SUMMER 2013
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ISSUE VII
Daniel Griffiths Features Editor
Contributing Photographers Amanda Camenisch Anne Combaz Brent Chua Conan Thai David Urbanke Ivona Chrzastek Julien Bernard Lara Giliberto Leon Reindl Marco Van Rijt Markus Rico Marlen Keller Paul Jung Syed Munawir TYE
Jason Judd Art Editor
Contributing Artists Adam Kremer Christopher Meerdo Erik Mowinckel Henrietta Harris Olve Sande Siki Im www.BITE-ZINE.com
Contributing Writer Deak Rostochil
Dima @ Marilyn Photographed by Julien Bernard wearing Gaspard Yurkievich
Michael Brambila Fashion & Art Director
Magda @ Viva Paris Photographed by Lara Giliberto wearing ACNE
Nadirah Nazaraly Editor-in-Chief
Photo by Erik Mowinckel
Know All Your Enemies Photography by Marco Van Rijt Styling by JeanPaul Paula
Photo by Erik Mowinckel
Vulnerable Heights Photography by David Urbanke Styling by Rene Garza Grovel Grovel Photography by Paul Jung Styling by Adrian Manuel
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Ghost Colours Photography by Markus Rico Styling by Ignazio Arizmendi
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Julie Deply: Wise Young Girl Text by Deak Rostochil
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Lined Up Photography by Syed Munawir Styling by Olivier Pichou
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Virtual Cultural Photography by Amanda Camenisch & Marlen Keller Styling by Oriana Tundo
Erik Mowinckel Text by Daniel Griffiths
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Volvor Photography by Anne Combaz Styling by Olivier Pichou
Twenty Three Photography by TYE Styling by Kita Updike
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Adam Kremer Text by Daniel Griffiths
Oh Months Fate Foreseen Photography by Conan Thai Styling by Adrian Manuel
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Unafraid to Linger Photography by Brent Chua Styling by Devon Nicholas
Sheath Photography by Leon Reindl Styling by Tomas C. Toth
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Troubled Vision Photography by Julien Bernard Styling by Megane Laroche
Ray of Whites Photography by Ivona Chrzastek Styling by Abbie Baines
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On Your Mark Photography by Lara Giliberto Styling by James V. Thomas
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Men in Skirts Photography by Paul Jung Styling by Sky Oh Text by Daniel Griffiths & Nadirah Nazaraly
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Christopher Meerdo Text by Jason Judd
Olve Sande Text by Jason Judd
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CONTENTS
EDITORS’ LETTER
At its very core, TRANSCEND is imbued with a sense of freedom by overstepping boundaries or moving beyond the shackles of tradition in pursuit of independence. This vision of transcendence is at the forefront of our approach to publishing; after all, BITE’s online presence is primarily concerned with the new mediums of expression available in the digital age. For our seventh issue, we decided to renew this focus on the digital as many of the artists featured are engaging with new aesthetics that are a result of this aforementioned culture. Christopher Meerdo’s artwork, for instance, investigate the limits of data and the photographic image whilst Olve Sande aims to go beyond the restrictions inherent within both abstraction and expressive drawing. Among these compelling artistic practices are a number of editorials and profiles of exciting creatives, from New York to Paris. As always, thank you for your continued support.
C H R I S T O P H E R M E E R D O Text by Jason Judd Artwork by Christopher Meerdo
Anthology: IMG13, 2013
Abstraction, for Christopher Meerdo, accentuates the difference between the immersive nature in which we live and the perceptive nature that photography produces. The nostalgic referent in images are challenged by Meerdo in series like Anthology, where Meerdo purchases used memory cards from eBay to extract and print the lost images, or Dark Data, which includes images taken from remote camera files from Iceland’s national traffic road condition organization. Meerdo’s work transcends photography, glitch, or a dry type of data visualization – working both with and against abstraction to find the nature of images. In turn, his work becomes political and romantic, and reminder that the medium may be the message.
Christopher Meerdo grew up in the Upper Peninsula of Michigan and spent time in post-Soviet Lithuania as a teenager. Meerdo attended a three-month SIM International Artist Residency in Reykjavik, Iceland, from February to April 2012 and is currently attending the Skowhegan School of Painting and Sculpture in Skowhegan, Maine. He recently received an MFA in Photography from the University of Illinois at Chicago.
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framed archival pigment print, 15x12.5”
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framed archival pigment prints, 18x12�
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Svartsengi, Iceland, 2013
Anthology: IMG125, 2013
framed archival pigment print, 15x12.5”
In your series Anthology (2007-2013) you use a data recovery program to extract old data from memory cards that you purchased from eBay. The result produces a series of fragmented images, which you exhibit. Since you are selecting and exhibiting a small number of images from the thousands on purchased memory cards do you see yourself as a curator? I have thought about this before; this project pushes against the role that an artist might typically have as a direct maker and repositions my authorship as archivist, hacker, archaeologist, curator, et al. I usually think of this project as something that functions as a collaboration between myself, the original photographers, and the technological apparatus which both negates and resuscitates the images. The original images verge on banal snapshots taken from an unknown person. Does the fragmenting of the image itself transcend the original image into something more or is it dependant on your process? Although the vernacular aesthetic is the first read of some of the recovered images, it is secondary to my main interest in the archive. The project is organised in a way that considers the point of disappearance and reappearance of our collective digital record. When
looking at the entire archive as a whole, we quickly lose the desire to hold onto individual specific moments as most of the images are quite ubiquitous (birthdays, holidays, etc) and the focus shifts to the moments of rupture within the frame. Is the work in Anthology conceptually grounded in abstraction or suggested narrative and how do you see the work differing from glitch art / data visualization? There are elements of all of those things present so I would be interested in reading it through any of those lenses. Most productive for me is considering the project within a trajectory of photographic theory which considers the intrinsic abstracting condition of all photographs. Photography inherently abstracts our world from binocular to monocular vision, from three dimensions to two, from linear and continuous time to frozen moments. Abstraction is one of the most important elements in all images in my opinion, although it is often overlooked in our everyday usage of the medium.
