B-MAG - Summer/Fall 2012 - Issue No 6 by Colville-Walker Ltd

ISSUE #6

SUMMER/FALL 2012

KEEP

SUMMER/FALL 2012

MOVIN’

UK £10

CONTENTS 6

YOU’RE STILL IN A DREAM

Sporting spring/summer 2012 in Gibraltar.

We run into four creatives who rely on their local libraries for much more than just books.

PHOTOGRAPHY HARLEY WEIR

WORDS LEWIS CHONG

FASHION ISABELLA GOUMAL

PHOTOGRAPHY JO METSON SCOTT

P E T M AT E

Meet five special pets as introduced by their creative owners.

WORDS DAL CHODHA PHOTOGRAPHY LUKE STEPHENSON

WORDS PETER JENSEN

PHOTOGRAPHY A I T K E N J O L LY

FASHION JANE HOWARD

FASHION SAM RANGER

ART DIRECTION ÅBÄKE

PHYSICAL (YOU’RE SO)

PHOTOGRAPHY THOMAS LOHR

PHOTOGRAPHY S T E FA N Z S C H E R N I T Z

FASHION JASON HUGHES

FASHION TO BY G R I M D I TC H

ZERO HAS A LIMIT

106 REVOLUTION #9

PHOTOGRAPHY WILLEM JASPERT

Nine art graduates talk biochemistry, comic books and the desire to play God.

FASHION JASON HUGHES

WORDS VICTORIA LOOMES

Photographer Jo Metson Scott documents a young boys dream of becoming the best he can be. PHOTOGRAPHY JO METSON SCOTT

Photography Aitken Jolly, Fashion Sam Ranger, Hair Naoki Komiya @ Julian Watson Agency, Make-up Lotten Holmqvist @ Julian Watson using M.A.C, Manicure Mike Pocock, Model Corinna Ingleneuf @ M4 Hamburg

Multi-disciplinary, pan-global design studio Åbäke present Peter Jensen’s fall/winter 2012 collection on the shoulders of its original muse and talk wild food with Roger Phillips.

PHOTOGRAPHY ERIKA WALL

1 24 GY M B OY

[Cover] T-shirt BERNHARD WILLHELM

ÅBÄKE X PETER JENSEN

SLIGHT NIGHT SHIVER

62 CHAOS INTO CONTROL

R E A D I N G M AT T E R S

PORTRAITS JON CARDWELL

132 SHOP

What we’re wearing this season.

w w w. b e r t h o l d - u k . c o m

B–MAG

EDITORIAL TEAM Editorial & creative director JASON HUGHES jason@the-bmag.com

Graphic designers BEN SMITH E M I LY H A D D E N

Editor DAL CHODHA dal@the-bmag.com

Subeditor STEPHAN TAKKIDES

Art director CHRISTOPHER C O LV I L L E - W A L K E R christopher@the-bmag.com

Fashion assistant ISABELLA GOUMAL Fashion intern ELLA CRISP

CONTRIBUTORS

I N F O R M AT I O N

Åbäke Aitken Jolly Erika Wall Harley Weir Jane Howard Jon Cardwell Jo Metson Scott Lewis Chong Luke Stephenson Peter Jensen Sam Ranger Stephan Zschernitz Thomas Lohr Toby Grimditch Victoria Loomes Willem Jaspert

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Launching 3rd September 2012 21 Kingly St, Soho, London W1B 5QA

YO U ’ R E STILL IN A DR EA M PHOTOGRAPHY HARLEY WEIR FASHION ISABELLA GOUMAL

Erik wears top and shorts JW ANDERSON; Blazer WOOYOUNGMI

YOU’RE STILL IN A DREAM

Aleksandra wears top B STORE; Skirt A.P.C. [Opposite] Erik wears T-shirt ROKIT; Necklace PEBBLE LONDON

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YOU’RE STILL IN A DREAM

Eric wears suit IAN BATTEN; Top JAMES LONG; Sunglasses CUTLER & GROSS [Opposite] Erik wears roll-neck ACNE; Shorts LOU DALTON; Sunglasses LINDA FARROW FOR WOOYOUNGMI; Sandals SHORESIDE 10

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YOU’RE STILL IN A DREAM

Aleksandra wears jumper MARGARET HOWELL; Shorts COMPLEX GEOMETRIES; Racing shorts ACNE; Shoes SHORESIDE; Hat stylist’s own Erik wears shirt T.LIPOP; Shorts ADIDAS; Swim Shorts [Opposite] Aleksandra wears top and trousers JW ANDERSON; Sunglasses CUTLER & GROSS; Sandals SHORESIDE

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YOUâ&#x20AC;&#x2122;RE STILL IN A DREAM

Aleksandra wears dress B STORE; Socks JONATHAN ASTON; Shoes RELLIK [Opposite] Erik wears jumper ROKIT; Shorts A.P.C.; Sandals SHORESIDE Models Aleksandra Marczyk @ Union and Erik Andersson @ FM Agency 14

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16 WORDS LEWIS CHONG PHOTOGRAPHY JO METSON SCOTT

r m e a a t d t

Julie Verhoeven

i e n r

“I never even attempt to start a new project without a library visit. It’s essential,” confesses Julie Verhoeven. “I am also pretty reliant and emotionally attached to the photocopiers.” And as friendly with the facilities as she might be, Verhoeven isn’t supportive of her local library because of a longing for the past. “I like to remain loyal and show support but I am not a fan of nostalgia, if I can help it.”

g s

As an illustrator, artist and teacher, Verhoeven has collaborated with the likes of Louis Vuitton, Mulberry and Peter Jensen, had solo exhibitions, is a performer, has designed products and is in all senses, an all-round creative. “I would be in dire straits if I lost my local library and would have to do something melodramatic, like move country or give up. Not only are they a mecca of information but they function on a social level too.”

First joining Camberwell College of Arts library on Peckham Road about 20 years ago when moving into the area, Verhoeven has used it at least once a month ever since. “It is carpeted and has a powwow of comfy chairs and a little display cabinet of art exhibits. It has an amazing rolling stock of old periodicals and endless treasures. It just feels comfortable and easy to lose yourself in,” she shares. “I am especially attached to my library because in the 50s, my mum was a student there and used to work for Camberwell public libraries. Both my parents were avid library visitors and the usage of this research facility was instilled in me from a young age.” “However, I did have my bag pinched at Westminster reference library once but it was my own fault for being too engrossed in a picture book to notice. I would never hold a grudge against a library. They are a wonderful place of secrets and surprises.”

READING MAT TERS

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READING MAT TERS

“I mean the library is not personal to me as such, mainly because it’s a very egalitarian thing but I had a really conscious moment where I thought I must start using it more, in case it goes away” ponders the artist Kevin Francis Gray. “But then I started to really think about why I would even care if it disappeared. Why do I care that they’re there at all?” “As an artist, everything has an impact. In the same way as public transport has an impact on my artistic practice, the library has that similar sort of effect and it helps my practice by proxy. Not directly,” he reasons. “I don’t go into the library and think ‘I’m inspired by this book, I’m going to make a piece.’ But it gives me that weird sense of comfort and confidence knowing that it’s there if I need it.” Traditionally a sculptor, the Goldsmiths graduate is somewhat of an irregular member of

Homerton library. “It’s a sort of 60s municipal building,” he tells. “Upstairs there is a room for events and gatherings. The library itself has a really interesting smell and smells a bit manky, it’s small, grungy, exactly what you want from a library. Not too slick. Not very many art books either, but just enough to whet the appetite. And some really, really good trashy literature,” he laughs. “Lots of the good stuff.” Gray’s bronze and marble sculptures echo the contemporary subjects (whom Gray finds often on the streets) rendered in the classical forms of old masters. “There was someone I met outside the library once and I asked her if she’d model for me, to which she replied, ‘Fuck off!’ Then I went back and kept seeing her and kept asking her and then she eventually sat for a piece of mine and after meeting outside the library, she’s become quite a big part of my work.”

