Flux

FLUX

ISSUE oi

flux issue 01

photo by yoiwan kong

Editor's letter Welcome to the very first issue of Flux magazine!

Flux represents the constant change that is endured in our generation. What began as a simple admiration of a collection of inspiring artists that are taking social and political stances through their work, evolved into what you see before you, a magazine that I am extremely proud of.

It hasn’t been easy, and there are times where it hasn’t been fun so I’d firstly like to thank every single person who has helped bring this issue to life and help make it even better than I expected. Thank you for being a part of the tears, tantrums, constant emails, reshoots and redrafts, you are part of the change that we need to see.

Fuelled by my creative growth over the past two and a half years, and confusion within the political and social chaos, I found that the creative arts was the most accessible platform available in education me on such in depth topics. Through the mass media manipulation and negative onslaught, I recognised a collective of people who are speaking out in positive progression against so many issues.

Sometimes there are thoughts that we struggle to verbalise - for whatever reason – but it doesn’t make them any less intelligent, relevant or important. When our voice box fails, or there’s no one listening, creativity will always conquer; and it can sometimes mean so much more to express our thoughts through writing, music, painting, performance, photography… or however it comes out best! It becomes more permanent in this form, which is why these platforms are so necessary to the way that we perceive society and react to certain situations.

My desire to merge these huge personal influences into a physical space is designed to inspire you to find your own voice and to un-cloud the negative assumptions that are popularly placed on those who don’t fit in to conventional society. These people are proud, and bold and want to challenge your perspective.

We delve into the cross culture perspective of Nadia Tehran and her oppositional music against the treatment of immigrants in the Western world. Liv Fontaine opens our eyes to the hysterical assumptions made of women through performance. Misha MN guides us through a spiritual realm with his overt portrayal of the LGBTQ community.

So welcome to your first journey through Flux, I hope that it teaches you as much as it has taught me.

Sarah x Sarah Morgan @sarahmorgano

contributors Editor:

Sarah Morgan

Sub -Editor : Gemma Carine

Contributing artists: hANNAH cOTON ALEJANDRA PEREZ Alejandra Munoz Rueda Stephanie ospina ruby munslow rebecca james ALICE WORBY Nick Wotton nadia tehran nicke jacobsson liv fontaine justin smith arran davis misha morrow-noble rosie westhoff jonny ruff Yoiwan Kong Special thanks to: haha gallery evocation collective project upcoming solent creatives All Rights Reserved.

Reproduction in whole or part without permission is strictly prohibited.

Printed by Southampton Design and Print, UK.

www.flux.magazine.co.uk @flux-mag

Contributors

Contents

wORD ON THE STREET LIFE IS CHEAP DEATH IS FREE: NADIA TEHRAN

POINT OF VIEW: PROTEST PHOTOGRAPHY

why society needs sluts like me: liv fontaine

ART & SOUL: ART THERAPY

QUEER SPIRITUAL Renaissance: MISHA MN FILMS 4 FREEDOM

Contents

word ON THE

STREET Words and photography by: Sarah Morgan

8 Word on the Street

" Creativity is one of the most important driving forces in social change. "

Becky James, 22 What is your main creative ambition?

To create moving and inspirational documentaries via editing.

Where do you place the role of creativity in social change?

Creativity is one of the most important driving forces in social change.

There has always been creativity surrounding us however I feel that it was always just observed and the creators were so far away from our world, I’m talking about famous musicians like Jimmy Hendrix and Led Zeppelin.

What social movement has defined the past five years for you?

The amount of vegans in the UK has risen by over 300%. That’s a big step forward in my opinion.

What social boundary would you like to see broken down?

Homelessness. Some women don’t get much help now-a-days so the men have no chance. Some men are on the streets for decades just because they are men. I feel they are seriously unrepresented here.

Describe your generation in one word.

Revolution.

9 Word on the Street

"Feminism allowed me to accept my sexuality, my body, my personality."

ALEJANDRa perez, 23 What is your main creative ambition?

I want to find a job within print fashion magazines which allows me to use my creativity to its capacity and work with people that I’ve looked up to for so long.

My main ambition is to never stop evolving.

Where do you place the role of creativity in social change?

Female artists like Arvida Bystrom and Molly Soda are questioning femininity, gender and sexuality; even if its through overused images of a pink-tinted hairy armpit or pink blood-stained period panties, they are normalising things that have been taboo for way too long.

What social movement has defined the past five years for you?

Feminism... I grew up in a very patriarchal country - Colombia - believing that my main focus should be to find a hard working man that would provide for me and our family. Feminism allowed me to accept my sexuality, my body, my personality.

What social boundary would you like to see broken down?

A lot of people say gender boundaries are almost insignificant nowadays but I disagree. Funnily enough most people accept androgynous women or feminine men but really struggle to understand the concept behind transsexuality, as if it isn’t as transparent as the two previously mentioned.

Describe your generation in three words?

Unconformed.

10 Word on the Street

ALEJANDRa rueda, 21 What is your main creative ambition?

I want to start a school that promotes a different learning model where art, music, dance and all types of creative activities compliment the traditional education system. Emotional intelligence is just as important as the conventional units and creativity teaches this.

What do you think of the role of creativity in social change?

It’s a powerful way of integration between people and a huge tool of empowerment for society. People can protest, defend and generally communicate through national barrier, it makes it possible for people to connect and encourage new ideas, and places individuals at the centre of movements and social change.

What social movement has defined the past five years for you?

I’d say the abolitionist movement, because it broke down the conception of ‘possession’, which apart from put an end to the slave-trade, laid the groundwork for the feminist movement.

What social boundary would you like to see broken down?

The boundary between genders. We still live in a patriarchal society where women are undervalued and don’t have the status they deserve in so many aspects.

Describe your generation in one word?

Freedom-fighters.

"Emotional intelligence is just as important as the conventional units."

11 Word on the Street

"expressing yourself can be seen as an act of liberation."

