Issue link: https://read.dmtmag.com/i/315051
"I just like seeing it happen," says Pharrell Williams. The it in question could be a multitude of things, especially as this multi-hy- phenate creative is prone to collaboration and tackling any area of culture. However, as of late, Pharrell has found himself in the center of global gallerist Emmanuel Perrotin's posse of artists. "You know what they say, greatness begets great- ness," he reflects, "You nee d to surround yourself with it, so, at the very least through osmosis it rubs off on you in some way." While so far no pub- lic displays of Pharrell's own hands at work in painting or fine-art making have been seen, that's about to change—sort of. "I'm an outsider to the art world," he offers, acutely aware that while he may have blurred lines, and especially got lucky, whatever subtext one might read from the titles of Pharrell's smash hits of 2013—the ones that catapulted the al- ready revered musician to icon status—in fact, may be misleading. In truth, Pharrell is the great equalist. "I just want to be associated with people like that so I can be better," he says of his friends within Perrotin's circle, especially JR, KAWS, Takashi Murakami and Daniel Arsham, all of whom, Pharrell admires: "they all ha ve discovered who they are as artists and have these very spe- cific fingerprints in their work that you can in- stantly recognize." Although he would never be so emblazoned, he could use those words to de- scribe himself. Yet in Pharrell's latest venture, he lends his curatorial touch to inaugurate the newest Perrotin Gallery outpost, Salle de Bal, opening on May 27 in Paris. Aptly titled "G I R L," the same as Phar- rell's recently released album, "it's a very impor- tant subject we chose to create this show around," he says—and not only to the men world- wide. As Perrotin puts it, "this exhibition seeks especially to celebrate women, who are liberated by artists and their boundless imagination." In- cluded are 40 works, created by an equal ratio of male to female practitioners, such as all of Phar- rell 's friends above but also Sophie Calle, Ghada Amer, Marina Abramovic and Cindy Sherman. "It's a whole new experience altogether, so although I resonate with a lot of the work, more than anything else, it's the ability—the privilege— to see other people's perspectives," Pharrell says. While "their minds," he offers, is the character most alluring of women—a view he's long been forthcoming about—the projec t came about in a reveling mood, the same as that infused in the show. As Perrotin explains, the alchemy of these minds colliding erupted last November, at the Car- nival-themed party at the Russian Tea Room for Perrotin's New York gallery, where "Pharrell took a few of us to listen to the first five tracks of his upcoming album G I R L," recalls the energetic French dealer. "The songs put us in such a go od mood." Striking gold is cause for celebration. Perrotin is known to take risks. His stable of artists, though now are superstars, embody a clever pop commercialism previously not found amongst the blue-chip set. However, this oppor- tunity was "a natural continuation of the art ad- 126 CULTURED "I selected the clothing and the position of his hands—which is his go-to position— which is somewhere between giving thanks and praying for something else to come," says Arsham of The Future Pharrell, made of glass and resin, for "G I R L." "It's a very fitting position for him."