FADDY Magazine - Issue 25 Oct 2020 by FADDY Magazine

ISSUE 25 OCT 2020

Nikola Borissov Frank Horvat - Eugenio Recuenco - Christopher Miles - Brent Lee - Michael Creagh - Giovanni Gastel Holly Pan - Enrique Vega - Sandy Linter - Anya Anti - Walter Rothwell - Stefanie Renoma pablo Almansa - Javier Marin - Michael Callas - Jose Cacho - Christina Nicodema

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In memory of Frank Horvat 1928 â&#x20AC;&#x201C; 2020 A self-described European, Frank Horvat eschewed nostalgia. His penchant for realism gave his work a unique perspective. While widely known for fashion photography, Horvatâ&#x20AC;&#x2122;s oeuvre encompasses photo journalism, portraiture, landscape, nature, and sculpture. One of the first photographers to shoot in color and to work with Photoshop, he was interested in new ideas. We (at FADDY) feel privileged to be able to provide a space to present the work of artists and their new ideas. In honor of this vastly creative and insightful artist, we present to you our October issue.

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FOLLOW, CONTACTS Instagram: faddymagazine Instagram Showcase: faddymag Facebook Page: faddymag Email: faddymagazine@gmail.com Web Page: http://faddymag.com EDITOR IN CHIEF Biagio De Giovanni SENIOR FASHION EDITOR & SVP SALES AND ADVERTISING Candice Valentine Solomon FADDY SHOWCASE REVIEW CHIEF Alessandra Galati JOURNALIST/WRITER Linda Arroz Gabrielle Smith Nicole Vickers Anneysa Gaille SENIOR FASHION EDITOR ASSISTANT Helen Wilkey GRAPHIC DESIGN CONSULTING Massimo Storari GRAPHIC Giulio Cesare Silvestri & Biagio De Giovanni FADDY MAGAZINE HEADQUARTERS FERRARA - 44124 - Via Giglioli 28/A FADDY MAGAZINE US HEADQUARTERS 215 West 84th Street Suite 126 New York, NY 10024

Editor’s note I’d like to give a very warm and special mention to Candice Solomon our Senior Fashion Editor for the beautiful job on this issue and her continuous commitment to Faddy Magazine and all of the creative community who made this issue great. Her tireless commitment to everyone who she comes in contact with has grown our publication and audience ten fold. Thank you Candice Solomon. Last but not least my very welcome to I would also like to thank our writers Linda Arroz, Nicole Vickers, Anneysa Gaille and Gaby Smith for their wonderful work interviewing our inside features and cover story. Editor and Chief Biagio De Giovanni

andice Solomon a native

Candice Solomon has an accomplished and impeccable reputa-

New Yorker, resides in

tion in the world of fashion and fashion design as;

Manhattan with her fiancé

•

Creative director

and artist Robert Santore.

•

Design director

Candice is a world traveler and the

•

Editorial strategist & executive produce

quintessential Native New Yorker.

•

Stylist

She is a highly successful female

•

Content creator

entrepreneur running the oper-

•

Fashion merchandizing strategist

ations, “day-to-day” and strategic

•

Fashion and style trendsetter and Mentor

business offerings in the highly

•

Branding specialist

competitive and ever-changing landscape of the fashion industry.

•

Instagram & social media influencer & strategist

She is an award winning bridal and evening wear designer noted

•

LikeToKnowIt influencer

for her international and celebrity red carpet patrons. Candice is renown throughout the fashion industry as the “go She has been featured in People Magazine’s “Best Dressed” for

to girl” for “anything and everything” from sourcing incredible

dressing her distinguished clientele, most notably, Donna Ha-

location for editorial photo shoots, engaging with and securing

novers wedding dress in People Magazine and “Town And Coun-

the worlds best and acclaimed photographers, stylists, award

try” magazine.

winning hair and makeup professionals to securing multi-million

In addition, she was featured in multiple concurrent years in the

dollar apparel pulls for promotions and presentation, as well

highly prestigious “Best Of” in New York Magazine. Candice was

as working with an inclusive, multidimensional pool of talent as

regularly featured in the New York Times, “Style and Fashion”

models.

sections, and in many global publications, both print and digital editions.

She is passionate and a life-long supporter of the LGBT Community, Trans Lives and mentor to many talented young people who

She was the executive producer and an on-screen commentator for the award winning documentary “7 Years Underground” which focused on the early years of Rock & Roll, Jazz and Blues at the famous “Café A Go Go” located in Greenwich Village in New York City. “7 Years Underground” winning awards in film festivals around the world. Candice is the owner of a boutique consultancy/agency in New York City focusing on optimizing strategic placement, strategy and trend management for a broad cross section and inclusive segment of the fashion industry. She also operates a highly successful e-commerce showroom servicing blue ribbon customers globally. She is the Senior Fashion Editor for FADDY Magazine and the Sr. Vice President of Sales & Advertising.

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have become incredible successful under her guidance.

LINDA ARROZ - Writer Linda Arroz is a writer based in California. The first plus sized spokesmodel to get a contract with a major brand, Spiegel Catalog, Arroz’ career spans the evolution of her skill sets. During her three years with Spiegel, she learned how to tell stories, discovered the story behind the story, the art and craft of the pitch, and how to produce and style a TV segment. Co-author of “Affordable Couture,” published in 2012, Arroz’ experience includes working as an apparel firm marketing director, magazine editor, fashion stylist, and TV personality, producing hundreds of morning television makeovers. Her portfolio of work has always been a voice of inclusivity. Her consulting firm, Makeover Media, continues to advise clients on a range of issues and opportunities. Arroz is currently working a memoir of her years working on the assembly line at General Motors. GABRIELLE SMITH - Writer Gabrielle Smith is a freelance journalist and creative copywriter. The London College of Fashion alumna has written widely about fashion and culture, with her work published in numerous magazines such as; Harper’s Bazaar UK, House of Solo Magazine, French Fries Magazine, Overdue Magazine etc.

NICOLE VICKERS - Writer Nicole Vickers is a writer, journalist, poet, and editor born and raised in Houston, Texas. She was an avid reader from grade-school, heavily influenced by writers and poets such as E.E. Cummings, Neil Gaiman, Adrienne Rich, Chris Krauss, and Charlotte Bronte. She studied English Literature at St. Edward’s University in Austin, TX, where she was the Editor-in-Chief of the university’s academic journal. She has written for both River Oaks Lifestyle Magazine and Memorial Lifestyle Magazine, and has been published in The Opal Club Magazine based in New York, New York. She now lives in New York, and is currently working on poetry and short stories.

ANNEYSA GAILLE - Writer Anneysa Gaille is a poet, educator, and journalist based in New York City. In 2018 her chapbook, No Such Thing As, was published by the Center for the Study of Gender and Sexuality at the University of Chicago. She is currently an adjunct lecturer in the English Department of Brooklyn College. Gaille also serves as the poetry and visual arts editor for the Brooklyn Review.

HELEN WILKEY - Assistant to Senior Fashion Editor Helen Wilkey spent her first two years out of The University of Chicago working in talent, most recently at Paradigm Talent Agency. Ready to explore realms beyond her desk, Helen looked to fashion for hands-on production experience. She is now assisting on shoots in and around New York City.

table of contents 188

336

Holly Pan

Iconic Influencer and Stylist

Artist - Sculptor

164 72

Javier Marin

Giovanni Gastel Exclusive Interview

Eugenio Recuenco Exclusive Interview

238

Anya Anti

Exclusive Interview

122

The Modern Antebellum

142

Michael Creagh

Brent Lee

Exclusive Interview

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Nikola Borissov Cover Story

358

392

Michael Callas

Fine Artist

212

Christina Nicodema Fine Artist Jose Cacho Fine Artist

380

Dangerous Times

by Enrique Vega feat. Sandy Linter

260

Walter Rotwell

Exclusive Interview

284

106

Time for Change Christopher Miles

Stefanie Renoma

Exclusive interview

308

Pablo Almansa

Exclusive interview

Frank Horvat

Exclusive interview 9

NIKOLA BORISSOV

f I could write an entire interview solely made up of quotes from Nikola Borissov, I would, and gladly. Eloquent, educated,

and fluent in 6 different languages, he describes himself as a “grumpy Eastern European” that could “talk for hours”. Our conversation ranges from brutalist architecture, Bulgaria, houses in Sicily that one could buy for just one euro, and his upcoming golden years, “I don’t have a clue what the future is going to bring, but I have a plan. I just had my 40th birthday, so I have entered a totally new mind shift. The first one comes when you’re 30. So this is my second. And let me say, it’s really making me want to get my sh*t together”. We both laugh. His laugh is honest and earthy. Like many artists, the outbreak of COVID-19 stopped Borissov’s plans in their tracks. He tells me that right now, he has recently fallen in love with real estate and is planning out his next move. In Europe, “geography doesn’t really matter in my line of work. You can get on a plane and be in London in 3 hours for a photo shoot”. Although he has lived almost every place imaginable, he tells me that the virus caught him in between moving from Milan to Barcelona, causing him to move back to his home, Sofia, Bulgaria. “It’s fascinating to me that I am back here. I’m seeing old classmates, I can see my family... It’s almost as if this place is now exotic to me because I have not been here in so long.”

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EXCLUSIVE I N T E RV I E W I N T E RV I E W B Y N I C O L E V I C K E R S

Tell me about the most beautiful and inspiring

Your portrait work is so intimate. How do you get

places you’ve ever been to.

the models to feel so comfortable around you? What conversation if there, if any? Do you play

Cape Town, South Africa. The moment I stepped

any music while you’re working?

off the plane I knew I was home. The colors that surrounded the area were like, saturated

It really is a case-by-case scenario; in general I strive

technicolor. I’m so bummed I can’t go this year.

to be a decent guy that the talents feel comfort-

It’s Africa, you know! There is something about it...

able being around. Also quite often I work with the

It’s the edge of the world, nothing compares to it.

same models over and over again so, in the end, we

It truly is the only place I have felt at home. The

become friends; actually, a lot of the women that I

smells, it smelled like earth, and flowers, and … I’m

shoot are amongst my closest friends, and this makes

kind of obsessed with that place.

everything infinitely easier. It also depends a lot on the type of job – on big complicated sets with dozens

Nikola’s sense of adventure and curiosity is palpa-

of people running around it’s generally harder and

ble. His artistry is a perfect blend of who he is as a

more hectic, small teams and small sets make for a

person- looking for the realness in everything, trying

much more relaxed and friendly vibe. But again, there

to understand as much as he can, and leaving his

are no rules except for one: “Treat everyone with

mark wherever he goes.

respect and don’t be a d*ck”. As for conversation – yeah, in this line of work with time one has to become

You mentioned your “golden years” earlier.

something of a cross between a psychologist and a

What do they look like for you? What do you

stand-up comedian in order to keep everyone on set

think they have in store?

happy, and a happy set equals a good picture. I generally keep a silent set during the actual shooting but

Well, I do have a plan. I just turned 40 a few weeks

before, after, and during the breaks, there’s music,

ago. This is my second mindset shift, but I still feel

jokes, stories, conversations about art, politics, reli-

very childlike. My plan was to settle down, get a

gion, everything. I am a very curious person by nature

houseboat, and be able to go onshore and shoot.

so I always annoy and/or entertain everyone with the

It’s tiring living out of your suitcase for 7 years, but

most absurd conversations. In my usual base cities,

on the other hand, I am someone who gets bored

I have teams that I always work with, and there is a

easily. Hence the boat! I can go stay in one of the

family vibe anyway, so even when we work with new

towns when I get bored. I just want this lifestyle.

talent, they immediately feel integrated and relaxed. A big factor is also the cultural specifics of the country

One of the first things that I noticed about Nikola’s

we are shooting in – some places are rigid and sterile

portrait work i show delicate and intimate it is. After

(the US or Germany, for example), while elsewhere

speaking to him for all of five minutes I had my an-

the attitude towards everything is much more relaxed

swer, but I knew I had to ask him about his process.

(Italy, France, Spain, South Africa, etc). I feel equally at home in both scenarios, you learn to adapt to the local ways (and it did take the occasional faux pas).

I am amazed by your work with

and the technical standpoint – why

Is there a specific photograph

lighting and shadows. Has that

do I love Wong Kar-Wai’s work?

that inspires you constantly, no-

always been something you’ve

Why do I keep getting drawn into

matter how many times you’ve

been drawn to?

Terrence Malick’s films? What

seen it?

about Jacques Olivar’s imagery

Thank you! Yes, definitely. It was

leaves me in awe? I believe in a

Quite a few, actually. Images by

one of the very first aspects of my

critical analysis of inspiration to be

my favorite photographers – Vin-

work that I tried to develop, not

one of the two fundamental pillars

cent Peters, Jacques Olivar, Peter

always in a conscious manner. I

of developing a photographic eye;

Lindbergh, a restricted number of

knew I loved Caravaggio’s opus, for

the other being uncompromising

others. The same goes for films as

example, I just didn’t know why.

visual hygiene. Which explains why

well – I have seen “In the Mood for

I find it extremely important to

I never look at stuff on Instagram,

Love”probably around 30 times

analyze in a detailed fashion every

at the risk of seeming a dinosaur

and each time is like the first. A

inspiration from both the artistic

stuck in the past.

tendency towards obsession is

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definitely a must-have personal

thing because now everyone thinks

ing point when you realized you

trait in this line of work.

they are a real photographer with

couldn’t go back to a “normal”

a phone in their hand. But, on the

life?

