YEAR ONE INSPADES ART BOOK

i n s p a d e s m a g . c o m

BY JACLYNTRUSS

LINDAKRISTIANSEN @lindakris10ansenphoto / lindakristiansen.no

- 000

[ 005 ]

[ 007 ]

“I

started experimenting with creative imagery a few years back, as a way to express myself and communicate feelings and ideas I could otherwise not word. In photography, I found a different way of communicating and simply being more me. I fell completely in love with the process and I now spend as much time as I can doing this. I love storytelling imagery and connecting with the world through it.”

“I have a few different styles to my photography and I love them all. They are all part of me and my personal expression, from the surreal and painterly storytelling, to the more conceptual and sometimes provocative images.”

[ 009 ]

“Every image has a personal meaning to me, with that said, I love the idea that the viewer might see a different story and relate in their own way. I always wish to learn new things and do not want to limit myself to one specific genre. I will go where my imagination takes me.”

“I always use my own stock and I also make my own textures. This way each image is a result of different moments in time and space, all representing bits and pieces of my life. Put together, they give room for the creation of a new and different story. To me, this is inspiring and, in a way, I hope to inspire others as well.

Photography for me is not so much what I do, but more who I am.”

[ 011 ]

BY JACLYNTRUSS

TANNEKEPEETOOM @tannekepeetoomphotography

- 000

[ 013 ]

[ 015 ]

Tanneke Peetoom

T

anneke Peetoom is a Dutch autodidact photographer, born in 1967 and the married mother of two teenage daughters. In October 2010, she received from her husband her first camera and she hasn’t unleashed it since.

She began taking pictures of her daughters, then girlfriends of her daughters, and soon, these pictures ended up on social media and shortly thereafter she got her first photographic assignments. Tanneke has developed her own unique style: bright portrait photos, always made with natural light and with a romantic look. She uses antique hairstyles and clothing, photographing children between the ages of 5 and 18 years. She emphasizes the purity and fragility of the child with the focus on the eyes. She has several publications in magazines, 8 book covers and an entry in the book ‘The New Dutch Photography Talent 2014’. Recently she won the silver award in the prestigious European photo competition: PX3 Prix de la Photographie Paris 2015, with her photo “EVA, The GIRL WITH VEIL”

NOTES

FROM

THE

CREATIVE

DIRECTOR

MY first contact with Tanneke’s style rendered me utterly speechless. How could such beauty be captured using almost no color? How could harsh whites and cold, washed out tones be so warm and inviting?

I dwelled on her incredible photos trying to grasp the essence of their beauty, almost trying to deconstruct her techniques and try to emulate her simplistic approach. All of Tanneke’s images are a snapshot vision of when our world was awash with modest and natural beauty, a time which would flow slowly, giving chance to fully enjoy the wonderful grace of a child looking back at you.

Tanneke needs no words to make you slow down and focus on the details, on what you can achieve with what surrounds you. Lose yourself in those sharp blue eyes, connect with Tanneke and follow her amazing photography.

[ 017 ]

[ 019 ]

BY JACLYNTRUSS

REBECCAWEAVER @_legsweaver_

- 000

[ 021 ]

[ 023 ]

“Hi dear, I’m back, I took a break to fix my life” —Legs.

And we are we ever glad she is back. @_legsweaver_

R

ebecca Weaver, known as @legsweaver, posted this message after her return Instagram in July 30, 2014. Whatever she did on her sabbatical, it was well worth it, as Weaver returned full force, ready to bear the fruits of her new future.

A talented Art Director in Milano, Italy, Weaver is in love with all forms of art and graphics, and it is obvious they have an equal love of her. Having been recently featured in Vogue Italia, Weaver’s skill behind the camera and computer are clearly not to be reckoned with, nor the definitive style that is all her own. While she has acquired much recognition for her work, both digitally and in print, Instagram remains her favourite way to share her incredible artistry.

“Instagram is not an ordinary social network, Instagram is human-tohuman and a real way to share my creativity. I like to find new talents, gain new friendships and co-op with other Instagramers. I’m really proud to be a part of and know all of the amazing crew of the Pr0ject_Uno family.”

Rebecca told INSPADES. It’s true, Instagram is different, it broke all the rules of text-based social networking and carries an engagement, tranquility and esprit de corps that is unique from other social networks. It is the only social media outlet where you can set it down and come back days, weeks or months later, and still pick up right where you left off. Its image-based nature weeds out much of the fire starting politics, pop culture drama and trivial social fillers, and replaces it with a playground of creativity and unimaginable talents. The engagement within various Instagram communities is palpable, and the commitment, support and excitement are born both of the dedication to craft and a tangible camaraderie. Pr0ject_Uno represents a strong heartbeat in the pulse of this network, unifying the community in an inspiring way, and it is in this playing field where Weaver finds the freedom for her self-expression.

[ 025 ]

“I love to work with my body, especially my face, but currently I’m working on a new project with my legs. I like to create a surreal mood with my images, this is the reason why my skin in most of my work is a desaturated white…My intent is to communicate art, not sensuality…I’m not a model and my target is to create some form of emotional art by creatively using a normal human body” Rebecca explained.

As with any social media outlet, it isn’t difficult to find the ever blurring line on Instagram between those who post nude-esque pictures for the sake of having virtual strangers validate their physicality, and those who create honest art with the human body. The difference is not the presence of nudity itself, but in the intent—the craving of validation over the sharing of creativity.

Celebrating the unbounded beauty of the human body, with the focus being exactly that, @legsweaver is the definitely the latter. With her stunning expressions of the natural human form, woven with bursts of sensationally bright colours, mixed with stark desaturated whites, the creativity of her artistic intentions shine as brightly with clarity as they run deep with emotional honesty. If you are wondering what part of the line you walk, know that she is the benchmark.

Weaver’s photography may be seen with the eyes, but they are felt with the soul. There is a noticeably unrestrained experimentation within the themes of her work, allowing for the full expression of her creativity.

Some of her images create a sense of tender and mysterious vulnerability, while others are marked by a naturalness and ease of being, and a refreshing and invigorating playfulness that may invoke in you the sudden urge to run naked through a flowered field. Her work is so exposing, so baring and so undeniably beautiful, you cannot help but eagerly anticipate what new project she comes up with next! Stay tuned on Instagram @_legsweaver_

[ 027 ]

[ 029 ]

BY JACLYNTRUSS

KRISTINAREESE @shadow.boxer

- 000

[ 031 ]

K

ristina Reese, the right hand of Pr0ject_Uno, was born and raised in Long Island, New York, enjoying a long exposure of city life before landscaping herself into a country girl in Chapel Hill, North Carolina. She now resides in Arizona, enjoying nature and all the beautiful things the desert has to offer. A diverse photographer, Reese’s spirit of exploration has her contrasting between ultra-saturation and desaturation, the fullness of the soul and the emptiness of the abandoned, and playing with the penetrating brightness of light against the deep and healing dark.

“Creating a photograph to me is so much more than snapping the shutter of a camera. Photography is a feeling, a reaction and a long drawn out thought. I enjoy all genres of photography, but mostly I enjoy urban exploration. I first started exploring abandoned buildings with my brother, when I was a child. When I found my passion for photography, I harnessed my love for dark undiscovered places and abandoned spaces long forgotten.

When entering a forsaken structure, it instantly takes me back to another time. With that feeling, I try to create a sense of what was. With that territory, dark, spooky and even creepy feelings slip into the psyche and those are the emotions I try to capture.” Reese related to INSPADES. Reese’s love took on new life when she partnered up with Carol Gong at the humble beginning of what was to become the remarkable and impassioned community of Pr0ject_Uno. “I started taking photographs seriously about 3 years ago, when I discovered the ability to share my ideas with other artists on Instagram.”

Reese explained.

Realizing she could share the harvest of her talent and dedication with like-minded artists, Reese helped Gong build the many “project” pages on Instagram from the ground up. Now, together, with the team they have built, they are uniting the pages under one mega-community, constructed of some of the best, most brilliant and driven artists the world has to offer.

One of the most unique qualities Reese enjoys about her growing online family is that they are just that – a family. In her focused endeavor to forge a place to support the people who love what she loves, she found her own support, from those same people who now love her as well.

Kristina ran into some unfortunate trouble with her flight on her way to join up with the Pr0ject_Uno team at their last meet. She was stranded in Dallas for a day before having to reroute home, sadly missing out on the New York adventure. So to make it right, for the next P1 meet, we have promised to bring the meetup to her, in sunny Arizona. There Kris, we said it, publicly, and in print…now it has to happen! We hope to see everyone there!

[ 033 ]

[ 035 ]

BY JACLYNTRUSS

GRACEALMERADELAPEÑA gracealmera.com

- 001

[ 037 ]

Come and daydream with me

A

n autodidact photographer based in Denmark, Dela Peña’s stunning and ornate masterpieces leave you further agape once you discover she is but a hobby photographer. Having just finished her Master’s degree in International Business Communication, she currently works as a PR/Marketing intern, orchestrating elaborate photo shoots in her spare time.

Dela Peña “accidentally” stumbled upon photography 3 years ago, fell in love, and it has been her passion ever since. With dreamy, painting-like images, spiced with alternative fashion and accessories, it is difficult to tell where reality ends and the daydream begins. Dela Peña desires her photographs to tell stories and share the embellished worlds of her fantasies - her themes displaying a strong reflection her personal innerworkings.

INSPADES Magazine wanted to get a closer look at the inside heart of this pensively pictorial sorceress, in the hope that she would reveal how she conjures her magnificently magical world of make-believe.

[ 039 ]

“I am so lucky to have met a lot of amazing models, designers and other creatives. So, each photos that I’ve created are dear to me.”

“I use Photoshop for post-processing. I usually add more hair to give my images more drama. Most of my images are edited to look like a painting, so I paint over the images sometimes and add light leaks on PS to give my images a fantasy look.”

“It’s mostly trial and error. Before the actual shoot, I do a lot of research, how I want the models to pose, the location etc. I watch a lot of YouTube tutorials. The more you take photos the better photos you will create. It’s all about practice and your willingness to learn.”

“There are so many talented photographers that I admire. I like the work of Brooke Shaden, Tim Walker, Emily Soto and Zemotion. Each have their own style and way of telling stories through their images.

They influenced my way of taking photos in that it’s not just about taking an image with your camera, it’s about telling a story, finding ways to be creative and pursuing one’s passion.”

“Don’t be afraid to ask people if they want to collaborate with you. The worst thing that could happen is you get a “no”. If it’s a “no”, then move on. Don’t linger on it and feel bad about yourself not being good enough. It takes time. Just enjoy and do your thing.”

