ISSUE 3 - Winter ’10 - Preview by Dark Beauty

W HAT ’ S T H E IS S UE PAGE PAGE PAGE PAGE PAGE PAGE PAGE PAGE PAGE PAGE PAGE PAGE PAGE PAGE PAGE PAGE PAGE PAGE PAGE PAGE PAGE PAGE PAGE PAGE PAGE PAGE PAGE PAGE PAGE

2 - __ D ebra L amb - I nner D eamon 3 - __ Kra fty Kitty W hite W itch 6 - 9 J essica Joslin 10 - 11 Drea Merritt 12 - 13 Paige REynolds 14 - 19 La urie Lipton 20 - 23 Kris Kuksi 24 - 25 Ketty Righetto Manip ulations 26 - 27 KLOSKA 30 - 33 D ividing M e 34 - 35 Winter Wolf 38 - 41 ENZO Mondejar 42 - 45 H. JAMES HO FF 46 - 47 VISUM 48 - 51 Kim Roy 52 - 57 LAURA DARK 58 - 61 LADY SYMPHONIA 62 - 65 PHOTOS B Y L UNA 67 - __ DJ GRINDE 68 - 69 BIANCA Malise 70 - 71 CD REVIEWS 72 - 73 MOLLY CRABAPPLE C O VERED: Top her A d am P hot ography 74 - 75 CEXN Mod el : K urt i s Dam- Mi k k el sen MUA : Bara K rej ci k ova 78 - 81 STARKALL S t yl i ng: N i ma S hi raz S t yl e 82 - 83 ENIGMA FASHIONS Ed i t i ng: H ouse of C hen 84 - 91 THOMAS E. OGDEN 92 - 93 NIMAS CLOSET I N TR OD U C I N G QR SC AN C OD E S 94 - 95 TOPHERS DRINKS Int rod uci ng Q R cod es i n Dark Beaut y. 96 - 97 BROWN SU GAR BEE We wi l l b e p rovi d i ng ad d i t i onal cont ent

St a ff To p h er A d am Bus enb urg E d i t o r- i n - C h i e f, Ar tist, Ph otogr a ph e r, O wn e r

f or your vi ewi ng and read i ng p l easure. S i mp l y t ak e a p i ct ure of a Q R cod e accomp anyi ng an art i cl e wi t h your mob i l e p hone usi ng a Q R cod e read er ap p ; and you’l l have i nst ant access t o our onl i ne cont ent , vi d eos, ord eri ng and many ot her f eat u res. Re a d m o re a b o u t Q R s c a n s a t h t t p : / / www. g o o g l e .co m / h e l p/ m a p s / f a v o r i t e p l a c e s / b u s i n e s s / b a rc o d e . h t m l .

Carl Chen O n l i n e E d i t o r, We b De ve lope r, De sign e r, Co-O wn e r

C on t r i b u t o r s M i c h e l l e G allag her - R e side n t Witc h D e b r a L amb - R e side n t Ph ysic N i m a Sh i r a z - S tyle E ditor, Con te n t Sc ou t, Mode l DJ G rind Bianca M alis e Karen Kard ell

Co n t a c t D a r k B e a u ty Ma ga zin e 3 4 0 5 He le n Stre e t, # 3 E me r yville , CA 9 4 6 0 8 3 4 7 - AV NTG R D ( 2 8 6 -8 4 7 3 )

Submissions i n f o @ da r kbe a u tyma g.c om

www.darkbeautymag.com

U se your mob i l e d evi ce t o d onat e t o Sea S hep herd . S t op Whal i ng!

F r o m Th e G GRINCH R I NC H Oh ho w I lo v e t h e h o l i d a y s ! E s p e c i al l y when i t s c o ld o ut a nd y o u g e t t o w e a r a l l y o u r amaz i ng wi nt e r g e a r, c u d d l e u p b y t h e f i re p l a c e and l i st en t o a ll t ha t s hit t y C h ri s t m a s m u s i c . A l t h o ugh i t seems we c o nt inue t o l o o s e w h a t t h e re a l m e ani ng b ehi nd t he ho lida y s i s . Wha t is t he re a l m e a n i n g o f t h e s e a s on? Is i t gi ving e xpe ns iv e g i f t s t o p e o p l e w h o d o n ’t ap p reci at e t he m o r s ha ri n g t h e t h i n g s t h a t m a t t e r t he most ?

S o ls t ic e is ab o u t g u i d i n g t h e l i g h t b a c k so t he harv e s t c o uld b e g ro w n a g a i n f o r t h e n ex t year. The v illa g e r s wo u l d s h a re t h e i r h a rv e s t as gi f t s and t he n lig ht a p i n e t re e w i t h c a n d l e s t o gui d e t he s un ba c k. Th i s i s y o u r t i m e , w i t h t h e envi ronment in t he s t a t e i t s i n , w e d o n ’t n e e d t o b uy more, we ne e d t o re c y c l e , re - g i f t a n d re u s e . I am not sugg e s t ing t ha t y o u g i v e y o u r o l d s o c k s t o your nei ghbo r, unle s s y o u w a n t t o . I a m s a y i n g, t ak e what y o u ha v e a n d g i f t i t f o rw a rd . I b e t i n t he end , your g e nuine g ift i n g w i l l p u t a f a r m o re h u m b l e smi l e on t he re c ipie n t ’s f a c e t h a n i f g i f t i n g t h e m an i t em of e m pt y m e a n i n g t h a t s e rv e s n o p u rp o s e t o t hem. I lo v e ne w s t u ff , b u t I l o v e b u y i n g i t f or mysel f k no wing wh a t i t i s I N E E D. I h a v e a wi sh f or t hi s ho lida y s e a s o n ; i t i s f o r p e o p l e t o s u p port a cause ins t e a d o f p u rc h a s i n g a n a c t u a l g i f t i .e. sup p ort t he S e a S hep h e rd a n d s a v e t h e w h a l es, or vol unt e e r t he ir t im e t o s o m e o n e w h o i s i n n eed . O r read a n o r pha n a h o l i d a y s t o ry l i k e t h e G ri n ch. It s t i me fo r us t o bri n g o u r G R E E N b a c k i n t o our p ock et s a nd le t t he u n i v e rs e g i v e b a c k t o u s w hi l e we st op po llut ing her w i t h a l l o f t h e u n w a n t e d S H IT t hat we g e t fo r Chr is t m a s . I a m c a s t ing m y S o l s t i c e S p e l l s o n y ou t hi s S eas o n. M a y t he c o l d n i p y o u r n o s e a n d t h e f i re warm y o ur t o e s , ea t a c o o k i e a n d d ri n k a l ot of S ’N og. M o s t o f a ll, re m e m b e r w h a t t h e re a s o n of a season is whe n y o u g i v e , o r s h a re , o r re - g i f t t hi s wi nt er. Yo u will be w a rm e d b y k n o w i n g y o u d i d your p art a nd bro ug ht a s m i l e t o w a rm e d h e a rt t hi s year, i ns t e a d o f t he g re e d y c o rp o ra t i o n s . Ha ppy S o ls t i c e , T he Gr inc h, To p h e r A d a m

TO G: C arl C hen M U A : Mi z z Ma k e u p

I wa nt t o e n c o u ra g e y o u t o h a v e a GREEN S O LS T ICE . Gre en S o l s t i c e i s a c o n c e p t t h at my p art ne r a nd I c re a t e d a f e w y e a rs a g o a n d never had t he o ut le t t o k i c k - s t a rt i t t h ro u g h . We woul d l i k e t o e nc o ur a ge y o u a l l t o g i v e b a c k , to st op t hi s s illy g if t buy i n g p ra c t i c e a n d g e t b a c k t o t he root o f wha t s ha ri n g a n d g i v i n g i s . G R E E N S O LS TIC E is a pr a c t ic e o f g i v i n g t h i n g s t h a t c o me f rom your he a r t . T hings t h a t a re h a n d c ra f t e d or mad e b y y o ur o wn do i n g i n a n y w a y. B i g re t a i l corp orat i ons do n’t c a re ab o u t y o u , t h e y c a re a b o u t t hei r p rod uc t s a le s a n d p ro f i t m a rg i n . L e a v i n g u s l ef t i n more de bt a nd wi t h f i n a n c i a l s i t u a t i o n s t o sort out each y e a r.

To l ear n more ab out Green S ol st i ce, visit us onl i ne at www.d ark b eaut ymag.com. S hare your ideas wi t h ot hers and l et s st art gi vi ng b ack today. Happ y H ol i d ays.

WH IT E NOISE D

espair. . .emptine s s . . . nothingne s s . The numb n e s s ha s hit. Staring blank ly into s p a c e , b r inging to min d t h e P ink Floyd son g, only I‘ m not f e e ling tha t c omf or t a b l e . T he m ind w ist f ully re me mb e r s a time not too long a g o tha t w as f ull of hope a nd e xc ite d a ntic ip a tion f o r t h e future. Bu t t hat mom e nt ha s p a s s e d , a nd now a ll t h a t is left is bew ildermen t of w ha t ha p p e ne d to the po s i tive o utlook that seem e d und y ing a nd ne v e r- e nd ing. T h e bro a d smile is gone, the tw ink le in the e y e ha s d im m e d , a nd the ref lection of i t ha s los t its f lic k e r. H o w can a person g o f rom r a h- r a h to b la h- b la h i n a fla sh? Was the ch eer le a d e r op timis m b ut a f a ç a de ? A falsehood? How cou ld a n a r tis t’s re nd e r ing go f ro m a c a nvas of vibrant colo r to a c ha otic me s s of gre y w i t h i n a da y? Sh ould t he the me of “ P s y c ho” or “ The Exo rc i s t ” start playing in the bac k ground ? Tha t might a c tual l y be c o m fo rt ing. Do I star t c utting my s e lf , jus t f or the re a s surance that I’m still a liv e ? I think I’ m a little too o l d t o be ta king that practice up . M a y b e I s hould d o tha t t h i n g , tre pa nation, made f a mous b y A ma nd a F e ild ing, wh e re yo u drill a small hole in y our s k ull to giv e the b r a in s o m e brea thing room. It’s s up p os e d to b e v e r y e nlighte n i n g . Just g et an elect ric d r ill a nd go a t it! D rinking and drugs wo n’t he lp , b e c a us e I ’ m a lre a d y f e e l ing numb, an d being h igh on top of it d oe s n’t s ound t h a t a ppe a ling. Besides, I le f t thos e d a y s b e hind me ba c k in the early 90 ’s. I could p op a c oup le of Ty le nol N i g h t T im e PMs- - nope, not s trong e nough. Don’t ha v e a cc e s s to anythin g st ronger, a nd w ould n‘ t w a nt it a ny w a y. S t u c k laying in the dark, eyes op e n, look ing a t nothing, w i s h i n g tha t a spirit wou ld sh ow its e lf jus t f or k ic k s . M a y b e a n a lie n abdu ction wou ld p rov id e s ome f or m of lif e a ff i r m ing ex perien ce. A nea r- d e a th e xp e r ie nc e - - y e a h, t h a t ’s wha t I n eed! Tur ning you r attent ion to othe r p e op le ’s mis f or tune s , a n d o ffe ring h elp, or at le a s t c omf or t, s e e ms to b e the o n l y sure -fire way to st op w or r y ing s o muc h a b out y ou r s e l f . O nc e the f ocus is en tire ly on one ’s ow n s e lf , a nd no o n e e lse’s, lif e seems less w or th liv ing. Of c our s e , there i s the sur vival in st inct whic h is e s s e ntia l, b ut b e y ond h a v ing a job (or some ot he r f or m of inc ome ), f ood , s h e l t e r, physic al saf ety, an d s ome c re a ture c omf or ts , e v e r y t h i n g e lse is gravy. S o , why don’t w e all jus t k ill our s e lv e s ? We ll, f or o n e , the re are a lot of people w ho a re ge nuine ly ha p p y. Ma y be no t all t he t ime, bu t e nough to w he re the y ne v e r q u e s tio n their exist ence. F or the re s t of us , thos e w h o do question our existence , w ha t’s k e e p ing us he re ? F o r m e, it’s the u nkn ow n. I’ m jus t d y ing of c ur ios ity. H o w c a n I check ou t w hen s ome thing re a lly c ool might be j u s t a ro und t he cor n er. E ve n in my darkest h our, a p r is one r of a hor r ib ly a b u s i v e relatio nsh ip, n ot kno w ing if I w ould ha v e a n unt i m e l y de a th via a mysterious c a r a c c id e nt d ue to f a ulty b r a k e s , o r a severe case of f o od p ois oning (w ink , w ink ), I k n e w de e p dow n that I rea lly d id w a nt to liv e , w hile a t t h e sa m e t ime, all I t hou ght a b out w a s d y ing. “ P le a s e G o d, just take me, just let me d ie . “ w a s my d a ily ma ntr a f o r a c o uple of years. I ju s t w a nte d to c e a s e liv ing. Fa st forward t o wh en I w a s home le s s , ha nging out wi t h o the r homeless people , ge tting f re e me a ls a t the “ St e pUp o n 2 nd St reet” f a c ility loc a te d in S a nta M o n i c a ,

C a l i f o r n i a , a n d t e l l i n g m y c o u n s e l o r s t h e be s t a n d m o st e ff i c i e n t wa y t o c o m m i t s u i c i d e ( wh i c h b y t h e wa y, i s t o s e v e r t h e m a j o r a r t e r i e s l o c a t e d r i g h t a l o n g t h e s i des o f t h e p u bi c bo n e a re a ) I h a d a s n e a k y s u s pi c i o n t h a t I h ad a d e s t i n y t o f u l f i l l . I j u s t di dn ’t k n o w i f I h a d t h e en erg y a n d de s i re t o c a r r y i t o u t . I m e a n s e r i o u s l y --i s i t real l y wo r t h a l l t h e h a s s l e ? ! I ’ m s t i l l n o t s u re wh a t m y d est i n y i s , b u t I f i g u re i f I s t a y a l i v e l o n g e n o u g h , m a y be it ’l l reveal itself to me. Ba c k t o l a y i n g o n m y b e d i n t h e da r k , s t a r i n g i n t o t h e b l a c k n e s s , m y m i n d wa n d e r i n g , g o i n g o v e r t h e l ast few d a y ’s e v e n t s , c o m i n g t o re s t o n a f e w k e y m o m e n t s. H o w b a d wi l l t h e re pe rc u s s i o n s be f o r t h e u n d i p l o m a t i c, u n e d i t e d, a n d p re m a t u re c o m m e n t s I ’ v e wr i t t e n a n d sai d? I n t h e q u i e t o f t h e n i g h t , I be c o m e k e e n l y a wa re o f t h e s o u n d o f s i l e n c e , m i x e d t o g e t h e r wi t h t h e di s t i n ct bu zz o f o rg a n i c e l e c t r i c i t y e m a n a t i n g f ro m m y o wn bo d y, m y o wn b e i n g . T h e h i g h f re q u e n c y o f t h e wh i t e n o i s e sen ds g o o d v i b r a t i o n s t h ro u g h o u t m y e n t i re be i n g , g i v i n g m e a t i n y j o l t , j u s t e n o u g h t o t e l l m e t h a t I a m a l i v e , an d I’m blissfully lulled to sleep. By D e br a L a m b

