www.artnois.com
No. 7 AUg 2013
Artnois turns 1! Well we are still here, a year later after starting Artnois, a very scary venture for both Jess and I but we are super proud we’ve even made it this far. We’d like to take this chance to tell you guys a bit about the roller coaster ride we’ve been on since committing to exposing artists from around the world. Artnois sprouted as a handmade traveling booth that would pop up in local venues selling random artwork, from paintings, to handmade wallets. Soon after meeting so many inspired artists, we ourselves were motivated to take it to the next step. Sure we loved the actual art making but acknowledging all the amazing work and passionate artists made us want to help others appreciate it as much as we did. We were both working and going to school at the time but yet we jumped on the idea of having an online magazine be our vehicle for a sense of community. Truth is part of the time we are pulling our hair stressing and staying up till the crack of dawn trying to bring you what we can. However, when we talk to artists and listen to their stories of what art and music is for them and when everything about that person exudes passion and inspiration for doing what they do...well, it’s hard to ignore that. It makes us feel like there is so much more importance to life than the daily struggles and that no matter how hard it may be, the relationships we establish and the lesson’s we learn make it all worth it. As cliché as it may sound, we’ve learned that life really is what you make of it and that if you never try you will simply never know. We have to apply ourselves 100% in all we do and believe in it otherwise we can’t say we tried. This perhaps is one of the most expressed feelings we’ve received from the artists we’ve met. For this reason we strive to represent artists who are positive and somehow inspire others to think outside the box and truly show life what they are made of. Additionally, we want to thank all the artists who have contributed their time and their work along with everyone else who help make Artnois possible. We included a short recap of what we’ve covered since starting our magazine. Hope you enjoy. -Magda Becerra & Jessy Meraz Artnois Founders
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Artnois Team Magda Becerra Artnois Co-Founder, loves anything creative, manages all artwork, and final editing. magdabee.com magda@artnois.com Jesenia Meraz Artnois Co-Founder, brings music to your ears. Always looking for new music and artists to share with the world. jessy@artnois.com Carlos Rubio Staff Writer Shelley Pham Intern Comes with a rainbow and a pot of gold. Patty Nunez Graphic Designer Thank her creative mind. Trang Nguyen Intern You can’t spell ‘strange’ without ‘Trang’
contents
Issue 4 February/March 2012
04
24
We did it!
Yoruba Culture
1 Year Recap
Katie Mallory
08
26
TA-KU
Luis Rivas
Uprising beat producer
Poet
10
Lucille Ghatti
32
Ghatti Ghatti, she likes to party
14
Eric Rosner
Ink marker illustrations
20
Nora Ann-Francis Martin Hall
David Romero Poet
36
Nazario Graziano Illustration & Graphics
42
46
Jungle Fire
Latin funk band
50
Myron & E
Stonesthrow’s latest addition
54
Don’t Drink Alone Spotify suggestions
56
Suzanne Carter Self taught artist
Jacqueline Moore Cosmic paintings
Catwoman anyone?
Contacts: PO BOX 923082 SYLMAR,CA 91342, tel. 818.584.1868, magazine@artnois.com, www.artnois.com About ARTNOIS: ARTNOIS Magazine was started by two young female students, Magda and Jessy. While they both share common interests, Magda has a passion for art and Jessy has a passion for music. Seeing as neither one had the time nor the skills they wished they had to create jaw dropping art or inspiring music, they decided to make a magazine featuring all the great artists who do. Art and music is motivation for both to do something great. They hope this magazine will help do the same for you.
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Let's Give it a Shot! Our first issue was released August 1st of 2012. Don’t laugh, it was our first one. It surprisingly hit a mass number of viewers. This encouraged us to continue sharing the stories of inspiring artists and musicians. Stories like that of San Francisco artist Zachary Sweet and photographers like 16 yr old Eleanor Leonne Bennett and Jorge Neftali Gonzalez, among others.
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Let's do it Again! The 2nd issue was released October 1st and encompassed the theme of Dia de Los Muertos (The Day of the Dead). Some discoveries included music by Maya Jupiter and Las Cafeteras from Los Angeles, and artwork by Patrick Vertino and Nydia Lilian.
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Third Times a Charm! Our 3rd issue was definitely a charm, featuring Homeboy Sandman, Chicano Batman, and surreal artists like Alex Andreyev. In it you can also find an article on the Mayan prediction about the end of the world...and how they were wrong. By this point we were getting the hang of things.
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02/ 13 We're On a Roll! Our 4th issue of Artnois Magazine featured some amazing work by LA based photographer Ryan Schude. You’ ll also discover some groovy tunes from L’ Orange, The Growlers, Mr Green, Hello Seahorse!, and many more.
High Five!
04/ 13
The 5th issue features some Spring artwork and Asian Heritage tidbits. This issue features singer songwriter Keaton Simons among other artists such as Diamond Rings, Buyepongo, Wave Machines, and Chill Bump.
Happy First Year!
06/ 13 Ah yes, the 6th issue... This June release completed our first year of Artnois Magazine. It features Lowleaf, a simultaneous harpist and pianist; Raashan Ahmad, an MC from Los Angeles; and other great artists including Barbara Kerwin and Keving Sloan who is featured on the cover. A fun piece here was Norman Gray who is Jon Measures’ (from 1st issue) alter ego. We also interviewed the creators of Mucho Musica.
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Music Producer
INTERVIEW BY JESENIA MERAZ
TA-KU 6 ARTNOIS No 7, AUG 2013
It’s a Maori word for “Me , Myself and I” depending on what context you use it in.
A year ago I would have never imagined that I’d have the opportunity to Skype with the talented music producer, Ta-ku. He calmly spoke from Westside Australia while I nervously asked questions from a small city in the outskirts of Los Angeles, California. Very much like all my interviews have been thus far, it was an enjoyable interview. It went a little something like this... Where are you from Ta-ku? I’m born and bred in Australia but my parents are from all over the place. So my dad is from New Zealand, he’s half Maori half Scottish and my mom is from the Philippines. So she’s half Filipino half Spanish. What does the name Ta-Ku mean to you? It’s a Maori word for “Me , Myself and I” depending on what context you use it in. I was pretty desperate to find a name. (chuckles) People kept telling me, “call yourself Deejay Reggie” and I thought it was the lamest name I’d ever heard in my life. I’m very proud of my heritage and where I’m from. I was either looking at Filipino or Maori words and I think that one kinda stuck. I’ve always kinda done things my way. I’m a pretty head-strong individual. The music I put out is a strong reflection of myself. It just kinda fit. How did you become interested in creating beats? I wanted to be a deejay throughout high-school and I wanted to be a deejay after high-school. It didn’t really work out. Collecting records became a really big part of my life. From then, discovering new music and new hip-hop and wanting to make the songs I listened to was the real start. I was about 19 or 18. (I’ve been making beats) probably about 5 to 6 years now. Were there ever any particular artists whom inspired the thought of producing your own music?
