‘He never works in October... and rested on a Sunday’ Photographer: Boyd Alexander Stylists: Hannah Swelim & Reece Laurent-Hughes Make up & Grooming: Hayley Louise Jones Model: Breton : Select Models
Feathered Headpiece: Rob Goodwin Shirt: Rokit Netted Jumper: Stylists own 2 October 2011 www.creativemanmagazine.com
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Feathered shoulder piece:Nikita Karizma Leather trousers: Asger Juel Larson Blackleather shoes: Swear 4 October 2011 www.creativemanmagazine.com
Head piece: Nikita Karizma Necklace: Zandra Rhodes Black mesh vest: Joellie lin
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Mask: Terri Couthard Suit: Rosie Wingate Shirt: Asger Juel Larson Shoes: Asger Juel Larson for Underground 7
Wasit coat: Asger Juel Larson Cross chest piece: Culietta Shirt: Stylists own Leather trousers: Asger Juel Larson
Suit: Zandra Rhodes Shirt: Rokit Shoes: Swear 9
Top hat: Asger Juel Larsen Black silk Tshirt: T Lipop Shirt: Rokit Tapered trousers: Rokit
Pheasant Panel: Alice Margaret Burkitt
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Head piece: Nikita Karizma Necklace: Zandra Rhodes Black mesh alphabet vest: Joellie Lin Trousers: Ross Williams Shoes: Underground
Overgrown sunglasses: Victoria KelseyDenim jacket: Liam Hodges Shirt: Stylists own
Headpiece:Louis Mariette Coat: Ross Williams Trousers: Rokit Shoes: Swear
Photographer interview: Perou Dirty sexy things was a complete success , is there another series to come and what initially inspired you to create the show? We had fun making DST but was it a complete success? National press gave it a big swerve and we’ll have to wait and see if we get a second series on E4. In terms of creating the show, i was an employee not an employer. I didn’t write the show: i was just in it. When the show was originally conceived there were going to be 8 photographers doing a shoot each. I said i’d do it all or not at all. I made it my own, but it wasn’t my idea. Aside from Dirty sexy things what other exciting projects have you got coming up you can tell us about? A lot of what i do i can’t discuss before it’s published or out there. I can say i’m currently working on a major campaign for levis shooting across 7 european countries, a uk project with homeless kids, an olympic portfolio for grazia. I’m also trying to ‘get away’ a few more tv ideas. What would you say has been the highlight of your career so far? Meeting my wife on a ‘regular fries’ shoot was pretty significant, too many highlights to list otherwise. I am often thrilled to be doing what i do: this is not a job, it’s a lifestyle that i’m lucky enough to be paid to live.
Your quite a stylish man with a unique quirky style, who inspires your style? I don’t know who inspires my ‘style’ i don’t consciously base my look on anyone else but i know what i like and what i don’t. I prefer unsubtle and i prefer to wear what others would prefer not to wear. i like to stand out in a crowd. What other photographers inspire you? So many photographers inspire me: Helmut Newton Nobuyoshi Araki Clayton Cubitt Philip Lorca Dicorcia Christopher Griffith Duane Michals all photographers and all photos If you could give one tip to a budding photographer what would it be? Be nice to people. If you didnt find success as a photographer what career path would you of followed instead? I could do anything and be successful in it, and be happy doing it. I like manual labour though: anything that gives one an honest sweat. If you had to describe yourself in 3 words, what would they be?
Who has been your favorite celebrity or model to shoot?
Tall, dark and handsome or left of centre.
Marilyn Manson, Tom waits, Katy Perry, Jeff Bridges... i enjoy meeting and photographing most people as long as they’re up for having a conversation.
In 2012 what can we expect from Perou?
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A big exhibition, a big book, more tv more photos.