Anthology: MG_0693, 2013
framed archival pigment print, 16x22”
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The images in the series Dark Data (2013) are taken from remote camera files from Iceland’s national traffic road condition organization, resulting in dark and low quality images. The color pixilation presents itself as formal abstraction while offering hints of the
Dark Data: Svínadalur norður, 2013 colorwave print, 24x16”
Icelandic landscape. Considering Dark Data and Anthology, what are your thoughts on the correlation between chance and beauty in photography and is this a concern in your practice? For this project I was specifically interested in the relationship between tourist-based economies – which is a growing sector in Iceland – that produce a particular kind of landscape vernacular compared to the utilitarianism of photographs created by the national Icelandic road commission’s webcam array. While spending time in Iceland I was concerned with falling victim to the same trappings of transforming the landscape into something sacred or metaphysical, and spent time thinking about the history of projecting manifest destiny onto foreign landscapes. After considering some of the Icelandic literature I was reading, I began to realize that along with an overwhelming sense of natural beauty, the landscape has been historically embued with terror, harshness, and starvation for Icelanders. I wanted to investigate a landscape that was authored in way that was a negation of these (perhaps) Occidental modes of looking. The webcam archive is sort of an inadvertent auto-ethnographic landscape portrait.
a photographer. I think of photography as a very expansive medium and the edges what defines it are getting blurrier all the time. There exists a rich history of camera-less photographic practices (like the photogram for example) and we can now include strategies like appropriation, staging, the implications of Photoshop, rendering visualisations, and online and memetic culture to draw from. Evermore, artist’s practices are becoming increasingly multi-disciplinary, which stretch conceptual interests across many different mediums. I think it is important, at least for me, to let the concepts drive the project and then decide what kinds of visual strategies or mediums might best fit those concepts. The series Iceland (2013) contains a triptych titled Svartsengi, where you had photographed the Icelandic landscape. You then inserted a reflective white fabric into the photograph only to photograph it again. Can you talk about the representation guiding your formal and physical decisions in placing the reflective fabric? These site-specific photographs serve as both materials studies for an upcoming larger sculptural project I am working on and as a way to think about interrupting the landscape as a means of negation (like the Dark Data
Does the contemporary photographer
Dark Data: Breiðdalsheiði austur, 2013
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need to be behind the camera? I’m not really sure I consider myself
There is a photograph of you and a deceased sperm whale taken by fellow SIM resident Sander Jain. You have said that the experience was extremely influential on you both personally and in your current practice. Is there a connection between your experience with the whale and the Icelandic landscape, especially when you state the ‘scale-lessness of the Icelandic landscape and how our bodies get positioned within a space of such enormity’? Oh yes, indeed. It was very striking to hike out and see that colossal creature in such an extremely desolate place. In addition to this being a profound existential experience for me, I am left with a very heavy notion of disappearance with the whale. I am still trying to comprehend how something so monumental can be so completely invisible at the same time. The whale was washed ashore on the Snæfellsnes peninsula with Snæfellsjökull situated right behind us. This volcano is where Jules Verne begins Journey to the Center of the
Christopher Meerdo pictured with beached whale - Snæfellsnes Peninsula, Iceland Photograph by Sander Jain
Earth so there was a larger sense of place, history, and scale as a result. Lastly, where is your practice now and are there any projects you are currently working on? I am currently finishing a new video project that is a culmination of around 10 years of photographic flashes from appropriated protest videos from YouTube. I have been thinking about the flash as something that violently struggles to contain a moment but in these videos the flash only serves to negate the recording of the video image. I find them both beautiful and vulgar in a really productive way. I am also working on a new series of objects, animations, and images at the Skowhegan School in Maine this summer. Most of the research I am doing right now is looking at recent events pertaining to PRISM (thinking about ideas of simultaneous invisibility and omnipresence of the US government), getting excited about Séance photographs, and working on the reproduction of the Snæfellsnes whale as a sculptural and photographic project. www.christophermeerdo.com 10
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series). For the Svartsengi location, I was also thinking about the scale-lessness of the Icelandic landscape and how our bodies get positioned within a space of such enormity. I was also thinking about how Icelanders have historically attempted to make sense of the landscape by anthropomorphising it (seeing faces in the rocks or believing in Huldufólk) and considering how we as humans insert ourselves into this desolate landscape.
Untitled (Redactions), 2013
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Untitled (Redactions), 2013
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single channel video with sound, 20 minute loop
M E N I N S K I R T S Photography by Paul Jung
Styling by Sky Oh
This German-born graduate of the Oxford School of Architecture moved to New York in 2001. Siki Im cut his teeth in the fashion world while working under Karl Lagerfeld and Helmut Lang as Senior Designer. This was before he won the prestigious 2010 Ecco Domani award that provided his first show at Bryant Park.
Styling by Sky Oh Make Up by Latisha Nicole Rankin Grooming by Yetty Bames Grooming Assistance by Geneva Clarke Styling Assistance by Raytell Bridges & Kenneth Bovian Models Joe Choi, Mitch Baker, Loammi Goetghebeur All Clothing by Siki Im
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Text by Nadirah Nazaraly & Daniel Griffiths
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The focus of a good architect extends beyond the building itself to recognise its impact on the space it inhabits, its users and so on. Do you believe a similar ethos can apply to fashion? Yes, design is psychology; spaces can evoke ones feelings and change sociology, status, interactions and
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so on. Fashion should do the same. This is good design.
When you first moved to New York, menswear was very much secondary to women’s wear with few smaller menswear designers working in the city. What attracted you to New York to start your label? Do you consider that the attention towards menswear has changed generally since that time? In general New York is not well respected for interesting design, which was one of the reasons to start a brand here. There are so many more menswear designers [working today] and also men appreciate design more than ever before in the US. Many of your designs, although urbane and modern, experiment with classical menswear and tailoring. How do you attempt to infuse your work with this modernity without becoming overly referential?
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Do you believe that your background – as a working architect prior to approaching fashion – has had an effect on your design process and collections’ sources, many of which draw from twentieth-century architectural and art movements? Yes very much so. My love for modernity and modern spaces not only has influenced my view and process on fashion but also on other fields.