Kevin Francis Gray

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READING MAT TERS

Michael Harrison

“This is a classic 1960s post-modernist building. Big glass and concrete with really beautiful murals outside and quite brutalist. It sits right next to a really beautiful 1930s modernist building that is about to be renovated,” pours the art director Michael Harrison. “I guess the building is from that time when you’d say there were good ideals for public self-improvement. I don’t think we live in those times anymore.” Reflecting upon Hornsey library, it’s obvious this place means more to him than just research and public access to books. “I’ve been thinking about it. I like order and structure and the whole system is catalogued. You have to have that OCD obsessiveness with what I do and libraries have that built in”, he explains. “There is silence, order, and people behave, but do it naturally. It’s accepted by everyone who uses it and we conform to say: ‘we accept this space and the rules that go along with it.’ Where else does that happen in society?”

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It was working at The Face, 20 years ago, when Harrison began his lifelong career in magazines. He is now an art director for Condé Nast and publishes his own title, Archivist, twice a year. “That’s where the research comes in. It’s not simply being a designer. In fact, designing is quite a small part at times. I have to be aware of trends, not only fashion but all design.” “One of the best bits of advice I have been given is you’re never stumped for an idea, you just have to go into a library or a second-hand bookshop and it immediately opens up your mind. You might see a bit of a colour, some sort of typography, how the book is packaged, and they just suddenly spin off ideas. Libraries are very tactile places” concludes Harrison. “I don’t necessarily sit here looking up art books. It’s what I’ll stumble across. On the internet, you have to start looking for something, and it’s usually the re-circulation of somebody else’s idea but in a library, you can discover things for yourself.”

READING MAT TERS

Romilly Mason

“I’m way too nostalgic for old school libraries that used to have those great big wooden tables, a really stern librarian, and musty, musty, books.” sighs Romilly Mason, stylist and acting editorin-chief at Avenue 32. “Libraries are essential to our learning, to creativity. Just to have a place to go more than anything, to sit and focus. I don’t think you get that even in your own home.” Since the age of 10, Mason has been a library member but it is her local Fulham branch that she calls her regular. “It gives me a feeling of safety. And I think I go to calm myself down because everything is so frantic and I don’t really stop. That’s why I made it part of my routine because I knew on a Saturday morning I could go to the library and just take a deep breath. You become so isolated and I like that. You feel kind of connected to the people there, even though you don’t want to talk to them.”

“I borrow a lot of murder-mystery novels, I’m obsessed by Agatha Christie … obsessed,” she says with uncontained delight. “They’re very much about the finer detail. If they’re mentioning the murderer or the victim and they’re describing their lace collar or their lost button, maybe a cuff link with an engraving, that’s the part I really love. Those little intricacies! When I’m writing about fashion, I want to incorporate that. It’s all too readily glossed over.” At home, Mason is surrounded by antique linens, vintage French workwear and 1920s flapper dresses that would have made even Brassaï a little emotional. “I have a romantic notion of the past. That’s why I am so devoted to my library. I love that kind of feeling you get from holding a book that has been there for however many years, it has suppleness. It’s a silly idea, but you can almost feel the thoughts from previous readers, sharing their experiences in a way.” THE-BMAG.COM

PET MATE

WORDS DAL CHODHA PHOTOGRAPHY LUKE STEPHENSON

HANNA HANRA DJ and editor

Reena came to us with her brother after our friend’s cat got pregnant. She’d had a litter, scratched the door to go outside and got pregnant again straight away, and Reena and her brother were born. Reena’s brother now lives in Stroud. I’ve always had two cats and two dogs growing up and I think there’s something very cathartic about having a pet to come home to. Cats do tend to get on with their own thing, but if you’re ill or you’re tired, they always come and lay on you because they know, they just know … Reena is three and a half and quite naughty. She’s full of personality and likes a mini adventure.

When she was a tiny kitten we lived on the fifth floor and there was a lot of scaffolding all over the building and one day I came home to find Reena right on the other side of the building, balancing on the scaffolding. We live on a main road, so she is a flat cat, but she likes to try and dart out of the front door whenever she can. She has a baby four-foot, pastel-pink and blue furry snake that she carries around in her mouth most of the time, which is exceptionally cute. She’s not one of those cats that you don’t notice you have a cat. A good pet is one that gives you unrequited love and has some personality. God, I feel sorry when I see people with a boring dog that

has no personality. I’m obsessed with Reena, I sing to her, I talk to her, I call her my baby fish. Her full name is Furburger Vicky Lisa Raman Cowan because all good pets should have at least five names. Her name originally was Catney Love and her brother was Kit Cobain. But when I got her she was so tiny she was like a burger of fur in my hand so then we called her Fur Burger, which turned into Fur Burgereena so now we just call her Reena. It’s funny to think that there’s an animal that belongs to me. The first magazine I made when I was five was called I LOVE CATS. It’s drawing of cats I have done. I do really love cats.

PET MATE

JONATHAN STEPHENSON Founder, Rocket Gallery

It all started when my kids wanted guinea pigs. We’d go around pet shops, and I became fascinated with the beautiful birds I’d see for sale. I was totally unaware that you could go into a shop and buy anything other than a budgie. I was taken aback by some Australian finches and then I became a bit obsessed. Now I have 25 different species and nearly 100 birds. Living in a flat Hackney, all of the birds are in a specifically designed aviary in the yard. The Kikuyu White-eye is quite hardy. It comes from Asia but is actually fine in all weathers, but certainly, I have birds from Africa or Asia that can’t stay outside. Working with furniture and design, one of the aspects that really grabbed me was the design of the

cages they live in. The nest building of the different species is very architectural also; they require different materials and have different ways of building nests. I love that. From the pressures of running a gallery, working with artists, publishing books and commissioning furniture, I find keeping the birds actually quite relaxing. I can really switch off and concentrate on attending to the needs of the birds. It really is a private hobby. The birds get used to whoever is looking after them so if you start looking different, changing your hair or clothes too much, they can be unnerved by that. There is a sort of closeness, but there’s no emotional relationship like you might have with a cat or a dog. It’s hard to explain but it’s a curious thing that has grabbed me.

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PET MATE

CAN EVGIN Filmmaker and photographer

Huso is an Indian star tortoise, and he was given to me for my birthday about a year and a half ago; he was born two weeks before my birthday. It was never really my plan to have a pet, but I’m glad I have him. He’s amazing, the easiest pet in the world and takes only five minutes of the day to look after. All I have to do is get some Italian mixed salad or lettuce and put it out for him, that’s it. He calms me down a lot; he’s a little philosopher you know, he just sits there under his sun lamp all day so when you come home and you’ve had a busy day, all of a sudden you’re staring at this animal that doesn’t do anything at all. It does really slow you down. When I first got him, I did some research to see if there was maybe a trick or something he could do, but no, he doesn’t do anything.