“I make moodboards and I always try my best to communicate efficiently with my team so they know exactly what to expect and what to do.”

“The best feeling is planning a photoshoot; collaborating with amazing people and watching the story you all created together unfold.”

“My ‘Werifesteria’ series is all about one’s relationship with nature.

It is about one’s curiosity and longing for something that you do not really know or understand. So, you wander longingly, walking for hours through the forest, in search of mystery. Daydreaming and meeting enchanted creatures.”

[ 041 ]

[ 043 ]

[ 045 ]

BY JACLYNTRUSS

RITANAGY-OSZ @wtch_42

- 001

[ 047 ]

I’m not sure what makes a artist and what is considered art

R

ita Nagy-Osz has never had any education in the arts. A biologist by trade, she considers herself a complete novice when it comes to visual arts, having only discovered her passion for it this past year. NagyOsz’s work, novice or not, is striking and fully evoking. In her interview with InSpades Magazine, we got a behind the scenes look at her alluring and captivating artwork.

What is it about the creative process that you find so compelling?

I create because I need it. It is a form of therapy. As soon as I had finished my first piece, I knew that this was it! This was the form of creative meditation that I had been looking for, a way to channel emotions and to keep my mind busy, yet still. It became a daily habit, and very quickly, a full blown addiction. Sometimes I’m sitting at a dinner party or in a social circle, and I can’t wait to get home to my lovely dog, put music on, make a coffee and open Photoshop. It’s the daily ritual I look forward to, a very experimental experience.

What is the main driving force behind your creative process?

The main driving force of my creativity? Probably the frequent episodic switches of my manic depression. I lack creativity when I’m in a “high” cycle, yet I NEED to create when I’m in a “low” cycle. It’s like I’m brushing myself out of depression. Either way, it’s the one thing I am able to do to get better. This is why I don’t expect anything from it. I know my limitations and capabilities, I don’t need it to be perfect or to please anyone with it. Everything that comes afterwards is just a bonus, building my creative confidence.

[ 049 ]

What would you say are the main inspirations behind your work?

My main inspiration is the universal existential loneliness of mankind, the playground of darkness and light that is in all of us. The glimpses of time when we see light, as a firefly or an explosion, but only temporarily. If I had to write a soundtrack to my images, it would be something eerily similar to Samuel Barber’s Adagio for Strings. I also love working with Glitch. I am not sure if my pieces can be considered Glitch art or not, but Glitch art has definitely been an inspiration in some of my work.

Your submissions are amazing, at first glance and you can feel this immediate intrigue, an instant infatuation. Can you tell us a bit about them?

These pictures are my most recent ones. I remember that the idea for these smoky/cloudy edits began to take shape whilst looking at pictures of colourful smoke bombs. I even edited some of them prior to drawing them up in smoke because I was running out of pictures to work with. Since I’m not a photographer and had limited images to work with, I had to start brushing to maintain my outlet.

You say you are not a photographer, where do you obtain the images you work with?

Selecting the pictures I’m going to work with can be very time-taking. An image can be perfect and gorgeous, yet if I don’t feel a connection to it emotionally, the end result will be poor. I mainly use stock images. Not because there aren’t plenty of brilliant photographers on Instagram, but because I’m too shy to ask their permission to use their shots. I see amazing pictures that are great as they are and I feel like it would be almost an insult to say “I want to ruin your awesome shot by covering half of your gorgeous model with my brushes”, but I’m sure there are photographers who would be willing, and I will have to seek them out eventually.

Where can we see more of your incredible artwork?

I don’t currently share my art on any other platform other than Instagram, however, I have started an art blog on inspirationclan.com/members/wtch42 and my next step will be to post there as well.

Every creative addiction needs a creative dealer. If you would like to support a healthy addiction by sending your images to Rita Nagy-Osz to be the subjects of her explosive creativity, please feel free to contact her on Instagram: @wtch_42

[ 051 ]

BY REBECCABOWSLAUGH

GARYPULLIN @ghoulishgary / ghoulishgary.com

- 001

[ 053 ]

T Bringing Monsters

To Life nothing will ever live up to the dread you’ve conjured up in your mind

he first impression of “Ghoulish” Gary Pullin is a blast of violent colour—pop culture meeting mass murder. The subject of his art nearly overshadows his talent as an illustrator; monsters and creatures that follow you home through the shadows and wake you in the night. Not only are his creatures ablaze with frightening detail, but also the complexities of each design make it impossible to look away.

Pullin is Rue Morgue magazine’s original art director, the 2009 Artist of the Year in the Rondo Hatton Awards, and has artwork featured around North America in galleries, movie posters, and on vinyl albums. Our fascination with the man behind the proverbial horror mask competes with our delight in his work; INSPADES Magazine took pleasure in peeling away the layers that make up Ghoulish Gary.

Like so many artists today, Pullin was raised on a hearty diet of movies and television. However, unlike other kids watching Saturday morning cartoons, Pullin absorbed as much horror as he could.

It all began with The Hilarious House of Frightenstein, a Canadian sketch comedy show from the 70s starring Billy Van and the king of low-budget horror films–Vincent Price. Sure it was made for kids, but with characters like Dracula, The Wolfman, and Grizelda the Ghastly Gourmet, things often got more than weird.

“That was my gateway drug to horror,” admitted Pullin. “It was so psychedelic and weird that I was mesmerized by it. It wasn’t scary at all, but it was spooky and very funny. It introduced me to Vincent Price and all of the monsters all at once.”

Growing up, Pullin was always drawing, gravitating towards monsters and villains, while feeding off the horror novels of Stephen King. Naturally, he went to art school in London, Ontario, and then studied graphic design and advertising in Kitchener, Ontario.

In 1998, Pullin moved to Toronto and worked in a commercial design firm, where he developed labels and packaging for big name brands and worked with some of the best art directors in the commercial design industry.

However, his love for horror was never far from sight. That same year, Montreal’s legendary Fantasia International Film Festival had come to the Bloor Cinema (now The Hot Docs Ted Rogers Cinema). It was there at a horror film screening that Pullin first met the publishers of Rue Morgue magazine.

“They were selling the first three issues in the lobby and I couldn’t believe there was a horror film magazine published in Toronto; I had to get involved,” said Pullin. “I hit it off with the publisher, Rodrigo Gudino, and before I knew it, I was their in-house artist.”

Pullin continued working at his day job at the design firm, stopping at the end of each workday only to pick up his freelance work for Rue Morgue in his free time. As the magazine continued to gain popularity, Pullin was hired as the full-time art director in 2001, illustrating many of their covers and

helping to establish the brand. He left the corporate world behind and never looked back.

Pullin’s inspiration as an artist comes from a variety of sources, but mainly focuses on comic book artists and painters from the 1950s through the 1980s. Tales from the Crypt artists, Ghastly Graham Ingles and Jack Davis, illustrators like Bernie Wrightson (Swamp Thing, Creepshow) and Charles Burns (Black Hole), and painters like Basil Gogos, were all major influences on Pullin’s style.

“Gogos’ vivid portraits of classic movie monsters that beamed off the covers for Famous Monsters of Filmland Magazine will always inspire me.”

Pullin was also influenced by his love of poster art. Robert Kastle, who painted the iconic JAWS poster, Saul Bass who created posters for The Shining, Vertigo and Psycho, and Bob Peak’s work, including Apocalypse Now, The Island, and The Spy Who Loved Me. And of course, Pullin’s inspiration also comes from the origin of horror—each monster and villain he’s ever seen. JAWS, Boris Karloff’s portrait of the monster in Frankenstein, and Wes Craven’s Freddy Krueger are all memorable for Pullin, as well as the creature from the black lagoon.

“The Creature From The Black Lagoon is a beautiful and iconic monster design. It still works for me. If they remade it today, it would be a computer generated gill man, running, leaping and doing cartwheels under water, but I’ll take the guy in a rubber suit over computer generated wizardry any day.”

Not only does Ghoulish Gary appreciate the appeal of the monster, but he also understands the fear created by the absence of the monster.

“I think the scariest monsters are created in an audience’s mind.”

Proof of this theory can be seen in JAWS, wherein the shark isn’t even revealed until halfway through the film. “Chances are the shark was scarier in your head than when you see it pop out of the water for the first time. It’s still scary and effective, but nothing will ever live up to the dread you’ve conjured up in your mind.”

In 2012, Pullin decided to break out and start his own design company, but continues to work with Rue Morgue through his monthly art column, “The Fright Gallery”.

While Pullin finds working for himself to be gratifying, he also told INSPADES Magazine that it comes with its own set of challenges.

Balancing many projects at the same time means he has to miss out on socializing and other aspects of his personal life. Luckily, Pullin’s supportive wife helps with the business. However, he likes to think his current success is temporary, thereby encouraging himself to keep busy.

“I enjoy sequestering myself to my studio for long periods of time to create the work and meet the deadlines,” said Pullin.

Pullin’s illustrations cover a wide variety of formats, including magazine covers, movie posters and vinyl cover design, including the soundtrack designs for Creepshow, Re-Animator, Wes Craven’s Scream,

My Bloody Valentine, Black Christmas, and The Monster Squad, which are some of Pullin’s favourite films.

One of Pullin’s more memorable commissions came in 2013, when he was asked by Mondo to create an official poster for Alfred Hitchcock’s Vertigo. Despite feeling intimidated by Saul Bass’s original design, which is often seen as one of the most influential film posters of all time, Pullin was excited to give it a try.

“The eyeball idea is my nod to Saul Bass’s original, and the staircase idea became the variant,” he said. He submitted several ideas and Mondo chose two of them. Although each design is a lot of work, Pullin said the process is “fun and rewarding,” and he enjoys the challenge of telling a story through a single image.

For Pullin, one of the best things about working in the horror industry is the fans. “It’s an instant bond,” he explained. “You don’t always have to agree on the films or music, but there’s a common love there.”

The other great thing about the horror industry are the conventions and film festivals. In a hotel brimming with film fans and stars, Pullin is able to connect with those who know or collect his work.

“I’ve also been fortunate enough to work with some filmmakers and musicians I grew up admiring,” he said. “So it’s kind of surreal when you get notes from them or when they compliment your work.”

Although Pullin’s first love is horror, he is also passionate about science fiction, comedy and documentaries, and has begun to increasingly work outside the horror industry to show off his storytelling capabilities and display his versatility.

Pullin has worked on a couple of Batman properties with Warner Bros., and was recently picked out of a handful of artists to create a special art print for a show called Star Trek: 50 Years. 50 Artists.

“I was shocked when I got the email from CBS to participate,” admitted Pullin, “I still don’t know how they found me, but I’m glad they did.”