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At the end of the day I want to make beautiful clothes and hopefully succeed in staying within my language while exploring new territories. These territories keep me excited, romantic, challenged and humble. The most important thing is that I feel I learned something new from a collection. You have discussed in the past your focus on materials and the importance of American made to the label – from blazers made in Brooklyn and denim in North Carolina to the hand-finishing in the Siki Im studio. Has this been at the forefront of your design and manufacturing methods? Most of our fabrics are from Italy, Japan, Germany, England but all is made in the USA. It is important for me to have (good and close) relationships with my factories. It will only enhance the clothes!
Given your alternative background, how important was your experiences working with Karl Lagerfeld and Helmut Lang at the beginning of your fashion career? Did these contrastive designers – in both aesthetic and company size – feed into your approach when establishing your eponymous label? In these big design houses I gained lots of knowledge; less about design but [about] the process, execution and backend of the business. I was very fortunate to have had this opportunity as a form of training. Since 2009, your business has grown steadily to form an engaged and dedicated following. Do you envision other forms – women’s wear, more accessories and so on – in the near future of Siki Im? The brand is still young but we have certain goals like you mentioned – stay tuned.
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www.SIKIIM.com
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O N Y O U R
M A R K
Photography by Lara Giliberto Styling by James V. Thomas
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Photography Assistance by Delphine Royer and Giulia Magnani Styling Assistance by Dimitri Ryudo Mothe Model Magda @ Viva Paris Make Up by Aya Murai Hair by Gilles Degivry @ artlist paris
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Jacket and Skirt by Proenza Schouler
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Top by Lanvin Top (worn under) by Theyskens’ Theory Trousers by 22/4 Headband by Prada Bracelet by Ligia Dias Sunglasses by Linda Farrow for Kris Van Assche
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Body by Lanvin Shorts by ACNE Apron skirt by 22/4 Necklace and Bracelet by Ligia Dias
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Jacket by ACNE Skirt by Azzedine Ala誰a Visor by Lanvin
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Top by ACNE
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Jacket by Raf Simons Body by Azzedine Ala誰a Belt by Damir Doma Bracelets by Ligia Dias Leggings by Falke
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Dress by Bouchra Jarrar Bracelets by Go sport Shoes by Sharon Wauchob
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Shirt and Headband by Prada
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Jacket and Dress by Dusan Shoes by Proenza Schouler
T R O U B L E D V I S I O N
Photography by Julien Bernard Styling by Megane Laroche
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Hair by Anais Lucas Sebagh Make Up by Yann Boussand Larcher Model Dima @ Marilyn
Cap by Topman Jacket by Melinda Gloss Trousers by Opening Ceremony x Adidas opposite page
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Vintage Jacket
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opposite page Jacket, shirt & sneakers by Opening Ceremony x Adidas Jogging pants by Adidas Silver
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Top by Christian Lacroix Shorts by Adidas Socks and sandals by Artengo
Shirt by Christian Lacroix
Jacket by Topman Transparent top by COS Shorts by Adidas Socks by Artengo 36
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opposite page
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Jacket & jogging trousers by Opening Ceremony x Adidas Turtleneck pullover by Topman Loafers by Y-3
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opposite page
Jacket by Topman Top by COS
U A T L
N F R A I D O I N G E R
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Photography by Brent Chua Styling by Devon Nicholas Model Dmitry Brylev @ VNY
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Jacket, Polo and Trousers by Hardy Amies
Shirt by Original Penguin
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Jacket by Hugo Boss
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Jacket, Polo and Trousers by Hardy Amies
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Jacket, Shirt, Trousers and Shoes by Z Zegna
Shirt and Trousers by Richard Chai
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Jacket by Tommy Hilfiger
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Jacket, Shirt, Trousers and Boots by Hardy Amies
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Pullover by Hardy Amies
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Jacket, Shirt and Ring by Maison Martin Margiela
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Jacket, Shirt and Trousers by Dolce & Gabbana
A D A M K R E M E R
New York-based photographer Adam Kremer’s work has a graphic energy that combines unusual compositions with careful editing. Having worked with the likes of Asger Carlsen and Peter Funch, Kremer has began to develop his already characteristic style for the likes of The Fader and Nylon.
Text by Daniel Griffiths Images by Adam Kremer Much of your photography – from portraiture to ‘observations’ – is characterised by split or abstract compositions, for instance a block colour dominating the frame. Does this feature hold a broader significance in relation to your work? I think this just comes from being attracted to very graphic and bold imagery. It isn’t something that I have ever really thought about until now, although it does exist in the work. One of the most interesting developments in your work is your consideration of the photograph as an object: a material or medium that is shaped, overlaid, mixed with fruit and so on. What lead to this exploration of the photograph beyond the flat image? I’m interested in the ideas of construction and transformation, and how an image – be it a physical print or digital file – is a starting point for this.
How do you alter your process between your own work and those commissioned by various clients (such as Bloomberg Businessweek)? Do you see yourself continuing these aspects side-by-side in the future? I have been very lucky to work with incredible photo editors who understand my strengths, aesthetic, and approach to image making – people who are hiring you because they want you to do your thing. I like to shoot work for myself and I like to shoot for clients as, for me, each feeds the other.
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By doing so, would you consider yourself as an artist using photography, or is such a qualitative distinction between ‘photography’ and ‘art’ not important to your process? This distinction isn’t so important to me; I like to make things and I’m generally using a camera to do this.