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Huso lives on my desk so when I’m on the computer all day or staring at the screen for too long, I can just turn my head and look at him. I make sure he is always in my vision. I couldn’t handle having a dog around 24/7 but Huso is the most independent kind of animal, because he doesn’t really care if you are there are not. If I am away, I have this lady who comes and feeds him. She used to look after cats so when she first came over, she asked me if she could sit with him for 30 minutes and I told her, all he needs is his salad and that’s it but she really enjoyed it! He really wins people over. When he was a baby, I used to leave him with friends if I was travelling, and they’d just get a bottle of wine and sit there, watching him for hours – he’s quite therapeutic. Everything he does is in slow motion and that’s in such contrast to how we’re all living our lives.

PET MATE

LOUISE ANSCOMB Producer

I used to breed Siamese seal point mice when I was eight, and they lived in something my dad built, which we called “mouse mansion”. We always had dogs too so I have always had animals and I’ve had Chalk for one month now. He came from Little Angels rabbit rescue in Romford.

at around 6am and then at dusk, so I let him out in the morning and then when I leave for work at 8.30am he goes back to his bed and snoozes all day.

I always thought that a rabbit would be more like a cat than anything else, but actually Chalk is pretty similar to a dog. He follows me around and we play I used to have another rabbit but I couldn’t look after fetch and he’s got quite a personality. I know! I it as he needed a lot of attention, so recently I learned know I have become “the rabbit lady” and if ever that it is not good to keep rabbits on their own as I go out after work, I do worry that I have to get they should be in twos. Chalk is different, however, back, but it’s like anything, you wouldn’t want to as he used to be with his brother who is called leave someone on their own in one room all day! Cheese. They used to fight a lot so the rescue centre On the weekends, when I am doing housework, he called me saying they were looking for a humanis outside for about five hours (he is terrified of the only home for Chalk and he came to live with me. sound of the hoover and the washing machine). Chalk is a lionhead, and rabbits with light fur During the day when I am at work, he is indoors need as much sunlight as possible for vitamin D. in his own run, and when I am at home, he is all over the house. Rabbits are really sociable animals Rabbits do this thing called a “binky” when they’re so Chalk sits beside me when I am watching TV really happy. They charge from one end of the and he leaps on to the bed in the morning when I house to the other, doing this hop with their head am getting ready for work! Rabbits are crepuscular tilted to the side, and that’s when you know they’re animals meaning they are most active in the morning really happy. Chalk does that all of the time. THE-BMAG.COM

PET MATE

PAULA GERBASE Designer

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Roxy is three years old, and Kim and I got her from a breeder who used to be a London policeman. All of Roxy’s brothers and sisters are police dogs. She is fully grown now but I did think she would be bigger. I wanted a big dog. I’m not a flimsy girl so it would be really odd for me to have a pug or a Chihuahua. We don’t dress her up or anything but once, when she was a puppy and I was working at Savile Row, I had one of the tailors make a bespoke coat for her, and she hated it. She ripped it off as soon as we put it on her so now she just wears her Porter collar, which we bought in Japan.

having her around. Today I was really pissed off about something to do with work, but then Roxy did something stupid and it made me laugh.

I would never have got a dog if she wasn’t with us all of the time. I see her as part of us, like a buddy or sidekick, she is always around and whatever we do, she comes with. She is the dog version of me! There’s nothing frivolous about her and she has a drive about her, she’ll chase anything: squirrels; cats; balls; sticks; flies; even children! Bigger dogs are more fun: you can be more active and rough with them and it’s comforting

One summer’s evening, we were walking her around the Serpentine and she was off her lead. She leapt into the river to chase the ducks as soon as she could and got absolutely soaked. When she came out, she had this mad look in her eyes and suddenly bolted through an open door, which turned out to lead into the kitchen of the nearby restaurant. We just heard all of these screams! Kim followed Roxy into the kitchen, he grabbed her and then we ran away.

If it’s a gloomy day, we’ll wake up and have breakfast then start to work. Roxy wakes up when we do, but if it starts raining, she’ll go back to bed on her own and we’ll find her asleep. Roxy’s pretty intense but goofy at the same time so if you’re lying down or trying to nap, she’ll come and throw a ball in your face, and you can tell she’s doing it on purpose … she certainly has a sense of humour.

PET MATE

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Concrete You Are Here <<New Zealand>> Children of Vison <<Spain>> Doshaburi <<South Korea>> Addicted Seoul Boon the Shop Darling You <<United Kingdom>> ASOS Cochinechine Coggles Goodhood Store Tatty Devine The Hambledon Ursa Loves <<United States>> Honey in the Rough Jumelle La Garconne Opening Ceremony Otte Inc.

www.peterjensen.co.uk

<<Belgium>> Hunting and Collecting Twiggy <<Canada>> Gravity Pope

www.peterjensen.co.uk

<<Denmark>> B56 Emmalu Dr Adams WOOD WOOD <<France>> Franck et Fils <<Germany>> Rag Republic <<Hong Kong>> A Boutique Harvey Nichols <<Iceland>> Kron <<Italy>> Numero Wait and See Photography by Paul Bliss

Beams

<<Australia>> Incu

<<Japan>> Beams

Photography by Paul Bliss

Isetan Desperado Edit for Lulu <<Netherlands>> Concrete You Are Here <<New Zealand>> Children of Vison <<Spain>> Doshaburi <<South Korea>> Addicted Seoul Boon the Shop Darling You <<United Kingdom>> ASOS Cochinechine Coggles Goodhood Store Tatty Devine The Hambledon Ursa Loves <<United States>> Honey in the Rough Jumelle La Garconne Opening Ceremony Otte Inc.

www.peterjensen.co.uk

ÅBÄKE X PETER JENSEN

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ÅBÄKE X PETER JENSEN

Samlare 001 Roger Phillips

Wild Food with Roger Phillips, Erika Wall & Åbäke Blue elderberries from the western states. Photo by Roger Phillips from Wild Food, USA edition.

ERIKA WALL & ÅBÄKE:

Did you visit The Grand Canyon?

Yes, we did, because we made the Mushroom book in America. The book took six years to make: five for collecting and photography and a year putting it together. Because mushrooms change in different seasons and in different parts of America, we’d go somewhere, say to Maine, stay for a week and go to California. So we’d go a long-long way away because then the mushrooms would be completely different, and when we finished in California, we’d go to Florida, and then we might go to Washington State. And so we would move every week and normally fly at the weekend, rent a cottage or stay in crummy hotels. Whatever was cheap, really. ROGER PHILLIPS:

ERIKA WALL & ÅBÄKE:

How did you know where to find the mushrooms?

I joined the Mycological Society of America and went to all their major events. They might be in Maryland or in Idaho. There are as many as 200 people ROGER PHILLIPS:

out there collecting mushrooms, so loads of mushrooms would come in. I would ask people if I could borrow their mushrooms for 20 minutes and photograph them. ERIKA WALL & ÅBÄKE: Was it a natural development from what you did before (advertising) to this? ROGER PHILLIPS: Yes, because these were studio photographs. People were saying: “Oh! But you must photograph them in nature.” You get nicer photographs that way, but you’re talking more about a coffee table book and what I was trying to do was show as many distinguishing characteristics as possible … That’s an incredibly hallucinogenic mushroom. I found that one in Arundel near the south coast, and I took it to the guy at Kew and he said: “Gosh! You’ve found this amazing psilocybin. That’s incredibly potent.” But I’d got about 50 of them. I gave them to him, and he gave a lecture to the students at Kew that night, and he put them on the desk, turned to write something on the board, and when he turned back they were all gone … so, it was party time!

