CONTENTS 004 MARTINE JOHANNA 012 MARKO VELK 025 MARCELA GUTIÉRREZ 036 LOTUS 044 WEDNESDAY CHILD 056 ALL AMERICAN 066 JANET DEVLIN 076 MICHAEL WOOKEY 082 OLEG OPRISCO 092 A PARADISE IN PORTUGAL 108 BILLY KIDD 115 CHLOE'S FAVORITES
Smart and talented. Martine's art is truly captivating at first sight. From its composition of colors and the surreal aura involving most of the female characters. There is also a certain fashion aesthetic in them, and perhaps that is because Martine studied fashion design and has a good eye for details. And as we were absolutely fascinated with her style, we decided to contact Martine to talk about her work and her influences...
004 / CHLOE MAG
005 / CHLOE MAG
Text by Jac Couso
Tell us a little about yourself, your story and how did you start painting...
What fascinates you about painting?
I'm a girl with a complicated mind a traumatic v/s fantastic childhood, I'm lucky to have a warm family and gained some wonderful friends over time. The love of my life is Louis Reith, a wonderful artist and best friend and critic. We both are alternative creative entrepreneurs and have ateliers in the same building and are very close. But at the same time were both solitary people, which works wonderfully well. I studied art & fashion, became a fashion designer, felt restricted by office politics and hours and quit all together in 2008 to paint and draw and explore who I was without these company restrictions. I've let my safeguards go but I made it till now. I teach 2 days a week at the Amsterdam Fashion Institute, my specialty is creative research and concept building. But my big love is to make my own world in image and experience.
I havent painted that much yet, I've drawn more, so working with fluid media is a discovery on it's own. I usually make under paintings and build it up from there. I've made myself aware of the technical use of the material so I know how my work will have a literal long lifespan and color intensity. What is challenging is finding the right balance in the elements I set up within a composition. Not to overcrowd the linen and stay critical about what it is I want the focus on. Because I paint fast, I have found that oils don't suit me as well as acrylics. Also I find myself bothered by the waist that builds up working with oils, I'm very much aware of trying to not have much of a damaging influence for our environment.
006 / CHLOE MAG
007 / CHLOE MAG
Chloe ART
When painting do you know already what you're going to sketch or you just let your imagination run free? What do you try to provoke or evoke in people with your work? I'm not consciously thinking of any external factors, like a public, while working on concepts, I stay close to my own values and views of my experiences and emotional fascinations. After all that process, when a work is exposed in a gallery, people tend to fall in love with particular works. Why that happens is probably a recognition of personal emotions and fascinations we all have in common, conscious or unconscious. But I choose not to be predisposed to what others want from my work, anything forced will never carry the same strength as something that comes naturally.
I do textual research after fascinations I have, watch endles amounts of documentaries. Moods, vague shapes and compositions wil shape in my head. I think, I dream, I photograph friends, watch movies, see endless amounts of landscape and model photography, explore color, atmospheres and textures. I collage my own photos into shapes, composition and rhythms. Making sure I get light and anatomy right. From that I make sketches, that become underpaintings and final works. The final works, while making, get a life of their own, are never fully realistic and have impossible features, which I love. This full process can take up about six months.
“Anything forced will never carry the same strenght as something that comes naturally�
008 / CHLOE MAG
Can you tell me about your influences?
Where do you find inspiration?
My influences are anything I have experienced that left a trace, visually and mentally. Sometimes I can fall in love with movie characters, music or muses in my personal life. I love the impossible, unrealistic story lines and alternate realities. I'm fascinated by the complex nature of the psyche. This consciousness that is restricted by a grit of social and political structure, but is apparent that in all around us that this restriction is challenged every day.
Everywhere. How do you know when a piece is finished? When I've been able to look at a piece over several months, but thats not always a luxury I have due to deadlines. That's why some earlier works have been changed or even painted over, over time. Nowadays I save a longer period of time so that will happen less.
What's the most challenging aspect of creating art for you?
Do you remember the first piece of art you created?
To live up to my own aims, which never happens, I'm extremely critical of my own work. Which helps my development with each step.
Yes, although it can't be considered as art yet, in 2006 I drew a little elf girl for a crush. It seems insignificant, but it was the start of my career change.
009 / CHLOE MAG
010 / CHLOE MAG
We know you've studied fashion design before. How important is fashion to you?