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V O L V O R Photography by Anne Combaz
Styling by Olivier Pichou
Models Ruben @ NewMadison, Francis @ Success
Grooming by Aya Fujita
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Sweatpants by Nike T-shirt by Pendleton Windbreaker by Nike
Shirt by Nike Pro
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Jersey by Etude
Pullover by Alexandre Vaunthier for Pyrenex
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Jacket by Nike
Sweatpants and Down jackets by Alexandre Vaunthier for Pyrenex
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Both wear Shirt by Puma
Cap by Nike
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Sweater and Trousers by Kenzo Windbreaker by Puma
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Sweatpants, Shirt, Soccer jersey and Windbreaker by Puma
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Sweater by Julian Zigerli Bag by ACNE
V I R T U A L C U L T U R A L Photographic collaboration between Amanda Camenisch & Marlen Keller
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Styling by Oriana Tundo @ Style Council Hair by Rachel Bredy @ Style Council Make Up by Daniela Koller Model Heni @ Izaio Photo Assistance by Flurina Sokoll
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Sweater & Blouse worn as scarf by Julian Zigerli
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Blazer by ACNE
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Scarf Stylist’s own
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Top by Marlen Keller
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Blouse by Karl Lagerfeld
K N O W A L L Y O U R E N E M I E S Photography by Marco Van Rijt Styling by JeanPaul Paula
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Model Nick Lagerburg @ IAmELK Agency Amsterdam
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Leather Jacket by Versace Underwear by Yasmine Eslami
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Jacket and Trousers by John Galliano Slippers by Adidas
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Cap by Shaun Samson Vest and trousers by ACNE Socks by American Apparel Slippers by Adidas
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Cap by Shaun Samson Necklace by Ek Thongprasert Shirt, Belt and Trousers by Jean Paul Gaultier
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Jacket, Shirt and Trousers by Shaun Samson Slippers by Adidas
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Beanie by American Apparel Suit by Viktor & Rolf Sports top by Nike Underwear by Calvin Klein Shoes by Timberland
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Cap by Shaun Samson Vest and Trousers by Komakino
S A N D E
Text by Daniel Griffiths
Artwork by Olve Sande
Although Olve Sande’s work is multivalent, the Oslo-based artist is seemingly preoccupied with limits: be it the limit of expression, abstraction or drawing itself. Taking his cue from architecture in his early career, Sande’s art transcends the self-imposed limits of the medium by interrogating his own assumptions in an every-developing process. 80
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O L V E
or produce any more objects, but I do want to try to manipulate what already exists into something else. When observing a grey and white wall near my apartment, my immediate thought is wanting to know how it is to paint something in that exact shade of grey, to get that particular experience, and to make it a part of my vocabulary. Ideas like these often lead to new works; more than the materials itself, these forms of gestures are the motivation for many of my works.
your work primarily consists of building construction materials. What role do these forms of material play in your investigation of surface structure? Using building materials was a natural opposite page place to start for me, as my way into art was AS-WALL II through my interest in architecture. I still 2013 find classical art materials a bit intimidating, 157 x 122 cm Parquet, filler, MDF and the detachment from tradition is one of the reasons why I tend to use the cheap, standardized materials in my work; there are few expectations toward these materials.
2011 70×100 cm Silkscreen Print on Paper Edition of 5 (+ 2 AP)
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Building materials surround us all the time and, for me, it is a big motivation to see if I’m able to treat these materials in a way that separates them from their association with architecture, as well as their inherent associations. I don’t want to add anything
Abstraction, on the other hand, is closer to literature. It is a way of treating a material, to build up a personal imagery. Even though my works seemingly are very related to architecture, I no longer feel it as a strong reference. The materials I use are related to buildings, but not as architecture. The moment you stretch a canvas, you know you want to make a work of art but building materials are different; they are already there and you can’t know if it will turn out as art. By treating the surfaces in a certain way, it could become something other than a wall or a floor, but it could also be just that. It is always the question if it is art or not – and I enjoy this risk.
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The Fire Sermon I Olve,
Prior to your current artistic practice, your background was in architecture. How integral is your formal education in architecture to your work? Although architectural references have become less clear in your work, does the continued focus on abstraction and line stem from this education? Working with architecture is very controlled; there is no room for uncertainties and I wanted to leave that. I then studied literature, which I regarded as architecture’s opposite with no objects or design. After a year I realised that I wanted architecture to be more abstract and literature to be more physical. This idea has been a driving force in my work ever since. I can see my body of work as a gradual movement away from architecture and, later, the conceptual – an unlearning of the controlled and diagrammatic. For me, architecture and conceptual art are two very similar things.
Your earlier work was centered on the diagrammatic, as demonstrated by House of Usher (2010). In your later painting, the plane is dominated by a more fluid and expressive line. Was this a natural progression for you, as a means of expanding the language of abstraction? Is the tension between the diagrammatic and expressive – which are usually regarded as oppositional – important to your practice? Yes, the tension between the diagrammatic and expressive is really at the centre of my practice, probably because it is also very present in myself as a person. When looking back on my earlier work, I see a lot of frustration: I wanted to get away from the diagrammatic but did not know how. There is a strong will to move away from the diagrammatic embedded within these early works, which resulted in some almost violent attacks on architecture.
One of your simplest but effective drawing series is The Fire Sermon (2011), which is based on Ezra Pound’s edition of T.S. Eliot’s famous poem The Waste Land, removing the text to focus on Pound’s alterations or ‘marks’. On the one hand, the work can be interpreted as celebrating or highlighting the expression of Pound’s editing whilst, on the other, these surface lines are made to appear nonsensical and governed by chance. What was the motivation behind this work? The motivation for doing this work was to find the right intentions for a more expressive and gestural approach to my
work. The first work in this series came Who Am I To Grudge Him from a sheet of paper that I had used to His Laurel Crown protect the table whilst painting a sculpture 2011 Framed plaster board, paint in my studio. I realised that the marks left 134x94x7 cm on the protective paper were much more interesting than the sculpture itself. These marks were expressive, organic and gestural without being arbitrary, because a specific process structured everything. It was a noncreative act, but the brush strokes left on the paper showed an energy that I had not been able to transfer to my works before. The brushstrokes are determined and with a clear motivation but are not controlled– this makes a big difference. 82
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House of Usher is one example of this conflict and it is seen even more in The Mire Series, where I attacked sheets of plasterboard with a knife in an attempt to force it into being something that was more substantial than the material itself. I wanted to force the abstract expressionist gesture onto the cold, standardised material of mass-produced housing. The early work was about trying to dissolve architecture, to make it disappear and there was a great ambivalence between the building materials’ attraction and my feeling towards architecture as a mode of expression.
about recognising and identifying the conditions of these drawings. Pound’s gestures come as a direct response to something, and I found the proximity to abstract expressionist drawing very interesting because of the difference in intentions. Pollock’s paintings were called action paintings, but they were always about making paintings; his movements were only guided by his own taste, and he finished it when he thought it looked right. In Pound’s annotations every gesture is structured by a reaction to a specific word or phrase in the poem; they are made in a direct relation to something. It was a direct manifestation of cause and effect. For me, these marks functioned as a good example of where I wanted my own work to be.
