Fragrance Formulas Gallery Vault Opens Online and in NYC
Press Releases Fragrance Formulas Gallery Vault Opens Online and in NYC
Olfactory Art Keller honored to launch The Vault, a permanent installation by visionary Master Perfumer Christophe Laudamiel. The Vault lays bare the essence of scent creation, unfiltered, by making finished perfume formulas accessible to collectors acquiring their next pieces, entrepreneurs completing their next market successes or connoisseurs, fans, and museums alike.
The unique formulas are available for purchase under a Creative Commons license that allows the owner to exclusively use, distribute, remix, adapt, and build upon the formula in any medium or format, even for commercial purposes, as long as credit is given to the creator. Formulas are available for purchase online after reading a disclaimer. Each formula is only disclosed upon purchase. A rotating selection of eleven of them will be available to smell in a one-of-a-kind immersive experience as of May 8, 2025 at Olfactory Art Keller gallery, in New York City.
The Vault offers an opportunity to face the true complexity of scent creation through tangible expressions of artistic vision, for personal enjoyment, investment, exhibition, study or market introduction. Our hope is for The Vault to challenge thousands of year' old perceptions or secrecy and promote the time-permanent possibilities of olfactory art. By acquiring a formula, one invests in the preservation, transmission and perpetuity of olfactory art.
Permanent Installation at Olfactory Art Keller NYC as of May, 8th 2025
25A Henry Street, New York City NY 10002 USA
Christophe Laudamiel is a Master Perfumer based in New York City and Tokyo. He is known for his unique olfactory compositions, leaving a trail of high-end artistic scent sculptures and signature skin fragrances. His work was integrated in art pieces by Laurie Anderson, Isabel Andriessen, Peter De Cupere, Orlan, Thierry Mugler, and Anicka Yi and has entered the likes of the Cleveland Museum of Art, the Grasse Perfume Museum, the Harvard University Archives, the Swarovski Foundation and the Tibetan Rubin Museum of Art, NYC.
Christophe has exhibited at major venues including the Basel, Cooper Hewitt, Guggenheim-NYC/Bilbao and MoMA-Istanbul museums, World Economic Forums in Davos, and inside the USA, Swiss and Japan Pavilions at World Expos. Christophe is the winner of several awards in chemistry and perfumery including the rare lifetime award from the Institute of Art and Olfaction in Los Angeles. He is a relentless advocate of perfumery education and ethics with 150 lectures and speeches, to law makers, academics and the public. He has published a manifesto, several articles and book chapters in major publications, pursues a constant quest for new or little known ingredients. He is the co-founder of the Perfumery Code of Ethics.
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SOURCE: OLFACTORY ART KELLER
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This story was originally published May 6, 2025 at 12:01 PM.
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Boston Globe
4 hours ago
- Boston Globe
One of the area's most thoughtful Korean restaurants is in Haverhill
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'We keep everything simple but try to make as many things as we can ourselves — whether it's bread or gochujang or kimchi or soy sauce, we'll try to make it.' (They also built out much of the restaurant themselves; the space came with plumbing and not much else.) A Swiss chard dish features house-made tofu, house-made soy sauce, and house-made miso. JOSH REYNOLDS FOR THE BOSTON GLOBE/Josh Reynolds for The Boston Globe On a recent evening, we take two seats at the counter. There are also a few tables, but perching here makes the meal more communal, more about the experience. We can see how Gorrell and Kim prepare the dishes; we can exchange pleasantries with the other diners, two couples who also choose counter seats. We eat dubu jorim, a dish of firm braised tofu tossed with chile crisp, sliced cucumbers, fresh green herbs, and mushroom chips with an appealingly airy, Styrofoam-adjacent texture. The tofu is made in house. Gorrell and Kim also make a soft tofu, which recently appeared in a dish of Swiss chard lightly cooked in sesame-miso sauce, dressed with their house-made soy, and dolloped with the fresh tofu curd. They also make the miso that goes into the sesame-miso sauce, using the solids strained from house-made soy milk. Scallion mandu are plump vegetable dumplings bathed in an orange-miso sauce and drizzled with house-made soy. Since our visit, the menu has featured iterations including onion mandu (using steamed onions as the skins) and beef mandu with green garlic sauce, breadcrumbs, and radishes. The menus change constantly, according to the seasons, availability of ingredients, and what's holding the chefs' interest. Advertisement Banchan include (clockwise from front) Napa cabbage kimchi, daikon kimchi, and eggplant pickles with garlic oil. JOSH REYNOLDS FOR THE BOSTON GLOBE/Josh Reynolds for The Boston Globe 'We like vegetables and like cooking vegetables,' Gorrell says. 