Charleston Style and Design

FALL 2014

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306 CHARLESTON STYLE & DESIGN | FALL 14 artist, who's grown her skill set to include original and faux art, trompe l'oeil, lime plasters, fooring and furniture. "He sent me clients looking for mahogany wood graining, so I taught myself to do it—and fell in love with it!" Poe's formal training began with Canada-based Mike MacNeil, a master decorative painter whose wood graining and marbling techniques have won him worldwide acclaim. She continued her training in Rome, studying the historical technique of Italian lime plastering. "I have a passion for learning centuries-old crafts and translating that knowledge into artisanal fnishes for the 21st century," explains Poe, who later followed up with a trip to Venice for a more in-depth understanding of plastering. "The plasters and colors are made from the earth, refecting subtleties that differ from region to region." A trip to the venerable city of Versailles, also known as the French home for decorative art, expanded Poe's portfolio and parlayed her wood graining and marbling skills into the next level. There, at the elite school of Jean Sablé, she learned the technique of painting trompe l'oeil— "deceive the eye" "I spent a month with two world-class artists who had two very differ- ent painting styles," notes Poe. "Sablé, who has a very delicate hand, and Pierre Finkelstein, who uses very bold, large brushes." She studied the nature of marble and how it's quarried in order to make it appear carved and three-dimensional. While in Versailles, she also had the opportunity to study the architectural techniques within the treasured palace. With a joie de vivre that is contagious and an endless stream of energy, Poe outlines her 10-year plan, at the center of which is a new studio that ABOVE: A trompe l'oeil foor painted by Poe truly tricks the eye with shapes that appear to pop with three-dimensional form. A graceful custom sideboard and faux-painted antique door add to the room's Lowcountry chic. RIGHT: Poe's new studio showcases a foyer foor she painted with intricate marbling and painstakingly rendered geometric shapes—a masterpiece she describes as 20 years of work coming together in one project.

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