I've studied fashion design, back then my parents did not prefer autonomous arts because it was an insecure future, fashion was not. I didn't mind, and even discussed with the intake panel, why I wouldn't do autonomous arts, because I loved clothing as well, since it deals with dreams of alternate reality just as much as art does. Just in a different manner. Even though its generally being looked down on, and has a disputable industry behind it, in its core its an undeniable part of our identity and image, its a shield, its a connection to groups, its a language, a dance, a fantasy, comfort, seduction, deflection, protection, heritage and culture.
What's in the future for you? Any new interesting project?
Lot's of ideas and projects that I'm working on, after the solo exhibit I've been lecturing a lot and doing some commission work, but there are some great things coming this year.
Find Martine's work at http://martinejohanna.com/ 011 / CHLOE MAG
012 / CHLOE MAG
The work of Marko Velk Text: Daniela Brioschi Evocative and expressive. Marko Velk’s surreal drawings tell fascinating stories with only charcoal, with images that seem to have life of its own. The duality of the human nature as well as the multiple aspects of the personality, are some of the topics this artist explores. We talked to Marko to understand more about his work, his influences and inspiration. When did you start drawing? I started drawing probably like any other child around two years old. The thing is that I never stopped and that at the age when parents tell you that there is other things to learn, mine didn't and let me continue. So to me it has always been a companion to my existence from the earliest days. Why did you choose only charcoal? I tried charcoal while I was still studying in the Arts Decoratifs de Paris in France in the 90's. Etching and drawing were my main concerns in schools and after graduation I decided to buy the largest sheets of paper I could find and needed a tool that would allow me to express myself whithout any interference between myself and the work, like waiting for the paint to dry, or having to mix colors, or having to put my brush in different buckets before it would actually reach the surface of the paper...I wanted a tool that was connected with my hand, a sort of urgency, that would be the shortest way between my idea, my feeling, my desire of 013 / CHLOE MAG
creating and the blank surface. It is also the oldest and most primitive tool that ever existed for drawing on this planet. I think there is still a lot to do and say that stems from the past, bringing the ancient hand into time. How is the process before and after you make a drawing? The drawings in my work are all connected so as a result the process is that in every single image I create the next one is birthed. There is always a need to see the work emerge in this way and one cannot deny the mystery in the way in which what must come next appears through both conscious reflection and unconscious desire to be known. What is my main concern evolves during the creation of the image. "After" and "before" then becomes one. The duality of the human being is something that is very present in works like "The Keeper"; is there something more than only the human nature? I think that everything revolves around the duality of the human condition. What would we be doing if not? The questions that seem to me to be the most interesting are the universal questions of why are we here, what is our purpose and what can we do transmit or leave once we re gone. We can not avoid those questions and we must try 014 / CHLOE MAG
to answer them in a way, at least it is my opinion.That is why I think that being creative is the only way to give some answers to our presence here or at least explore and observe internally the mystery of our existence. The subject as well as the answers are endless.
How do you come up with that common thread that links all your drawings in a series of work? As I said before the common thread somehow imposes itself during the creation of the work. I am trying to follow my instinct and reflecting on the thoughts and ideas that often seem to have a life of there own in the beginning phase of a drawing so that what appears to make sense to me slowly emerges out of a series of work. The meaning and the links are constantely present and I am trying to adjust them or should I say understand the intrinsic value while I am in the process. That common thread takes time to appear; sometimes more then others.
015 / CHLOE MAG
016 / CHLOE MAG
In your work "Nine", there's a lot of distorted faces as well as the erased head of one figure in "What's missing"; what were you trying to transmit with this? Yes there is a missing or erased face in that drawing that seems to be an ancient family portrait. It could be the forgotten one, or the one that doesn't fit in, or the one that nobody wants to see or remember, because of his role in the family, and by the way, is he really part of that family or the shadow that they all neglected to see? In relation to the "nine" series It is just a way to say that behind any character there is a possibility of multiple roles, hidden intentions, different desires, splits etc....and behind what seems to appear normal there is often unexpected realities that can be for some very interesting and for some others something to bury beneath the mask. We carry in us different aspects of the personality that it is also about finding out who we really are, no matter what it implicates. What is your inspiration when it comes to name the drawings? Naming the drawings is something that is part of the work. One can so easily change the content and the meaning of a drawing by giving it a specific title that it becomes endless. In my case I usually try to stay close
to my primary intention but bringing another aspect of that same intention, adding some part that is not necessarly visible, more of a feeling. It usually immediately comes to my mind, but it is also like when creating an image. You want to get as close as possible to your thought and desire.In some cases I like to create double meanings or play with some words. It is very rare that I don't give a title. In your work "Something in the air", we see a lot of the human anatomy, as well as different animals and constructions; how do you connect all these different items with each other? Well it is the viewer that connects them. Because of the different background and culture of each of us we tend to see and understand things very differently but in saying that there are innate archytypal patterns that we are under the spell of. When there is multiple aspects or forms in a drawing we all enter it starting from a different place or subject giving the general understanding of the image a unique interpretation, especially when the work is figurative and describing various recognizable elements. So I have my own connection and links that I put on the surface of the paper 017 / CHLOE MAG
but it doesn't mean that I want everyone to see it like I do. Doing this makes the viewer wonder and forces (or not) himself to make the connections and that is where we are all similar and different at the same time. Surrounded by similar elements we behave diferentely and come to different conclusions.