10/11/10

Ph o t o : To p h e r Ada m

K ra f t y K itt y Th e Wh ite W itc h

u le, w hen the d a r k ha lf of the y e a r re l i n q u i s h e s t h e ligh t half . Th e lon gest n ight of the y e a r le a v e s us in w a i t f o r re b i r t h of the Su n King. This time re q uire s p a tie n c e a n d d e e p u nderst anding of s e lf . It f orc e s us to b e u n c o m f o r t a b l e wit hin t he rea lms of the d imly lit hus tle a n d b u s t l e a n d leaves us ques tioning our re la tions hip s w i t h f a m i l y a n d f rien ds. With this in mind , I’ v e p ut toge ther a l i t t l e h o l i day D.I.Y. n ot only to k e e p y our ha nd s b us y b u t pe r h a ps t o sw itch the s tre s s f ul mind ge a r s into a l a n g u a g e t h a t is su re to brin g more s mile s . S o light y our b o n f i re s , y o u r wh ite candles a nd toa s t w a r m c id e r to s o m e c o o l Yu l e t idin gs, t he Yule Log. In t radit ion, the Yule log s hould b e ha r v e s t e d f ro m t h e h ouseholders la nd or giv e n a s a gif t. No w, I f o r o n e don’t see h ow ma ny c ity d w e lle r s c a n p r a ct i c a l l y o bt a i n t his magical ta b le p ie c e w ithout s a id la nd a t t h e i r di s posal. I do sugge s t tha t if y ou go look ing in t h e wo o d f o r an oak or pin e log to b r ing home , p le a s e a s k t h e s p i r i t s of the land if it’s a p p rop r ia te to ta k e a nd l e a v e a s m a l l gif t in ret ur n . W ha t y ou a s k ? P e r ha p s a n o ff e r i n g o f t re e or f low er see d s s hould y ou b e a b le to get y o u r h a n ds on some. If not, a s trong p romis e on the wi n t e r wi n d t o recycle may d o the tr ic k . On ce you hav e the y our off ic ia l Yule log i t i s f i r s t i m portant t o f latte n it on one s id e . The n, c ar v e o u t ro o m f or three cand le s . If y ou c a n’t me lt s ome wa x f ro m t h e can dles to ho ld the m in p la c e or us e he a v y -du t y c r a f t glu e. May I s ugge s t us ing w hite or gold c a n dl e s t o i n v i t e t he sun ’s retur n. Decorate the Yule log w ith things tha t a re a p p ro p r i a t e t o your lif e or things y ou’ d lik e to a ttr a c t a t t h i s t i m e . D i d you kn ow that mis tle toe ha s b e e n us e d s in c e be f o re t h e

bi r t h o f C h r i s t f o r t h e be l i e f t h a t i t c u re d an yt h i n g even i n f e r t i l i t y. Po i n s e t t i a s a n d h o l l y a re o t h e r sacred t ypi cal Yu l e d é c o r. Bu t y o u c a n a l s o m a k e t h e l o g co m pl et el y p e r s o n a l t o y o u a n d t h i n g s y o u ’ d l i k e t o at t r act du r i n g t h e da r k s e a s o n . T h i s t i m e o f y e a r i t ’s t r adi t i o n t o do s pe l l wo r k o f Pe a c e , h a r m o n y a n d i n c re a s ed h appi n ess. W h i c h i s m u c h n e e de d wi t h t h e a m o u n t o f st ress t h e h o l i d a y s t e n d t o i n v i t e i n t o o u r l i v e s . Becau se o f t h i s, I do n o t bu r n m y l o g r i g h t a wa y bu t a f t e r deco r at i n g i t , p l a c e i t o n t h e k i t c h e n t a b l e s o t h a t i t i s ch arg ed fro m d i n n e r wi t h f a m i l y a n d f r i e n d s . F i n a l l y, a n d t h i s i s j u s t a s u g g e s t i o n , wh en I do set t h e Yu l e l o g a b l a z e I g a z e i n m e di t a t i o n a t t h e co l o r s o f l i g h t t h a t po u r f ro m i t a n d s e n d e a c h a n d e v e r y g u est t h at h as g r a c e d m y h o u s e p e a c e , l o v e a n d l u c k f o r t h e u pco m i n g n e w y e a r. I t a l s o h e l ps m e t o u n wi n d a f t er a bu sy fam i l y f u n c t i o n , o n e t h a t u s u a l l y wo u l d l e a v e m e reach i n g fo r a b o t t l e o f b l a c k b e r r y br a n dy a n d K l e e n e x . At t h e ro o t o f t h e di m l y l i t s e a s o n , i t i s o f t en t h e dreaded c e l e b r a t i o n t h a t c a n t r u l y m o v e u s . I f we ch o o se t o n o t d a r k e n o u r s e l v e s wi t h i n , wh i c h i s a n a u t o mat i c respo n se t o t h e c o s m o s a n d e n v i ro n m e n t a t t h i s t i m e an d o pen o u r h e a r t s , t h a t wi l l b r i n g u s l i g h t . N o m a t t e r wh a t y o u r f e e l i n g s t o wa rd t h i s h o l i day seas o n , wh e t h e r y o u b e l i e v e t h a t i n du s t r y h as co l o red t h e h o l i d a y s wi t h c o r po r a t e g re e d o r t h a t t h e h o l i day i n i t sel f i s e x h a u s t i n g . L e a v i n g y o u r h e a r t o p e n t o po ssi bi l i t y a n d t h e re t u r n o f l i g h t c a n br i n g y o u t h e ki n d o f peace t h a t ’s u n e x pe c t e d y e t n o t i m po s s i b l e . Us e yo u r Yu l e L o g a s a s t a r t i n g p o i n t . L e t t h e da r k s e a s o n be a t i m e o f qu e s t i o n i n g . L e t t h e re t u r n o f t h e l i g h t b r i n g t o y o u t h e an sw er s yo u a re l o o k i n g f o r.

Be ne d i c t ( A bov e ) A nt i q ue ha rd w a re a nd fi nd i ngs , b r a s s M od e l T hor ns , b one , s t ee l , g l o v e l e a t he r, gl a s s e y e s . 14”x 8 ”x 1 3 ” Stardust (Right) Antique brass hardware and findings, brass, silver, velvet, wood, glove leather, glass eyes. 9”x8”x9”

essica, we a re s o thr ille d to ha v e y ou t a k e t h e t i m e f rom you r late s t ga lle r y op e ning to b e apa r t o f D a r k Beaut y Magazine . Your w or k is s o a ma zing a n d s pe a k s f or itself bu t its a lw a y s nic e to ge t in the m i n d o f a br i l lian t artist an d f ind out w he re the ir c re a tiv e m a s t e r pi e c es come f rom. W he n I f ir s t s a w y our w or k I c o u l dn ’t s t o p starring at it a nd f ound my s e lf d rooling ove r e a c h p i e c e an d all t he atte ntion to d e ta il y ou s p e nd m a k i n g e a c h piece you cre a te .

u n d e r s t a n d t h a t . I n t e r m s o f a n i m a l r i g h t s , I w o u l d i m ag i n e t h a t i t i s f a r m o re da m n i n g t h a t I e n j o y a g o o d st eak f ro m t i m e t o t i m e , t h a n t h e f a c t t h a t I c o l l ect bo n es.

Wh at lead yo u to the a r t style you d o tod a y ? Wa s t h e re a momen t in your c a re e r b uild ing tha t le a d y o u t o m a k in g sculptures or w a s it som e thing tha t you l a n de d i n b y accident ?

O c c a s i o n a l l y, I do c o m e a c ro s s p e o pl e who fi n d m y w o r k o bj e c t i o n a b l e be c a u s e i t i n c o r po r a t e s a n i m al bo n es, bu t i t ’s u s u a l l y b e c a u s e t h e y h a v e n ’t t a k e n t he t i m e t o fi n d o u t a b o u t wh a t I d o . O f t e n , t h e y wi l l re act i n t h e sam e wa y t o a p i e c e t h a t i n c o r p o r a t e s a b s o l u t el y n o o rg an i c m a t e r i a l ( t h e s k u l l s a re s o m e t i m e s re p l i c as) as o n e t h at h a s re a l bo n e s . T h a t ’s b a s i c a l l y j u s t a l ack o f i n fo r m at i o n . . . o r wi l l f u l i g n o r a n c e . I t h i n k t h a t t o so m eo n e w h o l o o k s c l o s e l y, i t i s c l e a r t h a t wh a t I d o i s a refl ect i o n o f m y l o v e a n d re s pe c t f o r a n i m a l s . I do n ’t ever t r y t o “ do d g e t h e t o pi c ” u n l e s s i t i s c l e a r l y s o m eo n e w h o w an t s only to vent, not listen.

A. Well, may b e it a ll s ta r te d w ith a b unny s k u l l o n m y win dowsill, whic h e v e ntua lly a c q uire d a c ro wn o f br a s s f eat hers and a c olla r of s ilv e r s tud s . M a y b e i t wa s f i n d in g a perf ect s e t of Vic tor ia n milline r y b i rd t a x i d e r m y, wh ich n eeded to ha v e a b od y to b e ma d e f o r i t . Ma y be I spen t f ar too muc h time a t Na tur a l His t o r y Mu s e u m s wh en I w as a little gir l. M a y b e it w a s b e c a us e i t m a de m e sad t o see de a d s ongb ird s on the ground , a n d e v e n m o re sad t o see t he m s w e p t up w ith the tr a s h, s o I de c i de d t o t each myse lf ta xid e r my s o I c ould k e e p t h e m . Ma y b e it was becaus e I ’ m a s c ie nc e ne rd w ho re a l l y l o v e s t o build t hin gs. P rob a b ly, it w a s a p e r f e c t st o r m o f a l l o f t hese thin gs.

T h e re i s a pe c u l i a r i n t i m a c y i n wo r k i n g wi t h act u al an i m al b o n e s . Tr a c e s o f t h e a n i m a l ’s l i f e a re o f t e n l eft em bedded wi t h i n i t ’s b o n e s . So m e t i m e s I wi l l f i n d a bo n e t h at h as p i e c e s o f b u c k s h o t e m be dde d wi t h i n i t , t h e bo n e g ro w s u p a ro u n d t h e s h a r p m e t a l t o e n c a s e i t l i k e a pear l . T h at t e l l s m e t h a t t h e a n i m a l h a d a r u n -i n wi t h a h u n t er an d l i v e d, b u t pe r h a ps wi t h a l i m p . I t ’s a s u r v ivo r. Ol der an i m a l s o f t e n s h o w s i g n s o f o s t e o p o ro s i s a n d g u m di sease. E s pe c i a l l y wi t h o l d e r p e t s , t h e s e s i g n s o f t h e di sco m fo r t o f a g e a re a pe r f e c t l y re a s o n a bl e e x c u s e fo r t h ei r cu rm u d g e o n l y b e h a v i o r. I ’ m f a s c i n a t e d b y t hese cl u es an d i t ’s o n e o f t h e re a s o n s t h a t , wh e n e v e r p o ssi bl e, I ch o o se t o wo r k wi t h a c t u a l bo n e s , r a t h e r t h a n re p l i cas.

Wh at do you c a ll your ne w e st c olle c tion a n d w h a t i n spired you to b uild the se ne w e st p ie c e s? We re t h e y p i e c es you knew you ha d to ma ke f rom your p a s t c o l l e c t i o n s or did t hey co m e to you a f te r your la st se r i e s ?

We a l w a y s l o v e t o a s k s u c c e s s f u l a r t i s t wh at t h ey co u l d l e n d t o n e w a n d r i s i n g a r t i s t t o i n s pi re t h em. Wh at co u l d y o u l e a v e w i t h o u r re a d e r s a bo u t a s p i r i n g t o beco me a t r u e a r t i s t a n d f o l l o w i n g w h a t s e t s y o u a p ar t as a u n i qu e a r t i s t a n d n o t f e a r i n g w h a t o t h e r s t h i n k a bo u t t h e t reat m e n t s , t o o l s a n d a r t t h e y c re a t e w i t h ?

A. My curren t e xhib it “ Hy b r id s ” is a c olle ct i o n o f c re a t ures t hat co mb ine a s p e c ts of s e v e r a l d i ff e re n t s p e cies and/or inte re s ting muta tions lik e p oly c e p h a l y ( t wo h eads) or h e te roc hromia (d iff e re ntly c olo re d e y e s ) . I suppose that a ll of my w or k to d a te c ould b e c o n sidered hybrids of s ome s or t, s inc e the y inte g r a t e an imal f orms w ith me ta lw or k , b ut I’ m ta k in g i t a bit f urt her. W ith this s e r ie s , I d e c id e d to fo cu s on creature s tha t a re n’t a d ire c t tr a ns la t ion of a part ic ula r a nima l s p e c ie s into my world, t hey a re a b it more f a nc if ul. My tropical b ird Od ilia ha s tw o he a d s , join ed at the c r a nium, p luma ge ma d e of an tiqu e silver a nd e mb os s e d b r a s s f e a thers, an d toes ma d e f rom b r a s s b ulle t c a s ing s . Clio & L oci a re a p a ir of c a tlik e b e a s ts . C l i o is or nat ely ha r ne s s e d , p ulling Loc i, a p o l y cephalic an d he te roc hromic c a t, on a c irc u s cart . There is a ls o a s e r ie s of monk e y - c a t s , wh ich incorpor a te the f e line gr a c e of c a ts an d t he curly t ails , round e d e a r s a nd imp is hne s s o f mon keys, as w e ll a s q uite a f e w othe r s to ro u n d ou t the men age r ie . I am su re you ha ve m a ny m ixe d e m otions w h e n w o r k in g wit h sku lls a nd the re ma ins of the se b e l o v e d a n i m a l s you u se. Do y ou ge t a lot of f la c k f rom usin g p i e c e s a n d remains of an im a ls? How d o you d od ge t h e t o p i c a n d deal with ind ivid ua ls who d on’t se e the be a u t y i n w h a t is lef t rather tha n the mor b id id e a of using bo n e s f ro m a carcass? A. If t here is one thing tha t is c e r ta in, it i s t h a t all livin g t hin gs e v e ntua lly d ie . Lif e a nd de a t h ch ase each othe r in a n e nd le s s c y c le , th e re isn’t anythin g tha t c a n b e d one to c ha nge th a t . Wh en an imals d ie , the y le a v e b e hind tr a c e s : bones, f eather s , f ur, s he lls a nd e xos k e le ton s . I somet imes c olle c t the s e things . I d on’t k i l l a n i m a l s t o use in my w or k . The mind - s e t of a c ol l e c t o r i s v e r y diff erent that tha t of a hunte r, I think tha t m o s t pe o p l e

A. I f y o u ’ re a n a r t i s t , y o u k n o w i t de e p i n y o u r g u t . It i sn ’t a choice so m u c h a s a cal l i n g . I wo u ld say t h at , especially when

C l io & L o c i A nt i q ue b r a s s ha rd w a re a nd fi nd i ngs , p a i nt e d w ood , b r a s s , s i l v e r, b o n e , b e a d s , c ha i n, gl ov e l e a t he r, gl a s s e y e s . 18” x 1 1 ”x 3 6 ”

A l leg ro A n t i q u e bra ss h a rd wa re a nd finding s, bo ne, br ass, silver, g lo ve leat he r, gl a s s e y es. 7” x4 ” x6 ”

858 A nt i q ue ha rd w a re , s i l v er, b ra s s , b one , v e l v e t , gl ov e l e a t h e r, g l a s s e y e s . Br a s s , b one , s a x o p h o n e p a r t s , e m b roi d e re d v e l ve t , g l o v e l e a t he r, gl a s s e y e s . 14” x 1 0 ” x 1 0 ”

M ilo Anti q ue br ass hardware and finding s, paint ed s t e e l , b one , gl ove leat her, silver, g lass eyes. 13”x7”x12”

I o f t e n m e e t pe o p l e a t m y o pe n i n g s wh o do n at e bo n es f o r u s e i n m y wo r k . Be c a u s e s k u l l s a re i n h eren t l y beau t i f u l o bj e c t s , pe o p l e t e n d t o c o l l e c t t h e m, n o t w an t i n g t o l e a v e t h e m be h i n d o n a h i k i n g t r a i l or o n a beach , t h e n re a l i z e t h a t t h e y a re n ’t s u re wh a t t o do w i t h t h em . T h a t wo r k s o u t v e r y we l l f o r m e ! I a l s o (par t i cu l ar l y fo r n o n -i n di g e n o u s s p e c i e s ) re l y o n o s t e o l o gi cal su ppl i er s t o h e l p m e l o c a t e s k u l l s . T h e y h a v e c o n n ect i o n s an d fac i l i t i e s t h a t I c a n ’t a c c e s s s i n c e I l i v e i n a ci t y. Fo r exa m pl e , a l o c a l f a r m e r h a s a p i g t h a t g i v e s bi r t h t o a l i t t er o f s t i l l -bo r n s , t h e y c a l l m y c o n t a c t , wh o has t an ks fu l l o f l i v e d e r m e s t i d be e t l e s re a d y t o c l e a n t h e bo n es. Wi t h i n a we e k , I h a v e f e t a l p i g s k u l l s t o wo r k wi t h . It ’s qu i t e a m a z i n g , a n d I a l s o e n j o y t h e r a n d o m n e s s o f w ai t i n g t o h e a r wh a t wi l l s u r f a c e n e x t . I t m i g h t s o u n d g r i m , w ai t i n g f o r t h i n g s t o d i e , b u t I wo u l d l i k e t o t h i n k t h at t h ey wo u l d n ’t m i n d h a v i n g a s e c o n d l i f e . Wo u l d y o u c a l l y o u r s e l f a m e t a l s p e c i a l i s t o r a s cu l pt o r, y o u h a v e m a s t e re d t h e b e a u t y o f m a s k i n g an d bl en di n g e a c h p i e c e w i t h s u c h a m a zi n g a do r n m e nt s i t s l i k e y o u h a v e t o h a v e s e v e r a l s k i l l s t o d o w h a t y o u man ag e t o do , w h a t k i n d o f a r t i s t do y o u c a l l y o u r s e l f ?

