CreativPaper Issue No. 004

CREATIVPAPER Magazine

Issue Four

May 2017

Intro The world is undergoing a rapid transformation since our last issue.

More than ever, hate, intolerance and the corresponding pain, suffering and heartache are emotions we are getting accustomed to on a daily basis. This feeling is not normal. After the recent terror attacks in London and our hometown of Manchester, against all the odds, people have been coming together to stand up against the terrorists and their reign of fear.

Now is the time more than ever to celebrate what makes us unique.

Embracing people from all corners of the world and spreading love. In the words of the late poet Maya Angelou “The thing to do, it seems to me, is to prepare yourself to be a rainbow in someone else’s cloud. Somebody who may not look like you. May not call God the same name you call God - if they call God at all. I may not dance your dances or speak your language. But be a blessing to somebody. That’s what I think.”

In this issue, we feature the works of artists ranging from Clare Smith to Marie Moller and Eugeno Azzola, each with their unique story to tell yet all united by their passion for art.

Jimmy Outhwaite and Jefferson Pires Founder | Creative Director

FEATURING

HYUN KIM

HEESUN SHIN

ALICIA CLARK MARIE ANINE MØLLER

TAVIN DAVIS

JESSICA INCERTI TELANI

COVER ARTIST

/HYUN KIM Jarring yet poignant, the works of artist Hyun Kim left a lasting impression on us the first time we saw them. Her choice of topics often includes aspects and events from our age that are often forgotten.

Primarily using video and installations, the viewers are immersed in the raw emotions she tries to convey resulting in a visceral assault on the senses. In our interview with Hyun, we talk about her first memory as an artist, her creative process and the importance of faith in her work.

Your performance piece “A Prayer for My Daughters� deals with a very sensitive yet important subject, Could you tell us what led you to address this issue?

A Prayer for My Daughters is a ritual for girls being killed as Japan`s wartime sex slave during the World War 2.

clothes, because they represented the victims of the warfare for about two hundred thousands girls.

I felt there is no way I can turn my face away from their horrible pains.

So, I beat the drum again and again. Traditionally, beating the Buddhist drum has the meaning of a consolation for the dead, and A Buddhist drum, hanger with praying them to go to the better traditional clothes of a Korean world. And second, I think woman, and I are the main parts remembering this brutality of a of this ritual. There are two main human being is crucial to not ideas lying on this work. First, I repeat the same tragedy. Through tried to express my condolences the continuous resonance of the to almost two hundred thousand drum, I tried to imprint this daughters of those days. In the first tragedy on my mind and our photo, I placed twenty hangers minds. with tradition Korean women`s

“Reborn” certainly provides a visceral experience for those taking part, What has the feedback been like for those that braved the experience?

There was one person crying and screaming wanting to be let out of the coffin, and another so calm and still that he/she almost scared me.

However, surprisingly enough, participants were interested and concentrated more on the five hours spent to slowly burn everything than the 20 so what minutes they had spent inside the coffin.

Most of the participants stayed put through out the five hours of cremation, and left the area each with their memories and feelings.

to criticise state power and art institutes. Interestingly enough, certain ‘symbols’ regarded as norms and power in Korean society provide a niche for me to make artistic interventions and actions.

What is the first memory you have of art?

My father was an architect while my mother painted. Since both of my parents graduated from the college of fine arts, my childhood was full of memories related to the arts. However, for those same reasons, I can’t say art was part of ‘my’ memories, even though art was always close at hand.

The reason being is that most of the artworks I’ve encountered during my childhood were handpicked by Could you tell us a bit about your my parents based on their perspeccreative process? tives and tastes and by Modernism Being the fearful, unfree spirited art. soul that I am, I dare not begin on a project relying on factors of The first of ‘my’ memories emotion and coincidence. regarding art dates back to when I was a university student after I’ve For that reason, I start a project just seen Martha Rosler’s works. I only after I’ve decided on the was able to apprehend the position, motive, process, and other factors and role art took in the late that follow. I’ve recently been capitalistic modern society through concentrating on doing research her works. and analysis for my project aimed

Her works even made me think of an artist not simply as a person who vaguely created existence from nonexistence, but as an activist who revealed one’s perspectives using various methods based on a solid understanding of the current media and visual culture.

so pure and noble, I may have tried to portray myself as an existential fighter or the last standing pilgrim, trying to preserve those humanitarian values in a modern society that keeps a sceptic eye towards all values.

Four years have passed since then, What are you trying to and now I’m not sure whether communicate through your art? ‘belief ’ itself is as of much I think that my work in a way poses importance to me as an artist. a problem to myself and the Rather, I’m more interested in the audience. My hope is that my historical, social, and cultural posing of the problem provides an factors that shape such specific opportunity for the audience to beliefs. I’m also concentrating on reconsider and discuss the power ultimately revealing how beliefs of the state and art institutions that formed in such manner are hollow. very well exists to this day. After all, state power and art institutions In your piece “36 Minutes” you also constitute distinct individuals highlight the fact that a person themselves. commits suicide in South Korea every 36 minutes, What do you How important is faith to you as think are the factors that are an artist? causing this and what can we do The work ‘Faith’ is close to a as a society to prevent this? self-confession, ambiguously Korea has been winning the expressing what my beliefs are and number one spot in the suicidal how I tried to convey them. rate among the OECD countries for the last 11 years.

Although quite embarrassing, I, at the time, was not aware Although there must be millions of whether my beliefs were from malaise of Korean society within or were crammed into me contributing to such statistics, the due to external circumstances. By factor that I’ve experienced the talking about beliefs that seemed most as a serious contributor

is excessive competition. Korean students are not taught the fundamental virtues a human should embody or values well-functioning citizens must endorse at school. Elementary schools, middle schools, and high schools are merely gateways to enter a prestigious university and get a stable job. In the process where all resources are used for one simple goal, those who deviate or get left behind are bound to feel loss and senses of inferiority.

Welchman that “art is an analytical process.” My understanding of an artistic act in an analytical process is that it’s not only ensuing unfamiliar sensual experiences following an immediate or impromptu expressions of various emotions or a fortuitous fusion between objects.

Its creative process requires one to fully contemplate one’s own memories and experiences one gained in social relationships, and understand the inner reactions Contempt for life, along with high and outer stimuli that forms those suicidal rates, has become common memories and experiences. Mike in a society full of jealousy, envy, Kelly, therefore, says “other than inferiority, and sense of defeat. My myself, many artists who worked in work ’36 Minutes’ was not the United States in the 80’s avoid created to advocate a grand talking about their work. However, universal love for mankind. The one should be able to talk about it story I tried to convey was how for hours on end if he or she had there might be those contemplating created a good artwork. Perhaps it suicide around me and that simple seems they are not aware of what gestures of regard and few minutes’ they’re doing and what they have worth of conversations may done.” Of course, I may have prevent their deaths, ultimately distorted his words to fit my preventing the loss we will feel rational. However, his perspective following a horrendous act and attitude towards art have given committed by those around us. me conviction to my artistic view and practice.

What was the best advice you were given? www.hyunkim.net American artist Mike Kelly had spoken in an interview with John

INTERVIEW

/TAVIN DAVIS Aside from being a professional BMX rider and extreme sports enthusiast 23-year-old conceptual artist Tavin Davis certainly doesn’t like to limit himself to the title of an artist. Preferring to call himself a philosopher of sorts working with visual language. Challenging stereotypes, norms and perceptions he is influenced by artists such as Marcel Duchamp, Donald Judd and Martin Creed to name a few. We recently sat down with Tavin to discuss the epidemic of consumerism, the focus of censorship and his passion for extreme sports to name a few.

The late artist Marcel Duchamp who is one of your inspirations often rejected the work of his contemporaries on that basis that it was merely “retinal’ and lacked depth. How important is the concept behind the work you create?

This is a great question. The concept behind my work is my work. All visual form that follows is a mode of communicating those concepts.

All of my works begin, end, and live within an applied concept or metaphor that I am trying to communicate. None of my work

is retinal at its core. This is not to say that I do not enjoy looking at beautifully crafted works but it is because I view art, and my expression within it, as visual philosophy. Ways in which to communicate within the visual language and challenge common perceptions, constructs, and expectations.

Would you say that consumerism is a new religion in itself? With the brands playing gods?

I think it could be viewed in that light, yes. This is a topic I attempt to shed light on within my body of work titled “Consume”, where I take seemingly corporate logos

Previous Page: Knee Censored for your convenience. Above: Makdonals

and abstract them and even when abstracted to a ridiculous point, they are oddly still recognisable.

one work, just one visual experience, can ultimately shake, challenge, and potentially change a viewers ideals, perceptions, and It seems that today’s world is overly constructs. This kind of effect is concerned with the ideas of price amazing and special, to say the tags, “brand names”, and the least, and for that reason is ideal that MORE means BETTER. ultimately why art is my passion.