“We carry in us different aspects of the personality that it is also about finding out who we really are, no matter what it implicates� Hands are a common thing between the paintings on your work "What is left"; is there a meaning as to why you chose this body part? Yes. It is true that in the whole serie, only hands are being shown as part of the body. For two reasons. The first one is that I wanted to give a theatrical
018 / CHLOE MAG
aspect to thoses images without making them completely cold stiff and lifeless. That is where the hands come up and get in those images a very important role like showing, touching, presenting, holding, or any other aspects that gives a high emotional impact as well as a living aspect, a human part. And the hands are to me the essential detail that can produce that impression. The rest of the body can seem sometimes empty, but the hands give an impression of physical continuity and seems to be enough to evoke a whole solid body presence whithout showing it. Wheter it is real or not. The other reason is that the hands are a symbol for transmitting. It is the most complex and also visible part of the human body, the part that is capable of executing an incredible amount of different tasks which no other body part is capable of. From the most gentle to the most cruel one; The hand is the tool that constantely creates, builds, destroys, capable of the worst as well as the most delicate. A mass destruction weapon but also the ultimate expression of the human sensitivity.
019 / CHLOE MAG
020 / CHLOE MAG
021 / CHLOE MAG
022 / CHLOE MAG
023 / CHLOE MAG
In the series "Ce(ux) qui nous sĂŠpare(nt)" there are strong religious references; were you raised as a catholic? No, I haven't been raised as a catholic. I haven't been raised with any religion. It is just my admiration for a certain category of painters and my background and culture that made those images interesting to me at a certain time. Images that were so present in my mind that I had to go through them and try to transform them, emptie them out, even eviscerates them at times, cuts them out and redistributes them... I am not dealing with a simple process of diversion nor of reappropriation, nor of knowledgeable and hermetic references to art history. These images without a cause (cut off from their original representativity and symbolisms); they themselves become the cause of something new, of a visual and artistic event, of an amazing up-surging. I trust the ineluctable power of evocation. What's the meaning behind the soldier in "Collision"? Through unpredictable confrontation of elements the mind starts wondering. What am I seeing? How am I understanding this? What am I imagining? What links those two elements? That, I will leave to you to decide. 024 / CHLOE MAG
To finish; what are your plans for the future? Try to make good drawings and exploring more of the mystery.
025 / CHLOE MAG
026 / CHLOE MAG
DELICATE LINES AND VIVID COLORS. DREAMY GIRLS AND INTENSE AND EXPRESIVE STARES. THESE ARE SOME OF THE FEATURES THAT STAND OUT IN MOST OF MARCELA'S WORKS. TEXT BY JAC COUSO
M
arcela was born in Florida in 1978 and raised in Guatemala City, until she was 18 years old. Throughout her study in Architecture and then Graphic Design, she realized that fashion and illustration was her main passion. So she made her way to Central Saint Martins in London, and while studing there, interned for Marc Jacobs and Nylon Magazine. She also has worked for different and important fashion houses, such as Prada and Swarovski. And as we had the chance to interview her, of course, we asked some interesting things about her working process... Tell us a little about yourself, your story and how did you get started in illustration... I've always loved to draw and paint. But I didn't know how this could become a profession, I grew up in Guatemala city where that wasn't necessarily an option. I began pursuing different careers that included drawing such as architecture,
graphic design and finally fashion design. I graduated as a fashion designer from Central Saint Martins. One of my first experiences in the fashion industry was at Alexander Mcqueen where I mostly did prints and hand painted art work for show pieces. My portfolio consisted more of illustrations than design. I however continued to work as a designer, on the side I would always paint for fun and little by little it took off as a full time job. (The little by little took years!)