starting out, i t ’s important t o remember t h a t b ei n g a n a r t ist is a v oc a t i o n , bu t n o t necessarily a c a re e r. I t t a k e s t i m e and love an d b lood a nd the n more t i m e t o c re a t e somet hin g tha t is uniq ue ly y our s . You ne e d t o b e s t ro n g , st ubbor n and re le ntle s s to s ta y the c our s e f o r t h e l o n g hau l. But ...if y ou s tic k to y our guns a nd w o r k y o u r a s s off , success w ill (e v e ntua lly ) c ome . I s e e a l o t o f y o u n g artist s led as tr a y b y the f e e ling tha t the y n e e d t o c re ate somethin g ma r k e ta b le r ight a w a y. Hon e s t l y, I do n ’t thin k t hat t he w or ld ne e d s more a r t tha t is “ i n s p i re d b y ” more est ablishe d a r tis ts . The re is a p la c e i n t h e m a r k e t f or that , bu t it’s a n e ntire ly d iff e re nt b e a s t, s o t o s p e a k . You n eed t o f ind a w a y to q uie t the v oic es a ro u n d y o u (wh ether int er na l or e xte r na l) tha t c r itic ize a n d e v a l u a t e , and f ocus on w ha te v e r it is tha t y ou lov e to d o m o re t h a n anythin g else. I t’s jus t tha t s imp le ( a nd that d i ff i c u l t ! ) Also, as old- f a s hione d a s it s ound s , I w ould s u g g e s t t h a t you ng artist s le a r n a tr a d e to f a ll b a c k on. T h e re a re j o bs that on e can d o w ith v e r y little e xp e r ie nc e , b u t t h e y t e n d to pay poorly a nd e a t up a lot of p re c ious t i m e . A l o t o f art student s ta k e job s in re ta il, think ing t h a t t h e y wi l l draw in their s k e tc hb ook w hile it’s s low, b u t f e w a c t u a l l y st ick wit h that. R a the r tha n b e ing nour is hin g , i t e n d s u p bein g drain ing. If y ou c hoos e a c a re e r tha t i s s e pa r a t e f rom your artw or k , b ut s ome how f e e d s it, y o u c a n m a k e a livin g by le a r ning re le v a nt s k ills . Throu g h t h e y e a r s , I’ve done all s or ts of c r a zy job s , a nd in mo s t c a s e s I ’ v e lear ned thin gs tha t I’ v e b e e n a b le to b r ing b a c k t o m y artw ork: Archite c tur a l mod e ls , p rod uc t p rot o t y p e s , t r a de sh ow display s , mov ie s e ts . . . I w ould n’t b e a b l e t o m a k e the work t hat I d o if I ha d n’t ha d the p a tie n c e a n d di s c i plin e to mast e r s o ma ny d iff e re nt tr a d e s . Where do you f ind or loc a te m ost of you r s o u rc e s f o r these pieces you c re a te ? I s it d iff ic ult to c u r a t e s k u l l s and un iqu e b one s f or your m a ste r p ie c e s? A. When I sta r te d off , the b one s w e re a ll on e s t h a t I c o l lected myself or ha d b e e n f ound b y f r ie nd s . N o wa d a y s ,

A. I u s u a l l y p re f e r n o t t o pu t l a be l s o n m y sel f o r m y w o r k. Si n c e wh a t I m a k e i s d i m e n s i o n a l , i t f a l l s i n t o t h e cat e g o r y o f s c u l p t u re . T h a t wo r k s j u s t f i n e f or m e. T h e t ype o f wo r k t h a t I do c e r t a i n l y i n c o r po r a t e s s k i l l s fro m m an y di ff e re n t a re n a s . I ’ m i n t e g r a t i n g qu i t e a var i et y o f m at er i a l s , a n d e a c h o f t h e m re q u i re s a di ff e ren t t ech n i qu e. L e a t h e r, f e a t h e r s , f u r, f a br i c , b o n e , wo o d, br ass, si l ver, s t e e l a n d g l a s s ; Al l m u s t be t re a t e d a cco rdi n g t o t h e qu a l i t i e s o f t h a t m a t e r i a l . As a re s u l t , I ’ v e n eeded t o bec o m e a m e t a l -s m i t h , p a t t e r n m a k e r, l e a t her- w o r ker, en g i n e e r, a n d qu i t e a f e w o t h e r t h i n g s t h a t pro babl y do n ’t h a v e a n a m e . F o r t u n a t e l y, I ’ m t h e s o r t wh o en j o ys a g o o d c h a l l e n g e , s o wo r k i n g wi t h m a t e r i a l s t h a t requ i re m e t o be a j a c k -o f -a l l -t r a de s s u i t s m e b e a u t i f u l l y. W h a t w o rds o f e n c o u r a g e m e n t c a n y o u l eav e wi t h o u r re a d e r s a bo u t w h a t y o u be l i e v e D a r k Be a ut y mean s ? A. I wo u l d i m a g i n e t h a t i t i s a b o u t f i n di n g beau t y i n o bs c u re p l a c e s . Tr u s t i n g y o u r o wn pe r s o n a l co n cept i o n o f be a u t y o v e r t r a di t i o n a l d e f i n i t i o n s . Ab o v e al l , st r i vi n g t o c re a t e s o m e t h i n g t r u l y u n i qu e a n d u t t e r l y di st i n ct . J e s s i c a , I a m s u re o u r re a de r s w i l l l o v e l o o k i n g at y o u r w o r k . I k n o w y o u j u s t h a d a n o pe n i n g i n L A wi t h L au r i e L i p t o n h o w w a s t h a t ? I ro n i c a l l y e n o u g h s h e i s al s o i n t h i s m o n t h s D a r k Be a u t y m a g a zi n e a n d I l o v e t o k n o w h o w y o u r s h o w w e n t a n d w h a t i t w a s l i k e t o b e s i de by s i de by a n o t h e r b r i l l i a n t a r t i s t . A re y o u r pi e c e s o n t o u r aft er L A a n d w h e re c a n o u r re a d e r s f i n d o u t m o re abo u t y o u , are your pieces for sale? A. T h a n k y o u , i t wa s wo n de r f u l ! I ’ v e a d m ired L au r i e L i pt o n ’s e x qu i s i t e g r a ph i t e d r a wi n g s f o r m a n y year s, so i t wa s a de l i c i o u s h o n o r t o be a bl e t o s h o w si de by si de wi t h h e r a t L a L u z d e J e s u s G a l l e r y. T h i s par t i cu l ar sh o w wi l l n o t be t r a v e l i n g , b u t I h a v e u pc o m i n g sh o w s at Fi reC a t Pro j e c t s i n C h i c a g o , We x l e r G a l l e r y i n P h i l adel ph i a, a n d t h e F S U Mu s e u m o f F i n e Ar t s i n Ta l l ah assee. To i n qu i re a b o u t a v a i l a b l e wo r k s , p l e a s e c o n t act L a L u z de J e s u s G a l l e r y o r L i s a Se t t e G a l l e r y. T h a n k y o u a g a i n f o r t a k i n g t i m e o u t t o s pen d wi t h u s an d o u r re a de r s , i t s s u c h a pl e a s u re t o t a l k wi t h awes o me da r k t a l e n t a n d b r i n g t h e n i g h t l i g h t s o n s u ch awes o me n e w a r t i s t i n o u r Av a n t -G a rd c u l t u re . I am defi an t l y a f a n a n d c a n ’t w a i t t o s e e w h a t y o u h a v e n ex t . T h an k y o u s o m u c h . Yo u c a n f i n d o u t m o re a b o u t J es s i ca Jo s l i n at h t t p : / / w w w. j e s s i c a j o s l i n . c o m / a l o n g w i t h h er h u s ban ds a m a zi n g pa i n t i n g s . Su c h a n a w e s o m e h o u seh o l d t o be i n . Top he r A d a m 2010

DREW

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And rew J o na t ha n Me rri t t a s p i re s t o e a r n t h e t i t l e o f art is t , a nd he w o rk s h a rd t o c o n v e y a broad sp e c tr um o f f e e lin g s . F e e l i n g s l i k e L o n e l i ness, vani ty, a nd e v e n c o n t e n t m e n t . H e p a v e s a hi ghway i n t o t he e m o t ion a l w o rl d ( v i s u a l l y ) b y c re at i ng e mp at hy in t he v ie w e r. T h e u s e o f m i x e d m e d i ums, te xture s a nd int e re s t i n g c o l o r c o m b i n a t i o n s , crea te s a v is ua l bio g r a p h y a ro u n d t h e s u b j e c t , s howi n g who t he y a re , a n d w h e re t h e y ’v e b e e n . H i s e ver-c ha ng ing bo dy o f w o rk u t i l i z e s a v a s t a rray of l i te rature a nd t he ore t i c a l re f e re n c e w h i l e p u t t i ng c l assic s ubje c t s in a c o n t e m p o ra ry s e t t i n g s and e nvi ro nme nt s . He w o rk s f ro m h i s s t u d i o g a l l ery, T he Unde rg ro und Em b a s s y, i n N e w M e x i c o .

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Paige Rey nold s

artists, musicians and filmmakers.

aige Rey nold s is a Ca na d ia n v is ua l a r t i s t b a s e d ou t of Toront o, Onta r io. He r a r tis tic ta le nts we re re c ogn ized early on a nd s he w on s e v e r a l a r t an d c re a t i v i t y awards. Paige s tud ie d a c a d e mic s in U niv e r s i t y e a r n i n g a Bach elor of A r ts b ut ne v e r ga v e up he r a r t wo r k . I n h e r spare t ime yo u c ould n’t p r y the p a intb r us h o u t o f h e r h and and sh e re a lize d he r tr ue p a s s ion in cre a t i v e a r t s . She t hen decid e d to f ur the r he r a r t s tud ie s c o m pl e t i n g a F in e Art s progr a m a t S he r id a n Colle ge . So o n a f t e r, she studied 3 D M od e ling a nd Vis ua l Eff e c ts p ro d u c t i o n at Humber Colle ge .

Pa i g e h a s h a d h e r a r t o n d i s pl a y a n d h a s so l d ar t wo r k t o p r i v a t e c l i e n t s . Sh e wa s re c e n t l y ch o sen t o be pa r t o f D AMN E D I I I , a c o l l e c t i v e a r t e x h i b i t i n D et ro i t , Mi c h i g a n a l o n g wi t h L e o n a rd N i m o y a n d th e l at e M arcel Ma rc e a u ( pre v i o u s l y f e a t u r i n g Ma r i l y n Ma n so n an d H .R. G i g e r ) . Pa i g e h a s be g u n t o u s e h e r a r t i s t i c an d creat i ve s k i l l s i n t h e e n t e r t a i n m e n t i n du s t r y wo r k i n g as a di g i t al m a t t e p a i n t e r o n a s h o r t h o r ro r f i l m wi t h En i t y Fi l m s an d i s c u r re n t l y wo r k i n g o n n e w pro j e c t s s t i l l i n pro du ct i o n .

She began wo r k ing mos tly w ith p e nc ils , ink s a n d acrylics h ow e v e r s he ha s p rogre s s e d to mi x e d m e di a , phot ograph y, a nd d igita l a r t. P a ige ’s a r tw o r k i s s u r re a l , dark, f igurat iv e , me ta p hor ic a l a nd e motion a l . H e r m a i n in f luen ces in c lud e hor ror, f e a r, the huma n c o n di t i o n , an atomy an d the ma c a b re a s w e ll a s ma ny o t h e r v i s u a l

Contact Info: h t t p: / / www. pa i g e re y n o l d s a r t . c o m / h t t p: / / www. e t s y. c o m / s h o p/ Pa i g e Re y n o l dsA r t

Pa i g e i s a v a i l a bl e f o r e di t o r i a l i l l u s t r a t i o n , al bu m ar t , bo o k c o v e r s , VF X a n d m o t i o n g r a p h i c s .

e m a i l : t h e a r t i s t @ pa i g e re y n o l d s a r t . c o m

LAU R I E L I P TON dar k corners revealed

Q 01 . Lau rie, w ha t w a s the re a s on y ou b e c a m e a n a r t ist ? Wh en did y ou b e c ome one in y our min d a n d wh a t w as t he f irst thing tha t ga v e y ou the c lue th a t t h i s i s w hat you w ante d to d o f or the re s t of y our l i f e ? A I didn’t bec om e an ar ti s t i n ten t i on al l y. I a lw a y s drew. I drew t o ex pres s t h e em ot i on s i n s id e o f m e that I couldn ’t as s i m i l at e or com preh en d . I live d in the pr im & proper s u bu r bs of N Y C w h ere lif e w a s wallpapered an d car peted an d “w h en y ou w is h up o n a star your d ream s do com e t r u e”. W h at w a s i s u p posed to do w i th al l t h e an ti - D i s n ey cr ap s w irlin g i nside me? T h an k G od I h ad an ou tl et w i t h m y d ra w i ngs. I would h av e i m pl oded ot h er w i s e. Q 02 . How do y ou f ue l y our c re a tiv e e ne rgy, i s t h e re somet hin g tha t ins p ire s y ou on e a c h p roje c t ? A Each wor k l eads to th e n ex t. . . w h i ch i s w hy it ’s so impor tant f or m e to keep w or ki n g. Young a rt is t s contact me as ki n g f or t h e s ecrets of cre a t ivit y a nd success. The y ’ re v er y di s i l l u s i on ed w h en I t e ll t h e m that it’s sheer w or k. Th e m ore y ou creat e , t he b e t t e r you get, the m ore y ou get i n s pi red. . . w h i c h m a k e s you create more. Q 03 . When b uild ing s uc h d e ta il in a p ie c e o f y o u r w ork, w hat do e s it ta k e , how long d oe s it t a k e , wh a t kind of mater ia ls d o y ou te nd to w or k w ith a n d h o w d o you manage t o not s mud ge ? A I wor k with pen ci l & paper an d ch arcoa l. I inve nt e d a special sti ck to l ean on s o t h at I n ev er, e ve r t o uc h the paper. Th e m os t f requ en t l y as ked qu e s t io n I g e t i s, “How long does a dr aw i n g t ake?” I u se d t o m a k e up a number, bu t f r an kl y I h av e n o i dea. I t ’s g o o d that I don’t k n ow. If I s at dow n i n f ron t o f a la rg e , blank piece o f paper an d th ou gh t , “Th i s is g o ing t o take me 3 mon th s i f I w or k ev er y day f or a t le a s t 1 0 hour s” , I’d fe el t oo ov er w h el m ed an d dep re s s e d t o continue. I hav e n o s en s e of ti m e w h en I d ra w. I p ut headphones on to bl ock- ou t th e w or l d, l is t e n t o m u si c or r adi o p l ay s , an d go by e- by e. Q 04 . Do you mis s a ny s p e c if ic p ie c e s tha t y o u h a v e already create d a nd w is h tha t y ou ne v e r s o l d? A No never. T h e m ore I s el l , th e m ore roo m I ha ve f o r newer wor k an d t h e m ore m on ey I h av e f o r re nt . Q 05 . If some one a s k s , “ w hy is y our w or k s o da r k ? ” How w ould yo u re p ly ? A Why not? Q 06 . What are y ou inf lue nc e d b y ? Is y our a r t wo r k a n d emotional jou r ne y in the mome nt or is it s o m e t h i n g t h a t you r past has b rought out of y ou or s ome th i n g t h a t y o u have seen in the p a s t tha t b r ings it out of y o u ? A I’ve been dr aw i n g s i n ce th e age of 4. My a rt w o rk and i mager y h av e dev el oped al on g w i th me a n d a re as much a pa r t of m e as m y per s on al i ty. My im a g ina tion is like a h u ge th res h i n g m ach i n e th a t t a k e s in ever ything a n d ev er y on e I com e i n con t a c t w it h . I t chur ns it al l u p an d s pi t s i t ou t i n n ew & in t e re s t in g for ms. If I co u l d pu t w ords on to th e proc e s s t ha t is my creativi ty, I’ d be a w r i t er n ot a dr aw - e r ( d ra f t s per son? ) . Creat i v i t y i s m y s t er i ou s an d w o nd e rf u l. I feel ver y for tu n ate to be abl e t o s pen d my lif e in it s thr al l . Q 07 . What are the b e s t a nd w or s t p a r ts of be i n g a n artist , especia lly in tod a y s e c onomy ? Do y o u f i n d y o u rself on hold a t time s or d oe s the low e c ono m y g e t y o u r more involved?

A T h e re is n e ve r a g o o d e c o no m ic t im e to be a n a rt is t . I t ’s a d iff ic u lt p a t h t o t a k e , a n d ve r y f e w a r tis t s m a n a g e t o live o ff t h e ir a rt w o rk . I n my youth I h a d t o w a it re s s a n d w o rk in a B o x O ff ic e i n orde r to m a k e e n d s m e e t . T h e w o rs t p a rt o f b e ing a n a r ti st i s t h e is o la t io n. T he b e s t p a rt o f b e in g a n a r ti st i s the is o la t io n . Q 0 8 . W h a t a re y o u c u r re n t l y wo r k i n g o n , i s i t a secret ? A I j us t f in is he d a s ho w c a lle d “ Ma c hin e Punk ” f or La L u z d e J e s us in L A a b o ut t he t y ra n n y a nd a bsurdi ty o f t e c hno lo g y. I a m n o w w o rk ing o n a n o the r Da y of t h e D e a d t h e m e d s h o w f o r t h e La s t R it e s Ga l l e r y i n NY C t h a t w ill o p e n in O c t , 2 0 1 1 . Q 0 9 . I f y o u we re t e a c h i n g t h e y o u t h o f t o day t o be wh a t t h e y wa n t t o be a n d n o t wh a t o t h e r s w an t t h em t o b e wh a t wo u l d y o u s a y ? A I w o uld n e ve r p re s u m e t o g ive “ t h e y outh of toda y” a ny a d vic e . I ho p e t h a t t he y m ig ht g ive me some . Q 1 0 . H o w d o e s i t f e e l wh e n y o u r wo r k i s bei n g spread a c ro s s t h e g l o b e i n pu b l i c a t i o n s , g a l l e r y exh i bi t s an d o n t o u r. D o y o u s i t b a c k a n d s a y y e a h I d i d i t, o r i s t h ere s o m e p a r t o f y o u t h a t s t i l l h a s n ’t g o t t e n i t yet ? A I re a lly d o n ’t c a re if m y w o rk is g o in g v i r a l a c ross t h e g lo b e . I a m in m y o w n p riva t e he a ven a s l ong a s I a m a llo w e d t o d ra w e ve ry d a y. Q 1 1 . W h e n pe o p l e s a y, “ Be i n g a n a r t i s t mean s bei n g h u n g r y ” D i d t h a t e v e r r i n g t r u e t o y o u a n d i f so di d yo u e v e r l e t t h a t b o t h e r y o u o r di d i t c a u s e y o u t o pu sh y o u r s e l f m o re a n d m o re ? A I c h o s e t o m a k e d is t urb ing b la c k & w hi te pe nc i l d ra w ing s s o y e s . . . I s t ru g g le d f in a nc ia ll y. It di dn’t c a u s e m e t o p u s h m y s e lf m o re , it c a u s ed me to l i v e in c o ld - w a t e r f la t s a nd f re e z e m y f in g e r s off i n the w int e r t im e . T ha t w h o le Ho lly w o o d ve rsi on of the S t a rvin g Art is t is a ro m a n t ic id e a l b u t p a ssi on, not hung e r, d rive s a n y o n e w ho is g o o d a t wha t the y do.

