Embark on an historical journey, retracing the steps of our ancestors. Here fantasy and fact flourish side by side with fascinating and romantic treasures, juxtaposed with original masterpiece paintings.
I employ the decorative technique of Découpure, a labor-intensive process of prepping, cutting and varnishing a selection of surfaces. The technique imitates Asian lacquer and a process called japanning. In Italy Découpure is referred to as Lacca Contrafatta or Lacca Povera, ‘poor man’s lacquer’ – a misnomer, considering the time, work and costs involved!
I have developed my own approach to Découpure, combining modern technology with the time-honored process of alchemy. I take pride in my innovative ideas in this ancient form of art, and in allowing my passion, my imagination, and a trace of my soul to shine through in every piece I create.
Each masterpiece in my collection is set within a specific historical scene and carries its own individual story. Every treasure box is luxuriously lined with captivating images, of the kings and queens of yesteryear, of delicate butterflies hiding behind Redouté roses, or a striking image of a winged dragon. I use powerful decorative schemes, incorporating impressions of marble tombs, statues and ancient buildings set amongst scrolls and leafy branches.
I favor historical icons, especially Elizabeth I, Mary Queen of Scots and Marie Antoinette – powerful figures who have had a significant impact on the course of history.
I am inspired by the work of a number of master Renaissance and Rococo artists from the 15th to the 19th centuries, including Fragonard, Boucher and Titian. I study their masterpieces and allow the spirit of their art to be reawakened in my own.
The Renaissance, Edwardian and Medieval eras have the strongest influences on my work. My art pieces are designed to take the owner back into a romantic and dramatic period in time.
My favorite paintings are portraits that give an immediate, striking impression of someone who has lived before us. It intrigues me that art allows the spirit of a person to stay with us.
My heightened sensory perception allows me to gain increased inspiration from the music that plays continuously in my studio.
The unique ADoriables® recipe
My main ingredients are creativity and priceless imagination. I am instinctually drawn to paintings and portraits, and can almost see through them and out into the magnificent worlds in which they were created. I choose colors so vivid that they make the images appear three-dimensional.
- Creativity: relishing the ability to see what is to become
- Dedication: taking pride in near perfection, while cherishing sublime flaws
- Persistence: taking ample time – a minimum of six weeks – for every handcrafted piece
- Goals: always striving for distinction
- Rules: knowing the rules and being allowed to break them
- Varnishing formula: my trade secret
I use a variety of surface styles – wood, porcelain and glass – and each has an intense prepping phase, so it will endure a lifetime.
I have developed my own distinctive palette of colors, and these continue to evolve. I am, for example, still working on achieving the perfect deep green with a touch of blue for my mermaid boxes. Reds are probably the most difficult to work with, but if they are prepped correctly they can give a truly stunning effect. As with the Ancient Egyptian period, a true turquoise-blue glaze is striking when it can be achieved.
I am not afraid to experiment in my work – pushing the boundaries can achieve amazing results and new methods.
My production process involves dismantling, rebuilding and embellishing, layer upon layer upon layer. Working to this level of detail, I need to focus meticulously only on what works, in order to fulfil my dream piece and ensure that each and every object has that museum-piece look.
One of the layers is usually either ivory or antique white, which enables me to achieve an elegant marble effect. However, the secret to the marble effect comes in the antiquing stage at the end of the process cycle.
I sometimes embellish using gold leaf, which has endless possibilities and is used in abundance, along with images from fabrics and textiles with each period style I reproduce. From grand wallpapers in the style of Renaissance velvets, to delicately simple repeating motifs, each layer helps to tell the history.
Above all there is no cutting corners. I always remember that someday my pieces might be behind glass cabinets in a museum for the children of the future to look at.