gaia repossi and jeremy everett chat closeness, collaboration and creation
Published by IDEA, Gaia Repossi and Jeremy Everett’s new book, "Alternating Rose And Gold," blurs the boundaries between artist and muse, life and work, public and private.
This article was originally published by i-D UK.
Over the course of their six year relationship, artist Jeremy Everett has been photographing his shared world with jeweler Gaia Repossi, the first female designer to run the Repossi family's century-old jewelry house. From lose yourself landscapes to intimate, behind-the-scenes studio shots, Jeremy has documented the everyday reality of Gaia's dreamy world of jewels and everything they encounter as a couple. "I enjoy the juxtaposition of the luxury object and life, the experimentation of two young people in the world, the rawness of reference objects, and the desire of the result," Jeremy explains of his inspiration behind the images. "I am always taking photos and as we travel together, I would photograph Gaia and her references." A selection of these snapshots have now been been collated and published by IDEA as Alternating Rose and Gold.
Beautiful, candid, and intimate, Alternating Rose and Gold is so much more than an exquisite reference book for a century-old jewelry house, it's a love letter to Gaia, an exploration of creative inspiration, and an intimate study of the artist and muse relationship. Sharing a peek inside, Gaia and Jeremy invite you on an intimate tour of their world.
What was the catalyst for Alternating Rose and Gold? When, where, and how was the concept born?
Gaia Repossi: It was a desire to publish something very loose, reflecting our common obsessions. They're an environment, or a visual world. I'm inspired by characters, tribes and artworks or buildings, and visions from other artists, just like I was by Jeremy's vision throughout this book and more.
Jeremy Everett: I had a collection of pictures on my table of Gaia, the Repossi Vendôme store demolition, and a mix of abstract pictures that related to her work, such as the palm trees and tire chains. I mixed them all up by hand so there was no logical order and no beginning or end, I glued the spine and made a beautiful block of reference, pure visual information. That was the beginning.
The title is a tribute to Dan Flavin's work. How does his work and world compare and contrast with Gaia's?
Jeremy: The Dan Flavin installation Alternating Pink and Gold was one of Gaia's references for the new Repossi Vendôme store. The title for this book suited because it is the symmetry of alternating parts, recto and verso, rose and gold.
Gaia: Yes, Dan Flavin's research in subtle color combinations, repetition, using systems just like Donald Judd (they were very close) compares and contrasts with my actual work.
Flicking through the finished tome, how does it make you feel? What did the project teach you about Gaia's world? Are you drawn to any images in particular?
Jeremy: I enjoy the juxtaposition of images of the luxury objects and life, the experimentation of two young people in the world, the rawness of reference objects, and the desire of the result.
Gaia: I liked how the simple combination of a palette of colors and images can express a desire or ambition identified to a brand. I like the seascapes and the palm trees, as well as the images we call the "blurs". They echo our types of gold and certain obsessions we have— you can find these colors in Repossi's new concept of the Vendôme store by OMA/Rem Koolhaas as well.
If people take one thing away from Alternating Rose and Gold, what would you like it to be?
Jeremy: That it all relates directly to daily life.
Gaia: That worlds imbricate within each other, visions imbricate as well. That it's all a reflection.
Finally, what's next for both of you?
Jeremy: Today then tomorrow!
Gaia: Some very exciting projects for next year but I can't say for now. There will be a new campaign soon as well as more visual projects, always more exciting projects!
Alternating Rose and Gold is available now, published by IDEA.
Text Steve Salter