Q 12 . How di d y ou b re a k tha t ta b oo a nd get o u t t h e re as a public ar tis t in s how s a nd in ga lle r ie s ? W h a t wo u l d you su ggest to a s ta r v ing a r tis t e a ge r to b e wh e re y o u are today? A I had my fi r s t s ol o s h ow w h en I w as 14 in a g a lle ry owned by a f r i en d of m y paren t s . M y m ot he r f ra m e d my fi r st check, w h i ch w as a s h am e as I w o uld h a ve prefer red to s pen d i t . W h at w ou l d I s u gg e s t t o a star vi ng ar tist eager t o be w h ere I am t o d a y ? Wo rk your butt off an d ki s s y ou r s oci al l i f e goo d b y e . Q 13 . Last w ord s , w ha t d o our re a d e r s ne e d t o k n o w, w hat can you s a y to ins p ire the m b y ? A I would l i ke m y w or k, n ot m y w ords , t o ins p ire y o u r reader s. My book can be bou gh t on l i n e a t L a s t G a s p Books: http:// w w w. l as t gas p. com / d/ 35309 / I h o p e that inspires peopl e to bu y i t. If t h ey w ou ld lik e t o fi nd out whe re m y s h ow s are, t h ey can g o t o : w w w. l aur ielipton.c om an d cl i ck on N E W S. Than k you Laur ie , I a m s o honore d to ha v e m e t y o u a n d have had the c ha nc e to a s k y ou q ue s tions I h a v e wo n dered the f irs t mome nt I s a w y our b ook on a s h e l f i n a n Oakland Mes ume . I ts re a lly w ond e r f ul to k n o w t h a t y o u are so kin d and d ow n to e a r th to ha v e s p e n t y o u r t i m e w iht us. I can â&#x20AC;&#x2122;t w a it to s e e w ha t y ou a re up t o n e x t . Your work leav e s me s o f ull of w ond e r a nd i t s s o f u l l o f answ ers at the s a me time . You can get a c op y of he r b ook b y v is iting www. d a r k beau tymag.co m a nd c lic k ing through the li n k o r v i s i t her directly at. http : / / w w w. la s tga s p . c om/ d / 3 5 3 0 9 / QnA By Topher A d a m 2010

KRIS KUKSI DIVINATION AND DELUSION

r i s Ku k s i â&#x20AC;&#x2122;s s cu lp tu re s , re n d e re d in immacul ate d et ai l , evok e a g r a n d e u r re min is c e n t o f the Ba ro q u e era. Ku k s i s u c c e s s f u lly me r g e s thi s su m pt u ou s ech o o f th e p a s t with a s a tir ic a l and cri ti c al com m en t a r y o f o u r mo d e r n in d u stri al wo rl d. Th ese f i n e ly c r a f te d s c u lp tu re s e mpl o y i m ag e s of God s a n d G o d d e s s e s f ro m p a s t and pre sen t m yt h ol ogi e s a n d e x a min e re lig io u s bel i ef an d i con ograp h y. D e s p ite th e f re q u e n t p o r tray al

o f co rrupti o n, v i o l ence, chao s and deg enerat ion, the wo rks i n thi s bo o k chal l eng e as pects of our bel i ef s and ques ti o n whether o r no t hum ans have the abi l i ty to i m pro v e the wo rl dâ&#x20AC;&#x2122;s pro s peri ty. T he creati o n o f thes e s cul ptures s pans th e last

Bor n March 2, 1973, in S p r ingf ie ld M is s ou r i a n d g ro wing up in nei ghb or ing Ka ns a s , Kr is s p e nt h i s y o u t h i n rural seclu sio n a nd is ola tion a long w ith a bl u e -c o l l a r, w orking mot he r, tw o muc h- old e r b rothe r s a n d a n a bs e n t f ather. Open c ountr y, s p a r s e tre e s , a nd a lc o h o l i c s t e pf a ther, perhaps p a v e d the w a y f or a n ind iv id u a l s a t u r a t e d in imagin ation a nd introv e r s ion. His f a s c in a t i o n wi t h t h e un usual len t to his ma c a b re a r t la te r in l i f e . T h e g ro tesque t o him , a s it s e e me d , w a s b e a uti f u l . Re a c h i n g adu lthood his a r t b los s ome d a nd c re a te d a bre a k t h ro u g h of person al fre e d om f rom the ne ga tiv e e nv i ro n m e n t e x perien ced dur ing his y outh. He s oon d is c ov e re d h i s d i s tast e f or the ty p ic a l A me r ic a n lif e a nd p op c u l t u re , f e e l ing that h e h a s a lw a y s b e longe d to the ‘ Ol d Wo r l d ’ . Ye t , Kris’ work is a b out a ne w w ild e r ne s s , re f i n e d a n d e l e vat ed, visuali ze d a s a c ultiv a tion e me rging f ro m t h e c o rrupt an d dem or a lize d f a ll of mod e r n- d a y s o c i e t y. A pl a c e w here n ew beginnings , ne w w a r s , ne w p hilo s o ph i e s , a n d new en din gs e xis t.

I n pe r s o n a l re f l e c t i o n , h e f e e l s t h a t i n t he w o r l d t o day m u c h o f m a n k i n d i s o f t e n t i m e s f r i v o l o u s an d fr ag i l e, bei n g dr i v e n pr i m a r i l y by g re e d a n d m a t e r i al i sm . H e h o pes t h a t h i s a r t e x p o s e s t h e f a l l a c i e s o f Ma n , u n vei l i n g a n ew l e v e l o f a wa re n e s s t o t h e v i e we r. H i s wo rk h as recei ved s e v e r a l a wa rd s a n d p r i z e s a n d h a s b e e n f eat u red i n o ver 1 0 0 e x h i b i t i o n s i n g a l l e r i e s a n d m u s e u m s w o r l dw i de i n c l u di n g t h e Sm i t h s o n i a n ’s N a t i o n a l Po r t r a i t Gal l er y. Kr i s’ a r t c a n a l s o b e s e e n i n a n u m be r o f i n t er n at i o n al ar t m a g a z i n e s , b o o k c o v e r s a n d t h e a t r i c a l po st er s. Kr i s’ a r t i s f e a t u re d i n bo t h pu b l i c a n d pr i v a t e co l l ect i o n s i n t h e U n i t e d St a t e s , E u ro p e , a n d Au s t r a l i a t h at i n cl u de i n d i v i du a l s s u c h a s Ma r k Pa r k e r ( N i k e C EO), Kay A l den ( t h re e t i m e E m m y a wa rd wi n n i n g wr i t e r f o r Yo u n g an d t h e Re s t l e s s & Bo l d a n d t h e Be a u t i f u l ) , F re d D u r st (m u si ci an , a n d f i l m d i re c t o r ) , a n d C h r i s We i t z ( m o v ie di rect o r T h e G o l de n C o m pa s s & Am e r i c a n Pi e ) .

Ket ty Righetto M anip u l a tio ns

y name is Ke tty R ighe tto. I liv e in Ita l y a n d I wo r k as graphic de s igne r a nd p hoto ma nip ula tor. I â&#x20AC;&#x2122; m 2 7 y e a r s old and have b e e n s tud y ing a d v e r tis ing a n d g r a ph i c de sign in Ven ice . S inc e I w a s a c hild I a lw a y s l o v e d dr a win g an d f ocus ing on e v e r y thing w hic h is v i s u a l a r t . My works cou ld b e d iv id e d in thre e c a te gor ie s : s u r re a l a n d strange empty la nd s c a p e s a nd s c e na r ios , i l l u s t r a t i o n s an d realist ic p or tr a its , a nd d a r k p ie c e s . T h e da r k s i de always f ascina te d me a nd in my ima ge s I l i k e c re a t i n g melan cholic, gloomy a nd s tr a nge v is ions, s o m e t i m e s wit h a t ouch of ma c a b re , f a nta s tic a nd s ur re a l . I wa n t t o creat e a cont r a s t b e tw e e n the b e a uty a nd i t â&#x20AC;&#x2122;s da r k s i d e . Wh enever I s ta r t a ne w w or k I a lw a y s im a g i n e a s t o r y behin d an ima ge or b e hind the c ha r a c te r in i t c o u l d be a beaut if ul lady w hic h tur ns into a b utte r f ly - ea t e r c re a t u re or a sad lady w ho re a lize s the b r uta lity of li f e a n d re a c t s t ragically. Su r re a l a nd d r a ma tic e le me nt a re i m po r t a n t in order t o cre a te tha t w e ird e ff e c t. I ma in l y wo r k wi t h digital media, P hotos hop a nd Wa c om Ta b le t , i n i l l u s t r a t ion I also mi x b oth d igita l a nd tr a d itiona l m e di a . At t h e momen t Iâ&#x20AC;&#x2122;m wor k ing in a n a d v e r tis ing a ge n c y wh i c h f o cu ses main ly on e d itor ia l p rod uc ts b ut I a l s o wo r k o n commission s a nd on p e r s ona l w or k s . Vis u a l a r t i s m y passion so in my s p a re time I a lw a y s tr y t o i m p ro v e m y skills in ph oto ma nip ula tion a nd in d igita l pa i n t i n g , a n d lear n f rom the b e s t a r tis ts a s muc h a s I c a n . argalya@inwin d . it h ttp://www.ketty r ighe tto. d a r k f olio. c om/

K LO SKA: T H E QUES T F O R T HE SU BL IM E I first discovered KL OS KA in 2008 w hile s e a rc hin g f o r piec e s t o add t o a more “ s e r ious ” a r t c olle c tion. H i s wo rk was at on ce both illumina ting a nd b re a thta k i n g , c rea tin g a new f orm, b ut a t the s a me time , p rov id i n g a bit o f his glimpse int o time le s s q ue s tions of the s o u l . O vidiu Closca was bo r n in the Ne a mt d is tr ic t of NE Ro m ania on July 2 7, 19 77. G r a d ua ting f rom the G he o rg e A sac hi Techn ical Uni v e r s ity in 2000, his e a r lie r e ff o r t s were throu gh graphic d e s ign. He ha s s inc e e xp l o d e d o nto the art scen e, a nd ha s e xhib ite d loc a lly in Ro m a nia as w ell as over Europ e . G r a d ua ting in 2009 w i t h a Ma ster in Fine Arts f rom G e orge Ene s c u A r t U niv e r s i t y, he is p resen tly w orking on his d is s e r ta tion. He liv e s i n Fo sc a ni, Roman ia w ith his w if e a nd tw o c hild re n. What inspired you to b e gin y our w or k a nd w he n d id y o u first start ? I was bor n u nder a s ign of c re a tiv ity a nd giv e n a f e w sm all gif ts w hen I ste p p e d into this w or ld . Ge ne t i c a l l y spe a king, w e are attra c te d to e v e r y thing tha t re p res e n t s c o lo r, s truct ure, and i ma ge . A s a s ma ll c hild , I w a s a b l e to understand my attr a c tion f or the unus ua l ma t e r i a l a ro und me. I grew up in a w ild me a d ow a re a , ne a r t h e c o nfluen ce of Moldov a a nd S ire t R iv e r in a p la c e pro lific wit h vegetation. I ha v e s trong me mor ie s of th e i m a g es of sh apes n ear wa te r, f a nta s tic ir id e s c e nt c olo r a n d vibration s f rom st ones in r unning w a te r, mud a nd t h e ba rk o f t he trees. With my tr a ns f or ma tion f rom c h i l d t o a dult, I evolved in the w or ld a nd b e c ome more p owe r f u l o ver time. Th e educat ion a nd inf or ma tion tha t I w an t e d, I selected an d saved. I le a r ne d a lot b e ing s e lf - tau g h t . I la ter completed a Ma s te r ’s s tud ie s in f ine a r ts , s t u d ies that go beyond t he b a s ic s . Through the s e s tud i e s , I e nte red t he complex w or ld of c onte mp or a r y a r ts a n d i t s pa ra digms. H o w does you r en gine e r ing b a c k ground he lp y ou wi t h yo ur c reative lean ings? Grea t artist s have a b a c k ground in d iff e re nt f ie ld s o f a r t fo rm , and it says ever y thing. A r t is f ound in a ll s c ien c e s , a nd in my opin ion, t he more a n a r tis t ha s inf or m a t i o n a bo ut areas of h uman und e r s ta nd ing, the a r tis tic m e s sa g e becomes more c omp le x, more p e r tine nt, more e l a b o rate an d ult imately, more or igina l. Through te c h n i c a l studies, I h ave lear n e d to b e more op e n to und e r st a n ding the w orld wh ere id e a s b e gin. A n e xa mp le of th i s i s the series of sketches “ a nge l s igna l” w hic h e nga ge i n a

“ g a m e ” be t we e n t h e re l a t i o n a l i d e a o f a n “ a n g el ”, t h e i n h a b i t a n t o f t h e i n t e r v a l b e t we e n m a n a n d di v i n i t y, an d s o m e i de a o f a i r p ro p a g a t i o n a n d m a ppi n g t h e win g s o f angels to look like signals. Yo u u s e t h e t e r m O n i r i c t o d e s c r i b e y o u r t e c h n i qu e. W h a t do e s O n i r i c m e a n a n d h o w do e s t h i s d e f i n e yo u r style? T h e t e r m m a y h a v e d i ff e re n t d re a m i n t e r pre t a t i o n s, an d I d e f i n i t e l y t h i n k I ’ m g e t t i n g c l o s e t o a “ s i n g u l ar ”. M y a t t r a c t i o n t o t h e g l o wi n g f a c e o f re f l e c t i o n s , f l a sh es at n i g h t a n d e s pe c i a l l y t o t h e n u a n c e s a n d c h a n g i n g real i t i e s i n t h e a bs e n c e o f l i g h t l e a d s t o a k i n d o f medi t at i v e d e l i r i o u s a t t i t u de . My O n i r i c f a n t a s y i s g e n e r at ed at t h e b o u n da r y b e t we e n re a l i t y a n d m e t a -re a l i t y, b et w een f i g u r a t i v e a n d a b s t r a c t . E v e r y t h i n g s t a r t s wi t h i n t er pret i n g t h e wo r l d a ro u n d m e a n d i t e n ds i n a c o m p osi t i o n f i l t e re d a n d e n c o d e d wi t h t h e e l e m e n t s a n d s y m b ol s t h at we h a v e c h o s e n o v e r t h e y e a r s . Yo u r s e r i e s , “ T h e Bo o k o f An g e l s ” i s qu i t e m o v i n g . Wh at di d y o u d r a w o n t o c re a t e t h e s e i n c re di bl e i m a g e s ? I n Ro m a n i a , a n e n do we d e l de r re c e i v e d a s t ro ng rel i g i o u s e du c a t i o n ; n o t i n t h e s e n s e o f a re l i g i o u s fan at i c bu t a wa r m e r a n d m o re g e n t l e e ff e c t . T h e re a re p eo pl e wi t h l i t t l e e d u c a t i o n wh o h a v e a l wa y s b e e n re s pect fu l t o wa rds t r a di t i o n a n d s i m p l e t h i n g s . A Ro m a n i a n vi l l ag e s t i l l h a s a s pe c i a l s pi r i t u a l i t y. T h e a n g e l f re s c o e s i n si de t h e c h u rc h s e e m o l d a n d f u l l o f e t e r n a l l i f e a t t h e sam e t i m e . T h e s pi r i t u a l e x p e r i e n c e s t h a t I h a d a s a c h i ld h ave l e f t t h e i r m a r k . An g e l s a ppe a r a s a m e s s e n g e r i n al m o st a l l re l i g i o n s o f t h e wo r l d . T h e wa y t h e y a re re pre s en t ed i n Ro m a n i a n c h u rc h m u r a l s s e e m s e x c i t i n g . E v e ry t i m e y o u m e e t i n a c h u rc h o r a s p i r i t u a l s a n c t u a r y, i t f eel s as i f y o u ’ re l o o k i n g f o r t h e f i r s t t i m e . Yo u r i m a g e r y i s a l m o s t a b l e n d o f d a r k a n d l i g h t , h o w do y o u c o m bi n e t h e s e o p p o s i t e f o rc e s t o p ro d u c e m e an i n g ? T h e wo r l d ’s g re a t re l i g i o n s a n d p h i l o s o p h i e s a re based o n t h i s d i c h o t o m y t h a t i n c l u d e s a n t a g o n i s m b et w een L i g h t a n d D a r k n e s s , be t we e n G o o d a n d E v i l , e m pt y an d f u l l . I f e e l a t t r a c t e d t o t h e c o re e s s e n c e o f t h i n g s . K L O SK A i s c u r re n t l y l o o k i n g f o r U. S. re pre s e n t a t i on an d c a n b e c o n t a c t e d a t h t t p : / / www. k l o s k a r t . c o m / St u d i o a ddre s s : Vr a n c e i St re e t , N o . 3 6 F o c s a n i , Vr a n c e a , 6 2 0 0 3 0 , RO MAN I A

u s e y o u r mo b i l e device to scan Q R c o d e t o re a d t h e re s t o f t h e i n t e rv i e w.

