…Well, technically they’ve just gotten hitched, and now they’re chillaxing in their penthouse suite at The Joule Hotel in Dallas before the reception. HAPPY WEDDING DAY, YOU GUYS! YOU’VE ALWAYS BEEN TENOVERSIX’S FAVORITE COUPLE! On Hicharo (Left): Rachel Comey Buxton Jumpsuit; No. 6 New Crossover Platforms; Areaware Liquid Body Flask; Ahlem Barbs Sunglasses; Metalepsis Orbit Cuff; Odette Metis Ring. On Harlow (Right): Nancy Stella Soto Cut Flare Dress (& it’s on sale! Harlow’s always been very reasonable about these things.); Rachel Comey Dahl Mule; Sehti Na Cone Earring.

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The saturated colors and rich fabrics of Fall 2015 have begun to pop up at our LA and Dallas stores and online! We’ve got brand new arrivals from Rachel Comey, Mr. Merz, Ahlem, Calder, Tome, Creatures of Comfort, Shaina Mote, Jasmin Shokrian, Giejo, and Cover, with plenty more on the way!

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When you walk into Tijuana’s TJ IN CHINA Project Space, there is an incongruency between what you see and what you hear. Before you are two works by May-Ling Martínez and Claudia Algara, a teepee-like structure surrounded by intricate drawings on the gallery walls and documentation of a black-and-neon performance that took place in the gallery during the show’s opening, respectively. What you hear, however, is the loud crash of glass being broken over and over again. All three pieces are part of the exhibition SCHEMA: 3 CAMPOS DE ACCIÓN (SCHEMA: 3 ROOMS OF ACTION), and while as a triangulation of work they create an interesting conversation around space and performativity in various practices, the piece we’d like to focus on (and have been thinking about obsessively for the past two weeks) is the one making all that noise.

The loud shattering is constant, and each time you hear it, your body can’t help but twitch a little. It’s one of those noises that you know you’re supposed to run from, but this is an art gallery, so instead of giving into instinct, you climb up the stairs to the loft space from which the sound is emanating. The first piece you can clearly make out is also the source of the disturbance. Depending on how your entrance into the space lines up with the video, this may be obvious or it may take a few seconds. Across the wall from you is a man – Aldo Guerra, the untitled installation’s author. He is barefoot, dressed in a white t-shirt and grey pants, working against the exact wall he is being projected onto. He walks over to the left side of the projection, picks up a pane of glass, places it on a shelf on the right side of the projection, marks it down the middle with a rock, then breaks it with that same rock. He cleans up the mess (remember, no shoes), pushes it to the side, and starts all over again. Only five panes are broken in total, made clear by the five panes of glass in various states of destruction and the rock used to make them as such, all of which have been placed on a shelf to the left of the space. The video, however, is looped. five singular acts play out ad infinitum. They originated in the past, but play out in the present, and soon become part of the past and present of the viewer. Guerra’s action and memory become our own.


Next to the broken panes is the text for the installation – a vague, poetic confession of sorts. It is reminiscent of a letter written to a newspaper by a serial killer or a sad manifesto written on a blog by a soon-to-be mass murderer. This contextualizes the space in which you are standing, as a crime scene, the aforementioned work standing in as evidence of this “something that hasn’t happened yet.” As with the rationalization of most notorious killers, Guerra only ever admits partial responsibility, while also taking full credit for the making of something new. “Remember,” he states, “there was nothing there” before his destructive actions. The space in which the audience is standing was bear, the walls empty. It was filled only with ideas of what could be there, but Guerra created what everyone is there to see. He also takes (at least partial) credit for the response of either his victim or the audience to his actions (or both). Now there is work to see, now there is something to respond to. The line between construction and destruction are blurred.

Also blurred in the text is the distinction between perpetrator and victim. In the last two lines of the statement, he writes “And then I invented you. / Nothing distinguishes us.” Cause and effect seems circular instead of progressive, and with this last statement, the crime scene in which you stand takes on an heir more strongly reminiscent of Dr. Frankenstein’s lab than the site of a massacre. Also indistinguishable is whether the writer of this text is speaking to his victim, ostensibly someone the viewers in the gallery do not know, or to those in the gallery themselves. It was, after all, created for public display. It feels as though it is based on something specific, but the language allows for it to be both to and from anyone who might read it.


