Wallpaper 5

PHOTOGRAPHY: JACK WILSON FASHION: LUNE KUIPERS WRITER: LAURA HAWKINS

Footwear brand Church’s shows its true colours

with a kaleidoscopic range of loafers for spring

BOLD

MOVES

Church’s has turned tradition on its head, reimagining

its classic Pembrey penny loafer design in a prismatic

range of shades, including bold hues such as inky blue,

cherry red and bright orange. And it’s not the only

one introducing rainbow shades to mens’ wardrobes

this season. For a colour-blocked take on tailoring,

we will be pairing our Pembrey loafers with spring’s

spectrum of brightly-coloured suits by the likes of

Paul Smith, Z Zegna and Pal Zileri.

church-footwear.com

PEMBREY LOAFERS IN INK,

ORANGE AND CHERRY, €440

PER PAIR, ALL BY CHURCH’S

WOOL RUG IN KEEPERS RED,

MELROSE YELLOW AND

WOOSTER, FROM £750

EACH, BY FARROW & BALL,

FOR THE RUG COMPANY

∑ 089

OUT OF OFFICE ERIC FISCHL

BB: How do you take your cofee?

EF: I love my cofee. I have a machine

and use Roseline Cofee.

People call your work cinematic.

But is it?

There’s a diference between a

cinematic narrative that extends the

subject matter over a period of time,

versus the painting, which brings that

narrative down to a single moment –

it’s a totally diferent sensibility. And

I like to ind a place to stop, the place

that is the most charged. If you don’t

stop at the right point, it becomes too

vague or, conversely, too conclusive.

Your work uses the body in

interesting ways. How deeply do

you think about that?

It’s to do with presence and absence.

In one painting I have a male and

female igure, the man’s hands are

indicated more simply. He’s less there

than she is, he may not be there at

all, except as a memory. In another,

the woman’s face is there more than

her body is. Everyone has a diferent

relationship with their bodies.

I guess it’s a cultural concern for

me also: Americans are obsessed

with transgressions of the lesh.

Your bodies also have a wonderful

sense of movement...

Photography taught me that. I paint

from photographs and collages.

Photography captures life so thinly,

everybody is in motion, everybody’s

slightly turning. If you’re going to tell

a narrative, you have to have motion.

I try and put it in the gesture, the way

my igures carry their body weight.

Do you ever feel a hint of creative

self-doubt?

There’s this term in French that

loosely translates as ‘regret on the

stairway’. I think in everyone there’s

the feeling that you could have done

more. But one hopes, as an artist,

that your audience looks at your work

and thinks ‘oh I feel the same way’.

That’s how art should function.

It shows our strengths, our fantasies,

but also our weaknesses and

insecurities. It binds us together.

‘Eric Fischl: Presence of an Absence’

is on until 26 May at Skarstedt Gallery,

London SW1, skarstedt.com

BODIL BLAIN

SHARES COFFEE

AND

CREATIVE SMALL TALK

WITH...

American art’s master

of suburban intrigue

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