TH E Q U E S T F O R T HE S U B L I M E

By: K aren Kardell

AD GOES HERE

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love creating em otiona l, w hims ic a l ima ge s . Th o u g h a lo t of my work tens to b e d a r, I think I jus t hav e n ’t sho wn my “Ligh t” yet a nd hop e to s ha re tha t w ith y o u at so me poin t. I en joy he lp ing p e op le re a lize the ir c o n ce pt in their minds ey e . I ’ v e d one q uite a b it of w or k f o r clie nts w hich isn’t dis p la y e d on this la y out a s the s e a re m o stly my st yle images . M os t of my w or k is s tud io b a s e d but I d o h ope t o get outd oor s more in the f uture . G o t a n ide a you ’re dying t o tr y ? Wa nt a n ima ge of y our s e l f y o u ca n’t get anyw here el s e ? The s e a re r ight up my a lley . . . T hank you f or checkin g out my a r t of Div id ingM e , a n d I lo o k forw ard t o hearin g f rom y ou. www.dividingme.com

P hot ogr a p he r : R e b e c c a L i t c h f i e l d M od e l A nna S m i r no v a @ P ro f i l e M o d e l s Ha i r S t y l i s t : K i m R o y M a k e up A r t i s t : Ta m a ra R a ms e y C ro c k e t t D e s i gne r of I c i c l e D re s s e s : H s i a n g J u K u n g D e s i gne r : Top s hop A / W 2010 Li m i t e d E d i t i on Sn o w Q u e e n R a n g e Feather Necklace: Oasis D i a m a n t ĂŠ B ra c k e t : O a s i s DiamantĂŠ Necklace: Mikey

i n t e rWo l f S t u d i o s i s J .M. “Wol f ” J o hn s t o n a n d W i n t e r K e l l y, a husb and a nd w i f e t e a m o f p h o t o g ra p h e rs l ocat e d i n C i n c i n n a t i , O H . A l t h o u g h d omi na t i o n i n t h e a rt w o rl d i s t h e ul t i mat e g o a l , t h e y ’re c u rre n t l y c o n c ent rat i ng o n r a i s i n g t h e i r 1 9 - m o n t h - o l d son t og e t h e r. I n a d d i t i o n t o p h o t ograp hy, t he i r i n t e re s t s i n c l u d e k i t t i es, b uf fa lo s t y l e c h i c k e n , a n d h o rri b l e S ci -Fi c ha n n e l m o v i e s

Wklac e Mo del – Wint er Kelly H air/Make- up - Wint e r

T OP : S n o w day Mo d e l – Wi n t er Kel l y H a i r / Ma k e -u p – Wi n t er Kel l y C l au di a Mo de l – Cl au di a S u san a

Re a lize Jacci MUA – Carly Makeup Mo del – Realize C lo thing Design er – J a c c i F re d e nb urg

T O P LE F T : A caci a Kr i st en T O P R IGHT: M t vi ew MU A – Wi n t er Kel l y Mo de l – Wi n t er Kel l y C l o t h i n g D e s i g n e r – K aren Vo n Oppen B O T TOM :Wash edUp Mo de l – Wi n t er Kel l y

E n zo Mon d eja r P hotogr a ph e r | F a s hi o n St y l i s t

P h o t o gr a p hy b y E n z o Mond ejar S t y l i n g b y E ri c Pol i q ui t (www.ewicpo liquit .mult iply.co m)

P hot ogr a p h y b y En z o M o n d e j a r S t y l i ng b y E r i c P ol i q ui t ( w w w.e w i c p o l i q u i t . mu l t i p l y. c o m)

P h o t o gr a p hy b y E n z o Mond ejar S t y l i n g b y E ri c Pol i q ui t (www.ewicpo liquit .mult iply.co m)

or n F eb ruary 07, 1984, Enz o has a B achel ors Degree i n Fi ne A rt s and Desi gn at t he Universi t y of S ant o Tomas, Mani l a, P hi l i p p i nes. He t hen b ecame p art of t he O ut sourci ng Industr y und er vari ous sal es account s f or t hree year s. In 2007, H e work ed i n an A d vert i si ng f i rm and cont i nued on i n a P ub l i cat i on comp any as a Gr aphic Desi gner. In 2008, he st art ed t o get p ub lished i n coff ee t ab l e b ook s as a P hot ograp her and Vi sual A rt i st hand l i ng corp orat e cl i ent s b oth in t he gover nment and p ri vat e sect ors. C urrently, he cont i nues hi s work on f reel ance C onceptual P hot ograp hy somet i mes work i ng on t el evi s ion or f ashi on shows as a S t yl i st , d evel op i ng sever al p roj ect s on p ri nt and ot her med i a as hi s s trong sense of vi sual art i st ry ex p and s.

P hot ogr a p h y b y En z o M o n d e j a r S t y l i ng b y E r i c P ol i q ui t ( w w w.e w i c p o l i q u i t . mu l t i p l y. c o m)

H . JA M E S HO FF

Jame s Hoff is a 57 y e a r old p hoto g r a p h e r a n d artist w ho div id e s his time b e tw e e n Da lla s , Te x a s , a n d NY C. Mr. Hoff is a v e te r a n of ov e r 30 y e a r s in th e F i l m i n du st ry, w orking on p roje c ts a s v a r ie d a s S ex a n d t h e City t o Et er nal S uns hine of the S p otle s s M i n d . H e i s a member of Unite d S c e nic A r tis ts loc a l 829 i n NY C , a n d has w orked as a S c e nic A r tis t, S tor y b oa rd Ar t i s t , a n d Art Direct or on innume r a b le p roje c ts . His Phot ogra p hy e nc omp a s s e s b oth F ine A r t a n d F a s h ion, shoot ing f or ma ga zine s , c lothing d e s ig n e r s , a n d art galleries. Ne v e r w ithout a c a me r a or s k e t c h bo o k , Mr. Hoff is alw a y s ob s e r v ing the w or ld a nd t h e p e o pl e aroun d h im. ‘Somet imes you c a n s e e the w hole w or ld in t h e f a c e of someon e w ho w a lk s b y y ou in the s tre e t . F o r a s p l i t secon d every thing is illumina te d , a nd the n i t s g o n e . ’ More of Mr. H off ’s w or k c a n b e s e e n on his we b s i t e a t : ht tp://www.h ja me s hoff . c om

VISUM David F o u r n i er

ig ht is m y s t e ri o u s a n d w o n d e rf u l . C ol ors and shad ows, haz e and gl are al l serve t o sp ar k the imagina t io n. V IS UM m e a n s “ v i s i o n ” i n L a t i n and means more sp eci f i cal l y t he ab i l i t y t o see w ith pur pose. V IS U M is a p ro f e s s i o n a l p h o t o g ra p h e r and f i l m mak er who has b een act i ve i n t he commerci al and cor por a t e f ie lds s i n c e 2 0 0 4 . T h i s s i d e o f t h e work i s t he art , al t and nud e. It i s t he unf et t ered p u r suit of jewel t o ne s , me m o ri e s , p a s s i o n s , e m o t i o n s and romant i c i d eal i sm. It i s an escap e f rom t he worl d as we know it int o a mo re v i v i d , m o re p o i g n a n t , m ore cert ai n p l ace. To c o nt a c t V I S UM , p l e a s e e m a i l v i s u m p hot o@ gmai l .com ht t p: / / www.f l i c k r.c o m /v i s u m p h o t o / M o de lM a y he m # 1 0 3 7 6 9 2

F iv e St a g es with Grief La ur a D ark P h o to g r a p h y

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B a rg a i n i n g M O D E L: S a r a h Br i t t ne y Burge s s | M UA a nd S T Y LI N G : La ur a D a r k | Wa rd robe : En i g ma F a s h i o n s

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De p re s s ion - MODE L : MsPoi so ness | M U A, WARD R OB E, and ST Y LING : La ur a D a r k

au ra Dar k ha s b e e n s hooting p rof e s s i o n a l l y f o r t h e past 14 years . S he a tte nd e d a r t s c hool f o r a BFA a n d appren ticed f or 2 y e a r s und e r a loc a l c om m e rc i a l a n d portrait phot ogr a p he r. S he is w e ll v e r s e d o n b o t h s i de s of the camera a s b oth M od e l a nd P hotogr a p h e r. I t h a s been said tha t, “ w ha t La ur a c a n d o in a h a l f a do z e n f rames w ould ma k e grow n me n c r y. ” S he i s be s t k n o wn f or her dark p or tr a it a nd b e a uty w or k w h i c h h a s be e n described as , “ b e a utif ul a nd c re a tiv e to t h e m a x … . t h e images are so re a lis tic a nd ha unting… it’s i n s a n e . ” Website: w w w. la ur a d a r k . ne t Facebook: h ttp : / / w w w. f a c e b ook . c om/ p a ge s / L aura- Dark- P hotogr a p hy / 161012140600036

G r i e f - M O D E L: J i l l Li e b i s c h | M U A , WA RD RO BE , a nd ST YL I N G : L a u ra Da rk

La d y S y mp h o n i a. c o m D ig it a l A r t is t N a t h a l i a S u e l l e n

Q 01 . What ha s ins p ire d y ou to b e c ome a d a r k a r t i s t mainly f ocu sed on the ma rc a b e a nd f a nta s y s t o r y t e l l i n g ? Do you f in d your s e lf p ulling f rom e motional m o m e n t s i n you r lif e or o the r mome nts tha t hit y ou a nd g i v e y o u a n idea t o tell? A. I thin k bo th. B ut mos t of time I c ons ul t m y i n n e r t o know w hat it w a nts s p e a k , w ha t’s the mood a n d t h e m e s sage to share w ith my p ub lic . It e nd up b e i n g s o m e t h i n g dark, either inf lue nc e d b y my p e r s ona lity or m y s pi r i t . I ’ m alw ays f ocus e d on touc h p e op le f e e lings a n d t h e da r k st yle make it e a s ie r. We a re s ur round e d b y t h e s t r a n g e , tragedies, f ru s tr a tions a nd the d a ily tr y of t h e h u m a n b e ing of makin g the ir d re a ms c ome tr ue . G od h a s h i s wa y s to spread a me s s a ge a nd s ome time s a ll w e n e e d t o d o i s let be u sed. Lis te n to y our s e lf is the f ir s t s t e p. Q 02 . When d id y ou k now w ha t y ou w a nted t o do a s a career in art ? W he n d id it f ina lly b e c ome a wa re t h a t t h i s w as t he righ t thing f or y ou? A. Actually I ne v e r k ne w. S inc e my c hild ho o d I dr a w b u t I cou ld never ima gine it w ould b e a f uture ca re e r. Pe o p l e used to say I s hould b e a n a r tis t b e c a us e I h a d t a l e n t i n tradit ional art . But I won dere d how, ma inly in B r a zil it’s qu i t e h a rd . At eight een I st a r te d to c olle c t s ome p hoto m a n i pu l a t i o n s that I liked (without k now ing how it’s ma d e ) . Af t e r s o m e research an d a lot of c ur ios ity, I s ta r te d c rea t i n g m y f i r s t artw orks. That w a s the p e r iod w hic h I b e c a m e a wa rd I could mix my ta le nt in d r a w ing w ith d igita l s o f t wa re s . Q 03 . Being y oung a nd a s uc c e s s f ul b u s i n e s s o wn e r w hat do you think it w a s tha t took y ou a s f a r a s i t d o s o early on? Wha t a d v ic e w ould y ou giv e othe r s t r i v i n g a r t ist w ho wan t the s a me f or tune a nd e xp e r ie n c e s y o u h a v e gained so qui c k ly ? A. Age is n ot a n ob s ta c le if y ou us e y our c u r i o s i t y a n d w illing f or pra c tic e a nd le a r n. Q 04 . What goe s through y our mind w he n c re a t i n g a n other masterp ie c e of w or k ? The c onc e p t a s y o u g o a l o n g or the story b e hind it? Do y ou p re me d ita t e t h e o v e r a l l concept of a p ie c e or is tha t p a r t of the d re a m bu i l d i n g w ith a clien t? A. My mind w a nts to f ollow a n id e a , b ut w h e n e x e c u t i n g the idea it’s s ome time s c ha nge d or imp rov e d . I t ’s n o t a l l premeditated . The things s how up in my m i n d s u d d e n l y and I ju st obey it. Q 0 5. Many ar tis t I r un a c ros s a re s o hung r y f o r s h a re d inf ormat ion. Do y ou e v e r think y ou w ill te a c h y o u r t e c h niques in clas s e s or online tutor ia ls or is th i s s o m e t h i n g that you f eel w ill s till d e v e lop ov e r time a n d y o u wi l l sh are you r ta le nt w ith a r tis t w ho a s p ire to b e l i k e y o u i n their own w ay s w he n the mome nts r ight? A. I in tend to d e v e lop my online he lp f or wh o i s s t a r t ing wit h digita l a r t. F re q ue ntly I c re a te tuto r i a l s . I a v o i d explain how to c re a te my s ty le b e c a us e I b e l i e v e i t s n o t good neit her f or me nor f or w ho is le a r ning . As I ’ m u s e d to say, wh at s ome time s the p ub lic c a lls a s s t y l e i s j u s t an artist limi ta tion. W ha t d iff e r the a r tis ts i s h o w t h e y produce t heir a r ts a nd id e a s . S o, the b ig g e s t h e l p we can give f or a b e ginne r is s how the w a y o f d i s c o v e r i n g its own st yle. Q 0 6. What k ind of b ook s , mov ie s , p la c e s o r t h i n g s do you love t o l ook a t f or id e a s ? Do y ou f ind y o u r s e l f o u t w ith your came r a s hooting r a nd om things f o r y o u r c o m posites or do y ou d e v e lop the m y our s e lf i n t h e di g i t a l tool you use on y our s y s te m? Do y ou us e Ph o t o s h o p and have you e v e r b e e n a s k e d to s ub mit a do i t y o u r s e l f guide to a ma ga zine ? Would y ou b e w illing t o de v e l o p a

h o w t o f o r o u r re a d e r s o n e d a y ? I t h i n k t h e re a re m an y wh o wo u l d l o v e t o l e a r n by y o u r a m a z i n g t a l e n t s . A. W h a t i n s pi re s m e c o m e s f ro m m u s i c a n d m o v i es. I do l i k e t o l i s t e n i n g t o m e t a l b a n ds wh e n I ’ m wo r k i ng an d a l s o i n s t r u m e n t a l , o pe r a a n d s o u n d t r a c k s . I l i k e t r ag i c m o v i e s , d r a m a , f a n t a s y a n d s u s pe n s e . T h a t k i n d o f m o vi e s wh o h a s a c r a z y i d e a , wi t h r i c h n e s s o f de t a il s an d i de a s . T h a t ’s h e l p m e a l o t . I ’ m i n t o a n e n dl e s s search o f d e e p t h i n g s . E v e r y t h i n g wh i c h c a n t o u c h m y f eel i n g s a n d m a k e m e c r y a t t h e e n d . I br i n g a l l t h a t bo x o f em o t i o n s t o p h o t o s h o p a n d t h a t ’s h o w t h e t h i n g s c o mes u p. Ab o u t m e s h o o t i n g , I ’ m a l re a d y d o i n g i t . I l i k e t o h ave m a n y o pt i o n s a n d e x c l u s i v e t h i n g s wh i l e I ’ m d e v el o pi n g a n e w a r t . My i m pro v i s a t i o n i n ph o t o g r a ph y i s e s sen t i al ph o t o m a n i pu l a t i o n : wh a t y o u h a s i n m i n d , do e s n ’t h ave i n a n y wh e re , s o y o u h a v e t o c re a t e i t ! An d y e s , I u se ph o t o s h o p C s 4 . I h a d b e e n i n v i t e d b y a U . K . m a g a z i n e t o e x p l a i n a t e c h n i q u e a b o u t p a l e s k i n , b u t I t wa s n ’t pu bl i s h e d f o r s o m e re a s o n . I d o l i k e t o e x p l a i n t h i n gs, bu t i t a l l d e p e n ds o n t h e s u bj e c t , s o m e t e c h n i qu e s I do n ’t l i k e t o s h a re . Bu t f o r s u re I wo u l d a c c e pt t h e c h a l l en g e, count me in. Q 0 7 . L a s t t h i n g y o u wo u l d l o v e t o l e a v e f o r o u r reader s a n d wh e re c a n t h e y s e e y o u r b e a u t i f u l wo r k ? A. I wo u l d l i k e t o t h a n k y o u e v e r y b o dy t o a l l k i n d o f su ppo r t a n d t h e D a r k Be a u t y f o r t h e o p p o r t u n i t y. An d m ai n l y t o G o d t o m a k e a l l t h a t p o s s i bl e , H e i s t h e a u t h o r o f al l m y v i c t o r i e s . An d I wa n t t o s a y t o e v e r y re a de r t o do n ’t g i v e u p o f t h e i r d re a m s . An y bo d y wh o wi s h t o be an di g i t a l a r t i s t : s t u dy, d o n ’t be l a z y a n d a bo v e a l l do n’t su rre n de r o f t h e i r c r a z y i d e a s . T h e wo r l d i s n e e d y o f g o o d t h i n g s a n d m a k e t h e m f e e l b e t t e r d a i l y i s o u r d u t y. M o st i m po r t a n t t h a n t e c h n i q u e a n d p o pu l a r i t y i s t o s h a re yo u r i n n e r wi t h t h e pu b l i c . Ma k e y o u r l i f e wo r t h y i t . Ma k e w h at y o u l i k e . An d f o r t h o s e wh o wa n t s e e m o re o f m y w o r k c h e c k o u t o n . Wa s a p l e a s u re !