And the story isn’t anywhere near over for Ghoulish Gary. He is being featured in an upcoming documentary about the art of film posters called 24 x 36: A Movie About Movie Posters. Not only is his art featured in the film, but Pullin was also able to collaborate on the movie poster with other great artists in the industry. It is premiering at Fantastic Fest in Texas.

“I’m thrilled with the movie,” said Pullin, “I think it’s really going to change people’s perspectives on illustrated movie art and hopefully win over some new people.”

And he’s right. Even if you’re too scared to watch the movie being advertised, one look at Ghoulish Gary’s work is enough to bring forth admiration and illustrator’s envy from anyone, even the most fearsome of viewers. If you want to meet up with Ghoulish Gary Pullin, he’ll be at MondoCon in Austin, Texas (Oct 22–23) and Days of the Dead in Chicago (Nov 18–20).

[ 057 ]

[ 059 ]

BY JACLYNTRUSS

JOLANDARICHTER @jolandarichter / jolanda.at

- 001

[ 061 ]

U

Paintings were a world in which I found shelter

pon seeing the striking work of Jolanda Richter, you will immediately succumb to the familiarity and unsettling undertow of her visual narratives.

A lifelong student of the arts, award-winning Richter interweaves psychology and impeccable artistic skill into her oil paintings.

“When I was a child, I preferred studying art encyclopaedias for hours instead of playing with other children,” Richter told InSpades. “Paintings were a world in which I found shelter.”

The majority of Richter’s collection centers on women and children, often projecting a sense of displacement, frustration and non-sexualized nudity. In her oil painting “Quintessence”, the ironic title brings a tragically dark humour to the female experience.

Clad in lingerie and fused with a stone background, the female subject is a carved portrait attempting to emerge from solid confinement.

Fearsomely, her own fingers sprawl across her face, tense hands both pulling and compressing her visage into the stone with a convulsed look of capture in her eyes.

“Psychology is the key for decoding my artwork,” said Richter. “The ideas for my paintings develop from a complex inner process.”

“Quintessence” is merely one example from Richter’s collection, where a female subject is blocked by society’s expectations of what a woman can and should be. Many paintings include the female form placed against the backdrop of a fissured stonewall, seeming to reflect women’s attempt to break away from imposed societal moulds to express her individual identity.

[ 063 ]

“In most regions of the world, women have no rights, or even a chance for self-determination,” Richter explained. “It is important that there is continuous awareness of that fact.”

Another aspect of Richter’s work focuses on the psychological exploration of one’s childhood. Alice Miller, a psychologist whose work explored the link between childhood trauma and mental illness, served as a significant inspiration for Richter. Miller emphasized the need for adults to acknowledge the truths of their childhood in order to resolve their internal struggles, as opposed to displacing events and memories. For Richter, facing your “inner demons” is “the prerequisite for a positive and contented life.”

As such, Richter’s work serves as a portal into the viewer’s innerworkings, enabling access to their childhood experience and, as a result, an understanding of themselves. In “Scream”, a small child wails in seeming frustration at the edge of the canvas against a cracked wall, an ambiguous adult arm emerging from the opposite corner as if to grab or guide the child.

Looking at “Revelation”, a little girl stands against a stone mural of women, a subtle furrow on her brow as if to convey her growing sense of understanding, mired with confusion, over the role she will eventually grow into as a woman.

“As an individual with acute sensitive awareness, I absorb my surroundings, feeling wounds and injuries perhaps more intensely than others,” said Richter. Projecting the emotional experience of herself and others allows Richter’s paintings to carry a power that the viewer can wield when analyzing her work—the power to articulate and understand their inner-selves.

Deriving influences from the “old masters” like Caravaggio, Alfons Mucha and Camille Claudel to name a few, Richter’s work has been featured in countless international exhibitions and publications. She now lives as a freelance artist near Vienna, Austria, where her work continues to leave the viewer pondering the profound messages her paintings persistently resonate.

[ 065 ]

[ 067 ]

BY ANISSASTAMBOULI

OLIVEROJEIL @yakovlevaira

- 002

[ 069 ]

filmmaker, visual effects guru and photographer

H

ailing from Milan, Italy, the talented Ojeil has transitioned from one facet of the arts to another, giving rise to a colourful creative history leading up to his current fascination with portrait photography.

“I don’t know if I have a style in photography, I personally think I’m still trying to find my voice,” Ojeil confided to InSpades Magazine.

We beg to differ.

Featuring alluring subjects with intent and engaging eyes, Ojeil skilfully captures the female form with hints of Pre-Raphaelite and fashion photography styles. “I’m greatly influenced by the Renaissance masters,” said Ojeil, whose artistic mission is to “bring beauty into this ugly world.”

In “Girl With A Pearl Earring”, a stand-alone piece, Ojeil creates an immaculate homage to the seventeenth century painter Johannes Vermeer, whose masterpiece of the same title is an irrefutable classic.

With professional experience directing commercials for luxury brands like Porsche and Audi, as well as hair styling brands like Dabur Amla, Ojeil’s lush portraits are awash with glamour, subdued with perfect restraint.

Through the use of natural lighting and minimal edits for colour toning and retouching, Ojeil’s portraiture is both raw and dramatic in its visual capture of emotion.

“I love the whole process of creating a portrait,” said Ojeil. “It is somehow more personal and true. Meeting a person for the first time, going to a shoot while not knowing what to expect, and challenging yourself to outdo your last shoot.”

Although Ojeil has been working on a landscape photography book since 2011, his interest in portraiture began to develop two years ago and quickly took center-stage. This newfound passion grew from a “frustration with the advertising industry”, in which Ojeil works as a director. “The industry has recently become devoid of any creativity or passion,” he explained.

While Ojeil remains zealous for filmmaking, he found that photography was a “more affordable and quicker medium to tell stories and communicate ideas,” while also keeping his creative work “personal and subjective.”

When asked if his photographic style has influenced his directorial technique, Ojeil explained that the habit of transporting the viewer from the visible world into a different reality is still achieved in both art forms by way of “interpreting light and color tonality differently”.

Preferring anywhere “where there is a vibrant scene for artistic photography with great faces and super talented makeup and hair artists to work with”, Ojeil has immersed himself in Milan’s vivacious arts scene.

With his sense of self-competition and constant evolution, if this is Ojeil “still trying to find his voice”, we cannot wait to witness his eventual aria.

[ 075 ]

BY JACLYNTRUSS

YAKOVLEVAIRA @yakovlevaira

- 002

[ 077 ]

BEAUTY IN MOTION The result is born in the process

Y

iYakovleva Ira was born in Kiev, Ukraine in 1986 with a beautiful leg line, natural flexibility and an innate sense of music. Because of this, her parents made a decision that she is most grateful for—they immersed her in the strong and elegant world of ballet.

“Beautiful and complicated at the same time, they had shown me my path,” says Ira, “I love the art of ballet dance with all my heart. It gives me the freedom to express all of my emotions and even to tell a whole story using only the plasticity of the body.”

After graduating from the Kiev State Choreographic College in 2005, Ira began dancing at the Saint-Petersburg Ballet Theatre, which delivers classical Russian ballet to audiences worldwide. With intense physical exertion, serious competition and little downtime, it takes extraordinary dedication to experience the honour of dancing on such legendary stages. During her eight years of professional ballet training, Ira attributes her success not only to her personal resolve and devotion to the art but also to the astute capabilities of the ballet masters with which she trained.

“My teachers have instilled a sense of beauty, an awareness of posture and movement, a delicate perception of music, and the psychology of human emotions and feelings within the dance itself. Ballet has taught me the ability to work hard and have endurance and persistence in achieving my goals,” says Ira.

[ 079 ]

Despite her love of ballet, when Ira became pregnant with her first daughter, she was no longer able to dance. Her artistic and creative nature begged for a new outlet, and she found it behind the lens, capturing the physical expression of beauty that she herself knew so well. Trading in her ballet slippers for a Canon 5D Mark 2, Ira embarked on a new journey as a professional ballet photographer.

“Now those qualities I learned from dance translate to my work as a photographer, producing exquisite results,” explains Ira, “Step by step I’m progressing on this path. Studying, various forms of shooting with very different people and artists: organizing, planning, post-production and most importantly—a great result. It all requires a high level of concentration and helps me to grow professionally.”

Ira now travels the world, capturing the astounding talents of renowned dancers on famous stages, studios and landmarks across the globe. As her ballet models are dancers that hail from different theatres around the world, each image is infused with its own unique aura.

“As a professional, I can show the beauty of ballet in my work—I feel and see how to create the perfect movement within the image and it allows me to better communicate my ideas to the models,” says Ira. Ira’s favourite model, the one gracing our cover and other images seen here, is her sister, Elizaveta Cheprasova, a soloist for the Hungarian National Ballet Company State Opera.

“I have had an exceptional and very strong bond with my sister since we were children. We feel each other perfectly and this contributes to seamless results when she is in front of my lens. I admire her and I am proud of her.

We support and inspire each other - she is my miraculous muse,” gushes Ira. Ira has many plans for the future including new projects, people, ideas, exhibitions and of course, travel. While there are many countries on her docket, the one that excites her the most is Spain, and we can be sure that Ira’s time there will be spent creating her heart-stopping photographs with a spectacular Spanish twist.

Ira remarks, “The passion and grace of flamenco dancing fascinate me.

It is a completely different side of the art of dance compared to classical. I’m sure it would be very refreshing to work with flamenco dancers as it would be uncharted territory for me. I not only wish to test my skills in an unknown arena, but also to feel the full strength of this marvellous and passionate world of dance.”

Ira’s innate understanding of her subjects is breathtakingly apparent.

Her intuitive knowing of where each movement peaks allows her to capture each motion at its pinnacle moment, forever freezing it in a frame of fluid, unadulterated beauty. Her skill as a photographer is but a reaction to her insight - her subject dances, a crescendo in motion, waiting for Ira’s climatic click of her camera, composing an entire opera within a single image.

[ 081 ]

[ 083 ]

BY ANISSASTAMBOULI

NIKOLINAPETOLAS @nikolinapetolas / nikolinapetolas.com

- 002

[ 085 ]

Chasing Dormant Visions of the Subconscious

C

roatian artist Nikolina Petolas has mastered the artistic harmony of self-portrait photography, digital art and surrealism. Beneath the foundation of her conceptual dreamscapes runs the current of societal observation and the rapids of Petolas’ inner complexities. Pulling from influences like Jacek Yerka and Edward Gorey to name a few, Petolas’ work is ripe with psychoanalytical opportunity.