Definitely, there are a few songs. One of them was ‘’93 Til Infinity” by Souls of Mischief. When I heard that beat, I was like “Oh man, I wish I could make stuff like this”. Then I heard Slum Village’s “Fall in Love”. When I heard that I was like, “okay that’s it. I need to learn to make beats.” I was really drawn to those two (songs) in particular because I was so nostalgic at the time. How did you come across producers like Gaslamp Killer and Baauer from the U.S.? I remember back in 2006 there was a mix-tape which came out that was really forward-thinking. It was hip-hop but it was really futuristic. It had a-lot of synths and it was really clunky. Since then, as you know, the scene around the world kinda attaches itself to these artists and then we all kinda gravitate toward similar artists. I think that was it. (Soon after that) Flying Lotus came out with 1983; it was just like an ongoing progression...so yeah it was just a natural kind of thing that happened. Would you say they influenced your style in creating music? Yeah, definitely. I think I undermined how much of an influence all these guys are to my music ‘cause Dilla was a big influence to me. The sound I make is kinda shaped from the stuff that they make and the stuff I listened to back in the day was their stuff, well more like three years ago. I noticed you make donut beats, much like Dilla’s style. Is it something you do on purpose? Umm... It’s funny (because) I was introduced to him when I was about 18. I’m not going to say that I was there when Fantastic Volume 2 came out with Slum Village and I’m not going to say I knew his whole discography as it came out, but I guess that’s what’s special about music. You find an artist and then you kind of dig and look into their back catalogue and keep on digging. So I think when I first heard donuts, I was like man this is the kind of stuff I make, or the stuff I aspire to make. That’s the kind of stuff I feel comes natural to me.
The donuts kind of stuff. Just taking really well orchestrated samples and reorganizing them to a different soundscape. I just feel me and Dilla have this kind of, not connection, but the type of music that he makes is the music I love making most. How would you explain that style (donut beats) of beats to someone? I think it’s honestly taking the most soulful part of a song or loop and just exploiting it to it’s maximum capabilities. With donuts, Dilla really went all out. He would just take the most soulful part of a sample and embody it into a new track and most people recognize that signature style because it’s so soulful. Although (a donut) may seem quite repetitive, because he used such a great part of the sample, it doesn’t matter; you get to listen to that part it on repeat. It doesn’t get old. How often do yo produce a new beat? I try to make one every night. I still work and have responsibilities like a normal person so I try to just put an hour aside a night to create something new or work on something that I created the night before. I feel, like in any art form, keeping a regular schedule and making it a habit is really good for you creatively. What is the beat making process like for you? No, not really. Each time is different. I work in an environment that allows me to listen to music quite a bit so it just depends on what inspires me that day. I don’t really have a strict formula. What inspires you? I use Soundcloud a-lot. I think it’s an amazing tool for any artist. Not just to connect but to listen to music that you might not be exposed to every day. Especially the repost function, you actually get to hear what your peers’ musical taste is like. Not just to know what their stuff sounds like, but to know what they’re interested in too. (I appreciate) any kind of track that makes one feel emotional and has that element in it that just touches you. That’s what really 7 ARTNOIS No 7 AUG 2013
inspires me. Sometimes I won’t even wait to hear the end of the song. I’ll (instantly) feel so inspired and quickly try to make something similar. It’s not biting someone else’s style, you’re just transferring inspiration to something that you’re trying to make. What makes you beats stand out the most? I’m not sure... I never put anything out that I don’t feel myself. Even though I have a pretty high output, I feel like every song I put out, I have to like it myself and I have to feel something when I’m making it myself too. I think that’s the only thing I would say about my music is that I never put something out that I’m not one-hundred percent happy with or conferrable sharing with my fans. I just put stuff up that represents me. It’s always going to be how I feel. Is there a beat in particular that you feel hast stuck with you or takes you back to a special moment in your life? Yeah, there are two. They take me back for different reasons. One, for the memories they give me but also two, for the way they make me feel now; in the way they make me feel now despite the memories they give me. One of them is called “Sylvia” (https://soundcloud.com/takugotbeats/sylvia) and the other one is called “Smile” (https://soundcloud.com/ takugotbeats/smile-tall-black-guy-presents). They’re both not like my future stuff, nor my electronic stuff, and they’re not like my Dilla stuff either. They’re kind of sitting in the middle. I feel like those two tracks I made with a-lot going on in my life. The memories attached to them, every time I listen to them, are pretty strong. Also, they kind of give me a form of euphoria or some kind of hope. Do you ever put out tracks hoping your listeners will feel a certain way? Yeah, all the time. Every single one. I put one out today and I called it “I Miss You” (https://soundcloud.com/takugotbeats/imiss-you) because I made it missing someone who was close to me and is not close to me anymore. I know that in things such as feelings and emotions or things that we go through as humans, we are not alone. There are so many people in the world that feel the same way that we do. There are people that are going through similar situations if not the same exact situations. Every track I hope the listener feels a certain way if not the way that I do and that it helps them in some way. I feel music heels. I listen to other artists and when I’m feeling a certain way I know which songs to play to to get me out of that mood. In 2012 you released two albums attributed to Jay Dee (hip -hop producer); the albums were titled 50 days For Dilla Volume 1 and For Dilla Volume 2. What was the reasoning behind these creations? I started the first one to try to distract myself from a breakup that happened pretty recently. So I just wanted to stay busy
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and make a track a day. Put my energy into something else besides feeling sorry for myself (chuckles). That’s where it started and then after fifty days I was exhausted! (laughs) It helped me get over it (the breakup) and it took a lot out of me. A lot of people were thinking I was using Dilla’s name for publicity or for promo but it had nothing to do with that. It was just that he was such an inspiration to me in every track. Even today mostly every track is inspired by him. It was a bit hard creating that album but I’m thinking of doing it again. This time I would call it “50 Days for You” which I would dedicate to the people who have been following me for so many years. What in Dilla do you look up to so much? I think honestly it’s his simplicity. I have huge and mad respect for anyone who can express a lot with simple kind of actions. We say every day that a smile from a stranger can brighten your day, or saying thank you, or a family member saying I love you can result into special moments. It’s the small things that make a big difference. Even-though Dilla wasn’t so technical; he didn’t have crazy choir changes and he didn’t wild out on the guitar or keys on every track. It was how hard his drums would knock even=though they were really simple and really sparse. It was his choice of samples; a really simple loop would just sound so good. He was able to put so much emotion and put so much feeling into a baseline. Which is hard to do because bass really drives the track, where as chords or melodies really evoke emotion. I feel like he nailed it every single track. Any advice for upcoming artists? Don’t underestimate hard work. It pays off. Enjoy it while you’re doing it, don’t try and rush yourself and push yourself, or try to be anything you’re not. Your music will travel if it’s good and you’re true to yourself. Any messages for your fans and the public? Thank you for listening!