We are conditioned to believe this because we are constantly Could you tell us a bit more about saturated with these ideas through your body of work titled “Centv ads, music ads, billboards, social sored for your Convenience”? media, and even within our daily Well to start, even within the conversations. series title, the viewer of the work is immediately confronted with a Consumer culture is global, and contemplative sort of word play as some companies have assumed it isn’t convenient for the viewer to absolute power within the culture. see fully nude and explicit This has happened through their photographs is it? The works ability to market so well, that they began as a comment on censorship have in fact reached the as being a socially appropriated subconscious of the consumer construct. culture driving immediate associations to their products even What makes the “private parts” of when what’s being associated may the human body sexually attractive not be related at all. verses something as mundane as saying the elbow and who What excites you the most about decided what should and should art? not be censored, as a universal level I am an honest believer in the of censorship is not shared across power of art. I think art is remark- all cultures. ably powerful within its ability to reach out and touch people on an Then I began thinking about the honest and humanistic level. historical representations of women within art.

What excites me about art is that

Above: Marlborrow Read

Specifically the nude composition.

These works have historically been made for the pleasure and consumption of men under the context of the erotic.

regarding the push forward for the equality of women. These works, though explicit and indeed have an effect of shock, are what I believe to be good steps in the right direction.

This becomes challenged later as feminism rises and these perceptions begin to be challenged.

Within the work, I attempt to challenge these historical representations and obviously inappropriate contexts. Even though within the visual space, the women represented is nude, there are no signifiers that the context of the situation is sexual in any manner.

How do you think the focus of censorship will change in the future?

I think like the idea of censorship has been and currently is being constantly challenged, that it will become a matter of context. This may, in turn, drive a higher level of education regarding sex and potentially death as well since that is another subject we as humans tend to be oddly weary about and of which artists such as Damien Hirst and Jeff Koons are currently touch on as well myself.

And because of this, it challenges the male gaze by saying that they are not within this space for men but rather themselves. These women come to the space to be represented in such a way that they liberate themselves from sexual connotations, appropriations of out of context censorship, and the male gaze.

You are currently studying Graphic Design at Montana State University, Do you have any plans after that?

Well, to be perfectly honest, I believe fine arts is ultimately my calling. My passion, belief, and pure excitement within fine art is just too excessive for me to be anything other than an artist.

My goal is to capture these moments of self-liberation within the space, to reinforce and encourage recognising context, and Graphic Design is a great way to be to represent the female figure in the creative and earn a great income space as a positive symbol our time while also contributing to

the world in a way that makes things either interesting, desirable, or easier. These are all great ways of impacting the world around us.

This, however, is not the ways in which I feel I can best impact the world.

questions of why and how this interaction is happening or what the interaction is in the first place.

What does a typical day look like for Tavin?

Typically in the mornings before school, I listen to an artists My ultimate plan as of now is to interview or talk while getting keep working and pushing as much ready for the day and drinking my as I can to impact the art world morning coffee. and in turn the world around me through my concepts and visual Sometimes I listen to philosophers metaphors. give lectures as well. Then school is the main activity in the day. I go We often perceive space around to my art classes and tend to stay us in either two or three in the studio all day and into the dimension, Your body of work night working on both home work titled “The Other� challenges that and my personal works. I do tend perception. Could you tell us a bit to play music when I can (I play the more about that? guitar) and write music when I can.

The Other is one of my favourite bodies of work. It is interesting to I love folk music because of it’s me that we do perceive two and lyrical depth and stories. When three dimensions as completely I do come home, I am typically unrelated even though we interact thinking about my work, reading to so often. gain more knowledge for my work, listening to other artists, or reading This work was inspired by the either philosophy or other artists story of Peter Pan and his shadow. writings and interviews.

This is a type of story that has been told for ages and drives curiosity.

I think that by representing these parallel existences as interactive or even conscious, the work begins to challenge viewers by driving the

How often do you hit the bike park? Is it how you unwind?

I like to ride a few times a week.

Before I knew art was what I wanted to do, I always thought biking would be my avenue.

impact one day as he has.

What’s Tavin’s definition of a perfect weekend?

My perfect weekend truly does not separate itself from my perfect week. A perfect weekend for me I ride BMX, and it is definitely a would be for me to be in my studio, passion of mine as well. It is a great with all the supplies I could way to unwind nowadays and open possibly need to create, and to have myself up to new perceptions and the spark of a seemingly brilliant new ideas. I think my mind tends idea. to be most open and able to see past rules and my own perceptions Maybe a beer or two along with when my body is really tired. So in hanging out with a few of my close this way, I definitely use biking as a friends from the studio would be a great way to unwind and have fun pretty great addition as well. but also as a tool to help me progress forward. www.tavindavisarts.com Are there any other contemporary artists that have caught your eye lately?

Yes! An artist named Martin Creed has recently caught my eye. His work is amazing, and I definitely relate a lot of my own work and thought the process to his. His work is at its core, conceptual and inspiring. His concepts really challenge art and its own constructs.

My work definitely falls directly in line with his, and I can only hope that I can make as much of an

Opposite: The gift of colour.

INTERVIEW

/ALICIA CLARK Whether we like it or not our heritage plays a key role in shaping us as individuals. From its unique customs and traditions to the food our grandparents cooked the leaves a lingering taste till today, we are all products of this experience. Artist Alicia Marie Clark, a Native American incorporates the beliefs and values of her culture into her work. From the wisdom passed on through the generations and the importance of preserving the vanishing species and habitats on the planet. Alicia’s work encapsulates it all.

You are a member of the Caddo Nation of Oklahoma, could you tell us a bit more about their history?

From what I know we’ve lived in Western Oklahoma between the Washita and Canadian rivers since 1859. Earlier the Caddo lived on the lower Red River in Louisiana and migrated to the Brazos River in Texas.

Our homesteads were by rivers because we were agriculturist. The Caddo didn’t hunt buffalo until the late 1800’s. I imagine because the climate we previously lived in was too warm to wear buffalo. We mainly wore clothing made from

deer skin and bark fabric. After the Europeans had come, we wore more fabric clothing.

We lived in grass or thatched houses that resembled beehives.

I’m also pretty sure the word Caddo means “Friendly People” but I’m not sure who gave us that name.

My experience of being Caddo, is the sacred Turkey Dance, grape dumplings, mutton, hominy, black pottery, the annual Murrow’s Dance, my grandma, great aunty, and great-great aunties, their stories and the very little language I know.

Above: Shape Sisters

How important is it for parents to educate their children about art?

I think art makes the brain work in magical ways. Art opens up the mind to a whole spectrum of imagination, colour, texture, dance, ideas, emotion and inspiration.

Why block that part of the brain from a child?

Do you think if you weren’t exposed to art as a child by your mother you would have taken a different path in life?

I really can’t picture myself not being creative. I think it would have snuck into my life in some form or another.

Above: Eagle Warrior

The process has taught me so much about my ancestors and their stories. And incorporating contemporary and Native styles is just fun and makes things a little more interesting.

Where does your inspiration come from?

Old photographs, stories told by my ancestors, visually stimulating things I see in my environment, colours, patterns, dreams, and life, past and present.

How do you find a balance between aesthetics and meaning in your art?

I try to build them as layers in the What drew us to your work is the painting if that makes sense. I see a incorporation of Native American vision of what I want to do. art with contemporary references, has that always been the case?

Sometimes the vision is of the I didn’t start incorporating subject matter or just the Native American figures until background. I marinate on them. maybe seven years ago. I’ve always Sometimes if I just start the loved contemporary art. background, the colours for the subject come to me.

Contemporary was the style I mainly played with in college. I The illustration of the subject think after travelling and coming usually comes last or sometimes in home to settle down is what made the middle of the process. My me want to get closer to my roots process works like a print. Adding and incorporate the Native one layer at a time. In the end, it all American figure in my work. It’s just comes together. been a total learning experience.

What was your favourite story that was narrated by your grandfather?

Probably “The Buffalo Woman”, but it was told by my Great-great-great Grandfather Chief White-Bread.

My Great-great Grandmother Annie Wilson also told stories.

Could you tell us about the story of “The Buffalo Woman”?

A man named Cannibal has a handsome son who will not marry any women from his tribe.

He is called Braveness for his bravery in hunting. He goes out hunting one day and sees a beautiful young woman sitting under an elm tree. She calls to him and says she has come to meet him.

not to get angry.

If he does, the young men will kill him, because they will be jealous of him. She then asks him to lay on the ground and roll over twice.

He does so and is changed into a Buffalo. The woman does the same and becomes a Buffalo. When they reach the top of the hill, they see thousands of buffalo. These are the woman’s people. Braveness follows the woman up to the old Buffalo cow, her mother. They live with the Buffalo a long time.

After a while, the wife tells Braveness the old people are thinking of killing him. He is to run in a foot race against the other buffalo. He is worried and goes out for a walk. On his walk, he is She has been watching him a long approached by an unknown person time. She asks him to take her to that tells him if he loses the race he his home to be his wife. They start will be killed and so this person is off to his home at once, and the old going to help him win. people let the woman become his wife. They live happily together for The unknown person tells a long time. The woman asks her Braveness to hold out his hand, and husband to do whatever she asks when he did this the unknown of him. He promises, and she asks person placed a small medicine him to go with her to her home. root in it and said, “At the start you They start, and when they come to will leave them a long way behind, the high hills, she says her home is but finally some one of them will on the other side, and that the catch up with you, but he will not people will bother him and he is stay with you long.

