Ocean Bottle is a long-term solution to the ocean plastic crisis that everyone can be a part of. We’re working to give plastic a value so it is not discarded and therefore preventing the ocean from being choked with waste. By giving plastic a value in Haiti, Philippines, Indonesia and Brazil we engage tens of thousands of people in coastal communities to become plastic collectors and have the option of earning a living wage while keeping the environment clean
Each Ocean Bottle directly funds the equivalent of 1000 ocean-bound plastic bottles (11.4kg)
Each Ocean Bottle directly funds the equivalent of 1000 ocean-bound plastic bottles (11.4kg) in impoverished coastal communities where there is little or no waste management and plastic pollution is worst. Plastic collectors can exchange plastic waste for money or credit via blockchain technology to spend on tuition, tech goods, health care and micro-finance.
Designed in Norway, made from stainless steel and ocean-bound plastic, Ocean Bottle has been designed to be minimalistic, beautiful and convenient without compromises, as some the key features suggest: insulation for hot/cold beverages, a large and small opening for easy cleaning and filling, dishwasher safe, a carry loop, compact and modular for future accessories.
The collaboration between Frédéric Forest and Ocean Bottle came to be following their love for nature.
The collaboration between Frédéric Forest and Ocean Bottle came to be following their love for nature. One drives his inspirations from it to draw subtle lines which naturally invite the viewer’s mind to complete the picture. The latter lives to connect it with individuals, and rightfully place it back at the centre of their lives, through a bottle designed with the same minimalistic attention.
From this connection they crafted a special piece to portray this union. Like the symbiosis of both of these worlds, two hands join together to form a perfectly reciprocal shape. Two hands which also merge to form an infinity loop and embody perennial circularity. Another reminder of their joint mission, a helping hand can be imagined reaching out to support another being, in a time when, more than ever, support, love and compassion should prevail.
We are invited today to Orely Forestier’s luminous Parisian apartment, surrounded by her models and swatches of fabric, this young fashion consultant is also a collector of art drawings.
Could you please introduce yourself? I am Orély Forestier, Designer and Consultant in Fashion, I am also the co-founder of LA FETICHE, which is a brand based on the concept of an ideal wardrobe, timeless pieces. A collection of clothing that is both familiar and new. It’s a definition of an ideal style shaped by age-old skills of both France and Scotland.
Credits Nomades Studio
What was the first piece you fell in love with, and why? I really like his work around the female body. I am very touched by the sensitivity of his line, a mixture of strength and fragility. I particularly like his studies around hands and gestures, I think this was definitely my first crush
Could you tell us about the artists who inspire you? I am really inspired by graphics and colors, everything that creates in me a vibration and an emotion. I love the work of Jim Lambie.
I am Also really inspired by the work of Walter Price, Elizabeth Peyton, David Hockney…. Anne Collier’s work is incredibly fantastic, there is too many artists who inspires me, very difficult to list! I adore The Modern Institute gallery, my partner’s husband’s gallery, who represent incredible and unique artist, super inspiring !
During the first lockdown, which surprised us all, I felt the need to exchange and collaborate even more in my artistic practice in order to experiment with other mediums and to confront myself with other visions. So I suggested around me, to friends who were photographers, sculptors and painters if they had projects to share.
It is within this framework that we realized in collaboration with Nomades Studio: Rivage. At that time, and even now, we have a craving to travel or simply to be somewhere else. Natacha Roché and Mathieu Lodin from Nomades Studio then sent me a series of silver photos that they had taken on the Breton coast, not far from where they are. I then took one of their images and I pursued this landscape and painted what we didn’t see, and which is probably not like that by the way.
But whatever, it was a question of drawing an imaginary from elsewhere, of not doing it alone, but together. Rivage is also this promenade by the sea.
” This canvas is a photograph of my mind, a superposition of memories passed by the ocean. I work most of the time from black and I wanted to go to the end of this process to go towards the light by an addition of lines with the brush which intersect to let the constellated night pass, emit the vibration of the surface from the sea. The light of the Moon then settled naturally in the canvas and I pursued the lines of the waves to direct its reflection. She was there, benevolent in the dark of night.
On the occasion of the release of the book Alba with Quentin Simon, I chose to present this painting for the exhibition in November 2019 in Paris. This painting was immediately very personal to me, and I couldn’t bring myself to sell it. “
At the studio, we have received many inquiries about it and so this is therefore with great pleasure that it is now available as a limited edition of 100 copies, numbered and signed by the artist Frederic Forest. Only a large format, 100 x 70 cm, and the superposition of 2 layers of intense black could reproduce its pictorial depth and its symbolic force.
We are glad to launch our really first lithography with Frederic Forest and the printer Idem Paris.
« Nue Bleue » is a 3 Colors Lithography printed on Marinoni machine.
Frederic has drawn an original drawing on a flat stone and an original drawing on a metal foil according to the traditional technique of lithography.
Both have been used for this unique print and have been erased during the process.
It follows the pure tradition and respect of the art print : Nobody would be able to print it again.