LISTEN
We say every day that a smile from a stranger can brighten your day, or saying thank you, or a family member saying I love you can result into special moments. It’s the small things that make a big difference. 9 ARTNOIS No 7 AUG 2013
Lucille
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Ghatti “
think people don’t “ Ialways understand my creative direction, but it doesn’t matter to me anymore. Either way I’m going to create what feels good to me, and leave the opinions to the listeners.
“
Lucille is a true raw artist. Ninety-nine percent her, one percent mystery. Although she may not speak of experience in all her songs, she clearly translates an essence of wisdom through each one. She’s enchanting. An interview by Jesenia Meraz
Photos by DJ Sydney Love
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Where do you get inspiration from? I get most of my inspiration from the people around me, sometimes from my imagination. I am inspired by music of course, but I love life experiences. Who are some singers who inspire your particular style of singing? I love Bilal. I think his raw vocals and creative abilities are incredible. He’s the only artist I try to emulate, even though I will never be close to his genius abilities. Where did you grow up? I grew up in Oakland and San diego California. I really loved Oakland because it was a city and most of my family is rooted there. When did you know you wanted to pursue a career as a singer? I started singing when I was 4. The first song I sang to my family was 5 steps by Dru Hill, my mom laughed and looked at me and said, “this girl can sing”. From then on she put me in the choir in church and in school. I randomly went to a studio session with a producer friend of mine, and I asked him to let me get in the booth and sing. He did and ever since, I've been recording music. I’m still learning about the music industry. I don’t think I’ll be prepared any time soon (for it). I like the mystery of what comes next in music. Whom do you collaborate with? I've collaborated with some really unique people, one of my favorites was Jon B. He heard my music and scheduled a studio session and I was so honored. Ive always listened to his music growing up. So it was so surreal to actually be in the same place Nas recorded with him. What has been your most enjoyable experience creating music? Being able to travel and meet new people. I love human interaction. Music has allowed some strong and creative people to come into my life and teach me new things about myself. Music has also shown me who I am as a person, as well as shown me my power. Do you ever find yourself being misjudged in the music scene? I think people don’t always understand my creative direction, but it doesn’t matter to me anymore. Either way I’m going to create what feels good to me, and leave the opinions to the listeners. Who do you look up to the most? The sky, the universe and god.
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How would you describe your music? It's weird because I truly can’t describe it. Every time someone asks me what kind of music I make, I draw a blank. I don’t what to say because I’m not sure who to compare my sound to. I don’t know yet, but maybe my fans will decide that for me. I have 4 projects out right now, two EP's and two albums. Who writes your lyrics? I am a writer! I write about the people around me and rarely about myself. I love relating to people through music. What do you like about the song-writing process most? I just listen to the beats, and whatever sounds good to me will spark some sort of story. Normally I can hear a beat and instantly know what I want to do with the song. The process will take like 20 minutes. Which is your favorite song at the moment? My favorite song at the moment is Ginsing Strip by Yung Lean. I just think he’s so nonchalant , I love it.. What do you hope your audience gets from your music? I hope they take whatever they chose to take from it. Who makes your beats? So many different people, but I work with Goldsmith, Leken Taylor and DJwes a lot. What's the most memorable music making memory you have? The most memorable moment is … well so far it's been being on stage and performing I love being on stage. I love singing in front of people. I am learning how to perform better. Whom have you collaborated with before? Danny Seth, Jon B., Raven Sorvino, Illcamille, and
Mike G from odd future. What does creating music mean to you? It means self-expression, and realization of self. It means life and love to me.
"LOVE YOURSELF, KNOW YOUR WORTH, LOVE YOUR EARTH, AND TRUST YOURSELF."
Ultimately, what is your goal in the music scene? To dominate and create my own lane. In want to change how artist create music. Any messages for the public? LOVE YOURSELF, KNOW YOUR WORTH, LOVE YOUR EARTH, AND TRUST YOURSELF. What is your go-to musician or band to gain inspiration? The Beatles !
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Nice Typhography
Eric Ros
Meet
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sner
An artist who captures the world through beautiful ink marker illustrations. INTERVIEW BY MAGDA BECERRA
INterview by Magda Becerra
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“It’s an incredible time to be a creative now. The tools at our disposable have never been more powerful than today. It blows my mind that I can post an illustration on Facebook and get a comment on it from a somebody in Spain seconds later.
Eric, can you tell us a bit about yourself and your current work? I started as a Graphic Artist at MTV Networks back in good old 1990. Computer for graphic design was not ready for primetime yet but I was a Mac geek and went in head first all the way. I quickly learned about all the new goodies coming in, Photoshop, Premiere, CoSA, After Effects….these were all new concepts for computers back then. Very exciting time. I started working for Nickelodeon and Nick@Nite in 1994 as an Animator. It was great, we got to experiment with all this new tech to create cool promos for children. However, my true fascination was 3d and tried to learn as much about it as I could. Around 1996, I wanted to make my own animations. My first hit was a short called ‘The Adventures of Water-
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bong’. It got a big play at one of the first “Burning Man” festivals. It was great to be able to create content at home. So I was creating all the art on the computer but one day I thought about illustrating the art by hand. I had always been an avid illustrator for fun, and people would comment on it but I really never thought much about it. So 17 years later, that small switch became my main focus. I truly love to illustrate things I find fascinating: old buildings, flowers, iconic images. Sometimes it seems like I have a spirit guide behind me helping me along the way, because I really love doing it. You seem like a well established artist; your style is very focused and cohesive. How did you arrive at this style and what was the process like? Many artists struggle to find their
strengths at first, would you say you can relate or did it come naturally? As I’ve mentioned, I love 3d and its many concepts. I try to create a structure for my work and base it on a wireframe ideology. I would play around with different techniques, study the old Masters and try to illustrate their style and One day it all just comes together and you expand on what you think is “it”. I have worked on my style for many years and love when it takes a shift to the next level.
