Sharon Torres, Elia Gabbanelli and Maritza Gonzales at ‘Latin.'
Ernest Hunter at ‘JDRF.’
Masterson's frocks are made from prints fashioned from her nature photographs.
The line was motivated by Masterson’s love of merging history with contemporary design. Inspired by a Fortuny exhibition curated by Oscar de la Renta at the Spanish Institute in New York, the tactile history of the fabric and Mario Fortuny’s engraved block printing methods, she prints each piece using landscape images from her photographic series.
“Art for Wear has been in the works for years, but I’ve expanded the line,” says Masterson. “I made one gown — but then the project went on the back burner. After the pandemic when things picked up again, I started to experiment with different materials and made more designs starting with a better-looking diaper bag for my twins!”
Then her line led to more purses and more bags including the very popular “The Weekender” with a rope handle that can be folded inside another bag. “It sports a generous amount of surface space for a photograph, so I can take advantage of a beautiful image,” says Masterson. Apparel in the small line includes gorgeous silk and satin slip dresses and short and long tunics which can work with jeans or as black-tie, respectively.
A duffle bag sporting a photos of Houston's South Boulevard
Kathy Lord, Klinka Lollar and Masterson at a recent pop-up event
'Moonrise on the Bay' bag
'Skyscape' flounce dress
'Skyscape' weekend bag
Currently her pieces are available at her website online and eventually with select retailers. Masterson has held a few pop-up parties to show her boutique collection including the first at Foto Relevance Gallery, where her landscape photography inspired by years of world travel can be viewed. Another pop-up showing with many Houston heavyweights in attendance was held at Mariquita Masterson, her family jewelry store, in River Oaks.
“Art for Wear aims to create and to visually inspire through the use of pieces you can wear and use in daily life; ideas that are accessible and bring joy while still having a story to tell. Being able to start with my photography as the base of this adventure in my hometown is an extraordinary gift,” says Masterson.
And what does the busy artist and mom enjoy in her leisure time? “I like to go to the country and photograph and to be with my kids and their dad — it’s great to get out of the city and dig in dirt, plant things, roast hot dogs and marshmallows — that’s a breather,” says Masterson.
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A detail of 'Harbor Nest' by Collins
The watercolors in Coastal Gardens portray the uneasy existence between the natural world and manmade industry, and on one level, can be viewed as studies for Collins’ large-scale oil paintings. “I pour loads of time into these smaller, little jewels,” says Collins. “There’s something really exciting about how the watercolor can be so small, and have enough information packed in for a large-sized oil painting.” But there is an unsettling quality to each of these meticulously realized miniatures as if a fuzzy memory or portent of the future has materialized before your eyes. (The working title of the show was Chemical Gardens.)
In conversation, Collins speaks about art with what one imagines was the same level of enthusiasm he exhibited growing up as an only child in a three-bedroom home on Drexel Street and watching his parents, both practicing artists, making things. Each room in the house opened up into a garden filled with garcinias, philodendrons, and bromeliads — plants Collins would draw with Crayola crayons. The imagined vegetation in Coastal Gardens harkens back to this childhood subtropic existence, as well as memories of fishing with his father on the banks of the Texas City coastline, where they observed the beauty of nature on one side of the water and foreboding chemical plants on the other. In a catalog of his works published in 2009, Collins writes: “As I child, I was naive as to the conflict of nature versus man, enjoying those moments only as cherished experiences with my father. Growing older, I grew more and more concerned with man and nature’s conflicts.”
And yet, as it is in all of Collins’ paintings, there is a light that never goes out; the flora and fauna in his watercolors are alive and growing, creeping into the ruins of industry and chemical wastelands. “The visions that I’ve had are certainly cautionary,” says Collins. “I think we can certainly decide to do certain things that will help the planet, but the more time that goes by, I believe art has to ask the question, ‘Where are we in all of this?’”
'Bound In My Chemical Garden II'
'Coastal Rails'
'Bound In My Chemical Garden II'
'Turning Basin'
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