Previous: aggressive / edible weeds 01 and 02, Hackney, May 2012

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ÅBÄKE X PETER JENSEN

Roger Phillips in front of Ceanothus Joyce Coulter, Ecclestone gardens, early May 2012

The best lecture ever! We were keen to meet you, to do some of those things for ourselves. We are very inspired by your Wild Food book. ERIKA WALL & ÅBÄKE:

That’s very kind. Do your parents still live in Sweden? I used to go there picking cloudberries. They’re mad about cloudberries. The rosehip soup in the book was a recipe by a Swedish friend. ROGER PHILLIPS:

I made loads this year and dried loads. It’s more like a breakfast in Sweden, every day food, almost: nyponsoppa. Can you tell us about the Wild Food book? ERIKA WALL & ÅBÄKE:

I finished it in 77. I was divorced and normally had my son at the weekend – you know how you’d share the children. We would go and cook in the outdoors, into the woods and make lunch somewhere, and he would invite friends and, quite often, there would be 30 people, and we’d probably cook sausages or something very ROGER PHILLIPS:

simple. That’s the origin of that book [Wild Flowers] and partly this book [Wild Food]. So, then I thought, I ought to try to help them recognise the plants, and I told them about the plants I knew that my grandmother told me. But then I realised there were hundreds of plants I didn’t know, and I struggled because I had no botanical background to identify them in books, because they use a scientific technique: you have to know what family it belongs to, before you know what page to go to. One year I collected all the plants I could find and pressed them, and then at the end of that year, I thought: this is bloody stupid I’m a photographer why didn’t I photograph them? Right at the end of that first year, I photographed the last four collections, then I took to them to a friend in publishing and said I’m thinking of doing a book. The plan was to do just the same thing, as it were – fresh flowers laid-out and photographed through the year. ERIKA WALL & ÅBÄKE:

Does it represent one year?

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ÅBÄKE X PETER JENSEN

Sequined cardigan, « Muriel », FW10 Embroidered chiffon dress, « Fanny », FW05

Japanese Knotweed, late April 2012, Walthamstow, London

Yes, it was all done in one year, and I had very little help! I wrote to all the wildflower societies I could find reference to, and asked would they help me and so on. I had, I think, two replies back from 50 letters or something, and they both said: it’s impossible, you’ll never do it. ROGER PHILLIPS:

arrived, there was a room only for natural history illustration drawing. ROGER PHILLIPS:

Did you do that course?

No, but it was a very broad church. You had people setting metal type one side, and people drawing specimens from nature on the other, and it was all called “communication art and design”. It’s like your books. Illustration is great but you need the photograph, that’s the one you trust, isn’t it? ERIKA WALL & ÅBÄKE:

ERIKA WALL & ÅBÄKE:

It sounds quite impossible …

And then about five years later, I met a very important botanist from Cambridge, and he said to me: “Oh God, I feel so guilty! You wrote to me and asked for help and I wrote back to you and said you’ll never do it, and now you’ve done this bloody book!” It was published the next year. That’s my advertising background: instead of pottering about when I wanted something: if it was in Scotland, I just got in the car and went and did it, so no messing about; someone knows this plant grows in Cornwall, just go and get it … ROGER PHILLIPS:

ERIKA WALL & ÅBÄKE:

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At the Royal College of Art when we

That’s the thing: they can be imperfect; they can be a little bit eaten. They’re going to be eaten in the photograph. An illustrator might take away the holes and make it so ROGER PHILLIPS:

ÅBÄKE X PETER JENSEN

Samlare 002 Peter Jensen

Shirt with tie collar, « Thelma », FW12 Scenic print silk dress, « Thelma », FW12

A Wild Lunch with Peter & Gerard & Thelma & Paul P hotography: Erika Wall Art direction: Åbäke Styling: Jane Howard Styling assistant: Magda Bryk Assistance: Camille Thiéry

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ÅBÄKE X PETER JENSEN

Faux mink pea coat, Baby blue Thelma bag, Black crepe bib shirt, Jeans with turn up, all « Thelma » FW12; Necklace, Thelma’s own

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ÅBÄKE X PETER JENSEN

THELMA Same as opposite; Loafers from Churches

GERARD Navy check seersucker shirt « Laurie » SS10; Pink waffle jumper, « Erika » precollection SS11; Red cord trousers, « Anna Karina » FW10; Shoes from Prada

PAUL Purple cord trousers, « Anna Karina » FW10; Striped lace-up shoes, « Muriel » FW09; Sloe Gin, Walthamstow Marshes, London 2011

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ÅBÄKE X PETER JENSEN

PAUL People print shirt, « Anna Karina » FW10; Patterned cardigan, « Meryl » SS12; Beige cord trousers, « Laurie » SS10 GERARD Rabbit jacquard sweater, « Laurie » SS10; Green pocket trousers, « Shelley » SS11; Shoes, Prada

THELMA Zig-zag cardi, « Erika » pre-collection FW12; White viscose bib shirt « Thelma » FW12; Marble marquetry print floor length skirt, « Thelma » FW12; Shoes from Prada PETER Fox jumper, « Candice-Marie » FW08; Navy cord trousers « Anna-Karina » FW10 Soldier print fabric, « Muriel » FW10; Peter Jensen’s Muses, Dent-deleone 2011; Cards by Hermes

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Spread overleaf: PETER White rabbit jacquard shirt, « Shelley » SS11 PAUL Brown check flannel shirt, « Erika » pre-collection FW12 GERARD Green flannel shirt, « Erika » pre-collection FW12 THELMA Bunny cap, Bernstock Spiers; Yellow headphones by Urban Ears; Cream and black floor length dress with collar detail « Thelma » FW12

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Nettle soup Çan Erik

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Perennial rabbit print Japanese Knotweed sourdough mother, adapted from a St. John recipe (thanks Gerard)

Hackney Dandelion & Sorrel Jam by Camille Thiérry

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Yellow scarf hood raincoat, « Muriel » FW10 Dandelion, Shacklewell Lane roundabout, mid-April 2012

Linen and canvas shirt dress, « Laurie» SS10 Wild Rocket, Hackney Wick, mid-April 2012

perfect you might not recognise it when you saw it. But of course, illustrations are wonderful too. It’s not either or.

up in photography. I did a lot of food photography for magazines and things, and I also did book covers, which is why the book is published by Pan. I took the idea to Pan, I was really asking for their advice, who should I show it to? And the guy said: don’t take it out of the office – we’ll have it! We were sitting in Finches pub on the Fulham road, and he just said: I want it … I’d do cookery work and so on. It would mean at least every weekend. I would be out probably four days a week working on that, and two days trying to make a bit of money.

ERIKA WALL & ÅBÄKE:

What’s the device here? Is it for scale?

Yes, it’s a centimetre. I dated all the photographs so you can find all the plants. ROGER PHILLIPS:

That’s what we like about the foraging book: you can know roughly when to find things. But it must change, though … ERIKA WALL & ÅBÄKE:

Of course, if you find them in southern England or Scotland, it’s not the same. But it does say where too …

Cookery work?

ROGER PHILLIPS:

ERIKA WALL & ÅBÄKE:

Did you dedicate yourself to the book? One minute you’re in Loch Ness, next you’re in Dungeness. Did you devote your life to these publications?

Food photography. In the 70s, they had these things called part works: some cooks got together and wrote thousands of recipes and wrote small volumes of 40 pages. Every week there was work. ROGER PHILLIPS:

ERIKA WALL & ÅBÄKE:

ROGER PHILLIPS:

By the time I was doing Wild Food, I had set

ERIKA WALL & ÅBÄKE:

Where did you study?