“
ways amazed that it never misses a beat. You can watch a glass drop and break on the floor, the scattered pieces seem to position themselves in just the right chaotic pattern every time. It’s so cool. Flowers have an incredible architecture to them: the way the petals are arched and the filaments are inserted, its all a epic teeny tiny superstructure and a wonderful collection of inner workings that I find fascinating. I try to convey the subtleties of this perfection the best way I can.
You have a collection of just flowers, which have a great focus. Why flowers though? What about them motivates you?
The depth in your work really makes your art pop out almost as 3d; what is the process like when you are starting a new piece? Do you start with a photograph and build upon it?
I love to study nature in action. I’m al-
I like to search for a vintage photo that
With my artwork, I hope you can conjure a stunning time period over a century ago when the imagination ran wild and magnificent structures soared to the sky.”
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depicts a busy street scene. When I find such a photo, I really feel I am transported back to that period. I search for small details on the cars, signs or on the buildings. I love the expressions on the folks walking down the street. I then outline the building and create details and build on that. I like to create a bunch of pieces at the same time, work on them a bit then come back later and finish them up. In looking at art constantly I find that while there is a lot of great work out there, finding unique art styles is not as easy. Your work however, is a very personal style. Is there any other artists that inspire your work? Which do you look up to? My big idol was Winsor McCay, the famous illustrator from the turn of the century. He worked at the NY Herald on editorial and created “Little Nemo” in Slumberland. I had the most fortunate luck to live in a building that was right across the street from the old NY Herald Building. I like to imagine how W. 18 ARTNOIS No 7, AUG 2013
McCay had walked down the same path that I walk down now. He really got me excited about illustration. I was always blown away by his talent. I also love Thomas Nast and all the covers from the old PUCK magazine. Jean Henri Gaston Giraud is also my idol as is Edward Gorey. Eric, in your email you made a comment that I chuckled at. You said “A new direction for storytelling is needed to enthrall and capture the minds of today’s short attention span inflicted masses. Engaging and humorous but intense and positive messages will win the the battle for eyeballs and sponsors.” I completely agree with the comment of this generation having a short attention span. The “Me me me generation,” as a recent Time issue called it, needs so much to stay interested. I am guilty of it myself but I blame technology for that. You have been making art for a while so in your words, how has art or art making changed
since you started? What have you learned in your journey? It’s an incredible time to be a creative now. The tools at our disposable have never been more powerful than today. It blows my mind that I can post an illustration on Facebook and get a comment on it from a somebody in Spain seconds later. I can sell my work and get paid via Paypal. My work can be sold worldwide just by emailing a file to someone. It’s crazy! This power has yet to reach it’s potential but it frees the Artist from the gatekeepers and allows them to do what they do best…make art. We are going to backtrack a little now. You previously mentioned you’ve worked for MTV, Nickelodeon, Nick@Nite and TVLand among other great accomplishments; what advice can you give artists who are currently struggling to reach such goals or who may at times be discouraged by making ends meet as an artist?
www.erosner.com
A great commencement speech by Neil Gaiman recently was to simply “Make good art and make your own art.” He said to walk towards the mountain that takes you to where you want to go. Doing what you love and what feels right is scary, it goes against the grain of society. We tend to do what we ‘should do.’ but fear is a good thing. I think that it’s your reassurance that you are on the right path. I’d had goals that I wanted to achieve and I believe I have hit them all. Now I have new ones. And it’s exciting and at the same time frustrating, exhilarating terrifying and depressing as I try to reach the next level but I feel it’s the only way to live your life and find your true dreams. You have to do something while you’re on this planet, it might as well be doing something you love to do.
“Flowers
have an incredible architecture to them: the way the petals are arched and the filaments are inserted... 19 ARTNOIS No 7 AUG 2013
A catwoman aficionado from Diamond Bar, California
N o ra An n- Franc i s Ma r ti n - H a ll
“I feel that all art has artificial value. Something assembled with relatively inexpensive materials can be then sold for much more. For that reason i believe that all artists are con-artists.
reminiscent of the wealthy elite that she doesn’t belong to. There’s a quality of con-artistry or theft in my pieces representing this character, from gold leaf, to knockoff designer fabrics used for her iconic suit. She’s the saint of I have a personal affinity with the illegal wealth. She’s a classy anarchist character of Catwoman, aka Selina who steals for the sake of stealing. “ Kyle. She has a charm and manner - Nora 20 ARTNOIS No 7, AUG 2013
1
2
meow meow meow meow meow meow meow meow meow meow meow 3
1
Versaci Kitty Part of my designer fabric series, the fabric for this piece was illegally obtained, and hand stitched to the canvas with gold thread. From my 3rd solo show, The 2am Rule
2
Gucci Gato Sketch Part of my designer fabric series, the fabric for this piece was illegally obtained, and hand stitched to the canvas with gold thread. From my 3rd solo show, The 2am Rule
3 Untitled
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NoraMartinHall.com 22 ARTNOIS No 7, AUG 2013
4 She Only Lived Once A portrait of silent film actress, Lillian Gish. from my 2nd solo show, Everything Must Go
4
5 Yolo Throat A portrait of silent film actress, Lillian Gish. from my 2nd solo show, Everything Must Go
5
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Katie Mallory
Artwork based on the African Yoruba Culture.
Yoruba who? Well we had to do some research ourselves after see-
ing these fun portraits of them. Here’s what we learned. They consist of folk philosophy, religion and literature who have “oriki,” pet names that express what the person’s family is or suggests what that person might become. They are known for their sculpting and terra cotta work along with their high regard for music and dance. Art and music? What else could we as for.
Acrobats at the Ogun Festival Charcoal & acrylic
Sango Festival drummer Ink & enamel
The Yam Pounders
Acrylic paint and enamel on 400 lb paper.
Yemoja Ink & Acrylic 24 ARTNOIS No 7, AUG 2013
King’s crown adorned with beads from top to bottom symbolic of the Orisa. The blue and the birds represent family life and protection of the people. All kingdoms are related to the first King, Oduduwa, who came from eastern Africa in approx. 1,11C.E.