Stephanie Ospina, 21 What is your main creative ambition?

To empower people through spoken word, moving image, printed word and photo series’.

Where do you place the role of creativity in social change?

It’s relevant to how you live your life. Depending on where you live, expressing yourself can be seen as an act of liberation… poetry, photography and documentaries are massive creative platforms in exosing oppression .

What social movement has defined the past 5 years for you?

The internet has allowed worldwide demonstrations to take place. In my opinion it’s restored solidarity within the human race on a global scale by collectively resisting against oppression and shining light on miscarriages of justice.

What social boundary would you like to see broken down?

Equality within ethnic minorities, which could lead to the extinction of white privilege.

Describe your generation in one word?

Empowering.

12 Word on the Street

ruby munslow, 21 What is your main creative ambition?

My ambition is entirely music related. I want to own my own record label and move further in tour management. I really want to help small bands get as many opportunities as possible.

"I'D like to see more women working in the music industrY."

Where do you place the role of creativity in social change?

Music specifically contributes to social change, much like punk did in it’s prime, bands like The Sleaford Mods and Sisteray especially highlight certain issues in society.

What social movement has defined the past five years for you?

The rise of feminism had a huge impact on me, I found myself prouder to be a woman and more eager and confident in speaking up about misogyny and gender bias assumptions.

What social boundary would you like to see broken down?

I’d like to see more women working in the music industry, many women feel like they can’t work as roadies or tour managers and some men seem to react weirdly when they do see women in these roles.

Describe your generation in one word?

Consumed.

13 Word on the Street

AMA 14

14 Nadia Tehran

LIFE IS CHEAP

DEATH IS FREE - NADIA TEHRAN Nadia Tehran is a rebel with a cause. Born in Sweden into an Iranian Muslim family, She always stood out from the crowd but still felt so invisible. It was this, blind frustration, and wanting to stand for something more than just herself that made Nadia look to music as a form of release. Her unique sound was created from a mixture of heavy metal, hip hop, and Middle Eastern influences, with a huge helping of politics, self identity and cultural confusion. She’s sticking two up at the stereotypes of immigrants in Western society.

Words by: Sarah Morgan Photography by: Nicke Jacobsson

15 Nadia Tehran

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IF YOU'RE GOING TO CALL ME A THIEF THEN I'M GOING TO STEAL EVERYTHING YOU OWN"

Nadia Tehran was born in middle-class conservative Sweden, into a traditional Iranian family. Whilst growing up, she struggled with her identity. As a Muslim girl living in a Christian society, negative stereotypes plagued her and naturally, she felt alienated. Like many of us who feel conflicted with society’s expectations, Nadia looked to music to free her from the anguish of being pushed into the shadows. She possessed the will to transform her frustration into something productive.

passion for her music, and her pursuit to change the way that immigrants are viewed to the forefront. “It’s time to speak up”, she says. As the conversation goes on, her vibrance touches me and we speak as if we have known each other forever. She speaks with a soft Swedish accent that quickly make the pictures of her throwing up gang signs whilst wearing a bandana over half of her face quite ironic. I’m not denying that Nadia is a complete bad ass but it’s this irony that’s mirrored in everything she creates.

image page

It started when Nadia auditioned for the high school punk band and secured her position as lead vocalist. She took Karen O (lead singer of the Yeah Yeah Yeah’s) screeching demo tracks from the internet and impressed the other band member by claiming them as her own. This is where Nadia found her muse, and developed herself into the bold and brazen artist that we hear today. Nadia’s thought provoking lyrics and fiery production could definitely hold their own against each other, but put together they create an explosive exploration of self identity, politics and cultural confusion. Her understanding of two very opposite global perspectives is neatly tied together for you to pick apart and judge for yourself. Nadia is tearing back all expectations of Iranian women in contemporary Western society, and crushing every stereotype in her wake.

We chat over the phone as Nadia takes a night off in between shows in Amsterdam, during the tour of her newly released EP, Life is Cheap, Death is Free. At first she chats about how surprised she is that so many people were singing her lyrics the night before. “I’m still kind of getting used to that, so it’s cool” she tells me. It’s this humble gratitude that brings Nadia’s genuine

Nadia’s latest project developed in the form of her EP which is the by-product of a few things. An unsuccessful Swedish election that favoured the right wing party, the hugely negative view of refugees in the Western world, and the current corruption of Iran.

“The paranoia… I feel like it’s growing and I’m being viewed upon as this dangerous immigrant, but at the same time it’s a comment to the Iranian regime as well.” Although Nadia didn’t set out to make loud political statements, that’s exactly where she found her voice. She always knew that her path was with music, and tells me “I can’t really tell when it all started because I feel like I’ve been writing songs all my life.” Nadia’s sound is every bit individual to her personal experiences. Influences reach from Iranian poetry to heavy metal music, hip hop and Middle Eastern sounds. Iranian singer, Googoosh was an early icon for Nadia and she directly inspired the track ‘Superstar’ on the EP. “They’ve been cheating, they’ve been lying, they’ve been reaching for the stars, they’d kill to be us” she hauntingly sings following a thin and airy drum beat. She first penned these words when she was thirteen, and they have followed her ever since. “The song is about all these people leaving their lives and their environment and a place where you’re actually someone, to go to a place where you’re nobody and people don’t see that you’re actually a super star” she explains.

16 Nadia Tehran

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With a mouth full of shit and a stolen tongue, I'll be running 'cross the square, of your king's lungs, Howling at the beat of a vicious drum, Yeah the lens make us all look dumb diddy-dum, Got a black hair like a heavy crown, Trying to get me on, but I'm off the ground, Haunt me baby, can you catch my sound, What am I? Call me black, call me white, Is it green?

Is it brown?

17 Nadia Tehran

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I think that we need to organise and fight for what we want instead of fighting against something that we don't want.