It’s going to take a long for

other side, this is also allowing me

things to go back to normal.

to explore my passion and love for

I think I am still very, very far from

How do you think your job as a

real estate. It’s getting hard, you

anything even remotely resembling

photographer will be affected?

lose inspiration, everyone feels

a “pinnacle”. If I had to pinpoint one

entitled to their opinion on YOUR

specific turning point – that must

It seems like it’s going to take a

trade and your craft. Everyone

be the moment when I realized

while before things go backto nor-

needs to remember the 10,000-

I had to quit the bank and give

mal. Jobs like mine, those are the

hour expert rule.

freelance photography a try. I re-

first to go! If there is an economic

member the exact split second – I

downturn, no one is going to take

What was the creative pinnacle

was stuck in traffic , at an ungodly

pictures. Photography is a dying

of your life – what was the turn-

early hour, already running late for

work, my tie was strangling me… I was listening to Rammstein, too. A bit of a Michael-Douglas-in-Fall-

Your advice for other artists who want to create?

ing-Down scenario. At some point I just woke up and realized that nobody was forcing me to do this thing

Just DON’T. Thanks to the internet the world is

that was making me miserable, so I figured I might as

inundated with mediocrity, don’t contribute to that.

well just quit and be a photographer. So I did. Sold

Plus it’s an ungrateful occupation, and it’s becoming

my car, bought some cheap Chinese lights and off I

even more so now that everyone feels entitled to

went into the big wide world.

pollute the interwebs with their, err, “produce”, and to scream for attention. Yuck. If you absolutely MUST

Where were you raised? What was your home life

do it, then first spend a few years just consuming,

growing up?

observing and learning, before you actually pick up a camera, a brush, or whatever. Also, never call

I was born and raised in Sofia, Bulgaria. Behind the

yourself an artist. Makes you sound like a dick. Don’t

Iron Curtain, hic sunt leones. It was fucking misera-

be a dick.

ble. Beyond miserable. Words can’t describe what a nightmare living in the Eastern Bloc was. I was

The first time you picked up a camera? When did

9 when the regime fell in 1989 but I still have ex-

you know you had to be a photographer?

tremely vivid memories. Like the empty store shelves everywhere, or eating bananas only around New

I must have been around 15 when my grandpa lent

Year’s – that was the only time of year when the com-

me his old Russian telemetric Zorkiy 4 camera for a

munist party would let people buy them, with a limit

school trip to Turkey. I was intrigued, but never really

of a kg or two per family. I still associate the smell of

cared much about the picture itself. I still have that

bananas with New Year’s, it was such an exotic thing

camera, it’s completely mint, and every now and then

to me as a kid. Or people being sent off to labour

I use it as a prop in pictures. Then in 2003, I got one

camps because they got caught listening to Western

of the very first tiny point-and-shoot digital camer-

music. Or the complete lack of any sort of freedom –

as, and HP, but I only planned to use it for touristic

of movement, of speech, of thought. In comparison

pictures…. Soon I realized I was carrying it with me

“1984” is a happy utopia. Fucking miserable. Then

all the time anyway, so I started shooting some

the ‘90s were a strange mixture of post-Communist

street stuff – beggars, homeless people, kids running

chaos, complete anarchy and lawlessness, gang vio-

around. It made me curious about the world… The

lence, and thugs everywhere. With a pinch of Nirvana

rest is history.

and grungy shoe-gazing. Kinda miss the ‘90s and that futureless anarchy and thoughtlessness. So as soon

FADDY Magazine is honored to be a part of that

as I graduated from high school I escaped (that’s the

history, Nikola

word we actually use instead of “emigrate” or “move” – “escape”) to Milan, Italy. 20

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F PHOTOGRAPHY IS THE ART OF NOT PUSHING THE BUTTON....

n almost 70 years of photography, I had the time to photograph many different subjects, with at least a dozen different

techniques. But thatâ&#x20AC;&#x2122;s almost beside the point. The point is that I had the time to play many different games. The hardest, as in the case of the present website, is to make this clear to the people who look at my work.

Frank Horvat

rank Horvat exclusive interview

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EXCLUSIVE I N T E RV I E W I N T E RV I E W B Y N I C O L E V I C K E R S

orn in a Jewish family from Central Europe in 1928, Horvat has lived in Switzerland, Italy,

Pakistan, India, England and France, where he settled in 1955, while continuing to commute in Europe, to often work in New York and to travel to various countries in Asia. Horvat acknowledges having been strongly influenced by Henri CartierBresson. After meeting him in 1950, he follows his advice (‘God didn’t put your eyes on your belly’), by replacing his Rollei with a Leica and embarking on a two-year journey in Asia, as a free-lance photojournalist. His photographs from this trip are widly published and one of them is included in the Family of Man, at the New York MOMA. In 1957, Horvat moves to a different branch of photography, by shooting fashion for Jardin des Modes. But he holds on to 35 mm cameras and available light - which formerly had

“For me, digitalization was liberation from repetitive and boring tasks, like measuring light and distance, bracketing, shading, spotting, filing, etc etc.” 42

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rarely been used for fashion.

criticism comes from his master,

The innovation is welcomed

Cartier-Bresson: “You shouldn’t

by ready-to-wear designers,

mix directive and non-directive

because it presents their

photography! What you do is

creations in the context of

pastiche”!

everyday life for which they are meant. In the following years, he

Between 1962 and 1963, Horvat

is commissioned to do similar

reverts to photo-journalism, with

work for Vogue in London,

a trip around the world for the

Harper’s Bazaar in New York

German magazine Revue. Then

and Elle in Paris, and his lead

he experiments with cinema

is followed by others. The only

and video. In 1976, he decides

1961, Paris, France, rue du Parc Montsouris, Judy Dent

to “become his own client”, by

photography.

producing three personal projects:

Riboud, Eva Rubinstein, Jean-Loup Sieff and Joel-Peter Witkin. They

Portraits of trees (1976-82), Very

In the 80’s, Horvat suffers from

are published in France, under

similar (1982-86) and New York

an eye disease and for some

the title Entre Vues, and are now

up and down (1982-87), which he

months has to replace his eyes

considered a work of reference,

calls his “triptych” , even though

with his ears. The result is a

not only because the interlocutors

the three are so diverse, that

series of interviews with fellow

are famous, but also because

they seem to be done by three

photographers: such as Edouard

with Horvat they ‘talk shop’, i.e.

different photographers. Their

Boubat, Robert Doisneau, Mario

as people dealing with the same

point in common is that the three

Giacomelli, Hiroshi Hamaya, Josef

problems.

are in colour, which at the time

Koudelka, Don McCullin, Sarah

is a relative exception in creative

Moon, Helmut Newton, Marc 43

1959, London, UK, for BR VOG, with horses

In the 90’s, he takes an even more

in Provence, Cotignac or in its

EntreVues, with the collaboration

radical step, by adopting computer

immediate surroundings. Eye at

of a younger generation of

technology. First with Yao the

the fingertips, started in 2006,

photographers such as Roger

Cat (1993), then with Bestiary

is photographed with a digital

Ballen, Jane Evelyn Atwood and

(1994) and Ovid’s Metamorphoses

compact camera. It can best be

Bruce Gilden.

(1995), he transgresses the cartier-

described as a hodgepodge of

bressonian rule of the ‘decisive

whatever triggers some emotional

In the past 40 years, Horvat has

moment’, by combining parts of

response in his mind, even if his

exchanged prints with fellow

images shot at different times and

mental associations are not always

photographers. His collection of

in different places.

conscious (or particularly in those

500 photographs illustrates the

cases)

photographic language he belongs

Published in 2000, with a text

to. This unique collection will be

by the French historian Michel

‘1999’ has been widely published

shown at the MAMM, Moscow.

Pastoureau, Figures Romanes is

and exhibited, the other two are

the result of a 2-year exploration of

still confidential. In all three, Horvat

The Atelier EXB – Xavier Barral

Romanesque sculpture, an art that

explores the miracles of everyday

publishing house will release his

flourished between 1100 and 1200

life, unlike the widespread

last book, Side Walk, on his New

AD and that to Horvat is at once

tendency of photographing

York series during the ‘80s, in

visually fascinating, geographically

whatever seems exceptional or

October. The project Very Similar

close and intellectually remote.

extreme.

was shown at the gallery Lelong in Paris last summer. His early work,

His next three projects are

Until the last days, Frank

when he just arrived in Paris in

possibly his most personal. 1999

Horvat carried his small camera

the ‘50s is currently showed at the

is the photo-diary of the last

everywhere he went. He kept

Maison de la Photographie Robert

year of the millennium, shot with

working on his Livres Blancs, a self-

Doisneau.

a tiny analog camera designed

published edition, allowing him to

for amateurs. La Véronique was

retrace all the different languages

He passed away on October 21st,

shot within a 30 meters range,

in his career. He also prepared the

surrounded by his family.

either inside his beloved home

new edition of his influential book 45

1945, Lugano, Switzerland, Elena

ADDY magazine has the ut-

born in Croatia or an Italian living

his biggest influence is Henri

most pleasure of interviewing

in France, but a true European in

Cartier-Bresson. Cartier-Bresson

the iconic FRANK HORVAT, a

every sense of the word.”

is known as the first master of

photojournalist with an exemplary

“candid photography”- he was a

career spanning nearly 70 years;

Fiammetta, can you tell me

humanist. My father looked to him

years that have entailed Frank

about your father’s biggest influ-

for inspiration always. My father

working with other legendary

ences and why they’ve had such

has a wall full of photographs and

artists such as Helmut Newton,

an impact on him throughout

drawings by people who inspire

Sarah Moon, and Marc Ribaud. A

his career?

him. There must be at least 500

“true European” as his daughter,

prints on there. Cartier Bresson is

Fiammetta Horvat, describes him.

My father had many influences,

there, Irving Penn, and Kertesz*, to

“My father is not a Frenchman

but he would probably say that

name a few.

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EXCLUSIVE I N T E RV I E W F R A N K H O RVAT

through his image- to show the real side of things and find their identities. He wants no theatrics involved. Which photograph of your fathers do you think captures his artistry best? Since he is the least nostalgic person, he would probably answer you by giving you a photograph that he took yesterday, or even the day before. He loves his images that capture an element of surprise, but none of his images are “too made up”. He was known for asking models to remove all makeup: lipstick, concealer, eyeliner, false eyelashes. He wanted to capture images of women in natural light. He is an artist that focuses more on the content rather than the presentation. What has been his favorite thing to shoot? I don’t know if my father would really like this question because each were obviously nothing like the Can you tell me a little bit

cameras of modern times, things

about what Frank’s artistic

were being discovered constant-

process is like? Where he finds

ly. Frank has always been after

inspiration?

the new technology. He immediately jumped into shooting in

I don’t think that his generation

color as soon as it came to be

of artists necessarily has a pro-

available in the ‘60s. He is not a

cess, he has always been focused

nostalgic person. He does not

and excited about new tech-

understand why people look

niques as technology progresses.

to the past. He is always trying

The cameras of the ’50’s and 60s

to define the nature of things

“the real difficulty, nowadays, is of getting people to look at your photos –simply because there are so many trillions of them on the internet! ” 47

1958, Paris, France, Coco Chanel, fashion designer, watching her fashion show

1951, Paris, France, French High Fashion show

from around the world?

project has been so different.

He actually does not believe in

During one of his projects, he

art having an impact on the world

took ten years to go around the

because he doesn’t believe that an

Well, my father does not care

world solely for the purpose of

individual has that power. He does

about “people” as a whole, he

photographing trees. Then, he

what he can, and he loves human-

deeply cares about individuals.

started photographing sculptures

ity, but he cannot stand people

When he creates an exhibition, he

in churches, then animals in zoos!

with utopian ideals. He would

does not care about the “group”

He loves to photograph people,

rather encourage people to do

viewing his work, rather, he would

though. He really felt that while

what they can in their own corner.

want to have a heart-to-heart with

working on a project in New York

He doesn’t want to change the

one particular person. If his art hits

City. It became one of his greatest

world, he wants to change individ-

the heart of just one person, he

loves.

ual people.

is satisfied. He is adamant about “never satisfying the masses”. He

Your father is so iconic- what

Your response might answer my

is an individualist through and

kind of impact does he want his

next question as well: Does he

through.

art to have on the world?

believe in art unifying people 49

1958, Paris, France, for JDM, Fashion in metro

1958, Paris, France, for JDM, Givenchy Hat

1959, Paris, France, for JDF, Anna Karina at Les Halles

1960, London, UK, for BR VOG, Vera Valdez and Michel Horvat

1960, Sauxillanges, Auvergne, France, for ELLE, Marla Scarafia and school children

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1961, London UK, for BR VOG, brit. high fashion, Simone Dâ&#x20AC;&#x2122;Aillencourt with designer Hardy Amies, drinking tea

1961, Paris, France, for BR VOG, wedding gown, in Montmartre

1961, Paris, France, for BR VOG, wedding gown, on bus

1961, Paris, France, for ÉLÉGANCE, with Judy Dent

1962, Roma, Italy, for HB, italian high fashion with Deborah Dixon and Marcello Mastroianni

1962, Roma, Italy, for HB, italian high fashion with Deborah Dixon on the steps of Piazza di Spagna

1986, Paris, France, for VOG IT, Alessandra Ferlini

1984, NY USA, backs of two ladies, facing Central Park West

1993, Suzhou, China, morning exercise

1999, Reims, France, watching the sun eclipse

1963, Tokyo, Japan, sterile meeting

E IT IS A MATTER OF LIGHT, I DECIDE WHICH PARTS ARE SEEN AND WHICH PARTS ARE SENSED...

t is a pleasure to sit down and speak with renowned photographer, Eugenio Recuenco. A boy of an artistic nature, Eugenioâ&#x20AC;&#x2122;s vocation to

arts was envisaged from a young age. Enrolling in the Faculty of Fine Arts of the Complutense University of Madrid to study painting, Eugenio shortly realised his passion lied with photography. After gaining much local notoriety, his images were splashed across numerous glossy magazines such as; Vogue Spain, Elle, Marie Claire, Vanity Fair, Madame Figaro etc. A spontaneous move saw Eugneio relocate to the Fashion Capital of the World, revelling in the abundance of high fashion and picturesque photography. His work captures reality with an almost painterly sensibility, exuding a whimsical flair, reminiscent of the grand masters of Spanish Classical painting. Whether it be cinematography, photography or a myriad of fine art mediums, Eugenio seduces the mind of spectators internationally.

ugenio Recuenco exclusive interview

F A D DY Mag

EXCLUSIVE I N T E RV I E W I N T E RV I E W B Y G A B Y S M I T H

fter majoring in painting

it perfectly, migrating early on and

at the Faculty of Fine

not settling just in the pleasure of

Arts of the Complutense

local recognition.

University of Madrid, at what point

did

you

realise

your

passion lied with photography?

Living in the Parisian capital, did this fuel your love of fashion photography?