2013 130 x 97 cm Filler and Acrylic Resin on Canvas
Many of my works around that time were about some kind of absence, where the work was a by-product or manifestation of something that had happened outside of it. I did not want to make illustrative, conceptual works or purely expressive ones; I just wanted to work as neutral as possible. I think this is where I began to develop different strategies to condition works rather than design them.
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The Fire Sermon is, of course, an homage to the collaboration between two very important writers, but for me it was more
I think much of my fascination for Modernism, both in literature and art, is their belief in the work in itself and their uncompromised self-confidence. That they were able to make a work without being able to – or feel obliged to – justify it in words. In conceptual art, there is very little belief or trust in the work left. It can be good or bad, but it is always possible to explain your intentions. There is no need for the artist to trust a conceptual artwork.
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Five Laminate Tiles Or A French Figure Sixty (Monochrome Filler Painting)
Much of your work contains references to Modernism – be it the literary work of T.S. Eliot or Franz Kline’s abstract expressionist painting. What fascination do these divergent forms of Modernism hold for you? Someone said that Modernism is for contemporary artists what the Renaissance was for the Modernist artists. As Modernism appears so simple and clear, it is a very obvious period to go back to when confused. The last time that I really looked to Modernism was because I was tired of being able to explain everything. I missed the pleasure of actually creating something, to see something take shape in front of me, to lose control, to be unsure again, and I wanted to understand the motivation of the painters of that time.
motivation of making a work and the abstract impressions a book have on you. It´s not about the unconscious or metaphysics or anything like that. I don´t know, but i just find it more interesting like this. In these kind of works, the title have no deeper meaning other than that i find it interesting to see how the title affects the work and my own reading of it. I´m never able to anticipate the title´s implications on the work, and this is a way for me to be able to look at the work with I always find the titles after the work is made. renewed interest after the actual process of Instead of letting the title point directly to making it. This in turn often have an influence the center of the works, i like to create gaps on the structure of coming works. Sometimes to open it up. Concepts have a tendency a object first becomes a work when i find the to become very banal the moment you right title for it. understand it, and i don´t want my works to be like that. Very few works are able to Who Am I to Grudge Him His Laurel survive it´s explaination. It just stops working. Crown (2011) is a constructivist-inflected I see titles as an opportunity for the work to contemplation of shape, as a circular disc is take on a meaning beyond what i am able to dislodged to rearrange the work’s parts and anticipate making it. alter its framing. Could you elaborate on this Some works have titles from books i read piece and the interference of surface within while i made them, because there is some your art? loose connection there between the physical I think many of my later works are about the How important is the title to the work? By using titles, i can pull the reading of the work away from its structural core and relieve it from some of its conceptual pressure. The concept has a structural importance to me as it creates the conditions of the working process, but i don´t want my works to be illustrative, and usually i don´t think that the concept neccessarely is the most important thing about the work.
The Mire Series
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2011 The Mire Installation View
Laminate Works, At Herrmann Germann Contemporary, Zürich
Carl Andre once said that the stripes in Frank Stella’s stripe paintings were not stripes but brush strokes. I think this is a really how I approach a lot of my work – it isn’t about creating a certain image but about the execution itself.
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Rosalind Krauss discusses the ‘post-medium condition’, a state where art is both made and judged beyond its inherent media. By simultaneously working with various media and referencing Modernism, do you regard yourself as questioning this understanding
of contemporary art (especially in light of Krauss’ pessimistic interpretation of this ‘condition’)? I am not sure. My emphasis on medium is often of a more structural character; the materials create the works’ conditions but are less important when reading or analysing the work itself. I do not want to be able to plan a work, but I can plan its conditions. To go back to Ezra Pound’s marks, I am sure that he would have preferred certain materials – a flowing pen, a favourite notebook and so on – but these did not relate to the endproduct. The specific structure of that poem, the strength of the poem and his emotional and intellectual reaction to it that day, the meeting between him and his material, made these marks. The marks came from a personal, direct and expressive gesture: a creative act without the intention to create something in its own right. This is where I want my work to be. The motivation is of a much greater importance than the medium itself. http://www.olvesande.com
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process of making something, the execution, rather than any specific concept. This particular work is about a very simple idea of making a circular cut and then turn the piece around to break the format of the ‘canvas’. The idea was a simple gesture without any intention of making it an artwork. On a personal level, it felt like a very substantial piece, but because I did not have any clear concept to support it, I did not trust it as a work of art. It kept growing on me for such a long time, so I just had to trust it and exhibit it.