No one can hear you Photographer: David Abrahams & Latifu Laoye Stylist: Gary Salter Grooming: Patsy O’Rielly Model: Harry Goodwins : Models1 Retouching: David Abrahams
Thick wool jumper: Acne Grey pleated trousers: B Store
Thick Knitted Cardigan: Pringle Herringbone sweater: American Apparel Cord Trousers: Louis vuitton Socks: Hirsch 20
Shoes: McQueen October 2011 www.creativemanmagazine.com
Coat: Calvin Klein Jumper: Zadig & Voltaire
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Shirt: Diesel Black Gold Sleeveless jumper: Paul smith 22
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Forlorn Photographer: Danny Baldwin Stylist: Kyle Lo Monaco Make up: Jennie Cadwallader using MAC Hair: Rory O’Connell using Schwarzkoph Model: Oliver: AMCK
Shirt: HLH Leggings: Kirsty Mcnee
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Black Mesh Tshirt: Kirsty Mcnee Necklace: Claire Fitzjohn
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Film Director interview: Ben Charles Edwards By Dorrell Merritt
I caught up with conceptual film director Ben Charles Edwards, in his Shoreditch apartment one Thursday morning; to talk about his photographic past, inspirational roots and intriguing tattoos. His surreal humor based films, have managed to attract the attention of a number of figures such as Kelly Osborne, Sadie Frost and Boy George. Renowned for titles “The Town That Boars me” and “Animal Farm” his work remains the meeting of both the macabre & unconventional wit. How would you define you work in as little words as possible? Erm… thoughtless… I just do things on initial ideas and emotion; I don’t consider the outcome, I don’t consider the purpose- yet… I probably will have to in time but for the moment, I can just do things as I please. So you like the freedom? Yeah I think it’s important with young people; if you’re a photographer, or an artist or film-makerits important to have flexibility, because for the first few years you discover your own style- other people discover your own style; other people discover you; other people discover your work in practice and if you’ve already put that in a niche box, then you’re probably fucked and you’ve probably only got a couple of years’ steam in you. But if you approach things with the right… with the right ambition; which is without an ulterior motive, without a hidden agendayou’re just making things because you want to make them, then that attracts other people- and I think I’ve been really fortunate for my age to be able to work with fantastic people that I’ve idolized for years; meet great people who’ve inspired me and they in turn have helped me, and given me a lot of 28
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my earliest memories of reading a book that I understood; also the film I’ve just done now with Boy George was entitled Animal Charm, and was loosely based on the social principles of Animal Farm. So there’s a lot of social references and commentary in a lot of my work; its nothing sophisticated but quirky social commentary. The Times a few years ago summed up the place at which I was with my work; they said “I enjoyed intersections and contrasts; blacks and whites, with very little middle-ground” – I enjoy the intersections between glamour & filth; light and dark. So with Animal Farm being your earliest memory of Literature based narrative; what were the first films that had an impact on you as a child? There were two; one of them was when my Dad took me to the cinema when I was really young- maybe ten, to see a film called “Death becomes Her”, with Goldie Hawn and Meryl Streep which is an amazing film stillthe technical achievement for that time was just so camp and quirky… and I remember thinking (being a young kid as well and it was my first exposure to CGI) that I physically couldn’t understand how Goldie Hawn Had a hole in her stomach and how she was shot! I just couldn’t get my head around it as a kid; so that was an important part as I realized that their time, experience and finance film could be surreal and magical; it and I think that’s because they people doesn’t have to have a connection appreciate that I’m doing this for a with the real world, so it becomes worthy cause, as opposed to doing it an escape which is really important. for myself or any other purpose – my The second film, would have been work in a sentence is fairly surreal… one that I remember my sister loving and without any objective in a sense. when I was a kid and she was many years older than me, and it was a film But behind the façade of there called “Crybaby” by John Waters with being no objective, are there any Johnny Depp; I must have been about hidden meanings within your six when I saw that and just thought work? wow. You’re exposed to so much films as a child and then you see something Yeah… I mean I’ve always loved by someone like John Waters and you books- as kid I loved George Orwell’s think fuck- you can do anything- it Animal Farm and that was one of was role-play in his characters, so those two films stick out for me. 29
Film Director interview: Ben Charles Edwards by Dorrell Merritt From these early experiences with film, what was it that made you want to change roles from being the viewer to the director?
