Fall 2014 Issue 17
1 Jorge Mujica 9 Christian Newby 17 Sam Walker 25 Jaejin Hwang 33 Ikafully 41 Dom Sebastian 51 Fremantle Arts Centre Residency 63 Liam Sparkes 75 Akzidenz
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(Previous spread) Cactus Cooler Vamos A La Playa
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¿Has visto una serpiente en los últimos 6 meses? (Have you seen a snake in the last 6 months?)
No (No)
¿Eres dueño de plantas? (Do you own plants?)
No (No)
¿Confías en alguien con tu cuerpo? (Do you trust someone with your body?)
Sí (Yes)
¿Duermes bien? (Do you sleep well?)
Sí (Yes)
¿Te acuerdas de las cosas que la gente de acontado? (Do you remember things people have said to you?)
Sí (Yes)
¿Sueñas con tu propia muerte? (Do you dream of your own death?)
No (No)
¿Escribes tus pensamientos? (Do you write your thoughts down?)
Sí (Yes)
¿Estás enamorado? (Are you in love?)
Sí (Yes)
¿Quieres ser diferente de lo que eres? (Do you yearn to be different than you are?)
No (No)
¿Has visto a alguien morir? (Have you seen someone die? )
No (No)
¿Tiene buenos amigos? (Do you have good friends? )
Sí (Yes)
¿Tiene alergias? (Do you have allergies?)
No (No)
¿Alguna vez ha tenido una cirugía? (Have you ever had surgery?)
Sí (Yes)
¿Está preocupado por su salud? (Are you worried about your health?)
No (No)
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Sí (Yes)
Jorge Mujica
¿Es el amor verdadero? (Is love real?)
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驴C贸mo sobrevives? (How do you survive?)
Me recuerdo a m铆 mismo ,que s贸lo puedo controlar lo que siento y hago, entonces me relajo sabiendo que si me concentro en lo que tengo que hacer, todo va estar bien. (I remind myself that I can only control what I feel and do, then I relax knowing that if I focus on what I have to do everything will be fine.)
Jorge Mujica
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L.A. People
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Jorge Mujica
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L.A. People Portrait of Justin Camerer
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11 Forget Good
Is love real?
Yes
Have you seen a snake in the last 6 months?
No
Do you own plants?
Yes
Do you trust someone with your body?
Yes
Do you sleep well?
Yes
Do you remember things people have said to you?
No
Do you dream of your own death?
No
Do you write your thoughts down?
No
Are you in love?
Yes
Do you yearn to be different than you are?
Yes
Have you seen someone die?
No
Do you have good friends?
Yes
Do you have allergies?
No
Have you ever had surgery?
Yes
Are you worried about your health?
Yes
Christian Newby
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(Previous spread) Orangina Clock Brenton Wall Clock Study No. 1
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Brother Clock Toilet Group Marble
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Blue and Blonde
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With as little sense of entitlement that I can identify.
Artist/Residence Name
How do you survive?
The Mirage
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Yes
Have you seen a snake in the last 6 months?
Yes
Do you own plants?
No
Do you trust someone with your body?
Yes
Do you sleep well?
Yes
Do you remember things people have said to you?
Yes
Do you dream of your own death?
No
Do you write your thoughts down?
Yes
Are you in love?
No
Do you yearn to be different than you are?
No
Have you seen someone die?
No
Do you have good friends?
Yes
Do you have allergies?
No
Have you ever had surgery?
No
Are you worried about your health?
No
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Is love real?
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Sam Walker
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(Previous spread) The Outsiders and Competing: Beaten
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How do you survive?
Going with the flow, and binge watching TV shows online.
Sam Walker
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Mrs. Maloney in the Garage (Next spread) Mr. Maloney Returns
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Sam Walker
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Asleep
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Yes
Have you seen a snake in the last 6 months?
No
Do you own plants?
No
Do you trust someone with your body?
No
Do you sleep well?
Yes
Do you remember things people have said to you?
Yes
Do you dream of your own death?
Yes
Do you write your thoughts down?
Yes
Are you in love?
Yes
Do you yearn to be different than you are?
No
Have you seen someone die?
No
Do you have good friends?
Yes
Do you have allergies?
Yes
Have you ever had surgery?
Yes
Are you worried about your health?
Yes
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Is love real?
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Asleep Wonderland
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Jaejin Hwang
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Wonderland
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Jaejin Hwang
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32 Jaejin Hwang
Doing things I like.
Wonderland
How do you survive?
Yoske
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Yes
Have you seen a snake in the last 6 months?
Yes
Do you own plants?
Yes
Do you trust someone with your body?
Where is my body?