Idem Paris is this confidential workshop but well known by all international galleries and artists. Voirin and Marinoni lithography presses that Picasso, Matisse, Miro, Chagall or Giacometti worked on are still in use. Contemporary artists such as Jean-Michel Alberola, Sophie Calle, Paul Mc Carthy, JR, Liu Bolin or David Lynch are regulars of the atelier.
We are quite impatient to discover the first ceramics of Frédéric Forest with Marion Graux !!
Marion is a potter as she likes to define herself. The tour, the enamels, the shapes, the line, the materials, the shine, the soft pink, the beautiful tables…
Here is her vocabulary. In her studio based in Pigalle, surrounded by faded flowers, she experiments to find muted and sweet nuances, plunges her hands in clay to invent dishes for daring chefs. Her ceramics are enthroned on the stoves of French chefs such as Cyril Lignac, Hélène Darroze, Charles Compagnon or even Guy Martin.
Frédéric and Marion started working on their collaboration this summer. Several projects, drawings and ideas were exchanged. Over time, what we would call an “Accord de mains” (Hands agreement in French) appeared, a spontaneous encounter between drawing and earth, enamels and lines in which everyone offers their talent in the service of the nobility of the material and the quality. poetry of the lines.
Finally, 3 series of unique pieces will come out of this 1st ceramic collection.
They will all be available on our eshop next week.
It is in the context of the exhibition Alba which will be held from November 15 to 17, that we met Frédéric Forest and Quentin Simon. Comfortably settled in our workshop at 21 avenue du Maine, they tell us the genesis of their joint project: Alba.
G. How did you meet?
FF.Very simply, by Instagram. Pretty soon, I stumbled upon his account fairly quickly. In the infinite and continuous flow of images that circulate, his posts often resurfaced in my memory. They endured. Which is for me one of the values of photography. Photography should leave it’s mark on both memory and imagination.
I immediately enjoyed his very natural, direct work, which was quite far from the misapplication of filters and overediting. I sent him messages to tell him that I was fond of what he was doing. Then, we talked a lot about architecture (which I had hesitated to pursue in my studies) and photography. I also consider my work as manual photography. And then, soon enough, we talked about books. Very naturally, the idea of crafting a book together, came rapidly.
G. Quentin, what do you appreciate about Frédéric’s work?
QS. His purity, his simplicity. He manages for a black line on a white background to express much more than what others manage to with all of the colors and techniques available today. The efficiency of his lines is astonishing. I think that I always prefer less and less frills, whatever the art: overloaded music or photos that are “over-filtered” for example, and Fred’s work is the opposite of that. It goes straight to the point, without cheating, with a raw and natural elegance.
G. Frédéric, what do you appreciate about the work of Quentin?
FF. We have about the same perception of each other’s work. For me, Quentin’s work has this unique blend of sweetness and rawness. I mean raw in the sense that it feels intact, untouched, not transformed. I think it comes from his use of film instead of digital cameras. This technical choice is important in his capacity of letting go all while maintaining his mastery of the technique. His images really express a vision. Something that instantly knew how to see and take the time. I often tell him that he makes cinematographic works with his images. We also talked a lot about Chris Marker’s film “The Pier”, which a key element for us in the founding of the Alba project.
G. This book project took more than 2 years to complete, why?
QS. The book project was not born right after our first meeting. It rose from several discussions of our works, our inspirations, and many more things that the project materialized. Starting with a vague idea, we then focused on architecture, then specifically Bauhaus architecture, and finally chose the pavilion of Mies Van Der Rohe in Barcelona, a building that I had already photographed myself. The concept around the resident of the pavilion – Alba – came later, during our exchange of drawings and photographs.
This long delay also comes from the fact that I cannot go to Barcelona every day, and also Alba is the first book by Grammatical and so many things had to be set up for this occasion.
G. Frederic, you never went to the Barcelona Pavilion, why?
FF. During my studies, we took a trip to Barcelona, it was part of the organized tours, but for some reason I forgot, and we could not get in. When Quentin would show me his negatives from the pavilion, he would often invite me to go back with him.
There were different reasons and excuses for not making the trip, certainly signs that I should not go there. But more than anything, I liked the idea that my drawing would bring the fictional aspect of the story. It is part of the exoticism too, of this fantasy that one has of a place that one imagines without having ever been there, of a place of which we saw so many images, films, floorplans, and models. I had imagined it so much that I did not want to betray the image I had made for myself of the place.
Moreover, it was very useful for editing the book that we really thought of as a short film. The scene of a day or several days of this sculpture, or rather of this resident, which we turned into a character: Alba.
G. What are your next projects?
QS. Perhaps another book, about my last trip in June in Buryatia (Siberian region), I am currently looking for a publisher (this is a bottle in the sea!). I also have planned a lot of fashion shootings coming this fall.
FF. Prints by Quentin, some paintings and original drawings that are part of this book will be exhibited on November 15, 16 and 17 at 78 rue de Turenne in Paris. We will also be signing the book at this occasion. Then there will be a series of small books thought of as stolen notebooks that are currently being worked on. The first part should come out in a short time …
Open from november 15 to 17 11:00am – 8:00pm 78 rue de Turenne 75003 Paris