When it comes to illustrating, we know you tend to portray different models. Which one is your favorite to portray?
I never choose to start a painting based on the subject, I always am attracted to an image for it's composition, color and lighting so it could possibly be of anyone or anything. 027 / CHLOE MAG
028 / CHLOE MAG
029 / CHLOE MAG
Do you have a muse? I have changing muses. For a while it was the Marchesa Casati, then it was Diana Vreeland, now who knows who shall inspire me next. I am definitely interested in original women
You have worked for different and important clients such as Prada. How is it to work with them?
It was wonderful, a dream! The first time I worked with them I had a very free brief and the second time the brief wasn't free but it was made to measure. I had to do super sized close cropped portraits, with vibrant colors and an expressive treatment in the clothing which I love to do.
030 / CHLOE MAG
031 / CHLOE MAG
032 / CHLOE MAG
How would you describe your personal work? Do you try to evoke or provoke something in your illustrations to the person who sees it? In my last exhibition my aim was to underline the importance of visualization and positivity as means for creation. I found that Diana Vreeland was a woman who lived by this idea. Through imagination and wit she created the world that she wanted. I painted a thorough collection of images, mostly interpretations of her own memoirs. I wanted to portray her sense of humor in all the images. What I hoped to evoke and transmit was that, humor and optimism. I try to do my best, with all my heart and I hope the viewer can sense that.
There is a great deal of research behind each painting. Once I have all my necessary material I usually collage and play around with composition, finally I draw it and then paint it. I like to work in a large format so each image takes quite some time, depends on how detailed it is.
“What I hoped to evoke and transmit was that, humor and optimism.�
What's the most challenging aspect of creating art for you? Lately it's how to make something relevant, worth my while and worth anyone's while. Could you tell us a little bit about your creative process when starting an illustration? How long does it take to complete a drawing? 033 / CHLOE MAG
034 / CHLOE MAG
Do you work in silence or with background music? If so, tell us what do you listen while working. Always something in the background, sometimes a movie, sometimes music. I have such a random play list, it really has perhaps all the genres, from Beethoven to Nirvana with Gloria Stefan in the middle.
Are there any fashion illustrators that you admire? So many! ErtĂŠ, Antonio, Rene Gruau, Tony Viramontes, Mats Gustafson, Cedric Rivrain, David Downton, Donald Robertson, Peter Turner, I will always love the old Julie Verhoeven illustrations.
What inspires and influences you? Beauty, humor, optimism, excellence, I adore color harmony, simplicity and balance.
What are your plans for the future? Continue challenging myself to evolve hopefully contributing and helping.
035 / CHLOE MAG
036 / CHLOE MAG
038 / CHLOE MAG
039 / CHLOE MAG
041 / CHLOE MAG
042 / CHLOE MAG
PHOTOGRAPHY MICAELA HOO, STYLING AUDRE VAN BROERS, MAKE UP PAGE SCHORER, MODEL JESSICA AT IGNITE MODELS
044 / CHLOE MAG
045 / CHLOE MAG
047 / CHLOE MAG
048 / CHLOE MAG
049 / CHLOE MAG
051 / CHLOE MAG
052 / CHLOE MAG
053 / CHLOE MAG
055 / CHLOE MAG
Photography: Lars Weber Production: Dominik Odenkirchen Stylist: Geraldine Laiz of Styled by G Stylist assistant: Sinai Orea Hair: Adam Maclay for ABTP using Affinage Make up: Anny Chow Models: Alexey (male model) at DNA Models, Ali (female model) at Major Models
Ali wears: Bailey of Hollywood black "Rollin" hat Cres E Dim neoprene pink top Jack Henry black pants Cres E Dim black boots with Metallic belt straps
057 / CHLOE MAG
Alexey wears: David Gomez New York gunmetal leather suspender motocycle jacket
058 / CHLOE MAG
Levi's Made & Crafted " Elza" black coat, Wyattor 3 tier silk dress
060 / CHLOE MAG
Left: BY H white "Asy" white buttondown shirt Hermes "Lashar Pawnee" red silk scarf Right: Marlon Gobel beige jumpsuit Martin Keehn white peforated leather tank BORN gray shoes
Elizabeth and James silk print dress
062 / CHLOE MAG
Nick Palmer split tail navy jacket WESC mountain print shirt Levi's Red-Tab commuter pants Chejo Jewelry white leather scarf
Ali wears: Nick Palmer gray open knit sweater tank Front Row Society " pink nightmare" scarf RELIGION camo print silk pants Roger Vivier black buckle booties Chejo Jewelry bronze metallic leather bracelet Alexey wears: G-Star Raw camo jacket Nick Palmer gray open vent tank shirt By H "EZ" black sweatpant shorts PONY gray hightop sneakers
