Working Space

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MARTYN THOMPSON WORKING SPACE

foreword by Emma Balfour designed by Andrew Egan – CoolGraySeven

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CONTENTS

FOREWORD BY EMMA BALFOUR - 7 DINOSAUR DESIGNS - 8 HELENE NGUYEN-BAN - 24 CLEVELAND’S - 34 PHYLLIS & IZZY - 44 BRAD GREENWOOD - 58 MARGARET NOLAN - 66 THIERRY DREYFUS - 74 CAPUCINE GEAGEA - 84 E.R.BUTLER - 92 THE GAABS - 104 ANNABEL ADIE - 112 CINDY SHERMAN - 124 JEREMY WADE - 132 FRANCESCA RAFT - 142 GOLCONDE - 150 HAZZY BEE - 160 HILL END PRESS - 166 PATRICK MARBER - 180 THE SPECTRUM - 192 JOHN MELFI - 198 NATHALIE LETE - 210 HARLAND MILLER - 218 MEADHAM KIRCHHOFF - 228 EMMA BALFOUR - 240 CREDITS - 250

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FOREWORD

I have known Martyn Thompson for 25 years. We worked together often when I first started modeling. I liked him from the start; he had a quiet willfulness that I responded well to. I also have the dubious pleasure of being the only model he’s reduced to tears (pure frustration on both our parts… that and the ‘80s side ponytail). We’ve stayed in touch ever since. Martyn has always done his own thing and isn’t afraid to push his own boundaries to explore what he finds engaging. He has maintained and built upon his unique aesthetic and working method, never limiting himself. In this book he has chosen to photograph the spaces that people environments have mostly unintentionally become an extension of creativity. Rooms show the marks of process and passion, spaces necessity and chaos. Very few of the chosen spaces in this book such. They have evolved and grown.

work in. These people’s work and shaped by function, have been designed as

It is the unconscious exposure of their inhabitant’s inner world that Martyn captures beautifully in this series of pictures. He has concentrated on the mood and feel of the spaces and highlighted the details he likes. He has chosen the good bits to show us, the bits that sing and make us in turn feel happy and inspired.

Emma Balfour Sydney, May 2013

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DINOSAUR DESIGNS Designers In 1983, I co-opened a shop called Ox in Sydney’s Taylor Square selling the clothes I made in my kitchen. One day, an art student came in and asked my roommate Linda, who often worked the store for me, if he could sell his jewelry there. Linda thought it a good fit and I agreed. That art student turned out to be Stephen Ormandy, which I didn’t know until he told me the story years later. Louise Olsen and Stephen Ormandy started Dinosaur Designs with Liane Rossler in Sydney in the late ‘80s. Their chunky, colorful resin jewelry was an immediate hit. Over the years, they’ve continued to evolve this unique product, a rare feat in fickle Sydney. Homewares soon followed, and precious metals have now been added to the mix; each piece individually crafted in their rather groovy factory by a gang of young Sydneyites. There is a great spirit of community here.

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Helene nguyen-Ban Art Collector After I’d finished putting together my last book, Interiors, there was quite a bit of material left over – and most of it was of artist’s studios. But I wanted my next book to be about more than just that. A friend suggested I broaden the idea to “workspaces,” an idea that took flight. As the project advanced, it morphed into something broader, yet the essence of each space reflected something that is always present in an artist’s studio: passion for what you do. The owner of this Parisian apartment, Helene Nguyen-Ban, is a passionate art collector. The interior architecture, carefully understated by Elliot Barnes, brings her collection to life. Art is the central presence in this space. Every piece is notable.

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