This statue is of a royal couple meeting with a concubine. Although she is an adult, she is made small to show her lower status. The queen supervises all of the Kings concubines.
www.facebook.com/katiemalloryart
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By Luis Rivas
Poetry is Bourgeois (Love Poem for Ulrike Meinhof)
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first i would just like to apologize for writing this, for writing a love poem you know, i don’t normally do this write love poems, let alone to dead german women, but there has not been sufficient amount of work written in your tribute, in your honor an affected, tormented, creator of rebellion—literary and in actuality, ulrike meinhof, with dark, hurt mothering eyes she who embraced the clandestine , a mother a journalist, a fighter, a revolutionary that transcended her mortality—as we all must— in the righteous cause against capitalism and imperialism she who denounced the myth of objectivity that pollutes the world of journalism, neutrality which is fetishized into grandeur, that perpetuates inaction, callousness well-measured treachery, criminality of apathy she who stopped writing (in the professional sense) understanding the violence of textual silence and rose up with red army faction comrades (who acted not from choice, but of historical obligation—as we all must)
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she who understood that destruction begets destruction, but violence begets resistance and for her, i would abandon my stance against monogamy; and for her, i would re-think my stance on romantic relationships; and for her, i would loosen my dogma on the idea of marriage (historically, a method of subjugation of women, a perpetuating mechanism of capitalism); and for her, i would fall with wide-open arms into ideological abandon, suspend my radical politics on marriage, relationships, and just worship her with my unequal, flawed incomplete, infantile revisionist love and get on one knee, confess to her my bourgeois affection; but she would demand that i get up, look her straight in the eye—as equals—all convenience and mannerisms aside, and she would say to me, comrade, to hell with all that, you are my equal, do not attempt to control yourself as a way to pay homage to me; nothing is sacred, you struggle alongside me, that’s all; everything else is subjugated naturally, she would turn down my reactionary offer and say, i have one thing to ask: stop writing, start acting; poetry is bourgeois and i would take out my rejection on all future partners; incomparably measure them to ulrike a rejection that I would never recover from, from a german women, now 37 years dead, with cold unfeeling doctors, slicing up her brain still trying to figure out her revolutionary commitment, what they mistakenly term as madness, sickness, which we call adequate repulsion for the world, appropriately measured reaction to it, proportional anger, 28 ARTNOIS No 7, AUG 2013
lov all t lov
ve, love, things ve 29 ARTNOIS No 7 AUG 2013
I Gotta
Stop
Writing Angry Poems I drive by a lady selling flowers on the day before valentine’s day roses wrapped in plastic in white painter’s buckets, a table assembled displays her high-end items: gigantic stuffed teddy bears, also wrapped in plastic, smaller bears more economically priced for those on a budget, a sheriff pulls over and begins the standard questioning: how are you? do you have a permit? you speak english?
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she smiles, silently, without knowing the language, and answers “no.” the sheriff, struck with a mixture of empathy and frustration, acting out of character gets back into his car and drives away, feeling hurt, hopeless but contributing ignorance as a humble offering I gotta stop writing angry poems it’s allowing me to sympathize with repressive elements of the state at times
a long-time friend has come back from india radicalized, telling me of all the dead babies littered in the streets, where mothers carry children around in knapsacks and sedate them to stop them from yelling and crying that stops them from responding appropriately to their reality, and many mothers walk around with dead children, a country of dead babies, and all I can recommend in doing is reaching out to anti-governmental organizations, fuck the red cross, for nothing should exist that allows this to take place
parents remain calm, patient, busying themselves with chores, the art of grocery shopping on a budget, job hunting, updating resumes so they appear less desperate a fire that burns at a consistent flame
I gotta stop writing angry poems it’s polluting my ideology
and then there’s me – where did I go wrong, what causes me to destroy private property, aesthetically improve public property, write out my fantasize my wishes, the complete dismantling of the towers of our oppression, of class division, the persecution of the private owners of the public modes of production, and their celebratory demise
something that always come to mind is my family, about to be three of us unemployed, miraculously making ends meet, left to fend for ourselves, but my
I gotta stop writing angry poems its walls are growing more and more compromised, and they’re getting really long too
Luis Albert Rivas Rivas is a poet from Los Angeles who expresses his life experiences and views about growing up in the city of angels. His publication, Random Acts of Terror, depicts his stories and theories living as part of the 99%. For more info visit his facebook page.
www.facebook.com/RandomActsOfTerror 31 ARTNOIS No 7 AUG 2013
black
Wears a Death Hoodie By David Romero
One million hoodies march Our suburbs and streets
Hoodies carry the name of the latest victim What's in a hoodie?
Guilty before proven innocent
Public menace Film at 11
More gangsta
Than tattoos, baggy jeans, fedoras or zoot suits
Ask yourself if When you pull up the hood of your sweater tonight Will this neighborhood find its executioner for you? Guillotine, ax
Safety off Cartridge cocked back Target to bleed red But often painted Black
You face your executioner Unarmed Glad that with his loaded weapon trained
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He has courage enough To stand his ground Remember
Laws, too, once made lynching legal. The scythe holds you in its sights... Black wears a death hoodie tonight.
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Basketball with Edgar Allan Poe By David Romero
Dusk Falls on the basketball court Airplanes loom overhead Shooting hoops in loneliness Taking a break for a cigarette When all of a sudden A strange thought drifts BUMP BUMP Goes the basketball Rapping upon the asphalt What if this evening I played basketball With Edgar Allan Poe? The poet appears suddenly Upon the asphalt Dark and heavily layered raven’s cloth Hardly the garb Of a proper basketball player Methinks Still he motions for the ball And it pass it to him He drives the lane Towards the basket And in desperation I move to block him. Edgar Allan Poe and I 34 ARTNOIS No 7, AUG 2013
Are playing a game now Sweat and dirt Grit Anger and determination Win or lose No draw Bragging rights for eternity And I’ve got all the advantage That being alive And a few good layups can allow But Poe posts up Pump-fakes his shots In his wake The backboard transforms Into a swinging pendulum Reminding me I have been playing basketball In this pit of imagination And mundane reality Long before I ever played against him. Edgar Allan Poe Is going to win His every shot takes the air out of me Inexplicably burying me alive My smack talk is grave, “You are dead, poet!” “I am immortal”
Poe shoots the basketball “You’re just a fucking zombie!” I cry “I am immortal” Poe shoots the basketball “You’re the definition of mediocrity Introduction to poetry No one takes you seriously Played out No one gives a fuck about you poet!” “I am immortal” Poe shoots the basketball “You are the rolling of eyes Tired sighs An un-cool roadsign That signals the more exciting road ahead To advanced Hard-to-pronounce-name poets Beat poets Spoken word and hip hop Neo-surrealism Post modernism Post feminism Magical realism Whatever-the-fuck People-consider-real-poetry These-days-ism! “I am immortal” Poe shoots the basketball “You are an emotionally disturbed Nutjob Weakling Who should’ve been prescribed Vicodin amongst other things We put people like you In looney bins You couldn’t handle your alcohol Your drugs Your family Your shit
You need a probation officer And a therapist Consumption Took your incestuous wife And you Watched Helplessly Knowing There was Nothing You could do To stop it. Poe Never flitting Still is shooting “We are immortal Terror and loss Constitute my soul, poet What are the contents of yours?” Poe shoots He scores Forever more Edgar Allan Poe Retires from the floor… At Dawn I rise To face his shadow To be a writer To be a poet And At long last Peruse those volumes Of forgotten lore. Edgar Allan Poe is immortal And that is why I let him beat me one night At basketball.