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A recently introduced burger has been a popular Sunday order: The chefs grind brisket, then season it like the Korean dish tteok-galbi — with scallions, garlic, soy sauce, and more — and serve it on a house-made bun with house-made mayonnaise and cabbage slaw. The brunch burger, made with ground brisket seasoned like the Korean dish tteok-galbi, with scallions, garlic, soy sauce, and more. JOSH REYNOLDS FOR THE BOSTON GLOBE/Josh Reynolds for The Boston Globe Banchan, traditional vegetable side dishes, are always a highlight of the meal. We order Napa cabbage kimchi, daikon kimchi, cucumber miso pickles, and eggplant pickles with garlic oil. Made by Kim, they are all excellent. Although they are an ideal accompaniment to other dishes, they are also good snacks on their own, and Gorrell says people will come in just for pickles and a drink. Damgeuda has a highly curated beverage menu: a few bottles of wine, a few local beers, a half-dozen kinds of sake (most made by Farthest Star), and a couple of cocktails. Advertisement I sip a milk punch made with roasted bananas and soju; there's also a house spritz, made with Damgeuda's version of Aperol. The cocktails change seasonally, too, and a tiki drink with rum, coconut milk, sunflower orgeat, and lime recently appeared for warmer weather. I quite like the nonalcoholic drinks, including a refreshing pear-ginger soda and a warm cup of burdock chai welcome at the end of the meal. For dessert, we try sweet potato ice cream with citrus granita, two textures of frozen, with blueberries and omija, or schisandra berry. Kim's aunt makes omija cheong, a syrup from the berry; the chefs, who just returned from a trip to Korea, planned to bring some back, along with other ingredients that travel well. They are sure to return, too, with plenty of new ideas for the ever-evolving menus at their ever-evolving restaurant by the Merrimack River. 21 Washington St., Haverhill, . E-mail for a reservation. Dishes $9-$34. Chef-owners Walter Gorrell (left) and Yu Gin Kim beside the counter at Damgeuda, their Korean restaurant in Haverhill. JOSH REYNOLDS FOR THE BOSTON GLOBE/Josh Reynolds for The Boston Globe Devra First can be reached at
Yahoo
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‘Mary Anning': Swiss Animation Unearths the Childhood Backstory of a Legendary Fossil Pioneer in Annecy Playing Feature
Mary Anning has been part of paleontology's history since its very beginning. Yet this inspiring character's childhood remains largely unfamiliar to the public. A self-taught English fossil collector, Anning began her journey in the county of Dorset, England, in the small village of Lyme Regis, where she and her family discovered Jurassic marine fossil beds, one of the first major paleontological discoveries of the 19th century. Her story as a young, dedicated fossil collector inspired Swiss director Marcel Barelli, whose own passion for paleontology followed him into adulthood. Backed by his long-time collaborator and producer Nicolas Burlet (Nadasdy Films), Barelli felt it was the right time to embark on the journey of making a Swiss animated feature. 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It was only a little later, once I decided to stop my chemistry studies, that I realized I wanted to make cinema. By pure chance, I discovered the works of Swiss animator Georges Schwizgebel, and that inspired me to start my own independent projects. Mary Anning is your first feature, after 16 years of making animated short films with Nadasdy Films. What compelled you to take this leap? After many years and many shorts, my producer Nicolas Burlet told me, 'Marcel, it is time for you to do something bigger.' I am a cautious type, going one step at a time. This felt like the next step in my career. Paleontology is another of my passions, and Mary Anning is a major figure in that field. Yet in every book about dinosaurs, she is used as the 'feminine quota' even though she never actually discovered dinosaurs, but other fossils. So I knew her story since I was little. Years ago, I had the opportunity to visit her village and her home, which has been turned into a museum about her life and paleontology. Fossil collectors still walk the shores of Lyme Regis today, and I thought this might be a good story to share with young and aspiring scientists. Mary