Previous Page: Coyote Buffalo Rabbit Opposite: Buffalo Woman

Remember when he comes up to you, throw this medicine down behind you, and you will leave him again a long way behind. Then again some one else will catch up with you again, and here is another medicine to throw behind you. This medicine is mud, and you must throw it down when they come too close to you.

behind him until he crossed the goal and won the race. Because wind had helped Braveness at the last moment, he knew it was the wind that talked to him and gave him the medicine that saved his life. After the race, Braveness and the woman lived with the Buffalo for a long time.

They then left to live with his Soon after you throw the mud you people and had one child, a boy. will come to a stopping place; there The woman would not let the child I will meet you.” The next day is play with the other boys. She was the race, and the Old Buffalo takes afraid he would do things he ought him to the place where the runners not to. But one time, while she start. The young Buffalo make fun was cooking, the boy slipped away of him, but he places himself in and went down to where the other their midst. Braveness leaves the boys were playing. When he joined Buffalo far behind him at the them, they began to play like they beginning of the race, but they gain were buffalo. on him. He throws the medicine root and is far ahead of them again. He laid down to roll like a buffalo, and when he rolled twice he got up He almost gives out and one as a real Buffalo calf, and the boys Buffalo gains on him. He throws began to run from him. The the medicine mud, and he is soon woman sees the boys running far ahead again. He knew that he and goes to find her son who has had used all of his medicine and turned into a Buffalo calf. She runs didn’t know what would happen down the hill with him and turns next, but he kept running towards herself into a Buffalo, and they run the goal. Just when he was about to away before the husband comes give out, and the other Buffalo were home from hunting. When catching up really close a heavy Braveness can’t find his wife and wind came up and greatly son, someone tells him what assisted and kept the Buffalo far happened.

He does not believe what happened abandoned buildings, roof tops, until he sees their tracks. Braveness and under the open skies. After never hears of them again. some heart ache, sore hips, scoliosis, and a severe case of You travelled extensively vertigo. I decided to return home exploring North America after again. This time for good, at least college, could you tell us a bit for now. about that experience?

I went to college in Durango, What are your plans for the Colorado. When I graduated, my following year? plan was to go home back to Well, I have two back to back Oklahoma for a little time off and shows in June! The first being June then continue to grad school.

8th -July 9th at the DNA Galleries in Oklahoma City and the other When I got home, all my friends June 9th - September 9th at the Art were coming back from their Hall in Oklahoma City. Other than adventures of riding freight trains that I have just had a new baby as and hitch-hiking across of April 21st, so I’ll be raising America. Some were hitch-hiking children and producing more art. across Europe. I thought what have I been missing out on? So I What’s is your most memorable decided to hit the rails and the memory as a child? road too. Although I saw some of Ummm..... I fell out of my Papa’s the most beautiful country side of old pick up truck once. I don’t America that most people don’t get think it had seat belts. I think I was to see, it wasn’t at all a comfortable six. I was sitting by the door, and adventure. I did spend five years when my Momma took a sharp of my life off and on this travelling turn the door flew open and I fell adventure. out! I didn’t get hurt; it was just exciting.

I stayed in places months or weeks at a time. Sometimes staying with www.aliciaclarksart.com friends, or people just wanting to help out. Other times sleeping on rail cars under bridges, cardboard dumpsters, squat houses,

Above: Untitled 3. Opposite: Puffin Sisters

INTERVIEW

/JESSICA INCERTI TELANI Colourful, Bold and Captivating. Those are the three adjectives that crossed our mind when we saw artist Jessica Incerti Telani’s work. Having been commissioned by clients such as German automobile manufacturer Audi, Jessica’s work has a certain dynamism about it that cannot be pinpointed. Her work often incorporates video projections, delivering an immersive experience that cannot be provided by two-dimensional mediums. Jessica talked to us about her favourite pastime as a child, the incorporation of collage in her work and her life in Italy as an artist.

For those of us who are not familiar with your work, could you tell us a bit about yourself and what you do?

My journey in the art practice has developed by itself along with my studies. After my diploma, (at the high school of cultural heritage of Reggio Emilia) where I had the opportunity to discover a scientific approach to the Art, I have attended the University of Design and Communication of Reggio Emilia. There I started to dedicate myself to graphic composition and graphic animation.

Right after my studies, I took part in a Graphic Animation workshop that ended up with my first artwork. After that, I kept studying some topics that I was enjoying to explore, and I started to develop my first performance.

Collage play a big part in your work, has that always been the case?

I have always worked with photo-composition, but it is only recently that I started frequently exploring this technique.

I really like it! I can compose surreal and magic situations.

What inspires you artistically?

Today my research is focused on emotions and feelings. When I delve deeper into a subject my interest automatically moves towards emotions, then I try to translate them into images.

How have the advancements in video projection technology changed your art?

Ever since I started my experience, I mixed the images with technology to create shows where

the video projection had the task of storytelling. To involve the public in an immersive environment, in which to live the story as a protagonist. Today I notice how powerful digital language is and the excellent suggestions it can create.

For example, in the lab activities I do with children (another aspect of my actual work experience) fantastic scenarios arise; children begin to tell tales by mixing fantasies with drawn images. And it’s wonderful to listen to them!

Where are you currently based and why?

For the moment I live in a small town, Reggio Emilia, in the north of Italy where, despite the size, What was the best compliment there are several opportunities for you were given? artistic exchange. At the same time, I like to listen to the meaning that I often follow my projects all over people try to give when they are in Italy and Europe. Travelling and front of an image or video that I’ve meeting other artists is for me an created. Hearing others’ point of essential part of my artistic view is very fascinating. When I see practice.I’m still waiting for the a child completely immobile, with right opportunity to move eyes and mouth wide open, I’m somewhere else, but every day I pray the Universe to let me travel. already happy.

Meeting new people and exploring new places is at the base of If you could summarise your body of work in three words, what would they be?

Emotions, Multimedia and Design

audience’s side, I tried to create my productions. At the moment I’m still figuring out my next move. a dynamic scenery that spoke of mountains because the car model had that target. I was inspired by You recently worked with the snow, ice, speed, and strength.

German automobile I’ve prepared a lot of video manufacturer Audi on a animations with after effects, such presentation for the Q5 and A5 range of cars, how did that come as animations made with 3d particles. In the end, I mixed all the about?

In January Videorent Modena (a layers and added the sound. video service from Modena) asked www.cargocollective.com/Jesitaly me to prepare a video projection show for Audi’s showroom. So, I met the art director that manages the company’s communication.

He explained me the guidelines of the concept and then I started to work. I imagined I was from the

INTERVIEW

/HEESUN SHIN Living and working in New York City, artist Heesun Shin who primarily works in sculpture transforms everyday objects into pieces of art that ignite dialogue about our universal human experience.

Growing up in sunny California after moving to the United States in her early teens Heesun holds a BFA in painting and an MFA in Fine Arts from the School of Visual Arts in New York City.

When did you move to New York and how has that impacted you as an artist?

I was born in Seoul and moved to the United States at the age of 14. I grew up in Torrance, CA, a shore-side city within Los Angeles County. I studied painting at School of Visual Arts in 20002004. After school, I worked as a studio assistant and a graphic designer for a year and went back to LA where my family lives. Lived in LA for six years, I moved back to NY in 2011.

New York offers diverse possibilities and opportunities to grow as a professional artist. To me, NY is a very stimulating city; makes me grow as a professional artist and stay open and awake.

What is the cultural implication of wanting to pursue a career in the arts?

Art has always been essential to me. I was raised in an artistic household. Until I became a teenager, my mother was a sculptor, and my parents ran a foil balloon design company.

They both fostered my creative inclinations. I grew up surrounded by my mother’s minimal artwork, which is made of transparent plexiglass and sleek, reflective materials, metals, and foil balloons.

Ten years ago, my mother started studying jewellery design and became a jewellery designer.

My house started to be filled with semi-precious gemstones, metals, and all the multi-faceted jewellery samples.

I was born in Seoul, South Korea and have also lived in Los Angeles and New York City. These three locations are unique, yet they share similar aesthetics and are all embedded in my consciousness.

Since I have always lived in condensed metropolises, the ubiquitous glittering shapes seem to have made an indelible impact on me. I believe that because of my upbringing, I am naturally attracted to shimmery and lush materials such as rhinestones, beads, reflective plexiglass, and glitter. I think that this attraction is due to both nature and nurture and is infused with nostalgia, a subconscious longing to be ensconced by my warm family and

glistening shapes, both inside the apartment and our on the Avenues.

What was the inspiration behind your body of work titled ‘A Lucid Translation’?

A Lucid Translations is about my daily life - the parts of everyday life that the rest of oftentimes don’t notice or find intriguing beyond surface value – a part of the page from a magazine, a wordplay from a show on TV, the imagery of a salmon skin pattern, a sentence from a book, followed by an exploration into the unconsciousness.

What are your favourite things to paint/draw?

When I paint or draw, I provide a sense of fragility by repeating gestures such as lines, dots, and decorative patterns that are both precise and dainty.