it, but got back to me and we shot it. For the Police officer character in Animal Charm…
That’s a good question; and I think the most obvious answer for me is exploration- wanting to do it yourself. I have very few drives: I like decorating and I like making stuff if its film or painting, photography, or building,making dog baskets out of boxes. It’s a drive; you don’t know where it comes from. I’ve tried learning new languages, I’ve tried all these new things but one thing I never seem to lose interest in is something completely out of my control and its like when you see something; like a six year old seeing Crybaby, being totally inspired and thinking I cant wait till I’m older so I’m big enough to write a script and get people aboard. I still love being the audience; but as tacky and naff as it sounds, I think that it’s just in some people to have to produce; you have to get it out of your system.
Yeah- I thought: who would play a big, funny Police Officer? And when we think about those stereotypes; I mean Boy George’s run in with the police, I thought lets have this Homophobic, stubborn police character and I saw George whilst out, and he was like “yeah, yeah sounds great, send me over the details”.
You’ve been able to work with quite a lot of high profile individuals. When you come up with a concept for a film, do you loosely base your characters on those you cast? Well there are a few different ways to making film, regardless of who you cast; you can write a film with someone on mind, or a character where you have a specific genre of actor that could play. With Animal Charm I wrote it with Sadie (Frost) in Mind for that character; we filmed it last summer and it was just a month of having fun and making a ridiculously silly film. Sally Phillips again, to play Sadies antagonist- she needed to be similar to Sadie in height; hair colour and so on- Sally was my first option and at first couldn’t do
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Boy George?
it for that. There will be a day when I wont be able to be so laid back but generally its nice to just be able to just work with people that are light hearted, fun and get what you’re trying to do. Is it important for your work to be light hearted?
To a degree- I think its nice and important to leave the audience with something and I think with Suzie Lovitt I think I nailed it. I’m never one for watching really sad, emoSo it was literally a case of being tional films- if I’m going to escape, I out and bumping into him? want to escape to something magical or something fun- I want to The Boy George thing was a comexperience something I cant experiplete coincidence; I wrote it with him ence by looking out of my window. I in mind and London isn’t a massive like things to make people laugh; I place, so that helps; but all three dunno…maybe I should take things people (I initially had in mind to cast) more seriously! just ended up doing it, which was a miracle!. For you, what is the most imporWith All these figures who are tant element within a film? constantly in the public eye; the characters which you give them, The relationship between everybody. along with the direction of the A film is a massive collaboration; the film, almost parodies them and responsibility, unfortunately goes to goes against their perceptionsone person if it fucks up, but its just would you agree? a big collaboration and there isn’t really a “wrong cog” its just that one Yeah- that’s correct. I don’t concog may turn the wrong way so sciously do it- I don’t take things so everybody needs to be on the same seriously in life, and I like people page; the communication needs to be for being people: Sadie is a brilliant perfect. Everybody needs to undercharacter as she likes taking the piss stand a very strong idea; the Cohen out of herself and she also likes to brothers are a good example- their play around; experiment, and that films have a general mood, a gensort of character appealed to her. eral feel- the acting is usually on par While, if I approached some serious with the film itself and every characMeryl Streep, as a Nun-style role ter in the film. When you look at it, – that’s a massive commitment, and you take it for granted but the point it’s a role, which a lot of people get is, those characters came from the offered. To be able to play a very director- the writer to a degree, but quirky role which is only going to the way in which the director creates take you a few weeks to shoot and it, is to do with a vision and idea, and learn, appeals to a lot more peopletherefore the collaboration is with the its total fun. Nothing I’ve ever done actors, director,production crew, art has felt like a working day, or workdepartment, and this is ing experience and people I think totally dependent on the tone set, enjoy and appreciate and communication.