“These strange sceneries are symbolic presentations of how I perceive life, emotions, sexuality and relationships, and human behaviour,” Petolas tells INSPADES. The path to Petolas’ current success began in the digital realm, where she mastered tools and applications as a graphic and web designer. When she took up photography, a “whole new world” of artistic opportunity emerged.

“I could take what I saw in front of me through the lens of my camera, and transport it to other spheres which cannot be found in reality.”

For ten years Petolas experimented with various branches of photography including portrait, still life, landscapes and macro. Marrying her digital design skills with her photography, Petolas was able to express her ideas through imaginative, dreamlike scenes.

Grounding images with the realistic element of her original photography, fantastical scenarios and settings suspend any sense of realism. Petolas’ projects are digitally based by way of Photoshop and her Wacom tablet, yet still, she manages to achieve the remarkable effect of surrealist paintings.

Throughout Petolas’ work, common themes and symbols include dinosaur skeletons, women strangely placed in industrial settings, disproportionately large fruit and post-apocalyptic backgrounds.

“Although these worlds may seem strange and unreachable, for me they are symbolic representations of my hopes and dreams, of people around me—their urges and desires, of new revelations and repeating disappointments, and of life in general.”

[ 087 ]

[ 089 ]

One of Petolas’ striking images, “10 Years of Solitude”, presents Petolas as the prominent subject, armoured with animal ribs as a chest plate and a dinosaur skull for a helmet, it’s spine trailing from her scalp down her back.

The exposed flesh of her nakedness contrasts the empty industrial setting, while her healthy, living form stands ironically protected by the bones of an extinct species.

For Petolas, bones and skeletons connote any idea or thing that once held importance in our lives, but have since “died”. “Whether it is some kind of emotion, friendship or relationship that became some distant memory, it still exists somewhere,” she explains. Like the sporadic skeletons haunting her images, the “ghosts” of our past will always maintain influence, whether in our concrete reality or the surreal planes of our subconscious.

“It is always interesting for me to see, or search for, what lies dormant under our visibly presented human behaviour,” Petolas discloses. Dedicating herself to tracking the psychological and social aspects that construct the self, Petolas also hopes to record the effect that “endless soul searching” has on the individual.

In her series Impeller, Petolas explores the dynamic between human behaviour and the progression of technology. The collection features identical women in industrial settings, inspired by Petolas’ admiration for heavy machinery, electronic music and the steampunk scene.

For Petolas, Impeller reveals our dynamic with, and dependence on, technology. She explores the “correlation and interaction between humans and machines,” and the ways in which we function in “automatic mode” as a result of our dependency on technology.

While we rely on technology for most of our contemporary conveniences, Petolas maintains that machines still can’t help us with the complicated factors that make us human: “emotion, thought, and the inability to control feelings.” As science strives to make machines more human through artificial intelligence, Petolas wonders if “humans are becoming more like machines” through our reliance on technology.

Yet while many of Petolas’ artistic scenes express specific ideas, the viewers’ interpretation colours the message with subjective projections.

“I wouldn’t want to strip viewers of their personal experience with my artwork,” she clarifies.

For Petolas, “Art is a form of communication,” where viewers’ perception often differs from the artist. “This is what makes art interesting and beautiful,” she divulges, “What is seen and how it is interpreted is complemented with a missing link, and that is imagination.”

Bringing her work to life is no quick task. As the photographer and digital artist behind her projects, Petolas will spend months at a time labouring over a single piece. “I still occasionally work on some graphic projects, but I try to dedicate myself solely to artwork,” she explains.

Shooting the various elements that make up scenes can sometimes involve traversing countries, waiting for specific weather conditions, or attempting to access difficult locations. Once the photograph has been taken, Petolas then has the task of incorporating minute details into her pieces, sometimes using up to 300 layers on Photoshop while editing.

“Gathering the materials and combining them is a journey that I really enjoy,” says Petolas, “My work leads me to some really strange places.”

Today Petolas remains immersed in the world of dreamscapes, recently exhibiting work for International Surrealism Now. While Petolas hopes to try her hand at traditional painting, she still plans to evolve her skills with software and animation and will continue to create her mindaltering masterpieces.

[ 093 ]

[ 095 ]

BY ANISSASTAMBOULI

SERGEIRIABOFF @nikolinapetolas / nikolinapetolas.com

- 002

[ 097 ]

[ 099 ]

Art for the sake o fArt

T

Pure aesthetics in portraiture

he photography of Russian artist Sergei Riaboff carries the intensity and gravitas of a Renaissance painting. Developing an aesthetic in his photography that is nostalgic for the traditional painted portrait, Riaboff creates images that are honest, mournful and strikingly beautiful.

Hailing from St. Petersburg, Riaboff came to photography by chance when he received his first camera as a gift from his parents. Gradually and with great dedication, Riaboff grew into his style as he transitioned from shooting flowers, architecture and scenery, to capturing the compelling human element. “Once I understood that a picture is empty without life, I started shooting people.”

Riaboff gives face to the familiar Russian theme of melancholy, personifying it through the bodies and personalities of his models. In the positioning of his models and use of radiant lighting techniques, Riaboff conjures a complimentary luminescence for each image, displaying a unique ability to merge elements from painted portraiture with the silky texture of a photograph. “At first, I started to shoot with hard light in the studio, but I became drawn to work with softer shades,” he told INSPADES. “This greatly helped to understand how light works, which allows me to experiment.”

Softened light imparts an ethereal effect, giving Riaboff’s portraiture a sense of timelessness, but the ingenuity of Riaboff’s memorable and stirring portraiture can be found in his subject’s posture. Riaboff’s direction of each subject’s placement, with their deeply penetrative gazes, conveys a sober regality, while their natural colour palettes recall the modest beauties of Renaissance portraitures.

[ 101 ]

Captured keenly throughout the series is the beauty of sorrow, and Riaboff’s sharp eye for subjects with unique yet natural characteristics give the viewers a sense of human vulnerability and resilience, simultaneously.

The subjectivity of art is also central to Riaboff’s work. “I am not trying to convey to my viewers a secret meaning,” he said, “The girl in my picture is just a girl.” Riaboff’s portraiture pursues aesthetics, divorced from any meaning or message imposed upon the viewer by the artist.

While Riaboff weaves no intention through his photography, there remains the transfer of something intangible; what we derive from it becomes our own unique experience.

When we are presented with one of Riaboff’s work, there is a small urge to seek meaning behind the image. Curious viewers must impart their own interpretation onto the image, thereby interacting with the work on a personal level.

As a photographer, Sergei Riaboff’s strength lies in blurring the line of his photographic style with the painting aesthetic of Renaissance masters, opening our minds to the enduring and reflective quality of portraiture.

The viewer’s pleasure in deconstructing his portraiture offers a level of complexity, which titillates the imagination and prompts exploration of the image and its relation to the viewer’s self.

[ 103 ]

[ 105 ]

[ 107 ]

BY JCLYNTRUSS

SALLYMILLS @daisyjack007 / @ w_wanderings / @ f_flyte

- 002

[ 109 ]

[ 111 ]

All But Abandoned “We never looked through a window without gazing at the sky and discussing how many different greys were present in the clouds...”

S

ally Mills is a self-proclaimed doodler and hoarder—but we call her a masterful raiser of the dead.

“My art, as you put it, is purely doodling - playing with light, colour, texture and apps! One day I might even learn how to use my camera properly!” she laughs.

Residing in the small town of Chorley in Lancashire, England, Mills recently had to purchase a ten drawer cabinet to store her ever increasing collection of decay.

“My first love was dead buildings but when the weather was poor or time prohibitive I started shooting dying flowers. In both, the subtleties of colour and texture fascinate me, and the way light defines them can be mouthwatering,” she explains.

We connected with Mills to speak to her about her unique craft, her artfilled beginning and to see what draws us so deeply to things that seem to have the life seeped out of them.

[ 113 ]

Where did your path to photography begin?

I was brought up surrounded by art in various forms - my grandfather was an amateur photographer who took and developed the most amazing images, recording the time he spent in India and East Africa during the 1930 and 1940’s, and my mother was a specialist art teacher, whose passion for her craft stretched from theatre design to fine art painting.

As a child, I wasn’t conscious of their influence, but looking back, their enthusiasm for observing and interpreting, artistically, the world around them and, in particular, my mother’s love of light and colour, was indeed infectious. We never looked through a window without gazing at the sky and discussing how many different greys were present in the clouds (we get a lot of grey clouds over Chorley!), or walked under trees without stopping to watch the movement of light. All of that said, how it brought me to photography, I know not! I dabbled with art at school but was employed in the public sector, so did very little hands-on work until I purchased my first iPhone; this I used to take pictures whilst out walking with Edward (my 98-year-old Jack Russell Terrier), of my surroundings. My first camera was provided by my goddaughter on permanent loan, a Nikon which I am ashamed to say I still do not know how to use properly. But truly it was Snowdrop Cottage that really caught my imagination.

Tell us more about the Snowdrop Cottage and why it inspired your current style of photography?

Snowdrop Cottage was a tiny cottage in the village where I grew up, and for as long as I can remember it looked rundown, but in later years appeared completely dilapidated and abandoned. Then one day, I saw it was surrounded by temporary fencing and bins so I went over to have a look. The builders on site explained that the cottage had been inhabited by the same owner for over 60 years, but had been condemned on health and safety grounds, and was to be demolished. Before the owner happily moved into a new home, they had become more infirm and had withdrawn into living in just one room, so until the builders had gained access, no one had been upstairs since the 1970’s. I was allowed to go in and in this tiny, tiny dilapidated place my love of empty and abandoned places began. I went back several times recording the last days right up to her last.

[ 115 ]

There is something about the abandoned and decayed that fascinates people, why do you think that is?

It’s difficult to describe why or what it is that fascinates us about empty places. There’s the obvious curiosity of seeing someone else’s life (I can never decide whether that’s healthy or not), and the sense of attachment to a time long gone.There is an enchantment with the beauty of things old, but also the changes that decay creates; light through a broken dirty window is refracted and diffused very differently, and the textures, tones and colours of peeling paint are absolutely palatable! It is the same fascination that attracts me to dying flora, the changes in structure and the mellowing of colour.

Where do all of your flora subjects come from and do you arrange flowers as they are drying to achieve a particular look?

I collect things when I’m out walking or from my garden, and sometimes I buy bunches of flowers. All are left to dry naturally and I photograph them as they change in shape, colour and texture. Though this does present a natural hoarder like me with problems; because their change is ongoing, I struggle to throw them away. I don’t choose anything with particular forethought, much preferring the element of surprise that comes with the drying process, nor do I pose bunches of flowers as they dry (though I will sometimes remove a genre from a vase to create a different picture), as ultimately, Mother Nature knows what she’s doing and is so much better at it than me!