Existing images, whether from literature or memory, assemble into specific details, textures and compositional patterns from the impulses of my unconsciousness.

What does art mean to you as far as your identity is concerned?

I embrace my Asian heritage but also my American life experience, evoking a deliberate cognitive

dissonance that expresses my reality. I engage in artistic conversations with everyday objects, imbuing them with a quirky new energy and deeper meaning.

Do you go back home to Seoul often?

Since my family lives in the US, I go to Los Angeles, CA to see my family instead of going to Seoul.

Oh, I visited Seoul in 2011.

For example, one morning while washing my face, I glanced over at the two toothbrushes in the holder. They were facing one another, and in a bit of anthropomorphic thinking, I suddenly saw them as lovers, leaning in to whisper sweet nothings but then later arguing, breaking up, yet finally reconciling – reflecting the highs and lows of the human experience.

How has it changed since the time that you moved to NY? I moved back to New York from Los Angeles in 2011 to pursue my art practice at a deeper level. I got an MFA in fine arts at School of Visual Arts in 2015 and currently work as a visual artist.

What makes Heesun happy?

The moments that simply the smell of fresh air. I feel alive and thankful.

Would you say your sculptures form the cornerstone of your www.shinheesun.com work as an artist?

I am very into sculptures these days. However, I don’t want to separate my art practice - drawing, painting and sculpture.

They are all related and work for one another. I work in many different ways. I draw or paint that I can’t execute in 3D medium. On the other hand, I create sculptures that I can’t express in drawing.

ARTIST FEATURE

/ISOBEL CORTESE There’s something about miniatures that captivates the child in all of us.

Encapsulating an entire biome in a small space with all its characteristics is a skill in itself. But artist Isobel Cortese takes this a step further. Instead of the usual miniature subject matter, she focuses on more pressing contemporary issues. Like the crisis in Syria through her body of work titled ‘Syria Collection’ in which she documents the obstacles faced by the people in the midst of one of the largest humanitarian crisis of our time, from the treacherous journey across their war-torn country to the bureaucratic challenges they face in Europe.

Another interesting body of work is ‘Beastly Imaginarium’ in which human and animal roles have been reversed, inspired by taxidermy, the bizarre and animal cruelty. It features seals emerging from the ocean to seek revenge on humans alongside other darkly comic hunting scenes in which the humans are the victims. www.isobelcortese.com

Opposite: Run Daddy Run

Previous: Bombed. Above: On Safari.

INTERVIEW

/MANSS AVAL Nature, with all its patterns, textures and colours plays a pivotal role in San Diego based artist Manss Aval’s work. Primarily a fine art photographer, Manss also turns his images into works of art, transforming inanimate objects into faces, designs and complete figures that present our environment in a different, more intimate perspective.

How old were you when you started venturing into photography?

I was 14, but about ten years ago, I began to pursue it more seriously.

considerable time and effort, and requires above else hard work and an attractive and unique signature style. It is a tough business with plenty of competitors and three What would you say are the perks billion camera owners. of living in San Diego, California as an artist?

Do you still get nervous before an If you are a Nature person, San exhibition of your work?

Diego offers a fantastic and very No, not after 90+ shows. diverse scenery.

How important is photographing What advice would you give nature from an archival and photographers that may be conservationist point of view? starting out and need to get their I think it can be vital. Our work out there? environments are rapidly declining It really depends on the individual’s as is and we need efforts, including long-term objective and ambitions: visual documentation to stem this to make an impact will take development.

What are your thoughts on Social Media as a promotional tool for artists?

It is of increasing and critical importance to raise one’s profile, but not equally valid for all artists.

Some artists have large social media followings which do not necessarily translate into actual sales.

What is the hardest aspect of being a photographer?

To connect to an audience that not only appreciates and respects

photography as an art form but is also willing to purchase works at reasonable pricing.

Could you talk us through the creative process behind your abstract paintings?

Much of my earlier paintings were only inspired by visual imagery in my environment: it could be tree bark, a geological formation or water movements. I often see faces, shapes and figures and try to capture them.

My latest interactive series

originate from mundane objects such as rectangles and spirals. I explore how these nominally inanimate elements, can morph into moving, transforming, three-dimensional constructs.

Geometry has always occupied the human mind and dictates the environment we have created.

I grew up in the West, but am intimately connected with Eastern cultures where centuries of artistic expressions focused on calligraphy and intricate geometric patterns.

When ordinary circles can assume

changing, doughnut-shaped faces and rectangles in perceptually transition to hexagons, octagons‌ as elements of a twisting, flexible and growing multigonal boundary of sufficient complexity and depth, the viewer’s eyes begin a journey to wherever it leads them, often returning to the origin to depart for a different destiny.

Beauty in the mundane and complexity in deceiving simplicity.

Could you tell us a bit more about your series of images titled “Genetic Possibilities”?

Trees are living organisms with a mandate for survival and are known to communicate both internally between their different parts as well as with trees in their vicinity to respond to environmental changes or disease.

They are in perpetual motion and display their individuality not only by their branching patterns but, at least in my mind, also with distinct “emotional” expressions.

My survey reveals faces, designs and full figures, elation, melancholy, surprise and sensuality. Stepping into a forest, I always feel I am being observed and monitored. In this series, I explored the impact of genetic manipulations on possible directions for tree structures that we have not seen as yet. Perhaps some trees or molecular biologists may find these outcomes appealing and pursue them as blueprints in the future.

Although my perceptions are obviously exaggerated, it is often surprising to see some very unusual tree structures in Nature.

If you were to recommend three things to do while in San Diego, what would they be?

The scenery, the art life and the local vineyards and microbreweries.

What makes Manss happy?

When I complete work that meets or exceeds my expectations, it is very satisfying. Equally important is when viewers respond positively to it.

I am often surprised how even minute details do not escape their attention. I feel I have accomplished my mission. www.manssaval.com

ARTIST FEATURE

/EUGENIO AZZOLA The majority of us have a career path planned for us at a very young age.

Either because of our parents or an event or circumstance that led us to choose a profession. We’ve all been there, wanting to be an astronaut, palaeontologist or an environmentalist to name a few.

Born in Northern Italy in 1971 artist Eugenio Azzola kept his options open. This gave him the advantage to explore different interests and passions which range from teaching Martial Arts to creating Music and painting. He’s an instructor of Pencak Silat, a complex and polymorphic art from Indonesia. Eugenio has also developed his skills behind the lens, using elements picked up from other disciplines he is currently a qualified Industrial Photographer. While they may all have their distinct virtues, there’s no denying that Eugenio is at the centre of this tree, the branches signifying all his different talents. www.eugenio-azzola.com

Opposite: The only people for me I

Above: Retine Urali. Opposite: The only people for me II.

Above: Variable Urban Prospect II. Opposite: Joey will come II.

INTERVIEW

/IGGY BEERBOWER Humanity tends to leave a mark wherever it goes. There are few places on this planet that are untouched, even less with each passing day.

Whether it’s leftover garbage, a derelict building or the remains of an ancient civilisation there’s traces of us wherever we have been, no matter how hard we try to erase them. Photographer Iggy Beerbower documents this interaction and its impact through her work. Trained under master photography printers Iggy also has experience working as a custom printer for fine artists and has plenty of experience as a darkroom technician for various photography labs.

There’s an undeniable absence of human’s in your photographs, yet the story you are trying to tell involves our real impact, could you tell us a bit more about that?

The absence of people is an important aspect of my work. This keeps the concentration on the place. The aloneness implied by the lack of individuals and the stillness it creates makes it possible for the viewer to have an intimate experience with the image and also allows the exploration of our reactions to the space around us.

Although the work may address issues of society or culture, it is primarily about the place itself. I also find the remnants of human

activity to be far more interesting and telling than the people themselves.

My work focuses on place and how our relationship with it changes over time. In both man-made and natural landscapes, I’m interested in how the use or appearance of these areas evolves. I take on the role of observing, exploring, and recording these everyday histories. In my photographs, time and place are connected. Often there is evidence of what was, what is, and what will be.

By studying our landscapes, we can learn about who we are. This concept, which I describe as

photographing people through their places, can show a life of a particular culture and the changing definition of what is valuable. There is history in our places. By looking at the current state of our environments, we can observe the cultural context in which we consider value.

apply so broadly and I can only truly speak about what I value: respect for one another despite political and cultural difference, education, and the right to express myself and stand up for what I believe.

Out of all the places you have photographed is there one that Our ability to shape the environ- stands out? ment is forever changing the Papakōlea (Green Sands) Beach on kernel of our home, how the Big Island of Hawaii. The first important is it for us to limit the time I visited this area; there was damage we are causing to it? something that took hold of me.

Everything in this world in So much so that I even after I left connected. Just because the damage and went home, I started having happening is not near you, doesn’t dreams about it. mean it won’t affect you. The earth is the only home we have, and if we Why did this place affect me so? don’t take care of it, the result will Why did I have a connection to be our own demise. a place so far away and part of a culture that was not my own? The From your observations what Road to Greens Sands project was three things would you say are not just about photographing the currently valued by us as a race? actual road leading to the beach, This is a difficult question and one but it was also a personal journey that the world is struggling with of exploration. and debating right now.