This reflection of the audience in the work does not end there; in the middle of the installation is a large, vertical, in-tact pane of glass in which the viewer can literally see herself. Before this pane lies a wooden stand with a notebook on it that is traditionally used at construction sites as the legal, documented method of communication between the proprietor, contractor, and project supervisor. Below it is vinyl text that reads “Solo escríbe el daño más grave que recuerdes haber causado” (Only write the most serious damage you remember having caused). While, upon looking through the book, it is clear that some have taken those instructions more seriously than others, the act of both writing the worst thing you can remember doing on paper, in an official document, while being able to watch yourself write it, especially within the context of the work around it, further implicates the audience in the sentiment of the text. On the other side of the glass – which one can see through but is slightly more reflective on the side of the writer – is a closed notebook of the same kind, under which is written “Es lo que olvidaste” (This is what you forgot). As you watch someone else enter their worst offense into the first notebook, you are forced to consider the wrongs you have committed that may have been more serious than you realized.


Throughout your interactions with various elements of this installation, the glass is still shattering, continually and loudly. At first it seemed as though the video was a recording (a haunting, a memory) of the crime in and of itself, with the glass as a stand-in for the victim. After being forced into a roll of active participant, as someone who, like Guerra, has done horrible things, the metaphorical quality of the video extends past notions of the two, seemingly isolated roles of on either side of the break. The audience relates to both parties, and in doing so, starts to break down the division between them. There is no exceptionalization of one side in this space.

When you are on the side of the closed book, staring at whomever is writing in the open one, you see them clearly, but your reflection is present, as well. Your images, your stories, your secrets, for the briefest of moments, merge. You are both still together, you both twitch at the sound of glass breaking together. It’s awkward, a bit too intimate, as you both may be recalling intensely personal memories. Whether or not you choose to write yours down, they begin to replay. The past is once again thrown into the present, and the present either disturbs or reinforces the past.


SCHEMA: 3 CAMPOS DE ACCIÓN is open until July 17, 2015. TJ IN CHINA Project Room is open Thursday – Saturday, 12 – 6 PM.

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Just like marriage, our Spring/Summer Sale is getting (nearly) all-inclusive with discounts up to 50% off of Creatures of Comfort, Calder, Caron Callahan, Esby, Horses Atelier, Jesse Kamm, Kieley Kimmel, Kara, Maryam Nassir Zadeh, Me & Arrow, Portland Garment Factory, Rodebjer, Rachel Comey, and Shaina Mote and 30% off of A Détacher, Ancient Greek Sandals, Anaïs and I, Building Block, boy+girl, Little Minis, Nico Nico, No. 6, and Otaat. Stop by our Dallas, Los Angeles, and online stores to check out the entire Sale collection and the new pieces that are starting to trickle in.

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Arrow was just finished cooking his favorite summer recipes from Render’s latest issue and putting some fresh sunflowers in his BZIPPY & CO Purple Column Lady Finger Vase when Clementine showed up in her Samantha Pleet Tabernacle Suit, No. 6 New Crossover Platforms, Karen Walker Super Duper Thistle sunnies, Lucy Folk Ice Cream Stud, and Creatures of Comfort Small Bucket Bag. As she pulled out her Ben Medansky Device pipe, she complimented Arrow on the view. She was a little early for his OMGWTFBBQ/Pool Party, but Arrow, looking flawless in his Kieley Kimmel Sissy Dress, A Detacher Amanda Bikini Top and Tracy Bikini Bottoms, Lucy Folk Sweet N’ Low Sunglasses, Vruwink 3 Piece Geometric Necklace, and No. 6 Two Strap Mid Heels (#Twins!), didn’t break a sweat and asked if she wanted a glass of champerz while he finished setting up his BBQ feast.

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JA1Angela Shore getting her rejuvenation on at at Palm Springs’ Sparrow’s Lodge.

Angela Shore is the Brooklyn-based creator of Jiva-Apoha, a selection of uniquely blended essential oils created to disseminate all of the calming, balanced, generally good vibes Shore has discovered during her years as a Healing Oil Pusher. The oils are all natural and organic, made with 100% herbs, plants, flowers, minerals and therapeutic grade essential oils. Each blend is made with the specific beautifying and healing properties of each oil in mind. They’re even individually blessed!

JA6Packaging ceremonies. From the Jiva-Apoha Instagram: “Each new day for all begins in the East with the rising of Father Sun, the source of life and power, dawn of wisdom, while the fire heating the rocks is the undying light of the world, eternity, and it is a new spiritual beginning day that we seek in the sweat ceremony.”

