AVENUE MONTAIGNE IS WHERE CHRISTIAN DIOR MET GAVIN TURK MET LOUISE LAWLER MET ANDY WARHOL -

CLOCKWISE FROM TOP LEFT I - LOUISE LAWLER, SOMETHING ABOUT TIME AND SPACE BUT I AM NOT SURE WHAT IT IS, 1998. MIXED MEDIA 47,5 X 59,7 CM.... 2 - ANDY WARHOL, ALIMINIUM CLOUD, 1966..... 3 & 4 - CHRISTIAN DIOR avenue montaigne boutique WINDOW decoration, SILVER PILLOWS, february 2011. PHOTOS BEGÜM SEKENDIZ BORÉ......55- GAVIN TURK SOMEWHERE BETWEEN SLEEPING ON THE STREETS AND THE SILVER CLOUDS. CHROME PLATED BRONZE,71 x 10 x 44.5 CM , 2005.

EXACTITUDES.. I.. ADOLESCENT EXREMES / INFANT EXTREMES

4 YEARS LATER, ROTTERDAM

4 YEARS BEFORE, LONDON

TOP THE FOURTH SEX, ADOLESCENT EXTREMES, RAF SIMONS & FRANCISCO BONAMI. ARI VERSLUISS-ELLIE UYTTENBROEK, GABBERS,1994....BOTTOM THE FACE MAGAZINE,MARCH 1990, MY OWN. LONDON VS MANCHESTER. EAST-END KIDS.

.

THE RAF SIMONS WOMAN

1. MY RAF SIMONS SPRING/SUMMER 2006 LASER CUT TOP.. 2. THOMAS BAYRLE, ANARCHIE IN CONSTRUCTION, 1971.. 75,5 x 58,5 cm. BEGÜM SEKENDIZ BORÉ

.

MACHINE VISION.. I.. FIELD OF VIEW AND FOCAL LENGTH

LEFT NAM JUNE PAIK, 'MOON IS THE OLDEST TELEVISION', 1965-67. RIGHT RAF SIMONS REPEAT. PETER DE POTTER RAF SIMONS VIDEO INSTALLATION, 2005. BEGÜM SEKENDIZ BORÉ

MACHINE VISION IS THE APPLICATION OF COMPUTER VISION TO FACTORY AUTOMATION. A MACHINE VISION SYSTEM IS A COMPUTER THAT MAKES DECISIONS BASED ON THE ANALYSIS OF DIGITAL IMAGES. IN MACHINE VISION, THE LENS FOCAL LENGTH SETS UP THE FIXED RELATIONSHIP BETWEEN THE FIELD OF VIEW AND THE WORKING DISTANCE. IN THE AUTOMOTIVE INDUSTRY, MACHINE VISION SYSTEMS ARE USED TO GUIDE INDUSTRIAL ROBOTS, GAUGE THE FIT OF STAMPED METAL COMPONENTS AND INSPECT THE SURFACE OF THE PAINTED VEHICLE FOR DEFECTS.

THE PILOT'S RAF SIMONS OUTFIT AS SEEN FROM DIFFERENT ANGLES. THE PILOT IS A MAN MACHINE.

SCULPTURE HIROYUKI HAMADA, 45 x 40 x 24 INCHES. MATERIALS BURLAP, ENAMEL, OIL , PLASTER, RESIN, TAR, WEAX, WOOD.2006-10. RAF SIMONS AUTUMN/WINTER 2010/2011

THE SHADOWS OF THE GERHARD RICHTER FOR MARTIN MARGIELA BASKETWOVEN SEAT POCKETS AND RAF SIMONS SEAT BELTS

TOP RAF SIMONS A/W 2010/2011 DETAIL BOTTOM LEFT MARTIN MARGIELA MEN'S AUTUMN/WINTER 2010-2011 SWEATER MOTIF. BOTTOM RIGHT GERHARD RICHTER, WINDOW (SHADOW PAINTINGS), OIL ON CANVAS, 1968

THE ENGINE POD

SCULPTURE HIROYUKI HAMADA . MATERIALS ENAMEL, OIL , PLASTER, TAR WAX. 20 DIAMETER X 36 INCHES.2005-08

BOEING 777 BOOM TSCHAK

AS OF LATE I'VE BEEN WORKING ON THE SKELETON OF THE MODEL PLANE I WAS TALKING ABOUT . ABOVE ARE THE WINGS AND THE BODY I 'VE COME UP WITH. FOR THE BODY, I USED X-PLANTATION, 01, C-PRINT, DIASEC AUF DIBOND ,100 X 150 CM, 2008, BY HUBERT BLANZ. HE IS PERFECTLY MECHANICAL, IMPERSONAL AND UNBENDING AND I LOVE IT. LIKE FRANK NITSCHE AND EBERHARD HAVEKOST. AS FOR THE WINGS, THEY ARE FROM JIL SANDER AUTUMN WINTER 2010/11 COLLECTION. I'VE ALWAYS WANTED TO BE A PILOT. BEGÜM SEKENDIZ BORÉ

.

.

THE TABLE ON THE WALL REFLECTS THE BACKSIDE OF THE MIRROR BROOCH - THE MIRROR BROOCH STANDS ON LEGS AND PENETRATES THROUGH THE SELF MADE HOLES IN THE GARMENT.

TOP LEFT MICHEL AUBRY, 'PLAN PARTITION', 1988-1989, INSTALLATION ART SONORE. TOP RIGHT RAF SIMONS T-SHIRT PATTERN. BOTTOM RAF SIMONS MIRROR BROOCH. BEGÜM SEKENDIZ BORÉ

.

ENTWINED

BEGÜM SEKENDIZ BORÉ. TOP LEFT LUCIO FONTANA, SPATIAL CONCEPT, OIL ON SLASHED CANVAS.. TOP RIGHT RAF SIMONS AUTUMN / WINTER 2010.. BOTTOM JIL SANDER SPRING / SUMMER 2007

.