I had always been interested in photography and in the early

I think it awoke in me an interest in

stages of my career, I took every

detail and uniqueness.

possible subject to do with the ‘audiovisual medium’. Initially I

Your work has graced the pages

started photography as a means

of numerous glossy magazines

of earning a living until I could do

and billboards. What has been

something more creative. I did

your proudest achievement or

not have a specific goal of what

biggest highlight?

I wanted to be and gradually I realised that what I really wanted

I think the most important and

to do was to create images and

unexpected moment was being

I realised this was through my

called to participate in the 2007

photography.

Lavazza

Calendar.

meant

becoming part of a small group Born in Madrid, you moved to

of photographers that I greatly

Paris, pursuing your dreams

admired. I never thought I would

What

be involved but I had always

migrate

dreamed of being as good and

to the Fashion Capital of the

credible as them one day. And that

World?

call was magical.

the

creative

encouraged

you

field. to

I think first and foremost you need to begin the collaboration with spirit and

Everything

happened

when

acclaimed

collaborated

new and unique that will elevate the

published regularly in Spanish

with many luxurious brands

brand. This requires understanding

fashion magazines such as Elle.

such as; Jean Paul Gaultier,

the brand itself, understanding its

I was a little fed up with the fact

Yves Saint Laurent, Lowe and

philosophy, knowing what works for

that my reportage was directed

Nina Ricci. How do you ensure

them and what doesn’t. Treat that as

foreign

your authentic style is not

the limit and boundaries in which you

magazines. I chose to travel and

compromised by the brand’s

can present your authentic style. Your

see firsthand what the fashion

direction?

way of seeing has to be subjected to

from

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also

soul, looking to barring something

you

references

have

photographer,

achieved my first goal, being

magazines were like. I think I timed

the story you are going to tell and

each story requires a different

you intentionally blur the

that people intuit some areas so

approach, but despite that your

boundaries of painting and

that they can see the ones that

authentic style will always remain.

photography?

interest me.

It is a matter of light, I decide which

Where do you source inspiration

parts are seen and which parts are

for your work? Literature,

Your photography is often

sensed. It is almost what happens

paintings, cinema?

described as “cinematographic”

when you approach a painting

and “pictorial”, with references

by Velazquez and you see that

From life. From asking myself the

to the history of art, such

the foot that you saw from afar is

reason for everything. And when

as the Renaissance, Picasso

actually two brushstrokes. I apply

I don’t have an answer, I invent

or Tamara de Lempicka. Do

the same to photography. I prefer

it and when I know it, I deform

Style is a way of looking at things, they are not things themselves.

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it for fun. From a news item, a

Here you work with the second

misunderstood story, etc.

and third readings through details.

stories with that in mind. A dedicated creative, did the

You are renowned for capturing

Photographers and designers

recent and unprecedented

reality with an almost painterly

often have a ‘muse’, for example

pandemic challenge you

sensibility. How do you bring

Audrey Hepbrun for Hubert de

creatively?

such a whimsical and poetic

Givenchy, Twiggy for Justin de

atmosphere to your work?

Villeneueve or Jean Shrimpton

When all this started, I moved

for David Bailey. Who would

home with a large cardboard box

your muse be?

full of ideas, clippings, annotations,

I’m really interested in capturing the essence between what is

etc. I wanted to finally put it in

being portrayed and what’s in

I don’t have a fixed muse. I do have

order, this belonged to the next

front of the camera. Almost as

some models with whom I have

great project I am developing, “The

if the characters’ breaths had

collaborated a lot at times; Marina

Thousand and One Nights”. Faced

corporeality. I do this without

Jamieson, Laura Ponte, Jennifer

with such an uncertain prospect,

smoke, similarly to in cinema, but

Pugh or Djjamila del Pino, are the

facing a project that could possibly

with reduced light it is difficult for

most important. They were always

span 10 years was difficult for me.

the camera to reproduce. That’s

chosen because they were ideal

I parked the box and took up an

when you stop seeing unnecessary

for the stories I photographed.

abandoned project. And I got to it.

details and see the essentials.

Or did I come up with stories for

I managed to shape it.

them? I do not know. Your photography is admired

We have to discuss your recent

worldwide, bringing a breath

In addition to photography,

exhibition, 365º, a project that

of fresh air to high fashion,

you have also dabbled in

concluded with 365 images

cinematic and photographic,

videography. Do you feel

collected over eight years. What

advertisements and publishing.

equally comfortable behind

did such a long-standing project

How does your approach to

both photographic and video

teach you?

shooting advertisements differ

cameras?

from fashion editorials?

You learn to work without having I don’t consider myself a

feedback on what you are doing.

The aesthetics that I develop in

photographer but a storyteller and

That makes you doubt whether

photos rarely correlate in video. I

an image maker. The step to video

you are making a mistake, but

see them as different languages

felt a necessity when it comes

it makes you gain confidence

when it comes to telling a story. In

to expressing myself with other

in yourself. Keeping the flame

video, the time factor, sound and

means. Obviously the equipment

of passion alive for so long, in

rhythm are worked differently than

is bigger and the moves more

both yourself and your team is

when you tell a story in an image.

difficult, but I also make up the

complicated. There was always 77

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the support of my wife who

the moment, it does not mean that

relationship with others through

pushed when I could hardly take it

they call me. Hehehehe. The fact

social networks. Even technology

anymore.

that people enjoy what you have

in photography, with the arrival of

done is very nice. If in addition, as

powerful mobile cameras. One of

But on a creative level I have

happens in “365º”, you see that

the photographs that make up the

known the importance of time.

both adults and children enjoy,

collection is made with a mobile,

“365º” is much better after an

you enjoy more .. That project

and surely you couldn’t tell which

8-year run than if it had finished

began as a series of photographs

one it is.

in two. Until the last moment I

and has become a photographic

discovered things that the space

installation where everyone

We would love to hear what you

gave me, I learned new ways of

at least leaves with a different

are currently working on? Are

narrating and new and better

experience just see photos

there any exciting new projects you have coming up?

ideas never stopped appearing. I could have been shooting photos

You’ve spent nearly a decade

indefinitely in that room. But I set

analysing society and culture.

I have many things at the same

a deadline, I didn’t want to find a

Have you perceived any real

time. From the development of a

formula in which I felt comfortable

change in these areas?

television series to the creation of

and would repeat myself.

“The Thousand and One Nights”. Yes, and I also think that one of the

In between, I have a number of

How does it feel witnessing both

important things in the “365º” is

commercial projects that go from

the industry and public admiring

that during the realisation process,

conventional advertising to very

your work?

many things have changed and

creative campaigns for an NGO.

some were reflected. Moments like If the industry admires my work at

Trump’s arrival to power, or our

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s e i or

Time for Change SAY THEIR NAMES by Christopher Miles

TIME FOR CHANGE SAY THEIR NAMES ALONE TOGETHER ISOLATED APART WE WILL RISE CHRISTOPHER MILES

Model ALEXIS SHEREE: Dress MADISON JAMES - Jacket MICHAEL LOMBARD - Shoes FREELANCE - Mask DULCE BESTIA - Bracelet SOPHISTICATED STONES - Model GUETCHA: Dress MICHAEL LEYVA - Jacket DELISE’ ANA - Shoes ART OF DANCE Bracelets SOPHISTICATED STONES - Mask DULCE BESTIA - Headband GLADYS TAMEZ MILLINERY <- On aperture: Model GUECHA: Dress DUR DOUX - Shoes TAFARI - Crystal bra UPSTREETKID - Gloves LILITH VIPER

Model ALEXIS SHEREE: Dress MICHAEL LOMBARD

Model GUETCHA: Latex Bodysuit BLACK LICKORISH - Skirt DELISE’ ANA - Boots 803LIFE - Belt UPSTREETKID - Hat GLADYS TAMEZ MILLINERY

Model ALEXIS SHEREE: Dress DELISEâ&#x20AC;&#x2122; ANA

Model GUETCHA: Dress MICHAEL LOMBARD

Model ALEXIS SHEREE: Dress KAFTAN - Caplet LILITH VIPER - Cape DULCE BESTIA - Hat GLADYS TAMEZ MILLINERY - Earrings VAUJE

Model GUECHA: Dress DULCE BESTIA - Cape AFFFAIR - Boots 803LIFE - Earrings VAUJE

Model ALEXIS SHEREE: Dress DELISEâ&#x20AC;&#x2122; ANA

Creative Director/Makeup Artist for Danessa Myricks Beauty: CHRISTOPHER MILES @christophermilesmakeup Producer/Art Director: WILLIAM BOYI @willieboyjr Photographer: MICHAEL DIRLAM @michaelgdirlam Model: ALEXIS SHEREE @alexis_sheree_ Model: GUETCHA @guetcha Wardrobe Stylist: ALAN MONTES @amontes4659 Hairstylist for Amika: KACHAY DORSEY @beaute_cache89 Nail Artist: MAYA CALLENDER @nailedmayacrylx Videographer: ALEXANDRA PETRUCK @cinemalexandra Makeup Assistant: DANILO CIFUENTES @makeupbydaniloc Hair Assistant: YASMEIN ABDULLA @yasmeinhairmua Project Manager: LAUREN KAYE COHEN @laurenkayecohen Florist: HANDPICKED FLORAL CO. @handpickedfloralco Sheet Music: SHARON FARBER @sharon.farber.9 Retoucher: NATALY TRACH @retouch_nataly_trach Location Manager: ANDREW RAYAS @andrewsellsrealestate 119

EXCLUSIVE I N T E RV I E W I N T E RV I E W B Y N I C O L E V I C K E R S

What inspired your fashion editorial “Time for Change”? During this time I have been wanting to use my voice through art to express the disparity of race in this country and this unprecedented time we are all living in. When I was given this opportunity to creative direct a fashion story for FADDY Magazine I knew I wanted to use it to say something. What was the story behind the images? The story I wanted to tell is the story of all that 2020 encompasses. This has been one of the hardest years and we are all just trying to make it through during this pandemic and the injustice and social unrest that finally came to a head this year. In this story we wanted to remember those who have been senselessly murdered by the police. I also wanted to address the issue of quarantine and isolation and the very real “I am going to make everything around me feeling people are experiencing of being trapped and alone during this pandemic we are going through. Beautiful -that will be my Life.” Although the women in this story are going through all of this, like the rest of the world, they remain resilient -ELSIE DE WOLFE and hopeful for change. It was very important that the majority of the fashion and jewelry for the story be by designers of color ith an incredible seamless blending tech- (Delise’ Ana, Michael Lombard, Vauje, Dur Doux to nique, I create makeup that not only looks name a few) and all the makeup used be exclusively by a black owned beauty brand (Danessa Myricks Beauty). effortless but makes my clients skin look as

if it was being lit from within. I believe that creating the perfect complexion is key in doing a beautiful makeup. My goal in every makeup I do is to make my clients look and feel like the best version of themselves. Christopher Miles

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Creatively who or what inspires you? Wow. Who or what inspires me creatively? That’s a great question. I would say I am most inspired by art and the elements I am working with. I get inspired by the models I am working with and start creating based on their face and personality. I like unique beauty and using unexpected elements in my work. I like to take something that already exists and make it different, not better and not worse just different. To me, different is beautiful.

How did you meet the Contributing Editor Candice Solomon?

the models eyes and the weight of the sequins it gave a 1930s bedroom eyes feel to her which was magical.

I met Candice on Instagram I believe when she was looking for a makeup artist for a few shoots she was putting together here in Los Angeles. We met and instantly hit it off and then what solidified it was that we worked so well together. I love a collaborative environment and working with Candice is always a collaboration which I very much appreciate. We worked on a shoot where I created one of my favorite looks I have done and it was on Tessa Hilton. It was a confection fantasy and Tessa had the most amazing hair, makeup and fashion. I did a rhinestone eyebrow look on her and it’s still one of my favorite makeup looks. Candice has always been the

How have you seen the fashion industry influence the makeup industry?

most incredible and supportive person and I was so grateful when she presented me with the opportunity to creative direct for FADDY Magazine and allow me to tell the story I wanted to tell. I appreciate that Candice and Biagio supported my vision and trusted me all the way.

it is also selling those makeup pieces so even if you can’t own the clothes you can still have a piece of the collection in your cosmetic wardrobe.

Tell me about the moment that led you to pursue makeup as a career. I have been doing makeup since I was in high school where I started as an actor doing my own makeup. I then went on to study Musical Theater and Dance in college where I continued doing my makeup for shows but then I began doing fellow cast members makeup and friends and finally was asked to create looks and do makeup for shows. I think that is when I realized this could really be my direction. What is your favorite look you’ve ever created for a photoshoot? My favorite look I’ve ever created for a photoshoot, that’s a tough one because there are so many different types of looks. My favorite Natural Look I did actually a very long time ago and it was the perfect No Makeup Makeup, which had always been my favorite kind of look, I love skin that just looks healthy and fresh and not overdone. One of my favorite creative beauty looks I have done that always stands out in my mind is a shoot where I glued gold sequins to my model’s eyelid and created this interesting texture and look but because of

The fashion industry greatly influences the makeup industry because most iconic looks and trends begin on the runway. Not only that, but there are so many designers that have their own makeup lines ie. Chanel, Giorgio Armani, Tom Ford, etc. where a seasonal cosmetic launch coincides with the fashion collection of the season. Typically, the makeup look that is seen in the runway shows is not only going to become the next “It” look of the season but the brand showing

What would be your personal advice to someone who is trying to pursue makeup as a career? Education. You don’t have to go to makeup school although that is a great place to learn your basics or if you want to do something specific like FX. Work at a makeup counter, it is the best education and that is where most artists, including myself, start. You will learn skin types, products, skin tones, skin concerns, and most important you will do makeup on all ages and races. Assist a makeup artist, it will be so beneficial in SO many ways. You will learn what they use and how they create the amazing work they do and you can take tips and tricks and implement it into your own work. Learn onset etiquette so you know what is ok to do and not ok to do. Knowing how to be onset is very important. You have to know the many positions on set in order to know who to address for each concern or question. You have to know that unless asked, don’t help with a different departments job i.e. if you are booked for makeup only don’t touch the hair if there is a hairstylist. Lastly, learn about rates and what amount is appropriate for the type of job you are doing. Know your worth.