Singular, passionate and fearless, Nadia is determined to extend her creativity across every possible platform. The visuals for one of her most well known songs ‘Refugee’, were put together and directed by Nadia herself and filmed by her Dad, in the capital of Iran. However, this came with huge risk. In 1979, the Islamic Revolution demanded that solo performances by women in front of non female audiences to be banned, because religious leaders believed that it has the potential to arouse men. Of course, this limitation only exhilarated Nadia, and so they went on to film in several beautiful but forbidden locations across Tehran. The video gives an alluring insight into the capital city, through shots of monuments, landscapes and the people of Iran. Unsurprisingly, whilst being filmed singing and dancing in public, the pair were stopped and questioned by authorities a number of times. There was a point where the situation got so intense that Nadia was only able to keep the footage by hiding the memory card in her underwear. She laughs as she tells me, “my Dad is a really good talker, and I was just playing like a dumb tourist so we actually got out of it. But it was difficult.”

It’s creatives like Nadia, that are encouraging younger generations to disattach themselves from Western stereotypes. “I think there’s a younger generation who’s really getting what I’m talking about and they think it’s cool that you’re pushing the boundaries of what Iranian culture looks like, and what it can mean and what it can represent.”

Mainstream media continue to dehumanised migrants from countries like Iran and reduce them to animal form, referring to them as ‘cockroaches’, ‘swarms’ and ‘stampedes’, just to name to few. “The lens make us all look dumb-diddy-dumb” Nadia blares on the track Refugee as an ode to this perception. Instead of fighting against these stereotypes, Nadia is willing to embrace them and use them as an advantage. “If you’re going to call me a thief, for being a refugee then I’m going to steal everything that you have” she laughs proudly and adds “don’t hate yourself for it, we got to own what we are.”

I first heard about Nadia when I went to document the Calais refugee camp in 2016. There is an organisation called Refugees Welcome, who campaign for the people and government of the UK to welcome refugees. They provide homes for the men, women and children that arrive from war torn countries. The non

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governmental organisation (NGO) brings together home owners, landlords, and entire communities to encourage the country into acting collectively towards ending the nightmare that refugees are forced to endure. With 90 campaign groups around the country, Nadia is proud to be part of the foundation of Refugees Welcome, and she tells me how her involvement first came about. “I was working at the central station [in Sweden]… I met some people there that needed a place to stay for the night, and needed clothes, and all of a sudden we became this organisation” she tells me.

“I mean even though it felt like however much I did it was never enough, but that really opened up my eyes to the horrific reality.”

Middle Eastern culture is full of hidden beauty that we in the Western world are blissfully unaware of, in fact I may be bold enough to say we could learn a thing or two. The people are generous, open and loving. Everyone; family or not, is referred to as a ‘brother’ or ‘sister’. They will cook, share stories, and introduce you to their lifestyle. These deep rooted traditions branch from surviving through adverse conditions, where people are the most treasured possession. Although everyone cannot be accounted for, as Nadia acknowledges that “there are good people in Iran and there are bad people in Iran just like everywhere else in the world”. She explains how she has “been trying to give a nice picture of Iranians to other Swede’s or other Europeans and just try to portray them as good as possible but think[s] there’s a problem in that too because it’s like… you need to be in defence mode, like you need to defend who you are which you shouldn’t have to.”

Nadia will continue to make music and put up a fight in working towards positive change and she feels confident that we can work together to make it happen. “I just feel like we’re getting stronger and we just need to find each other and organise together and we’re going to be fine. There’s a catastrophe going on and … it’s not going to be in the near future that we can stop all the wars or whatever but we are actually, we are more than them.” Nadia ends the conversation on a positive and encouraging note; “I feel like I think that we need to organise and fight for what we want instead of fighting against something that we don’t want and…in our political identity that’s important because I think it’s easier when you feel strong together and we organise together and build what we want to see… if you feel confused with your political identity just search for other people who get you excited and not follow the heard of the people that are irritating you or frustrating you.”

18 Nadia Tehran

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19 Nadia Tehran

POINT of

view Words by: Sarah Morgan

21 Point of View

JUSTIN SMITH BLACK LIVES MATTER, usa Justin Smith, 28 is a freelance photo journalist from North Carolina USA. He shot this series of a Black Lives Matter protest in his hometown of Uptown, Charlotte after predicting the negative onslaught that would be displayed from the media. As a white male, Justin stands alongside and in solidarity with the movement. In 2016 alone, there were 1091 recorded deaths of young black males by police officers. This is why, Justin tells me, that he was nervous because he “didn’t know how the police would act.” For Justin, photography is key evidence in documenting what is really going on at demonstrations but humbly, he doesn’t feel that his photos are the key role in the movement. “The peoples voices that need to be heard, being heard is the key role in this movement.”

22 Point of View

"[Photography] is needed to show what is really going on."

23 Point of View

arran davis trump protest, uk Arran Davis, 22 is a photographer living in Wales, UK. He took to the streets of Cardiff and London to capture this series of anti-trump demonstrations. Arran believes that these protests are the only way many members of the public, including himself, feel that their voice can be heard. “Honestly, how difficult is to understand that each person is an individual and that they shouldn’t be judged based on race or religion, but on their actions?� he tells me in frustration. He channels this through his photography and by attending demonstrations to stand with those that have also been affected. Personally, Arran believes that photography can start a conversation, but the real change comes through communication and education.

24 Point of View

"photography can start a conversation, but the real change comes through communication and education."

25 Point of View

266 Liv Fontaine

WHy

society needs

sluts like me - liv fontaine -

Stereotypes, assumptions and expectations … the three fundamentals of a Liv Fontaine performance. Radical by nature, she is fierce in her pursuit to expose society’s impenetrable perspective of women. By absorbing every deep-rooted assumption made of them, she is able to unleash the twisted reality on her audience in the form of characters like Treacle Fuckface. On the surface, her work is often comical and even hysterical, but the message is very clear – we don’t want the pay gap, and we don’t want Brexit.

