INDUCE Issue 2

INDUCE Issue | Spring 2014 ISSUE 2 | 2Spring/Summer 2014

Cover Art//Samuel Ciccone

EDITOR’S NOTE Dear INDUCE Readers, Thanks for coming back. I've missed you. This issue draws inspiration from opposition and dichotomy.

Light and dark are visual cues that exemplify this idea of the darkness of shorter days of spring that lead into the beaming brightness of summer. I've been hard at work, in hibernation, launching a new website and building up social media in an effort to gain exposure for all you creative Philadelphians out there. As always, I'm bringing local, independent fashion, art and performance to the forefront.

In an effort to reinvent the texture of this project, I hope you enjoy the rebirth of INDUCE Mag. xox, Scott

INDUCE MAG TEAM Editor in Chief/Founder................Scott Persuhn ..........................................@inducemag .......................................inducemag.com .................................inducemag@gmail.com Designer..............................Shavon Worrell Lead Photographer....................Joseph Balestra Intern....................................Lukas Krum

Contributors

Photographers........................... Jason Cheng ......................................Alexander John .....................................Michael Persico ..........................................Jan Rattia ...................................Jimmy Tagliaferri Art........................................Ryan Beck ......................................Samuel Ciccone ......................................Kimberly Snock Designers............................Concrete Polish .....................................Couture Vulture ..........................................Nino Brand ..............................................Theory .....................................Jennifer Zeuner Models..................................Khalia Abner .........................................Luca Bertea ........................................Marina Cohen ..........................................Lukas Krum .........................................Masha Diduk .........................................Nate Larsen Stylists...............................Scott Persuhn .....................................Julian Robinson

CONTENTS

4

Suspended Visions

9

High Tea

14

Resurrection

20

@gunnarmontana

22

@ayumimusic

24

@ryanbeck

29

@snockart

Š 2014 INDUCE Magazine.

All rights of this publication are reserved

by INDUCE Magazine. All artwork is copyright of the contributing artists and may not be reproduced without their explicit permission in any form, format or media.

FASHION FASHION

Photography//Jimmy Tagliaferri Photo Assistant//Brendan Owens Model//Luca Bertea

Coat//Thimister ISSUE 2 | INDUCE | 5

Jacket//Dries Van Noten Shirt//Costume National Shorts//Nino Brand

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FASHION

HIGH

TEA

Photography//Joseph Balestra Photo Assistants//Will Figg | Harry Paris Hair//Jessica Jane Makeup//Jessica Pineda Stylist//Scott Persuhn Assistant Stylist//Julian Robinson Models//Khalia Abner | Marina Cohen | Masha Diduk Floral Art//Nadine Louw of Flowers & Co. Wardrobe//Theory Jewelry//Jennifer Zeuner Frames//Vintage butterfly (France, 1970s) Thierry Lasry (Available at Eyesite)

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FASHION

Photography//Jan Rattia Photo Assistant//Simone Pomposi Hair|Makeup Artist//Christina Giannone Stylist//Scott Persuhn Models//Lukas Krum | Nate Larsen

...RESURRECTION

Previous Page Nate.

Jacket//Kris Van Assche Shirt//Dior Homme Shorts//Nino Brand Frames//Tom Ford Bag//Kenzo Lukas.

Jacket//Nino Brand Denim//Diesel Right Shirt//Nino Brand Sweatshirt//Couture Vulture Jacket//Juun.J Pants//Theory ISSUE 2 | INDUCE | 16

Top Necklace//SpinMaid Bottom Clothing//Nino Brand Jewelry//Concrete Polish | Sio Metalworks

Pocket Square//Etro Jewelry//SpinMaid

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PERFORMANCE

G U N N A R M O N T A N A Image//Courtesy of Alexander John Photography

Image//Courtesy of Jan Rattia Photography

How do you balance your roles as both a visual artist and choreographer?