Do you sleep well?
Yes
Do you remember things people have said to you?
Yes
Do you dream of your own death?
Yes
Do you write your thoughts down?
Yes
Are you in love?
Yes
Do you yearn to be different than you are?
Yes
Have you seen someone die?
No
Do you have good friends?
Yes
Do you have allergies?
No
Have you ever had surgery?
No
Are you worried about your health?
No
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Is love real?
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On the Way to the Desert Drape
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Ikafully
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Ikafully
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Om Shanti Om
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How do you survive?
I always give affection to my neighbors and feel for them. Also, I focus on the moments happening around me. Both of the makes me like, “Now, Now, Now, Now & Meow!!�
Ikafully
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YASBEE
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by Kylie Gava
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(Previous spread) Fruit Collection (no title)
Forget Good
Have you seen a snake in the last 6 months?
No
Do you own plants?
Yes
Do you trust someone with your body?
No
Do you sleep well?
Yes
Do you remember things people have said to you?
Yes
Do you dream of your own death?
No
Do you write your thoughts down?
No
Are you in love?
Yes
Do you yearn to be different than you are?
Yes
Have you seen someone die?
No
Do you have good friends?
Yes
Do you have allergies?
No
Have you ever had surgery?
No
Are you worried about your health?
No
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No
Dom Sebastian
Is love real?
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(no title)
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Do you want to introduce yourself a little bit? Where are you from? What do you do?
I’m 19, currently in East London, originally from a small town called Chipping Campden in Gloucestershire. I’m at Central Saint Martins studying Graphic Design. I work in as many areas on the creative spectrum as possible; at the moment, I’m focusing on fashion, graphic design, photography and music!
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Creating! and going to Wasabi.
Dom Sebastian
How do you survive?
You are currently studying graphic design Yes! Well, in fact, the clothing side started in school, right? How did the clothing side a few years ago when I was experimentof your work start? ing with dyed gradient sweatshirts -- they soon became something that a lot of people wanted to buy, so I just kept going with it. I’m thinking I might study fashion print instead of graphic design next year. Do you think the type of people that listen I hope so. However, with my music, every to your music wear your clothes? track sounds different, as I’m still experimenting with my sound. Yet, I think both areas compliment each other.
Does your art supplement the clothes or the clothes supplement the art?
The art comes first, then the clothing. I usually create a load of images with a clothing collection in mind, though.
Have you had to deal with people not tak- Well, a lot of my collaborations, people ing you seriously because of your age? contacting me, etc. happen online, so it hasn’t been an issue as of yet, but I can see how it could be. However, when you’re producing work, I don’t think age should be an issue.
47 Forget Good
I hear East London is great for creatives and tattoos. We’re also interviewing Liam Sparkes for this issue -- have you seen his work? Do you feel a lot of support being an artist there?
Yeah, it’s a pretty creative place. Not going to lie, I don’t know much about tattoos.
You seem really self-motivated and reliant, Yes, that’s correct. I’m always creating; and like you have a super drive to create. it really is the most important thing in my I picture you always doing things. Does life. that sound right?
What stuff are you obsessed with right now?
I love La Roux and Sia’s new albums. Also the Barbican Centre here in London -- I go there so much that I may as well live there.
What are you currently working on? Any future plans you are excited about?
Yes! I’m currently working on a collection called ‘Virtual Nostalgia’, which is a new range of clothing based on the idea of feeling nostalgic for a certain visual/ aesthetic, even though you may have no connection to it. And the Fruit Collection, which was originally planned for June, but I’ve made a few changes since then! I’m also working on an amazing collaboration with Swedish designer Anny Wang.
To purchase Dom’s clothing check his website.
Dom Sebastian
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Spill2
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Dom Sebastian
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Jurassic Marble
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by Stephanie Preston
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Fremantle Arts Centre’s programming includes music, a wide range of art classes, exhibitions, and a residency that can accommodate multiple artists year round. A lovely private apartment dedicated to providing housing to one artist in residence means tough competition for international artists hoping to make use of the housing provided. Artists in Residence have access to instructors, studios, and the freedom to work on their own projects. Although FAC’s grounds are laden with dark history, the restored architecture and vibrant programming have changed the significance of the location to something much more inspiring.
Artist/Residence Name
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(Previous spread) Kieron Broadhurst Gemma O'Brien
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Does the grim history of FAC’s facilities impact its present-day operations in any way?
The building certainly has an uneasy and tumultuous history, but this doesn’t really inform its present use as a contemporary arts center. If anything, we see what we are doing now as redeeming and bringing light to a place that has seen some dark times.
How has the residency program influenced the rest of the FAC?