Words and photography by: Sarah Morgan Artwork by: Hannah Coton

27 Liv Fontaine

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Look at the president of the United States for god's sake, Brexit?

The world has gone mad. It's totally wild but somehow totally normal.

I had originally planned to meet Liv Fontaine at HAHA Gallery, a space that she runs alongside Jen Harris, but instead we agree to meet at her flat in the city where she was born and raised, Southampton. A huge stained glass doorway, mosaic tiled flooring and an oak staircase lead me to the two bed abode where Liv is waiting for me at the door.

As she invites me inside, the décor justifies that this is the home of someone who prefers the less traditional things in life, in the most subtle way. Beautiful high ceilings and art work everywhere. A framed abstract Kandinsky print is spread across one of the walls. An antique cabinet, holds a huge display of spiritual sculptures. A ‘crucifixion of Jesus’ statue sits next to a wooden box with the Star of David engraved on the top. I’m fascinated when Liv tells me that she doesn’t follow a religion, but just really loves iconography.

Perhaps wrongly, a part of me expected, even hoped for her to greet me in the iconic blonde wig and pink bikini, that some know as Treacle Fuckface. In reality, she is fresh faced, wearing blue skinny jeans, a red top and hoodie and in hindsight, the idea of an extravagant performance upon arrival would have failed me the opportunity to paint an accurate picture of Liv. The link is something that she also acknowledges, “I feel like there’s this expectation that you’re always a bit of a performer, but days like today I’m very hungover”, she warns me. Liv’s neurotic performance persona, is individual to her gentle self, and hangover aside she is naturally vibrant and beautiful. As we laugh about events from the night before, the Cava we had ambitiously planned to drink at 1pm turns into a brew!

We take it back to an earlier time in Liv’s life, which she tells me, “isn’t particularly interesting… I became a woman and things got more interesting.” Liv’s mum encouraged her to pursue art when she was growing up, and supported her in every choice that she made. “She just said, yeah be an artist if that’s what you want to do, go to art school… it’s good, because obviously art wasn’t going to make any money but I was still encouraged to do it”, she reflects and goes on: “then again, thinking about it now, maybe it’s better to encourage the kids to make money because you know it’s much harder these days, isn’t it?” When money talks, social media ‘is life’ and English higher education fees are at an all-time high, the future feels uncertain for a huge generation, but Liv has some advice, “be an artist but be an engineer too.”

Approaching these issues of social and political concern with such controversy gained Liv attention as a student of Chelsea College of Art. “I made self-photographs and self-video work, where I would be different characters, so they just had a really performative aspect to

them… but of course there wasn’t an audience so I already started to think about performance art then.” These eccentric personas are at the heart of her practice, “[they] are caricatures really, of these women that we know in society… like the lusty busty exhibitionist is the kind of woman that’s perceived to be a bit of a slut I suppose.”

By embracing every strident stereotype, Liv uses characters as a vehicle for her message, “there’s a lot that you can’t really say as yourself, but if you’re someone else then you have a license to say whatever you want… it's a protective shield.” The relationship that she has with them is evident in the way that she performs, and allows herself to become them in the rawest form. “They are relatable, the slut in particular is so familiar and based on so many media myths.

People are comfortable with her as long as she stays simple, but she’s actually very complicated, so in saying the things I do [whist as her] is unexpected and can force the audience to re-examine their impressions and judgements. There is a type of reclamation happening but I also want people to realise how damaging these stereotypes can be.”

Liv Fontaine is on a continual creative journey. Best recognised for her writing, art and performances, she engages with societal truths regarding sex, gender and art, and flips them on their head.

“I’m just making work about things that I think are important. I am trying to present a certain reality that is completely familiar, but within that reality so much wildness and horror is accepted.

Why are women so in danger? What’s up with the pay gap? Why is this man rubbing his dick up against me on the bus? Look at the president of the United States for gods sake, Brexit? The world has gone mad. It’s totally wild but somehow totally normal.”

The manifestation of this unapologetic anger has developed through Liv’s every day encounters, which are relatable to a huge community of women, “my work is autobiographical, and I talk to a lot of women.” For some women who experience the persistant stalking, harassment, domestic violence, and persecution that has become so acceptable, they actually expect it when they leave their house each day, and have to casually accept it.

This inspired a 25-minute monologue entitled Why Society Needs Sluts Like Me, which is a performance that Liv put together during a seminar on female hysteria. The exterior of the unintelligent, sexualized, man stealing, gold digging female who should be seen but not heard, also typecast as the slut. The theme thickens, “she’s so multifaceted,” Liv unveils that once you unpeel her layers, then you find the less compromised and more evolved woman that society is yet to adapt to. “These characters are seemingly emotionless, [but]

28 Liv Fontaine

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29 Liv Fontaine

30 30 Liv Fontaine

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sluts are goal posts of moral accountability, bUT WHO IS QUALIFIED TO CALL SOMEONE A SLUT?

they’re asked to take on so much” Liv pleads. And how right she is that even in the feminist progression of 2017, women are still battling with what it means to be a ‘real woman’. Well fuck that, because what we do know of these ‘real women’, who are perceived to be flawless are in fact completely orchestrated. They are the opposite of real and the downfall for every generation coming up beneath us who are too young to understand that what they’re portrayed as isn’t obtainable.

The placement of each hair has been carefully considered, the editing process of these images, these videos, these souls has gone through such an intricate and controlled screening process that the result is, unfortunately the exact opposite… the most fake, man-made women.