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I noticed in a few of your films; namely “The town that Boars me”, that eroticism and sexuality pop up as themes… It does enter a lot; I wrote “The Town that Boars me”, as silly as it is… I don’t know- the high heeled shoes thing, wasn’t a suggestive, fetish…it was a metaphor: the high heeled shoes are a desired product; it makes women feel better, makes them taller, but its false its not a beautifully structured face or lovely shiny hair, it’s a falsityand the Pig character is latching on to the wrong thing ; he’s not after something that makes him truly fulfilled, because in his mind It stands for so much more than it actually does. So that’s where that came from … and Animal charm is pretty camp…. I dunno, they do have a sexual element but not intentionally. In terms of your photography; the Moaning Lisa series for example…
point. There were all these sexual, suggestive women or old men, interacting with a false world- its no different to something like Hentai, it isn’t real, its fictional; its commentary.
Finally, on another note completely, I’m curious; what does your tattoo say? It says “Shaped to the Sky”; it was a poem I wrote when I was about eight and the first line was “shaped to the sky that lights me” and the second verse was “shaped to the town that bores me” which is where the title of the film comes from. I just found the poem again, fifteen years later and thought- that’s some really fun words in there, and was written almost surreal; it came fro a childs mind and had no objective no purpose, it was just some nice pretty words and made no sense at the time, but I really liked them and got some tattooed on me. Images below taken from the film: Animal Charm.
I guess that’s quite erotic! Well there was a series of them; there was one with a woman being raped by wires, escaping from an internet café and again, you can take from it from you like- I’m not trying to be the next Sigmund Freud but we live in a time of wires, and the internet and this woman has had a bit too much of it. They are quite sexual; but sex can be quite grotesque and fairly violent- it’s a funny way to create such bad taste, so quickly even though its something so natural and so animalistic that everyone is involved with. I think it’s a fun image- it’s a fun way of joining cartoons and photography together: I did the photography, and Alex lapell did all the illustrations of it - at the time we were watching “Who Framed Roger Rabbit” daily, and I loved the live action with the cartoons- that was the starting
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domin i c b y w i l l i a m Photographer:William David Walsh Stylist:Tim Barron Hair and Make up:Patrick Eichler :Ford Artists Model:Dominic Acosta: Ford Models Shirt: Justin Jamison 32
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Coat: Jerry Ting Bracelets: skin on skins
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Coat: Burberry Prorsum Trousers: Homme by Dahae Kim
Vest: Jackee Princeau Trousers: Justin Jamison
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Androgynous...me Photographer: Jesisica Juliao Stylist: Tim Barron Make up and Grooming: Diana Cortez Model: Oliverio Perez Photography Assistant: AJ Fay Special thanks: Omari Hagan & Jay Acireto for the location
Sheer shirt: Solemia Shirt underneath: Marc Jacobs Shirt: Justin Jamison Trousers: balenciaga 36 October 2011 www.creativemanmagazine.com
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Vest: The Virdi-anne Shirt: Marc by Marc Jacobs Trousers: Gucci Boots: Dior Homme 38 October 2011 www.creativemanmagazine.com
Coat: Marc by Marc Jacobs Shirt: Helmut Lang
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Vest: The Virdi-anne Shirt: Marc by Marc Jacobs 40
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Overgrown sunglasses: Victoria KelseyDenim jacket: Liam Hodges Shirt: Stylists own 41
Grey Denium shorts and Jacket, Black Leather bag: Beyond Retro
Black Jeans and studded Braclet : Topman Black Jacket: Beyond Retro
Breathe Photographer: Matthew James Arthur Payne Stylist: Tizianz Lia Hair and make up: Elizabeth Walsh Model: J.D : M+P Models
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Chained chest piece: Topman Grey Denim shirt: Beyond Retro 45
