Though precautions can be taken to keep your chandelier safe while working, wallpaper particles and plaster dust can find there way to the fixture, leaving the prisms dusty and in need of a good clean. There are two common methods used for cleaning chandeliers: Glass on, or Glass off. The first method is to spray your cleaning solution on a damp cloth and use the cloth to wipe down all hanging decorative elements while leaving them attached to the frame. The second is to remove all hanging elements from the fixture and clean each piece separately, attaching them after each piece has been cleaned and polished. It is not recommended to ever spray solution directly onto your chandelier because your cleaning solution could damage any non-crystal elements on the frame. We choose to clean chandeliers using the second method (glass off) after first attempting to clean it with the glass on. It can be difficult to keep your chandelier still, and since we were working pretty high up we decided it would be best to do the majority of the work safely at the dining room table.

If you are resurrecting an old vintage or antique fixture, or anything that requires a 7′ ladder, we highly recommend the second method. 1. If possible, turn the circuit breaker off in the room where you are working. If this is not possible, turn the light off at the switch and cover over the switch with a large piece of tape as an added precaution. 2. Inspect your chandelier. This is helpful so that if you choose to remove any hanging elements you’ll know where to replace everything once you’ve finished cleaning. Ours had three sections of prisms so we removed each section together and laid them in groups so we would know how to re-hang them when we were finished cleaning. Its also a good idea to take a photo of your chandelier from a few different sides for reference. 2. Get all the excess dust and debris off the fixture with a dry cloth or duster. We use a ceiling fan duster specifically for our light fixtures. 3. Lay out a blanket under your chandelier. In the unfortunate case you should drop something, the blanket will help break the fall and hopefully keep the piece from breaking.

4. Spray a lint-free cloth with a solution of 1 part vinegar, 3 parts warm water and wipe down the spindle and arms of the chandelier. Buff dry with a lint-free cloth. Some folks recommend cleaning your crystal with detergent to really make it sparkle and shine, but we felt a little uneasy about using anything other than vinegar on ours.chandelier for sale in lahore 5. If you’ve decided to take the prisms down from the frame for cleaning, now is a good opportunity to check out the prism pins and make any repairs necessary. hubbardton forge buff suede pendant chandelierGrab your needle nose pliers and make any adjustments needed.hilden and diaz chandelier forest 6. Clean the prisms by using a cloth dampened with the vinegar/water solution then buff dry with a lint free cloth.

For this step we put on the white gloves to keep fingerprints from leaving smudges. You can find cotton gloves online, or you can hop on over to your local thrift shop and pick up a cute pair of vintage gloves like we did for next to nothing. 7. Hang the prisms according to your reference photo, step back, and try not to be blinded by your bright and shiny chandelier!Aden + Anais | Aden + Anais | Water Baby Too Washcloth | Douglas and Bec is a design studio based in Auckland, New Zealand with a location in Collingwood, Melbourne.Welcome.Read our story Douglas and Bec is a furniture and lighting design studio based in New Zealand. What started in 2006 as a collaboration between designer Bec Dowie and her father, furniture maker Douglas Snelling, has grown into an award-winning company with a global following. With Bec’s husband Paul joining the duo as a director to help steer the fast growing business, Douglas and Bec is a true family business.Douglas and Bec collections combine innovative design practices with traditional manufacturing techniques.

Only the highest quality honest materials are utilised, such as American ash and oak, copper, brass, hand-blown glass and natural leather. Working with a talented team of local makers, Douglas and Bec creates iconic pieces made to last and stay in your family for generations.In 2012, Douglas and Bec opened a showroom space in Melbourne, giving the company a base for it's Australian operations. Today, both teams work closely with leading architects and designers on exciting commercial and residential projects. From restaurants and boutique hotels, to retail destinations and stunning private residences, Douglas and Bec is driven to create distinctive pieces for projects across the world. Sans Frontieres III, 2016, oil on linen, 300mm x 600mm Linda Holloway’s latest paintings refuse to stay still. Huge grids of metallic and matte squares respond and react to light, appearing to shimmer and shift as you approach them. Reminiscent of colour field paintings, her work creates visual environments that absorb us as we move closer, filling our whole field of vision with a gentle hum of tonal harmonies that Holloway likens to visual music.

The dancing grids animate under light, morphing into tapestries, tiled mosaics, mathematical formations, or dusky city lights. Holloway’s paintings are lively even when seen in a dim light, when the flickering grids are at their most elusive. Each square is painstakingly layered with three or four coats of paint, creating an unexpected warmth in compositions dominated by quiet greys. The metallic squares alternate rhythmically with matte surfaces that absorb light, such as the graphite squares and dense charcoal lines. The palette of each painting is tightly controlled, with some reminiscent of pearlescent oyster shells, and others imbued with shades of a cool, overcast ocean. Light is not only an active participant in the viewing experience of Holloway’s work, but intrinsic to the making of these paintings. Holloway’s carefully orchestrated grids are the basis for starkly sketched forms that provide clues to mysterious objects. Sprawling charcoal lines describe the shadows of forms that were thrown onto the grids by chance in the studio: a wire chandelier, a stool, or parts of a plant stand.

There is a sharp contrast between the meditative grids and the spontaneous graphite marks that capture a feeling of transience and chance: these are fleeting shadows rendered solid, a record of a passing moment. The sketched forms also hold some personal significance for Holloway as they trace connections to memory and family. A twisted wire chandelier was made by Holloway’s son, giving one of the paintings the anecdotal title Bruno Shadow. This latest body of work has evolved from Holloway’s previous Anomie series, which explored a kind of social unravelling; diminutive figures seemed isolated within an infinite, ever-shifting landscape, lost in a strange sea of grids and objects. In this latest series, the relationship between space and form continues to be explored through the juxtaposed grids and shadow objects, creating a heightened tension across each composition. Holloway’s paintings respond sensitively to the shifting environments in which they were made, but also create a shifting environment in and of themselves.

As we approach the works our own shadows are cast onto them, and become incorporated with the paintings. Our presence becomes intrinsic to the formation of these works as we actively contribute to the sense of movement and transformation, and so each experience of them is unique. The poignancy of Holloway’s paintings exists in the crucial space between repetition and difference. This notion encourages us to look not just at the shared commonality between forms, occurrences or events, but to notice and revel in the differences between seemingly repetitive phenomena. The subtle, transformative qualities of Holloway’s paintings encourages us to embrace this sense of difference, and enjoy moments of transience and experience. Essay by Linda Yang Education: Master of Fine Arts (Hons), Elam School of Fine Arts, University of Auckland; Bachelor of Arts, University of Auckland; Post-Graduate Diploma Broadcast Communication, University of Auckland Awards/Distinctions: The Wallace Art Awards - Finalist (2013, 2010, 2006);