"I believe that experiencing different cultures made me present today".

Magazine Anual Design is an influence in the area of ​​Architecture & Decoration in Brazil.

In an exclusive interview with Annual Design, Catarine Wright talks a little more about her life story and her career and her relationship ship with art very attached her senses.

Catarine Wright is from Goiás, born in the capital. What's new about your flights early, never lost the tie with the city. For many years she lives in New Jersey, having a privileged view of Manhattan as a daily company. "From a young age, I have admiration for Interior Design and Architecture, feeling myself in the choice of my profession.

Certainly, he had a familiar familiarity, that is, a heritage of a different man through objects, for details, "recalls the professional. After completing her studies in New Zealand, she went to the United States, where she joined the NYSID in Manhattan, an institution represented by the creative movement, and for being ranked in the US Program in Interior Design.

Throughout her career, Catarine met curator Larry Weinberg, owner of the Weinberg Modern Antiquarian, located at the New York Design Center. "Surely, it was an incredible job because in this gallery. Larry taught me to look at each object in a special way, "he says. Another experience that marked her trajectory was exercising a role of designer in James Rixner Inc., a company that specializes in residential projects, already a market for 35 years, directed by James Rixner, a renowned professional in the American scene.

The objects come from different origins, some manufactured in the USA, others in Italy, England and France. The furniture in the living room, including the chandelier a classic tone.

1. Do you live in the United States, how do you analyze the market there? Talk about your work routine. The American market, specifically the NY market for the interior design professional, who works directly with products and services is in revolution. We have to understand and learn to deal with the digital age, which provides spectacular tools for the creation and production of interior projects. In New York the market is pulsing in both the diversity of skilled professionals and the different institutions of references for the training of the interior design professional. In addition to the variety and quality of products, associated with the diversified options of local and international suppliers. With the experience of chairing the Interior Design Society of NY I see a concern of American professionals to associate the logistics of the market with the necessities of the client, mainly humanizing the projects with a call for sustainability. Also notable in the designers of NY is a large cultural formation.  Talking about my work routine is not so easy because it is most often challenging. We live different phases during the process, from the formalization of the contract, creation of the project, curation of objects, furniture and coordination of the teams involved, in short, my days are usually occupied with the respective activities at each stage of the process. It is a routine of hard work and dedication in search of the best result.

2. Does your work have a predominant style? What are your inspirations? In my proposals I do not allow only one style to limit the creative moment, I always listen to the client and try to create the environment that best meets their expectations. I do not bother to follow the characteristics and standards of a single style. Most of the time I use the most traditional aspects with its elegant lines and an air of refinement, with a luxurious and daring predominance of the pieces, such as the use of beige, white and harsh tones. At the same time I feel influenced by the decades of 50, 60.70 using a more dynamic style to the environments, bringing the lower and elongated furniture in straight lines, giving an air of sophistication, I use an unusual material, where the contrasts do not hatch, but complete.

The Modern is a residential skyscraper complex in Fort Lee, New Jersey near George Washington Bridge Plaza at the western end of the George Washington Bridge on the Hudson Waterfront.

3. You act directly with the luxury market. What are the biggest challenges?

I consider my work ruled by elegance, and contemporaneity. An aesthetic style that reflects the sophisticated. It is always with this reference measure in mind that I work environments. There is a greater tendency or predominance of investing in unique objects, depending on the potential of each client. I often seek alternatives that value the softer tones, indirect lighting, among other elements that provide a more intimate environment, I usually use, exquisite adornments, which print sobriety to space. And without a doubt, I will always be open to new practices, imparting new market trends. As for the challenges, they are different for each project. They start from the creation of the project to the publication of the results. We have steps that require more creativity, talent and caution. The curation of the pieces is one of the most laborious and delicate phases, because it demands a choice that is always integrated with other aspects of the project.

4. Now that you are turning to the Brazilian market, more specifically to Goiânia (BRA), how do you analyze this experience?  

Having the opportunity to work in the Brazilian market, especially in the city of Goiânia is more than a goal, it is a dream. I think that for this to happen it is important to rely on technology as an essential tool and a team of qualified professionals and in an organized way to develop the work by conducting shared management and a chronologically well-crafted logistics. That is, the proposal is to systematize the work. My interest in bringing my work to Brazil arose from the analysis of the different cultural values ​​between places, in particular, to form a new conception of my work, seeing space as an expression of the tendencies of a particular social group, which may reflect in the creation of the project. And all this makes me think of space as a dynamic between the indicators of multiple realities, both in the country that I live in and in Brazil.



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