Anning has been the subject of adult fiction recently, but your film is aimed at children. Can you elaborate on that choice? I love that young character, and above all, I realized in my research that there aren't many real young heroes brought to the screen. Besides Anne Frank, there are no real-life stories about children. We see many fictional characters, but almost no biopics focusing on childhood or children who accomplished great things at a young age. Even a film like 'Hola Frida!', built around Frida Kahlo's youth, is a way to bring forth a well-known figure who isn't remembered for her childhood accomplishments. With Mary Anning, I thought there was potential for such a story. Children are often overlooked by history, but in recent years, they've taken more space in public debate and politics, with figures such as Greta Thunberg. Sharing this striking story, almost an anachronistic one, of a girl from a low social background shunned by the educated class, in an era where women had few rights, yet who still manages to fulfill her desire for freedom and knowledge, that spoke to me. I hope it can speak to many children today. Her desires often clash with the world of adults, especially the Reverend's strict views on women and science. Why was it important to depict this opposition? Part of it was a choice, and part of it comes naturally once you start writing. She's young, he's the oldest character. It also embodies the rivalry between children's and adults' understandings of the world. Children are more open-minded and ready to accept change, to be amazed and to grasp transformation without clinging to the status quo. 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Her style brings forth great children's worlds, reminiscent of literature and picture books, with soft, round designs that balance the harsh nature of these cliffs of mud and clay swept by storms. Thanks to Marjolaine's style, the film doesn't necessarily soften the story, but it soothes the setting and clearly signals the intended audience. Can you elaborate on your directorial choices? While writing the film [with co-writers Pierre-Luc Granjon and Magalie Pouzal] and building it with Marjolaine, I had three films in mind: 'Billy Elliot' for the spirit, 'Portrait of a Lady on Fire' and Yasujirō Ozu's 'Good Morning,' which fascinates me for its rare portrayal of rebellious children in a domestic setting. Ozu has a unique way of staging and framing, especially for children, alternating wide shots and close-ups to convey emotion. For 'Mary Anning,' I opted for relatively simple staging, little camera movement, close-ups and profiles. This also stemmed from the lack of experienced animated feature teams in Switzerland. To manage with these constraints, we opted for 2D rigging and animated puppets in Toon Boom rather than traditional 2D. It's more of a TV series approach, but we tried to give the film a polished look. Industry people may notice, but I don't make films for the industry—I make them for the audience. These choices allowed us to focus on what mattered, without overreaching. In fact, if you remove the Belgian co-production from the credits—who handled rigs, mixing and voice recording—it's almost a short film crew. Very few people were involved, which kept the project at a human scale. The film's music has a striking uniqueness, rarely heard in children's features. What drove that rather 'punk' choice? It was one of the main debate topics during production. People love it, people hate it—and I love that it sparks such discussion. From the start, I wanted anachronistic music to match Mary's slightly punk rock style. I knew Shyle Zalewski's work as a graphic novelist and cartoonist, but I discovered their music by accident. I was quickly convinced. They sent me hundreds of tracks. I tried several, which were re-recorded, and I asked them to compose the end credits too. I don't know the exact musical terms, but we described it as punk, teen lo-fi rock—and I like it that way. Are there details in the film that people might miss that are important to you? Plenty, mostly nerdy paleontological ones. If you wait until the very end, you'll see the first-ever illustration of a prehistoric scene: Duria Antiquior, drawn by geologist Henry De la Beche in 1830, based on Anning's fossil finds. De la Beche was her friend and created the drawing to raise money for her research. There are many such details, like Ms. Philpot's drawings using fossilized ink, and other paleontological nuggets hidden throughout. What would you say is the state of Swiss animation today? How has it changed throughout your career?I can recount the history of Swiss animated features on my two hands, so bringing 'Mary Anning' to Annecy is a miracle. I've seen two trends: more