P h o t o s by Lun a

Ph o t o g r a p h e r - Sh e r r y C e a l l a i g h a k a Ph o t o s by L u n aGr aph i c s - P h o t o s by L u n a Mo d e l - L ady In t o xi cat o n Ma k e u p Ar t i s t – Sa r a Vi o l assi aka S VIO H a i r a n d c o s t u m e - Sh e r r y C e a l l a i g h a k a Ph o t o s by L u n a

y n ame is S he r r y Ce a lla igh, I ’ v e b e e n t a k i n g p h o tograph s since the e a r ly 80’s . I c ons id e r m y s e l f a n o n techn ical, old s c hool B & W f ilm p hotogr a p h e r, wh o h a s come int o the d igita l a ge . In the “old d a y s ” I s hot inf r a re d f ilm, b ut t o da y m y I R images are digita l. M y Nik on D40 ha s b ee n c o n v e r t e d to shoot in t he I R r a nge only. Digita l I R ha s o pe n e d u p a w hole new w or ld of c re a tiv ity f or me a s h a s t h e u s e o f f ractals in my b a c k ground s . Some of my b a c k ground s a re c re a te d s ol e l y i n Ph o t o sh op.Mmost o f the time I us e f r a c ta ls a s my ba c k g ro u n d s that I h ave cre a te d in a p rogr a m c a lle d A p o ph o s y s 3 D . Using a f ract a l ge ne r a tor to v is ua lly s e e a m a t h e m a t i c a l f ormula as an a r t f or m ins te a d of jus t numb e r s o n a p a g e w as righ t up my a lle y. A s w ith the ima g e s h e re I wi l l of ten layer f r a c ta ls on top of e a c h othe r, o r o n a n o t h e r ph otograph to ge t the d e s ire d e ff e c t. My techn iqu e is v e r y s imp le , no f a nc y li g h t i n g e qu i p ment ; t ryin g to k e e p up w ith the la te s t te c h n i qu e s , o r latest sof t w are … w he n I look thr u the c a me r a l e n s I a s k myself , do I lik e the w a y the s ha d ow s f a ll o n t h e s u b j e c t . For me, ph otogr a p hy is a b out the a r t not th e t e c h n i q u e . In my 2 0 plus y e a r s a s a p hotogr a p he r my i m a g e s h a v e been sh ow n in ga lle r ie s , p ub lis he d , a nd a d d e d t o p e rsonal art colle c tions . Cur re ntly I a m c ollab o r a t i n g wi t h ot her ph otogr a p he r s on a s e r ie s of ima ges t o b e p re sent ed t o a ga lle r y ne xt y e a r. Con tact inf or ma tion: Sherry Cealla igh 9 80 - 29 7- 3 23 0 Phot osbylu na@gma il. c om h ttp://www.m od e lma y he m. c om/ 890740

C U RRENT TOP 10 TRACKS

1.”Ind est ruct i b l e” (R2C 2 Remi x) - - Rob yn

2.”H eart Vacancy” (DJ s f rom M ar s C l ub Mi x ) - - The Want ed

3. “Rai se Your Gl ass” (Li am K eegan Ex t end ed Mi x ) - - P i nk

4. “H el l o” (O ri gi nal Ed i t ) - - Mar tin S ol vei g f eat . Dragonet t e 5. “Li k e a G6” (C hew F u Gi t P oppin Fi x ) - - Far East Movement f eat. The C at aract s

Ba sed in S a n F r a nc i s c o , DJ G R I N D’s d a n c e f l oor i s a l l a b out jo y. He fa v o rs u p b e a t , s o u l f u l t ra c k s , and sp i n s a n e ne rg e t ic m i x o f v o c a l h o u s e , e l e ct rop op , indie da nc e , a n d m a s h - u p s . A g u e s t m usi c c ri ti c fo r S ir ius Out Q ra d i o , DJ G R I N D i s a l s o t he a utho r o f a da ily m u s i c b l o g ( “ T h e Da i l y G r i nd ”) tha t pro f ile s ne w t a l e n t , i n d e p e n d e n t p rod uce rs, and f re s h da nc e t ra c k s b re a k i n g a ro u n d t he worl d . He is a re s i d e n t DJ a t t h e L o o k O u t Bar i n the C a s t ro , ha s re g u l a r b o o k i n g s a t T R U C K and the Ca t Club, a nd i s a f re q u e n t h e a d l i n e r wi t h Gu sPre s e nt s , inc lu d i n g t h e w e e k l y p a rt i e s “S oc i al Club, ” “P o ppe rs ” a n d “ PA L A C E .” DJ G RIN D a l so h e a dline s m a n y p ri v a t e p a rt i e s a n d b e n ef i t s, i n c l u ding fo r t he GL B T H i s t o ri c a l S o c i e t y, t h e S an Franc is c o A ID S F o u n d a t i o n , a n d S F P R I DE .

6. “S weet Di sp osi t i on” (Morgan P age Remi x ) - - Temp er Trap

7. “Def end er” (C ahi l l C l ub Mi x) -Gab ri el l a C i l mi 9

8. “We C ry” (Bi mb o J ones C Lub Mi x ) - - The S cri p t

Fo l l o w D J GRIND ’s d a i l y m u s i c b l o g : ww w.fa c e bo o k . c o m /d j g ri n d s f

9. “S t ereo Love” (Dave Ramone C l ub Mi x ) - - Ed ward Maya & Vika J i gul i na

Dow nlo a d D J GRIN D’s p o d c a s t s : http :// djg r ind. po dom a t i c .c o m 10. “C rossf i re” (Davi d Moral es Club Mi x ) - - Brand on Fl owers

Albert OH - Graphic Artist, Musician for The Endless Still and Anguisette and much more. By B ia n c a Ma lis e

H a i l i n g f rom t h e e l e c t r i f y i n g c i t y o f Ma d r i d , Sp a in , Alb e r t “O h ” O c h o s a i s a h a n d s -o n C re a t i v e D i re c t o r a n d Fou n d e r o f R i s i n g Su n Me d i a , a h i g h -e n d b r a n din g f i r m . Si n c e 2 0 0 7 , A l b e r t h a s h e a d e d u p t h e c re a t ive dire c t i on a t t h e t re n d s e t t i n g H a rd R o c k H ot e l & C a s in o in L a s Ve ga s , re s p o n s i b l e f o r i t s m u l t i t u d e of b r a n ds a n d gr a p h i c a l l ook o f t h e p ro p e r t y – f ro m l o g o s t o n apkin s t o a d s t o l a r ge n e on s i g n s . Wh e n h e i s n o t w o r k i n g wit h c l i e n t s w or l d w i d e , h e s t i l l f i n d s t i m e t o w or k on h is personal art. A l b e r t s a y s , “A l o t of m y re c e n t p e r s o n a l a r t h a s be e n i n m i x e d m e d i a , c om b i n i n g t r a d i t i o n a l a r t f o r m s su c h a s p h ot o g r a p h y a n d d i gi t a l e ff e c t s a n d c re a t i n g e xpe rie n c e s a n d p rov oc a t i v e n a r r a t i v e s . I h a v e re c e n t l y be e n d r a w n t o c l a s s i c , “C ol l od i o n ” s t y l e p h ot o g r a p h y. Ove r t h e y e a r s a s a c om m e rc i a l a r t d i re c t o r, A l b e r t f e e ls t h e re i s a l w a y s goi n g t o b e a p a r t o f h i m t h a t st a ys t r u e t o h i s ow n p e r s on a l s t y l e . “A l ot o f m y i nspira t i on c o m e s f rom w h e n I w a s a n i n d i e m u s i c i a n in t h e G o t h i c / i n d u s t r i a l s c e n e of t h e l a t e 9 0 ‘ s i n Se a t t le . Th e m u s i c I h a v e b e e n l i s t e n i n g t o a l l m y l i f e , J o y D i v ision , Sk i n n y P u p p y, Th i s Mo r t a l C oi l a n d D e p e c h e Mode f or i n s t a n c e , a re a l l re f l e c t e d i n w h a t I d e s i g n . ” P e r ha ps it i s t h i s t r a gi c b e a u t y i n f u s e d i n t h e i r m e l o d i e s a n d lyri c s t h a t j u s t s p e a k s t o h i m . “I h a v e b e e n s l o w l y i nf u sin g t h i s f l a v or i n m y c u r re n t a r t d i re c t i on f or c l i e n ts - t o t h e i r d e l i g h t . I h a v e b e e n gi v e n a u n i q u e op p or t u n it y t o t a k e a h i gh -e n d b r a n d l i k e T h e H a rd R oc k H o t e l & C a s i n o, w h i c h w i l l a l w a y s b e a s s oc i a t e d w i t h t h e f a sh ion , t h e roc k s t a r e l i t e a n d c e l e b r i t i e s a l i k e , a n d t h ro w in a t o u c h o f d a n g e r a n d s e n s u a l i t y. I n s om e of t h e d e sign s I h a v e d o n e , I h a v e m a n a ge d t o i n f u s e t h i s h o t e l e xpe r i e n c e w i t h j u s t a s l i gh t t o u c h of G ot h i c l u x u r y for t h e masses.” A l b e r t f e e l s t h a t g r a p h i c d e s i gn i s c u r re n t l y o n a t re n d of c re a t i n g h y b r i d s , t a k i n g t w o c on t r a s t i n g w o r l ds a n d m a k i n g t h e m h a r m on i ou s . “I t re m i n d s m e of w h e n ba n ds l i k e N i n e I n c h N a i l s a n d A l i c e I n C h a i n s w e re c on side re d ‘ c ol l e g e m u s i c ’ . N o w a d a y s , t h e i r m u s i c s e e ms t o c ro s s o v e r v a r i ou s g e n re s a n d s t i l l h a v e m a s s ma rke t a p p e a l . Fa s h i o n i s t h e s a m e w a y t oo, Wh o w o u l d h a ve k n o w n P ol o w ou l d b e s e l l i n g b l a c k c l o t h e s w i t h sku lls on t h e m ? I f e e l t h i s i s a f o r m u l a f o r s u c c e s s . ” “I h a v e f a r g i v e n u p m y a s p i r a t i on s t o b e c om e some G o t h i c ro c k s t a r, b u t I t h i n k gr a p h i c d e s i gn i s m y mu sic a l a m b i t i o n . ” H e l a u gh s . “Ev e r y l i n e , t e x t u re a n d c olor t re a t m e n t m a k e s m e s e a rc h f o r m y o w n r h y t h m a n d m e l od y i n a c om p os i t i o n , a n d i t i s s t i l l m u s i c t o me .” H e re i n , I w ou l d l i k e t o e x p o s e s om e o f A l b e r t ’s work, on a m ore p e r s on a l l e v e l . # 1 - F o re ve r Th i s i s a c t u a l l y a p h ot o of A l b e r t ’s l e f t a rm h e t ook w i t h a t a t t o o h e d e s i g n e d a n d d e d i c a t e d t o h is d a u gh t e r. I n t h i s p h ot o , t h e t a t t oo i s a b ou t 2 we e ks ol d . T h i s w a s A l b e r t ’s f i r s t t a t t o o a s i t w a s a de e ply p e r s o n a l a c t . T h i s p i e c e a n d t h e e x p e r i e n c e of ge t t in g i t h e h o l d s d e a r, a s i t w a s i n s p i re d b y s o m e p erson a l t r a ge d i e s b e f o re h i s d a u gh t e r w a s b or n . # 2 B e d o f S ins Th i s p i e c e w a s c re a t e d a s p a r t o f t h e C D p a c k a g i n g f or Se a t t l e b a n d , T h e Si n s . Th e b a n d e n vis i o n e d a s or t o f G o t h i c w e s t e r n , e n d o f t h e w o r ld look t o t h e C D . A l b e r t p h o t ogr a p h e d t h e b e d i n Ma d r id a n d w a s i n s p i re d t o c re a t e d a p os t a p o c a l y p t i c b orde llo experience.

#3 J yr i Gl ynn I n Al ber t ’s o w n w o rds , “ J y ri G l y n n of A n guisette is o ne o f t he mo s t v i s ual l y s t r i k i n g p e o p l e I know. Every t i me I s ee hi m, he’s g o t s o m e t h i n g goi n g on with his at t i re t hat j us t t ak es hi m o ut of w h e re h e is (Se attle). Hi s face i s al s o v ery ang ul a r. O n e d a y I de cide d to tak e hi m t o w herev er t hat rea l i t y w a s a n d setup a phot o s ho o t at an o l d bri dg e i n Ma p l e Va l l e y, Wa shington o n a t y pi cal fal l mo r ni ng . We w e re l i k e t w o kids with a vi d i mag i nat i o ns . T he bri dg e w a s s o a m a z ing looking in i t s rus t ed s t at e t hat I deci d e d t o m a k e that bridge a n ex t ens i o n o f J y ri hi ms el f. Th e p h o t os , as well as the nat ural t ex t ures o f t he bri d ge e n d e d u p on the CD sleev e o f hi s al bum, T he Creat i o n C h a m b e r. ” The following 2 pi eces are a co l l abo rat i o n b e t w e e n A l be rt and pho t o g r apher M ar y anne Bi l ham a s t h e i r t a k e on art a nd s t y l es are s i mi l ar and w hen p a i re d c re a t e som ething m ag i cal . #4 Noi r M ary anne Bi l ham pho t o g r aphed A c t re s s J u l i e t Landau a s pa r t o f a burl es que i ns pi red s e r i e s “F a s c i natrix”. He r wardro be s t y l i ng and des i g n wa s b a s e d o n a silent m ovi e s t ar w i t h a Go t hi c t w i s t . N o o n e re a l l y thinks of Holl y w o o d as bei ng t hi s bro o di ng, G ot h i c c i t y. When the ph o t o w as handed o v er t o Al be r t , h e a d d e d touc hes like cl o uds and s ubt l e l i g ht i ng eff e c t s t o g i v e it this m a nor- l i k e at mo s phere. #5 Dar k Over t u re J ed Lei ber, o w ner o f N i gh t b i rd St u dio’s a t the Suns et M arqui s appro ached M a r y a n n e B i l ham to c re ate a co ncept i mag e fo r G ui t ar C e n t re H o l l y wood that wo ul d feat ure hi ms el f and t he D i s k l a v i e r. Th e shoot was do ne o n a s o und s t ag e at Ra l e i g h s t u d i os on a gree n screen. Bei ng o n t hat s o und s t a ge w i t h s o m uc h history g av e Al bert hi s i ni t i al i ns pi r a t i on o f h o w he wa nted to creat e t he fi nal l o o k - s o me t h i n g l i k e a n old photo wi t h an ai r o f t he i mmo rt al . F o u r l o o k s w e re exe cute d. A per sonal wo rd o n A l ber t by M ar y nne Bil l h a m h e rs e l f “I f irst made the a c q ua inta nc e of Alb e r t O H o n a p h o t o graph ic assig nm e nt f or the Ha rd R oc k Hotel i n L a s Ve g a s in 20 07 . This w a s one of the m ore c re a t i v e l y i n s p i re d and provocative a d ve r tising c a mp a igns I h a v e w o r k e d on. We have sinc e c olla b or a te d on a num b er o f pe r s o n a l and prof essiona l p roje c ts. Alb e r t’s d e sign s e n s e a n d a r t direct ion is a p e r f e c t c om p le me nt to my p h o t o g r a p h s , he brings a D a r k se nsua lity tha t he ighte ns t h e n a r r a t i v e qu ality of the im a ge r y. ” ~ Ma r ya nne B ilha m Albert’s ca re er as an art i s t , creat i v e di re c t or a n d m u sic ia n will m o s t s urel y co nt i nue t o s o ar wi t h t h e o b v i ous vigor tha t Al bert hi ms el f po s s es s es . I p e r s on a l l y look forward t o al l fut ure w o rk and I bel i e v e a f t e r t h i s sprea d, you w i l l t o o . www.risingsunmedi a. co m em ail, a lbert@ri s i ng s unmedi a. co m