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R A Y O F W H I T E S Photography by Ivona Chrzastek Styling by Abbie Baines Make Up by Hannah Philips Hair by Pace Chen Special Thanks to Bengt Fashions
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Dress by Topshop Necklace by E.A.Burns @ BENGT
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Petticoat by Topshop Dress by Charlie May
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Top by Issey Miyake Skirt by Asos Socks by Topshop Shoes by J.W. Anderson for Topshop
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Petticoat by Topshop Dress by Charlie May Shoes by Swedish Hasbeens
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Top by Charlie May Skirt by Topshop Boutique
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Top by Asos Bottoms by Yes Master for Topshop
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Dress by Draw In Light
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Photography by Leon Reindl Styling by Tomas C. Toth Photography Assistance by Hannah Burton Styling Assistance by Gianfranco Colla Models Phillip K and Jacob Bird @ TOMORROW IS ANOTHER DAY
S H E A T H
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Coat by Mirja Rosendahl Turtleneck by Martina Spetlova T-shirt by KTZ Belt by Cottweiler
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Coat by Martina Spetlova Shirt by Cottweiler Trousers by KTZ Shoes by Valentino opposite page
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Coat by Ava Catherside Bomber (Worn Underneath) by Na Di Studio Trousers by Cottweiler Trainers by Converse
Dress by Ava Catherside Jacket & joggers by Cottweiler Skirt by Na Di Studio opposite page
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Crop leather top by Ava Catherside Lace dress by Cheap Monday Shorts by Na Di Studio
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Dress by Ava Catherside Jacket & joggers by Cottweiler Skirt by Na Di Studio Shoes by KTZ opposite page
Philip Wears Coat by Ava Catherside Vest & hood necklace by Cottweiler Shoes by KTZ
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Jacob Wears Dress by Ava Catherside Shorts & rucksack by Cottweiler Boots by Cheap Monday
O H M O N T H S F A T E F O R E S E E N Hair by Damian Monzillo @ B&A Make Up by Margina Dennis for Kevyn Aucoin Beauty Model Mariana Coldebella @ Elite Photography Assistance by Kim Nunneley 102
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Photography by Conan Thai Styling by Adrian Manuel
Bra by Carolina Sarria Jacket by Demoo Parkchoonmoo Skirt by Richard Chai
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Shoes by Jen Kao
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All by Jen Kao
Top by Azede Jean-Pierre
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Trousers & Shoes by Osklen
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All by Jen Kao
Bra by Carolina Sarria Tunic by Irina Marinescu Trousers by Azede Jean-Pierre
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Shoes by Osklen
Dress (worn as cape) by Richard Chai Dress by AF Vandervorst
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Shoes by Pedro Garcia
Bra by Carolina Sarria Jacket by Demoo Parkchoonmoo Skirt by Richard Chai
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Shoes by Jen Kao
Vest by Stylist’s Own Shirt by Ernest Alexander
Dillon Storey “I like to try new things.”
Jansen Fancher “I love drag and mud racing.”
TWENTY THREE
Wreath by Patricia Field
Valeria Kole: Adam Bates, Bobby Nicholas, Florian Desbiendaras, Jack Lankford, Louis Galloway, Maksim, Max Von Isser, Satchel Gray, Samuel Roberts, Branko, Younes Bendjima, Chris Jackson, Cameron Handley Michael Chua: Martin Pereyra, Nate Hill, Satoshi Toda, Bryce Mathias, Jullien Herrera, Robbie Morimoto, Dillon Storey, Biu Rainey, Jansen Fancher, Nick Madrid
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Shirt by Siki Im
Illustrations by Henrietta Harris Grooming by Valeria Kole & Michael Chua
Chris Jackson “I live in the moment.” BITE TRANSCEND
Photography by TYE Styling by Kita Updike
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Jacket by Alexandre Plokhov
Wreath by Patricia Field
Sweater Stylist’s Own
Jack Lankford “New York is very eye-opening.”
Shirt by Highland
Cameron Handley “It’s about being in the right place at the right time.”
Sweater by Highland
Adam Bates “Paris is the most beautiful city… spent with a significant other!”
Maksim “I want to become a photographer one day.”
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Top by Robert Geller
Martin Pereyra II “Mas vale morir parado que vivir arrodillado” (“It’s better to die standing than to live on your knees.”)
Shirt & Sweater by Highland
Satchel Gray “Being a swimmer makes me competitive.”
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bold italic underline!”
Biu Rainey “My name was a computer game high score typo -
Sweater by Penfield
Florian Desbiendaras “I was scouted on my birthday.”
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Shirt Stylist’s own
Shirt by Ernest Alexander
Nick Madrid “Music is my biggest passion in life - I’d love to make soul and r&b music.”
Jacket by Ernest Alexander
Satoshi Toda “My dream is to learn holistic health and have my own practice in California.”
Tank top by Dominic Louis
Jacket by Alexandre Plokhov
Louis Galloway “Vietnam is one of my dream vacations.”
Jacket & shirt by Oliver Spencer
Bryce Mathias “I do an incredible impression of the T-Rex from Jurassic Park.”
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Tank top by Dominic Louis
Jacket by Alexandre Plokhov
Samuel Roberts “My spirit animal would be a giraffe - for obvious reasons!”
Shirt by Oliver Spencer
Jullien Herrera “Always be yourself.”
Jacket by Oliver Spencer
Robbie Morimoto “I don’t like pizza!”
Shirt by Stylist’s Own
Jacket by Alexandre Plokhov
Younes Bendjima “I’m a boxer.”
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Hat by Patricia Field
Jacket by Rochambeau
Branko “My dream is to become an astronaut.”
Shirt by Highland
Jacket by Antonio Azzuolo
Max Von Isser “I’m actually a count.”
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Shirt by Ninh Nguyen
Bobby Nicholas “I’m pretty good in the kitchen.”
Jacket by Dover
Shirt Stylist’s own
Nate Hill “My favorite spot in New York is my apartment.”
E R I K M O W I N C K E L Text by Daniel Griffiths Images by Erik Mowinckel
Living in Oslo, Norway, Erik Mowinckel uses trips around the city as starting-points for much of his photography. With unusual compositions and vivid colour contrasts, Mowinckel’s photographs illustrate his ability to see both the urban and natural afresh.
Many of your photographs feature close-ups of different elements – be it key chains to small animals – that draw the eye to a specific focus. What fascination does this tight composition have
for you? Exactly that: drawing the eye to something specific. Although going-up close with a camera does not mean the image automatically minimal; there are details within the details. The excitement for me consists of framing, combining and arranging those details in a visual way. Having developed a specific aesthetic (abstracted compositions, cold hues and so on), did this process come naturally to you? Or, was it a result of the time gained studying at the Oslo School of Photography? Tracing back, I have a hard time pinpointing when the aesthetics I enjoy now came into my photography. It happened very slowly, after I had taken a break from shooting pictures for about a 118
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Usually devoid of people, your recent series have explored the intersections of, and the contrasts between, nature and the mechanical or manmade. Do you actively search for these mixes, or are your series lead by chance elements? In a sense there is nothing else to choose from besides than man-made or natural. As a result, when I go out to take pictures without a premeditated theme, I am bound to end up with a little bit of both. And even though, as you mention, I rarely photograph people, it is something I am eager to do at the moment.
You have mentioned in the past that you have worked at a photography shop. Besides being a source of income, do you believe that that this experience has had an effect on your work? Every once in a while something beautiful shows up, such a roll of film that has a strong narrative, where all 36 frames tell a part of a story. My favourite task is digitalising old slides old trips, as there is a great archive of far-rung places available.
