| INT | XXS | XS | S | M | L | XL |
| Poitrine (cm) |
74 à 77 |
78 à 81 |
82 à 85 |
86 à 89 |
90 à 93 |
94 à 97 |
| Taille (cm) |
59 à 62 |
63 à 66 |
67 à 70 |
71 à 74 |
75 à 78 |
79 à 82 |
| Hanches (cm) |
83 à 86 |
87 à 90 |
91 à 94 |
95 à 98 |
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103 à 107 |
We collaborated with the London-based painter Scott Licznerski on the occasion of our new summer
collection. Scott is not only the face of the campaign - but also created the artwork
“Undercurrent” for us. It’s now exclusively available at Closed.com (framed, signed &
numbered!). All images on this page were shot in Scott’s studio in London by Anton Gottlob.
In our interview, Scott talks about his former job as an architect and shares his thoughts on boredom. Find the whole interview in our new HARD COPY “On Boredom & New Adventures” - out now and complimentary with every order.
In our interview, Scott talks about his former job as an architect and shares his thoughts on boredom. Find the whole interview in our new HARD COPY “On Boredom & New Adventures” - out now and complimentary with every order.
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We are delighted that he created the artwork “Undercurrent”
exclusively for Closed (acrylic
on linen).
The framed print (40x50cm) is available in a limited edition of 50 (signed and numbered),
only at Closed.com.
(Giclée print on Hahnemühle Museum Etching paper, 350 gsm.)
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Why did you decide to switch from architecture to full-time painting?
This happened almost four years ago after realising I found most inspiration by myself. Architecture had become drawn out and uninspired, with a lack of respect circling the profession. I remember a good friend saying 'you never tell an artist how to hold their brush if you want a painting by them’. It seemed this was the case with architecture. I needed more immediacy, stimulus, and connection to the life I viewed important. I also became uneasy seeing so many beautiful and special old buildings torn down around me for cheap and nasty replacements. It’s a question I could talk about no end, but simply put, it lost a specialness. Saying all this, I do still retain a huge respect for certain architects and their process. I am also still registered. One day I hope to make my own studio-home, as the one remaining client.How does architecture influence your paintings?
Pure architecture is something I’m still interested in in a big way. But I believe there is a massive difference between this (newness not being experienced before) and the interpretation of ‘architecture’ today (constructed repetition). Everything up to the very moment is always influenced by something, even if subconsciously. Architecture is about many things, but those which I feel are relative come from my understanding of space and detail: mostly through form, composition, colour, texture, and process.How long have you been painting?
For as long as I can recall. I likely did so then for the same reasons I have now: in the search for something not yet known. Looking back, it was one of the only things which kept me still. As I grew older, I kept painting, and developed naturally in technique, knowledge, and scale. There’s an innocence to a boy drawing and scribbling without a thought for the result. I think this should always be retained, or at least remembered.Do you ever feel bored in the current circumstances?
Yes and no. I am often frustrated by the actions of humanity. At a time with such restriction, I’m managing to keep a busy head in its own place without too many waves of reality. There’s a lot about increased isolation which I enjoy and has helped to keep everything at bay I guess – perhaps from having the mountains close as a child.Do you think that the state of boredom should be fought or embraced?
I feel everything should be embraced. I have recently been reading about Zazen: a form of Japanese Sōtō Zen Buddhism which teaches in part to learn from everything without letting anything overpower.
Swipe to read the whole Interview
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