Fashion Brand interview: Zsadar The male fashion industry is reasonably small and unknown in and around Perth, Western Australia; however that doesn’t mean that there’s not a hive of talent and many hidden gems waiting to be discovered just beneath the surface. With this in mind, we introduce designer Shane Newton whose brand new line was launched July 2011. With a background in graphic art and media studies, Newton is no stranger to creativity. However, fortunately for us, this year the part- time model has decided to stray away from his usual creative outlet of the catwalk and has revealed ZSADAR. With muted tones and minimalistic design, the line is cryptically named “The Creature in the Mirror” and was first uncovered at STYLEAID 2011, a fashion fundraiser for HIV and AIDS in Newton’s home town of Perth. The edgy yet subtle pieces aimed at men beg the viewer and wearer to inquire into the thought process behind the creation and with a name as unique as “The Creature in the Mirror” we asked Shane a few questions about the line’s individuality, his inspirations and arrival into the designing world… When did you first realize that you wanted to get involved with design? It’s something that I’ve wanted to do for as long as I can remember. I’d never really considered fashion design as something I’d actually do (due to my lack of formal training in fashion) but it feels like a natural fit. There was a point a couple of years ago where I was seeing all these beautiful garments being produced overseas and was frustrated that Australia had
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nothing similar. There was a tipping point in my life where I thought I’d try filling a void and the feedback and support has been sensational. How does the fashion scene in Perth differ to others that you’ve experienced? It’s hard to group everybody together, but the weather here is always warm which means a more relaxed approach to men’s wear is needed – out of necessity more than anything. The emergence of online retail has helped guys make more informed decisions on their purchases and also gives them an opportunity to see what other guys are wearing. Choice of styles in men’s wear is somewhere limited in Perth but there are a few small boutiques, which cater to the guys who are fed up of the board shorts and singlets look, which is synonymous with Australian identity. I’m finding that there’s been a significant interest from guys in the UK, who seem to be more comfortable in wearing something that’s avant-garde / a bit different. Your pieces seem dark, understated and yet very detailed in places what was your main inspiration/s for this theme? You can see Japanese design influences through out the collection, which focus on themes such as imperfect beauty and incompletion and I used detailing such as exposed seams or distressed fabrics to echo this. As I come from a more artistic background I felt I could incorporate other twists and took more inspiration from themes like anarchy, subversion, experimentation and the macabre – hence the name ‘The Creature in the Mirror’. The designs are neither masculine nor feminine; the focus is on drape, form and tailoring. This is then supported with luxurious fabrics like Australian woven wool, bamboo and silk.
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As an up and coming designer who would you like to work with the most in the fashion world? I would have loved to learn from Alexander McQueen who is one of my all-time favourite designers. His ability to give a narrative to a collection is inspiring, he was a storyteller as well as a designer. If you could create the line again would you do anything differently? I’m always looking at the garments, constantly thinking about how they could have been made differently, from choice of fabric to silhouette, drape – it’s endless! The sampling process for this collection was quite long because the pattern-making techniques were unconventional and there were a lot of tweaks. As a result of this, most of the garments had been changed dramatically from my original sketches. If I had to do this collection over again, I probably would have put in a few more outrageous garments that really pushed the boundaries. Do you see yourself making designing a full time venture in the future? It would be great to be able to devote more time to ZSADAR. I’m not really chasing anything – I’m just focusing my efforts on my passion and I’m enjoying where it takes me – wherever that might be. I love the process of taking a concept and then transforming it into a beautiful garment that other people actually want to wear. As seen in this interview, Shane Newton has a vast amount of potential that makes us all sit on the edge of our seats, anticipating his next move in the design world. He has conquered Perth, so what’s next? We’re banking on the world.