See more of Romero’s work on his site
www.davidaromero.com 35 ARTNOIS No 7 AUG 2013
Nazario Graz Interview
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ziano
So I discovered Nazario amid my long night web searches for talented individuals. I recently became more involved in the design world so naturally I was interested in seeing what was out there and who I could learn from. When I came across his site, I instantly fell in love with his work for multiple reasons. First off was his choice of color, second was that he liked the Beatles and third he had a piece on God. As if I wasn’t already interested he became even more inspiring after finding out he is self taught! I had to get his inside scoop.
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Can you tell us a bit about yourself and what you do, and how long you’ve been doing it? Hello Artnois folks. My name is Nazario Graziano, I’m an Italian illustrator, art-director and graphic designer and I love my work. I started with the “graphics” in primary school. My notebooks was full of doodles of robots, shapes, bubbles, puppets, words and letters, all drawn with pen, pencil or crayon. In the next years I created an imaginary world which I still draw in creative moments. From first doodles to today, there have been sacrifices, sleepless nights and a lot of passion, everyday. My first reaction to your work was “ whoa, love the colors!” The combination of all the brights create a very fun and positive light in your work. Can you tell us a bit about your color palette and how it connects with your goals as a graphic designer? Thanks for your “WHOA!” :) Usually I do not create in advance nor follow a “strict” color palette. I choose the colors in a very natural and instinctive process. I honestly do not know how this happens ... just ask at my synapses! Where did you learn all you know? Did you always know this is what you wanted to focus on? How did you step foot into the world of design? What was it like? I am self taught, and much of what I learned I learned by observing, studying, reading, researching. I believe that at the root of it all is the passion and the desire to know and learn. The first steps I have moved from very young in small advertising agencies as a web designer, then I started dealing with brand ... and at the end I started to experiment with digital illustration and collage by publishing my work online and asking to collaborate (for free of course) to some magazine and artzine. Are there any artistic weaknesses you feel you have overcome as a result of your experience with illustration and graphic design? What are some of your learning experiences? What have been some of the most challenging tasks? We live in a super-fast world where the professionals are even more qualified. I would like to try out on a video and 3D but time is less and less to specialize in everything! So you have to focus yourself and study as much as possible in one, maximum 2 sectors. Every day there is a challenge that you 38 ARTNOIS No 7, AUG 2013
are launched, it is from a customer, from a magazine or from a simple personal illustration. It appears as though no matter what client your are working with, you stay true to your personal style. What is it like trying to balance what you want to create personally versus what clients want you to create? Do you ever find yourself having to design something you aren’t comfortable with for any reason? Definitely. I do not always realize things whose end result is exactly as you would in my head. The “perfect client” is one that tells you “do what you want” but it is not easy to find :) I do not like the work too “picky” and too didactic. I always prefer commission with a strong creative component, ironic and abstract. What kind of message would you say you try to translate in your work? To excite and inspire people is always a good thing. I am always delighted to receive emails or comments from children, students, adults or families who like my work or who have purchased my press for their home. I’m happy to contribute to their emotions, day after day.
What is your process like for starting new designs? What percentage of it is hand drawn, if any? I do not use a standard process. If work is commissioned by a client the first thing I do is analyze the brief well and try to understand what may like to stroke my client. Instead, when drawing
“free-theme” illustration … everything started from a blank photoshop canvas and I let myself be guided and influenced by all the “messages” coming from the outside world (mood, music, films, articles, climate, etc. ...). I believe that our work is very “sensitive”.
elements. I like to draw with pen and pencil, scan and combine everything with images, brushes, pictures and more.
About technical process I like to mix digital elements with “paper/physical”
Here, too, I think is a very natural process. I look at the composition 100
How do you know when a piece is complete and its time to move on?
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times. Add 10 items. Delete 20 items … and finally say, “it’s OK”. What or who would you say most inspires your work? Does music play any role in your work? Is there any music you enjoy listening to while working? I think inspiration is everywhere and it comes out in every moment of our day! Everything can give me the right start or the “wonderful idea”! I can find inspiration in music, movies, football, old books, skateboard world, 50’s 60’s advertising, photography, old robots, creatures from mars, snow, spring wind, autumn leaves, old pencils, and so much more …. The music accompanies all my working hours. I 40 ARTNOIS No 7, AUG 2013
listen to music at 360 °. Actually i’m really addicted to Spotify, so if you want to know in detail what I listen to, you can follow me on Spotify. I’ll be happy to share music with you!
think GOD is “everything” ... big bang, light, black-hole, smile, tears, sun, rain ... and someone who looks out into the dark to see what’s there.
I am recently addicted to Spotify too! It makes music discovery so easy. Anyway, any advice for others pursuing graphic design?
Anything else you would like to say?
It’s important to put passion into what you do. In each sector. Be curious, always go looking for something new and put passion into the work. Create a network and exchange ideas with other guys, this is also a very important thing.
A big thanks to Magda and the guys of Artnois. Good Luck with this nice project!
Lastly, I’m particularly interested in your piece titled God. Can you tell me about this project? I do not really explain my work, I think it’s nice that everyone see what they feels at that moment. Anyway for GOD … I
www.nazariograziano.com 41 ARTNOIS No 7 AUG 2013
Jacqueline
Moore
A cosmic experience with San Francisco artist 'S FREEING VISIONS
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“In the depths of meditation, a greater fundamental reality reveals itself behind my closed eyelids. When I open my eyes the feelings of freedom remain but the vision fades. Painting has become the modality in which I explore these meditative visions further. The canvas offers a stretch of space in which I can translate the energy I experience into a language accessible to all. I begin by finding the geometric dissection of the space. This becomes the compositional framework. To develop each scene, I use linseed oil and galkyd to layer multiple glazes in order to enrich the depth of the space. Oil paint allows an elongated time frame in which to develop each scene while providing a deep saturation of color. I use this medium to employ a sense of realism by using the figure and elements of landscape in order to encompass our primary perception. From this perspective it is then easy to reveal a parallel reality of cosmic existence. Drawing upon esoteric teachings in combination with the insights of astronomy and physics, I intend to inspire a greater consciousness of energy. Indeed the energy that flows through the cosmos too flows through us as individuals. I seek to offer viewers a scene of transcendence from the mundane into a higher field of cosmic existence.” -Moore
Jacqueline Moore’s work can be seen live at The Port Workspaces, the latest gallery addition to Oakland’s Art Murmur. She also keeps the creativity alive curating art shows for Music City SF’s Plug N Play monthly music showcase. For more info check out her website.