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THE MODERN ANTEBELLUM BY

BRENT LEE Photo BRENT LEE @photobrent

Styling STASI BEREZOVSKAYA @sb.style.me.up Make-Up DANNY LARIVIERE @dannyxglam Hair DAMIAN MONZILLO @damianmonzillo Make-Up ELENA AZZARO @elenaazzaro Photo Assistant CAROLINE OURSO @ceourso Video ROB MENZER @robmenzer

Red Coat: MORPHINE FASHION @morphine_fashion - Black Skirt: DAVID TLALE @davidtlale - Red Boots PER FIDEM @perfidemleather

Red Coat: MORPHINE FASHION @morphine_fashion - Black Skirt: DAVID TLALE @davidtlale - Red Boots: PER FIDEM @perfidemleather -> on the right page: Black Dress: MORPHINE FASHION @morphine_fashion - Shoes: SAINT LAURENT

White Turtle Neck Sweater: BRODIE CASHMERE @brodiecashmereofficial - Red Skirt: OXYGENEUS @oxygeneus <- on the left page: -> on the right page: Black Dress: MORPHINE FASHION @morphine_fashion - Shoes: SAINT LAURENT

White Turtle Neck Sweater: BRODIE CASHMERE @brodiecashmereofficial - Red Skirt: OXYGENEUS @oxygeneus

Black Pants: NUEQUE - Black Jacket: NUEQUE - Feathers Pink Shoes: BLONDISH @blondishofficial

Black Pants: NUEQUE - Black Jacket: NUEQUE - Feathers Pink Shoes: BLONDISH @blondishofficial -> on the right page: Skirt: LOUIS VUITTON - Black Mesh Blouse: DAVID TLALE @davidtlale - Shoes: SAINT LAURENT

Skirt: LOUIS VUITTON - Black Mesh Blouse: DAVID TLALE @davidtlale - Shoes: SAINT LAURENT

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Black Dress: DAVID TLALE @davidtlale - Jacket: DAVID TLALE @davidtlale Red Rose Necklace: YENLINN @yes_couture_jewelry - Shoes: SAINT LAURENT

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Black Dress: DAVID TLALE @davidtlale - Jacket: DAVID TLALE @davidtlale Red Rose Necklace: YENLINN @yes_couture_jewelry - Shoes: SAINT LAURENT

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Blouse: PINKO - Black See Through Skirt: DAVID TLALE @davidtlale - Shoes: SAINT LAURENT

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Blouse: PINKO - Black See Through Skirt: DAVID TLALE @davidtlale - Shoes: SAINT LAURENT

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MICHAEL CREAGH M

ichael Creagh creates simple iconic photographs for dozens of fashion and commercial brands. An expert in production and visualization, Michael guides clients through the creative process of booking talent, models and creating imagery that brands the fashion line and creates a campaign. Michael’s award winning journey began while living a vagabond’s life in France and Italy: just walking around taking pictures of everything he saw. In London, he began shooting portraits, and in New York, fashion. He has been recognized by many international juries and press; including the IPA International Photo Awards, the International Color Awards, the Black and White Awards in London, and PX3 Prix de la Photographie Awards in Paris. His book “Editorial Stories” won 2nd place in the prestigious Photography Book Now Competition. Michael has been named a 2010 Hasselblad Masters Finalist. With press from China to Europe to Latin America, Michael’s work is internationally acclaimed. His 10 page cover story and interview in Digital PhotoPro Magazine could be found on nearly every magazine stand in America.”

EXCLUSIVE I N T E RV I E W I N T E RV I E W B Y N I C O L E V I C K E R S

Tell me about your process

Through the years this has

feed off the team and their

as an artist- how has it

remained just as much the

creative input. I am social and

changed throughout your

same as it has changed.

open to ideas on set. The

career?

Many of the conspirators

back and forth of creating

have changed as well as my

with people who are as excit-

expectations of them. But

ed as you are is intoxicating.

some of the partnerships are

When a stylist puts together

still around. I do think that

an amazing look that min-

after so many shoots, you just

utes ago you couldn’t quite

naturally grow and you want

have grasped, you get a chill.

to do something new and

I don’t do well in a closed-off

bigger. That makes it harder

room. When I was younger,

to enjoy some of the shoots

I thought I might want to be

you were happy with in the

a writer. I had some ideas,

past. You find yourself driving

and I still get them. But I just

the process more, or strain-

couldn’t sit down by myself

ing it by forcing connections

and work on them. Collabora-

with someone whose talent

tion is key.

What I like about photography is the social connections you make when creating. I almost always get a co-conspirator to start with and then build whatever production is needed to accomplish it. So often my co-conspirator would be a designer or a stylist, or sometimes a model. We would just talk and suggest things that we were currently thinking about. Once we agreed on

you admire. Who are your biggest in-

something, we would start to add who and what we need-

What inspires you the most

fluences as an artist? What

ed. Each time adding more

during a photoshoot?

have you learned from them?

connection. I found this fun. Just creating with a friend, then two. I didn’t really care if I was driving the process or the passenger, as long as we were moving forward. I didn’t care if it was a big production or just a couple of friends making something pretty. In the end, you were left with this cool souvenir. 144

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Two things inspire me; the beauty and the energy. I

Nowadays inspiration is truly

really see myself as beauty

everywhere. You don’t need

photographer who likes and

to look toward famous artists

uses fashion as a tool. During

or photography greats. You

a shoot, that beauty is what

can just go on Instagram and

drives me. The fuel is the

see a student creating some-

energy on set from the team.

thing cool, or see one of your

I am not always aware of it

photographer colleague’s

until it isn’t there. But I really

new stories. I am constantly

getting jealous and inspired,

knowing who she is, and you

is vision and the importance

and hopefully inspiring them.

cannot fathom how amazing

of production.

I think everyone does it to

this woman looks. When you

each other in a mini artist

are teaching yourself, the

online community, and that

lessons are unstructured and

pushes us to create more.

a bit like a treasure hunt. The

My first photography influ-

book Hotel LaChappelle by

ence though was probably Steven Meisel, before I knew who he was. I moved to Northern Italy for a while when I was just starting to take pictures. I remember going to the newsstand to see if the new issue of Vogue Italia was out yet. I thought I would try and mimic the stories in it. But I just couldn’t at that time. I didn’t have the skill set or understanding. I was self-taught and that was at the beginning.

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What does your ideal photoshoot look like?

David LaChappelle blew my

I want all my shoots to be fun

mind. Just the fantasy, the

and productive. If it is really

sets, and the celebrities; I

fun, then I don’t mind if it

didn’t even know you could

isn’t that productive and vice

do something like that, and I

versa. But for an ideal photo

still cannot copy him today.

shoot, I think that brings in

Sante D’orazio’s A Private

bigger questions of where I

View, was incredible because

want my work to grow. While

it included handwritten notes

I think I put a pretty good

about the people on the

shoot together, I know things

shoot and the magazine. He

I am missing and refusing

writes which film he used and

to put energy and resourc-

even how many rolls. How

es into. So my ideal shoot

was I supposed to take as

would need to bring in the

good of a photo of my friend,

best of all the elements at

when I see the shot 85 rolls

I am a fan of photography,

once; exciting celebrity talent

of film and had Kate Moss for

and I love so many photog-

with exceptional styling that

Vogue Italia? Recently I have

raphers. Paolo Roversi was

I can’t even picture, and the

also been revisiting my past.

one of the first to excite me.

time to play with light, angles,

After going to an exhibition

Beauty didn’t have to be liter-

different cameras and lens,

of Irving Penn at the MET a

al. It is funny to think that you

and settings. I want to have

couple of years ago, I have

just stumble upon Richard

fun while creating something

been buying books from Tim

Avedon, without knowing any-

remarkable.

Walker, Avedon, Demarcheli-

thing about him. I would just

er, Horst, and a dozen others.

see a photo and think it was

It is nice to just sit in the pho-

so perfect. You are a normal

to studio and admire amazing

person and you see a pho-

photos. I think the common

to of Christy Turlington, not

thing I learn from all of them

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In your opinion, what is the most iconic photograph you’ve taken and why?

I think it would have to be

balloons.” Susana has been

Do you prefer planned

Bubbles, 2007. I originally

one of my longest co-con-

photoshoots or improvised

shot it in partnership with de-

spirators. Needless to say,

street photography?

signer Susana Monaco for her

the number of balloons kept

collection and people seemed

growing, and we never looked

really drawn to the series.

back. I am not sure why peo-

We got the stunning French

ple are drawn to it. I think it

Canadian model, Charlotte

is simple and beautiful while

Le Bon to pose for it. She has

being somewhat recognizable

since become a successful

and striking. It isn’t unique.

actor and artist. Starring in

I don’t believe Susana and I

several movies; The Hun-

starting using lots of balloons

dred-Foot Journey, Yves Saint

in photographs and I have

Laurent, and The Walk. The

seen it done and copied too

shoot itself was simple. I

many times to count. I think

believe I just had one main

people just like our vision and

light and a fill light at points.

version of the idea. Because

I shot slowly on my Hassel-

of the repetition of the large

blad medium format digital

monochrome balloons, there

camera. My original concep-

is the shape and composition

tualization was a little differ-

in each image that keeps the

ent. I pitched Susana a model

series moving. It also doesn’t

sitting on a big white ball and

hurt that Charlotte is one of

holding a big white balloon

the most beautiful human

on a string. Susana liked it,

beings.

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I only really participate in planned photoshoots. They are different skill sets. Some people do both well, but I like photography because of the social connection with your subject and team, and my personality doesn’t let me connect with people on the street well. I like to photograph people, who want to be photographed. When a stranger comes into my studio, I feel differently and I immediately begin a process of creating with them. But there is a barrier for me on the street or at an event. I can do it, but I don’t enjoy it. So instead, I am only a fan of street photography.

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G I O VA N N I G A S T E L

It is an honour to feature the acclaimed fashion photographer, fine portraitist, poet and writer, Giovanni Gastel. After being introduced to the world of fashion in the 80s, he spent much of his photographic career dedicated to artistic portraits. With a keen eye for detail and Master behind the lens, Giovanni’s camera has captured countless striking shots, each encapsulating the essence of human emotion and identity. His recent exhibition ‘The People I Like’, compiles over 200 portraits taken throughout his extensive 40 year career. Among the selected images, or as he defines ‘souls’, you may well recognise some familiar faces from the world of culture, design, art, fashion and politics. From Barack Obama to Franca Sozzani, Giovanni’s authentic and spontaneous ability to capture spirit and soul in just a few camera clicks, in just a few fleeting moments, is most applaudable.

Photo by Stefano Guindani

EXCLUSIVE I N T E RV I E W

I N T E RV I E W B Y G A B Y S M I T H A L L E D I T O R I A L P I C T U R E S B Y G I O VA N N I G A S T E L

In the 1970s you had your first taste of

photographs’ objective to sell fashion. It is fashion

photography, what was the project or shoot

that dictates, then if you can also take beautiful

that fuelled your passion for photography?

photos, you are a great photographer. I think that’s what struck me most.

There wasn’t a real project or shot that initially fuelled my passion for photography. In fact, at the

Photographers and designers often have a

age of 12 I was a child actor, shortly after I then

‘muse’, for example Audrey Hepbrun for Hubert

began publishing poetry books. My dream was

de Givenchy, Twiggy for Justin de Villeneueve or

to be a poet; I then discovered photography as

Jean Shrimpton for David Bailey. Who would your

an amateur passion. One day a girlfriend of mine

muse be?

pointed out to me that I was taking very beautiful photographs. Thus, the immense love for this form

The model that most impressed me during my

of art was born. At 17, I sold my first photos. At 19, I

forty-year career, with beauty but above all for the

opened my first self-taught photographic studio.

chameleonic ability to transform into the right woman for your project, was Linda Evangelista.

At the beginning of your career you were

More recently I am fascinated by a young Corsa

offered the chance to work for Christie’s from

model, Lisa Louis Fratani.

1975-1976. During your time as an apprentice and amateur photographer, what was the most

From countless iconic photographs and portraits,

important thing you learnt?

do you have any one image or shoot that remained a personal favourite? If so, why?

They hired me at Christie’s to document the works of various collectors. It was here I received one

I certainly have some photos that represent an

of my first great lessons in humility. I learned to

important moment for me: the portrait of Obama

respect the object as it presented itself, without

or the first cover taken for DONNA magazine with

improving or embellishing anything.

Linda, (the first cover for her too) but I’m always very focused on today’s photo. I face it as if it were the

Stepping into the early 80s you were introduced

only chance in the world to prove my worth. The past

to the world of fashion by Carla Ghiglieri. What

is already past and the future is yet to be decided;

excited you about fashion photography?

only the present remains. “Hic et nunc”.

Being a fashion photographer, it was immediately

The recent and unprecedented pandemic proved

clear to me, from the very first steps (I had my first

a confusing and difficult time for many. All

cover in 1981 at the age of 26) that it’s fashion that

creative industries were put on pause. How did

speaks. Everything else are accessories; including

this affect your creativity?

the men and women. The dress being photographed will always feature

After a brief moment of bewilderment and reflection,

a small detail that describes its story entirely. The

I thought that there were infinite means to express

shoot has to display and present that story; it is the

my creativity. During the lockdown I produced a

the short film “Ninfe” was made by Giovanni Gastel with the essential support of the hair dresser Franco Curletto, to give substance to “a need that I consider urgent, to find a new alliance between Man and Nature as it was in the days of classical mythology” as the photographer himself states.

all of a 125th of a second, in this time the subject and I drop our defenses and barriers. Many familiar faces can be spotted in your portrait exhibition, are there any other famous faces you would love to shoot? The title of my photography exhibition is ‘The People I like’ and luckily I was able to shoot a large number of people I like and admire. The difficulty was for me and my curator, Uberto Frigerio, that we had to exclude many of them due to space constraints, however I will continue to photograph people I like. Last but not least, we would love to hear what else you are working on? The project I’m currently working on with my super stylist, Simone Guidarelli, is a series of Madonnas. This series is interpreted with infinite respect in

lot; editorials, a series of themed photos revisiting photos already taken, promoted a competition with the FEELROUGE agency inviting participants

a contemporary and neo-baroque key that will eventually become an exhibition and a book published by SKIRA.

to use their window as a frame (almost 50,000 participants) and on top of that, I also found time to write a book - dialogue with the poet Davide Rondoni on beauty “giving a voice to beauty” edited by Lamberto Fabbri. We have to talk about your latest exhibition, ‘People I Like’. Currently on display at the MAXXI. Capturing over 200 figures in elegant shots with touching human emotion, what do you say to your models as you click the camera? To get the shot, it is vital to charm the subject, make him feel comfortable and at ease in a friendly world to minimize his initial tension. With the subject on the set, I aim to shoot quickly and efficiently. The ‘real portrait’ is an act of mutual seduction that lasts

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The texts of the film were taken from the book “Dare del tu alla bellezza - Giving a voice to beauty” written by Giovanni Gastel in the form of a dialogue with his friend and great poet Davide Rondoni

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THE PEOPLE I LIKE GIOVANNI GASTEL

Barack Obama

Mimmo Jodice

Marco Pannella

Ettore Sottsass

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Carolina Crescentini

Mara Venier

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Isabella Ferrari

Bebe Vio

Franca Sozzani

Bianca Balti

Martina Colombari

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Monica Bellucci

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Ilaria Dâ&#x20AC;&#x2122;Amico

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Giorgio Forattini

Lapo Elkann

Vasco Rossi

Zucchero Sugar Fornaciari

H H

i, I am Holly, style influencer and fashion stylist based in Washington DC. Until I

turned forty, my life had nothing to do

with fashion or style, I was a science major with advanced education & professional credentials in business. Now looking back, it all started 20

years ago, when I went to an art exhibit for the

first time in my life, the Vincent Van Gogh exhibition at the National Gallery of Art.