TenOverSix: You’re trained in Ayurvedic Wellness. What IS Ayurveda exactly?

Angela Shore: Ayurveda, in Sanskrit of the two Ayu (the root of ayur & ayus), means Life, and Veda is the combination of Science, Knowledge and Wisdom. It’s an ancient holistic system of medicine and natural healing that dates back over 5000 years ago from India. It’s believed to be the oldest form of healthcare in the world. There are eight branches of Ayurveda, principles that are based upon spiritual teachings of the Vedas as well as the experiences of the Sages that have passed beyond human consciousness. To say the least, it’s a vast body of work. I live to share the balance of these philosophies and foundations into my everyday use.

JA4 Sadhu photographed by Joey L.

TOS: How did this training lead to the creation of your brand?

AS: The Healing Fusion, as I call it, is a combination of my early years in ancient healings and aromatherapy, which lead me to work with traditional medicine women, one of whom I have been working closely with for over fifteen years. I discovered Ayurveda at a time when I personally needed my own healing, and through studies in America and India, I found myself respecting both my self-awareness and my body much more. I began working with private clients, practicing my passions on the table in energy work incorporating essential oil therapy.

JA2In-studio experimentation with neem, sandalwood, cardamom, fennel, clove, and lemon.

TOS: We realize this is akin to asking you to pick a favorite child, but which oils are your favorite?

AS: Since we’re talking birth, my favorites are 1967 Bod and Atman Spirit Body; I frequently wear them for my oiling ritual, morning and night. For me it’s a stimulating and grounding mixture depending on the day. The meaning behind each essential oil blend has its own story. All blends are meant to please the spiritual, physical, and mental levels of a person. The best results are achieved by applying them generously after bath or shower and wearing them as a body moisturizer throughout the day.


TOS: How often do you create new oils? What is the impetus for the development of each new product?

AS: I’ve been told to slow down, as I have formulas that I’ve already created that are sitting in a pending file. The development behind each blend takes energy, chemistry, and has to carry a personal story. For instance, Thunderbird Body is our latest. It’s still fairly new to the market, but I worked on mastering the formula and thorough creative thought for over a year before bringing it to the table.

JA3Angela Shore in one of her favorite cities, Jodhpur, Rajasthan, India.

TOS: In addition to making and selling oils, you’ve continued your healing practice. Tell us a little bit about that.

AS: I’m creating more balance in my life, and by that, I mean reconnecting deeper into my one on one private sessions. The beauty of the brand is because it emanates from the healings themselves and the energy work that I’ve allowed to open up into my life. It’s a separate body of work that I never won’t to lose touch with.

JA8L to R: Patti Smith by Allan Tannenbaum; Swami Satchidananda and Verushka by Richard Avedon

TOS: “Rock” is very present in both your biography and blog. How does this very American affect/culture influence you work, which is ostensibly based in very traditionally Indian practices?

AS: There’s no separation for the love of Rock n’ Roll; it’s been in my blood early on. My first rock experience was “The Love Valley Rock Festival” of 1970, also known as North Carolina’s Woodstock. I was by my mom’s side. She introduced me to the power of music.

Jiva-Apoha has a playful aspect connecting to our modern day souls. In Jiva’s social media you’ll find hashtags like #JivaRocks, #RockShaman, and #RockNRollYogi, making musicians a part of our Soul-Journey with fun imagery and music videos. I think the healing world needs Rock n’ Roll; after all it’s a fun balance. It fuels the (agni) fire of Jiva-Apoha.

JA9From the Jiva-Apoha Instagram: “The turtle is a symbol of the world, of the earth. To the Lakota, the turtle spirit brings health and longevity.”

TOS: Your work very clearly comes from South Asian healing practices, yet you also site Native American history as an important aspect of Jiva-Apoha. Can you tell us a little about how these two elements work together?

AS: Yes, I also believe in the ancient techniques and remedies of the Native Americans. I was influenced early on by and drawn to our Cherokee Nation and always had a real closeness to our Native American Culture in general. It just became natural to me as the teachings began. The combination of their ancient healings, herbs that are used to purify the spirit world, and bringing balance into our everyday surroundings has become a part of me.

The creative concept of India meets Native American has been in my heart since childhood and through all studies today. There’s so much knowledge in the world of culture, ancient healing, herbs, rituals, ceremonies, and the continuation is a deep learning process. I believe in having more than one teacher, and I consider myself a student for life but to also live as my own director. This is what I do best when helping others see that they have the power to heal as well and sharing through Jiva-Apoha (Soul-Healing).