talented artists emerging from art schools, but funding isn't keeping up. There's no longer enough support for short films like I made at the start of my career, or like Schwizgebel made. Recently, measures have been taken to reduce or limit access to funding. That's a real problem, not just for animation but the whole industry. Meanwhile, the number of artists and directors is increasing. If we want a real Swiss animation industry, we need to act. Not being in the EU limits access to MEDIA programs and international collaboration, making it harder to produce big projects like features. Even Oscar-nominated directors like Claude Barras still struggle. I think there's a lack of confidence in Swiss cinema from policymakers, not seeing the long-term cultural and economic value it can bring. With 'Mary Anning,' we succeeded. I hope we can do it again, with the same talented team. I love cinema, and I love sharing films with the audience, starting with my own children. I hope I can keep doing that for a long time. Best of Variety 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? 25 Hollywood Legends Who Deserve an Honorary Oscar New Movies Out Now in Theaters: What to See This Week
New York Post
4 days ago
- New York Post
Minneapolis neighborhood has a bizarre annual tradition — and it involves a gigantic No. 2 pencil
Residents will gather Saturday in a scenic Minneapolis neighborhood for an annual ritual — the sharpening of a gigantic No. 2 pencil. The 20-foot-tall (6-meter-tall) pencil was sculpted out of a mammoth oak tree at the home of John and Amy Higgins. The beloved tree was damaged in a storm a few years ago when fierce winds twisted the crown off. Neighbors mourned. A couple even wept. But the Higginses saw it not so much as a loss, but as a chance to give the tree new life. The sharpening ceremony on their front lawn has evolved into a community spectacle that draws hundreds of people to the leafy neighborhood on Lake of the Isles, complete with music and pageantry. Some people dress as pencils or erasers. Two Swiss alphorn players will provide part of this year's entertainment. The hosts will commemorate a Minneapolis icon, the late music superstar Prince, by handing out purple pencils on what would have been his 67th birthday. Advertisement People gather to watch the 3rd Annual Sharpening of the Lake of the Isles Pencil in Minneapolis on June 15, 2024. AP In the wake of the storm, the Higginses knew they wanted to create a sculpture out of their tree. They envisioned a whimsical piece of pop art that people could recognize, but not a stereotypical chainsaw-carved, north-woods bear. Given the shape and circumference of the log, they came up with the idea of an oversized pencil standing tall in their yard. 'Why a pencil? Everybody uses a pencil,' Amy Higgins said. 'Everybody knows a pencil. You see it in school, you see it in people's work, or drawings, everything. So, it's just so accessible to everybody, I think, and can easily mean something, and everyone can make what they want of it.' Advertisement So they enlisted wood sculptor Curtis Ingvoldstad to transform it into a replica of a classic Trusty brand No. 2 pencil. 'People interpret this however they want to. They should. They should come to this and find whatever they want out of it,' Ingvoldstad said. That's true even if their reaction is negative, he added. 'Whatever you want to bring, you know, it's you at the end of the day. And it's a good place. It's good to have pieces that do that for people.' Wood sculptor Curtis Ingvoldstad transformed a beloved tree into a replica of a classic Trusty brand No. 2 pencil. John Higgins said they wanted the celebration to pull the community together. Advertisement 'We tell a story about the dull tip, and we're gonna get sharp,' he said. 'There's a renewal. We can write a new love letter, a thank you note. We can write a math problem, a to-do list. And that chance for renewal, that promise, people really seem to buy into and understand.' To keep the point pointy, they haul a giant, custom-made pencil sharpener up the scaffolding that's erected for the event. Like a real pencil, this one is ephemeral. Every year they sharpen it, it gets a bit shorter. They've taken anywhere from 3 to 10 inches (8 to 25 centimeters) off a year. They haven't decided how much to shave off this year. They're OK knowing that they could reduce it to a stub one day. The artist said they'll let time and life dictate its form — that's part of the magic. 'Like any ritual, you've got to sacrifice something,' Ingvoldstad said. 'So we're sacrificing part of the monumentality of the pencil, so that we can give that to the audience that comes, and say, 'This is our offering to you, and in goodwill to all the things that you've done this year.''