What is your humble opinion are And thinking about recent events, the traits of a good photographer? it is one where negativity A good photographer has to have quickly comes to mind but now curiosity and be open and sensitive more than ever the positive needs to their surroundings. Some to be embraced. I feel it is impossi- photographs are created with a ble for a single answer to effectively clear set of intentions while others

are spontaneous and based on intuition. But with either approach, I find that photography projects can have a life of their own and they may or may not turn out the way you intended. Sometimes success requires the photographer to let go of preconceived notions and follow where the photographs take you.

History has had countless civilisations that have vanished but left traces of their presence, how do you think people will interpret what we leave behind?

My hope is that the art and science we leave behind will show our curiosity, innovation, and exploration. But I fear our role in the depletion of natural resources, mass extinction of wildlife, and our trash will overshadow anything good we have done.

What are you listening to right now?

- The Head and the Heart (indie-folk band from Seattle).

- Stuff You Should Know podcast Spanish language lessons.

What led you to choose your favorite medium as an artist?

Growing up I was always

interested in the arts, but couldn’t decide on any one medium until I took a photography class in college.

The attraction was immediate, and from that time on, I knew this was what I wanted to do. I continued my studies in photography earning a BFA and an MFA degree.

Currently, I am a professor of photography at a SUNY Potsdam in northern New York state.

My dad was also a significant influence. He always photographed family events and vacations. He made photography a big part of my life and gave me many of my first cameras, which I still have.

You have trained with some renowned photography printers, what did your time with them teach you?

They taught me how mastering a skill could be an art. The image is the outcome of decisions made by the photographer, and those decisions come from the skills the photographer has learned. These are the tools used when creating a photograph because each one has a result that affects both the aesthetics and the meaning of the image.

As Ansel Adams said: “You don’t take a photograph, you make it”.

To answer the next question in your mind: Yes, I was born in Ohio.

You recently started working with www.iggybeerbower.com video, what has that process been like?

The last few months I have been learning an editing software program. From that, I also started to get an understanding of what makes a successful video as far as editing and sequencing.

I still have much to learn but am able to think about and look at subjects in a new way. The Road to Green Sands project was the inspiration to learn video. I felt the still photographs couldn’t adequately convey the power of that environment.

In the future, I would like to go back to Green Sands Beach to concentrate on the video aspect of the project.

What was your favourite candy growing up?

My mum’s homemade Buckeyes which are peanut butter balls partially dipped in chocolate. They resemble the nut of the Ohio Buckeye tree and are popular in the state of Ohio.

INTERVIEW

/JAKE JEFFRIES The impact that pop art has on our society is undeniable. Everyday objects and images that we wouldn’t bat an eyelid at are turned into pieces of art. Artists like Andy Warhol, Roy Lithchenstein, Keith Haring and Richard Hamilton all moved the focus onto celebrities and household names introducing us to a new genre. Falmouth-based artist Jake Jeffries incorporates linear line structures and polka dots with portraits of famous celebrities creating an unmistakable signature. We interviewed Jake for our current issue in which he talks about the cultural impact that pop art has, the stagnation of the genre and originality.

When did your passion for incorporating polka dot patterns in your art begin?

I have always liked designs. I come from a design and fashion background, and patterns have usually always featured in my work over the years, in different ways and forms.

I am a big fan of strong, bold geometric patterns, whether that be lines, houndstooth or big round polka dots. But there is just s omething that I love about polka dots… in the right colour way and at the right size I just think they look great and can have a really nice impact on a piece.

Are there any artists that have had an impact on your work?

Thousands. I love art, so I am always looking at and buying other artists work. I am a big fan of people like Martin Whatson, SNIK, Pure Evil, Tom French - too many great artists out there to mention!

And of course growing up in and around Bristol, Banksy is a huge influence and a hero of mine.

But when I was younger and studying Art, I was a big fan of people like Andy Warhol and Roy Lichtenstein, Rothko and I always loved Picasso’s lines.

But I am influenced by anything and everything.

With my design and fashion background, they both have big influences on me and my work.

Music is a big part of my life and my job, I cannot function without it, old school hip-hop like Biggie, De La Soul, Tribe Called Quest and people like Kendrick Lamar.

But yeah anything, the shape of a building, a pattern on a pillow, the colour of a tree‌ anything and everything can be an influence.

audience‌ and hopefully, have a positive effect on culture and make people think.

What do you think the Pop Art of this decade will say about us in the future?

Well, I am not sure pop art had moved on too much particularly from when it all started. If you look at the early Andy Warhol’s etc. of celebrities and material things/consumer products, then And I believe you should always try they are still what are probably the and gather influences and most popular subjects in pop art inspiration from new and different today. We are all just finding places and not just focus and different ways and techniques to concentrate on your particular produce those images. area.

However maybe we have become How important do you think Pop even more materialistic now, and Art is from a cultural point of obsessions with fame and view? celebrities have become even Shit. Wow. Big question. I believe stronger. Me personally, graffiti and that it can be vital, down the years street art has a significant influence pop art has always influenced other on my work, and I think that will areas, whether that be our advergrow and have a bigger influence tising, consumer brands or media. on pop art in general.

And arguably with pop art and street art largely being the most But it will probably say we are all accessible art genre by the public, it obsessed with material things, probably has the biggest influence. money, becoming famous and just trying to get the most likes and With art not having a censor, then retweets. artists can say their thoughts and opinions and reach a big

What do you love the most about being an artist?

No briefs. No clients saying “can I just get that a little bigger?” You choose where you want your pen, brush or spray paint to go.

feel and think - is right.

Your subject matter ranges from Marilyn Monroe to Muhammad Ali, are there any specific traits you look before you incorporate someone into your art?

What message are you trying to Just people I like or who have had convey through your work? an influence on me really… I love I don’t like to say what message I Muhammad Ali, love everything he am seeking to express in my job, or stood for, his interviews and what my pieces are about. For me, character. art is about what you personally see and feel, not what an artist tells I have always loved Ray Charles you-you should be seeing and and his music, music is a big part feeling. of my life and always has been, I had a few musicians in my family There are no wrong answers - only and grew up with music always right ones. It’s all about what you being played or listened to… so see and feel. there will be a lot more musicians to come I imagine.

I did a piece which was Pikachu a Pokemon being hung by a piece of Marilyn is slightly different, rope and someone asked me the because the Andy Warhol Marilyn same question… It could be me prints are probably the first having a go at the way kids don’t pieces of art that I actually fell in play outside anymore. love with, and they are probably what put me on the art path.

It could be me having a go at technology and televisions. It could How important in your opinion is be the realisation of me getting originality in the art world? old and the end of my youth. Or When I was at University, I wrote a it could be that I just fucking hate dissertation on why no idea is Pokemon. original.

You decide. But whatever you see,

I said I think that in today’s world you will struggle to find an entirely original idea as everything has been done before by someone else and their mate.

However, you can be unique to your surroundings, social circle or industry.

But I do think it’s important to try and bring your own unique style or twist to things and implement them in your work.

I believe it was Picasso who said, “Good artists copy, great artists steal” which was then taken by the man Banksy to be “The bad

artists imitate, the great artists steal.” Maybe I should say “Average artists emulate, great artists, steal.” www.jakearts.com

INTERVIEW

/JEROME CHIA-HORNG LIN Without the presence of water, life on our home planet would be very different. We only have to look at other celestial bodies within our solar system to realise the role it plays. For the past ten years for Taiwanese artist Jerome Chia-Horng this element has been the focus of his work.

This fascination with nature takes form through paintings that highlight the fluidity and formlessness of his subject matter. In our interview with Jerome, we discuss his childhood growing up in Taiwan, the ever-evolving world of art and Salvador Dali.

Tell us a little about your background and how that influences your creative work?

I dreamt of being an artist since I was very young. Fortunately, I had an opportunity to enrol in an art program when I was in junior high school, embarking my art journey since then.

I obtained my BFA from National Taiwan Normal University. Later I further pursued my master degree in computer graphics at Pratt Institute, NYC, USA. This is the period when I start to seriously

learn 3D animation for my profession and later on for my art application. I have been practising 3D animation and design for living many years. Currently, I teach 3D animation, illustration at the Chaoyang University of Technology, Taichung City, Taiwan.

I have adopted the lifestyle as an artist for years. Even when I was doing commercial art projects. I think the ideology and mindset as an artist differentiate me from many people I met.

Above: The Keyhole of Life

The constant urge to create communicate with the material somehow foundationally shapes me and spiritual world. I create art when I am dealing with anything. using the concept to depict much content I want to convey. It lasts It’s part of me. For me, art creation more than I think. I still enjoy is as nature as breathing. I bet ideas about water. For me, it’s about many people felt the motif to create the self-awareness and the something, they just haven’t found conversation with outside world. the channel yet. I am glad I have art It’s the core of my water project. in my life.

What was your childhood like Can you talk to us about your living in Taiwan?

“Water Project.”