066 / CHLOE MAG
067 / CHLOE MAG
ORIGINAL, FRESH AND SWEET ARE A FEW WORDS THAT CAN DESCRIBE JANET DEVLIN AND HER AMAZING VOICE. THE IRISH SINGER, COMPETED IN THE ELEVENTH SERIE OF THE POPULAR UK REALITY; THE X FACTOR, ENDING UP IN FIFTH PLACE AND LIKE MANY OTHER ACTS IN THE SHOW, HER MUSIC CAREER DIDN'T FINISHED THERE. IT TOOK HER THREE YEARS TO REALEASE AN STUDIO ALBUM. BUT NOW, 'RUNNING WITH SCISSORS' IS OUT AND WE CAN TELL THAT IT'S TRULY AWESOME. TEXT BY PAULA PORTILLO
How did you get started in music? For as long as I can remember I've always been doing something musical. My parents would tell me that I would always sing along to songs on the television or even be making my own little ditties. I started playing tin whistle and fiddle from the age of around 6 and I also dabbled in piano. My piano tutor made me cry during every lesson though, so my reasons for not going back to it were pretty clear. After a couple of years of hard working you finally released a fulllength album this year. How did that feel? It didn't feel real until I finally held the album in my hands. It was an amazingly surreal moment because I'd been working on this album for so long and for it to be complete and finished was just weird.
068 / CHLOE MAG
"Running With Scissors" it's a pretty interesting title. How did you come up with that? It's quite a long story actually but I made an album called "Hide and Seek" and initially it was going to be my debut album however I had a couple of months to live with it before it was due out for general release and I decided that the sound wasn't really for me and It didn't convey me as an artist. So I obviously had to break this to my management and unlike most people they didn't just tell me it was a bad idea and make me release "Hide and Seek". Long story short, I ended up recorded "Running With Scissors" in 6 weeks, which is an extremely dangerous thing to do, and you are warned against doing it in the industry. This lines up with the idea of not running with scissors because its dangerous and you're told not to do it.
What is your favorite song of the The lyrics come from these leather album? Is there any song that you bound journals that I carry around with feel really proud about? me everywhere so everything I write is very personal to me and my life. There's My favourite song would have to be a few break up tracks on the album "Whisky Lullabies". It's a very personal because when I was writing this album I song that had stayed in my journal for a had just gotten out of a long term very long time because I was almost too relationship so that inspired a lot of afraid to write it. It's very personal, so poems in the journal. There are songs thinking that potentially people would about insomnia, saving yourself and hear it really freaked me out. I'm glad I even a cover of The Cure. did though because it is now my You wrote your debut single, favourite track from the record. "Wonderful", with Newton Can you tell us a little bit about Faulkner. How was that? your inspiration for the album? That was amazing! I grew up listening The inspiration for this album comes to his music so when I discovered that I'd be writing with him you can only from my life experiences thus far. imagine how excited I was (I believe the term is "fan girling" haha) 069 / CHLOE MAG
I was nervous obviously but he turned out to be a lovely guy, which made me feel a little less scared about the situation. If you were able to choose one artists, dead or alive, to collaborate with on your next record, who would you pick and why? I'm going to have to say Kurt Cobain or Ed Sheeran. Kurt Cobain for not only the obvious reasons of him being an amazing songwriter but also because apparently we're related (according to Courtney Love). Ed Sheeran because I love his writing style and his music and also because he's an attractive finer guy, which means he's like the unicorn of men. Since your days in The X Factor, you've grown up a pretty big fan base. What's it been like to have to have that kind of support? It's weird to think that people enjoy what I do enough to support me. It's weird to think that I went from being a pretty weird kid that no one knew in school to having a "following". 070 / CHLOE MAG
They don't seem to mind that I'm a little bit strange too, which is great! In all honesty I wouldn't be here today if it wasn't for them. We did a crowdfunder for the album initially and they all got really behind it, so without them this wouldn't be happening.