Allow me to introduce you to Treacle Fuckface, who as mentioned earlier is a blonde wig, pink bikini wearing babe and once Liv’s bestloved alter ego. Empowered, audacious and sexually entrepreneurial, she is society’s most condemned woman whilst remaining it’s most feared. Online, Treacle shares; ’I always dreamt of being in magazines like Playboy or Penthouse. You can’t be in Playboy if you charge for sex.’ Since the dawn of man, female sexual liberation has been repressed and even in this progressive generation, the idea of openly sexual women who feels no humility in fulfilling a perfectly natural desire is of utter outrage for some men and women. Women like her are readily abused as commodification’s every day, but god forbid she actually acknowledges her appeal and succumbs to her demand, for her own gain. Liv is confident when she says that it’s these women that keep society in-tact, “this is not work for the faint hearted, its emotionally laborious and tiring.” Through her overwhelming passion, there is also a sense of exhaustion in having to go through the despair once again. She adds; “sluts are goal posts of moral accountability, but who is qualified to label a woman a slut?”

By definition, ‘slut’ is a derogatory noun... ‘a woman who has many casual sexual partners’. Research by Elizabeth Armstrong and Laura Hamilton from the University of Michigan claims that the label is evolving to divide women based upon class. The study recognizes the gradient between poorer working class women, being considered ‘tacky’ and ‘skanky’ opposed to wealthier women who are held high in empowerment for similar sexual behaviour. Liv is aware of these damaging double standards, and it’s clearly not subject to class but also gender. Slut shaming is at rife via the most influential platform available to children right now, publicly encouraging the vicious and pitiful patriarchy.

Through Treacle Fuckface, Liv was able to push what she brands “a militant feminist agenda” but eventually, their relationship came to an end, as she explains, “I just had to stop playing this character because there was a cross over between her and my life and it became unclear what was a performance.” It appears that there are times when Liv

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feels more comfortable expressing herself through these characters than as her actual self. “After the show I might be sitting on men’s laps as her and then I’m going as far away from the performance and the audience to continue her on in a private.” Liv maintains an emotional bond with the subjective character through putting Treacle up for auction. “The highest bidder got to have this contract which says that I’ll no longer perform as her in public, you can have a private correspondence with her, as her.” It set a necessary boundary between the pair. Liv still embodies alter egos in her performance work but tells me, “there’s more of myself in there as I get more confident.”

My interest turns to the role of the audience in Liv’s performances, which she tells me is an “ever changing relationship.” They are a key role in each performance and Liv often improvises depending on their reaction, “with [them] being there in front of you, it’s easier to control that or attempt to control that or manipulate it and it’s exciting when maybe your control goes wrong or something.”

This becomes particularly intriguing in her nude performances, because we all love a naked body, but nudity is inseparable with sexuality, pleasure and in the grand scheme of it, people are massively offended by a naked woman. Women are shamed for their bare body, unless you’re a size six, with perky breasts and not a stretch mark in place, and someone can make money from it so that someone else can get off from it. Facebook and Instagram have gone far enough as to censor the female nipple from its existence.

She tells me how she finds power in the subversion of gaze. “Who has the control? who is vulnerable?” she questions. I guess what Liv is saying, is that it’s about perspective. In our visual hungry culture, a woman lay in all of her naked glory is viewed as vulnerable, even powerless. In porn, the glamorous show-girl is eroticised and subjected to male superiority. In movies, the generic fairytale storyline follows the love story of a lusty lady who needs a big strong man as her muse. Even historically, in fine art nude women are always the object of male desire and fantasy. We absorb this, and we indirectly become possessed by it too. When this perspective is chewed up, swallowed, regurgitated and spat back out, I imagine it to look a little something like a Liv Fontaine performance. She is in the driving seat but allows the audience to steer, giving them the illusion of power. Very literally in some performances like, ‘True Love and Remote Pleasure’ in which Liv sits with a selfie stick, and a vibrator in place. When someone takes a selfie, then the vibrator is set off.

The power relationship is in constant query, but Liv is always keen not to give too much away, “I want the audience to come to their own conclusions."

31 Liv Fontaine

ART &

soul the creative arts for health and healing Words by: Sarah Morgan Art work by: Hannah Coton

For some people that suffer with a mental illness such as anxiety or depression, things that are ‘normal’ to most, can be a daily challenge. Leaving the house can take hours of preparation and making yourself look perfect just in case you bump into someone when you’re out, and the thought alone can induce a panic attack. When social situations with acquaintances, or even friends are sometimes uncomfortable, booking a doctor’s appointment over the phone, or talking to a clinical therapist don’t even bear thinking about.

Hannah, is 23, suffers with severe anxiety and fits the above scenario.

After three years of feeling this way, she sought guidance from her doctor, which she describes as “a difficult process”. Subsequent to mustering up the courage to see a professional, Hannah was quickly referred to a psychiatrist for Cognitive Behavioral Therapy (CBT). She is angered when she tells me, “I had to ring up and book the appointment myself, which meant I put it off for a few months.” This only hindered Hannah’s health which sent her mental state to an all-time low, and she didn’t leave the house for weeks. “There was no follow up from the doctor, they just gave me a number and expected me to sort it myself.”

Since Theresa May declared her mission ‘to build a stronger, fairer Britain’, she has also expressed concern for ‘despicable stigma’ and ‘inadequate help’ for those with mental health conditions. It’s clear from Hannah’s case alone, that this is an issue that has been neglected by the healthcare system for too long, so these words come as a relief from the ignorance previously endured. A National Health Service report made by the Royal College of Physicians summarised it as ‘underfunded, under-doctored and overstretched’, and in hand with the fact that one in four adults will be diagnosed with a mental illness at some point in their life, it’s only right that the conversation gains some recognition in the process of policy making.

Considering the countries black book of past Prime Ministers and politicians, it’ll come as no surprise that Theresa’s efforts were revealed as a cry for extra support from an already vulnerable audience. Following this, the NHS have faced further budget cuts, sucking them deeper into a financial black hole. The cuts are developing rapidly and paired with a four per cent annual rise in the demand for services, it is becoming impossible for hospitals to maintain their efforts. To top it off, Ministers have admitted that there will be a reduction of 0.6 per cent in the spend per head during the financial year 2018-19 which neglects the needs and rights of over stressed hospital staff, and under treated patients.