A lbum Debut f rom S inge r S ong Wr ite r YU N YU : m e a n ing (B eau tif ul Rhythm s ) is a v e r y q uir k y b r illia nt a l bu m with sou nds that cau s e y ou to w ond e r w ho the f u c k i s she talking to in h er he a d , b ut a s I lis te n to this l y r i c driven albu m you get a s e ns e tha t this gir l is one da r k a nd twist ed amazing ar tis t. W ith he r f ond ne s s f or wr i t i n g lo ve le t ters t o the dea d a nd he r lov e f or Zomb ie s , An i m e , a nd poet Edgar Allen P oe . I ge t tha t Yuny u’s mus i c i s inspired by on e of my p e r s ona l f a v or ite a r tis t Ka te Bu s h a nd is being called cute , mor b id p op . S ome s ongs t h a t m ake my h appy are h e r re mixe d v e r s ions of “ A P r a y e r ” a nd “Too Subliminal.” Leno re’s Son g, on e of Yuny u’s mos t re q ue s te d s o n g whe n playing live. It s a re p ly le tte r to Ed ga r A lle n Po e ’s - ‘ T he Raven ’. On a si d e note Le nore ’s S ong mus ic v i de o was produced together w ith M a tt Cha r te r, a nd b or ro we d talents f rom Lord of the R ings , a nd S up e r ma n R e t u r n s , this m usic video w as a mb itious ly f ilme d a s a s top m o tio n a n imated f ilm, t a k ing 17, 000 d igita l s tills , Le n o re ’s S o ng v ideo h as cu rre ntly a c hie v e d ov e r 70, 000 v i e ws a nd cou nt ing. We ll I am a hu ge f an , a nd a f te r ta lk ing w ith Yuny u sh e i s a n a m azin g girl w ith a lot of ta le nt. I think tha t s he h a s so m e thin g w icked t o s a y a nd re a lly is a b r illia nt wr i t e r. With h er storyt elling s ty le , e a c h s ong ha s a c a p tiv a t i n g se nse of reality t hat I lov e to v is it. I giv e this a lb um F I V E S KULL review. It s a m us t b uy or mus t d ow nloa d . Vi s i t u s a t www.darkbeau tymag. c om to p urc ha s e this b r ill i a n t l y

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T h e Yo u n g We re wo l f ’s t a k e s m e ba c k t o a t i m e t h at h i t s h o m e . I a m t r a n s p o r t e d i n f ro n t o f m y s m a l l bl a ck an d wh i t e T V I g o t f o r c h r i s t m a s a s a k i d a n d s a t i n m y bedro o m wa t c h i n g t h e Mu n s t e r s a n d t h e Ad d a m s f a m il y an d feeling right at home in my Dark mind. T h e Yo u n g We re wo l f ’s a re a ro c k a b i l l y, g a r a g e , p un k t r i o f ro m Ph i l a de l ph i a . Bl e n d i n g t h e s t y l e s o f ro c k a bi l l y, psyc h o b i l l y, s u r f , p u n k , g a r a g e a n d p o p m u s i c i n t o a n i n fect i o u s m i x t h a t i s s u re t o b e a n a u t o m a t i c l o v e h a t e rel at i o n s h i p. L o v e b e c a u s e i t s s o f u c k i n g f u n a n d g i ves yo u a l l t h e r i g h t re a s o n s t o g e t y o u r a s s u p a n d s h a k e a l eg a n d a l l t h e wro n g re a s o n s b e c a u s e i t re m i n ds y ou h o w o l d y o u a re t o h a v e b e e n a p a r t o f a c u l t u re wh e n cl assi c T V wa s s o g o o d ! L O L I l o v e t h i s a l b u m a n d g i v e t h e m a F I V E SK UL L r a t i ng , fu l l o f e n e rg y a n d i s pe r f e c t l i s t e n i n g f o r a n y a g e . Rem i n ds y o u wh y l i f e i s g o o d. Fa n g t a s t i c c l a s s i c f e e l i n g an d i n s pi re s y o u t o l i s t e n t o i t f o r h o u r s a n d h o u r s . T h ei r n ew a l b u m Si n s o f t h e Pa s t i s n o w a v a i l a bl e wi t h o n e of t h ei r h o t n e w s i n g l e s “ Twe l v e St e p s To Ro c k N Ro l l ” U se yo u r m o b i l e de v i c e t o s c a n t h e Q R c o d e t o s e e t h e m u s i c vi deo . W h e n o rd e r i n g T h e Yo u n g Wa re wo l v e s g e t e x t ras by pa s t i n g : D ARK BE A UT Y1 3 i n t o t h e p a y pa l c o d e i n ser t .

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Joy Sh ann on ha s a ha unting a nd a llur ing v o i c e , a l o n g side her ot her mus ic a l ta le nts , he r mus ic wi l l s o o t h t h e darkest of sp a c e s a nd a llow y ou to me lt i n t o y o u r o wn mood. Joy is a ls o a b r illia nt gr a p hic a l a r tis t . Joy plays, the Ce ltic ha r p , c he llo, a c c ordi o n a n d s i n g s w ith Joy Sh annon a nd the B e a uty M a r k s a n d J o y Sh a n non and the O ff e r ing w hic h is a U K b a nd . Her latest alb um, The B la c k M a d onna is on o f J o y s da r k est albu ms t o d a te . The ins p ir a tion of the a l b u m c a m e f rom the an c ie nt god d e s s lik e the le ge n da r y “ Bl a c k Madon na” st a tue s a re thought to re p re se n t bu t t h e i r power h as be e n los t to hund re s of y e a r s o f p a t r i a rc h a l Christianit y. I n s ongs tha t me ntion god d e s s e s l i k e H e c ate, Mn emos y ne , a nd A r ia d ne , J oy giv e s t h e s e a n c i e n t w omen a voic e a ga in a nd w a ht w e he a r is d e e pl y m o v i n g sorry and, at time s s e e thing r a ge . I really enjoy this a lb um, its re a lly d oe s le a d y o u t o a n int er nal space w hic h w ill te ll the d e e p d ar k s e c re t s o f these an cient god d e s s e s . I w a s f or tuna te en o u g h t o n o t only h ear t his one a lb um b ut he r e ntire c o l l e c t i o n . H e re albu m “The Off e r ings ” is one of my f a v or it e s . I t h a s t h i s magical qu ality of S a r a h M c la c hla n a nd an e l e c t ro n i c a sou nd. Its the b e s t of b oth w or ld s f or m e p e r s o n a l l y. Haun ting stor y te lling is r ight up the re a n d t h i s o n e i s tops. This gi r l re a lly ha s a w ond e f ul ta le n t a n d wi t h a l l the music ab ility J oy w ill e nte r ta in f or y ea r s t o c o m e . This albu m als o ge ts a F iv e S k ull re v ie w. Gu e s s we l a n d ed a good slec tion of mus ic a ns this month.

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About Mol l y C r abappl e “Molly Crabap p le is a d ow ntow n p he nome n o n , ” s a y s The New York Time s . S he is a n inte r na tional l y e x h i bi t ing f in e artist a nd illus tr a tor f or f ine p la c e s l i k e Ma r v e l Comics, New Yor k Time s , a nd the Wa ll S tre e t J o u r n a l . Molly is the cre a tor of Dr. S k e tc hy ’s A nti- A r t Sc h o o l , a w orldwide mov e me nt of a lte r na tiv e d r a w ing s a l o n s i n over 1 00 citie s . S he a ls o ta k e s p a r t in gob e t ro t s p e a k ing at places lik e the mus e um of M od e r n A r t , Sa o Pa u lo’s Pixel Art F a ir a nd S outh b y S outhw e s t I n t e r a c t i v e . Inspi r ation Pop cult ure. T he S ur f Colle c tion te e s w e re i n f l u e n c e d by the golden e r a of Ca lif or nia s ur f thin s hi r t s a n d tw ist ed graphic s f rom s ouv e nir- s ty le s hir ts o f t h e ‘ 7 0 s . The styles on the s tre e ts of Los A nge le s a re a l s o i m pl e ment ed in to it’s s ty le . He a v ily ins p ire d b y L o s An g e l e s ’ spirit of indiv id ua lis m. Dir te e Holly w ood is ba s e d o n w hat is releva nt in p op c ulture . R e d e f ine s t h e c u l t u re b y implemen ting L. A . s loga ns a nd gr a p hic s th a t p o r t r a y the L .A. lif esty le . Dir te e Holly w ood ha s c oll a b o r a t e d w ith acclaimed illus tr a tor M olly Cr a b a p p le t h a t i n cludes images of b uxom b ur le s q ue gir ls a n d wh i m s i c a l typograph y. About Dir tee Hol l y w ood Foun ded in 2 007, Dir te e Holly w ood c a me o n t h e s c e n e to make f ash ion f un a nd gLA mourous . W ith ro o t s i n t h e Sou th, New Yor k , Holly w ood a nd d is tr ib utio n i n G e rmany, Un ited Kingd om, J a p a n, Ta iw a n, R us s i a , Au s t r i a , Greece, Spain , I ta ly, M e xic o, a nd Ca na d a , D i r t e e H o l lywood is relev a nt glob a lly. DHW ha s b e c om e a f a v o r i t e w ith t rue t rend s e tte r s . The f oc us is to a lw a y s t r y a n d set the t rends a s op p os e to f ollow the m w it h n e w f a br i cations and w a s h te c hniq ue s tha t ha v e ne v e r be e n s e e n in t he market p la c e . The d e s ign d ire c tion w i l l a l wa y s be on providin g the tr ue f a s hionis ta s c lothes t h a t a re alw ays f ash ion f or w a rd .

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TOP : De si gn : C E X N P h o t o : J a m a ri Li or (www.j -m aya.de) M o d e l : Mi ss Ove rd ose (m i ss-o verdo se.de) B O TTOM: De si gn: C E X N & R o b P h o t o : A rtstyl e Ph otos (www.sandr a-schmidbaur.de/ ) P os t wor k: Phottos (www.p h o t t o s.de) M a k e -u p : Artstyl e Photos M o d e l : Ph ottos

Des ign: CEX N Pho to: Sylw ia Mak ris (ww w.s ylw iam akri s.co m) Mak e-u p: Sylw ia Mak ris Mod el: Spi onk a-K at (spi onk a-k at.d evia ntar t.co m)

Design: CEXN Photo: Sylwia Makris (www.syl wiamakri s.com) Make-up: Sylwia Makris| Model: Siduri

EX N D es ig n: C lw ia M ak ris Ph ot o: Sy ak ris Sy lw ia M M ak e- up : t io nk a- Ka M od el : Sp

I’m a 3 1- year- old the a tre - c os tume - ta ilor. Ad d i t i o n a l l y I st udied an ed uc a tiona l- a r tis tic p rof e s s ion. I wo r k i n b o t h prof ession s, n ow. For qu ite so me time now, I ma nuf a c tu re v e g e t a b l e tann ed leat her. I tr y to ge t le a the r f rom s p e c i e s -a p p ro priat e h usban d r y. This a s p e c t is q uite imp o r t a n t t o m e , becau se the s p e e d of lif e a nd ma s s - p rod u c t i o n o f a n i mals let us f orge t a b out mor a lity. Ev e r y one wh o s a w t h e f ilm “Eart hlin gs ” k now s w ha t I ’ m ta lk ing ab o u t . I wo r k w ith leat her… in high a c c ur a c y … in f ull re s p e c t . K e e pi n g the an imal alw a y s on my mind . In st ead of f o r ming the le a the r, I mos tly a ppl y a t r a d i tional pat ter n a nd s e w it. I of te n w or k w i t h m e t a l e l e ment s su ch a s r iv e ts . I ha v e b oth ind us tr i a l m a c h i n e r y and old shoem a k e r tools a t my d is p os a l d o i n g t h e i r b e s t to help me. My design s t e nd to b e r a the r a r tis tic . I a lw a y s s t r i v e t o transport a me s s a ge through my w or k . My e du c a t i o n al- artist ic st ud ie s p la y a b ig p a r t in it. We a re t a l k i n g abou t the wild na ture a nd d e e p ly p s y c holog i c a l m e a n i n g of some mat e r ia ls a nd the f e e ling w he n y o u we a r i t , i n this case leat he r. I n my f re e d e s igns f or my c o l l e c t i o n s I of ten f eel some thing s p e c ia l a nd tr y to tr a n s f e r i t i n t o a f orm. Th e ste e l a p p lic a tions giv e a s p e c ia l t o u c h t o t h e look of a piece . A lot of p e op le a re touc he d b y s o m e t h i n g w ild an d mayb e d e e p ly s e xua l w he n the y we a r i t .

De sig n: CE XN akr is.c om ) kri s (ww w.s ylw iam Ph oto : Syl wia Ma s kri Ma wia Syl Ma ke- up: iah Mo del : Ka sm od mo del l/4 291 6) tei .de /se dca rd/ (ww w.m od el- kar

a n d e v e n s h o ws t h a t I a m e x c i t e d a bo u t . S o m et i m es I u s e v e r y u n u s u a l m e t h o d s o r t o o l s t o re a li ze an i dea. I ’ m a v e r y s e l f -c r i t i c a l p e r s o n . Abo u t : t h e aest h et i cs, t h e f a s h i o n i n g a n d m o s t i m po r t a n t : t h e p resen t at i o n o f a n e w pi e c e , bu t I wo r k wi t h wo n de r f u l pe o pl e su ppo r t i n g m y wo r k . O n e o f t h e m i s t h e d e s i g n e r Rober t S ch r ö der. H e c o n s t a n t l y s u p p o r t s m y i n t e n t i o n s . I t h i n k I’m g o i n g t o be pro u d o f t h e u p c o m i n g pi e c e s . I ’ v e g o t so m e n ew t e c h n i q u e s I u s e d i n t h e n e w a c c e s s o r i e s co m i n g u p. I’m e x c i t e d a bo u t m y n e x t p ro j e c t wh e re I c re at e so m e st ag e o u t f i t s f o r a s h o w u s i n g a c o m b i n a t i o n of l eat h er, l i n en a n d b u r l a p . L o o k s a we s o m e ! G e n e r a l l y, i t f e e l s g re a t t o be a n i n s p i r a t i on fo r o t h er s o r wh e n I f e e l t h a t I m a k e pe o p l e h a ppy.

Good w orkma ns hip is v e r y imp or ta nt to m e . My p i e c e s are robu st and of v e r y high q ua lity The ph ilosophy of my c omp a ny is a b out re a l i z i n g wh a t w e are and wha t w e c a n d o to ma k e a d i ff e re n c e . I t ’s abou t n ot waiting f or s ome thing or s ome o n e b u t c re a t ing this world a nd mov e s ome thing a nd in s pi re pe o p l e you rself ! I am in touc h w ith the ma te r ia l, i t ’s o rg a n i c , animalistic jus t lik e us . I of ten w ork with w ond e r f ul a nd c re a tiv e a r t i s t s wh o u s e my pieces f o r the ir a r tis tic p roje c ts s uc h a s ph o t o g r a ph ers, mu sici a ns a nd s o on. We have t w o stud ios c los e to my hous e in Ma i n z , l o c a t e d near Frankf u r t. I s ome time s tr a v e l to re a l i z e pro j e c t s I have on my mind . The re a re s ome up c omin g e x h i b i t i o n s

Design: CEXN Photo: Mina Winter www.minawinter.de Make-up/styling: Mela von Winter www.myspace.com/ mela-von-winter Model: Lady Larentia www.model-kartei.de/ sedcard/modell/71530

Design: CEXN Photo: Sylwia Makris Make-up: Sylwia Makris Artist: Izes www.myspace.com/izesmusic

He x From h ell H andmade on e of a kind or limite d e d ition c lothing & a c c e ssories. E x pre ss your in dividu a lity c a us e lif e ’s too s hor t to be o ne dimen sion al. Ba by pin k n all t hin gs s w e e t or le a the r & w hip s f or t h e ultim ate bit ch! T ip to e t hrou gh an as y lum, Ha unt the gloomy c e met e ries o n a perf ect nigh ts s k y, S k ip a round Tok y o’s S tre e t s & dro w n yourself in br ight b old c olor s . . . I c a te r to th o s e who hu nger f or a u nique look w hic h is w e a r a b le e it h e r da y o r nigh t. My can v a s is my c lothing & I p a int d es i ro us port raits. My insp ir a tions c ome f rom p e r s ona l e x pe rience an d lif e jou r ne y s . I illus tr a te my s e r ie s , hat re d, jo y, playf u lness, f an ta s ie s , a nd my p oe tr y, tr a ns c e n di n g e m o tions int o my des igns .