I was born in Taipei City. The city It started a decade ago when I was under development back then. travelled to some places with my It was a pretty carefree time for students. On our way back home I me. Although it’s a city, I can play gazed upon the rain flowing along around in a rather big diameter the windows of our tour bus. I saw without much safety concern. the vivid image of sparkling and colourful of neon lights through My family moved several times intensive water drops. when I was in elementary school.

We moved to a small village in the It was amazingly beautiful which south-east part of Taiwan when I inspired me to paint water. Then I was in third grade. did several paintings with the topic, I felt in love deeply with I was so excited to live in the water. I found out many incredicountryside, so I could do plenty of ble traits possessed by water and wild explorations. I always learned the reason why water is remember it as one of my essential to life forms. I became ob- happiest period of my lifetime. We sessed with water more and more. lived there for more than a year. I always think Nature has its magical The deeper I tap into the topic, the power to nourish and relieve more discovery I obtain via the everybody. process. Water represents the mysterious substance to

Above: The Journey of Water Within Roses

We moved back to Taipei city once again. I started to understand the reason why we moved a lot has to do my father’s job. He failed at several attempts and returned to where he began. We moved back to the house we used to own, but we became tenants this time.

The impact came later for me. But I would say I had a lot of happy memories when I was little.

How as the art world changed since you first started out until today?

When I start to learn art since age 13, I was trained in a traditional way. Back then Taiwan has less contact with the western mainstream art trend.

Japanese culture is predominant over Asia in general. Plus Taiwan has been colonised by Japan during World War II. Therefore the remains are widely spread across the region. It’s somehow conservative when it comes to art creation and style acceptance in Taiwan. There were few art museums and galleries I could visit. During 80’s and 90’s, Taiwan has gone through an economically booming stage.

Arising art museums, galleries and art institutes suddenly appeared everywhere. It was the first moment for the general public to get touch with art after years of desperation and hardship.

I went to New York for my master degree in the year 1997. I finally have the chance to embrace the globalised contemporary art world in NYC. It’s a truly diverse region welcoming all styles of art. That’s the reason why I love about New York.

than ever. Often I have no clue where to set my goal while it’s full of possibilities. I have to say I like the art world now better because that’s why I become an artist. I want to explore in an unknown and adventurous field. That’s the charm of art in essence.

I can’t stop wondering the difference between Taiwan and New York. The art trend was introduced to Taiwan, and it’s like a different wave flowing into an area against their own ecosystem. You can see clearly two forces entwining with each other, one is the vanguard style with intensive discussion, and another is the overwhelming impressionist style swept over art market.

In your opinion what role do artists have in society?

I have various views on this subject throughout different eras. I used to believe artists are more like educators, trying to introduce and to affect general public with the beauty of arts and leading them to an aesthetically better life.

As I moved back to Taiwan 15 years ago, naturally I switch my focus into the local art scene. The art world in Taiwan diversifies into many directions.

I see this as a mature symbol as a fully developed art market. The globalisation phenomena consist of all factors such as the internet, mobile technology, emerging art fairs and auctions push art world into a new direction. Now it’s easy to get lost in the puzzling art world

Gradually I learn the complicated mechanism of how the society functions. To some extent, I start to feel the vague role of artists can be identified in many ways. If we try to compare modern life with people who lived centuries ago.

There was no TV, internet, mobile phone and limited resources of entertainment for them.

The still forms of art could easily amaze them with greater impact in every aspect. Nowadays we have too many options, and nobody seems to have the need to obtain aesthetic sense.

The majority of people have their own ideas about art, design, fashion, entertainment and etc. In a word, an individual artist has fewer influences on the recipients.

artist. The definition of my role will be defined by my art.

Salvador Dali, is probably the most famous surrealist painter, who in your opinion as being just Especially the overwhelming as profound in that field of art? development of all kind of media We all know Salvador Dali is a key have push art into a very difficult artist in surrealism. Besides him, position than ever. People pursuit Magritte Rene, Max Ernst, Man their art forms according to their Ray and Joan Miro also contribute own definition which leaves lesser a lot to surrealistic movement. For room for professional artists to take me, it inspired me in my art part. For instance, virtually direction. I think every art lover everyone has a camera taking has a particular preference when unlimited numbers of photos they learn art in a different stage. daily. It’s not a common phenomenon in history. Artists have to In the beginning, I was trained in rethink their role in the society. an academic manner, doing realistic practices all the time. Of If we look at it in a consumerism course, I was impressed by masters point of view. A lot of utopia with their exceptional skills in creations embraced by artists don’t realistic paintings. Later on when fit into the supply chain at all. But I explored possibilities in art. It I didn’t set the goal to chase the seems fantasy subjects are more commercial benefit, to begin with. appealing to me. I think the choice Otherwise, I would have chosen reflects my mentality. other money making business instead.

What is the most challenging aspect of being a professional I often ponder this question, and it artist today? genuinely confuses me. It’s hard to Well, it’s always difficult to be a insist in a particular manner. I have professional artist no matter when to struggle with every situation in and where. I think the biggest responding to this issue. At the end challenge is always the survival of the day, I just try to be a great issue.

Statistics indicates that overall consumption of art increases for the past few decades, but the average income of artists doesn’t increase. More people are attracted to the field and become artists instead. The patronage infrastructure continues to evolve into a much more complex system.

The supply exceeds demand overall. It’s tough to evaluate how unbalanced the condition really is.

One of the factors is that we have a broader range of art activities than ever. The line is extremely blurry and unclear.

The identity of the artist is also constantly redefined. A different group of people think art with different content and meanings.

So called professional artist is not equivalent to self-sufficient art maker.

Often amateur artists who possessed exceptional performance are defined as professional ones.

The loose definition of art itself leads to a very challenge state for artists. What goal should I pursuit and what my future holds? I think of these issues all the time.

What exciting projects are you currently working on?

Executing art projects don’t excite me, the process of exhibition stimulates me. Usually, after a major exhibition, I feel exhausted and experience an emotional void for a while. Currently, I continuously work on my water project with technique experiments.

I have tried many options, and I think there might be more to explore. The topic is deep and rich in many ways. I don’t have specific exhibition plan at this point. I need to work on more new artworks for now. www.jeromelin.net

Above: The ocean is bluer on the other globe.

INTERVIEW

/MARIE ANINE MØLLER We are nomadic as a species, our survival has often relied on vast movements of people to find better opportunities with regards to work, food, shelter and meaning. Early civilisations were merely nomadic tribes, moving with the change of seasons and contingency. If you think about it that way, far little has changed. We are currently facing a vast exodus of mankind, the likes of which we have not seen before. Artist Marie Anine Møller, who is originally from Copenhagen moved to Glasgow, Scotland to study Fine Art Photography at the Glasgow School of Art. She believes in creating a picture of nostalgia placed in what is not her home but where she grew up. In our interview with her, she talks about the effects of her own personal migration to Scotland, the popularity of 35mm film in photography and places to find inspiration.

What are you trying to convey through your work?

Photography possess direct contradictions in its fundamentals because it has the ability to question truth, which is something that appeals to me. For me, it’s a tool to uncover those little possible facts in our surroundings.

Where are you currently based?

I am currently located in Glasgow, where I am finishing my BA (Hons). In June I move back home to Copenhagen.

Could you tell us a bit more about your body of images titled “positive/negative”, and what the inspiration was behind it?

I hope my work creates something I tend to return to subjects and ideas concerning contradictions, in people’s minds that can melt layers and truth, what changes is their thoughts with mine and in that way create yet another possible the wrapping. My main subject is based on the notion that one pole truth. doesn’t work without the other,

as they exist only in their polarity when the opposite defines them. This thematic is what I in “positive/negative” try to express through my photography of fragments and my texts of reflections and memories, which are my two poles, that I try to put together to create a third possible space or truth. I attempt, by using fragments, to make the viewer create his or her own continuation of how the story I start might progress.

years in politics, and the result is a tendency to an extreme division in society in order to relate to one another, or in order to avoid connecting to one another, instead of reaching mutual understanding by mixing everybody together and embracing our differences.

I think the past is important to gaze upon as it teaches us about who we are, and what we are capable of, the 35 mm film is my favourite medium because when put in the context of today’s There seems to be a resurgence modern subject matter it exposes of 35mm film photography these a pole or a time pocket that tells its days, why do you think that is the own story. case?

I guess time has this loop-quality Do you think living in a country to it that can both be positive and that has a completely different negative -We all have a tendency to culture to where you were born look backwards up the stream, gives you a new perspective? using nostalgia as a tool and as Yes, I believe I have learned a lot inspiration, to continue adding from living outside of Denmark. new interpretations of what we already know.

Not only on a personal level where I have expanded my understandThis I find very useful, as I believe, ing of myself and what I possess, to evolve you need more interpre- but also on an artistic level, where I tations of the same thought. have experienced how different Unfortunately, the world we live approaches there is to expression, in today, is not just jumping back and what might be interpreted one in time for inspiration from the way in Denmark has a whole old photographic medium, it also different meaning in the UK. seems to have jumped back 70

This I find crucial when it comes to art, as I believe it is in the differences you find the answers to combine rather than avoid these differences and through that enhance mutual understanding.

couple of times and always had this feeling of belonging when I was there. But right now I am just looking forward to moving back home to Copenhagen and see what happens from there.