The healthcare system became increasingly difficult and stressful for Hannah who found the whole process outdated and negative. “I had to fill out a form with questions like, ‘how many times in the past week have you felt depressed?” she tells me, “I think it should be more positive like, how many times have you felt happy in the past week.” During a time of consistent missed phone calls and lengthy waiting lists, Hannah discovered Arts Sisterhood UK, who are a creative organisation that provide art therapy classes across the UK, for female identifying people.

The National Institute for Health and Care Excellence (NICE) recommends art as a treatment for illnesses such as depression, anxiety, schizophrenia and eating disorders. For many people who suffer from these things, the idea of getting creative can be met with the usual insecurities, ‘I’m crap at art’ or ‘not at my age’ are some of the responses I’ve received. Art doesn’t always mean devoting hours to an intricate still life piece, but it’s a way to express yourself without the confinements of right and wrong and from within a welcoming space.

Many notions of expression are dismissed due to association with childhood a time where we are able to blissfully create with zero judgement. This is what Ali Strick from Arts Sisterhood aims

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1. "if I'm ever feeling down or anxious then it's easy for me to pick up a pen and start drawing to take my mind away from it, and go into a trance."

to revive, “we provide a zone that is free from judgement, stereotypes and discrimination where like-minded female identifying people get together and get to know each other through the power of creativity.” All skill levels are welcomed. Hannah attended a session in London and illustrates the structure for me, “there are rolls of paper on the floor and walls… each one has a different theme or emotion that you draw… themes that span from spirit animal to current affairs and self-love.”

Interestingly, trauma in early life damages the right side of the brain, which is one reason why people can develop psychological problems.

When we focus on creative tasks the same area is stimulated, thus healing negative memories from the past with positive memories of creating something new. Using the creative arts for recovery displays benefits in the physical, mental and emotional well-being of people of all ages.

Hannah felt inspired by the classes and created Dip Girls, an all-female collective who are a part of a huge creative movement in Bristol. Herself and co-founder Ruby Guymer-Parker chose to steer away from the systematic nine to five and pursue their creativity. “Even though Dip is not directly linked to mental health or therapy, it’s something that does help us… now if I’m ever feeling down or anxious then it’s easy for me to pick up a pen and start drawing to take my mind away from it, and go into a trance. ” With the average age of onset depression at fourteen years old, it’s definitely time to take a closer look at art as an alternative to medication or conventional therapy.

Hannah expresses that she now has higher motivation, improved social engagement, and better self-esteem. Art allows you to facilitate a more positive perspective of yourself, and generates better expression and understanding, in the lead of an all-round healthier state of living. Although there are art therapy sessions available that are specifically tailored for people with mental health problems, there are suggested ways in which you can treat yourself which we have listed for you here, but you can keep your eyes on the Arts Sisterhood UK social media pages for more updates on their events.

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2.

3.

4.

5.

Put on some sweet ass artsy music.

Instrumentals are great for tapping into your creative mind flow and help you to relax.

Channel your inner child. There’s something care free about creating spontaneously with no judgement.

Having nothing to replicate allows you to spill your deepest thoughts onto a page, and expose your inner self.

Create a self-portrait. It’s a basic psychological idea in that you communicate how you see yourself through art. There are no limitations - express your dreams, fears, weaknesses or passions in any form.

Write a love letter to yourself: In the 1980’s, experiments by James Pennebaker revealed a link between writing about personal feelings and going to the doctors. Opening up to yourself can help you to address and release certain emotions.

Recreate a piece of nature in your own vision. Even just spending time in nature shows benefits to mental health so get out there and commune with the outdoors.

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QUeer

spiritual renaissance - misha mn -

Misha MN is a self-titled butch queen, queer femme Goddess, who wants to be worshipped. Through the fascinating ideology of Queer Spiritualities, Misha explores his own unique perspective of the LGBTQ community through costume design, symbolism and photography. Misha’s view of gender, sexuality and religion is presented through his self-made book entitled Lost Boys. Here, Misha shares his colourful character and artistic knowledge with us.

Words by: Sarah Morgan Photography by: Misha Morrow Noble

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I'm a witch, a satanist and a shaman... but not in a way that i follow prescribe creeds or methods. "

Proudly acknowledged for its LGBTQ community and home to one of the biggest pride festivals in the country, you only have to walk the streets of Brighton to see why. It’s 2pm when my train arrives, and the sunshine is out in full force. As I leave the station, I’m absorbed in vibrant rainbow flags and the freedom of expressive faces and kaleidoscopic clothing. I only have to walk five minutes down the road before I hear a brass quartet performing Whitney Houston’s ‘I Wanna Dance With Somebody’, and a swarm of people making the lyrics a reality.

I’m making my way to meet Misha on the pier, because have you really been to Brighton if you haven’t been to the pier? We’ve only spoken via email at this point, and the picture I’d seen of him was long gone from the memory bank. I imagined he would be a big friendly giant, namely because through our communication I noticed the resemblance he has with my hairdresser; a six foot, green haired drag queen who goes by the name of Death Ditto, or Mark. Anyhow, as I stand there getting increasingly more anxious, a medium sized but quite broad build, stubbly-faced man approaches me – his memory clearly better than mine – and greets me by my name. I recognise the face, but he seems to have ditched the eyebrows slits and gotten a lot older... must’ve been an old photo. We embrace each other in excitement of finally meeting.

As we weave around the tourists and sun worshippers, we laugh about Misha’s awful shift at his hotel receptionist job the night before, and I feel more at ease knowing that I’m with a man who never takes life too seriously. Misha has a very distinguishable demeanour, like if he walked into a room, everybody would look kind of demeanour. He stomps his black doc martens with a wiggle in his hips, and an attitude of a fiery young woman, which puts me in complete awe. These characteristics totally transcend his overtly masculine appearance; the shaved head, stubbly face and baggy rolled up jeans are more reminiscent of the skinhead look of the ‘70’s. I compliment his green Harrington jacket and become intrigued to find out more about his style, “I’ve honed my everyday look down to a concept I call Sissy Skinhead,” he boldly announces with a cheeky half smile. “In the 90s it became one of the most popular forms of fetish wear for gay men, only overtaken by the rise of the chav look.” After years of trying different styles, he found that this is his way of visualising his queer identity.