The Artist in Residence (AIR) program was partly initiated to get more artists on the ground at FAC in order to get a conversation happening between not only each other, but also with the Exhibitions department and Learning program. AIRs have become involved with many FAC exhibitions beyond their residency, but importantly, create a destination for curators and people from other arts organisations. In turn, these relationships expose the rest of FAC activities to a bigger art-orientated audience on a national and international level. Having artists working around the place has introduced the general public and people involved in the FAC Learning program to opportunities to talk with practicing artists about their experiences and ideas. This strengthens both groups’ knowledge of how things may or may not work, and potentially enriches their next exhibition or art experience. Given the explorative nature of artists and the evolution of social media as a vehicle for art practices in recent times, AIRs have also been working more closely with the FAC communications office.
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The way we use the historic FAC building is always changing and adapting. Over the past few years, we’ve converted numerous old rooms to new galleries spaces and artist-in-residency spaces – and this is part of the challenge and pleasure of using such a large space. We’re just about to open a new drawing studio on the second floor, and I’m sure the way we use the building will continue to evolve.
Fremantle Arts Center Resdience
Fremantle Arts Centre’s (FAC) facilities were built by convicts in the 1800’s, and the gothic architecture is laden with historical significance for West Australia. It’s been threatened with demolition several times, but has survived and undergone conservation efforts. Are there any upcoming plans for renovations or expansions?
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What facilities do resident artist’s have access to at FAC?
There are 11 different studios on FAC grounds that suit varying modes of artistic production and research. AIRs are responsible for general studio consumables, but they do have access to a production workshop if needed. A great aspect of the AIR program is access to FAC staff members that have a broad range of experiences across art practice, administration, and event organisation. Many residency experiences have been unexpectedly enriched through FAC staff’s knowledge, networks, and generosity to visiting artists. Another great asset of the program is The Moores Apartment in Fremantle’s West End, which is dedicated to accommodating interstate and international artists. It’s generally fully occupied all year round, so the competition for access is fierce.
Does the grim history of FAC’s facilities impact its present-day operations in any way?
The building certainly has an uneasy and tumultuous history, but this doesn’t really inform its present use as a contemporary arts center. If anything, we see what we are doing now as redeeming and bringing light to a place that has seen some dark times.
Your residency program was founded in 2005. After nine years, do you feel the residency program still has any growing to do?
Although fairly stable in its format, the program is ever-evolving, as is the nature of art practice. As opportunities arise, we assess how they might contribute to the artists because it really is the artist’s ideas and activities, and our response to them, that bring growth. Our proposal philosophy is light on parameters, so we tend to get a broad range of ideas put forth for residencies. One idea we are considering: a curator in residence.
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The experience is different for every artist, but in general, artists visiting from overseas or interstate tend to have a positive experience spending time amongst the local community of Fremantle. There are of course a lot of artists whose ideas have evolved through relational art, so it is their intention to actively get out there and engage with the community in the broader context. At the same time, many artists use their residency as a platform for networking. One of FAC’s strengths is our record of hosting residencies in partnership with other organisations and institutions, such as Asialink. A great example would be our Taiwanese Asialink exchange artist in 2012, Pieju Lien. Pieju is a traditional pipa (a traditional Chinese string instrument) player who connected with a broad range of local musicians and artists like jazz musician Gavin Shoestring, who has played for the likes of John Butler, to produce collaborative and sometimes impromptu compositions. As in Pieju’s case, many of FAC’s AIRs develop lasting relationships within the local community, and create opportunities to work together in the future.
Fremantle Arts Center Resdience
Fremantle seems like a community that supports local businesses and development. What’s it like for a resident artist to join that community and walk around its streets?
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Nina Juniper
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Fremantle Arts Center Resdience
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What kind of artist would fit in well with your program?
Every type of artist, across any type of practice could potentially fit into the program. The program has expanded over the past nine years from mostly mainstream visual arts activities to hosting residencies from dance, movement, and choreography to writing and underground publishing. We don’t have selection criteria per se, and instead we look for the pursuit of ideas, whether that is production or academic-based research. Any feedback or any critical input to a residency would have to be part of an artist’s proposal. Although residencies are self-directed, once an artist starts working at FAC, they do have frequent informal contact with the FAC residencies coordinator and exhibitions curator. FAC hosts artists with a range of different experience from recent graduates trying to establish a practice to significant international artists with decades of practice behind them. It is important to note that the program is research-based, meaning we don’t look for production or exhibition outcomes.
Where do most resident artists live that aren’t applying to your residential apartment?