TOS: How does Brooklyn add itself to this mix?

AS: I’ve been a part of the Brooklyn community for over twenty years. I call it my home away from my home of North Carolina, and where Jiva-Apoha was born. I’m a Brooklyn maker.

JA10Photo: Kevin Necessary

TOS: What’s next for Jiva-Apoha?

AS: A landscape is in the making for sure. My team and I are working on a strategy outline but definitely more essential oil products with a ‘Whole Lotta Healing’ to come.

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With new clothing comes new Caturdays! If you feel like your pet (any species!) has what it takes to model the latest fashions on the TOS blog, email a few high res photos & his/her name to artemisa@tenover6.com! If your pet is chosen (which it probably will be, cause we’re suckers for basically any animal), you’ll also get a hi-res copy of your pet’s Caturday collage.. Yknow, in case you want to print it out at some fancy photo place and frame it.

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April showers do indeed bring (June) flowers; Spring 2015 is now on sale at our Dallas and LA stores and online! Newly discounted items from Luisa et La Luna, 3.1 Phillip Lim, Nancy Stella Soto, Wood Wood, Saturdays, Lizzie Fortunato, Rachel Comey, Ryan Roche, Opening Ceremony, Apiece Apart, Tome and Kaelen join our sale section already stocked with great pieces from Creatures of Comfort, Jesse Kamm, boy+girl, Calder, Nomia, Rodebjer, and Ace & Jig!

Of course, this is just the beginning of our Spring discounting, so be sure to frequent tenover6.com and our brick and mortars for all of the latest sale news!

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Mother’s Day: a celebration of honoring one’s own mother. Every mom looks forward to this special day of honoring motherhood, maybe even more than their very own birthday!  We picked out some very special pieces to help you find the perfect Mother’s Day gift.

Thunderwing Press, I Love You $7.00
Thunderwing Press, I Love You $7.00
Jessica Hans Glazed Porcelain Vases, $200
Jessica Hans Glazed Porcelain Vases, $200
Creature of Comfort Trio Pouch, $322
Creature of Comfort Trio Pouch, $322
Ladies & Gentlemen Studio Mini Chime, $58
Ladies & Gentlemen Studio Mini Chime, $58
Planters, Chen & Kai, Kelly Lamb, Jessica Hans, Umbra Shift
Chen & Kai, Kelly Lamb, Jessica Hans, Umbra Shift Various Planters, $27-$150
Quarry Jewelry,  Triptych Earrings $166-$265, Caro Cuff Bronze $283, Double Caro Cuff White Bronze $276  Available in store
Quarry Jewelry, Triptych Earrings $166-$265, Caro Cuff Bronze $283, Double Caro Cuff White Bronze $276
Available in store
Shiva Rose Face Oil, $85
Shiva Rose Face Oil, $85
Rodin Perfume, $220
Rodin Perfume, $220
Westwind Orchard, Maple Syrup, $24 & Raw Honey, $18
Westwind Orchard Maple Syrup, $24 & Raw Honey, $18
A Peace Treaty Tiri Scarf, $278
A Peace Treaty Tiri Scarf, $278
Seletti Vegetable Cutting Board, $49
Seletti Vegetable Cutting Board, $49
Sehti Na Twin Stud Diamond, $352
Sehti Na Twin Stud Diamond, $352



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al1_jessica_malafourisThe artist in her studio (Photo: Jessica Malafouris)

Alice Lancaster is a NYC-based painter and illustrator whose works we are super pumped to have up at TenOverSix Dallas April 8 – May 31 in Masking Tape Flesh, curated by Yaoska Davila. Lancaster took a few minutes to sit down with us and answer a few questions.

eddiemartinez_jerryseinfeldSome of Lancaster’s influences (L to R): Eddie Martinez; Jerry Seinfeld

TenOverSix: First, biographical things first – How did you decide to start painting professionally? Which artists (visual, other) are your biggest influences?

Alice Lancaster: I decided to paint professionally when I moved to New York a few years ago. I realized that I was never going to have a “normal” 9-5 job and I never wanted one. So I made it my goal to be my own boss.