The Narcissist Photographer: Shelley Jones Make up & Hair : Clayton Reid Model: Danny Carr : Shine model management
Trousers: Topman 48
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The Emperors new clothes Photographer:Narya Abhimata Stylist:Rama Dauhan Grooming: Tania Drawina Model: Igor : Victory Talent Management Assited by: Indira Nasution & Kae Prawira
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skull mask: G.H.O.S.T Ribcage necklace: G.H.O.S.T Ikat sarong: Stylists own
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Headgear: Shill Polkadot scarf: Hurwundeki
Roman helmet: Samar Chunky necklace: Shill Shirt: Danjyo-Hiyoji Outer: Danjyo-Hiyoji Batik sarong: Stylists own
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Headgear: Shill Necklaces: Project Madness Jacket: Damir Doma Batik scarf: Tikshirt October 2011 www.creativemanmagazine.com
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Headgear and Necklace: Rinaldy A. Yunardi Trousers: Gia Hanifa October 2011 www.creativemanmagazine.com
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Illustrator interview: Marcus Oakley By Josephine Parnell
Much of Marcus Oakley’s commercial projects may be found beneath the halogen lighting of a twenty first century shopping centre, (Oakley has designed for Uniqlo, Paul Smith and Citroën), but his inspiration is drawn from the sights and sounds of both town and country, the visual culture of the seventies and the present day. Educated at Camberwell College of Arts, Oakley’s work has a distinctly retrospective feel; he has a particular affinity with the visual and musical culture of the 1970s. He is currently working on a cover for a compilation of Algerian film composers. Marcus Oakley talks about imagination, the Norfolk Broads, and explains how his tea drinking regime is much more structured than his creative process...
Despite this interest in the childlike, and the importance of the organic, fresh idea, there is often a feeling of the retro to your work. How do you think the past and the present interact in your art?
In your work, the prominence of lines creates an impression of art and design as idea, creation for its own sake; a sort of child-like hope in process and grand schemes. How do you know when a piece is finished?
I’m also influenced by just being outside, that could either be in the city or outside camping, cycling, swimming in the sea, walking through woods and walking up and down hills and mountains.
The line is a constant in my work, I just like to see what you can do with a line, I enjoy the physicality of drawing and connecting one line with another, thick lines, thin lines, abstract and pictorial they all have their own mood and melody. I definitely know if something is finished, often it turns out that what I have created isn’t necessarily the same as the original idea I had. I like the journey of trying to visualize an idea that started in my imagination, often I make mistakes but I have learnt that this is an important part of my work process.
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For more than 10 years I would say that the decade of the 1970’s has inspired certain parts of my work, I was born in the 1970s but it’s not childhood nostalgia of that time I have. I’m interested in all the cultural activity I was just too young to know about. The decade was so rich and varied in Music, Film, Art, Fashion, Architecture, Furniture and Graphic Design. Even though the 1970’s has inspired in part what I do, I actually don’t want to make work that looks like it was made in the 1970’s, but If for some reason my work comes out having a retrospective feel well, that’s fine by me as well.
For a couple of years I have been updating a weekly archival blog of visual stuff that I find interesting. http://ahoylandahoy.blogspot.com/
October 2011 www.creativemanmagazine.com
You’re interested in music,design, architecture and fashion; in what (if any) way has print medium influenced your work? Apart from records from the 1970’s I don’t really collect much else from that time, I rarely buy many books or magazines, I prefer to experience the decade if possible by listening to music or looking and walking around buildings of that time. Which place, with all visual aspects removed, would you want to visit on the merit of its other sensual offerings? I would probably sit with a flask of tea not far from where I originally grew up in the Norfolk broads, I would smell the peaty earth, listen to the water lapping and flapping sails of boats and wait quietly to hopefully hear the booming of the bittern somewhere out in the reed beds.
Finally, Can you describe your favourite tea mug ( I personally favour a wide, squat model at the moment, graduating from indigo at the base to light purple at the top...) I tend to drink from different cups at different parts of the day, breakfast time starts with earl grey tea drank in a glass cup and saucer then on to a mid morning coffee with a small 1970’s flower pattern mug, afternoon tea is with a pastel coloured stripey mug and a evening cup of roobis tea will be in a little japanese cup.