What camera(s) do you use?

I have just purchased a Canon 760D and a macro 100mm 2.8L IS lens, and am still coming to grips with the change. I am very much a kinetic learner and need to spend time out there doing, ideally with supervisory support rather than trying to understand manuals! I still also, when caught without my camera, use my phone.

[ 117 ]

What are some of your favourite editing apps and why?

When I discovered editing tools I was totally hooked, loving the ability they gave to enhance and emphasize light and colour without the need to have any technical photography skills - a much less messy form of painting! I like Snapseed for familiarity (the first editing app I used); Photoshop Express for flexibility; Paint FX for precision; Mextures (oh, how I love thee!), for colour, texture, light - and that is just about everything needed to ‘paint’ a picture!

You clearly have an involved editing process. For you, when does an image feel “finished”?

I don’t think it ever is! What I am happy with one day can look completely different the next and be deleted without a second thought! There are only a child’s handful of pictures that I don’t feel inclined to play with further and I really don’t know what distinguishes these from the rest! I spend hours and hours editing and have hundreds of pictures that will never see the light of day, albeit I was happy with them at the time of completion...but isn’t everybody the same?

Tell us more about how Instagram communities have influenced your work and ability to connect with others.

As for Instagram, I’ve met people and visited places I would never have met or gone without Instagram. I’ve developed a couple of relationships that are valuable, and firm friendships with a few people that I truly treasure! It is difficult to know the extent of the influence it has had on my work, as I believe that to be hugely subconscious, but it certainly sets standards to aim for, educates and inspires me. The active, constant support that comes from the virtual realm is so encouraging and I’m genuinely appreciative of it; that people you have never met--and probably never will--can be so responsive, is humbling and means a great deal.

[ 119 ]

[ 121 ]

BY ADRIANOMARCHESE

MARTINVAN DE KREEKE @daisyjack007 / @ w_wanderings / @ f_flyte

- 002

[ 123 ]

[ 125 ]

Through the Lens of Martin Van de Kreeke

W

hat is love at first sight, if not a deep and unique connection with the input of very few values? Dutch photographer Martin Van de Kreeke shows us that, though it need not be love, we can certainly know someone with the same brevity and intensity that strikes in the flash of a moment.

Not a photographer by profession, Van de Kreeke owns and operates a busy record shop in Rotterdam, Netherlands. “I learned photography, in part, in art school,” Van de Kreeke told INSPADES Magazine, “But mainly I am an autodidact.” Though his shop occupies the majority of his time, Van de Kreeke “rediscovered” his passion for photography in the last five years.

Transitioning from outdoor photography including street, landscape and natural, Van de Kreeke has moved toward indoor work, developing a compelling collection of gorgeously gritty portraiture. “I bought myself some simple studio equipment which allows me to shoot whenever I want,” said Van de Kreeke.

The main draw in Van de Kreeke’s portraiture is the immediate sense of individuality and importance in his subjects. We are struck with a sense of familiarity that sparks a curiosity to better know these subjects. Through his photography, Van de Kreeke sheds any hints of the average—the common, the overlooked—bestowing each subject with due presence and significance.

Presenting viewers with raw imagery, Van de Kreeke tries increasingly to “stay away from the effects and go back to the real thing.” Subtly highlighting the ordinary with a slight, playful tilt of the head, a hand gently resting on the nape of the neck, or a sea of freckles peering from between two innocent eyes, Van de Kreeke magnifies detail with unfiltered clarity.

“My challenge is to capture what I initially see in my subjects; that can be beauty, strength, sadness or any other emotion.” Van de Kreeke’s photography strips the subject not physically, but spiritually, where all that remains is the bareness of being.

Unlike shooting street photography, which can often be chaotic and spontaneous, the composition of Van de Kreeke’s portraiture is noticeably uniform and minimalistic, “I admire photographers like Stephan Vanfleteren and Platon.”

It shows.

At the forefront of the image, Van de Kreek’s subjects are artfully lit by studio light. Behind them the background is deep black—intense in its simplicity.

The subjects’ features, curves and details are enhanced by Van de Kreeke’s use of black and white instead of colour. What remains are the extraordinary portrayals of ordinary people.

Van de Kreek’s venture into portraiture has only just begun. When asked about his plans moving forward, he answered, “I think there are lots and lots of people who have very interesting faces. My challenge for the future will be to capture even more ‘ordinary’ people.”

Martin Van de Kreeke is a name to look for in the world of portrait photography, and if you happen to be near his record store in Rotterdam, drop in to say “hello” and you just might be featured in his next series.

[ 129 ]

[ 131 ]

BY JACLYNTRUSS

ÖZKANDURAKOGLU @ghost_of_oz / ozkandurakoglu.com

- 002

[ 133 ]

[ 135 ]

Ă–zkan Durakoglu

H

as one of the best, creepiest and most imaginatively constructed websites we have ever seen. You feel as though you have accidentally slipped into the realm of the dark web, with no immediate urge to claw your way out. Eerie music plays in the background as you scroll through an array of haunting, mind-altering images-- at times overtly twisted, interlaced with an occasional burst of colourful mind-bending beauty. As you move from image to image, a small starburst of swirling energy marks every transition, as if it were summoning these impossible images from an otherworldly dimension.

Born in 1976 to a Turkish, working class family residing in Germany, Durakoglu had an early penchant and talent for drawing caricatures and 3D designs and had always been interested in movies, books, comics and computer games in the sci-fi, fantasy and horror genres. The game changed for Durakoglu after purchasing an amateur camera in 2005; there his adventure in photography began, and his love of fantasy and horror took on a whole new life.

Durakoglu quickly found the scope of the things to photograph in his urban residence to be quite limiting. Seeking more freedom of expression, he began to pursue a different path and discovered a form of digital freedom in photo-manipulation. With minor corrections, his images morphed from the real to the surreal, and he never looked back. “It provided me with a means to make my dreams real, and let me share the images in my head to a larger audience. Photo manipulation slowly began to be my passion and as I learned new techniques, I began to try different things,� says Durakoglu.

[ 137 ]

Now his techniques for corrections are anything but minor. No only does Durakoglu alter what is real, but he also makes things up altogether.

“I regard manipulation as important because, for example, while an ordinary photograph of a person in the street or sunset can be nice, manipulation gives you a chance to ‘photograph’ things that you can never come across while walking in a city, and that makes the technique quite fun,” muses Durakoglu.

Image manipulation is also wildly inventive. While some of us cannot begin to imagine where he comes up with the ideas for his work, Durakoglu himself doesn’t consider conceptualizing an idea to be the difficult part in his creation process.

“The hardest part of the work here is, I think, not in the imaginative creation, but the application of the manipulation techniques. Even if you are creating an imaginative world here, that world should be created with its rules of physics; the positioning of light and shadows within the space are very important to make the images striking,” explains Durakoglu.

With the exception of a few of his friends, Durakoglu does not believe there to be many people interested in this technique in Turkey, but he does get very positive reactions from people who see his work.

“While not regarding myself as a full-accomplished artist, comments on the difference and exclusivity of my work ensure me that I am on the right path. Still, I can only stay on point by always learning new things, and I am well aware that there is much I can continue to do to improve in my art,” says Durakoglu.

To experience Durakoglu’s magical land of Oz, visit http://www. ozkandurakoglu.com/, This editing wizard will trip your mind with his surreal imagery because, let’s face it, there is never a bad time to have your mind blown.

[ 139 ]

[ 141 ]

[ 143 ]

BY JACLYNTRUSS

NICOLAYLEVCHENKO fstoppers.com/profile/lev4 / 500px.com/lev4

- 003

[ 145 ]

[ 147 ]

O

Who is Nicolay Levchenko ?

nce there was a reporter who asked a Buddhist Zen Master:

“What do you think is the most disgusting thing in the world?”.

In response, the Zen Master asked: “Who are you?”.

“John Smith.”

“This is your name, but who are you?”

“I am a television reporter.”

“That your job, but who are you?”

“I am a human.”

“That is your biological species, but who are you?”

Then the reporter finally reached the essence of what he was being asked. He opened his mouth to speak but could not find the answer.

“Here it is, the most disgusting thing in the world - not to know who you are,” said the Zen Master.

“It’s quite difficult to answer ‘who you are’ because who I am is not about my name, not about my profession, or my species. I mean if I say: ‘I’m human, I work as a photographer/retoucher/videographer, my name is Nicolay Levchenko’, it says nothing about me at all - it’s just a vibration in the air,” Levchenko told INSPADES.

[ 149 ]

We may not know for sure who Nicolay Levchenko is, but we do know that he has chosen to be a dreamer, an admirer of beauty and a perfectionist.

Nicolay Levchenko of Gomel, Belarus, studied to be a programmer and Russian to English translator but then chose to never work a single day in that arena. His true love was graphics, and when he found a vacancy as a retoucher in a local photography studio in 2000, he jumped at the opportunity. Photoshop 5.0 became his arsenal, his main weapons were his mouse and clone stamp. His salary was quite poor, not just in comparison to other European countries, but also his own.

“I just loved my work and wanted to improve my skills - that’s all I wanted, even if it meant that sometimes I hadn’t any money for food,” revealed Levchenko.

It was 2004 before he even considered creating photos in addition to retouching them. Finding an old rangefinder film camera in the attic, Levchenko started to shoot, but at the time, only landscapes. Eventually, he discovered some photographers that provided him his main course in photography, shaping the progression of his art.

“There are three names that affected my mind, they are: Henri CartierBresson - the poetry of his mind through black and white street photography amuses me then and now; Ansel Adams - who displays the most atmospheric natural beauty in landscapes on format cameras with unique techniques of post-processing; and Helmut Newton - his ironic humor, beautiful nude scenes and symbolic fashion photography,” mused Levchenko of the paragons of his craft.

A year later, Levchenko’s hobby of photography morphed into his work, though he never left his retouching job at the photo studio. Originally working with film, he struggled with the switch to the processes of digital photography, and it took him about 5 years before learning how to properly convert raw files.

“I had very poor skills in studio photography in those days” laughed Levchenko, “I’ve continued to experiment with film - different developers, different brands of films and use of grain. During the last ten years, photography was both my main hobby and work, I had no relationships, no vacations, only work, work, work.”

