The February unveiling of Reflections of Speed – Anthony James’ spectacular homage to the Aston Martin Vanquish – was not just a special event ahead of Frieze Los Angeles but also represented a coup in terms of placement for the artist and his futuristic masterpiece.
Picture the scene: a monumental sculpture measuring 5.4 by 2.6 metres and weighing 2,721 kg, carefully transported by crane over Sunset Boulevard to a resting place adjacent to Chateau Marmont’s emblematic swimming pool, where it was displayed for the weekend of LA’s most prestigious art festival, before hopefully heading on public display later this year.
This automotive light sculpture, created in James’ 30,000-square-foot warehouse studio in downtown LA, was more than 12 months in the making and involved him studying every single dimension of the Vanquish. However, he said that when he made the sculpture, he was particularly taken by the back of the Vanquish and put emphasis upon it because he considers it to be one of the most outstanding design elements of the car.
Interviewed on the day of the big reveal, he explained that he is also very particular about the materials he uses. “In this piece, I used stainless steel and modified LED lights. We made the sculpture around the measurements of the car design. So, it fits the car like a glove and is like an outer shell, celebrating the contours and the design of the car. I had a model of the car to work from – identical but not functioning – before there was even a Vanquish in America. But it’s important to say that this evening we have the real car inside.”
Aston Martin exemplifies great British design and automotive engineering, while Chateau Marmont is West Hollywood’s most storied hotel. That night, two icons converged in front of a hand-picked audience of car and art lovers.
The American novelist A. M. Homes recently penned a love letter to Chateau Marmont in the Financial Times HTSI. “It is the castle on the hill, the grand dame of Tinseltown, the old lady of La-La Land. For almost 100 years, Chateau Marmont has been an A-list attraction,” she said.
Like Homes, James also lived at the iconic hotel for a while. “Of locations in Los Angeles, Chateau Marmont is the place,” he says. “It has a legacy going back to the 1930s and is full of stories. I thought this would serve as a great addition to those stories about this hotel.”
The artist first met the Aston Martin team when it sponsored amfAR and complimented him on his artwork, which was up for auction. Given that Aston Martin has a track record of collaborating with leading artists and creatives – including photographer Rankin, collage artist Robi Walters and Brazilian pop artist Romero Britto – a relationship developed, and an Anthony James work was chosen to adorn Q New York, Aston Martin’s flagship luxury location at 450 Park Avenue.
The artist explains that unveiling the collaboration in his adopted home of LA resulted from a call he received from a member of the team. “They asked me: ‘Would you be open to doing something in Los Angeles?’ I said yes and that I would like it to be at Chateau Marmont. ‘Great, let’s go,’ was the reply.”
At the time, no one could have predicted the devastation caused by the wildfires in Los Angeles. The fact that Frieze is one of the first major international events in the city following the fires isn’t lost on James. “As part of a conversation with Aston Martin, and because of what happened in LA with fires, we decided it would be appropriate to donate the artwork and have it auctioned later this year to benefit fire relief charities,” he said. “This will happen after it has been on public display, we hope at the Petersen Automotive Museum. Supporting the city, I think, is a fabulous gesture from Aston Martin. LA needs as much help as possible to rebuild, and so to attract people and be so generous – I think that’s a big deal.”
Often seeking inspiration from the automotive world for his work, James’ passion for cars began at a young age, when he was inspired by the cinematic and motorsports culture of the 1970s and 1980s. Since 2007, his work has primarily revolved around the intersection of art and automotive design. “As a child, I was infatuated with cars,” he said, adding that he even owned a Matchbox version of the DB5. “I’d research all the Aston Martins and the Le Mans-winning cars from the late ’50s. Back then, I thought the most beautiful car that I ever saw was the DB4 GT Zagato.”
The artist employs parallel or angled mirrors, often in conjunction with LED lighting, to create sculptures that reflect light infinitely – which is why the event was scheduled after dark for maximum impact. “I modified the sculpture, so there’s a slight tint on the glass that goes into a deep green that plays with the signature green of Aston Martin. But you only see what’s happening inside the sculpture – no ambient light gets into the artwork as such. So, it’s in its own universe.”
During the night, The Art Newspaper hosted a panel discussion about the Vanquish, involving Miles Nurnberger, Director of Design at Aston Martin, and the British-born artist discussing the synergy between his art, the creative process and what happens in the design studio at Aston Martin.
“Vanquish is more than just a car – it’s a sculpture in motion. Vanquish expresses true contemporary elegance through its proportional perfection, toned physique, broad stance, fluid curves and a striking silhouette,” concludes Executive Vice President and Chief Creative Officer at Aston Martin. “There is great passion in creating pure excitement, and this new Vanquish is a culmination of fearless creativity and human ingenuity. With its form shaped to evoke emotion, Vanquish – like any piece of art – aims to inspire and captivate.”