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The way of Ted’s Photographer: Masa Hamanoi Stylist: Hirohito Egusa Make up: Namiko Takemiya Hair Stylists: Dean Andrews Model: Joe Flemming : Premier Model Management Shirt: Diesel Black Gold Sleeveless jumper: Paul smith 62
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Waistcoat: Orlon Souvenir Jacket and Trousers: vintage Boots: Stylists own
Jacket: Roey Waistcoat: Orlon cummerbund: Savil Row Looptie and Trousers: vintage Boots: Stylists own
Shirt: Miller Wasitcoat: Orlon Trousers: Yohji Yamamoto Looptie: Vintage Belt: Stylists own
Coat: Issey Miyake Shirt: Ricky Paul Trousers: Yoji Yamamoto Boots and Belt: Stylists own
Duy Dinh Photographer: Martin Johansen Stylist & clothing designer: Duy Dinh Hair & Make up: Therese Kjellvik Model: Daniel Silva
All looks: Duy Dinh
All looks: Duy Dinh
Artist interview: Ryan Brown By Hannah Cave
Having freshly graduated from UCCA Farnham University, Ryan Brown is not a name many of us have heard of. However, despite being so young, he has already got his foot well and truly wedged in the door of the art world. Having created a buzz at the Legend’s Ball Charity event where his portrait of cricketer Shaun Warne sold for an incredible £3000, the talented Ryan has now set his sights on other projects based in Brighton. He is currently working on group projects and charity work all organised by JAG gallery owner Julie-Anne Gilbert. Whilst recently attending the Brighton Speed trials, Ryan claimed that it was “a great day to get some inspiration for new, exciting work” especially as the starting line was conveniently situated directly outside of JAG!. Having only glanced at a few of his extremely complex and detailed works, it is clear to see that Ryan and his art is not something that can easily be dismissed. His shading could have come straight from a photograph, his perspective is flawless and I could go on. Ryan, so how does it feel to have finally finished university and have a degree under your belt? I am very excited to have finished My Fine Art BA (HONS) Degree as I feel anything is possible now. The world is my oyster so to say. Having a degree under my belt gives the work that I am presently doing, and future work a lot more worth. When did you first start drawing and constructing your own pieces? Ever since I could pick up a pencil or a brush I have been drawing and painting. As a kid I would 72
practice my technique by copying images from popular culture. This soon transformed into a more creative approach to art whilst studying at college, but it wasn’t until University that I felt free to really experiment with different media and construction techniques whilst creating my work. University was a really experimental time for me as I had the opportunity and the facilities to discover new techniques, some that worked for me and some that didn’t come as naturally to me. Sometimes it was a case of trial and error. A couple of your pieces are based on images from popular culture, where do you find your inspiration comes from? It seems only natural for popular culture to influence my work as I am surrounded by it 24/7; through magazines, television and advertisements on the streets. It is almost inescapable. I get inspired by the social trends and issues at the time, whether it be the public’s fascination with the fame and fortune of celebrities, my personal interests in certain artists who have created a celebrity status, actors/actresses and musical artists that I have an interest in, or the different issues around the world that impact on our daily lives of which frequently get overlooked by something as trivial as Cheryl Cole’s new hairstyle. They have all impacted on me in some way, shape, or form, and can be seen in previous work. How did you feel when your art was featured and sold in the Legends Ball Charity Auction? The Legends Ball event and auction has been the proudest moment in my art career to date, not only to be asked to donate a portrait of legendary cricketer Shane Warne achieving his 700th wicket, but to attend the event and have Shane Warne sign the painting on the night. I did not expect that later that evening I