Before I came to the States, l had been shopping for unique designs but my exposure to art and

fashion was next to nothing but occasional runway shows on tv and print magazines. So when

i n t ro d u c i ng

olly Pan

Iconic Influencer and Stylist

Dress: STAUD - Bag: Jacquemus - Shoes: JACQUEMUS - Hat: JACQUEMUS

I saw the Van Gogh exhibition, I was so blown

regularly on Instagram, and the rest is history.

away. I realized then the best art of the world is within my reach, it will forever be part of my life.

Some of my most treasured moments happened during my past eight years of being in the

Fast forward eight years, I left my corporate job

business of fashion. I met super talented and

to raise my children full-time. Like any other

genuine people both online and in person, they

modern mom, I wanted to be everything for my

keep on inspiring me to push my own creative

kids. I kept on pushing the limits of my arts &

limits. My voice as a fashion story teller gets

crafts abilities from fondant birthday cakes to

stronger and clearer over time, it is now to the

portrait photography. The latter became the

point as a one-person team, I often struggle to

cornerstone of my current professional pursuit.

fully realize the vision I have.

When the kids got older enough to run away

Comparing my past corporate life with the

from the camera, I began to take more self

current creative one, I see more amazing work

portraits and showcase my own styled looks on

done by teams instead of individuals. It feels to

a Chinese social platform. I’ve gained some fame

me, the most natural next move, is finding ways

and fans quickly, some encouraged me to start

to work with other talents in the industry to tell

my own fashion blog. At the time, there were a

biggest and better stories. I dream one day, my

few very successful Asian female fashion blog-

fashion editorial work will be published by well-

gers, my friends said: if they can do it, you can

known fashion publications. It might sound very

do it. I named my blog “Petite Flower Presents’’

ambitious at this moment, but if anything I know

after my childhood Chinese nickname XiaoHua,

through my personal experience and watching

or little flower and the idea of telling stories with

many others succeed, is one needs to see the

my looks and images.

moon before reaching the moon.

My first real break of blogging didn’t not happen “naturally” as predicted by my Chinese fans, I was too isolated to know anything. Almost a year after I started my blog, I was told I needed to market myself. In April 2014, I began to post 190

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Bikini: HANA KHALIL - Scarf: HANA KHALIL - Hat: JACQUEMUS

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Dress: DOEN - Bag: CULT GAIA - Hat: JACQUEMUS

Dress: PRADA - Top: NANUSHKA - Bag: BOTTEGA VENETA - Shoes: YSL - Headpiece: SIMONE ROCHA - Socks: PRADA - Sunglasses: CELINE

Blazer: 3.1 PHILIPM LIM - Dress: DIOR - Bag: DIOR - Shoes: MALONE SOULIERS - Sunglasses: DIOR - Earrings: DIOR

Dress: HELMUT LANG - Coat: ALESSANDRA RICH - Necklaces: TILLYS VEAAS - Headband: DIOR

Dress: JACQUEMUS - Bag: JACQUEMUS - Shoes: JACQUEMUS - Hat: JACQUEMUS - Necklaces: TILLYS VEAAS

Dress: ELLERY - Top: TIBI - Shoes: BOTTEGA VENETA - Bag: Y/PROJECT - Hat: DIOR - Sunglasses: CELINE <- on the left page: Dress: ELLERY - Top: TIBI - Shoes: BOTTEGA VENETA - Bag: Y/PROJECT - Hat: DIOR - Sunglasses: CELINE

Dress: CH CAROLINA HERRERA - Shoes: CH CAROLINA HERRERA - Bag: CH CAROLINA HERRERA -> on the right page: Shirt & Skirt: NANUSHKA - Boots: ISABEL MARANT - Bag: MING RAY - Hat: GUCCI - Sunglasses: CELINE

Cape: GUCCI - Dress: AVAVAV - Tights: GUCCI - Shoes: GUCCI - Bag: GABRIELA HEARST - Hariband: PRADA - Sunglasses: YSL <- on the left page: Shirt & Skirt: NANUSHKA - Boots: ISABEL MARANT - Bag: MING RAY - Hat: GUCCI - Sunglasses: CELINE

Dress: CECILE BAHNSEN - Shoes: FERRAGAMO - Bag: YSL - Earrings: ALESSANDRA RICH - Hairband: JENIFFER BEHR - Socks: WOLFORD <- on the left page: Coat: PRADA - Top & Skirt: RODEBJER - Shoes: BOTTEGA VENETA - Bag: POLEN PARIS - Hat: JIL SANDER - Sunglasses: DIOR

Dress: BOTTEGA VENETA - Shoes: BOTTEGA VENETA - Sunglasses: BALENCIAGA

Top: AUTUMN CASHMERE - Shorts: JACQUEMUS - Blazer: 20122 VELASCA - Shoes: AMINA MUADDI Bag: JACQUEMUS - Hat: JACQUEMUS - Earrings: JACQUEMUS

Top: BY EFRAIN MONGOLLON - Pants: PETAR PETROV - Bag: CH CAROLINA HERRERA - Earrings: CELINE

Dress: Y/PROJECT - Shoes: BALENCIAGA - Bag: PACO RABANNE - Sunglasses: LOEWE

Top & Skirt: PACO RABANNE - Shoes: BALENCIAGA - Bag: JACQUEMUS

Dress: DIOR - Shoes: MANGO - Bag: DIOR - Sunglasses: DIOR

SO, WHO I AM IS A MAKEUP ARTIST. A MAKEUP ARTIST THAT HAS BEEN DOING EDITORIAL SHOOTS SINCE 1973. WHICH IS SUCH A LARGE AREA TO SPAN FOR A SINGLE INTERVIEW…

So, we try our best. I am such a fan of your work. What era? The ‘80s? New fans of my work usually go to my Disco Beauty Book from the ’70s. Yes, and the ‘90s. But I really loved your work with Debbie Harry. Oh yes so the ‘80s! See, it’s the same for me, I also love the ‘80s and the ‘90s. I started in the ’70s but I thoroughly enjoyed working in every decade. My work evolved in a certain directionI started out in a salon called Mr. Kenneth’s. I did all of the makeup for the society women at the time, and these were Mr. Kenneth’s clientele. I had all of his clients! He did hair for Jackie Onassis, Barbara Walters…etc. He was very, very famous. I used to work at his counter in Bloomingdale’s. I loved makeup and I wanted to be close to makeup. I didn’t know how else to do it. I went to a beauty school and got a hairdressing license. Mr. Kenneth had a salon on 54th Street and Madison Avenue.

andy Linter exclusive interview by Nicole Vickers

GEORGINA HERRERA Choker at Flying Solo

NORMA KAMALI black bodysuit - MONOSUIT leopard two piece leotard at Flying Solo ERICKSON BEAMON Swarowski earrings - PER DEM red suede boots at Flying Solo

EXCLUSIVE I N T E RV I E W S A NDY LI N T ER

I was just there yesterday!

Stendahl makeup counter said to me, “Mrs. Kennedy loved her makeup so much that she sent over her

(laughs) And it was the most glamorous beauty sa-

housekeeper to buy all of the products you used on

lon in all of New York City. Marilyn, “Jackie O”, all of

her”.

the beauty editors from Vogue, and all the society

That was a defining moment for me. If there is any-

women. He had his niche clientele, and he sold a

thing that could give a makeup artist confidence, it’s

little brand of makeup at Bloomingdale’s. I loved

those moments. You don’t even realize how much,

the product, and I knew about his salon. One night,

because at the moment you’re just so happy that

it was a Thursday night, as I recall, I approached

they liked it. She was, at the time, the most famous

him with ease. I said “I would love to work for you

woman in the entire world. It’s one of my favorite

at your hair salon” and shortly after that, he hired

stories.

me. Very quickly. I think I was 24 years old? Can you imagine that one of your very first clients, within the

Do you think that the confidence that you gained

6 months that you first started, being Jacqueline

through that experience encouraged you further

Kennedy Onassis?

down your path? Do you think that moment is the inciting incident for anything else that happened

I would have no idea what to do.

in your life?

(laughs) I didn’t know what to do either!

Well, it didn’t really lead to anything, it was just one day. Every time I tell these stories I have to mention:

What was she like?

I was one of FIVE makeup artists. So every single day gave me more and more confidence. The Beauty

I do have a story about working with her. I was

Industry was like the “ wild wild west”. If you appeared

doing her makeup. And at the time, we had reclin-

to be a makeup artist and you had the correct brush-

ing chairs. She’s laying back, and I took a pencil

es or tools, everyone trusted you!

from my table to draw across her lid for eyeliner, and as I was doing so, she suddenly went, “Ouch”- I

Wow. What do you think your career would have

looked at the pencil and realized the pencil hadn’t

looked like if you had started today instead of

been sharpened. It was down to the wood. I im-

when you did?

mediately went back to my table to sharpen it, and I think I started shaking. But in spite of my being

That’s a very good question, but I think that because I

a very young makeup artist who was so nervous...

had so much inside of me artistically that I needed to

she never treated me that way. She never treated

release, that it didn’t matter. I was a secretary in the

me like I didn’t know what I was doing. She never

1960’s. I would take my girlfriends into the bathroom

had an attitude, she didn’t make a fuss. She laid

and I would do their makeup every day. I would have

back down, and let me proceed. And I remember

found an outlet. That has always been my way. Insta-

I proceeded to do a really great look on her be-

gram is my new outlet. If I was 24 today, I still would

cause the next day when I went to Bloomingdale’s

have found my way.

to purchase something, one of the girls behind the 218

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You definitely would have. You are the kind

I know this is true of every era, but regarding our

of person who would have made it happen no

current society, do you think we place too much

matter what.

emphasis on beauty being inherently tied to youth, leaving older women out of the picture?

Yes! No matter what! Yes. In the 1990s, Vogue magazine stopped using me. That is so inspiring. You are so inspiring. What

Bazaar, Cosmo, they all stopped using me because

are other critical moments that shaped your

they found a new generation of artists with whom

artistic career?

to work. And that was fine, but, I got picked up by Ladies’ Home Journal, and, to be honest, I didn’t really

Critical... I think it was the fact that when I walked

want to work for them, because I had previously been

up to Mr. Kenneth in the first place, and said “Will

working for Vogue! My agent at the time said, “They

you please hire me at your salon?” is critical. I

need you because they cannot find another makeup

got all of his salon clients, I got the beauty editor

artist that will make up anyone over 30”. And this was

for Vogue, Shirley Lord. I did her makeup once or

in the 90s! There was no room in the 90s for a wom-

twice, and then she did a two-page article about my

an over 50, or even over 40!

makeup for Vogue! So the critical thing is that I was there. I put myself in the right place. The right place

That is ridiculous.

at the right time. That’s something you can’t take away from a person, no matter what decade they

It is! It wasn’t even spoken about. But here is another

were born into- their drive.

critical thing that happened to me. There was a woman named Lois Joy Johnson from Ladies Home Journal

I have loved learning about your arc so far. You

who interviewed me all the time. She was the beauty

mentioned to me that you have loved makeup

editor of Ladies Home Journal. Then, she left and

from a very young age. What aspect of your

went to a magazine called More Magazine- which

childhood shaped your artistic career?

was a magazine for ladies over 40-50. I found another niche in my life when I was in my 50’s. I began making

I used to do my mother’s makeup before she went

up women over 50, way before actresses like Jennifer

to work every morning. I was 15 and she was 37.

Anniston turned 50. This niche became very popu-

That was really critical also, for a lot of reasons.

lar. Many magazines unfortunately have been hitting

Very late in my career, when I was 58, I got a con-

the dust. I really do feel badly for other makeup

tract from Lancome to be their Beauty At Every Age

artists now because they aren’t getting the exposure

Expert. Doing my mother’s makeup when she was

and the work through physical magazines. Vogue was

in her late 30’s made me realize that I always saw

three times thicker than it is today, and we had to

beauty at every single age. So when I was 58, I got

wait breathlessly every month for them. I am so lucky

the contract for Lancome’s “Beauty at Every Age

I worked for Vogue, Bazaar etc. I kept most of the

Expert”. I saw the beauty of older women. I must

clippings from magazines that I worked on. A young

have had some kind of technique, because I made

person won’t miss this because they never had it.

them look younger. 219

So… do you want to get back to Debbie

Harry?

So what would the equivalent of that jump look like in your makeup today? Do you have a certain style now that is just your go-to?