What are your favourite places to find inspiration?

As a child, my family travelled a lot in Eastern Europe, and I find a lot of inspiration when I go there. It’s the mix of nostalgia and the possible time pockets you can find when you travel in Eastern Europe that appeals to me.

What does a typical day for Marie look like?

The last few months have been very long days for me in the studio, putting up exhibitions as preparation for my Degree show in June. A typical day consists of getting out of bed, going to the studio, drinking a lot of coffee and putting together the jigsaw of coordination and play.

What led you to choose photography as your media of choice? www.marieaninemoller.com I spent years trying out different approaches to a possible expression, but after a friend of my mothers had given me his old analogue Canon camera, I started taking more and more pictures and found out that it was the medium of expression that kept coming back to me and which came naturally to me.

If you could move to another city in the world, where would it be and why?

I want to live in New York at some point in my life. I have been there a

INTERVIEW

/SOFIA BOTERO Life has a way of putting us in situations that have a profound effect on us for years to come. Sofia Botero’s formative years in Columbia in the 80’s and 90’s have certainly shaped her as a person personally and artistically. Currently living in Boston, Massachusetts, Sofia’s medium ranges from painting, sound and installation and the intersections between them coming together to create spaces that engage the viewer both intuitively and emotionally.

Could you tell us a bit about your formative years in Columbia in the 80’s and 90’s?

I grew up in Bogotá during the 80’s and 90’s, at the height of the war on drugs. Certainly, the history of violence in the country has been a great influence on my work and my life, for many reasons: Because the bombs exploded in the city, because we all saw loved ones die, because the very idea of going outside was frightening, even though Bogotá was not the hardest hit.

I believe that those years of fear and anxiety brought us a

normalcy of violence in the day to day, it permeated our private life so we became accustomed to it. It is here that I find my greatest inspiration.

In the private and intimate narratives of daily life which continues despite these terrible stories.

Do you ever wonder what path you would have taken in life if you were not exposed to the degree of aggression and violence as a child?

In fact, I had not thought about it.

My childhood experiences shaped my interests and my understanding of the world and life; they make me who I am. Surely, I would be a different person had I not witnessed or lived these events, but I don’t really wonder about that, I can’t imagine a different path.

daughter. It started as an attempt to reconcile different facets of life: being a mother, wife, housekeeper and artist.

It explores the frustration and fear associated with exhausting routines, where daily repetition of activities yields one day exactly like What are the positives of living in another, successively, to the point a city like Boston? where time seems to stand still, and Every city is different, that’s one feels outworn, speechless and something I really love. I specially lethargic. appreciated the great cultural diversity in Boston, that is Your installation ‘To the Faithful something that Bogota does not Survivors’ deals with the have, it was really enriching and heartbreaking moment when the eye-opening. I also cherish the remains of the loved ones caught slower pace of Boston. in the large-scale violence of Columbia are returned to their Bogota is a loud and hectic city, it loved ones, a tender subject if has a very fast pace, and it can be there was one. How does one even overwhelming. I enjoyed the slower begin to convey those emotions pace of a smaller city, the through art? possibility to have time to do and It’s a tough subject, no doubt. I am see a lot of things. fortunate because I have no close family members missing or killed We all seem to be caught up in the in the context of that conflict. monotony of our everyday lives, However, I am witness to the pain your sound installation titled that grips us all as a country, ‘Still Life’s’ tackles that subject, the despair and sadness, I can’t could you tell us a bit more about deny them, in fact, I feel the need it? to make them visible.

“Still Lives” is the outcome of many hours and days of recordings of my daily life following the birth of my

This installation piece is an attempt, however unsuccessful, to understand, or grasp, what, how and why happened. The audio in this installation, female voices trying to express their ideas or collect the thoughts, emphasises the failure of language, a moment of speechlessness, it echoes my own inability to fathom and articulate this scenario, which is beyond my understanding.

Do you still have family in Columbia? How often do you go home to see them?

Yes, most of my family is in Colombia. When I was abroad, I tried to visit Colombia once a year.

A couple of years ago I moved back to Bogota, and it has been a very interesting and enriching experience to return after several years away.

What lessons has art taught you?

I think perhaps the most important lesson I’ve learned from art is honesty, to live for the truth of what I believe and to show it in my work, to know that it is okay to be raw and ignore the rules.

I have also learned to solve problems of all kinds and to stop freaking out over the perfect work

of art. Over time I have learned to stay calm and have fun. One thing that has cost me to learn is to take more risks and experiment, to be fearless and understand both, mistakes and failures, as part of the bigger picture.

Do you have a ritual you follow before bedtime?

Not really, it’s not a ritual, more like a routine. I like to dine early, although I do not usually go to bed early. I dine, then I probably work a while, and I usually read or watch TV, it helps me disconnect from the day, from work, from the to-do lists. www.sofiabotero.com

INTERVIEW

/JEREMIE BALDOCCHI When you first lay your eyes on artist Jeremie Baldocchi’s paintings, you are immediately drawn towards the vivid colours used and the fact they are missing heads. This is then replaced with a sense of wonder and enchantment, the fairy tale like atmosphere is layered with emotions both contended and dark. In this interview, the French artist talks about the purpose behind his art, his definition of success and his goals for the year.

What in your opinion is the purpose of art?

Questioning people, making them think over or being only decorative, that’s the aim or Art. As for me, I would like to make people smile with my paintings, I’d like to make people happy with the different subjects I paint and the colours I use.

that they live in their body like they would in jail? Despite the vivid scenes, they are suffering, they are in pain. In fact, looking at the same thing, people don’t see the same, don’t feel the same. This is fascinating.

Most of the characters in your paintings do not have heads, could you tell us a bit more about Some of these people will recognise that? something they already lived, some I think the body is the mirror of others dreams’ recollection. But our thoughts. It is the external how many of them will notice that reflection of our soul, envelops the the characters are not that happy, accumulated weight of each year,

it is dented by the incidents of our life and it sponge as much our joys as our sufferings.

thousands of sketches body I do in advance, so I do not think I created new.

It is the central theme of my work.

If I could, I would only make bodies without any artifice around.

I say that the head of my characters is not physically present, but it does exist. It’s up to you to imagine

Once the final design is ready, I am researching material, and I also created new ones. I stick it directly on the canvas by layering paper, acrylic paint and ink.

Despite all the colours there is a sense of sadness in some of your images, is that a metaphor for something?

My inspirations are based on people’s everyday habits and patterns. I would also like to succeed in fixing the feeling of despair that nestles in each of us, the part of our being who is insatiably lacking, that part of us that is never happy, even if all the ingredients are united, the total happiness is not at the rendezvous.

It is this melancholy that interests me and that I would like to represent visually.

How long does a painting usually take you?

When I am inspired on a subject, I do sketches framing, and I think the colours would be most appropriate. Then I make a selection, as a casting, among the

The longest is to have an idea, then it is to define the feature of the session and then last it is the realisation. A table can take me a week to 2 months, it also depends on the size.

Was there an event in your life that has a profound impact on you as an artist?

Following a dental problem, I had an operation that forced me to keep the mouth closed while recovering.

I lost 40 kilos in two months.

This physical transformation is reflected in my creations I become obsessed with the distortions and deformities of the body. At the same time, I suffered two accidents at six-month intervals that will make me lose 50% sensitivity of two fingers of the left hand and part of the sensitive nature of my knees. My characters follow my physical evolution:

They too now have the deformed knees.

Where or who do you get your inspiration from?

Of course, I’m influenced by many artists. At first, during my adolescence, I was very inspired by the works of Pierre et Gilles, David LaChapelle or those of Jeff Koons, particularly because of the colours and how they highlight the ugly things, at first sight, this fascinated me.

Then my desires turned to artists and work more tortured as the work of Francis Bacon, Lucian Freud, Jean Rustin, Jenny Saville and Leigh Bowery. But I also like the various other artists such as Bottero universe, Valerio Adami, Mark Ryden, Voutch or Ray Caesar.

I am very interested in photography and film world where I draw a lot of ideas.

Could you tell us about your first book?

I made a book about all the little pleasures and the little hassles that one has in our everyday life I love that Who is Tata Joe? Could you tell us a bit about her and the influence

he had on you?

It was the nurse who kept me as a child. His apartment was ancient and very outdated, it gave me the taste to use old tapestry in my paintings.

What does success mean to you as an artist?

I do not believe in success but rather in fashion. This is why it is necessary to continually learn to renew and find new ideas or new subjects of work. If my art makes smile a person, it is for me already a small victory.

Do you have any goals for this year?

I have just finished several paintings for the annual opening of my workshop to the public which takes place on 10 and 11 June 2017 I have exhibited a lot in recent years in Asia and the United States, so I will do a few exhibitions and focus on my work. www.jeremiebaldocchi.com

INTERVIEW

/CLARE SMITH Being born in a multi-heritage household certainly has its advantages. Artist Clare Smith’s Chinese/English descent has given her a varied perspective with regards to many factors, especially art. Clare is also the co-founder of Dover Arts Development which involves working with different artists, curation, organisation and connecting artists across Dover. In her interview with CreativPaper Clare talks about what she loves most about being an artist and the beauty of collaboration.