I look at it all in the same globe of ideas. It’s all about the production value of it. So one thing just leads to another; you have costume design, which leads to what you’re actually doing on the dance floor, which leads to how you need to be lit on the dance floor, which leads to what you want the dance floor to look like and all this kind of stuff. So, having complete control over everything is really important to get your full-on, full-fledged artistic vision out there.

except Europe; I know Europe would love my shit.

The reason I’m staying in Philly is because I have such a strong support system, because people enjoy seeing my work, and because I don’t feel like I’m competing for it. There’s no sense for to me move to New York City to compete to make art. It’s art, it’s not a competition. It’s talent, a vision, and it’s way more meaningful than that. So just being able to have work, to have people to work on, and to have an environment where that’s accepted is like mind-blowing to me. I’m very appreciative for that.

Your productions are not your typical traditional theater experience. What makes your work different from the rest?

Because they’re experiences, more so than going to the theatre. I made it a very key point to take my work out of a theater element, so I’m not using any kind of black box stage or anything; it’s all in your face. It’s usually round seating right at your level. I make it in a way that you are taken somewhere. You’re not sitting in a theater watching something, you’re in this environment getting absorbed in the art.

How well received was BASEMENT in regards to the Philadelphia Fringe Festival?

BASEMENT was completely sold out. It was a huge hit, which is really surprising, because we were like ripping up babies on stage; it’s not something that people usually enjoy watching. I was prepped for it so that no one came to see it, but eventually, it became a hit. I got a lot of ‘must sees,’ so it was good.

It was a really fun experience.

What inspires you during the creative process in conceptualizing an entire production?

Everything, isn’t that so true? Everything inspires me.

The last show I did, BASEMENT, was all about my breakup and I watched all these horror movies. This one is all frozen and snow queen movies. Florence and the Machine has actually been a big inspiration for the show, which is interesting because I never use her music. For this show, I would say, the winter, in general, has been the complete inspiration for it. Just that feeling of winter, almost that dread of winter.

With regard to showcasing your work in Philadelphia, does the city have any lasting impact on your final product?

I think the city has been really accepting of my work.

I don’t know how accepted it would be elsewhere,

What can audiences expect from HYBERNATE that makes this production unique?

It’s lighter than usual; it’s not my usual wham, bam, thank you ma’am, Gunnar Montana out to get you. It’s more mellow, and it’s like going to a big rave club party versus going to a lounge and having a martini; this is a martini show. It’s supposed to make you think and it’s not supposed to roil you up. I wanted to capture that winter feeling of dread and solitude, and that sunken hibernating feeling.

Are any upcoming productions in the works for 2014?

Philadelphia Fringe Festival is always my big show, which will probably be a spin-off to what I’m working on now. We’ll probably do another drag show for Halloween, because that’s too much fun. Keep making work, keep producing it, keep your mind going to the gym.

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MUSIC

Photography// Joseph Balestra

AYUMI PERRY

Coming from California within the past year, do you still have a West Coast presence since moving to the East Coast?

I feel like I’m developing more of an East Coast vibe. I still have some West Coast mentalities, but I feel like I’m more direct in what I want now as an artist and Philly has inspired me to create this E.P. Originally, I wanted to take some time off from music and really develop my sound. Songs started coming to me and Philly’s art and music scene has definitely inspired me to be more creative.

What venues have you performed at in Philadelphia?

Not too many at the moment because I’ve been really quiet and I’ve been really trying to hone my craft to develop my sound. I performed at the Blockley when I first arrived to Philly and I opened up for a couple of people there. I performed at Kung Fu Necktie and The Boom Room in Northern Liberties.

In what genres would you classify your style of music?

It’s definitely a mixture of things; I would say it’s indie, soul, rock, electronic vibe.

What are your ties to Japan musically and culturally?

I have family there and in 2011 the earthquake and tsunami hit, so musically speaking, I actually put together a charity album while I was out in San Francisco and raised over $10,000 towards American Red Cross.

Which of your idols have had an influence on your music?