My biggest influences are Niki de Saint Phalle, Eddie Martinez, Picasso, Fiona Apple, Diane Arbus and Jerry Seinfeld.

frida_tildaFrida Jacket (2015); Tilda Swinton portrait from A History of Sluts, made in collaboration with Chelsea Dom

TOS: In addition to painting on canvas and paper, you’ve done a number of works on clothing, objects, and are in the process of publishing a book with Chelsea Dom, A History of Sluts (which sounds so rad and we can’t wait to get our hands on). How does working with different media/contexts change your practice (if at all)? Why so many wearable items in particular?

AL: Thank you! I can’t wait to see it too. Working in different media completely changes my practice as well as the end result. Drawing someone’s portrait is so different from painting a figure, for me. I’ve done a lot of hand-painted pieces just for variety’s sake. People don’t always look twice at a painting but if it’s on a jacket it suddenly becomes something so much more.

bluenips_grannypantiesBlue Nips No. 2 (2015), crayon on paper; Granny Panties (2015), masking tape and acrylic paint on paper

TOS: While you certainly work a lot with the more traditional oil on canvas, you also use combinations like masking tape and acrylic on newsprint and crayon on paper. What does using more rudimentary tools do to the work that you produce with them? Aesthetically they look very similar, but is there a change at all in way of thinking about a piece/process/logic behind making it/etc?

AL: Working with masking tape is different for me because it has limitations. It sort of simplifies things. It’s also very cathartic to work with.

freak_etcFreak (2012); Untitled Woman No. 2 (2014); Sylvia Browne (2013)

TOS: How do you decide upon your subjects? Most of them seem to be sourced from either yourself or people you know, but then there are a few more well-known folks thrown in there – Tiny Tim, Patricia Filed, etc. How do the celebrities connect to the personal? How influential is pop culture to your work?

AL: With portraits I basically draw people I know and love or creatives whose work I appreciate. I don’t really see them as ‘celebrity portraits’ but more as portraits of really talented individuals.
Pop culture isn’t super influential to my work with the exception of ‘Seinfeld’.

watchingparenthoodonmyperiod_malebondingWatching ‘Parenthood’ on my Period (2015); Male Bonding (2013)

TOS: If your work itself isn’t so blatantly hilarious, the titles you give many of your pieces (Granny Panties; Watching ‘Parenthood’ on my Period [the only way to watch Parenthood, really]) are. They seem to come from the Seinfeld, Girls, etc tradition – work/stories about “nothing,” bringing a distinct post-90s vibe to cubist-y figurative paintings and drawings. How important is humor in your work? Are you actively using it to lend levity to the images you produce or do the titles mostly just describe what’s on the canvas?

AL: Humor is incredibly important and it’s something I’ve only recently been able to incorporate into my work. I had been titling pieces things like ‘Untitled No 2′ which was partly out of laziness but I realized that the title was an opportunity to be creative and funny and let my personality come through. Sometimes the title is directly related and other times it’s connected in a different way. For example, the other day I was painting a figure while listening to an interview with Fiona Apple and she described the experience of recording ‘Hot Knife’ with her sister as a “soul picnic” which I loved so I ended up calling that painting ‘Soul Picnic’.

nakedyogaNaked Yoga No. 3 (2015)

TOS: You’ve spoken a lot about your discomfort with the focus of viewers’ attention being that you’re a woman making images based on the bodies of other women. It seems that this comes from some of your work, in combination with you being the artist, existing somewhere in between the actively intimate work of Tracey Emin – easily interpreted because ladies have feelings and look at all her feelings – and any number of male painters nonchalantly painting boobs and no one caring because a dude did it. Does this generalized anxiety around your work motivate you to further push these normative boundaries? Is there a way you’d like (generalized or specific) people to react to your work?

It bothers me but I don’t want to let that alter my work or force me to change anything. I always do what comes naturally. It’s not even something I can control really. There really isn’t any certain way I’d like people to react to my work. I mean, if a painting made someone laugh that would be great, but I’m totally open to any reaction as long as there is one. Any reaction is a good reaction.

alexandra_marzella_tumblrSome more recent inspiration (L to R): Alexandra Marzella; an image from Tumblr

TOS: What are you working on now?

AL: Right now I’m sort of in between things. I just finished a series of abstract figurative paintings of woman doing yoga. It took me a while but I recently realized that my work comes in waves and that I can’t be lazy when a good wave comes along. I have to ‘ride it’ so to speak and make as many pieces as I can before it leaves. So right now I’m waiting for the next wave (that sounds so cheesy but it’s the perfect metaphor. Please don’t make fun of me).

Be sure to catch Lancaster’s amazing work up at TenOverSix Dallas April 8 – May 31!

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