W H I TE Q UE E N I N TH E S N O W Y F O R R EST: N i c he l l e N ol a n ( mo d e l ) C hr i s D a v i d ( P hot o g ra p h e r) Re ne e S a ye d ( mu a )

A W IC K E D PRE V IE W TO T HE ALICE SHOOT: K a the ri n e Au gusti n e (mo del) C h r i s Da vi d (Ph otogra pher ) R e ne e Sa ye d (m ua )

8 0 ’s G l a m Photographer: Jo-anne Windsor Make-up Artist: Lema Abdullah & Madeline Rae Mason Hair stylists: Lema Abdullah & Madeline Rae Mason M o d e l s : A l e x i l e Tr a s h ( M a d e l i n e R a e M a s o n ) & A i m e e C h r i s t i e

O O A K s te a mp u n k R A G DO L L TO G : J o - a n n e w i n d s o r M od e l : K a t h e ri n e Au g u s t i n e H a i r s t y l i s t : J o n a t h a n G e i mo n M u a : Xy a R i l e y

EVI L R ED Q U EEN M e r i t a H e r n a n d e z z ( mo d e l ) C hr i s Da v i d ( Ph o t o g ra p h e r) R e n e e Sa y e d ( mu a )

S tarkall

PHOTOGRAPHY

Mo del/ Fashion Design/ M a k e up : R a c ha e l F or b e s f ro m Sc o t l a n d http: //ww w.myspace.com/ f a nta s tile b e a s tile

A rt i s A d vent ure Thi s rul e i s f i rst f or S t ark al l and b eyond doubt you real i z e i t when you vi ew hi s i mages . His models are al ways i n amaz i ng l ocat i ons f ar away from any ci vi l i z at i on and mod er n t i mes. S ometimes they l ook l i k e t hey are out of a movi e an d this is his t arget , creat i ng a uni verse where t he old legends are al i ve. “O ur mod er n worl d i s f ul l of r ationalism” he says “and so t he worl d b ecame p oisoned. Now we have t o f i nd t he ri ght ant i d ot e t o keep the pat i ent al i ve. Myt hs are good . Bel i eve in them and p i ct ure t hem!” S t ark al l st ud i ed d i ff erent sub j ect s at univer sity, b ut was never sat i sf i ed wi t h t he t eaching business, so he d eci d ed t o st art f reel ance, as a locat i on scout . Thi s i s when he f ound photogr aphy, f i rst l and scap es and rui ns, l at er ad d ing models to t el l st ori es. The mod el s he work s wi th design and mak e up t hei r own f ashi on. “When a model feels good i n her out f i t , i t s b ecause i t s her second skin. Mak i ng i t a great shoot even wi t h new talent as we are no l onger act i ng, we merge t hem together and t el l a st ory!” More ab out S t ark al l at : www.st ark al l . com

Mo del/ Fashion Design/ M a k e U p : Lind a F r ie s e n f rom t h e N e t h e r l a n d s . http: //ww w.lindaf riesen. c om

Mo de l / Ma k e U p : Re b e ll a A r ach n o i dea C o r s e t : F ro u F ro u D esi g n , Ger m an y

M od e l: M a sh a d e Ro o http : / / w w w. ma s hade ro o . c o m

Mo de l / Ma k e : Re be l l a A r ach n o i dea Wa rd ro be: L i pS er vi ce h t t p : / / www. m y s p a c e . c o m / ar ach n o i dea L o c a t i o n : F r a n k e n s t e i n C a s t l e i n Ger m an y

E NIG MA FAS HIO NS

“ w a k e to f a i r i e s , c e l e s t i a l , a n d m y s t i c a l b e i n g s . Spe n d my d a y s s oa r in g t h e a i r i n h o t a i r ba l l o o n s a n d f u t u r i s t i c c r a f ts . I d ine wi t h k i n g s a n d qu e e n s a n d pro wl t h e n i g h t w ith v a mp ire s . ” An e n i g m a , t h e e s s e n c e t o m y l i n e . ~ D i a na Dr a k e Enigma F a s hio n s br i n g s y o u a n e l e g a n t c o l l e c t i o n o f Gothic , Vic tor ia n , St e a m pu n k i n s pi re d d e s i g n s a n d m o re . Our d e s igns a re c u s t o m m a d e f o r m a l we a r f o r t h o s e s p e c ia l oc c a s ions t h a t de m a n d n o t h i n g b u t t h e b e s t . Al l of Enigma F a s h i o n s c l o t h i n g i s d e s i g n e d a n d c re a t e d b y Enigma F a s hion s , t h e y a re u n i qu e d e s i g n s f o u n d n o wh e re e ls e . Ea c h p ie c e i s m a de t o t h e h i g h e s t o f s t a n da rd s a n d ha nd ta ilore d f o r a wo n d e r f u l f i t .

P hot ogr a p he r : G a i l Bow m a n w w w.m ode r n e y e i ma g e s . c o m M od e l : J e s s i c a Sp a n g l e r H a i r : C a r l e y S m i t h, W i l l i a m Wi l l i a ms Ac a d e my M a k e up : W i l l i a m Wi l l i a ms Ac a d e my Li g h t i n g R a n d y S t ra i n

Model: C a n d y Wa l k e r Justin Magoulas MU A / H A I R : M i z z M a k e u p TO G : Top he r Ad a m Ph o t o g ra p h y

Model: C a n d y Wa l k e r Justin Magoulas M U A/H A I R : M i z z M a k e i p TO G : Top he r Ad a m Ph o t o g ra p h y

Ori gi na lly f ro m r ura l Te n n e s s e e , T h o m a s O gd en fol l ow e d his lif e lo n g d re a m o f p u rs u i n g h i s t wi n p assi ons o f a r t a nd f a s h i o n t o t h e S a n Fra n ci sco Ba y Are a in J une o f 2 0 0 0 . A g ra d u a t e o f t h e A cad e my of A r t U niv e r s i t y i n F a s h i o n De s i g n , O gd en ha s ma de a na me f o r h i m s e l f i n c u s t o m d esi gn c i rcl es by ply ing hi s t ra d e a t e v e ry t h i n g f ro m t he p ra c tic a l, inc luding s o f t g o o d s p ro t o t y p i n g , t o t he fanc i ful – s uc h a s c u s t o m d e s i g n e d p e ri o d p i ece c o stu me s , we dding d re s s e s , a n d o u t f i t s f o r a eri al i sts and o t he r pe r fo rm e rs . S i n c e 2 0 0 5 , O g d e n has a l so be e n a s t a ple o f t h e c o s t u m e d e s i g n d e part me nt a t S a n F r a nc is c o ’s c e l e b ra t e d Te a t ro Z i n z anni , and ha s c re a t e d s c o re s o f u n i q u e c o s t umes for th e c a s t ’s my r ia d s h o w s . O g d e n ’s e x p e ri ences wi th Te a t ro Z inz a nn i h a v e a l l o w e d h i m t o g a i n an i n d e pt h unde r s t a n d i n g o f d e t a i l e d c o s t u m e construc tio n t ha t ha s b e e n a n i n v a l u a b l e s o u rce of i n sp i ra t io n a nd e xp e ri e n c e i n h i s d e v e l o p i n g care e r. I n a ddit io n, O g d e n h a s b e e n s o u g h t o ut t o ta i l o r c us t o m iz e d co s t u m e s f o r t h e p ro d u c t i on of a n i n de pe nde nt s ho rt f i l m , s o m e o f w h i c h i n v ol ved c o nstruc t io n o f s pe c i a l i z e d h e a d p i e c e s a s w el l as hi gh l y s t y liz e d g a rm e n t s . O g d e n p ri d e s h i m sel f o n hi s a bilit y t o c r af t f u n c t i o n a l a n d b e a u t i f u l ob j ec ts, a nd a lwa y s s t ri v e s t o c h a l l e n g e h i m s el f t o i n no vat e while pro d u c i n g t h e h i g h e s t q u a l i t y p i ece p ossi ble f o r his c li e n t s ’ n e e d s . C u rre n t l y m ak i ng hi s ho m e in A la m e d a , j u s t o u t s i d e S a n F ra n c i sco, Ogd e n we lc o me s al l i n q u i ri e s a b o u t h i s p ort f ol i o and is a lwa y s ea g e r t o h e l p w i t h y o u r c u st om re q u e s t s – big o r s m a l l . Vi s i t h i s o n l i n e p o rt f ol i o a t tho ma s o g de n. c o m o r e m a i l h i m a t t h o m @ t h oma sogd e n. c o m.

M o d e l : Do l l TO G : Top he r A d a m P hoto g ra p h y

Model: C a n d y Wa l ke r M U A / H A I R: Mi z z Ma ke i p TOG: Top he r Ad a m Photography

Model: Justin Magoulas MU A / H A I R : M i z z M a k e u p TO G : Top he r Ad a m Ph o t o g ra p h y

Mod e l : Fa z i a H ughe l l TOG/M UA/H AIR: To pher Adam Pho t o g r aphy

Model: C a n d y Wa l k e r Justin Magoulas M U A/H A I R : M i z z M a k e i p TO G : Top he r Ad a m Ph o t o g ra p h y

H o w to s ty le an I ce Glam P u n k! Ic e Glam Pu nks are a s e c re t c ommunity of Gothi c a n dro g ynous beaut ies liv ing in und e rground ic e c a v e s a n d e m bracin g f ashion lik e no othe r. A nd the y a re u t t e r l y fabulo us! Their st rong s e ns e of a v a nt ga rd e & f u t u r i s tic fa shion combin ed w ith the ir ind iff e re nt & c old a t t i tude tow ards t he w orld tha t the y liv e in ma k e s the m t r u l y unique modelesque cre a ture s . The y a re e mp ty on th e i n side an d f ierce on the outs id e . The y p os s e s s d a r k ro c k a bility. Th ey redef ine gla m. The y p ut v a mp ire s to s h a m e ! To style an Ice Glam P unk , y ou mus t c ons id e r the i r f o l lo wing charact erist ics : •A ND ROGYNY: Th e ble nd ing of ge nd e r tr a its re f le c t c o n siste ntly in Ice Glam P unk f a s hion. I f y ou c ome a c ro s s wardrobe ch oices tha t s e e m too f e minine f or a m a l e m o de l or t oo masculi ne f or a f e ma le mod e l, the n g o f o r it! Yo u are making the r ight c hoic e . The re f ore , d on’t h e s ita te to cross over t o the f e ma le s s e c tion of a c lo t h i n g sto re t o seek wardrob e c hoic e s f or y our ma le mod el a n d vice versa. Th ink gen d e r b e nd e r ! •GO T H: Ice Glam P unk s lik e to e mb r a c e the d a r k e r side o f thin gs; h ence, the ir f a s hion s e ns e te nd s t o b e o n the dark, eroticize d a nd oc c a s iona lly mor b id s i de . T he refore, consider inc or p or a ting G othic ite ms s uch a s bo nda ge pant s, an yt hing ma d e of la te x, c ha ins , m e t a l spikes, in du st rial boo ts e tc . S uc h ite ms c a n b e b o u g h t fo r va rious prices f rom s e v e r a l Gothic s tore s s uch a s T he B lack Angel (www. the - b la c k - a nge l. c om), The F o rg o tte n Sain ts (w w w.f orgotte ns a ints la . c om) or a ne a r b y H o t To pic st ore. In ter ms of c olor, y our w a rd rob e c h o i c e s do no t n eed to be dar k , a lthough the y c a n b e . Con s i de r the se tting/backgroun d a t w hic h y our mod e l w ill b e s h o t . Brig hter colors such as w hite or s ilv e r or a c omb in a t i o n o f bo th wou ld ph otogr a p h b e a utif ully a ga ins t a w i n t e r / ice se t ting. •P UN K ROCKABIL IT Y: Cons id e r inc or p or a ting Pu n k Ro ck pieces su ch as c lothe s ma d e of glitte r f a b r i c s , studded pieces, f ishn e ts , c or s e ts , b ulle t b e lts , r i p p e d o r stitch ed- t ogether p a nts or s hir ts a nd c lothing i t e m s de c o rat ed w ith bu ttons a nd p a tc he s . A ll s uc h ite m s c a n a lso be acquired at the a b ov e re f e re nc e d G othic s t o re s . •GLA M: Ice Glam Pu nk s a re a s gla morous a s one c a n

g e t . T h e re f o re , i n c l u s i o n o f j e we l r i e s m a d e o f di a m o n ds, r h i n e s t o n e s o r e v e n p e a r l s wo u l d be a wi s e c h o i c e. A n d t o m a k e y o u r l o o k m o re u n i qu e , y o u c a n pu rc h a s e cr yst a l s / r h i n e s t o n e s / pe a r l s f ro m y o u r l o c a l f a b r i c o r beads s t o re a n d u s e t h e m t o d e c o r a t e a pi e c e o f y o u r mo del ’s wa rdro be . Yo u c a n u s e t h e m t o c o v e r a n e y e p at ch , a br a , a j o c k s t r a p e t c . • F U R: I c e G l a m Pu n k s g e n e r a l l y t e n d t o we a r a l o t o f fu r. Af t e r a l l , t h e y l i v e i n i c e c a v e s a n d n e e d t o k e e p w ar m . F u r c o a t s c a n b e p u rc h a s e d a t re a s o n a bl e c o s t at l o c a l v i n t a g e , c o n s i g n m e n t o r t h r i f t s t o re s . An d i f yo u are a g a i n s t u s i n g a n i m a l f u r, y o u c a n f i n d f a k e f u r i t em s i n t h e wo m e n ’s s e c t i o n s o f m o s t c o m m e rc i a l d e p ar t m en t s t o re s s u c h a s H &M. As y o u p u l l y o u r wa rdro be pi e c e s t o g e t h e r, t r y t o t arg et a n u l t i m a t e l y f u l l y c o h e s i v e l o o k . L e s s c a n b e mo re at t i m e s . Tr y n o t t o u s e m o re t h a n 2 -3 c o l o r v a r i a t i o n s. A n d e v e r y n o w a n d t h e n , s t e p b a c k a n d t a k e a c a re f u l l o o k a t y o u r wa rd ro b e a s y o u pro g re s s t o e n s u re t h a t yo u are s t a y i n g o n t r a c k . An d y o u a re d o n e ! Yo u a re n o w aw are o f a l l e s s e n t i a l c h a r a c t e r i s t i c s t h a t I c e G l a m Pu n k fash i o n i s i n s p i re d b y. At l a s t b u t n o t l e a s t , a s y o u p u t t h i s l o o k t o g e t h e r, do n ’t f o rg e t t o h a v e f u n wi t h i t ! Se e y o u i n F e br u a r y, xoxo, N i m a Sh i r a z www. n i m a s h i r a z . c o m

M od e l : Kurt i s Da m- M i k k e l s e n M U A : B a ra K re j c i k o v a T O G : To p h e r A d a m

(untitled) F or J eff... wispy, skirt ed girl she spin s in w ant on o v a ls o ften, more down than up her whimsical t hin king re f le c ts a fancy: the blonde b e a rd e d b oy but, e nveloped by ano the r ’s ha nd s , she a verts eyes an d pur s e s he r lip s to ke e p her secret a lo ne, she ru ns perpe nd ic ula r a nd finger digs her f les h Ga sh trie d a nd tired of t he da ze d puppet - st ring da ncing in a h aze, life is fin alized and fle sh is opened by the neverf ail of a razo r ’s e dg e –seemed the method b e s t a s the mess lef t by le a p ing fro m ledges wou ld n ot le a v e the m essage a wrecked a nd ragin g disposition c ra ve d to instate, so fro m dust to carved c or p s e to dust once more, sud d e nly a m ust is at tainin g a lo ve of the dark T he C oncl usion a g ro an drew me, u nt il i f ound y ou be nea t h t he h ot spray of y our e a r ly a f te r noon r itua l , a lre a dy sof tenin g in y our p a lm witho ut ever h avin g a s k e d f or my c ontr ib utions later, wh en you called me into the othe r room i pre tended n ot to hear – the v oid d ug, s o a p p a re nt the re was no n eed t o time tr a v e l into the me s s to understand that w e ha d e nd e d --A m a n da “Cal” L ouis e P hoe nix

Sugar Cream Pie I N G R ED I EN T S : 1 p re pa re d 8 i n c h pa s t r y s h e l l 1 1 / 2 c u p s wh i t e s u g a r 1 / 2 c u p a l l -p u r p o s e f l o u r 1 c u p h e a v y wh i p p i n g c re a m 3 / 4 c u p wh o l e m i l k 1 teaspoon vanilla extract 1 / 4 t e a s p o o n g ro u n d n u t m e g 1 / 4 c u p bu t t e r, c h i l l e d a n d di c e d D I R EC T I O N S : 1 . Pre h e a t o v e n t o 4 5 0 d e g re e s F ( 2 2 5 de g re e s C ) . 2 . I n a m e di u m bo wl , m i x t o g e t h e r s u g a r, f l o u r, an d c re a m . Add m i l k a n d v a n i l l a e x t r a c t , a n d c o n t i n u e t o st i r u n t i l m i x t u re i s s m o o t h . Po u r i n t o pa s t r y s h e l l . Sp r i n kl e t o p wi t h n u t m e g a n d do t e v e n l y wi t h s m a l l c h u n ks o f bu t t e r. 3 . Ba k e i n p re h e a t e d o v e n f o r 1 5 m i n u t e s . Re du ce h eat t o 3 5 0 d e g re e s F ( 1 7 5 de g re e s C ) a n d ba k e a n a d d i t i o n al 45 minutes. Re c i pt f ro m My s t i c L a dy

Co al i n y o ur St o cki ng I n gredien ts 1- 1/2 cup honey 2/3 cup wat er 1 t sp . vani l l a ex t ract 1/4 t sp . nut meg 8 st i ck s ci nnamon 2 whol e cl oves 3 st ri p s l emon p eel 1 b ot t l e BLA C K vod k a C omb i ne honey wi t h t he wat er, vani l l a, sp i ces and t he l emon p eel i n a l arge saucep an. Bri ng this to a b oi l cover, and si mmer f or ab out 5 mi n. Add BLA C K vod k a (or b l ack f ood cl ori ng), remove from t he heat serve hot or col d . BTW, If you want t o b e warmed up t hi s H oliday season, t hi s one wi l l get you al l hot and b ot hered. Top hers C oct ai l s 2010