“The lyrics come from these leather bound journals that I carry around with me everywhere so everything I write is very personal to me and my life.� Who are your influences? It's a hard question because a lot of the music I listen to is in such a different vein from the music I write. I grew up watching Scuzz and Kerrang TV, so I listened to bands like the Red Hot Chili Peppers, Foo Fighters, Nirvana, Paramore, Fall Out Boy, My Chemical Romance, Led Zeppelin etc. But I do listen to a lot of singer songwriters like City and Colour, Elliott Smith and Devendra Banhart. I think what might have influenced my writing style a lot is the country music I listened to with my parents. It always seemed to incorporate a story-telling element to it, which I feel a few of my songs may have too.
072 / CHLOE MAG
073 / CHLOE MAG
What do you do when you're not working on new material or touring? I watch a lot of cartoons... I'm pretty obsessed with a show called Bob's Burgers and I'd normally be watching it on a day off. If I'm in Ireland for time off, I'll probably be playing with my dogs Luna and Freckles or hanging out with my best friend Megan. It's a tough question because my songs are about my life, so a lot of the time I find my self thinking "Oh that'd be a great topic for a song!" so I never fully escape it.
Where do you see yourself in the next ten years? Hopefully just doing what I do but on a bigger scale! I'll definitely still be writing and recording because that's my life, but hopefully even more people will be listening to my music.
074 / CHLOE MAG
075 / CHLOE MAG
076 / CHLOE MAG
For this talented musician, all began when his grandfather gave him his old Salvation Army pump organ that he used to play in the war. After that, Michael Wookey learned a few hymns and then started to write his own music. 'I always liked making noise but it was really the organ that made me want to make music'. He told us in this interview. Text by Daniela Brioschi. Photos by Gautier Zaregradsky
077 / CHLOE MAG
How did you come up with the idea of playing music with toys? I needed something that wasn't going to break my back on tour. Toys are very easy to transport, cheap and easy to find. You have to look hard but some toys sound amazing and there is something really satisfying in turning a piece of cheap plastic in to something for music. Do you have a special place where you like to go to compose? I travel a lot and I always have a dictaphone with me. I often find instruments when I am travelling and I use them to compose. I think the hands are creatures of habit so it's good for me to break that by trying to play new instruments that I don't know so well. My last album (submarine dreams) was mostly written in Iceland and recorded in a barn in the mountains in France. How do you find the inspiration to write your songs?
For me to write songs is the ability to process my life. I mostly write when I am sad because when I'm happy I don't really feel the need to document it. The songs are usually related to some kind of experience that I have trouble with. I put them in little boxes that I take out when I play concerts. It's a system that works well for me. What are you musical influences? I like Sparklehorse a lot, Neil Young and of course Tom Waits. A common thing in the music I like is that you can really hear the environment in which it was recorded.
They mostly just fall out of my mouth.
Which band or artists would you like to go on tour with?
In your opinion, what is the best thing about making music? Do you have any remarkable experience you'd like to share?
Leonard Cohen. When I'm on tour I miss feeling safe at home. I think Leonard Cohen would be a comfort to be around.
078 / CHLOE MAG
079 / CHLOE MAG
How it was to write and compose the concerto "Coney Island Sous l'Eau"? It took a long time. Margaret Leng Tan was supposed to play before my toy orchestra at Theatre Du Chatelet in Paris but she suggested I write a piece that we could all play together. I chose to write for two toy pianos (one for each hand) and the orchestra of toys. I had visited Coney Island just before hurricane Sandy and after seeing photos later I wanted to write something inspired by the idea of a hurricane blowing through. We've just finished the recording and Margaret will put it on her next album. You produced albums for artists such as Pauline Dupuy and Kevin Lartig. How did it feel to make something different than write and play music? It's difficult when you write a song to go in to the studio and make a definitive version of it. It's scary to close the door on a song and call it finished. When I haven't been involved in writing the song or the lyrics I find I have a clearer head for arrangements and I'm able to work efficiently because I'm not so attached to the song. I really enjoyed working with Pauline and Kevin because they're good friends of mine and I believe in what they do. I've decided I will only produce for people who's music I really love. I most recently recorded an EP for my old friend Dona Davos. She's the second hand princess -- her collection of strange and forgotten instruments is quite a sight to behold. How it was to work with Angil and the Hiddentracks? Mickael Mottet (angil) is a forced to be reckoned with. He really knows what he wants artistically and I get the impression that anyone involved with him musically will bend over backwards to help him achieve what he has in his head. I recorded their soon to be released EP lines and I learned a lot. Mickael wanted it to be a very basic recording so I started with a simple setup that got more and more lofi as we progressed. I ended up using a bunch of normal stage microphones that famously don't give such a detailed recording. I really like the sound of the record. The Hiddentracks are also my backing band. They played on the last album and it was the first time I was able to share my music with others like that. I think they can follow me anywhere musically and they're about as demented as I am. "Hey let's wait until we've had no sleep for 3 days and record this song." "OK boss!" 080 / CHLOE MAG
What are your top 5 bands or artists at the moment? Peter Lyons Luke Temple Why? Coconut Records Lavender Diamond
“I mostly write when I am sad because when I'm happy I don't really feel the need to document it�
To finish; what are your plans for the future? What about a fifth album? I'm writing an album right now and also working on a soundtrack for a documentary about a female boxer. Also I've been involved for a year or so in a project of Lullabies written by my friend Anton. They're mostly inspired from tales and songs from around the world. I'm also planning a tour of Germany in November with my bassist and friend Pauline Dupuy.