The program supports a large number of local artists, and we also have a lot of interstate artists and some international ones who already have local networks in place from previous residencies or from family connections. There are 11 studios on FAC grounds, so at any given time, you can find local, interstate, and international artists at work. The support we can offer (due to the number of studios we have compared to the single residential apartment) tends to allow for a strong cohort of local artists, and nearly always one or two interstate artists, on the program at any given time. For the last three or four years, FAC has hosted around 50 residencies a year across the 11 studios, and about 20% of the artists are usually from overseas.
Artists needing use of the residential apartment can submit proposals during September 2014 for residencies taking place after September 2015. Proposals not requiring use of the apartment will be accepted at any time throughout the year.
For more information check out their website.
62 Fremantle Arts Center Resdience
Lacy McKinney
When is the next deadline for artists to apply to your residency application?
by Kylie Gava
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Liam Sparkes
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67 Forget Good
Is love real?
A delerium
Have you seen a snake in the last 6 months?
Yes
Do you own plants?
Yes
Do you trust someone with your body?
Yes
Do you sleep well?
No
Do you remember things people have said to you?
Yes
Do you dream of your own death?
Not enough
Do you write your thoughts down?
Not enough
Are you in love?
Not enough
Do you yearn to be different than you are?
No
Have you seen someone die?
Yes
Do you have good friends?
Yes
Do you have allergies?
Yes
Have you ever had surgery?
Yes
Are you worried about your health?
Yes
What keeps you tattooing?
The Need
Do tattoo artists join in any collaborative work or is tattooing generally just a solo effort?
Sometimes it’s collaborative, but generally it’s a solo mission.
I think your style is unique, and very much the reason someone would come to you to get tattooed. Do you only tattoo your own work? If someone wanted an infinity symbol with the word love looped in, would you do it?
I mostly get to do a lot of my own stuff. I always hope that the person getting tattooed will be open minded when it comes to the conclusion of the tattoo. A lot of the time people leave with something different than what they thought they would get. It’s a fun process for both parties.
In the interview you had with Derm-Ink, you said you think of black ink almost as a religion. I really feel that. (For me, it relates to Vincent Como’s work and Kazmir Malevich’s Black Square.) Black holds a lot of power and connotation, especially in tattoos. Is black historically relevant in tattooing? Do you do color tattoos? I think the typical gallery-shown artist tends to elevate daily work. To what degree do you think the public disregards tattooing and manicuring as an art interaction?
Black is bold, black is gold -- black is old and always holds.
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City of London
Liam Sparkes
Where did you grow up?
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Liam Sparkes
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If people were more comfortable with their own mortality and ageing do you think they would be more comfortable with the idea of tattoos?
People worry too much about getting old and the future, so that’s always a problem in making decisions.
Can you understand how people believe tattoos abuse and devalue the body?
I believe tattoos do abuse and devalue the body, but they also elevate, adorn, and beautify it. It’s a double-edged sword.
Are there any differences between tattoo culture in the US and Europe?
It’s like ying and yang, except we both speak English.
What’s the most negative reaction you’ve had to your tattoos?
Sometimes people in the sauna get offended, and people stare at the swimming pool.
Do you have a favorite shop where you like to tattoo?
Wherever I lay my hat is my favourite.
Who do you trust to tattoo you?
Whoever is standing over me with a tattoo machine at the time.
What things stay with you?
Like Scarface said, “All I got is my word and my balls.”
To get in touch with Liam send him an email @ LIAMSPARKESOK@GMAIL.COM
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Artist Kat Chamberlin was certified to tat- Perhaps it’s the same thing. too and set up her station in galleries. She gave a small dot tattoo to anyone who wanted one, anywhere they wanted. She titled the interactive performance Mneumonic. Do you think this is any more of an art interaction than what you do?
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Liam Sparkes
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by Kylie Gava
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I want to know more about your life and how you got to where you are now. Where did you grow up? What setbacks got you here?
How can one define a setback? Mistakes and errors are a fundamental part of the process that should not and cannot be undermined; it is what you make of them that counts. It is the everlasting journey with its good and bad that brings, pushes, and pulls you forward, giving you the momentum to strive to learn from those so called setbacks. It is only when you allow yourself to internalize them with acumen and critically confront them that you gain the ability to force yourself beyond your mediocre self and truly achieve something, whatever your délire may be.