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Blue badger jumper, « Nancy » FW03 Navy cord trousers, « Jodie » SS09 Çan Erik, Haggerston Park, mid-April. ROGER PHILLIPS:

I was at Chelsea (School of Art) in a tiny little place

in the 50s. You showed some paintings you made of “mentors”, of your artistic heroes, including Paul Klee. Did your school follow the Bauhaus model in any way? ERIKA WALL & ÅBÄKE:

Ikea tea towel artists smock dress, « Jytte » F W09 Nettles, Hackney Wick, late March 2012

idea for a book is ten minutes, but doing it is five years hard grind, it’s the same with the drawings. I’ll show you our cottage, that’s our cottage. It’s nearly finished I may just do one more. It’s virtually the whole village. ERIKA WALL & ÅBÄKE:

Has that always been a characteristic of

your work? No, I tried to write my thesis on German expressionists – I was keen on them, even then. They denied it, said there wasn’t any such thing. It wasn’t that long after the war, and they thought anything German was terrible. But of course, all the painters were victimised by the Nazis, so they had the most terrible time. Bah, anyway … ROGER PHILLIPS:

ERIKA WALL & ÅBÄKE:

How do the paintings fit in? Do you see it as a

hobby? I’m just working away at it. There’s a series. We have a cottage in Wiltshire and I did a series of drawings: 70 pastels – it’s the whole village. It’s one artwork, the whole thing. I don’t want someone to say: can I buy that one of our house; you know … it’s a whole artwork. ROGER PHILLIPS:

There’s a connection with the encyclopedic nature of the books and the idea of drawing every house in one village. ROGER PHILLIPS: That’s right. It’s the same thing. Having an ERIKA WALL & ÅBÄKE:

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Yes, you saw some of the mentors. There are about 20 of those. I tend to think of things in multiples. Do you like that one? Lurid, the colour … I didn’t want to do them realistically. ROGER PHILLIPS:

ERIKA WALL & ÅBÄKE:

What links your mentors?

There’s lots of Munch. Haven’t got Van Gogh; haven’t gone back that far. They are painters that I admire. Some of them are teachers at Chelsea, who I liked and liked their work, and I’ve done Jean Cocteau, and I’m going to do one of Billie Holiday. I struggle to find women; there are so few women painters. ROGER PHILLIPS:

ERIKA WALL & ÅBÄKE:

ROGER PHILLIPS:

No botanists in your collection?

No, I’m sort of thinking about cooks … Elizabeth David.

ERIKA WALL & ÅBÄKE:

Oh yes, Gerard mentions her.

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Striped silk/cotton tie-waist shirt dress, « Tina » SS07

Birch Sap, late March 2012

You don’t know her? She’s a cookery author in English. She was the one who opened up cookery in England.

and still do it – walks and things – that stayed well. And with running the website, pictures come in and often say: what’s this then? I deal with it, so I’m identifying. There was one here a couple of days ago … I could risk getting sued in America.

ROGER PHILLIPS:

ERIKA WALL & ÅBÄKE:

When was she working?

She worked in the 30s, when she was the girlfriend of some guy who went to France – big drinker. After the war, she published her first book called Mediterranean Food. In English cookery, it was absolutely seminal. She was rather gorgeous. ROGER PHILLIPS:

Do you think, you often started not knowing anything about what you were going to write about, and then found out as you went along? ERIKA WALL & ÅBÄKE:

ERIKA WALL & ÅBÄKE:

No I’m really concentrating on the drawings. I’ve got a project for the summer: the man who gave me the Wollemi pine has a plant fair at his château in Belgium; I did a drawing of one of the stalls, this one, so I emailed them that and they said: why not come and draw the stall holders. ROGER PHILLIPS:

ERIKA WALL & ÅBÄKE: ROGER PHILLIPS:

Is there any other area you want to explore?

Are they the same people that come back every year?

Yes! ROGER PHILLIPS:

ERIKA WALL & ÅBÄKE:

Yes, it’s their 20th exhibition.

Amazing way to learn … ERIKA WALL & ÅBÄKE:

Lovely way to learn! When I finished Wild Flowers, I thought: what am I going to do now? And I thought: I like trees, let’s do trees, so then I had to learn about trees. That’s what I love about it.

Is it garlic?

ROGER PHILLIPS:

ERIKA WALL & ÅBÄKE:

ROGER PHILLIPS:

Yes.

He looks about as French as can be. He has a melancholy air about him ERIKA WALL & ÅBÄKE:

And does all information stay with you? Yes, he looks like a proper French peasant, so that’s a project. ROGER PHILLIPS:

ROGER PHILLIPS:

Mushrooms … because I’ve gone back over again,

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PHOTOGRAPHY A I T K E N J O L LY FASHION SAM RANGER

Headphones BLESS; Collarette STANLEY AND LEE; Shorts DION LEE; Shoes SIMONE ROCHA

Headphones BLESS; Collarette STANLEY AND LEE; Dress JW ANDERSON [Opposite] Collarette STANLEY AND LEE; Necklace BLESS; Dress GILES; Socks FALKE; Shoes SIMONE ROCHA

Collarette STANLEY AND LEE; Dress VINTAGE ALAÏA FROM RELLIK [Opposite] T-shirt BERNHARD WILLHELM

SLIGHT NIGHT SHIVER

Collarette STANLEY AND LEE; Suit SATYENKUMAR; Boots CASSIE MERCANTILE

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Collarette STANLEY AND LEE; Dress TZE GOH; Boots CASSIE MERCANTILE [Opposite] Dress DANIELLE SCUTT

Collarette STANLEY AND LEE; Necklace SOPHIE HULME; Jeans COSMIC WONDER [Opposite] Collarette STANLEY AND LEE; Dress J.JS LEE

Collarette STANLEY AND LEE; Top MONIQUE VAN HEIST; Rings KUNI AWAI; Shorts JAMES LONG; Socks FALKE; Shoes SIMONE ROCHA; Sunglasses PRABAL GURUNG FOR LINDA FARROW [Opposite] Jacket HOUSE OF HOLLAND Hair Naoki Komiya @ Julian Watson Agency, Make-up Lotten Holmqvist @ Julian Watson using M.A.C, Manicure Mike Pocock, Model Corinna Ingleneuf @ M4 Hamburg, Casting Nic Burns @ Star & Co, Set design Andrea Cellerino, Production Tina Liveras @ Serlin Associates, Photographerâ&#x20AC;&#x2122;s assistants Jack Day, Matteo Macri and Letty Schmiterlow, Digital operator Joe Rose @ Little Yellow Jacket, Fashion assistant Cristina Holmes, Hair assistant Paula McCash, Thanks to Pro Lighting, Touch Digital and Tuomas @ M4 Models Hamburg.

