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In Nihura Montiel’s studio — a former upholstery shop on an inconspicuous block of Pico Boulevard in Los Angeles — fluorescent track lights cast an even, bright glow over stainless steel tables; suede jewelry cases neatly line countertops, brimming with pyramids of loose charcoal; and bouquets of feathery makeup brushes fill bountiful jars, bristles shiny and taut. Each fixture has an air of meticulousness — an austere sanctuary for the seven grayscale canvases that hang from each wall, depicting a model boat, a bejeweled buddha, a rooster figurine, a cocktail shaker, a decorative mirror, a glass cat, and a sculpture of the blindfolded goddess Fortuna. Seated on a spotless cream sofa overlooking her work station, Montiel stacks piles of reference materials across a coffee table for perusing as she embarks on a discussion of her latest series: Corporate Goddesses.
— Anna Bane
AB: You selected these objects from various sources ranging from decorative art books to...More
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Press Release
In Nihura Montiel’s studio — a former upholstery shop on an inconspicuous block of Pico Boulevard in Los Angeles — fluorescent track lights cast an even, bright glow over stainless steel tables; suede jewelry cases neatly line countertops, brimming with pyramids of loose charcoal; and bouquets of feathery makeup brushes fill bountiful jars, bristles shiny and taut. Each fixture has an air of meticulousness — an austere sanctuary for the seven grayscale canvases that hang from each wall, depicting a model boat, a bejeweled buddha, a rooster figurine, a cocktail shaker, a decorative mirror, a glass cat, and a sculpture of the blindfolded goddess Fortuna. Seated on a spotless cream sofa overlooking her work station, Montiel stacks piles of reference materials across a coffee table for perusing as she embarks on a discussion of her latest series: Corporate Goddesses.
— Anna Bane
AB: You selected these objects from various sources ranging from decorative art books to...More