“When I was younger I fought very hard to look androgynous. I removed all my body hair, I grew my hair long, wore make up and tried to look slim. By the time I was 19 and my man body was setting in, I realised that I would never look androgynous in the way that I wanted to.”

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Misha MN is a 25-year-old photographer who lives and works in Brighton. Sexuality, gender, and spirituality are hallmarks in his work, and art is in his blood. “Both my parents were artists, so growing up I always had an extensive arts education. We travelled around Europe a lot and spent part of every summer in Venice, where I found myself frolicking in front of the full force of the Renaissance”, Misha giggles. I find myself tied to each word that leaves Misha’s lips, as he meticulously shapes these graphic scenarios in my mind with the next one spoken. A storyteller, and visualist in every sense of the word, he has the ability to engulf anyone in his energising presence.

Misha’s attention drifts off as if he is reliving these childhood memories, and with sincerity, tells me how he was “fortunate enough” to be exposed to all kinds of art forms, from Classical to Contemporary. From this young age, art has always had a significant external impact in Misha’s life and work. He begins to express his love for the Old Italian masters; Titian, Tintoretto and Bellini, and the “astoundingly powerful religious tableaux they created.” As soon as I become engrossed in his knowledge, Misha finds a way to amuse the situation once again; “Ever since I was a child, I was dressing up as the Virgin Mary, with my mum’s petticoats on my head,” and we laugh as he tells me, “now I could do it for real.” Even though Misha well and truly missed the Renaissance period, it was when he began studying photography as a teenager that he realised that he could put a contemporary spin on their paintings. The influence is evident in his portraiture and use of bold colour, and heavy spiritual citations.

Misha summons creativity from far beyond the realms of this world.

He dubs his genre as ‘Queer Spiritual Resistance’ and declares, “I’m a witch, a Satanist, a shaman.” Misha’s work on the surface certainly holds metaphysical aspects, but the substance is much more complex. I want to know more. “Not in the way that I follow prescribed creeds or methods” he assures me, but in the ideology of Queer Spiritualities. Gay, Lesbian, Bisexual and Transgender people are known to have a unique history as spiritual people.

Reverend Mona West for the Metropolitan Community Church, who were the first church to perform same gender marriages, spells this out a little more. In an essay titled Queer Spirituality Mona discusses the negative association to each word historically, but writes, ‘today, they are being reclaimed as positive words’.

The LGBT community has reclaimed the word ‘Queer’ for themselves, and added it to the abbreviation as a word that challenges and questions

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“

so often in life, queer people are the subject of systems; legal, social, and political, but here I am the grand master.

the notion that we must all fit one consistent heteronormative identity.

Society has devolved to make us feel shameful and guilty for natural sexual expression towards someone of the same gender to the point where it is against the law, in some countries. “The days of trying to cater to straight people, to squash their fears about us, to assure them that we are just like them are over. I want no part of their life. I want no part of the heteronormative dream. I want to be feared. I want to be powerful. No family is safe when I sashay,” Misha says, with passion and so much sass.

Throughout history and a plethora of cultures, queer people have been held in high respect for their spiritual leadership, but because of prejudice and religious abuse, their spiritual heritage has become clouded. Misha distinctly expresses this belief within his imagery through the use of symbolism, tribal face paintings, extravagant flowers, headdresses, and headless dolls. In his collection entitled Lost Boys, every boy is in costume - some more extravagant than others - but each one is representational of a divine spirit in ancient religion and mythology. “I’ve always found dressing up to be a very powerful act.

Clothes can give you so much, whether it’s dressing to go out, dressing to feel sexy, important, put together, happy. I always understood the power of clothes within images, because I aspired to be every goddess in flowing robes that I ever saw. I wanted to be a princess, a queen, a woman, because they got to wear the most fabulous clothes.”

There is obvious portrayal of Indigenous American Indian cultures that understood the berdache, cross dressing people to be twospirited, possessing both male and female characteristics. “Their spiritual powers were meant to bring the tribes good luck” Misha beautifully articulates. “I had read about it a few years ago and enjoyed learning about it. It’s another example of queerness and spirituality coming together in ways that are surprising to western Christianity.”

“The Lost Boys series for me marked the beginning of a new chapter of my life. I graduated art school and had just finished the most significant body of work I had ever produced. It was a book called Heresy: Spiritual Resistance in the Modern Age, and comprised of a 25,000 word essay on queer spiritualities, and over 200 pages of my own religious power images. It drained me of every last drop of energy that I had, so producing Lost Boys straight after was my way of administering self-care, allowing myself to regenerate,” he gestures, and looks at me in hope of finding understanding. Misha’s

”

passion for creativity is undeniable in the way that he articulates himself. The collection is a catalogue of every single boy that Misha has ever photographed from age 16-24. His deep relationship with his subjects is mirrored through more humble words; “I have loved every single one of those boys, some for an instant, and others for years, but all of them inspired a fleeting moment of thankfulness in me.” In conversation, Misha’s emotional investment in his work is clear, and he adds, “it began when I was feeling down, and I started making a folder of pictures from photo shoots of cute boys laughing or smiling, so I could look at it and feel happier. After a while I realised that it was making an interesting collection, so I continued going through my archives and looking at more candid pictures.”

Backtracking to themes within his images, Misha maintains focus on the Queer Male Gaze, and the notion of viewing these boys through a queer lense, and falling in love with them. As we flick through the book of images together he points out that, “all of these boys are beautiful, a lot of them are straight and quite a few of them were what could have been described as a member of the ‘in crowd’, a popular kid.” For many people who are not subject to society’s conventional heterosexual norms, they grow up as perpetual outsiders. Misha agrees, “so often in life, queer people are the subject of systems; legal, social, and political, but here I am the grand master, and all these desirable cismen are my possessions, my image, my subjects.” The reassertion of power is subsequent and inherent in Misha’s self-conditioning.