PHOTOGRAPHY THOMAS LOHR FASHION JASON HUGHES

Bomber jacket and trousers MARTINE ROSE; Shirt DRIES VAN NOTEN; Jumper army surplus, customised by stylist

Shirts MARTINE ROSE [Opposite] Bomber jacket MIHARAYASUHIRO; Jacket LOU DALTON; Kilt stylists own; Trousers MAISON MARTIN MARGIELA; Gloves and boots PRINGLE OF SCOTLAND

Jumper army surplus, customised by stylist; Shirt JAMES LONG; Trousers MARTINE ROSE [Opposite] Bomber jacket MARTINE ROSE; Shirt STEPHAN SCHNEIDER

Bomber jacket and trousers MARTINE ROSE; Shirt STEPHAN SCHNEIDER; Boots PRINGLE OF SCOTLAND [Opposite] Bomber jacket and trousers MIHARAYASUHIRO; Coat TOPMAN DESIGN; Jacket LOU DALTON; Shirt JAMES LONG

CHAOS INTO CONTROL

Shirt DRIES VAN NOTEN

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Bomber jacket PAW HANSEN; Coat PAUL SMITH; Jumper LOU DALTON; Shirt STEPHAN SCHNEIDER [Opposite] Bomber jacket MIHARAYASUHIRO; Twinset JAMES LONG; Shirt STEPHAN SCHNEIDER; Trousers MARTINE ROSE; Gloves PRINGLE OF SCOTLAND

Jacket LEE ROACH; Shirt STEPHAN SCHNEIDER [Opposite] Jacket MOHSIN ALI; Shirt MARTINE ROSE; Vest CARLO MANZI; Kilt stylists own; Trousers MAISON MARTIN MARGIELA; Boots PRINGLE OF SCOTLAND Hair Naoki Komiya @ Julian Watson Agency, Make-up Ciara O’Shea using Kyoku for Men, Model Bastian Thiery @ Premier Model Management, Photographer’s assistant Lloyd Stevie, Stylist’s assistants Isabella Goumal and Ella Crisp, Hair assistance Daniele Boschetti, Location The Russian Club / London, Thanks to Sadaf Butt-d’Orléans @ Premier Model Management

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P H Y S I C A L

SO) PHOTOGRAPHY S T E FA N Z S C H E R N I T Z FASHION TO BY G R I M D I TC H

Jacket JW ANDERSON; Gilet DUVETICA; Hat STONE ISLAND; Gloves ATSUKO KUDO

Jumpsuit MAISON MARTIN MARGIELA; Sports bra and leggings NIKE; Hat STONE ISLAND [Opposite] Jacket CHRISTOPHER KANE; Shorts CALVIN KLEIN COLLECTION; Racing shorts NIKE; Socks FALKE; Sneakers NIKE

Top MALENE LIST THOMSEN; Jeans STONE ISLAND [Opposite] Dress MALENE LIST THOMSEN; Sports bra NIKE; Hat STONE ISLAND; Watch CASIO G-SHOCK

Jackets MAISON MARTIN MARGIELA; Socks FALKE; Sneakers NIKE [Opposite] Jacket BELSTAFF; Gloves ATSUKO KUDO

Jacket ADIDAS; Trousers MALENE LIST THOMSEN; Hat MINT VINTAGE AT ASOS [Opposite] Jacket CHRISTOPHER SHANNON; Skirt YOHJI YAMAMOTO AT HOUSE OF LIZA; Bag STONE ISLAND

Andie wears cape MONIQUE VAN HEIST; Shirt PETER JENSEN; Polo neck WOLFORD; Socks UNIQLO; Pool shoes ADIDAS [Opposite] Georgia wears jumper and necklace CHRISTOPHE LEMAIRE; Shirt PETER JENSEN; Skirt STEPHAN SCHNEIDER

Jacket ACNE; Trousers CHRISTOPHER RAEBURN; Balaclava worn as hat SABRINA BRYNTESSON; Socks FALKE; Sneakers NIKE [Opposite] Dress worn as top MALENE LIST THOMSEN; Sports bra and trousers NIKE; Gloves ATSUKO KUDO Hair Hiroshi Matsushita using Bumble and Bumble, Make-up Thomas De Kluyver @ D&V Management using M.A.C Pro, Model Lula Osterdahl @ IMG, Casting director Nic Burns @ Star & Co, Photographer’s assistant Niall Kennedy, Stylist’s assistants Ben Fern and Tara Greville, Location The Russian Club / London, Special thanks to Jamie Ellis @ IMG and Jesus Serrano Gomez.

ZERO

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PHOTOGRAPHY WILLEM JASPERT FASHION JASON HUGHES

Aaron wears jacket and trousers DRIES VAN NOTEN; Shirt PALMER HARDING; Tie and carabiner clips stylistâ&#x20AC;&#x2122;s own; Belt made by stylist

Reid wears jacket DUNHILL; Top BERTHOLD; Shirt CALVIN KLEIN COLLECTION; Tie stylist’s own; Shorts MOSHIN ALI; Trousers YVES SAINT LAURENT; Shoes MARNI; Climbing shoe grips stylist’s own [Opposite] Jackson wears shirt and top PRINGLE OF SCOTLAND; Tie stylist’s own

Thomas wears jacket and shorts YVES SAINT LAURENT; Shirt CALVIN KLEIN COLLECTION; Tie stylist’s own; Climbing harness WILD COUNTRY

ZERO HAS A LIMIT

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Ben wears jacket and shorts MOSHIN ALI; Top JOHN-GABRIEL HARRISON; Shirt CALVIN KLEIN COLLECTION; Tie stylist’s own; Trousers LEE ROACH; Socks FALKE; Shoes MARNI; Climbing shoe grips stylist’s own [Opposite] Reece wears top JW ANDERSON

ZERO HAS A LIMIT

Ben wears jacket ACNE; Shirt CALVIN KLEIN COLLECTION; Tie stylist’s own; Climbing harness PETZL

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Jackson wears jacket LEE ROACH; Shirt and trousers CALVIN KLEIN COLLECTION; Tie stylist’s own; Climbing harness BLACK DIAMOND; Socks FALKE; Shoes MARNI; Climbing shoe grips stylist’s own [Opposite] Aaron wears shirt PALMER HARDING; Belt made by stylist; Trousers RAF SIMONS

ZERO HAS A LIMIT

Reece wears jacket BALENCIAGA; Shirt PALMER HARDING; Shorts and bag JIL SANDER; Socks FALKE; Climbing shoes SALEWA

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Thomas wears jacket and trousers JIL SANDER; Shirt PALMER HARDING; Tie stylist’s own; Belt made by stylist; Climbing shoes SALEWA [Opposite] Reid wears jacket MIHARAYASHIRO; Shirt PALMER HARDING; Tie stylist’s own Hair Naoki Komiya @ Julian Watson Agency, Make-up Karina Constantine, Models Aaron Vernon and Thomas Penfound @ d1, Ben Waters @ Models 1, Jackson Rado @ Premier Model Management, Reece Sanders and Reid Prebenda @ FM, Photographer’s assistants James Frew and Jake Yarwood, Stylist’s assistants Isabella Goumal and Ella Crisp, Hair assistance Daniele Boschetti, Thanks to Big Sky, Bernice Brobbey @ d1, Sadaf Butt-d’Orléans @ Premier Model Management, Susie Adams @ FM and Ryan Frost @ Models 1.