Could you tell us a bit about Dover Arts Development which we believe you are a co-founder of?

Dover Arts Development - DAD for short - has just celebrated its tenth anniversary. It is led by myself and Joanna Jones, a painter and artist, and we met at an exhibition at the Institute of Physics in London organised by the London Biennale.

involved inviting over 150 artists from Kent, the UK and Europe, to work with us on over 30 projects, all in the public realm.

“We are committed to producing contemporary art of excellence, supporting artists’ practice, stimulating cultural activity and feeding into Dover’s economy. We aim, with values of inclusiveness, thoughtful partnership and emotional responsibility, to We started DAD as a way of strengthen communities and building a life we could understand widen perspectives through as artists, in Dover, which has creative thinking and actions.”

Dover Arts Development are Cultural producers, acting as catalysts for cultural/artistic activity (innovation) Developing long-term relationships to nurture inclusive cultural partnerships (collaboration) Inspiring art and cultural approach to building community resilience (sense of place) Nurturing the talent in individuals (development/growth/ sustainability) Is there much of an art scene in Dover?

Dover’s art scene is growing; there has always been a lively music scene in Dover and less of a tradition of visual arts, but there is now much more activity. I share a studio with four other visual artists, and we have started a programme of open studios combined with an exhibition involving a changing selection of invited artists from Dover, Canterbury, Folkestone and further afield.

Another initiative called Dover Big Local, a Lottery-funded resident-led programme over 10-years, has also played a key role: I happen to have the arts and culture lead on the executive committee, and in that role I have been able to support a number of projects and in particular the Student Makers’ Market which is a street-based training programme for young designer-makers wanting to work freelance and/or set up their own creative businesses. The Student Makers’ Market is now based in Dover and is helping to support and develop local talent.

A new creative collective has also just sprung up, providing artists with an opportunity to meet and get together for a drink once a month and it is going from strength to strength.

Another reason for the more vibrant art scene is the development of good relations with One of the reasons for the growth grassroots arts organisations and in activity is that some younger larger arts institutions in artists from Dover are settling in Folkestone, Canterbury and the town after graduating from Margate and efforts made by the courses at UCA in Canterbury and University for the Creative Arts thanks to DAD, Dover has become in Canterbury to raise students’ a credible place to practice. awareness of the East Kent arts ecology.

And finally, Dover now has its own Banksy - the Brexit-inspired mural appeared overnight on 6 May this year and shows a metalworker chipping away at a star on the EU flag. It has caused great excitement in the town with lots of people going to see it for themselves and take photos, while the news of its appearance has been in the national newspapers.

and a refusal to accept simplistic answers.

How has having a Chinese/English heritage affected your art?

Has one culture played a more pivotal role than the other?

Good question; I think working with and against my Chinese heritage has had a more central role; having been to boarding school in England with all the What is the most challenging ‘socialisation’ that takes place aspect of being an artist? through such a system, I’ve always Keeping going and not giving up had to work out what being half in the face of extreme doubt over Chinese or half of any cultural the validity of one’s work and/or its identity even means. quality!

On a personal level, it means I have I have spent time not being an had to work out what difficulties artist and wanting to be an might be cultural and what issues artist, and that was in a way much are just the issues anyone might harder; perhaps not economically have in working out who they are. but I found it tough and frustrating to not be doing what I really At a time when nationalism is on wanted to do. the rise, this seems to be quite a pertinent question - what does In the end, I think artists have to an identity based on nationality believe in the value of their work: it or ethnic group categories mean isn’t just that the arts can be seen as at all? I think there is something a tool for healing, improving one can call a culture that relates wellbeing, raising aspiration and to ethnicity and that is preferable bringing communities together but to nationality but it is really hard more that art is ultimately about to know what that is, other than a communication across borders, view of the world or way of freedom and also about complexity thinking and acting that is in part

instilled through tradition, one’s parents and the society one grows up in. And it is problematic – so often, cultural identity is used as a way of defining one’s own values by denigrating other cultures or people or nationalities – difference as a negative. So in some ways, my work could be seen as being about that struggle.

ing project, I continued to use Chinese paper but stitched squares in red thread on paper; 7 other artists helped me make the work, and each one did it differently making this project very much about the individual within the collective.

In your body of work titled “Hybrid Landscapes” you talk A lot of people seeing my work do about creating a collage as a way though register a sense of an of connecting disparate parts of oriental aesthetic, which is no the self and re-ordering chaos, doubt something that has been could you elaborate on that? instilled in me through my parents’ I think this in part relates to the collection of Chinese and Japanese question above and also I spent ceramics, artworks and other much of my life thinking that the artefacts ... different parts of myself didn’t link up: so for example at school I was I like to use Chinese paper and good at languages and art and felt brushes if I use a brush, and for my I had to split the academic from work ‘There are no words’ I used the artistic, so I went to Cambridge Chinese character practice paper as University to study Chinese, which I liked the fit between the my teachers and parents thought Modernist grid and the Chinese was a great solution to this sense of ready-squared paper; only the split. squares were often a bit wonky which I also liked. I cut the squares But actually, although it wasn’t a out, not very precisely, and also waste of time, it wasn’t the solution! sewed them back in though not So many people think that art does where they came from. I was not encompass the academic … thinking about language, loss of which is a mistake as I discovered language, being silenced, not fitting later when i went to art school as a mature student. Actually, art is the For Stitched Time, a shared-mak- great ‘unifier’ it creates bridges

and connections – as has often been said art is the glue that binds everything together.

Funnily enough, the collage work started quite recently, and I think it was a reaction to what feel like massive changes going on in the world; an eruption of an old order, which I don’t know how to resist except by making art.

What aspect do you love the most about being an artist?

I love the way art stimulates conversations with so many different people and being an artist lets me have conversations I wouldn’t otherwise have; I get to socialise and enjoy it even though I would not have described myself as gregarious art makes it all easier.

The Festival takes place on 15 and 16 July at Boldshaves Garden near Woodchurch. I’ve been visiting the garden almost every week since the end of April, taking photos, gathering footage for a film I want to make and doing some observational monochrome drawings on site as well as monoprints in the studio. This is a new direction for me.

The film will explore different types of movement, which I see as a form of drawing, leaves moving in the wind, the gardener digging (go-pro footage), my arm moving as I draw (go-pro), walking and possibly even a dog rolling on the grass. I am writing a blog as a way of tracking the process.

How important do you think it is I love how being an artist is about for an artist to market themselves freedom to experiment and play, and their work? try out new things and step into It is very important although the the unknown; I like not being tied results aren’t always immediate. I down to one thing, and I like the have been steadily blogging away fact that there is always something on an artists newsletter, sending interesting to do and think about. out tweets and my own newsletter for several years now but I think At the moment I am working as an this is now beginning to pay off. artist in residence for the Wealden I think it is also important to be Literary Festival, thanks to a generous and not just market one’s recommendation from last year’s own work but to use social media artist in residence, Kate Beaugie. to share news about fellow artists

and to comment on work one likes.

Other channels are through Axisweb and an artists newsletter I have found too that sending an email via the website of an artist I don’t know but whose work I find interesting can lead to new opportunities.

Collaboration is something you firmly believe in, what was the best collaboration you had so far?

Well, Dover Arts Development is an actual and long-standing collaboration and absolutely the best collaboration which cuts across the personal and the professional; regarding artworks then the collaboration between myself, Joanna Jones and Helen Lindon is the one I would choose.

We started working together in 2015 and last year produced a film together, A Parable for Endeavour.

The film is shot on location in Dover. It was commissioned for SALT, Festival of the Sea and Environment, Folkestone 2016 and previewed as part of the exhibition “As far as we can see” at The Lindon Space and at King’s College Cambridge on International women’s day, 2017.

In the film the three of us are both

in front of and behind the camera and in the editing room; the sea is another character in the film. It has prompted truly inspiring and wide-ranging discussion covering everything from scale, to beauty, to collaboration, agency, slowness, the difficulties of interpretation, vulnerability and the importance of care.

I think this is important at a time when there is again so much focus on the individual - with the UK election looking like a presidential race, it feels as if those who have a vested interest in an ego-led, mefirst society are doing everything they can to make sure a more federal, consensual style of government never sees the light of day.

And as we know, individuals can be put on a pedestal one day and dragged off it the next - there is no such thing as a single success; no-one can operate alone. We read other people’s stories and look at other artists’ work to see what we identify with and what we don’t and in that process realise that we are like and not like others. www.studio308ltd.co.uk

ARTIST FEATURE

/JOANNA BAVERO It might seem like society has progressed in some parts of the world, technology has made everything more accessible and connected us in ways that we could have never imagined just a mere decade ago, but sadly there are many topics that are taboo. The ability to express our sexuality and sexual energy still comes under scrutiny in many cultures.

Artist Joanna Bavero’s work tends to focus on these topics.

Emotionally charged and tense yet highly personal her work presents female sexuality in its pure form, candid and original. Challenging stigmas and stereotypes. www.joannabavero.com

www.CreativPaper.com