I would love nothing more. Regarding the FADDY shoot, the reason I did the cat This will tie into the makeup I did for FADDY’s

eye and bold lip was that I knew the photographer,

magazine shoot. Ok, so it was in 1977, and I had

Enrique Vega, wanted to do something from the

just bleached my hair out really white to look like

80s- and I knew that one of his greatest inspirations

Jean Harlow. That summer I went to Paris to do the

is a photographer named Chris von Wangenheim.

collections with Albert Watson. When I got to Paris,

This was wonderful for me because I knew of Chris’s

kids started calling me Blondie. I used to hear that

inspirations.I knew the direction had to be color. For

word all the time. And I thought they meant the

Faddy I did hot pink blush and a red lip, a hot pink

color of my hair. I had no idea who Blondie was,

sparkly eye.

and I certainly didn’t know Debbie Harry. But when I got back to New York, very quickly I started seeing

It is so amazing that you know all of this informa-

Blondie everywhere and then realized who the kids

tion first hand.

thought I was- and I loved it! I loved her music, I loved how she looked. Then, I was booked to do

You’re right. There are a lot of things I just don’t

her makeup for Andy Warhol’s Interview Magazine.

have to google. I never have to google makeup eras,

I think I was booked because I looked like her. I

because if someone tells me that they want 80s

mean, the photographer knew I was a good make-

makeup, I’ll ask, “Well, what year? ‘81? ‘82?” There

up artist, he had seen my portfolio, but I think he

were important but subtle differences between all of

really liked the fact that I looked like her. I did the

the years. Most people just think of the 80s as color.

cover of Interview, it’s one of my most famous cov-

But really, color stopped around ‘85, and everything

ers, and she looked exquisite. This was 1980. She

was beginning to look neutral, and then in ‘89… well

had such a swagger, such a punk attitude. She was

that was the year that makeup stopped altogether!

just totally of the moment. I was crazy about her.

Truly no one was putting makeup on their models-

She looked up at me and I thought, “Oh this is in

and I don’t mean the “no-makeup look”, which is very

the bag”. I was in heaven. She was a punk goddess!

pretty, I mean NO makeup. And I don’t know how I

It was brilliant. It was a brilliant pairing of me with

lived through 1989.

her- because, during that time, Debbie was always

When I would open up the fashion magazines from

doing that black eye makeup look, and I had all

that year, I would see girls wearing suits and dresses,

of a sudden switched into color. I had decided I

and they looked horrible because they weren’t wear-

wanted to do her in purple, pink, and blue. It was

ing makeup. To get away with that you had to be

beautiful. From 1975 to 1980, I was just doing the

photographed by someone who knew good lighting

black eye makeup. That was one of the first times I

like Albert Watson.

worked with color on the eyes. I probably did it until 84 or 85. 220

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That absolutely makes sense. Can I ask you a question I’ve always wanted to ask a makeup artist? Sure. What confuses me about my generation and these years is that there feels as if there is no defining look. Like the 80s had the hair and the 90s had the silk... It feels like my generation doesn’t have that. What do you think? I don’t think that they have direction because they don’t have the magazine and the photographers! You mentioned how much you love the 90s, and the reason you love them is because of the ideas from Steven Meisel. He had the idea for strong eyebrows, lip liner, all of that. And the makeup artists themselves! The new generation that came out- Francois Nars,Kevin Aucoin etc- they were brilliant! These guys picked looks that I had done in the 1960s. I wasn’t the leader of the pack at this point anymore, but it was fine. The young makeup artists of today don’t have that! The direction has to come from somebody- Now it comes from celebrities. What celebrity right now do you think is driving the look? Who do you think is driving the look? Who is it right now? I think there are great artists on social media pushing the look. I can’t think of a specific celebrity that is creating a style. No one is really standing out to me right now. There is a new makeup line, Makeup by Mario. He does Kim Kardashian’s makeup. I think he is really creative. However, you must go right now to British Vogue for creativity from Edward Enninful. He is the crea222

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NORMA KAMALI leotard PER FIDEM red suede boots at Flying Solo

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tive energy and editor in Chief of British Vogue!

my models to look like that. There was a sexiness and a coolness to it.

I’ll check him out! Can you tell me a little more

I love the one with the paint on the floor that’s

about the shoot you did for FADDY?

supposed to be blood.

It’s called Dangerous Times because of the times

The paint was great. I loved that one too. See, I like

we’re living in today. Photographer Enrique Vega

her when she looks fierce. That was my intention, I

came up with that. “It is time for a change” is print-

wanted her to look like cool.

ed on a perfume bottle, and he’s right. It is time for a change. Why don’t you take a look at the pictures

You truly did an incredible job.

and tell me what you think? Well….. Oh my god! They look very ‘70s. I think so! I know! I love them. I love the one with the green backdrop. That is my favorite.

Anyway, it was so much fun for me because I got to reminisce about everything. And Enrique Vega includ-

Why that one?

ed a message on the bottle.

Because I love her expression. I love how she

I’m so glad you enjoyed the shoot! I am so happy I

reminds me of the models of the ‘70’s. They used

got to interview you. It was truly a pleasure.

to look into the light and they looked so fierce-looking. They always had this fierceness, this edginess about them, and I wanted to look like that. I wanted 224

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Thank you so much. It was my pleasure, too.

NORMA KAMALI asymmetrical dress - WALTER STEIGER shoe - SOLOMEINA ring at Flying Solo - ERICKSON BEAMON brooch

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NORMA KAMALI tiger print bathing suit - ERICKSON BEAMON earrings - IZA BY SILVIA Dâ&#x20AC;&#x2122;AVILA cuffs at Flying Solo

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GEORGINA HERRERA Choker at Flying Solo

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LOVE MOSCHINO red dress - SOLOMEINA cuff at Flying Solo

GEORGINA HERRERA Choker at Flying Solo

NORMA KAMALI black bathing suit - GEORGINA HERRERA choker and cuff at Flying Solo - SARAH PALMER shoes

NORMA KAMALI leotard - PER FIDEM red suede boots at Flying Solo

LOVE MOSCHINO red dress - SOLOMEINA cuff at Flying Solo

GEORGINA HERRERA Choker at Flying Solo

Model: MILA KRASNOIAROVA @Elite Photographer: ENRIQUE VEGA Stylist: NEWHEART Z. OHANIAN @Department 5 Artists Make Up Artist: SANDY LINTER @Bryan Bantry Hair: BRITTAN WHITE @Bryan Bantry Nails: NORI @Artlist Fashion Assistant: ELLEN-CLAIRE NEWELL 237

nya Anti is a New York-based internationally published and awardwinning photo artist who specializes in

on-location fine art and conceptual portraiture. Originally from Ukraine, she moved to the USA in 2014. She’s been into photography since 2010. She’s always been a creative person – as a child she was good at painting and crafts. As her passion for art grew she fell in love with photography. As a self-taught she gained all her knowledge and inspiration through social media and online photography communities. A year-and-a-half later, she started creating fine art surrealistic female portraits, which became her preferable genre and a hallmark of her work. Anya strives to create beyond just simple portraiture and to tell imaginative stories through her art. Photography is not only what she loves and what she does, it’s also how she sees the world. It’s a reflection of her deep emotions and passion for beauty. What I’m trying to show is a beautiful image, but also tell a story, convey an idea and play with associations. She never just takes a photo but uses photography as a way of collecting material to create something that is not possible to capture. Installations, costumes and Photoshop manipulation help her embody her fantasies into a finished piece of art.

nya Anti

exclusive interview by Anneysa Gaille

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You immigrated to the

alter egos, I felt even more

U.S. from Ukraine in

connected to my art being

2014, four years after

a subject myself.

you started becoming interested in photography. What made you want to move to New York? Do you find that where you live influences the art you produce? Well my immigration to the US had a pretty simple reason - I won a Greencard lottery. I thought it would be very silly not to use this opportunity because unfortunately in Ukraine there is a very limited number of things you can do and ways to evolve as a fine art photographer. I think that country choice can influence your work but not as much as your actual surroundings. For example, after moving across the ocean to a foreign country I had no friends, I was overwhelmed by cultural and language barriers, and it was very hard for me to reach out and interact with people. So, I started to shoot self-portraits. We also were finally able to afford to travel. So, every time my husband and I go somewhere I look for a unique and interesting location and try to create a photograph. And because usually it’s just two of us on a trip or vacation, I

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When you look back take a self-portrait and my husband assists me. But moving to the US also opened my eyes a lot to things not related to actual shooting and producing artwork. Things like communication, industry and the business of fine art photography and the opportunities I had never even think of. Do you feel as though shooting self-portraits helped you better understand yourself and the world around you after moving to New York? Has your relationship to self-portraiture changed over the years? It definitely changed. Before moving to US I couldn’t imagine myself doing self-portraits because I thought I need to be only on one side of the camera to have full control. But after the circumstances forced me to create my first self-portrait as an artwork, I realized it was not that complicated. I actually enjoyed it. And because I always saw my subjects as my

at your body of work, which location do you find the most striking? Are there any sites you have frequented or would like to revisit? My heart will always belong to Iceland. I’ve been there 4 times, and I’m ready to go back there over and over again. That was one of the reasons I chose this country for creating my climate change awareness project called “2.5 seconds.” When I look at your photographs, one of the first words that comes to mind is “surreal,” and I have been thinking about the ways in which your work interacts with the surrealist tradition. André Breton, one of surrealism’s founding fathers, defined surrealism as being “psychic automatism in its pure state, by which one proposes to express… the actual functioning of thought. Dictated by the thought, in the absence of any control exercised by reason, exempt from any aesthetic or

moral concern.” Your

My photography is sto-

conceptual photographs

rytelling. It all starts with

certainly fit the first

the concept. For me,

half of his definition:

photography is about an

you often illuminate

idea, an observation, an

what many people feel but are unable to see by embodying previously intangible thoughts or feelings in dreamlike images. However, your work—please correct me if I am wrong—is by no means exempt from aesthetic or moral concerns: your photographs are impeccably composed, much of your creative expression would be impossible without bewildering editing skills, and you have used your art to call attention to pressing issues like climate change. How do you approach balancing the imaginative and the technical aspects of your artistic practice? What is your creative process when you are translating the unseen into the visible? Do you believe your photographs are in conversation with the surrealist tradition? II guess I’ve always been motivated to prove to everyone that I am capable and the desire to be

the best at what I do. When I first started photography nobody really believed in me. For the photography community, I was just another newbie and another girl with a camera; for my friends, it was just a hobby; for my parents, it was just a waste of time and money. So, I had to prove them wrong. And probably that’s why I was determined to be good enough both at technical skills and also create something beyond just simple portraiture. I’d rather be anything but boring or someone who doesn’t know what they’re doing. I was certain about one thing: I wanted to shoot something that would be different from everybody else. I wanted to show something that could not be seen, add a story, convey an atmosphere and create a compelling image. So, I started experimenting, playing with different lenses and shooting techniques, using props, editing in Photoshop and adding special effects to my photographs using compositing.

association, a message or a mood or atmosphere. I try to imagine things in unexpected and unconventional ways. Sometimes small things and different elements around you can trigger an idea but you need to be looking for it. I’m constantly looking for my inspiration. I wish I could talk about the surrealist tradition and have enough knowledge in that field. But fortunately or unfortunately I have no art background because there was no access to professional education in my country, I’m self-taught. I would say that you not having a formal art background is more fortunate than unfortunate: it seems as though by tapping into your own, innate creative drive—as opposed to looking for external inspiration and traditional artistic traditions to join—you have been able to achieve your goals and prove to everyone that you are a very capable artist. Do you believe

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that being self-taught gives you

artist doesn’t mean you’re broke or

dresses to shooting something

an advantage since you were

you chose an unachievable path.

more meaningful. How can I use

able to define your art on your

There are so many prejudices. And

my voice and audience? So re-

own terms?

I really hope I proved them wrong.

cently I released a climate change

At least I try to.

awareness project called “2.5

To be honest I never thought

seconds” that I shot in Iceland in

about it. Sometimes I think that

Every artist has her toolbox. As

2019. I have always loved nature,

some sort of formal education

you said earlier, you utilize a

and have been both amazed and

might have been beneficial. But

myriad of tools to create your

captivated by our planet’s beauty.

since I don’t have it, I just do what

photographs, such as different

The thought that nature is being

feels right and what I believe in.

lenses. Do you find that which

affected and destroyed by the

lenses you choose significantly

changing climate became personal,

I also find it inspiring to hear the

affects each photograph? Are

shocking and upsetting. Then it

ways in which you persevered

there specific lenses you use in

turned into a 3-year long ongoing

despite the people who discour-

order to evoke different moods?

project that is a series of photo-

aged your from seriously pursuing

graphs that highlight the environ-

photography, and I am sure that

I always shoot with fast prime

mental crisis through metaphors

there are many others who find it

lenses and always wide open. I

and symbolism. Each one of them

encouraging as well. Do you be-

also love shooting with old vintage

illustrates and represents a specific

lieve that being a woman contrib-

manual lenses like Helios and Petz-

environmental issue using allegor-

uted to the photography communi-

val. Their imperfections help her

ical figures and subjects, props,

ty’s initial resistance to seeing you

be more creative and achieve that

costumes and natural landscapes.

as something more than “another

dreamy effect.

With my project “2.5 seconds,” I

girl with a camera”? What about the

hope to bring awareness about Since your photographs are so

climate change, to start a con-

invested in the creation of nar-

versation about the issue and to

In the beginning, I really felt like

rative, I cannot help but wonder

educate more people about the

people were skeptical and patron-

whether or not you envision a

facts, the urgency of the crisis

izing me just based on the fact

specific trajectory for a larger

and the seriousness of its conse-

that I’m a girl. Plus, I was young.

thematic arc across your work

quences. I am using photography

Plus, I’m attractive. I’ve always tried

in the future. Are there certain

as my unique voice to express

to break stereotypes and wanted

thematic concerns you keep in

how I feel and share my fear for

people to take me seriously. The

mind while approaching new

the future and strong message for

fact that people find me good look-

photographs? Are there partic-

all the people out there that we

ing doesn’t mean I’m vain or can be

ular subjects you have yet to

need to do something about it. I

only a model. Doesn’t mean I can’t

explore and would like to inves-

want to create more art like that

be skillful and intelligent. The fact

tigate in the future?

in the future and bring awareness

fact that you are self-taught?

that I dye my hair blue and have an

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to other environmental and social

unusual style doesn’t mean I can’t

I’m glad you asked. Actually, I do.

be a professional. The fact that I’m

A couple of years ago I started

a woman doesn’t mean I can’t be

asking myself how can I shift from

technical. The fact that you’re an

shooting just pretty girls in pretty

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problems.