[ 151 ]

Levchenko’s stunning images in portraiture can be divided into a few main directions: Portrait, which he uses to “express the atmosphere and person’s character”; Beauty Portraits, in which he “creates fantasy images” of people - stylizing the beauty of humans through makeup, light and image manipulation; Nude Portraits, in which he highlights the “beauty of the body through light and shapes”; and Fitness Portraits, where he captures “muscles and proportion with special light setups and use of low-key”. Sometimes Levchenko is even the subject of his own portraiture, which he confesses takes months of preparation, dieting and beard growing.

“Funny thing, I recently opened my profile on 500px (500px.com/lev4) to see how many views I had, and to select images for this interview, and the highest number of views was on a picture of myself!” chuckled Levchenko.

When it comes to “likes” and “followers”, however, Levchenko makes no real effort to promote himself. The main reason being? “I don’t create for other people, I create for myself. Yes, I do work for money, but I do it for my pleasure too. If someone enjoys my work and hits “like” then that’s great, but if not, that’s okay too,” said Levchenko.

Over time, Levchenko’s practice has greatly changed, his filter of perception has widened and he now sees much more deeply into the details of an image - which begs him to pay close attention to every detail in his own work. He finds that this need for perfectionism is not always helpful in life and can be irritating to those around him, as well as himself. Of it, he said, “Sometimes, I have an image in my mind, and I’ll try to duplicate it in real world with the skills and tools I have, and in the end, the result may not be as good as it was in my head.”

Regardless of what he may think of his own work, whatever was in Levchenko’s head in creating his images, we found him to be more than capable of producing them in exquisite form - he did win our Worldwide Cover Contest after all!

Levchenko parted with some words of wisdom: “Follow your dreams, it may not be easy, it may even be a path of much pain. But, if you give up, you’ll end up living the life of someone else, and you will never know who you truly are. The decision is yours!”

[ 153 ]

[ 155 ]

BY ANISSASTAMBOULI

DARIAAMARANTH @ daria_amaranth / daria-amaranth.info

- 003

[ 157 ]

Insects, Animals and Melancholic Portraiture For me photography is an incredibly magical way to create a new world, an imaginary reality in which the symbols, mystery and some abstraction are synchronized.

T

o view the work of Russian photographer Daria Amaranth is to taste a chocolate so dark, that it brings your palate to the brink of a bitter aftertaste. Engaging the senses in contradiction, the unconventional appeal of Amaranth’s creative flare will leave you moved.

“For me, photography is an incredibly magical way to create a new world,” Amaranth disclosed to INSPADES, “An imaginary reality in which the symbols, mystery and some abstraction are synchronized.”

In pairing soft beauties with snails slugging across the skin, or insects resting on the eyes and lips of resigned girls, Amaranth’s portraiture allows a sense of calm to reign after the initial shudder dissolves.

[ 159 ]

“When an animal or insect is a part of a picture alongside a model, a photograph breathes and becomes more deep to me,” Amaranth explained. Her use of live insects and animals, such as owls and iguanas, certainly brings shock value and an air of the untamed to otherwise traditional visual narratives.

The signature of Amaranth’s style is notable in her gentle use of lighting, and morose shades of grey or faded teal as the backdrop. The subjects of her portraiture tend to be adolescent girls or young women, pale with dark hair and clothing, posed limply in postures that convey a sense of insouciance or calm acceptance.

“The best shots ever are always full of mysteries,” asserted Amaranth, whose visual narratives make curious the viewer; the ambiguous, expressionless subjects, their gaze vacant, revealing nothing of their true nature. While they emit no signal of scorn or approval, each subject seems to absorb and observe all that is within the viewer.

Residing in Saint Petersburg, Amaranth specialized in foreign languages for her studies and currently spends her days as an English and Swedish translator. To discover that her photographic ambitions began only two years ago is indeed a surprise. With over a hundred photographs published

by Vogue Italia’s “PhotoVogue” site and countless shots of profound imagery, Amaranth engages the viewer through her photography like a veteran of the craft.

Despite having taken a few photography courses in the past, Amaranth is otherwise mostly self-taught. Armed to shoot with her Canon 1000D— of which she says the photographer’s skill is more important than the make of the tool—Amaranth aims to outline a puzzle in each of her images.

Initially, her interest in photography sprang from her need to “create something meaningful and different.”

On that point, she has definitely hit her mark.

Next, Amaranth plans to explore cinematography. “This sphere seems to me to be so magical and special,” she added. In fact, much of her inspiration comes from the world of cinema.

Drawing on the melancholic tones of filmmakers like Sophie Coppola and Lars von Trier, colour palettes from Renaissance painters, and literature with psychoanalytic themes, Amaranth achieves a fragile elegance in her work.

Coaxing the grotesque and the beautiful into unconventional harmony, her visual artistry will haunt the eye and mind long after the page is turned.

[ 161 ]

[ 163 ]

BY JACLYNTRUSS

MEREKDAVIS getvellum.com / mextures.com

- 004

[ 165 ]

MEXTURES

“T

he Mextures Collective is a group of artists working together to educate and inspire. We exist to be an inclusive community dedicated to enabling and encouraging all creatives, professional and amateur, using Mextures as an editing tool in their editing process.

Welcoming every style of photography and editing, The Mextures Collective seeks not to influence, but to promote various styles and techniques used to create unique art.”

What began as a seemingly “worthless” mistake, has exploded from its 24 initial downloads to topping the charts as the #1 photography app in the Apple App Store. Mextures, one of the hottest mobile photography apps available today, allows users to create unlimited layers with a multitude of editing tools and add elements such as textures, film grain, gradients and lighting. Taking the mobile photography world by storm, Merek Davis, the founder of Mextures, connected with INSPADES Magazine to talk about his newest product, his new parent “filter”, his incredible community and how risk-taking led him to make the perfect mistake.

Can you tell us a bit about your life, pre-Mextures?

That feels like eons ago! Prior to Mextures, I didn’t even have photography on my radar until my early twenties. At the time, I was in a band and we were touring, and I just wanted to document our experiences and travels.

I borrowed my mom’s point-and-shoot camera for a couple of tours and instantly fell in love with capturing everything. At that time, I was also working full-time for an online internet company as the head of video marketing. I had been with that company for quite a few years while trying to simultaneously balance being in a touring band so, obviously, adding a third, time-consuming focus was a great idea! I miss those days of staying up till 4 a.m. editing images and then heading into my full-time job at 8 a.m., it felt very much like Groundhog Day, but in a good way. [laughs] At first, I focused specifically on the local music scene here in Arizona, as all of my friends were musicians and I was happy to shoot their promo shots for free. Eventually, I started getting publications and national bands noticing my work. At 25, I took a huge leap of faith and got a business loan to upgrade my camera and lighting equipment and that’s when I was like: “Okay, this is really real….let’s do this!” That was the moment when photography became my absolute focus. Over time, my work transitioned into shooting hyper-realistic imagery of bands, people and then landscapes,

with a heavy emphasis on editing and post-production compositing. As I was creating these hyper-realistic images, I had also been creating and experimenting with my own textures. I had photographers asking where they could get these textures and so I attempted to sell them online.

Unsuccessful, I then decided to give a couple of textures away for free on this “new” hot social media app called “Instagram”, you may have heard of it, [Laughs] and that’s the start of when Mextures took over my life.

You mention on your personal website that the name Mextures was a joke that stuck, as it was essentially a mistake you made while creating some textures. Is it a combination of “mistake” and “textures”?

Ah! That’s brilliant and a great guess! My friend, Evan James Atwood said something like “Merek, textures…it should be “Mextures”!” However, the definition of Mextures has evolved into being a combination of “mobile” and “textures”.

Why do you think Mextures has become such a game changer in the world of mobile photography?

Our core focus for Mextures has always been to empower creatives through tools and supportive communities. We do not define ourselves as just an app on a phone. As an editing tool, we provide assets to create unique images through the use of color and texture. Both of these elements are extremely powerful in telling a story through photography. The ability to layer unlimitedly, adds a depth that cannot be found on other apps. Plus, I may be a little bias when I say we have the absolute best textures and editing tools found in any app, but I believe it to be true. As a community, I still believe that we have one of the best and friendliest photography communities out there. Mextures users relish in each other’s edits and growth. We’ve seen firsthand how this community can help change lives.

About a year ago I received an email from someone who told me that they suffer from crippling depression and editing photos on his phone has been helping him by creating an outlet to express himself. He thanked us specifically for Mextures and how he’s been able to connect with others via Instagram and how they share formulas and edits with each other. I think that having created something that can carry so much power, even in a roundabout way, really means a lot to what we are trying to accomplish. It definitely makes it all worth it.

How has the Mextures Collective cultivated and fostered

[ 167 ]

such a devoted following?

This community is simply awesome! Our Social Media Manager, Justin Johnston (@thejustinjohnston), has really done an incredible job heading up this crucial part of Mextures and working closely with the artists. The Mextures Collective, again, focuses on our desire to create communities that empower everyone involved and I think it excels at that. We are the first of its kind in having a resource where people can find ready to edit images, formulas and edits created specifically for those images, and a community where they can see how others are editing those images. We really want to make sure users are getting what they want from Mextures, all while helping others by sharing their process. I’m constantly inspired seeing what our users can come up with!

You recently launched your newest product, Vellum, can you tell us more about it?

Vellum is a free wallpaper/background app for the iPhone that we launched in January! It was a passion project of mine and something I’ve always wanted to create. We looked through thousands of photos to hand pick some of the most beautiful and best wallpapers. While wallpapers aren’t a specific editing tool for creatives per say, I think it adds great value in the way of inspiration.

I think it’s safe to say the most looked at device or screen is our phones and having a gorgeous landscape or abstract art looking back at you everytime you pick up your phone works wonders for stirring creativity. It’s like having an inspiration board every time you pick up your phone! Fun fact, I actually realized that we could build this wallpaper app while we were testing some new technology for an upcoming feature in Mextures and people seemed to love it! In just under two months, we already have more than 210,000 active users and tens of millions of wallpapers have been downloaded, exceeding every expectation we had for the app! People really love wallpapers and it’s been really rewarding to create something and give it away for free.

You have also mentioned that the creation of Mextures has made you become more of a risk taker on a personal level, how has that contributed to your decisions and projects regarding Mextures moving forward?

Mextures was a huge risk from the start. It was born of a mistake, I had people telling me it wasn’t a good idea, I had no idea what I was doing and it took a huge chunk of my savings to create to the app but, in the end, I think you have to take any level of risk in order to grow your business. During the last quarter of 2015 through to the first quarter of 2016, I was extremely nervous about taking risks with Mextures, and I feel that we wasted an opportunity for growth there because of it. My fear of taking risks left a wake of stagnant updates for the app and I regret that, and it was definitely a learning experience. In the summer of last year, I took a hard look at the focus of the company and direction in which we were heading, and I had a

couple difficult internal talks with myself. As a result, we are building the most ambitious update for Mextures. We are taking a huge risk with this, but we truly believe what we are making is the future of editing.