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Could you tell us a little bit about Illuminous
journal [created with Hans Nøstdahl in 2012]? What lead to your move towards printed matter? It is still very much in the making; there are no themes or guidelines yet and we let the photographers pick out series themselves which, in turn, leads to a wide variety of ideas in one book with a naturally divided narrative. Lastly, do you have any series or projects in mind for later on this year? I am never finished with anything; it is just a constant occupation with looking at things and considering them visually. I like that and I do not want that to disappear entirely, but I want some framework around it and for the consideration to be not purely visual. www.erikmowinckel.com
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year. But even though the photographs I take now are quite different from the ones I took before, it has been coming from the same place: a feeling of surprise and discovery which I linked to photography before I started photography school.
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VULNERABLE HEIGHTS Photography by David Urbanke Styling by Rene Garza
Jacket by John Rocha 124
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Model Tatiana Krasikova @ Storm Hair by Adlena Dignam Make Up by Michelle Dacillo
Necklace by Fiona Paxton
Shoes by Marry Me Jimmy Paul
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Bodysuit by Simon Preen
Shoes by Atalanta Weller for Maria Grachvogel 126
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Coat dress by John Rocha
Shoes by Kurt Geiger
Shoulder pads by Jane Bowle
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Skirt by A La Disposition
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Shoes by Camilla Scovgaard
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Dress by Kim West
Shoes by United Nude
Bag by Kzeniya 130
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Bodysuit by Simon Preen
Necklace by Fiona Paxton
Shoes by United Nude
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Trousers by Todd Lynn
GROVEL GROVEL Photography by Paul Jung Styling by Adrian Manuel Models Chris Wetmore @ Re:Quest, Mitch Baker @ Soul, Cameron Gentry @ DNA, Satoshi Toda & Nate Hill @ New York Make Up by Andrew Colvin Hair by Shannon Wall Styling assistance by Casandra Corrales
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Nate wears Shirt by Billy Reid Cape by Siki Im Trousers by Jack Henry New York Shoes Stylist’s own Socks by Falke
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Satoshi wears Shirt by Siki Im Suit by Shades of Grey Shoes & Jacket (Outer) by Cheap Monday Socks by Falke
Nate wears Full look by Billy Reid
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Satoshi wears Shirt & Suit by Shades of Grey Tie & Shoes Stylist’s own Socks by Falke
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Cameron wears Shirt by Officine Generale Jacket by Raun Larose Trousers by Rochambeau Shoes by Cheap Monday
Nate wears Trousers by Raun Larose Shoes Stylist’s own Socks by Falke
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Mitch Wears Top by Jack Henry New York
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Satoshi wears Shirt & Suit by Shades of Grey Tie Stylist’s own Shoes Stylist’s own Socks by Falke
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Nate wears Shirt by Officine Generale Jacket & Shoes by Cheap Monday Tie Stylist’s own Trousers by Osklen Christopher wears Shirt by Shades of Grey Coat & Trousers by Raun LaRose Shoes Stylist’s own Socks by Falke Cameron wears Shirt by Officine Generale Suit by Shades of Grey Tie Stylist’s own Shoes by Cheap Monday
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Satoshi wears Shirt by Raun Larose Trousers by Jack Henry New York
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Mitch wears Sweater by Kunz Trousers by Rochambeau
L I N E D Photography by Syed Munawir
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Styling by Olivier Pichou
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Make Up by Jay Kwan Hair by Rimi Ura Styling Assistance by Leo Mermillod Models Corentin Fila @ Nathalie Models; Emeric Guillemaut, Jonas Fischer and Mayrone Herry @ New Madison
Coat by Paul Smith
Shirt and Jeans by Levi’s
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opposite page
Jonas: Cardigan by Givenchy Trousers by Bottega Veneta Sneakers by Kris Van Assche Corentin: Shirt, Tie and Trousers by Paul Smith Sneakers by Kris Van Assche Mayrone: Sweater by Dirk Bikkembergs Shorts by Givenchy Trousers by Gucci
Pullover by Dirk Bikkembergs Trousers by Bottega Veneta Coat and Sneakers by Kris Van Assche opposite page
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Shirt and Vest by Bottega Veneta Trousers by Kris Van Assche
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Jacket by WooYoungMi Shorts and Jewellery by Givenchy Trousers by Gucci Shirt and Tie by Bottega Veneta opposite page
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Suit by Lanvin
G H O S T C O L O U R S
Photography by Markus Rico
Styling by Ignazio Arizmendi
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Grooming by Yurema Villa Models Levi Morris & Diego Moncada @ Uno Models Photo Assistance by Simona Borboleta & Giuseppe Marconi Styling Assistance by Alexis Agterberg Special Thanks to Addict Studios
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Levi wears Top by Ana Locking Diego wears Sweatshirt by Ana Locking
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Diego wears Top by & Other Stories Backpack by Raf Simons for Eastpack Hat by Kling Trousers by Heridadegato Sneakers by Bernhard Willhelm for Camper
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Levi wears Muzzle by Oier Garitagoitia Top, Skirt & Trousers underneath by Amaya Arzuaga Shoes by Loewe Necklace Stylist’s own
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Coat by Burberry Prorsum Earpiece by Lotocoho Skirt by POL Sandals by Cortizo Bouzas
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Coat by Loewe
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Sweatshirt by Maria Escoté
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Top by Amaya Arzuaga Skirt pants, stylist’s own Gloves by Oier Garitagoitia Choker by Emporio Armani Beanie by Kling Sandals by Cortizo Bouzas
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Skirt by Amaya Arzuaga Leather gloves by Oier Garitagoitia Sunglasses by Ray-Ban
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Coat by Loewe
There seems to be an inescapable lineament with women in today’s cinema. Of course, there is the redundant damsel in distress, or the one-dimensional weight-obsessed, man-hungry, goofy heroine that is rewarded for her fatuousness and lack of maturity—she gets the ‘hot guy’ and whatever shoes she’s gabbed about for ninety minutes—but Julie Delpy delivers a real woman to the screen. Whether she’s writing them or playing them, Delpy’s characters are independent, politically aware and flawed: they complain, they rant, and they are a little bit compulsive. Essentially, they are normal but somehow they are the most fascinating characters you have ever seen. Julie Delpy is a complete artist, at least in the realm of cinema: acting, writing, and directing – mostly simultaneously. Her most recent endeavour, the third installment of the beloved ‘Before’ series, Before Midnight (successor to Before Sunrise and Before Sunset), co-written by director Richard Linklater and co-star Ethan Hawke, is another revealing chapter in the lives of characters Céline and Jesse, the impossible couple who met on a Viennabound train in 1995 to whom we’ve been able to catch up with every nine years since. Each film ends with a portentous sense of ‘to be continued’, perpetually leaving its viewers craving a follow-up.