Gladys Knight, because I really love soul music; I grew up

listening to soul music, so she is my number one idol. I would say Sting; I just saw him perform with Paul Simon.

He’s always incredible. Prince, Coldplay, Banks, Rye, just good music.

Tell me about your Myspace recordings.

There was an email that was sent out to David, my fiancé, and they were looking for artists to represent and film in New York for this upcoming Myspace that Justin Timberlake took over. So I submitted my stuff and they ended up contacting me back about a month later, took me to New York and filmed me. They have this competition going on and I’m one of the featured artists. That’s all I know so far; they’re still working out the details.

How has Philadelphia impacted you as an artist?

There’s so much art around you with the murals in the city, First Fridays, even the architecture and so much history. So visually, I’ve been so enhanced ever since arriving here. The musicians here are bad ass. In San Francisco, there are great musicians as well, but there’s something about the Philly vibe. I don’t know what it is; it has that dirty funk, and I don’t mean it in a bad way, it’s just like really good.

What do you hope to accomplish in 2014 as you become more rooted in a new city?

To perform out more often, to release my E.P. that I’ve been working on really hard, tour, and get the music out there as much as possible and connect with more musicians and artists out here.

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ART

RYAN BECK

Images//Courtesy of Jason Chen | Paradigm Gallery + Studio

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Image//Courtesy of Michael Persico Photography

If you could get one regrettable tattoo right now, what would be the subject?

I have regrettable tattoos, so it's hard. I'd probably end up liking it, so it wouldn't be regrettable. I guess my girlfriend's name is always the most regrettable tattoo, but I would probably never get it. Back to the Future tattoo.

Who are your top three most obscure film directors?

I love David Lynch; I'm a sucker for his stuff. Not really obscure, but there's stuff that Alfred Hitchcock did, like weird dreams in Vertigo I thought was amazing. In Alejandro Jodorowsky's El Topo, there's a lot of symbolism.

Even in his newer stuff, it's so obscure. You feel like you're watching a Dali painting in real life. So I guess obscure like that, it makes you feel like you're on drugs when you're not.

It's also stimulating because you're used to seeing such a linear narrative and this totally takes you out of that, and you can get out of it what you want, which is exciting.

In which Philadelphia galleries have you displayed your work?

Recently had a show with Jason Andrew Turner at Paradigm Gallery.

My friend Josh and I started showing stuff at this gallery, Media Bureau, which curate shows there and they do online editing and they have a party space. There's a Japanese intern that we got in with. There's 222 Gallery, one here in Philly and one in L.A., they have a lot of people from the West Coast in the post-Mission art movement.

Color and vibrancy evoke a stimulative response to your work. Although I have seen maybe one greyscale painting of yours, how does color resonate within the confines of your aesthetic?

I guess it comes from being a kid with crayons and markers.

Crayola had these sets of 8 markers and each one would be a color scheme as time went on. A whole issue of reds would be exciting as a kid with all the options. Growing up looking at cartoons and coloring books, and then being able to control it and learning about color where you can combine color without having money. It's always been in there. I've done washes of grey on mylar and sometimes it'll pick up fragments of the charcoal, so it gives it a grey scale

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with hints of greens and blues. But I haven't done anything strictly Mars black and Titanium white. I'm not opposed to it; I just think to be able to do that takes a real control and confidence and I hide behind the color.

There is a sense of movement found in your work, like a kind of controlled chaos. Do you feel chaotic during your creative process?

I feel chaotic in my head, but I feel like there are these projections of color throughout. I'll water down a lot of my paintings, going over and going over it. Even though it might seem explosive, it's also meditative. It's very meticulous and layers that you can't see are part of the painting.

Will you be showcasing your work again this year at Miami's Art Basel?

If the gallery invites me, yes. I don't have any plans, but I'm actually working on a bunch of new work and getting over the last show, which was focused on this idea of time travel.

Now, losing yourself and making something new again, instead of getting in the habit of accidentally doing the same thing over and over again. You have to pull yourself out of it.