Throughout our conversation, as we ever so romantically look out upon the sea, I reach out for some more of Misha’s humour. So I ask if he could change anything in the world, what would it be? By this point I wasn’t expecting a one liner, but what I got surpassed all expectations. “Globally, the oppression and degradation of femininity in all peoples. Specifically, the violence against trans women and women of colour. Personally, I’d like to have smaller feet so I can wear really pretty women’s shoes.” Misha lives and breathes these ideals, and every continuation of his passion is one challenge closer to freeing the souls natural identity, regardless of sexuality gender or religion.

And, I hope one day his dreams of small feet can become a reality.

Misha has some last words; what George Sanders as Addison DeWitt says to Bette Davis as Margo Channing in ‘‘All About Eve’: “You are drunk. You are maudlin and full of self-pity. You are magnificent.”

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crush

DIRECTED BY: ROSIE WESTHOFF Words by: Sarah Morgan

Rosie Westhoff is an Australian born, UK based writer-director.

Having worked in production for almost ten years she comes from a solid background, of music comedy and television. Crush is her debut short film that she created in 2016 under the title role of writer, director and producer and under her company Cat Dragged Films. Her previous experience certainly made the transition to her new venture easier but she tells me that the hardest thing has been “the transition from production to creative.” Self doubt and uncertainty can sometimes take over, but Rosie fearlessly took the challenge upon herself, and out of the other end came this emotive and beautiful production.

Crush follows the story of a young girl named Ella who, whilst getting the train to school each day develops and infatuation for a girl that she shares the journey with. The storyline was inspired by Rosie’s best friend, “[she] once had the biggest crush on a boy on the bus… I don’t think she ever spoke to him.” Through this simple idea, Rosie wanted to explore the emotions that most people feel for their first crush, “as you get older it’s easy to forget how intense and awkward those feelings can be when you’re dealing with them for the first time – I pretty much identify with every emotion she’s going through.”

Although the silent narrative follows the perspective of a adolescent girl, who has a crush on another girl, it has gained respect for setting itself aside from a lot of LGBT cinema by

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narrowing in on one single emotion, rather than making strong sexual statements. Rosie intended for the final creation to be inclusive to all people, “This really is what I was trying to do with Crush. To make it feel like it could have been any sex, any age, any race, and the emotions are still the same.”

The eight minute film reaches for some deep feelings that are reminiscent of your very first crush, almost to the point of actually blushing whilst remembering the wonder, longing, awkwardness and excitement all whilst wanting to be sick.

Although Crush was only online for an exclusive ten day viewing

by The British Council, it will be screened at various international film festivals such as Tiff Kids International in Toronto and For Films Sake in Sydney. In terms of the film representing the LGBT movement, as a producer Rosie feels that the story and characters always come first and that “any themes should be born out of character and story.” She continues: “I think if you’re trying to make something that puts social and political views at the forefront, the audience won’t buy it because it feels fake and shoved down your throat. So although I think that it is important, I don’t think it should be the first thing that filmmakers strive for.”

Meanwhile, Rosie is working on her second short film, which she shot in January and is now in the editing stages. “It’s quite different to Crush in style, tone and subject matter. I also have three other scripts in development.”

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heavy weight DIRECTED BY: JONNY RUFF

Words by: Sarah Morgan

Jonny Ruff was born in Lincoln but currently resides in London. He tells me that he is “trying my best to be a director” and works as a Digital Content Producer at Working Title Films, “which basically means making gifs of Bridget Jones for Facebook.” He fell into filmmaking by accident whilst studying his academic A-levels and realising he hadn’t had the chance to study anything creative.

“Because I couldn’t draw or paint to save my life I ended up doing the only thing I thought I could do, which was photography.”

Through photography he began to explore moving image, and soon after he switched from a history degree to Film Production; “it was a last minute gut decision and I still don’t really know how or why that came about; I just knew it was the right decision.”

Jonny teamed up with friend, and writer Chuku Mondu with the driving force behind them to make a film together. He recalls the frustration of their ideas until Chuku suggested a storyline about two boxers that are attracted to each other, that don’t know how to handle their situation, “Heavy Weight was an idea that stood out from a load of really bad ideas.” The exploration of sexual identity and masculinity is what drew Jonny into the idea, whilst Chuku touched on it through his experience of growing up in boxing gyms, and it went on to become something that the pair could mutually identify with.

Heavy Weight is a short film that openly explores the sexuality of two men, Paris and Connor who are regularly exposed to a very conventional masculine setting where it would typically be

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difficult for them to be open their lust for each other, through fear of judgement. Jonny acknowledges that although there has been progression in the acceptance of homosexuality “it can still be as hard today as it was 50 years ago” and by delving into the relationship through the screen he hopes that this message will resonate with the audience.

An ally to the LGBTQ community, Jonny stands by those that still struggle with being open about their sexuality, and although this is his first film based upon LQBT themes, he hopes to continue it’s progress down the line. “I feel as if the LGBTQ community are making waves with media visibility. It’s definitely a thing now, but until we are at a point where it shouldn’t have to be a thing shows that there is a long, long way to go.”

Heavy Weight remains a progressive love story, and takes you through a journey that some may be familiar with… trying to resist the persistent urges to touch the other, or take a quick glance whilst they aren’t looking. It soon reveals that masculinity and sexuality don’t always have to be at odds with one other in a happy ending.

Jonny is in development of a couple of other projects; “the closest one to being made is a horror about gender expectations and masculinity in a heterosexual relationship; another is a short doc about a drag queen. You can probably see a few similar themes in all of those. Oh and more Bridget Jones gifs for Facebook. You can never have enough of those.”

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