081 / CHLOE MAG
SURREAL IMAGES, WOMEN OF ETHEREAL BEAUTY, AN IMPECCABLE COLOR PALETTE AND A UNSTOPPABLE CREATIVITY. THESE ARE SOME OF THE THINGS THAT PERFECTLY DESCRIBE THE ELEGANT AND DREAMY WORK OF OLEG OPRISCO, A TALENTED PHOTOGRAPHER FROM LVIV, UKRAINE. TEXT BY JAC COUSO
082 / CHLOE MAG
083 / CHLOE MAG
Whenever I see his pictures, it's like entering to a world outside of us, but at the same time, getting this vibe of familiarity. As if it was a reminiscence of my own oniric world. And that is probably because his work doesn't only remind me of something daily or mundane, but also to something dreamy, or oniric as I said before. From the colors he uses, the locations, the ethereal beautiful girls featuring in the scenes, to the ilumination, give the perfect details that outshines his wonderfull work. His creativity doesn't seem to know about limits, and Oleg leaves us wanting to know more about each story behind his photographs. Oleg, born in the small town of Lviv, in western Ukraine, started to work as a operator in a small photolab when he was only 16. He also started taking photos of his friends, and when he was 18, he moved to Kiev, where he became the assistant of a well-known advertising photographer. Although, this work didn't give him pleasure, because there wasn't creativity involved, it was just commerce. And after a few years, at 23, he started to take his own photos. You will wonder how he manages to do these incredible photographs, and Oleg told us that all starts with his little black book, where he writes down all the ideas. First, he comes up with a concept, creates the clothing and then chooses the location and directs the hair and make up. He finds it ideal to do everything for himself. When preparing a shooting, he tries to choose a color palette, making sure that all of it plays within a single color range. And let me say it, he does it perfectly. It makes the photograph richer.
084 / CHLOE MAG
Oleg uses film, and that, adds to his work a 'moment of surprise'. He sees film photography like a game in a casino. 'You can win big or lose it all' he says. But that doesn't seem to be a problem for him. But it doesn't end there. He spends really long time waiting. Only after scanning and processing, he can see the final result. 'It's a very cool feeling. Addictive like a drug'. His source of inspiration comes from different scenes from real life, as there is so much beauty in there. Of course, there are some changes that he adds, such as characters, locations and light. 'We live in exciting times. Everything changes very quickly: the weather, architecture, people, time. We can live anywhere and create anything and show it around the world. Everything is in our hands'.
087 / CHLOE MAG
088 / CHLOE MAG
We also were curious about his equipment, and we asked which cameras does he used, and Oleg answered us that he uses a Kiev 6n and Kiev 8d cameras with 9 mm/a.8, 1d sa.8, and 3 se.0 lenses. And if you were also wondering where does he takes the pictures, most of them are made in Ukraine and Russia. 'Here is a very diverse landscape'. He told us. And as everything is in our hands, as Oleg said, he manages to create a whole situation, a story, something that pushes you to have a long stare to his works. Basicaly, he knows what he is doing and what he wants to provoke. In an age where the digital world goes so quickly and the trends passes by, Oleg is one of those artists that makes you stop from your basic online routine, just to dedicate a moment to see his work, and actually enjoy it. Is not difficult to fall in love with a specific scene or get lost in one of his pictures.