You are newly a father! Has your personal “filter” changed since becoming a parent?

When I got married, my wife continued to be incredibly supportive of my desire to pursue photography, having gone to school for film photography herself. We even did a brief stint as wedding photographers together and had a lot of fun doing it. She continued to support me through the inception and progression of Mextures (my other “baby”), but now, we have embarked on an entirely different journey altogether! Now, my camera roll is 1% pretty things I see when I’m out and 99% of my kid. It’s a bit cheesy, but life has taken on a different beauty with him around. My wife and I are pretty independent people. She’s very driven in what she does so to have someone completely and utterly dependent on you for their survival - wow, now that’s humbling! There’s a lot of uncertainty, a lot of learning, a lot of growing and honestly, a lot of poop [laughs]—but to watch someone see and experience the world for the first time brings so much joy!

How do balance your home life with work?

I’ll let you know when I find out! The key to finding any balance is to set your priorities to what matters most and the rest will fall into place. For myself, my family comes first and then work. But that also means that sometimes I have to focus on work in order to provide for them. Choosing to be there for my family gives me clarity and focus. I also think it’s really important to have hobbies outside of your career. After my son goes to sleep, I enjoy making handmade soaps and beard oils and balms. I also have a couple buddies that get together and we play video games a couple nights a week. Having these outlets allows me to clear my head of anything work-related, which is important to maintain my sanity.

What advice do you have for other creators and entrepreneurs?

Be humble, stay humble. Be willing to learn from, and listen to, everyone.

Your harshest critics will usually become your most loyal fans if you validate their concerns. Be 100% passionate about whatever it is you’re doing. Have conviction about what you are building. There is never an easy pathway to get to where you want to be. The path I’m on is full of missteps that have made me want to turn and run. But if you have conviction and really believe in what you are making, the negative moments quickly pass. Be focused on the greater good, meaning you should focus on building things to benefit and encourage those who will use it or see it. Lastly, and most important, have fun and be excited!

[ 169 ]

What does the future hold for yourself and Mextures?

I’m really enjoying fatherhood. Up until now, it’s been the most fulfilling (and the most terrifying) thing I’ve ever been a part of. Other than that, I would like to get back into portrait photography, even if not full-time. I really miss that creative outlet, so if anyone in Arizona wants to shoot, just let me know! As for Mextures, it is still our main focus but we have a lot of fun apps flowing through the pipeline for creatives as well. We are also working on a couple of features for our 3.0 release that will really make the community even stronger than it is. We have tons of new textures, filters, presets and formulas and I’m so excited about what we are building; it’s the most ambitious update we’ve done yet and I really think our users are going to love what we have.

To check out the Mextures Collective and download Vellum today, go to www.getvellum.com - www.mextures.com

[ 171 ]

BY CÉLIABERLEMONT

JUSTINROSENBERG @jsrphotos / jsrphotos.com

- 004

[ 173 ]

TO Cure My Wounds Open Them Up

W

ith an inspiration that endures and transforms, photographer Justin Rosenberg’s artwork is an uncanny “expression and exteriorization of one’s true self”, inclusive of all its substance and scars. Reverberations of his own being, Rosenberg’s work is a parallel of a tormented past and a sustaining present; images that explore the human structure and the cracks that inevitably emerge within its delicate design. What could look or feel at first glance as fragile a display and obscure a portrayal as Rosenberg’s Fractured series?

Stemming from an ongoing battle with Crohn’s disease, which led Rosenberg to being “sliced open and put back together again” more times than he could count, his Fractured series proves that every person is more than the mere sum of their parts.

Captivated by naturally occurring fractures, cracks, holes and scars in his surrounding environment, Rosenberg addresses the entire body as a fragmented work of art, a container for fundamental and contributing factors to one’s own story that do, in all their shapes and echoes, act as a catalyzer for ineffable beauty.

Before his journey moved into healthy sublimation, Rosenberg also suffered from a substance use disorder. In 2011, he decided to join a treatment center in Los Angeles, which quickly initiated a combined process of health recovery and professional discovery. Spotted for his photography skills, it took only a few months for Rosenberg to join on as an intern with the non-profit advertising agency owned by the rehabilitation center, and from there, he quickly became their lead staff photographer.

Run solely by people in long term recovery themselves, the agency is designed to fund the treatment of those in need of its services but who can’t afford its price. Aptly and positively encouraging personal and professional states of mind, the unique fusion of understanding offered

[ 175 ]

by the agency embraces everyone’s struggles and supports them through it, allowing people like Rosenberg to channel their difficulties into creative works. At Creative Matters Agency, the weekly meetings did not only consist of deadlines and clientele-related talking points, but also included discussions about the personal recovery of each member. “Not being a typical agency, we all had a unique perspective and gratitude towards the agency that cannot be found at most other companies,” explains Rosenberg.

Although the agency’s main client was the rehabilitation center itself, the external client portfolio, made up of non-profit associations and forprofit businesses, served as a launching pad for Rosenberg’s career with the production of billboard campaigns, magazine publications and general advertising. In light of his achievements, Rosenberg began yearning to freelance as a photographer full-time, which he successfully did in July of 2014, and hasn’t looked back since.

Now his client, Rosenberg’s love for the agency reflects a strong appreciation towards those who have empowered him to evolve, grasp and determine his future. Continuing with his growth, Rosenberg is now in the process of moving away from commercial photography to transition to more artistic forms of the craft.

While his commercial shootings are the traditional “bright and happy” images, his artistic portraiture is raw, gripping and undeniably compelling.

Rosenberg’s art does not consist of outlining people as they appear to be, but rather, unveils their hidden side, concealed distortions and unmitigated vulnerability.

Whatever the source of his struggles, Rosenberg has used them as inspiration for his success as a photographer. Ultimately, as an embodiment of self-discovery through bleaker moments, Rosenberg has been able to access and achieve a series of alluringly chasmal portraiture, which not only invites self-reflection and contemplation but also the self-surrender of one who is allowing the perfect unfolding of their true self.

[ 177 ]

[ 179 ]

BY ANISSASTAMBOULI

JOACHIMBERGAUER @joachim_bergauer / bergauer.cc

- 005

[ 181 ]

The Light Sculptor from Salzburg “I was able to deal with the light well and make pictures that met the beauty of the people in a respectful way.”

I

t takes a sensitive eye to arrange luminescent light for a black and white image, to capture the various shades of grey and translate them into texture and charisma within the world of two-tones and contrast. Despite the challenges of black and white photography, Austrian artist Joachim Bergauer draws a veil of vibrancy over his monochromatic collection with remarkable aptitude and ease.

“Contrast photography is a form that I have preferred for over 30 years,” says Bergauer, whose predilection is made clear by the distinct lighting choices of his portraits.

With a “main focus on human photography”, Bergauer spent six years scouring the globe for striking portraiture, finding countless telling faces in places as remote as Fuerteventura, one of the Canary Islands off the North Atlantic coast of Africa.

[ 183 ]

Motivated by the desire to “strengthen the strengths of people,” similar to a painter, Bergauer highlights the greatest attributes of his subjects, extracting an empowering image from the individual with his lens in each transient moment of candid expression.

In his portrait of Hedy, shot in Bergauer’s Studio B in Salzburg, the dark background and rich tones of the subject’s skin create a luxurious visual within the contrast of softly glowing light. The depth of shades induce a compelling image, made striking by Bergauer’s ability to sculpt the subject with strategic lighting. “Studio photography is designing with the light,” he explains. This strategy saves time during post-production, resulting in an editing process that Bergauer usually completes in fifteen minutes.

Since the age of twelve, Bergauer’s constant companion was his camera. “I learned the craft—learning by doing,” shares the self-taught photographer, who developed a knack for photography through media work. When he was twenty-years-old, Bergauer avidly pursued sports and entertainment photography, including the prestigious music and theatre festival in Salzburg, Salzburger Festspiele. Some of Bergauer’s work has also been published in The New York Times.

In addition to press photography, Bergauer entered the world of advertising, where he quickly found his niche. Working with companies like Ogilvy & Mather and KISKA as an artistic advisor for global campaigns, and having his photography featured in anecdotal advertisements by notable brands like Hasselblad, Bergauer quickly made his rounds within the industry, leading to the launch of his own advertising agency in 2000.

While advertising brought Bergauer a reliable means to make an income with his camera, it also expanded and built on skills for his personal art, especially portraiture. “I used my advertising photography as a base [for learning],” he shares, “So I was able to deal with the light well and make pictures that met the beauty of the people in a respectful way.”

Applying his experience in commercial photography to images like Fuerte and Katia, which encapsulates his creative flare and an editorial style, Bergauer has found a way to apply the technicalities involved in his professional photography to his creative work.

With prestigious marketing and advertising awards from organizations like the Salzburger Landespreis, Bergauer has achieved worldwide recognition in a trade where photographers rarely gain the freedom to apply artistry to their commercial work.

Currently, Bergauer is labouring over a book that explores life on leper colonies, a project that he has been following for six years. In the meantime, he continues to show his work at exhibitions and accumulate new techniques in photography, ensuring that his dynamic creativity never “stands still.”

[ 185 ]

[ 187 ]

BY ANISSASTAMBOULI

MARKMORTON @mark_e_morton

- 005

[ 189 ]

A “Southern Gentleman”

H

ailing from the American state of Louisiana, Mark Morton’s instinctive sense of debonair springs from his natural southern charm.

Home to carnivalesque cities like New Orleans, it is no surprise that the flare and vibrant history of Louisiana has swayed Morton’s creative expression with its boisterous rhythm and unshakable spirit.

“I have lived most of my life here and love the food, music, culture and people,” Morton says, “I think that no matter where you live, the environment will influence you. In kind, I am but a southern gentleman.”

With a demanding career as a plumbing salesman, Morton inadvertently made his way into hobby modeling in 2014. “At the time, I was involved in steampunk,” he explains, and when a local photographer invited him to partake in a steampunk-gothic Halloween photo shoot, Morton was instantly absorbed into the community. “I was asked to join the local Meetup group because they liked working with me and they also did not have any male models to work with.” Since that launching point, Morton has continued to “enjoy the adventure.”

While Morton found his way into a group he could creatively engage with, the act of incorporating his day job with his hobby proved to be more difficult than he expected.

[ 191 ]

“There have been many challenges along the way,” admits Morton, “I have been in sales since I graduated college, so I knew how to sell myself, but not in front of a camera.”