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www.jacquelinefmoore.com 44 ARTNOIS No 7, AUG 2013
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meet Jungle Fire
December 2012
They are sure to provide electrifying performances and lure the dancer hidden within you! While the majority of them are from Los Angeles, a couple hail from Orange County, CA and Sand Diego, CA. Michael Duffy (Timbales), Steve Haney (Congas,bongos,shekere), Sam Halterman (Drums), Joey Reina (Bass), Otto Granillo (Trombone), Miguel Ramirez (Congas,Bongos), Alberto Lopez (Timbales, bongos), Judson McDaniel (Guitar), Patrick Bailey (Guitar), Sean Billings (Trumpet), David Moyer (Baritone Sax,Flute).
form Jungle Fire?
How did you all come together to
I for one, am a huge fan of Celia
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Joey Reina: Back in 2012 a friend of mine asked me to put a group together for one of his summer music festivals. There were a handful of classic latin funk tunes that I’ve always wanted to do live and pulled together some friends to play them. It was only supposed to be for that one night but the people seemed to dig it, and so begins Jungle Fire!
Cruz. What was it like working with her? Joey Reina: Our trumpeter Sean was the one lucky enough to work with her band. I can’t put words in his mouth, but I’m sure for any salsa musician that’s a career milestone of a lifetime!
Among the many artists you’ve worked with, who has touched you in the most profound way? Steve Haney: My personal surreal expe-
rience was having the honor of recording a song with Stevie Wonder then performing it live in front of 90,000 people before the soon to be President Obama. The cool thing was it was his vision to feature different cultural drums over acapella vocals.
Would you say there is a lot of competition amongst the afro/ latin funk music scene in Los Angeles? Joey Reina: Los Angeles definitely has a deep latin music scene ranging from indy rock, cumbia to salsa but there seems to be a gap with latin/afro funk. Jungle Fire seems to fit in nicely between the alternative latin scene and the growing funk/ soul culture. Right now in LA there is so much new great music bubbling up that there isn’t room for competition. We’re all excited to see each other’s projects gain attention and grow!
What are some major struggles
you have faced within the music business? Joey Reina: As far as Jungle Fire goes it’s still such a new project that we haven’t had any real struggle on the business side. I think since collectively we’ve already been through enough business bullsh#t (with other projects) we’ve been making smarter decisions.
In your YouTube video for the song “Comencemos (Let’s Start)”, you guys portray a sense of community. Was this done on purpose? Joey Reina: Absolutely! The funk/soul community in LA is very tight knit and that particular event we shot at is called the Beat Swap. They are huge supporters of our music and we felt that it would be the perfect backdrop for our first video, just rockin’ it outdoors with all of our friends around. It was a collaborative effort between
the band and our good friend who shot it Giovanni Solis (an up & coming filmmaker who has some incredible stuff in the works, keep an eye out!)
How did it feel to have break dancers dancing to your jams? Is this usually the case(a crowd of young folks having dance-offs)? Joey Reina: To be honest that was one of the main ideas behind creating the band; to play the classic latin/afro breaks that never get a chance to be heard live on stage. The energy behind having a crowd of b boys and b-girls rockin’ to your music is incredible and we love seeing them represent at our shows.
What has been you favorite experience performing? Steve Haney: Jungle Fire brings a very democratic approach to sharing musi-
‘‘We have a
thing for breakbeat
culture,70’s
funk, Jazz &
Latin music.’’ 47 ARTNOIS No 7 AUG 2013
cal ideas. Collectively when we are firing on all cylinders it’s unstoppable. We are generally an instrumental band, but are known to add soulful vocalist Jamie Allensworth which elevates our live show. We will record some vocal tunes with Jamie Allensworth in the future.
How do you go about when writing a new song? Steve Haney: Song ideas start most of the time with a drum/percussion idea then a bass-line comes in to solidify. It can also start with a solid rhythm guitar line which acts as a melodic percussion idea. Horn melodies are usually arranged after.
Who has been the most influen-
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tial in writing your songs? Steve Haney: I don’t think we are influenced on one band. We have a thing for breakbeat culture, 70’s funk, Jazz & Latin music.
What are you currently working on? Steve Haney: We are currently writing new songs and adding them to the live show. It’s important to see how they come together and take shape in front of an audience. The key is to record them with the same intensity as the live show. We have released 2 vinyl 7” records both on an indie label Colemine Records.
Also released digitally thru Bandcamp/ Itunes along with remixes from DJ’s in the US and Europe.We hope to have an LP finished before the end of 2013.
Would you say there is a theme to your music? Steve Haney: The theme is a blend of influential rhythms from Cuba, Africa, South America. Jungle Fire has 3 percussionist all versed in rhythms from Colombia/Brazil/Cuba/Africa. Those rhythms layered on top of a rhythm section have a lot of weight.
What can one expect to experience after attending one or your shows?
Steve Haney: No shortage of high energy hot sauce funk!
Any messages for the public? Steve Haney: Support the arts!
What is your go-to musician to gain inspiration? Steve Haney: I think each member has influen anywhere from the punk energy of Bad Brains to James Brown’s funk legacy.
“Jungle Fire seems to fit in nicely between the alternative latin scene and the growing funk/soul culture.”
junglefiremusic.com/events/upcoming 49 ARTNOIS No 7 AUG 2013
Myron &E Interview By Jesenia Meraz
check out Myron & E, the latest addition to Stones Throw Records. A classy duo smooth with voices accompanied by the sweet horns from The Soul Investigators. The recent release of their album, Broadway, is a soulful expression of positive messages. How did you two meet?
years later wanting music for a hip hop project to which they said yes!