What do you think Philly has to offer the art world that hasn't yet been recognized?

I think there's been traces of it. I think a lot of the guys at Space1026 in the late 90s have moved out of Philadelphia, but there's a second emergence of it.

There's something about having to earn it, through work ethic and mentality of their work, that translates into fashion and music in Philadelphia. I think having that kind of grit to it will hopefully make it stand out.

In what direction do you see your art going, in terms of a natural progression?

I plan on calming it down a little bit; maybe not as much gestural mark making. I also want to go bigger; I would love to start making six or seven-foot paintings. A lot of the things I've done are like two-feet squared. I want to lose myself in that because you have to have control with those bigger paintings.

ART

KIMBERLY SNOCK Photography//Joseph Balestra

How does fashion influence you as a visual artist?

Fashion Design was my major in college, so I think it makes sense for my work to correlate together. Fashion and painting come hand in hand with me; I love beautiful people and beautiful clothing. Although, some of my work is strictly portraiture, whether it be a fashion drawing, painting or commission work of a loved one. Fashion has always been a huge influence in my life since childhood.

So instead of making the clothing now, I am painting the clothing and lack thereof in some cases.

Tell me about your background in fashion design.

My background in fashion design started at a young age; I loved the art of making clothing and high end avant-garde couture in my own work and in others. I went to college classes in draping and pattern making in high school, which lead to me continuing in college. This was more than 10 years ago and I have moved on to other things, such as painting, which I am in love with!

All of your subjects are female. Will you ever paint male subjects?

Yes, of course I would love to. I have drawn males before; soon I will paint one.

How long have you been painting?

I am a self taught painter and still teaching myself every single day for over a year now. I have been drawing since I

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was three years old.

How does Philadelphia influence you as an artist?

I would say Philadelphia as a whole is not an influence on me, but rather the creative people I have come across over the past year, including fashion designers, models and f a s h i o n photographers.

Those people gave me my inspiration to keep doing what I am doing.

In which galleries could you see your work best represented?

I cannot lie, I do not know much about art galleries in this city. I am pretty much a secluded person, and work that way as well.

But, I am planning on venturing out once it is nicer out and check out some galleries in the city. I hope in the future I will find some galleries that would love to display my work.

Your paintings are hyper realistic. How long does it take to create one work?

Well, thank you Scott. It depends on the subject at hand, my time, and even my mood that day. I like to take my time on my work. I feel rushing is never a good thing to do. So, sometimes it could be over a month or months.

Any upcoming work that is exciting to you?

Yes, I am currently working on a new painting with a lovely model that gives lots of expression. I am also working on others that are inspired by Dutch art and high-end fashion.

All I can say is I want it all to come together and be a surprise in the end.

ACKNOWLEDGEMENTS Joseph Balestra...................josephbalestra.com Eyesite............................eyesite-phila.com .....................................124 S. 19th St. ........................................215.557.0757 Flowers & Co...................flowersandcompany.net .....................................119 S. 19th St. ........................................215.988.9171 Christina Giannone........christinahelene.tumblr.com Jessica Jane.............................The Parlour ..................................1339 Frankford Ave ........................................215.278.7613 Nino Brand.............................ninobrand.com .....................................333 S. 20th St. ........................................267.761.9388 Jessica Pineda.....................jessicapineda.com Jan Rattia.............................janrattia.com Ritual Ritual.......................ritualritual.com ......................................819 N. 2nd St. .....................................Concrete Polish .....................................Couture Vulture ......................................Sio Metalworks Jimmy Tagliaferri...............jimmytagliaferri.com Theory....................................theory.com .....................................1616 Walnut St. ........................................215.735.1034 Jennifer Zeuner...................jenniferzeuner.com

Patty Persuhn Paul Gallagher Joseph Balestra Jan Rattia

SPECIAL THANKS Jimmy Tagliaferri Nadine Louw John Wind Sara Kelly