Fort Worth, TX (PRWEB) March 26, 2014

Dub Electric is now specializing in LED lighting installation for interior and exterior homes and buildings. New brands are now available that are low voltage lighting products sealed and waterproof in different color finishes. (Gold, Brass, Bronze, Brown, Green, Black). Up lights, bullet lights, tree lights, well lights, lanterns, path lights all on a digital timer.

One of our top installation projects are lighting design in kitchens installing under and over counter LED lighting that is dimmable. Including installing pendant lighting above bars and kitchen islands, reconditioning fluorescent lights with new electronic ballast and lamps

Saving on the utlity bill is also very important these days. Dub Electric is specializing in whole house energy controllers and main panel surge protection. We offer a new brand of whole house surge protectors with a lifetime warranty and connected equipment replacement to protect everything electronic from utility surges or lighting strikes. Install whole house energy controllers which lowers utility costs by cleaning up the electromagnetic pollution in the electrical system, reducing lost and wasted power. This system not only slows down the meter it also increases inductive equipment life by reducing non-productive current. (Inductive equipment like: refrigeration, irrigation pumps, pool pumps, washing machines, dryers, and all types of electric motors.)

Recently, we have expanded our territory to Fort Worth, Irving, Lewisville, and Arlington, TX.

DUB Electric the one of the highest customer reviews ratings listed online.

No workplace injuries. 100% accident free

As one customer on the internet says, We have received excellent electrical service from DUB Electric. The electrician was professional and works efficiently. I would highly recommend DUB Electric for your electrical needs.' A few services that it offers are:

After evaluating many such services and reviews from the satisfied customers of DUB Electric, it has been determined that they are one of the best licensed electricians for performing all types of electrical work.

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Reduce Your Energy Costs With Dub Electric; Now Specializing in Interior and Exterior LED Lighting

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His life was littered with great patrons royal and noble the first two Georges and Frederick, Prince of Wales, appointed him Master Carpenter and Master Mason, invented for him the post of Inspector of Paintings in the Royal Palaces, and on the death of Charles Jervas he was at last, in 1739, at the age of 55, appointed Portrait Painter to the King though George II sensibly declared that he would never sit for him, for by then everyone had realised that Kent was not the English Raphael and his reputation had begun to fade. George Vertue, Kents contemporary, whose observations on art in England in their day formed the first systematic account of the subject, was contemptuous, condemning him as an untalented placeman; his ally Hogarth went further with neither England nor Italy ever produced a more contemptible dauber.

That their view of Kent on his death in 1748 held sway is not surprising, for Kents taste was heavily Baroque but without the flight and fantasy of his predecessors Bernini and Borromini, and utterly lacking the common-sense elegance of Fontana; his contemporary in Turin, Juvarra (of whom he may not have known, though he was briefly in that city early in November 1719), was an infinitely more exciting architect. Worst of all for Kents posthumous reputation was the sweeping tide of Rococo all over Europe, light, deft and enchanting, in contrast to his heavy and exaggeratedly stately style it could reasonably be argued that, far from being a faithful follower of Palladio, he weighed down that genius with his sense of pomp and his monumental mannerisms.

Heavily Baroque: the Kings Staircase and Ceiling at Kensington Palace Historic Royal Palaces

But who was William Kent? We know what he was in later life, but the who remains elusive. How was it that a boy born William Cant in 1685, in Bridlington, then a prosperous market town noted for its many annual fairs, the son of a common joiner, could have so attracted the patronage of the local gentry that, at the age of 24 and having changed his name from Cant to Kent, they sent him off on the Grand Tour to Italy, supporting him there for 10 years? It is said that he went to the local grammar school and was apprenticed to a coach-painter in Hull, but this is not supported by documents (though the oldest coach-builder in the country was the Yorkshire firm of Walter Rippon, 1555-1958, and there might be something lurking in its history). All that we really know is that his mother died in 1697 and that in 1709 he was in London, signing himself William Cant... limner. Who taught him to limn (that is to draw and paint)? It is surprising that he claimed no master, nor, when he was famous, did any master claim him as a pupil.

What were his youthful charms, I wonder, and how thick his Yorkshire accent? Was he, as David Hockney was to be, an amusing pet for the aristocracy? Was he, like Roy Strong, not only clever (in the best sense of that word), but something of a chameleon? Or is there the very simple answer that one of the local aristocrats was his father and that he was educated almost as a gentleman? One writer in the exhibition catalogue has him as warm, affable, witty, extrovert... bubbling with erudite learning though without offering evidence; another (there are 15) quotes Lady Mary Wortley Montagus quip on bisexual ambiguity and goes on to suggest that in the relaxed atmosphere of the court, Kents relationship with Lord Burlington might have had its amorous dimension.

In Italy he joined the studio of Giuseppe Chiari, a pupil of Carlo Maratta I wonder if some of the appalling duds in the Maratta Room in Houghton Hall were not only framed by Kent, but painted by him? His output of paintings copies and originals was, in the circumstances, prodigious, for he supplemented his various pensions from England by acting as a proxy collector of all sorts of works of art and playing cicerone (guide, companion, comforter) to other Grand Tourists, often of the grandest kind. Of these the most important were Thomas Coke, future Earl of Leicester and builder of Holkham Hall in Norfolk (to designs by Kent), and Richard Boyle, exquisite and aesthetically driven, the youthful Earl of Burlington who was to take Kent into his household, and in whose arms the great genius died, then to be buried in the Burlington family vault. Both men were significantly younger than Kent, Coke by 13 years, Burlington by a decade.

