Tag Archives: Artist



CONNECT is a series of chandeliers inspired by DIY and Bike punk culture combined with aesthetics rooted in the Victorian era created by LA based artist Carolina Fontoura Alzaga. Her handmade bespoke pieces evoke a strong industrial look and invite the viewer to examine them up-close in order to come to grips with their fine details and the technical precision needed to put them together. Carolina managed to master the challenges faced by resilient materials such as bicycle chains and cassettes and created a stunning collection which also addresses universal themes around sustainability and the environment. She admits to having a strong connection with  urban bicycle culture and hopes to inspire audiences to question their ideas on what is beautiful and functional.

Above and below: Connect 14a Model.

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Carolina: “The idea for ‘The CONNECT Series’ began from seeing pots and pans hung from a makeshift pot rack which had been created from a used bicycle rim during a time that I was completely immersed in DIY and bike punk culture. In turn, it inspired me to make a mobile made from a bike rim, bike tube and bike gears”.


Above and below: Connect 8 Model.


Carolina: “Visual art has the unique quality of being able to relay information on a level that language alone cannot access. There’s an immediacy to this sensorial reaction that is very special. 

What I find pleasing about these bicycle chandeliers, especially when seen in person, is that they command attention. They trick the eye – most people usually confuse them with regular chandeliers but have a moment of surprise once they get closer. Most of us go about the world accepting ideas as immutable fact when in reality, things are much more dynamic and malleable”.


Above: Connect 4a Model.


Carolina:”The most challenging aspect is making each chandelier an approximate perfection despite the imperfect nature of the material. I’ve had to surrender to the rhythm of creation and accept regressing in order to progress”.

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“I didn’t start out being interested in lighting but now I absolutely love it! The CONNECT Series is bound to bikes as a material so as to maintain the integrity of the concept. It can’t have motorcycle parts or anything else because then it’s not TCS, it is something else”.

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Carolina: ” I’m sure that in the future I will be making other sculptures with lights in them as well as other proper lighting fixtures”.

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In 1919 the French painter Jacques Majorelle (1886-1962) took up residence in the Medina in Marrakech (then a French protectorate) with which he fell in love. Majorelle was the son of the Art Nouveau ébéniste of Nancy, Louis Majorelle. Though Majorelle’s gentlemanly orientalist watercolors are largely forgotten today (many are preserved in the villa’s collection), the gardens he created is his creative masterpiece.

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In 1922 he purchased a palm grove just outside Marrakech and in 1931 he commissioned architect Paul Sinoir to build him an Art-deco style workshop of astonishing modernity. He set out his primary living space on the first floor and made a vast artist’s studio on the ground floor to paint his huge decorative works.

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Fond of botany, he created a botanical garden around his villa structured around a long central pool, with a variety of over 1800 types of cacti, 400 species of palms and other rare varieties of the time. Different environments, planted with lush vegetation in which hundreds of birds nested.
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The garden is a living and evolving work of art made up of exotic plants and rare species that he brought back from his travels around the world: cactus, yuccas, water lilies, white water lilies, jasmines, bougainvilleas, palms, coconut trees, banana trees, bamboos…
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Embellished with fountains, ponds, water features, ceramic jars, avenues, and pergolas… This bold action revolutionized the way in which gardens were to be viewed.
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In 1937 the artist created an ultramarine blue that was both bright and intense: known as blue Majorelle, he used it to paint the walls of his workshop, and then the entire garden transforming it into a living tableau which he opened to the public in 1947.
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The power of the blue Majorelle is long lived and permeates the essence of what it means to live and see color in Marrakech.
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Following a car accident, Majorelle was repatriated to Paris where he died in 1962. The garden then fell into neglect. In 1980, Pierre Bergé and Yves Saint Laurent acquired the garden to save it from property developers and to bring it back to life.
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Following the death of Yves Saint Laurent in 2008, Pierre Bergé decided to donate the Jardin Majorelle to the Fondation Pierre Bergé – Yves Saint Laurent.
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The Garden welcomes over 600,000 visitors each year, tourists and locals alike.
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Mr. Frédéric Mitterrand, in the presence of Mr. Pierre Bergé, placed a plaque engraved, “Maison des Illustres” (‘House of Honor’), at the gate of the Villa Oasis, where Mr. Yves Saint Laurent came and worked throughout his life.
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Yves Saint Laurent said “A visit to Marrakech was a great shock to me. This city taught me color”.