Glenn Pushelberg and George Yabu. Courtesy of Yabu Pushelberg
When Observer published a story about the design pair George Yabu and Glenn Pushelberg’s Perry Street Home in the famous Richard Mear buildings in 2015, the author opened with this statement: “Whoever misuses the smooth boutique of burnis or eats in a chic park on the 57th Street, which is lucky, which is lucky.” Today, a similar opener, Edition Hotel in London, Lesser Square or St. Razis Mexico City in Lesser Square, can pen a similar opener for London or St. Rezis Mexico City in London.
Partners in both work and life for more than four decades, Yabu and Pushelberb have been associated with the worldwide premium five-star hotels and beauty experiences introduced by luxury brands. He is also an experienced art collector who capitalize on the nature of his work, wherever he goes, visits the studio of gallery and artists. As a result, their art collection has been organized over the years, including a diverse category of artists, including Anish Kapoor, Yoshitomo Nara, Thomas Rough, Robert Maplethorpe, Diane Arbas, Cindy Sherman, Wolfgang Tilman and Simone Gavina.
A commission Yayoi Kusma Pumpkin. Courtesy of Yabu Pushelberg
The couple’s collection, which is displayed in the Yabu Pushlberg offices in Toronto and New York along with many homes, is currently a reflection of their lives together, both in and in their shared past. Pushlberg said in an interview later last year, “We did not focus on a point and time in art or photography or whatever,” Pushlberg said in an interview with Stere later last year. “Our collection came from our heart really – what we see in our soul, whatever we talk to us.” They have become able to return and achieve the pieces that are out of reach in their small and lean days, but many of their acquisitions have been comfortable: the pieces by unknown artists they face in their journey, some art acquired after joining the world star.
The word that can best describe the art of Pushelberg and Yabu is joyful. The size of their collection and the names make it valuable on paper. Personal importance of each piece – how and where and when it was acquired and of course, why – it is implemented with a different kind of value.
Observer caught his approach to the art collection with George Yabu and Glenn Pushlberg, the design affects their choice (or vice versa) and what inspires them. Their shared north appears completely below.
- What can you tell me about your collection and your collection philosophy?
- How does your work in design affect your collection and collected activities? Has it affected your approach to displaying art? Or has art affected your design work?
- Is there a certain united subject in your collection that you can indicate? Does your taste ever collide?
- Your collection is quite large. Have you considered heritage? As, what do you see as the future of your art collection?
- What inspires your collected activities – are special artists you want or perhaps experience?
What can you tell me about your collection and your collection philosophy?
When our philosophy comes to our art collection, then it is purely to live among our curiosities. We get away from the word “collectors” because it seems that we are taking something and leaving. We see art as a way of starting a dialogue and welcoming others at that place. When we see a piece that takes us and makes us feel something, then we know that others should feel the same. With art, our aim is to pursue people, conversations and approaches.
How does your work in design affect your collection and collected activities? Has it affected your approach to displaying art? Or has art affected your design work?
The design is about feeling and art leads to the feelings. We are sensitive to this relationship when designing the environment. You map a location to build in function and thoughtfulness, while inner dynamics. The products set the view, the light develops its aura, and the styling activates the character of a location. The art binds these elements together that creates a thrinline feelings that can rarely be detected with words. We consider art through each stage of our design thinking, so we can achieve the feeling of that end.
Shou Fan’s ‘Two Pine Trees’. Etiquette of Ivan Dian / Combu Pushelberg
Is there a certain united subject in your collection that you can indicate? Does your taste ever collide?
We do not have a central subject when it comes to our collection; These are just things we love. We are not very difficult to have our attention in the moment. What we keep is a reflection of our memories and development of our personality and taste. For example, what we have achieved 25 years ago, has completely taken to new life and means that we are echoed as today, when we first bought it, what did it mean to us. This is what we love about art, it develops and takes a new meaning.
Your collection is quite large. Have you considered heritage? As, what do you see as the future of your art collection?
Our collection has reached the point where we do not see another way to enjoy it in addition to enjoying it. Beauty and privilege to be around art is something we want to experience for all. The way these works have served happiness, reflection and dialogue for us, we want it to be the same for others. This is the reason that we have prepared gallery spaces in both our Toronto and New York Studios to experience our team art and allow it to take its own meaning which is personal for them.
Shou Fan’s ‘Two Pine Trees’. Etiquette of Ivan Dian / Combu Pushelberg
What inspires your collected activities – are special artists you want or perhaps experience?
Our job takes us all over the world, and our journey is a direct reflection of those pieces that we keep in our lives. When we are on the road, we choose to live like locals and immerse ourselves in the spirit of being in the neighborhood. In a way we try to do this, local art is to be visible and join with those who contribute to it. This leads us to meet curious and talented strangers, and we sometimes receive a token of their interesting perspective as a memento from our journey. When we were in Japan for the completion of Aman Residence Tokyo, for example, we came to a young Japanese artist who made sculptures that looked craze. This is our favorite way to discover new tasks and talents.
A sculpture by Sachi Hasegawa. Courtesy of Yabu Pushelberg