We met working tours for the hip hop act Blackalicious. I was the tour DJ & Myron was a background singer. Our Besides having worked with Nicole Willis, what makes taste in music was very similar from the start; we both grew The Soul Investigators a one-of-a-kind band? up on older music. They have a really killer studio set up. They are able to Do you think being from complete opposite sides of the achieve that classic one of a kind sound because they use states (Myron from South Central Los Angeles and Eric only vintage instruments and recording gear! from Newark, New Jersey) plays an important role in What inspired you to start this music project? the music you make?
I was signed to a label making hip hop singles and the first record I did for them went very well.. They asked me to do another but wanted me to make the next record sample free. I reached out to the Soul Investigators in Helsinki for a track and they agreed to give me music with the condition that I sing on a track for them. Eric, where did you first experience working with The I accepted the challenge and immediately called Myron for Soul Investigators? to help. In a way it does but not too much. We both grew up in a time when music had a much longer shelf life so we were exposed to a lot of the same music. However, we were exposed to regional music that may not have made it to one another’s coast.
I met the Soul Investigators for the first time in 2005. I was on a hip hop tour and we had two shows in Finland. The show promoter shared studio space with them and I was introduced to them. I had heard there music before then. I heard the Didier Sound Spectrum LP along with a few other 7’s from the Timmion label. It was during a jam session at their studio that I grabbed the mic and begun to sing; they really liked it. So that’s why when I reached out to them 4 50 ARTNOIS No 7, AUG 2013
Eric, what made you decide that you wanted to create an album with Myron? The opportunity just kind of fell on our lap. We never set out to create an album but people seemed to love the music and the Soul Investigators asked us to come up with an entire LP.
‘‘Broadway
is a
place you can find in
mostly
every city...’’ 51 ARTNOIS No 7 AUG 2013
‘‘meet me
bro
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on
oadway” What does that name of the album (Broadway) mean to you? Broadway is a place you can find in mostly every city. So to us it means representing from all over! I understand that The Soul Investigators were overseas while helping you create the album. How was that experience? Well we had all the rhythm tracks sent to us via the internet and we wrote on the tracks. Then we went to Helsinki and recorded vocals for 2 weeks nonstop. Once a preliminary arrangement mix was complete we did some additional recording in the U.S. and sent them back to Helsinki for them to be finalized. What is the most important experience you have learned through touring? So many things like which songs are better live, making sure to have some crowd participation moments, which songs to extend, etc.
How did you go about in choosing the theme of the album? We really didn’t do it consciously. After recording a bunch of music we chose the tracks that fit best into a LP. Whom wrote the lyrics of the songs? All the vocals were written by Myron and I. We drew inspiration from so many places like old songs we liked or just speaking on life experiences. Stones Throw Records is one of the biggest record labels based out of LA; how does it feel to be signed with them? Being on Stones Throw is great so far. They really believe in their artists and fully get behind the projects with press and promo. Previous labels I have been on will just put your record out, leaving the artist to manage press and promo on their own. It’s nice to be somewhere they let you be a true artist.
Did you look for specific songs for inspiration when creating the album? Some songs we looked to because we wanted a song to have a certain feel. One example is “Running Back & Forth” by Edwin Starr which we used as inspiration for our song “Everyday Love”.
Listen 53 ARTNOIS No 7 AUG 2013
Don’t listen to music alo “otis redding”
8 oz. Hennessy 8 oz. Tabasco sauce 6 oz. Cough syrup Combine in highball glass and serve. Stir slowly. Garnish with glowstick.
“tame impala”
1 bottle Microbrew 1 bottle Lemon juice 1 bottle Sipsmith Gin Combine in shaker and strain into cocktail glass. Serve.
“ramones”
1 oz. Tequila Reposado Serve neat. Garnish with salt.
VIA
“selena”
4 oz. Tequila Serve neat. Stir vigorously. Garnish with pickled carrot sticks.
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one, Drinkify suggests... “Gang starr”
1 bottle Gin 1 bottle Egg whites 8 oz. Woodford Reserve Bourbon Combine in shaker and strain into cocktail glass. Serve.
“James blake” 1 TESCO lager Serve cold.
“Ta-Ku”
4 oz. Jack Daniel’s Tennessee Whiskey Serve neat. Stir vigorously. Garnish with cocktail onions.
“bonobo”
1 Red Stripe Serve cold.
“kendrick lamar”
1 oz. Bourbon Serve on rocks. Garnish with olive.
“bilal”
“Marvin gaye”
8 oz. Hennessy Serve neat. Garnish with pickled carrot sticks.
12 oz. Woodford Reserve Bourbon Serve neat. Stir vigorously. Garnish with maraschino cherry.
“jamie lidell”
“twin sister”
“pink floyd”
1 oz. Cognac 1 oz. Coco López 4 oz. Grapefruit juice Combine in highball glass and serve. Stir quickly. Garnish with sugar.
“sonnymoon”
4 oz. Water 4 oz. Coconut milk 2 oz. Tequila Reposado Combine in shaker and strain into cocktail glass. Serve.
8 oz. Hennessy 8 oz. Tomato juice Combine in highball glass and serve.
1 bottle Box wine Serve at room temperature
“M.i.a.”
8 oz. Red Bull 8 oz. Żubrówka Vodka 8 oz. Rose’s lime juice 4 oz. Plum Brandy Combine in shaker and strain into cocktail glass. Serve.
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Suzanne Carter
Art by
I am a self taught mixed media and digital artist
Look Before You Leap 1
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The Voyage
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“A Yorkshire girl who lives in New Zealand. My work is often whimsical with a vintage twist. I love to work with texture and text, taking something old and re-purposing it into something new. I love to take an image and manipulate it and pull it and push it and morph it into something entirely different. I will usually combine images and fuse them together using layers, and color, and texture to tell a story. My work is rich in symbolism and every element 58 ARTNOIS No 7, AUG 2013
of the digital painting combines to form an overall tapestry of a bigger picture. Within my work there is usually layer upon layer of images, color, symbols and text. Some of my work evolves over time and will be added to progressively while other works are produced quickly and spontaneously. All of my work has a prophetic aspect to it. I love the power and the impact of the image and its ability to convey mood and feeling and drama, all of which
will be interpreted differently through the lens by which it is viewed. I have recently become a designer for fashion company Front Row Society: http://www.frontrowsociety. com . For more of my work check out my portfolio at http:// society6.com/SuzanneCarter or connect with me on face book at https://www.facebook.com/ SuzanneCarterArtist I have sold my work around NZ and the world.”- Carter
Overnight Delivery
Dream
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The Journey Purple
She heard a rumor of rain
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Be Free
Teddy
Water Lily
The Whale
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Thank You!
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