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WA LT E R R O T H W E L L

Walter Rothwell is a multi award winning, internationally published and exhibited photographer with work held in private and national collections. With over 30 years of experience, he has worked with clients ranging from blue chip companies to charitable foundations, news and media, as well as the arts.Â He has also been the keynote speaker at many photography festivals and events. His work has been exhibited at, amongst others, the Paris Salon de la Photo, Saatchi Gallery London, The Mall gallery London. Walter has had work published in many photography magazines and has had stories featured in titles including The Independent, London standard and Time Out London.Â Walter is also an award winning darkroom printer. In 2015 he co-founded the Street Photography International Collective, which now have the largest Instagram account dedicated to the genre with over one million followers, his own account has over 150,000 followers.

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EXCLUSIVE I N T E RV I E W I N T E RV I E W B Y N I C O L E V I C K E R S

ALTER ROTHWELL’s work does something

photography as a practice is vital but how we think and

that every artist strives to do: it captures

see are ultimately more important. Pure aesthetics can

humanity in our most pure form: while

be initially pleasing to the eye but are easily replicated

we’re walking. While we’re going from place to place,

and don’t compare to recognizing and capturing a

unaware of anyone stopping across the street to

real, unrepeatable moment.

glance at us. When we’re lost in our thoughts, deep inside our own heads- trying to remember our

How did you get into darkroom printing?

groceries store lists, or coming home from a long night out with friends or loved ones, running late to

I started studying photography two years before

a meeting, gossiping with a close friend, or heading

the first commercial digital camera was released so

to a lover’s house. All of these moments allow us

there was no choice! As I watched the capabilities of

as humans to exist in our own little world. In these

Photoshop etc grow I made the conscious decision

pure moments, we are the most unassuming, the

to stick with film for all but commercial work. We are

most vulnerable, the most unfiltered versions of

all searching for the perfect image and unfortunately

ourselves.

many have fallen foul to the temptations of postproduction. For all its capabilities and limitations I still

When writing your keynote speeches, what

love darkroom printing, there is nothing quite like the

is something you want to resonate with the

beauty of a properly made silver print.

audience? Is there any other art medium you love as much as My love for the art of photography and the

photography?

importance of integrity within the genres I work in. Documentary and street photography should

There are many mediums I admire but photography is

be accurate and un-manipulated depictions of the

the only one I practice.

people and events we see. Who is an up and coming photographer you think In your 30 yrs of experience, what were your

the world should know about?

first couple of years like in the industry? There is a young British photographer called Simon Unusual - I was freelancing and at the same time

King who is well worth keeping an eye on.

converting an old butchers shop in London into an art gallery. I wanted to create a space where young

Tell me about a moment you feel has defined your

artists could show their work without the exorbitant

career thus far.

fees that many London galleries charged. Moving to Cairo and starting a documentary at the Do you think photography is more of a learned

Pyramids of Giza. I have over ten years of work in

skill or innate talent?

it so far and it’s by far the largest project I will ever undertake. I’m looking forward to finishing it!

Bit

both.

Learning

the

fundamentals

of 261

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IT’S A MIX BETWEEN THE SOUL THAT I’M CAPTURING AND THE STORIES, THE DREAMS I WANNA TELL....

tefanie Renoma exclusive interview by Nicole Vickers

S T E FA N I E

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RENOMA 287

EXCLUSIVE I N T E RV I E W S T E FA N I E R E N O M A

tefanie, the first time I saw your pic-

do you do this even while shooting inanimate

tures I was absolutely captured by the

objects?

raw sensuality of every image. How

much of you is reflected in your work?

I’m trying to make objects alive, that’s why I’m always shooting this kind of campaign with mod-

Thank you so much, It’s a mix between the soul

els that I know, with personality and a strong

that I’m capturing and the stories, the dreams I

attitude. I’m adding a lot of movements and

wanna tell.

emotions.

You are a celebrated photographer who has

Regarding your polaroids- tell me about

had many exhibitions and interviews. Does

shooting them- were they planned? Or were

social media add any value to your portfolio

you just inspired by the right kind of people

or inspiration as an artist?

around you?

It’s an amazing opportunity to be open to the

Never haha it’s always in the moment, sponta-

rest of the world. To share your ideas, and also

neous and unexpected. I love catching this kind

to find amazing artists, peoples... I’m using a lot

of stolen moments when the energy is floating.

Instagram to find my models. Social media is a great window for your work, it’s the new online portfolio

Do you see your career as a journey or are you hoping to get to a destination?

Tell me about a project you want to do in the future and please tell me about your book!

Right now I’ve just launched my new art book “ Remember Your Future “ about 5 years of work. I’m also working a lot on this amazing project

I’m living day by day, my only expectation is to

with the cancer institute “ Rafael “ with the “

stay free as I’m.

beauty phototherapy “ that I’ve installed with my team and the doctors from this institute. I’ve got

Tell me about shooting jewelry ads. You breathe such life into all of your photos, how 288

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also many campaigns who are coming soon, and I also hope to be able to travel really soon! And for the rest ... Big secret haha

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Pablo Almansa

EXCLUSIVE I N T E RV I E W I N T E RV I E W B Y N I C O L E V I C K E R S

efore we ever have the

“I have been taking pictures of fe-

chance to even speak, I am

male nudes for 25 years, when I

on Pablo’s website (which is

started, making a session could take

exactly what he wants). “I am quite

me months to talk to a girl, were are

active in this social media [insta-

convinced? yes, but there was a cul-

gram]. For me, it is a very simple

tural abyss. If you posed naked they

means of communication that al-

would mark you.

lows me to save a lot of time when

The freedom and naturalness with

it comes to meeting interesting

the women pose naked is for me

people, like Candice”. the contrib-

without a doubt, a revolution. They

uting editor of Faddy. His photog-

have taken control and I find it won-

raphy is show-stopping. You could

derful.”

stare endlessly and marvel over the

Even though Pablo has shot for the

number of beautiful women he has

likes of GQ and has well over 38.k

photographed, the warm and sen-

followers on Instagram, I am de-

sual colors juxtaposed with the cool

lighted to learn that he has a warm,

and seductive tones of classic black

witty way of speaking that makes

and white portraits. “There comes a

me feel like we’re old friends.

time when you can almost discover where a photographer has been formed by [their] way of lighting”. Pablo’s work is so emotive, I find myself having made up stories for every picture I see and take in. It is only after speaking with him that I learned that it’s his presence I feel in every photograph he’s shot. The confidence he exudes is perfectly represented through each image, yes, even the one of J avier Bardem that was shot in Spain. 310

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Do you prefer to shoot in black and white over color? When I find out, I promise to answer you. So you’ve never been represented by an agency? Never, do you have any recommendations?- There is no denying the true artistry and creative genius that this man possesses. Something I always love to ask artists is the moment they made the decision to pursue their craft. Pablo tells me that his decision was made around the ages of 14-16 reading books in his father’s library. My father is a painter and a designer, and in the 80’s he already had quite an impressive art and reading library. Before I turned 13, he asked me what gift I wanted, and I told him all I wanted was to go to his library and see all of his books. There, I came across books by Irving Penn, Newton, Patrick Demarchelier, and American editions of famous magazines such as National Geographic, Playboy, AD,

“The freedom and naturalness with the women pose naked is for me without a doubt, a revolution. They have taken control and I find it wonderful”.

and Vogue. Two years later, my

A few years ago, a collector

father gave me the best gift he

of my photos told me that he

could ever give me: he told me

could not continue to buy more

that I could buy about 50 USD

photos from me because the

worth of books that I liked per

sizes I made were too large.

month. That is how I began my

This gave me the idea of a

own library.

luxury collectible that moves away from the formats already

I would absolutely love to

created. After two years of work,

hear about Nu Box and the

I have created a wooden box

idea behind it.

that contains fine art prints of 350 grams of 40x60 cm of the

images that I’ve made with my

with whom I can share my work at

about how he does his sessions

models. The collectors can select

the highest quality.

and his wonderful behind the

from any of those images. In this

Currently, the box is being held

scenes work.

way, with the passage of time,

by about 12 people between

there will be 50 boxes, all totally

Madrid, London, Milan, Monaco,

Thank you so much for your

different and totally exclusive. My

Murcia, Alicante, Oslo. On Pablo’s

time Pablo, it was wonderful to

hope is that this project won’t end

Instagram (@pabloalmansaofficial)

work and learn about you and

for many years. I’ve heard from the

and on his Patreon channel,

your artistry!

first couple of collectors that they

viewers can see updated, new

are already enjoying the project

photos and videos of how Nu

immensely- this is creating a

Box is being produced, and he

network of very interesting friends

welcomes his followers to ask him

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exican artist born in Uruapan, MichoacĂĄn, in 1962. With an active career spanning more than

thirty years, Javier MarĂn has exhibited individually on more than ninety occasions and has participated in more than two hundred collective exhibitions in Mexico, the United States and Canada, as well as in countries in Central America, South America, Asia, and Europe.

Mujer de pietra III ( details) 1998. Barros de Zacatecas and Oaxaca with engobes. 100 x 99x 30 cm Photo: Javier Hinojosa

Javier Marin

Javier Marin Photo: Bernardo Arcos]

avier Marín’s work conceives

(2013–2014); Les Musées royaux

bition Corpus Terra was present-

an integral human being, an-

des Beaux-Arts de Belgique, in

ed in the Antiguo Colegio de San

alyzing the creative process

Brussels (2010); Museo di Palazzo

Ildefonso anPalacio de Iturbide, in

based on the construction and de-

Reale, in Milan (2008–2009); Bass

Mexico City (2015–2016).

construction of three-dimensional

Museum of Art, in Miami Beach

forms. In addition to sculpture, he

(2006–2007); Museo Colonial and

His work is part of major public

now includes drawing and pho-

Museo Santa Clara, both in Bogo-

and private collections in Mexico

tography among his central disci-

ta (2006); Museo de Arte Contem-

and abroad, including that of the

plines.

poráneo de Oaxaca (2006); Museo

Museo de Arte Moderno and Mu-

Amparo, in Puebla (2005); Espace

seo de la Secretaría de Hacienda

Some venues of his exhibitions

Pierre Cardin, in Paris (2000); Mu-

y Crédito Público, in Mexico City;

have been Place du Louvre, un

seo del Palacio de Bellas Artes, in

Museo de Arte Contemporáneo

Paris (2018); The San Diego Muse-

Mexico City (1996); Museo de Arte

de Monterrey; Museo del Barro,

um of Art in California (2018); MU-

Contemporáneo de Monterrey,

in Caracas; Santa Barbara Muse-

DEC Museo delle Culture in Milan

Mexico (1993); and the Museo de

um of Art, in California; Museum

(2018); Pinacoteca Comunale Casa

Arte Álvar y Carmen T. de Carrillo

of Fine Arts, in Boston; Boca Raton

Rusca, in Locarno, Switzerland

Gil, in Mexico City (1990), among

Museum of Art and Latin American

(2016); Museo d’Arte Contempo-

many others. As an overview of the

Museum, in Florida; and also in the

ranea Roma Testaccio, in Rome

thirty years of his career, the exhi-

Blake-Purnell Collection, in New

Javier Marin Photo: Alberto Morago

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Cabeza Estrella 2014. Lost wax bronze 132 x 92 x 97 cm. Photo: Armando Canto

Chalchihuites (dĂptico, chalchihuite I, chalchihuite II), 2007. Polyester resin and iron wire, 500 x 500 x 140 cm each. Photo: Armando Canto

York; Costantini Collection in the

Templo de Corpus Christi, in Mexi-

Javier Marín has received various

Museo de Arte Latinoamericano

co City (2005); Church of Santa Ca-

prizes and recognitions, including

de Buenos Aires; Ersel Collection,

tarina, in Lithuania (2003), and the

First Prize at the Third Internation-

in Turin; and the Art Collection of

Espace Bellevue, in Biarritz (2001).

al Beijing Biennale (2008), from a

the Prince of Monaco.

He has been invited to participate

shortlist of artists he was assigned

at international events, such as the

to create the main altarpiece and

Some of his public projects and

Exhibition for the World Art Trea-

presbytery of the Zacatecas Ca-

exhibitions, have been held in

sures, the opening exhibition of

thedral Basilica (2010). In recogni-

spaces such as the Plaza Lange

the China Art Museum, Shanghai

tion of his itinerant exhibition De 3

Voorhout, in The Hague (2010);

(2012). In addition, his work has

en 3, which traveled to seven cities

Piazza del Duomo, Chiesa e Chios-

been exhibited twice in the Venice

in Europe (Pietrasanta, Milan, The

tro di Sant’Agostino, in Pietrasanta

Biennale: on the Larga Ascensione

Hague, Brussels, La Baule-Escou-

(2008); Casa de América in Ma-

at the entrance to the Piazza de

blac, Luxemburg and Rome), the

drid, on the main façade of which

San Marco, in the 49th Biennale

Queen of the Netherlands granted

he created the monumental work

(2001); and at the Sala Santo Tom-

him the title of Knight of the Order

Chalchihuites (2007); Convento

maso, Campo dei Santi Giovanni e

of Orange-Nassau (2009).

de San Francisco de Asís, in Hava-

Paolo, in the 50th Biennale (2003).

na (2006); Plaza Juárez and the Ex

341

Este corazรณn no es mio, 1995. Barros de Zacatecas & Oaxaca with engobes. 140 x 70 x 64 cm Photo: Javier Hinojosa

Mujer de piedra II,1998. Barros de Zacatecas & Oaxaca with engobes. 100 x 99x 30 cm Photo: Javier Hinojosa

Batalla circular l-II y III, 2018. Drawing on wood. 250 x 250 x 9cm. Bucle I, II y III, 2015. Lost wax bronze 80 x 160 x 70cm ; Bucle IV, V, 2015. Polyester resin. 78 x 153 x 110 cm Photo: Armando Canto

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Cabeza Vainilla, 2008. Lost wax bronze 132 x 92 x 97 cm. Photo: Javier Hinojosa

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En blanco. Segunda versiรณn, 2015. Resin polyester and iron, 615 x 860 x 460 cm. Photo: Nicola Gnesi Studio

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Gobelino corte IV y V, 2019. Classic tapestry technique Gobelin type, woven handcrafted in premium New Zealand wool, 294 x 204 cm. Photo: Oscar Aguilar

351

Grupo L 1012, 2016. Resina de poliĂŠster y alambre de fierro, 188 x 196 x 40 cm Photo: Pierre Fudaryli

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Hombre (legs), 2015. Canadian pine wood carving, 607 x 400 x 400 cm. Mujer (legs), 2015. Canadian pine woodcarving, 560 x 233 x 197 cm Photo: Lutz Baumann

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Perfil II y III, 2020. Digital printing on canvas and oil, 90.5 x 71 cm Photo: Armando Canto

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Siete, 2015. Polyester resin with natural fibers (dried meat).Variable measures Photo: Armando Canto

Represented by

JoANNE ARTMAN GALLERY

326 North Coast Highway, Laguna Beach, CA 92651 511A W 22nd St, New York, NY 10011 949.510.5481 www.joanneartmangallery.com || joanneartman@aol.com

rowing up in Southern California in Orange County, the combination of the area’s natural beauty

with its planned communities and highly curated environments were a heavy influence on his artistic process. Rooted in Pop Art, Street Art, graphic design, drafting, and his life in Southern California, Michael Callas’ paintings are done entirely with spray paint and stencils. Integrating figure and language, Callas combines text, character archetypes, and bold color within each work. Maintaining a comic aesthetic, his compositions are intricately produced through a vigorous process of drafting, mapping, and hand-cutting precise templates. Then transposed onto canvas with aerosol paints, Callas creates a surface that is uniform and rich in color.