Do you go by Akzidenz only when you are Where does the name come from? talking about your photography work? The term Akzidenz has many connotations; etymologically the word is first seen in old German where it meant (and still means) a small print job that does not conclude in a book or thematic printing. It later evolved into being the name of the early sans serif typeface, which has now been expanded into an entire family; both of these associations find relevance in my work as an Art Director and are part of the reason why I chose the term. Furthermore, its phonetic similarity to the English word ‘accidents’ was also very appealing. Even though definition-wise there is no correlation between the two terms, I found the parallel to my works to be very alluring – my works are not accidental, but the result is dependent on a portion of chance. At the end of the day Juliet had it right though - “What’s in a name?” - which is why I choose to use a common term when referring to my photography, as it is more relatable than an abstract name. Although there is a lot of overlap between Akzidenz and Philipp, one is the means of escape for the other – fundamentally, Akzidenz allows me to diversify from the everyday Art Director.
Akzidenz
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Does it bother you that people introduce you as an Art Director and explain that you are an untrained photographer? The arts are not independent from one another. By default, being involved in one of them involves you in all of them. Do you think this is true?
Photography is my chosen means to express myself; the fact that I have not had professional/academic training in the art form does not change the purpose it holds for me. I am an Art Director by profession, but through photography, I found a way to challenge and externalize my person. It allows me to escape from my head, nothing more. Being an AD has allowed me to be in contact with many different art forms, to learn how to interpret them and create a symbiosis. So in answer to your question: yes, I fully agree that on a primal level the arts are not independent of one another. However, it is only when this basic interconnection is used and developed that the link becomes pertinent. As people, we all have our own cultural baggage; it is how we intertwine and weave it into our everyday life and craft that brings relationships within the arts to an influential level.
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The process is what gives the final product; therefore, by definition, it is key. In my case, the choice to use film over digital photography makes the process ever more important. This choice coupled with the main technique I employ, multiple exposures, makes it so that the process is everything. Multiple exposures force me to memorize each and every preceding shot in order to predict the outcome of the overlaid image. Many times a shot that could potentially be “the one” has to be forgone due to the memory of the previous shot and the knowledge that these two independently “good” photographs will not blend together. The darkroom is where I discover whether the hypotheticals I create in my mind work or not; it is a place of self-confrontation that allows me to delve deeper into the process as I see the layers appearing on paper.
Akzidenz
Is the process of making the images more important than the final product? What is your process like in the darkroom? What do you enjoy about the darkroom?
85 Forget Good
“I think photography is as dead as fine art; its only purpose is in the commercial world, for technical or information purposes,� Ed Ruscha in interview with John Coplans. How do you relate to that statement?
How dead is fine art really though? It seems more that the arts have evolved and blended with the modern times rather than withered away and died. It is actually evolutionary theory at its best if you think about it. Mankind by definition is creative, some more and some less, but the drive to innovate is ever present. Therefore, creativity is constant; to me, it seems more that the creative minds have simply found a way to merge with the industrials. In the case of photography, which is the most recent of the arts so to speak, there is an extremely vast reach, and each purpose requires a different understanding of the medium. Technology has undoubtedly aided in the business development and commercial aspects of photography, changing the way the world views/uses/ plays with it. So really the question is not whether it is dead, but more how has its scope evolved alongside the many creative minds that have experimented with the art?
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Are you asking the viewer to question what’s really there and what’s not and does it matter what was really there? Is it all real now or all not?
I am not asking anything of the viewer; it is not my place to tell them what they should see and/or how they should react. I photograph for myself in primis -- it is and will always be an expression of my own délire, not the viewers’. As soon as you begin photographing, or by do anything, for someone else, commerciality comes into play. I deal with the commercial aspects of the industry on a daily basis due to my employment; photography allows me to let go of that. Hence: how could I have the arrogance to ask the viewer to question the vessel of my own escape? My photographs are not a representation but an interpretation of my surroundings; reality is subjective and interpretation, by definition, even more so. The photographs show what is really there, but not with chronological or physical accuracy. The single effects of modern post-processing are not important in my work; I will not go beyond the traditional workflow of the darkroom, as my goal is to achieve more than a photographic representation from the film. My aim is to tell a story through the rewriting and reinterpreting of shape and life by opposing contemporary limitations of all representation and letting the image form itself through light and shadow.
What things stay with you?
The journey. All of the papers, books, articles I have read have stayed with me as much as the people and conversations I have had throughout the journey. Whether good or bad all the experiences, choices, and encounters I have had have influenced me in some way or another and therefore, whether consciously or not, they have stayed with me and they are part of who I am today. It is the process of living that remains with me, with all its greatness and all its bullshit. The actions we take in life never stop forming us whether we like it or not, so who are we to choose what stays and what goes?
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Do I?
Akzidenz
How do you survive?
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Akzidenz
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Founder/ Editor-in-Chief Kylie Gava Designer Tuan Pham Editor Laura Stamm Cover Wonderland Jaejin Hwang