPY HOLIDAY, ACRYLIC AND GRAPHITE ON CANVAS, 1999.

' RISKY AS IT IS TO DRAW COMPARISIONS BETWEEN ARTISTS AND PEOPLE WHO SELL TROUSERS TO DEPARTMENT STORES, THERE IS A CERTAIN LIKENESS BETWEEN AGNES MARTIN AND JIL SANDER. BOTH HAVE BEEN PIGEONHOLED AS MINIMALIST. BOTH SHARE A PREOCCUPATION WITH CLARITY, SIMPLIFIED SHAPES AND WHAT MARTIN HAS CALLED 'LIGHT AND LIGHTNESS' AND 'BREAKING DOWN FORM'. BOTH ARE CLASSICIST IN THEIR ORIENTATION AND PERFECTIONIST BY DISPOSITION ( THE FUNCTION OF ARTWORK IS ' THE RENEWAL OF MEMORIES OF MOMENTS OF PERFECTION ' , MARTIN HAS SAID ) . BOTH ARE STRONG-WILLED AND STUBBORNLY SELF-MADE. BOTH WENT FOR YEARS IN THE PRIME OF THEIR CAREERS WITHOUT CREATING ANYTHING AT ALL. '

GUY TREBAY, 'THE MODERNIST', THE NEW YORK TIMES, SEPTEMBER 19, 2004.

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TOP LEFT DONALD BAECHLER, SELF PORTRAIT, ACRYLIC AND FABRIC COLLAGE ON CANVAS, 1995, 80 x 64in. TOP RIGHT RAF SIMONS SUMMA CUM LAUDE S/S 2000 BOTTOM DONALD BAECHLER, ACRYLIC PAINTING WITH SPACESHIP, ACRYLIC AND FABRIC COLLAGE ON CANVAS 75 x 92 in

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COLOUR WHEEL

BEGÜM SEKENDIZ BORÉ LEFT ARTWORK FROM I.T POST SPRING SUMMER 2009, ISSUE 5. RIGHT JIL SANDER SPRING SUMMER 2011

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THE T-SHIRT AND THE SKIRT BEING SEWN TOGETHER IS NOT AT ALL ABOUT MIXING COUTURE WITH CASUAL. IT IS ABOUT NOT MIXING COUTURE WITH CASUAL. HOW CAN ANYBODY NOT GET THIS? IN ORDER FOR PEOPLE NOT TO MIX ' DESIGNER ' WITH ' HIGH STREET ', IN ORDER FOR PEOPLE NOT TO TAKE CLOTHES OUT OF CONTEXT, THE T-SHIRT AND THE SKIRT ARE IN FACT SEWN TOGETHER FOR PEOPLE TO WEAR THE ' TOTAL LOOK '. THE ' TOTAL LOOK ' IS A COLLAGE. A COLLAGE ONE CAN NOT DISMANTLE. ----

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