Birth of Venus II in Orange spray paint and stencil on canvas 23 x 23

Michael Callas

JoANNE ARTMAN GALLERY “Yes, Masters: A MANthology” A Conversation with Michael Callas JA: This exhibition, Yes, Masters: A MANthology, explores Old

CALLAS: The majority of the work

Master paintings being reframed

came from my collection of art

in a contemporary context, in

books. I like to spend time going

addition to the idea that the

through many different books read-

compositions and narratives still

ing about the particular piece and

hold relevance in today’s art and

artist that I am interested in. Once I

society. Do you think of your

settle on a couple different options,

works as portraits of figures at

I then take to the Internet to do

a particular time and place? Are

further research on that particular

your paintings set in the past,

piece. I would say the most com-

or are these figures that would

mon artistic movement referenced

exist only today?

would be The Renaissance.

CALLAS: I do not view the specific

JA: A large part of the construc-

composition as what ultimately

tion of culture is how we depict

matters in regard to the individual

each other. How do you select

paintings themselves. So, in that

and then choose to portray the

sense, I suppose that these figures

figures in your work?

could exist at any point, however, my paintings are set in the present.

CALLAS: The selection process of

I am a student of what has come

work initially has more has to do

before me, but ultimately I am a

with my filter and how the piece will

creature of the times. I work with

aesthetically look. I might subcon-

the past to learn from it. I like to

sciously draw attention to certain

think of working with these pieces

aspects of the painting, however,

as a border conversation. When ap-

that would require psychoanalysis

propriating 600- year old paintings,

of my decisions and myself. Not

I am studying every decision that

sure I am ready to go there just

was made on the canvas. This al-

yet. Some things are better left a

lows me to carry on a conversation

mystery.

into the present day. When a paint-

360

ing becomes timeless it becomes

JA: How does this differ from

eternal. These conversations then

your typical work? What chal-

take place over a series of centuries

lenges did you face creating this

instead of minutes.

new body of work?

JA: Where did you get your imag-

CALLAS: This work does not depart

ery from for this series? What, if

from my typical work. I have been

any, sources or particular artistic

working on appropriations of Old

movements did you reference?

Master’s paintings for some time.

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Venus in Pink spray paint and stencil on canvas 23 x 34

Workings with these pieces are

climate has had an impact on

promised through the lens of the

among my favorite type of paint-

me. As one who makes a living off

future. When sufficient time passes

ings to do.

of conscious and subconscious

the moment becomes more de-

expression, often it can feel vul-

fined and understood. I would like

JA: Is there a cultural experience

nerable to put yourself out there.

the conversation I am having with

that changed the way you see

I believe art should always speak

a 600-year old painter to continue

the world? How has this affected

truth to power. My paintings will

with another painter 600 years

your artistic practice?

exist not just for today, but also for

from now. That way, the thread of

many years to come. I do not want

time is never lost and the conver-

my work to be looked at as com-

sation is ever evolving.

CALLAS: The current cultural

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Case Study 21, Aerosol on Canvas57 x 77.5 on the left page: Bronzino II Study Spray Paint and Stencil on Canvas 40 x 25.25

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Case study 18 glow in dark side by side

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Case Study 18 Evening (Glow in the Dark) Spray Paint and Stencil on Canvas 42 x 26.5 studio

Neon Flowers glow in the dark side by side

Pastel Flowers Diptych spray paint and stencil on canvas 44 x 30 studio

JOSE CACHO CONTEMPORARY ART

MY WORK IS AN INQUIRY ABOUT HUMANITY FROM THE COSMOGONY OF THE WOMAN, BEARER OF LIFE AND MYSTERY. SHE IS RECOGNIZED AS A SOURCE OF KNOWLEDGE AND HARMONY, PERPETUATING WISDOM AND BALANCE.

well-rounded life completes Jose Cacho’s colorful palette. This autodidact’s methodology balances art with family. Inspired by the strength of wom-

en, his art mirrors their power.

When did you get your first exposure to the world of art, and the idea that you could/would create art? Was your mother or another family member an artist? My mother was a psychologist and my father is an engineer and businessman; as far as I know none of my ancestors was an artist. I started out drawing (as many children do) when I was very young. I didn’t have any particular exposure to art, I just liked it. That love grew into a fascination. My parents propelled my interest by buying the art materials and framing some of my drawings. Art has been an essential part of my life ever since.

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EXCLUSIVE I N T E RV I E W

I N T E RV I E W B Y L I N D A A R RO Z

You’ve followed the tradition of hanging your own

been motivated by my love for art. They’ve had the experi-

children’s art in your home. Influenced by your work,

ence of being surrounded by art them and now when they

have any of them followed you path as an artist?

visit my wife and me at home.

The works that hang on the walls of my house were made

When we think of art, we don’t always think of the

by my children, and now also my granddaughter, just as

discipline required to create. When did you come to

the art that hangs in my parents’ house was made by me!

understand structure was a key factor in your produc-

I couldn’t say that they have been influenced by my work in terms of theme, technique or style, but I think they have

tivity? A long time ago I realized that in order to enjoy life, and

Amor Propio 120x80 75x50 Restaurar la esperanza Mixed on canvas 84x94

THE COMPOSITION OF THE ELEMENTS IN EACH PAINTING IS CHARGED WITH SYMBOLISM 375

at the same time be efficient, it was essential to organize

when they realize the works are covered by text, in relief.

my time. Throughout my life I’ve dedicated time to a vast

I think having words in front of you, but not being able to

array of interests, from the artistic, to business, social, po-

read them, results in something magical. In the end, each

litical, sports and humanistic. I find enormous satisfaction

person finds their own interpretation, personalizing the

in doing diverse things. Success in any endeavor is based

meaning of the work.

on hard, as well as consistent, work. For me, to create requires exploration, experimentation, honesty and order. I wake up early to exercise. I make sure I eat well and get enough sleep. These tenets require discipline, but I’m able to enjoy my family and friends, work a 10-hour day, and be able to do everything I like! You incorporate text into your work, eliminating spaces and punctuation. The raised letters are reminiscent of hieroglyphics. Do you find that people take the time to decipher the message, and do you think they receive subliminal information as they observe the work? One day, it occurred to me to use text in my pictorial work, as an integral part of meaning and aesthetics. The way in which I use text has evolved. I remove the spaces and punctuation, so it’s difficult to read. I’m often asked to translate. I discovered the observer becomes more fascinated

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Your use of resin makes us think of amber. The images in resin feel like an homage to another time, of time standing still. What was the moment of inspiration and meaning for the use of resin? I love that association, of time standing still. About ten years ago, I started to experiment with resin. The idea of being able to see an object clearly, but not be able to touch it directly, assigns the art with a mystical value, relating to the unattainable. A key moment in moving forward with resin as an integral part of my work, happened when I visited an exhibition of the work of Marc Scheff, a young and talented American artist and designer, who uses resin intensively. That day I had the idea of applying the technique with my own style and artistic concept. When we look at your work, we catch a glimpse of Gustav Klimt, with your use of whimsical color and

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la Mirada de la Luna - the look of the moon

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VARIOUS TECHNIQUES SUCH AS RESIN, COLLAGE, TRANSFER, CHARCOAL, INKS, ACRYLIC MEDIA, PASTELS, AND MANY OTHERS, CREATE A SOPHISTICATED AND ENIGMATIC VISUAL LANGUAGE.

El Sueño de Gioconda Mixed on Acrylic and Resin 915x915mm shape. What artist has inspired you the most? Much of my inspiration from the aesthetic point of view, comes from my admiration and fascination for the work of Gustav Klimt, Remedios Varo, Rafael Cauduro and Banksy. I make the effort to apply certain aesthetic features derived from the exploration of their work, but with my own style and technique. Every day I find something new in this process. Your work has a recurring theme, with an homage to women. Aside from the pop culture images you’ve incorporated into your work, are any of the women in your work people you know or someone the observer might recognize? Women have always been the most revealing characters in my life. I have been surrounded by strong and intelligent women, who taught me the most important things in my life. My mother, my wife, my daughters, my sisters, all shine a light that guides many of my actions. Some of my works are commissions requested by some collectors, so in those pieces there is a specific woman behind the inspiration and creation. The same thing happens in the collection based on iconic characters that I’m working on now. However, most of my work is Esencial Deepart 40x55x10 12 kgs 380

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based on images of women that I do not know, I find them in magazines, newspapers or photographs and take them as a reference to transform them with my own style. I love turning an unknown character into a work of art. If you could spend an afternoon with any woman,

THE MOSAICS INSPIRED BY KLIMT’S TECHNIQUE REPRESENT THE INTEGRATION OF THOUGHTS AND EMOTIONS THAT CREATE OUR REALITY

from history to the present, who would she or they be?

Mexico City is the place where I was born and where I have spent most of my life. It’s one of the most populated cities

I would love to meet Rosa Parks. Far beyond spending an

in the world, with more than 22 million inhabitants. The

afternoon with someone who accomplished great things

kindness of the people is one of its main characteristics.

in art, science or history, which would undoubtedly be very

Few people know that Mexico City, second to London, is a

interesting, it fascinates and moves me to know that a per-

city with the most museums in the world.

son, who at that time, was totally unknown. She didn’t have the support of anyone, yet she dared to lose her freedom.

There are so many issues in the world today, but it

Rosa Parks put her life at risk to defend a right to which

seems art and artists are guiding us in helping to heal

most citizens closed their eyes.

the world.

She helped change the course of human rights, when ev-

We can start by raising awareness about the need to be

erything was against her, when there were no social net-

socially aware. If we thought of others as we think of our-

works to provide protection and support. I would like her

selves, and of ourselves as others, many things could be

to tell me how that moment of enlightenment arrived in

resolved. It’s our responsibility as individuals to do what

which she made the decision not to give up her seat. She

is necessary to make our social, economic, environmental

lit a spark that changed her destiny and that of millions of

and political environment better today and for the future.

people.

We can’t delegate it to anyone else. The future is in our hands.

You live in Mexico City. What would you like us to know about your city?

La Ventana Mixed on Wood 60x90

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Esparcir semillas Mixed on Canvas 94x120 <- on the left page: Infusion Mixed technique on canvas-80x100 383

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Esperanza Mixed on canvas 80x120

Hermanas Mixed on canvas 94x140

La Mujer de Leonardo Mixed on Wood 80x80 <- on the left page: La Promesa 01 Mixed on Wood 58x81cm

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Tomalo con calma Mixed on canvas 100x120

Troya Mixed on canvas 94x140 388

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Triada Femenina Mixed on canvas 94x140

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El arte del camuflaje 100x150

Belleza Clรกsica Deepart 30x30x10 6.4 kgs

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All the images are Courtesy of Nancy Littlejohn Fine Art, Houston, TX

Artist Spotlight

CHRISTINA NICODEMA

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hristina Nicodema lives and

a transcript of Western civilization

of endlessly stacked information.

works in Long Island City,

and an index of the gentrification

She digitally compiles her themes,

New York, having graduated

of horror, addiction and anxiety.

narratives and abstractions from

from Parsons School of Design in

Her latest solo show at Nancy Litt-

image search queries to explore

2009. Prior to becoming a painter,

lejohn Fine Art, “Mayfly”, captures

a more primal aspect of Western

she worked for nearly a decade as

these central themes. Pieces such

culture; violence and survival as it

a set designer and art director for

as Freak Shake Mountain, Shi-

has been gentrified throughout the

animated films and television and

pwreck, and Whale have attracted

history of painting. Her works travel

is an undefeated amateur boxer.

the attention of the art world and

up and down the food chain ex-

All of these influences are highly

the general public alike. She is also

posing the mental divide between

present in both her subject matter

a part of a group show entitled

the familial desire to nurture and

and working process.

“A la carte: A Visual Exploration of

the horror of instinctual maternal

Her paintings explore the schis-

Our Relationship with Food” at the

violence. Employing the subtext of

ms of the food chain that all life

University of Alabama at Birmin-

comfort and control, deprivation

participates in. They challenge the

gham’s Abroms-Engel Insitute for

and reward she explores food as

impossibility of reconciling the

the Visual Arts.

a source of deep emotion, hie-

opposing notions of violence and

Her compositions begin with the

rarchy and ultimately dominance.

empathy by detailing the endless

internet and its continual churn

She uses paint and color to both

cycle of dominance and submis-

of imagery as both palette and

destroy her underpainting and to

sion present throughout all species

medium. By collapsing high and

reconstitutes her references into

and cultures. Exploiting the millen-

low aspects of art history, image

a dreamlike stream of conscious-

niall lens and the language of a di-

resolution and painting techniques,

ness that collapses the distinction

gitally native generation, Nicodema

she questions the relevance of

between the historical past and the

uses the history of painting as both

linear time amidst the overload

contemporary moment.

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Click on the picture above to watch the artist talk with NANCY LITTLEJOHN

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