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HaYoung Kim Upcoming show Solo show: Eat All You Can 31 August – 27 September 2012 Hoxton Art Gallery, London

WORDS VICTORIA LOOMES PORTRAITS JON CARDWELL

“I knew I wanted to be an artist since I was eight years old,” explains the painter and recent RA graduate HaYoung Kim, whose school nickname, thanks to her early ability to create twice as much artwork as her playmates, literally translates as “monster”. That energy is still evident in her brightly coloured canvases, a complex whirl of bold, layered shapes that explore the effects of modern technology on the human psyche. Kim absorbed sci-fi, manga and comic books while growing up in Korea. “I loved Akira, Astro Boy, Galaxy Express 999, Fantastic Planet. In animation, details are cut down, and only the essential elements remain,” she says. “I am always thinking. I write ideas down in my iPhone. I’m always taking pictures, making notes – just observing. When I work, I feel like I’m being controlled by an invisible painting

force. It takes time to gather thoughts and ideas, but once I’ve got an idea, or a shape it pours out on to the paper. Sometimes I think making paintings prevents me from living loosely.” Art and artists are often marked by the passage of travel, and Kim is no different, admitting that the move to London made an immediate impact on her work, lending form and structure to her seemingly random compositions. Although she fell in love with the RA, and its “impressive authenticity and tradition”, she doesn’t rule out the prospect of moving to other cities, perhaps New York or Berlin. “Korea has changed so much since I left; I feel like I don’t belong there any more. Sometimes that feels a little lonely, and I think my work reflects that.” hayoungkim.com

REVOLUTION #9 Antidepressant Girls, 2011 Acrylic on polyester, 110 x 110 cm Courtesy of the artist

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REVOLUTION #9 Moje Sabz, 2012 Sculpture Courtesy of the artist

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REVOLUTION #9 Upcoming shows Group show: THIS IS LONDON 19 July – 31 August 2012 Shizaru Gallery, London Group show: MANMADEGOD 3 August – 1 September 2012 ArtEco Gallery, London

Soheila Sokhanvari Somewhat surprisingly, Soheila Sokhanvari used to be a biochemist. “Some people stopped talking to me for a bit when I said I was giving my career up to be an artist, but to chase your dream is the only way to really live,” Sokhanvari reasons. “I didn’t become an artist by accident, it was a burning passion I had to fulfil.” For the Goldsmiths graduate and Catlin Art Prize finalist, that long-repressed passion manifests in an eclectic collection of work from crude oil drawings, to layered tapestries, sculpture and performance pieces, driven by social, political and historical events and what she terms “collective trauma”. It’s tempting to link this interest to her Iranian heritage, but Sokhanvari claims that

her artwork and ideas come from “a desire that dances in my head. It’s something intangible”. If the purpose of art is to make a viewer question what they think they know, Sokhanvari provokes and encourages further research. Her work is presented with titles but without additional blurbs or explanations, encouraging an active dialogue that takes her art out of the gallery environment.

the early hours of the morning, methodically working on pieces. She’s currently immersed in a new sculpture, spending more than 12 hours a day working on it. But, as she enthuses, “the excitement of putting yourself on show gives you the adrenaline you need to go on”. soheila-sokhanvari.com

Artists and scientists share certain qualities, both working with the utmost commitment, focus and meticulous execution. “I did find biochemistry fascinating and interesting, and I hope that my artwork will create that sense of discovery within the viewer,” she says. A self-confessed perfectionist (another borrowed-from-science trait), she routinely works in her studio until THE-BMAG.COM

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Upcoming show Solo show Simon Oldfield Gallery, London October 2012

Jonny Briggs Jonny Briggs is nostalgic, fondly remembering the music his four older sisters would play. “When I listen to it now, something opens up inside me, like I’ve remembered a forgotten part of myself.” The artwork he creates – including a wooden mask created in his father’s likeness – is tinged with the same fondness, the result of an intuitive process that Briggs knows is just right – “often my thoughts have to catch up with my feelings.” His parents, with whom Briggs still lives, are by all accounts shy and private. “Sometimes it feels like I’m the adult, teaching my parents about how I see the world,” he explains. Briggs’s exploration of his childhood should not be taken as an indication of one unhappily spent, but rather an attempt to hold on to the innocence and acceptance of our early years. “My younger self is slowly becoming more like a stranger, but

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I don’t want to lose that valuable connection. My work is personal, but I like to think that it’s not just a window into my life, but a chance for the viewer to think about their own.” Since graduating from the RCA, Briggs has enjoyed a whirlwind of critical acclaim, winning the New Sensations competition created by the Saatchi Gallery. His rented studio, in a former factory in south-east London is filled to bursting, in testament to Briggs’s relentless outpouring of ideas. A casting of his father’s little toe sits next to a cluster of stuffed birds, manipulated shoes and a wallpapered wall that forms the backdrop for some of his photographs. “My aim? Just to keep making work. Although I’d quite like to work with monkeys too …” jonnybriggs.com

REVOLUTION #9

Into The Black, 2011 Photograph, Lambda C-type print, 112 x 117 cm Courtesy of the artist THE-BMAG.COM

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REVOLUTION #9 A Woman in a Pink T-Shirt is Running, 2010 Double-sided screenprint and lithograph Courtesy of the artist

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REVOLUTION #9

Tara Langford “The less sense something makes, the more I am drawn in by it,” explains Tara Langford. The images and text in her complex, layered prints and installations often come from news stories or newspapers, offering longevity in a throwaway culture. She’s interested in the news, but not its currency. “I’m still ploughing through newspapers and considering things that happened two years ago.” She is (and always has been) interested in politics, but doesn’t want to be pigeonholed as a political artist, “It’s just one of the easier aspects to talk about.”

tutor once said to me: ‘Making work is never going to be easy for you’, and it’s true. I wish my work came more easily, but if it did, it wouldn’t be what I wanted to do.”

Langford also struggles with the commercial value of her work, finding it difficult to reconcile price and worth. Her previous exhibitions have been accompanied by “takeaway prints”, a successful if unsustainable practice. “A

For Langford creating art is a necessity – “I don’t think I could ever feel empty – this just fills me up” – but it’s a necessity that has to be balanced with other creative projects and visiting lecturing posts. “Daily life doesn’t

Before enrolling on the MA programme at the RCA, Langford was a graphic designer, she is typically pragmatic about her experiences, aware that her creative thinking and analytical processes certainly didn’t suffer. “I’m pleased I didn’t study too early, it’s taken me a long time to get here but I don’t think that matters.”

always gives you a chance to think,” but in Langford’s head, she’s always working or noting down overheard fragments of conversations on the tube or in restaurants. “I’m a nightmare to go to dinner with. I have to sit with my back to the rest of the room, otherwise I can’t concentrate on what the other person is saying!” taralangford.com

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Thomas Adam Thomas Adam is a man in transition. He recently moved to London from Edinburgh, following the completion of a BA in drawing and painting at the Edinburgh College of Art and a Catlin 2012 finalist nomination. Following his graduation, he’s keen to develop his creative output and to experiment with his chosen medium of expression. ‘I’m starting to be known as the guy who draws, but I don’t want to be defined by that alone. It’s not the only tool I want to use, I want to move between mediums.’ Before deciding to become an artist, Adam studied landscape architecture, but found the practical element challenging. “I loved the creative stuff, but the rest … I quickly realised it was never going to be enough, that I needed something more.” Music provided a creative outlet for a while – Adam was a member of up-andcoming indie band The Machine Room – but drawing

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proved to be the most natural choice for a self-confessed doodler. His degree show included a life-sized drawing of a reclining figure and a carefully balanced chair, complete with a meticulously executed mirrored repeat. There’s a strange blend of reality and projected reality, absurdity and the everyday in Adam’s work, blended with a borderline-obsessive use of repetition and pattern. “Working within strict parameters has it’s own advantages. It’s like drawing on a rubber or in a notebook, but on a different scale.” Adam is driven by a need to understand, a need that manifests in quiet and considered pieces, tinged with a hint of surrealism: “Most of my ideas are quite simple, one naturally stems from the other. Often I feel like I’m in my own little world.” thomasadamart.com

REVOLUTION #9 Chair drawing and representation of chair drawing balancing, 2011 Chair, ink, 122 x 122 cm Courtesy of the artist

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REVOLUTION #9 Retrofit I, 2011 Peeled photograph drawing Courtesy of the artist

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REVOLUTION #9

Alex March Upcoming shows Group show curated by Catalina Bolozan: Curing Nostalgia, Remedies for a Historical Emotion 27th July – 24th August, Brukenthal Museum, Sibiu, Romania. Group show: Odds Against Tomorrow Exhibit D 19th October – 17th November, Bearspace, Deptford, London.