090 / CHLOE MAG
091 / CHLOE MAG
CasasNaAreia A paradise in Portugal. By Matias Errรกzuriz. 092 / CHLOE MAG
093 / CHLOE MAG
CasasNaAreia is located one hour south from Lisbon, in Comporta - Portugal. This region is known for the magnificent white sandy beaches, the wine, fresh fish, the rice paddies and the pine trees. It's integrated on the natural reserve of river Sado, home to a great variety of wild life such as flamingos, storks and dolphins. It´s one of the best places in Portugal for bird watching. You can easily see up to 100 different species in just one day. CasasNaAreia is located near the small fishing village of Carrasqueira. Here you can visit the unique Palafitte Harbour of Carrasquiera - a jetty on stilts. This was a creative solution for the local fishing community to access the boats during low tied, since the banks of the river get very muddy. Here at sunset you can enjoy unique experiences and breathtaking images of the Sado. Regarding this project from the architect Manuel Aires Mateus, we can say that the sand transported to the interior becomes the unifying element between internal and external worlds, making us believe we live in an extension of the natural environment. This particularity transforms the space scale and living in this houses more poetic and comfortable. This project, conceived over the «innocence» of old local buildings, confirms the lost paradigm of life: «happiness is based on the intelligent use of simplicity». The Construction, In order to recover the «soul» of the pre-existent constructions and respecting the local traditions, four separate houses were built: two of wood and reeds, and the other two in white concrete, all with thatched roofs - local material harvested on the banks of river Sado. The construction of the huts were made by António Pinela, a local artisan, that every six to six years has to renew the reeds and thatch. The living room, It is an open space "hut" and the common area of the "Casas". The fully equipped kitchen is integrated in a beautiful white corian structure. The eating area has a Bigfoot E15 table that sits eight. The living space invites for relaxation on the white Gervasoni Ghost Sofas. The beach sand floor can be heated in winter. 094 / CHLOE MAG
095 / CHLOE MAG
097 / CHLOE MAG
098 / CHLOE MAG
099 / CHLOE MAG
100 / CHLOE MAG
101 / CHLOE MAG
103 / CHLOE MAG
104 / CHLOE MAG
106 / CHLOE MAG
AFTER HAVING WORKED FOR THREE YEARS, BILLY KIDD HAS KNOWN HOW TO BUILD A SUCCESSFUL CAREER. EXPRESSIVE AND GROUND-BREAKING, BILLY'S PICTURES ARE TAKEN WITH SIMPLICITY AND INTIMACY NOT OFTEN SEEN IN THE FASHION WORLD, MAKING HIS SUBJECTS AND MODELS LOOK DIFFERENT AND PLEASING TO THE EYE. IN THIS INTERVIEW WE EXPLORE HIS WORK STYLE AND WHAT INSPIRES HIM TO MAKE SUCH BEAUTIFUL PIECES OF ART. TEXT: DANIELA BRIOSCHI
108 / CHLOE MAG
How long have you been a photographer?
How did you reach your first clients in the fashion world?
3 Years.
They found me. I was the first of the few photographers using Tumblr and instant media to spread their work.
What inspired/ influenced you to start shooting fashion photographs? People. I'm not a very social person, but I found it easier to interact with men and women when we were one on one. Some of my greatest friendships were those I met through photography. Fashion just started to happen because designers, editors and creatives liked the outcome. Which in turn brought me to love fashion. What kind of camera or equipment do you enjoy the most using? The less equipment the better, so clean windows and a working camera. 110 / CHLOE MAG
We see a lot of expressive strength in your photographs; do you get a lot of work on preproductions with your models or you trust you could make the expression emerge in the moment of the shooting? Most times I have no control over schedules, so I can't meet my talent before the shoot leaving us the day of to make it happen. However when you work with the best talent, they bring it with little effort.
So I was contacted by a few magazines and designers before Delphine Del Val found me and brought me into WSM. Who is your muse? My Wife, Heather Huey.
“I'm not a very social person, but I found it easier to interact with men and women when we were one on one�
111 / CHLOE MAG
If you could chose an artist to work with, dead or alive, who would be? Andre Kertesz
What do you think is the most important on a shoot? your team. It's imperative to have an assistant who understands your way of thinking.
What inspires you at the time to take a photograph? Nakedness. What was your challenge so far?
biggest
Merging the big productions with my intimate style of shooting. It's difficult to shoot when you and a girl are surrounded by 20 or so people watching every move and listening to every word you say. Over time, my team and people understand to give me room. We often put up barriers to create the illusion we are alone and it helps bring the intimacy needed. 114 / CHLOE MAG
Are you working on any new projects? Of course, you have to always be working on personal projects.
115 / CHLOE MAG
116 / CHLOE MAG
117 / CHLOE MAG
118 / CHLOE MAG
119 / CHLOE MAG
120 / CHLOE MAG
chloe mag