This coterie has been incredibly supportive of the husband-wife team as they’ve rolled out Balcony, a biannual print magazine that focuses on artists’ personal lives rather than their oeuvres. The publication intentionally disregards the standard commercial narrative around upcoming exhibitions, offering intimate conversations about daily routines and side passions instead.
The editorial venture came to fruition in the early pandemic, when Audrey and Vicente were quarantining in the Brooklyn one-bedroom apartment that first ignited their story. “The apartment has always been part of our relationship because we moved in together quite quickly,” she shares.
Despite its 1930 origin, the condo has few original features beyond its beautiful pinewood floors, so the duo had to infuse the place with character themselves. Their chosen furnishings have evolved throughout their tenure, but the current decor is informed by the Bauhaus and Brazilian modernism.
“Concepts that extended from the Bauhaus are something that we’re really touched by,” Audrey says. “This notion that art imitates life to a certain degree is something we always like to live by. That comes into play in how we’ve installed art.”
Audrey and Vicente thoughtfully position each piece in a location that nods to the subject of the work. A plaster cake slice sculpture by Claes Oldenburg, which was gifted to them for their wedding, sits on the Poul Cadovius wall unit in the dining room, while a Zach Bruder painting of neighboring houses is situated by the front door.