MOLI VIEW™

I've been infatuated with the French design team Ibride (pronounced "ee-breed") ever since I saw their deer tray hanging on the wall of an apartment in Seattle. There was nothing else hanging on that wall, which had been painted a gorgeous, soft dove gray in VOC-free paint. About seven feet away from the tray was an unadorned window overlooking a clump of trees. Beyond the line of trees were the distant rooftops of Seattle high-rises, and in my peaceful, half-asleep state, the curves and shapes of the leaves and the strong lines of the high-rises melded together into a single plane.
It was one of those rare moments when I saw harmony in everything — the same harmony contained in the scene on the tray. A doe in the foreground, a buck in the midground, mist and green forest stretching for miles and miles around and behind them, trees lacing their branches into the air. In the natural world, I realized, foreground and background are all just part of endless, infinite space. Either the recent changes I'd made to my life were even healthier than I'd thought, or someone had dosed my coffee. Even organic, free-trade mocha java was never this good.
My West Coast hostess said she completely understood. We sat next to each other on the couch, our hands curled around our cups of coffee, staring at the Ibride tray on the wall. "I think it casts, like, this bucolic spell," she said. "It's like that Henri Rousseau painting, The Dream. Totally surreal and kind of wild, but so obviously just natural." (I ought to mention that my hostess is an art teacher.) She'd bought the tray from Velocity Art and Design, the online site of the wonderful store in Seattle.

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