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would witness my painting selling for £3,000. The experience was overwhelming, exciting, and hopefully the start of a career full of adventure and opportunity. How do you find life in the industry compared to university? I am not going to lie; life in the industry is incredibly tough as there is an incredible amount of competition. However, I see the competition as a good thing, as it pushes me as an artist to push my boundaries and take risks. Although whilst at University I was encouraged to take risks and experiment it didn’t matter whether I failed as it was all part of the learning experience. I had people to advise me and perhaps lead me down alternative paths, I also had a routine and I knew what to expect on a daily basis. Since leaving university that has all changed and I am just one man against the world it seems... the business side of being a working artist is still all very new to me and I am learning as I go along. I don’t think anything can really prepare a young graduate for the adventures that lie ahead. Which established artist/s do you aspire to? I fell in love with the work of American artist Chuck Close the moment I saw his monumental portraits of fellow artists, family, and friends. It wasn’t until delving into Chuck Closes history that I discovered that he is both disabled and dyslexic, these discoveries made Chuck Close a God in my mind, as I too am dyslexic. I know from personal experience how frustrating dealing with dyslexia can be, therefore for Chuck Close to have constructed ways of overcoming his disabilities (he suffered a catastrophic spinal artery collapse in 1988 which left him severely paralyzed) and to continue to paint and produce work that is sought after by museums and collectors, makes him a truly inspirational artist/man in my
eyes. You really do have to see his work to believe it; the attention to detail is breathtakingly beautiful. The work of British artist Jenny Saville also interests me as I think, although her work is a couple of decades old now, it is still relevant to contemporary society as her unique application of paint mimics the slicing and sculpting of a plastic surgeons scalpel. This technique creates engaging, unconventional female nudes which are still poignant in today’s “body beautiful” world where “ugliness” is unaccepted. If you could work with anyone in the industry who would he/she be? For the reasons I have stated above, I think Chuck Close would have to be the artist I would most want to work with if the opportunity arose. I believe that if I had a chance to work with my idol it would be an education that money wouldn’t be able to buy. The techniques and knowledge I would gain from working with a modern day master could only have a positive impact on my approach not only to painting but also life. Where do you hope to be in 10 years time? In ten years time I hope to be a successful working artist, with as much enthusiasm for my work then, as I do now. I can’t ask for anything more than to be making an honest living doing what I love until I can no longer.
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Photographer: Justin Violini Models: Reinaldo Berthoti & Lucas Sobiorai : Red NYC
Silk purple robe: Haider Ackerman Turtleneck: Raf Simons Trousers: Dior Homme
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Necklace: Ann Demulmeester
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You make me want to... Photography and head pieces :Ryan Parry Stylist:Chris Preston Model:Tommy Kristian:Elite Model Management
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Jacket: Alexander McQueen Head piece: Ryan Parry
Coat and Trosuers: Lanvin Headpiece: Ryan Parry
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Head piece and Split knitted scarf: Ryan Parry 82 Octobergrey 2011 www.creativemanmagazine.com Distressed sorts: Miharayasuhiro
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Just about a boy Photographer: Christopher Hench Stylist:Jaquelin Dianne grooming: Maraz Model: Stephen at Factor/Chosen Management Photo Assistant: rockie Nolan
Shirt: topman Trousers: Trash and vaudeville necklace: pamela love shorts (above) : all saints
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Jumper: topman Harness: Zana Bayne Trousers: topman denim
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Shirt: topman Trousers: Trash and vaudeville necklace: pamela love
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Jacket: H&M Jumper: stylists own shirt: marc jacobs 90
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Close up Shirt: baartmans and siegel
A Tainted love story.... Photographer: Jude Kendall Stylist: Theodore Adolph-Regisford Hair/Make-up: Verity Cumming Photographer’s assistant: Scarlett Pimlott-Brown Stylist’s assistant: Mameh Idrisu Models: Alexander Muto: Next Rose Ellis : Storm
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Alexander: Coat: Mr Lipop, Trousers and
Shoes: Baartmans and Siegel, Scarf: Barbour
Rose: All in one: Rachel Freire, Shoes:
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Alexander: Blazer: Paul Costelloe, Shirt: ETRO Trousers&Shoes: Baartmans and Siegel Rose: Dress: Alpan Neeraj, shoes: Iris Van Herpen for United Nude 94
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Alexander: Coat: Asger Juel Larsen, trousers: baartmans and siegel, shoes: Herring Rose: Dress: Tosha, coat: Ekaterina Kukhareva, socks: Stylist Own, Shoes: Red or Dead 96
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