To say that Alex March’s MA Fine Art at Wimbledon College of Art was a turning point is something of an understatement. “I’ve always had an interest in the arts, I tried to ignore it for a while, but it didn’t go away. Studying gave me a conceptual grounding and gave my work meaning,” she says. Evolving from a part-time portrait painter who side-lined in everything from visual merchandising to set painting, to a full-time artist in just over a year is no mean feat. “When I began to pull the reasons for making art apart, I discovered that I had a real ambition for it; discovering that emotion was something of a surprise.”

neuroscience and psychology allowed her to regard found photographs with a healthy detachment. More recently she has returned to pencil drawing: a precisely executed portrait, the stare of the sitter obscured by a smudged swirl, dominates her south London studio.

“I have an appreciation for obsolete film cameras, digital has a way of ironing out all the imperfections, turning us all into amateurs,” says March who places great importance on the crafted process, eschewing digital in favour of analogue. Practically, her work could be done in Photoshop, but she favours the authenticity and trace left by the artist’s hand. “I’m editing and tampering with March’s MA explored, revived and reworked found the past for my own end. It’s a very powerful feeling, photographs (“the more obscure, random and imperfect almost God-like,” she explains. “Maybe that’s what the better”), the resultant anonymity was unnerving all artists are looking for – the chance to play God.” and familiar. “I want to create work you feel like you haven’t seen before.” A long-standing interest in alexmarch.com THE-BMAG.COM

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Jeremy Hutchison If the art world stands accused of intellectual snobbery, Jeremy Hutchison is a refreshing antidote. “I watch a lot of slapstick and comedy, Laurel and Hardy, Charlie Chaplin. If an idea makes me laugh, I know it’s a good one.” That’s not to suggest that Hutchison, a graduate of the Slade School of Fine Art, creates work without context or meaning, rather that he prefers to work against the unquestionable logic of modern technology. During a recent project, Hutchison contacted various factories around the world and asked them to manufacture an “incorrect” version of their product. “It looks like something you recognise, but somehow it’s all wrong, and I like reminding myself that things don’t always fit into 1s and 0s. Reality isn’t neat.” There’s an approachable, emphatic and engaging aspect to both Hutchison and his artwork.

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Recalling his well-behaved and polite upbringing, he suggests that being an artist offers space to be mischievous. Laughter is an incredible unifier: “We laugh when we don’t recognise something, it’s a powerful tool.” Hutchison spent three years living in New York, has worked on projects in Palestine and Israel and is currently hatching plans for a temporary move to Mexico. A nomadic city wanderer, he loves observing and pondering, professing an irrepressible envy towards his six-month old son. “You can see his brain working overtime, scanning everything with the inquiry of an investigative journalist.” Hutchison used to work in advertising, where simplified storytelling and brand identity is the norm. Spoon-fed ideas reduce critical capacity and natural curiosities, which Hutchison attests

is to our collective detriment. “If I have any obligation as an artist, it’s to be amoral. I think of my work as a little laboratory, to look at life as a tourist, to imagine alternatives to the way we live. Perhaps I’ll always cling to the possibility that maybe, just maybe, my work could have some actual effect on the world.” jeremyhutchison.com

REVOLUTION #9

Err (Incorrectly manufactured tennis racquet, designed by factory worker at Bonny Sports, Taiwan), 2011 Courtesy of the artist THE-BMAG.COM

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REVOLUTION #9 Ghosts of the Forest, 2012 Paper collage, 21 x 14 cm Courtesy of the artist

Frontiers, 2012 35mm slide projection on to found painting Courtesy of the artist

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REVOLUTION #9

Frederick and Ralph Fuller Ralph Fuller and his twin brother Frederick have only collaborated on one art show, a small-scale, site-specific installation for b store that combined Ralph’s experimental video work with Frederick’s layered collages. The brothers are usually preoccupied by other creative endeavours including their band Kurtz, Sound Maker Records (Frederick’s DIY label, based in south-east London) or music videos – Ralph recently directed one for Paul Weller. “Musically, we’ve always collaborated, but the art has always been separate,” says Frederick. As if to prove this point, Ralph studied at Central Saint Martins, while Frederick attended Goldsmiths. “At the moment, making music has overtaken art, but I never felt the need to study it,” says Ralph, a sentiment his brother echoes. “I’ve tried to create pieces that combined the two, but it never really

worked out.” Art and music fill different criteria, the former offering the individual something to hide behind, the latter, according to Ralph, requiring “performance and self-image”. “Music is immediate – art is more involved,” he says. The brothers are keen to work on more art projects together in the future, but are hesitant to put a timeframe on their creativity. Finishing each other’s sentences, they are enthusiastic about the tentatively named show Aftermath. “Our individual work would be shown under a decided theme,” begins Ralph. “We’ve always been interested in scifi, visions of the apocalypse. I think that Aftermath could encompass both our creative visions.”

Frederick’s muted-colour collages cut from 1930s and 40s magazines, Ralph’s vivid visuals created with the aid of broken VHS and old cameras, a touch of nostalgia in a digital world. For the moment, however, it’s mainly about the music, but as Ralph observes, “balancing the two has taught me to be flexible … it can take years of practice to perfect your own sound, so why would art be any different?” frederickfuller.co.uk soundmakerrecords.com alternativeadventures.co.uk

Both enjoy working with redundant art mediums, creating something new from the discarded; THE-BMAG.COM

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GALLERY

SIMONOLDFIELD.COM

Luke Chueh Indecision

Village Underground 54 Holywell Lane Shoreditch London EC2A 3PQ Free admission www.monikerprojects.com www.monikerartfair.com

Moniker Art Fair 2012 – Experiential Edition October 11–14 This October, Moniker Projects presents the third annual instalment of their flagship event, Moniker Art Fair. This year’s event will see Moniker’s trademark ‘artist project spaces’ fully cultivated to create an immersive showcase of truly cutting-edge contemporary & urban art.

Artists: Nancy Fouts Pakpoom Silaphan Niels Shoe Meulman Jorge Rodriguez-Gerada Hush Luke Chueh Amanda Marie Pam Glew Ludo Penny Mark McClure Cassey Grey Vermibus Logan Hicks

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GY M B OY Jo Metson Scott met 13-year-old Hamish Carter while working on a project for Nottingham Castle art gallery in 2010. At first apprehensive, Carter – a member of the elite Great British gymnastic squad – soon began to enjoy being photographed. “I was so impressed with what he could do and sometimes so scared that he’d fall, I’d often forget to take a picture,” Metson Scott tells. As one of the country’s top athletes, dedicated, focused and

PHOTOGRAPHY JO METSON SCOTT

strong, Gym Boy compassionately documents a young boys dream of becoming the best he can be. Jo Metson Scott is a London-based photographer. Her work has been exhibited in the UK and Europe including Arles Photography Festival, 54th Venice Biennale fringe festival. jometsonscott.co.uk

GYM BOY

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