coldly advised her not to write; and years later, when she proposed to make Before Sunset, her agent told her it would never be made and no one would want to see it anyway, subsequently firing her. Delpy always wanted above anything else to write and direct movies, having been raised by bohemian French actors Albert Delpy, now a theatre director, and the late Marie Pillet, who introduced her from a young age to any and all kinds of films: good, bad, old, new, westerns, thrillers and more by visiting the cinémathèque daily – Stars Wars one afternoon and Bergman the next. Despite her directorial Now in their forties with three aspiration, acting came first: Delpy children between them, Delpy’s was just fourteen years old when Céline, an environmentalist, the maestro Jean-Luc Godard Text & Illustration by and Hawke’s Jesse, a successful cast her in his 1985 crime drama Deak Rostochil novelist, are finally a true couple: Détective, which she cites first unmarried but dealing with the and foremost as an experience of inevitable strife of a long-term relationship. The film may validation, and which spawned her casting in several be the joint effort of the three artists, what they consider films including the title role in Bertrand Tavernier’s La a symbiotic union between them, but the film’s effortless Passion Béatrice – earning her a César Award nomination combination of wit and incredible poignance seem for Most Promising Actress – and the female lead in to orbit around Delpy from the moment her character Polish director Krzysztof Kieslowski’s second instalment is reintroduced. The performance is so effortless that of his ‘Three Colors’ trilogy, White. one might assume that the role is an improvisation by the actress essentially playing herself, and although It would be another fourteen years before she would Delpy does resemble pieces of Céline and that of her make her first widespread accomplishment as a director other film’s characters – the nuanced French flair, the with 2007’s 2 Days in Paris, and the posterior 2 Days charmingly neurotic personality and so on – she insists in New York, in which Delpy plays Marion Dupré, a that none of them are a direct copy of herself. When lovable mess of emotional instability and intellectual writing, she starts with a tiny seed of the truth and from confusion, usually trapped helplessly in a web of white that grows something that can become very different lies. The films are an arbitrary study of Franco-American from who she is. relationships, exaggerated but emotionally sincere with no shortage of cheeky sexual innuendo; the humour is Delpy is, like Celine, an unyielding feminist – not the perverted but in a romantic way. mistaken standard of overall-wearing man-haters, but a firm believer that men and women are equal on all Today, Delpy has come a long way from the ‘wise young levels and both capable of achieving the same things. girl’ who caught Godard’s eye. She has garnered notoriety At one point during an argument in Before Midnight, for her empowering characters and progressive approach Céline quotes, “Women explore for eternity in the vast to filmmaking, making her a figurehead of feminist selfgarden of sacrifice,” to which she adds, “That is so damn assertion and a luminary of modern cinema. Above true.” And Delpy is evidence of its truth. Her segue from all, she is passionate – an artist who enjoys the goal as acting to her balancing act method of working didn’t well as the process; a rousing voice that demands to be come easily; she read a line from her first screenplay heard. In the midst of her flailing female counterparts, to actor Sam Shepard on the set of their 1991 film the brilliance of Julie Delpy comes just in time. Voyager, to which he complimented her prettiness and
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STOCKISTS 22/4 A La Disposition ACNE Adidas A.F. Vandevorst Alexandre Plokhov Amaya Arzuaga American Apparel Ana Locking Antonio Azzuolo Artengo Asos Ava Catherside Azede Jean-Pierre Azzedine Alaïa Bernhard Willhelm Billy Reid Bottega Veneta Bouchra Jarrar Burberry Prorsum Calvin Klein Camilla Scovgaard Carolina Sarria Charlie May Cheap Monday Christian Lacroix Converse Cortizo Bouzas COS
Cottweiler Damir Doma Demoo Parkchoonmoo Dirk Bikkembergs Dolce & Gabbana Dominic Louis Dover Draw In Light Dusan Ek Thongsprasert Emporio Armani Ernest Alexander Etude Falke Fiona Paxton Givenchy Gucci Hardy Amies Heridadegato Highland Hugo Boss Irina Marinescu Issey Miyake Jack Henry NY Jane Bowle Jean Paul Gaultier Jen Kao John Galliano John Rocha Julian Zigerli J.W. Anderson Karl Lagerfeld Kenzo
Kim West Kling Komakino Kris Van Assche KTZ Kunz Kurt Geiger Kzeniya Lanvin Levi’s Ligia Dias Linda Farrow Loewe Lotocoho Maison Martin Margiela Maria Escoté Maria Grachvogel Martina Spetlova Marry Me Jimmy Paul Melinda Gloss Mirja Rosendahl Na Di Studio Nike Ninh Nguyen Officine Generale Oier Garitagoitia Oliver Spencer Opening Ceremony Original Penguin Osklen Patricia Field Paul Smith Pedro Garcia
Pendleton Penfield POL Prada Proenza Schouler Puma Pyrenex by Alexandre Vauthier Raf Simons Raun Larose Ray-Ban Richard Chai Robert Geller Rochambeau Shades of Grey Sharon Wauchob Shaun Samson Siki Im Simon Preen Swedish Hasbeens Theysken’s Theory Todd Lynn Tommy Hilfiger Topman Topshop United Nude Valentino Versace Viktor & Rolf WooYoungMi Y-3 Yasmine Eslami Z Zegna Image by Julien Bernard
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Collage Images by David Urbanke & Erik Mowinckel
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SUMMER 2013
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ISSUE VII