And still we ask who was this William Kent? He seems at once to have had contacts with the highest levels of society in Italy, both visiting English and resident Italian, to have been given commissions by Italians (who should have known better), and even to have won second prize for painting at the Accademia di San Luca. We have no portrait of him earlier than a head by Benedetto Luti, a far superior painter whom Kent had known since his arrival from Rome in 1710, and who may have been an influence. It is, I suspect, a fragment of a full-length portrait, and with no costume to distract us we see only a decidedly plump face with a double chin, a petulant little mouth and a disagreeable air of hauteur; he is 34 and soon to return to London. At 40 or so he was painted by the plodding William Aikman, an immediate contemporary from Scotland who had recently come to London seeking patronage; he too gave Kent the double chin and little mouth, but the air is now complacent. In a self- portrait two years later Kent looks down on the great staircase of Kensington Palace, and in this he has run to fat, the cheeks now so plump that they pinch the once large eyes. In Burlingtons household from the day of their return together from Italy in 1719, Burlingtons Countess observed Kents fondness for food and affectionately referred to him as Kentino and ye little Signor. Did he assume tiresome Italian manners, I wonder?

Visual delight: the Gallery at Chiswick House by William Henry Hunt, 1828 Devonshire Collection, Chatsworth The exhibition is disappointing in its modesty. If Kent is known for anything, it is for opulence and grandeur in great rooms and splendid staircases, their theatre controlled by unity and uniformity, by concept rather than impulse, but this we can divine only from small things, from prints and drawings, plans and elevations, from ponderous gilt furniture and the fine frames of paintings of such poor quality as can occasionally still be found in Londons auction rooms on a bad day. All these are crammed hugger-mugger into too small a space, yet, if Kent was ever inspired, it was in furnishing vast rooms in which assemblies met, in his ability to turn every wall into a decorative architectural scheme in which furniture, paintings, curtains and cut-velvet wall hangings combined to form, as it were, a rhythmic architectural faade. Isolated in an exhibition, his ornate furniture, titanic in ambition, laden with detail and far too sculptural for its purpose, may seem more than mildly absurd; but against a wall, under a painting, these cumbrous monstrosities are far more than seats and tables, and in Kents eye were part of an aesthetic unity, part of the process of completing a house in which every detail of colour, material and texture played its part. He was, in this, the inventor of what in Germany, a long century later, was called Gesamtkunstwerk the complete or total work of art though the music should be by, not Wagner, but Handel, Kents very close contemporary.

In this exhibition we see proof of Hogarths judgment that Kent was a contemptible dauber, and his draughtsmanship too is exposed as that of a hapless amateur; but to be fair to him, Kent should be judged only in his houses and palaces, not in the mean circumstances of a meagre exhibition in the V&A. Five minutes in one room of Houghton proves him to have been capable of the most accomplished fusions of architectural convention, decoration and embellishment.

William Kent: Designing Georgian Britain is at the V&A, SW7 (020 7942 2000, vam.ac.uk) until July 13. Sat-Thur 10am-5.30pm, Fri 10am-9.30pm. Admission 8, concessions available.

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William Kent: Designing Georgian Britain, V&A - exhibition review

STEP into Yamin S in Jalan Maarof, Bangsar, Kuala Lumpur, and you can feel immediately that this is a boutique with a difference.

Located on the same stretch as other designer labels and high-end furniture shops, the two-storey bungalow is not filled with racks and racks of clothes. Instead, there are wooden and rattan furniture in the foyer, living room and even the living room upstairs.

It seems that boutique owner Mohamed Yamin wears many hats as fashion stylist, wedding planner and interior decorator. While he started his career as a designer, he thought it would be a strategic move to be involved in every aspect of the industry.

A friend told me once that I should be good in not only one area of the business as I may need something to fall back on. Realising that he was right, I studied furniture design and interior decoration. Then I worked as a wedding planner, he says.

I also learned that in this business, you can be in demand one day but not the next. I had the unfortunate experience of this after 28 years in this business.

Mohamed Yamin, who was born in Malang, East Java, went into designing after winning a fashion designing contest in Jakarta in 1986. It was not his original intention to be a fashion designer. He wanted to win so that he could pay for his art and design course. But when he won, he changed his mind.

He worked with a well-known kebaya designer, Prayudi, for two years and learned about designing and photography. After that, he did a two-year stint at Sari Ayu and was appointed as designer for Puteri Ayu. It was a good time. I made a name for myself in Indonesia and had a good life. Everyone there wanted a Yamin design, especially celebrities and the rich and famous, he says.

HUGE LOSS

But in 1989, he suffered a huge loss in the stock market. He was left with nothing and his clients abandoned him. Feeling rejected, he moved to Singapore where he set up a designing business with a local but the business was short-lived. After another short business deal in Johor Baru, he came to Kuala Lumpur in 1994 to work for a textile company.

After a while I decided it was time to learn new things. At that time, wedding planning was a new concept in Kuala Lumpur but it was already very popular in Indonesia. So I went back to Jakarta to learn the trade. It took me a year to learn everything about planning a wedding and, because part of the job was decoration, I thought it would be a natural move to extend the business to home decorating, he explained.

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Art of the designer

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