Another bump in the road of Morton’s side-pursuit is his age. “As a bearded male model in my mid-forties, I have realized that I am in a microcosm when it comes to modeling,” Morton acknowledges, “I have felt like a trailblazer at times.”

However, with an air of optimism and a career that provides financial stability, Morton has the unique privilege of modeling without the intense, added pressure of turning it into sustainable profit.

“I enjoy modeling because it is a hobby that takes my mind off of the stress of life. It has a type of Zen quality to it. It is relaxing to me,” says Morton, whose gruelling 12-hour work days as a plumbing salesman start at 5:30 am.

Rising to the challenges of modeling, Morton continues to flex his ambition, by studying YouTube videos that offer insight into how male models pose, while also noting the techniques of other male models that he comes across.

“I have learned to be more expressive and creative in my shoots,” says Morton, “I have had to stretch myself and try new things that take me out of my normal comfort zone.”

Collaborating with companies like Skycloud Photography and Sheryl Finney Photography, Morton continues to grow his hobby, often modeling as a dapper gent with a pistol in vintage-inspired scenes.

“I love seeing the results of my hard work and dedication,” he concludes, “This is true in business as well as modelling.”

With a widening circle opportunity, it’s no doubt that this southern gentleman is riding on the road to success.

Facebook: Robert Davis Photography Instagram: @robert_davis_photography Website: www.robertdavisphoto.com Facebook: Brad Bradley Photography Instagram: @bradbradleyphotography Website: www.bradbradleyphotography.com Facebook: Sheryl Finney Photography Instagram: @sherylfinney Website: www.sherylfinneyphotography.com Facebook: Harvey Jelks (HM Jelks Photography) Website: www.jelksphoto.com Facebook: PT Photography Instagram: @pickeledtink13 Facebook: Sky Cloud Photography Website: www.skycloudphotography.com

[ 193 ]

BY ANISSASTAMBOULI

ILONAD.VERESK @ilonaveresk / ilonaveresk.com

- 006

[ 195 ]

In the Limelight “Women have always captivated me. I am in love with their fragile beauty, porcelain skin and ageless faces.”

R

ising from the Moscow art scene, photographer Ilona D. Veresk skillfully presents a world of romantically luminescent works that is catching eyes around the world. Specializing in fashion, beauty and advertising, it is within the frame of her elegant and alluring images that Veresk has established her creative capabilities within the sphere of photography, tenfold.

“At first, becoming a photographer was not my dream,” Veresk admits.

Fantasizing about careers in voice work or costume design as a child, Veresk’s early dreams were swayed by the permeating culture of Disney. Yet even as she studied fine arts in her teenage years and pursued interior design in university, Veresk maintained a fascination with romantic visual styles.

In tandem with her studies, Veresk began to explore graphic design and photo manipulation. Designing covers for albums and singles, she earned revenue and a widening reputation within the local circle of musicians. It was during this time that Veresk developed her skill for digital art, a knack that would later spill over into her photography’s editing style.

[ 197 ]

A year after graduating from university, Veresk left the little town of her upbringing, Izhevsk, and headed to the Russian capital to try her hand at success, but first, she would be met with struggle.

“Life in Moscow forced me to rack my brain for ways to pay for housing and food. I set myself up in a photography studio and took my camera along to earn something,” recounts Veresk.

They say that ‘necessity is the mother of invention,’ and, during this time, the proverb rang true in Veresk’s life, as her scant circumstances drove her to develop as a photographer. While Veresk had previously owned a camera, her use of it was merely casual, however, near the end of 2013, Veresk’s financial state forced her hand at artistic experimentation within the art form.

“When I started to dip into photography, I thought it was a temporary fix,” Veresk admits, “but the more I dipped in, the more I understood that if you treat something seriously, and use your imagination, it can become really compelling.”

And so, the idealistic imaginings of Veresk’s childhood resurfaced with renewed vigour. “My dream found me,” she adds with pleasant irony.

Today, the alluring subjects of Veresk’s personal projects and haute fashion editorials boast of her predestined talent for photography. With minimal edits and heightened lighting technique, Veresk extracts the organic beauty of her subjects with a luminescent presentation.

“I don’t use Photoshop on my subjects’ body or skin—they are perfect just as they are,” Veresk attests, alluding to her tendency for selecting models with naturally “ethereal and elusive” qualities.

In her underwater series, The Siren, delicate fabric and tendrils of hair ripple gently and seductively around the subject. Suspended in graceful movement, the subject invites innocent admiration and placid contemplation. Unlike the mythological siren, whose luring beauty and melody dazzled men toward a vicious demise, Veresk’s sirens emanate a purity of intent.

[ 199 ]

When asked about the challenges involved with shooting such elaborate scenes beneath the surface, Veresk recalls, “Underwater portraiture wasn’t too hard, but communication between the model and team was a big problem.”

With her mind reeling with the logistics and organizational tasks relating to the shoot, Veresk “couldn’t sleep normally” leading up to the event.

“It was my first underwater shoot, which was very exciting. I rented two different cameras and brought all the possible lenses I could use,” she explains, “I had a lot on my mind and was afraid that I wouldn’t be able to shoot in the conditions.”

Despite her initial stress, Veresk captured The Siren beautifully.

Particularly noteworthy in the series, as with her work in general, is Veresk’s controlled use of light. As one of the broncolor Gen NEXT beneficiaries of 2017, an organization that “equips the next generation of young professional photographers with cutting edge lighting gear for photography and videography”, Veresk has been given access to top-tier products, along with the creative freedom to experiment with her personal photography.

“Light in photography means so much more than cameras or other tools,” Veresk explains of her meticulous use of lighting equipment, “Gen NEXT is a big honour and an awesome creative kick for me.”

With numerous exhibitions since 2015, awards and press coverage, Veresk supports her entire income through her photography services. “I’m really addicted to this lifestyle and enjoy every minute working on personal images and client content,” she says, “I have worked as a freelancer for my entire adult life. It’s my way of fighting the system and corporate slavery,” she quips.

Leaping from her nest in Izhevsk, into a financially meagre living in Moscow, Veresk has since sprouted wings through her photographic explorations and continues to soar toward endless opportunity.

[ 201 ]

[ 203 ]

BY ANISSASTAMBOULI

JACKSONFAULKNER @jacksonfaulknernet / jacksonfaulkner.net

- 006

[ 205 ]

‘Dramascapes’ from the American Rust Belt

I

n the upper Midwest of the United States, cradled by the Great Lakes, is America’s Rust Belt. One of the many ‘has-been’ regions of the country, the Rust Belt is an industrial cemetery that mocks the American Dream with its abandoned factories, automobiles, train tracks and structures of a bygone era.

Traveling thousands of miles along the roadside of history, photographer Jackson Faulkner can be found in desolate places with his Galaxy S7 Edge and Nikon D7100 in hand, summoning the memory of a human presence from objects, long void of living company. Bringing dramatically emotive edits to each landscape, Faulkner achieves his signature ‘Dramascape’ style.

In an exclusive interview with INSPADES, Faulkner discusses the value of our collective past, the successes and failures of the American Dream, and the ways in which an object can tell the story of society as accurately as people recording history.

What first led you to pursue the theme of American industrial decline with your photography?

To begin with, my passion for history and respect for the ingenuity of our forefathers was genetically coded in me. My grandfather was an inventor during the American depression of the 1930s and my father was an electrical pioneer.

Growing up, one of my childhood friends lived adjacent to a heavy equipment industrial yard just outside of Detroit, Michigan. It was located next to an old 1930’s railroad viaduct that had abandoned rooms and passageways.

[ 207 ]

Half my youth was spent wandering these passageways and stairways that led to sealed off exits, wondering about the people who had used them in the past; the other half of my time was spent climbing in, on and under abandoned bulldozers, loaders, cranes and anything else that had leaking fluids and jagged bits of metal—many left their mark on my clothes and flesh.

In my teens, recurring themes in my photography were historical transportation and architecture, but they were shot with the clinical precision of an archivist, with no concept of applying a portraiture element to them.

I absorbed the sights and smells of that time in my memory. It wasn’t until two years ago that I started looking at the objects of my youth with new eyes.

Through the editing process, I started to inject my feelings into my images and evoking the emotions I was experiencing at the moment of capture.

Your work confronts neglected structures in rural areas as representations of the Rust Belt’s deindustrialization and economic decline. How would you say your work responds to the American Dream?

I believe that the memories and spirits of the American Dream linger in these places long after the physical bodies leave. Inanimate objects contain and exude a presence as well. I present a forgotten past that illustrates the hopes, passions, successes and failures of that dream.

My images give the viewer a chance to feel the pain, shame and suffering of a 1937 pickup freezing for another winter in a frozen field; the empty silence of a prairie grain elevator waiting in vain for a harvest that will never come.

My visual voice has a story to tell: It’s a story of a country that was made great by resourcefulness and ingenuity—a country that became a victim of its own success, and in its short-sightedness, cast aside the processes and with it, the people.

[ 209 ]

[ 211 ]

BY ANISSASTAMBOULI

OLIVIERPRINGAL @olivierpringal / drawing-art74.com

- 006

[ 213 ]

Rebirth

“M

ine is the story of a professional burnout,” says pastel artist Olivier Pringal, “someone under too much constant pressure. It is also the story of rebirth,” he continues, “Of working on oneself and rediscovering vanished values and a buried passion.”

In a world driven by consumerism and market demands, Olivier Pringal was an over-worked cog in the tightly wound industrial wheel. Strained by financial goals and unattainable expectations, it wasn’t until Pringal’s recurring health problems began to escalate that he realized his life need to change and was forced to reevaluate his personal and professional priorities.

“My body said ‘stop’,” he recounts. It was at this pivotal point in his life, that Pringal made the difficult decision to surround himself with a professional team, including a life coach. During this transition, Pringal came across old drawings he had created in his younger years. He decided to pick up a pencil and resume the artistic pursuits he had abandoned as a teen in the 1990’s.

After much support from friends and family, Pringal began to cultivate his forgotten hobby and, as his newfound confidence grew into fervor, he began churning it into a serious pursuit. Since last year, Pringal has dedicated himself to drawing profusely, revisiting the well-worn paths of his creativity to define a new artistic voice. Working mainly with dry and bold pastels on black paper, Pringal “plays with light to make it appear essential” in his riveting works of contrasting shades.

“The idea and desire to work with pastel chalk came gradually,” he explains, “When I was drawing in pencil, using my hands to smooth the shadows, it created a chalky material that I liked to work with.” Incorporating chalk into his tool set, Pringal achieves the desired texture with more efficiency.

From music legends like the Rolling Stones to cinematic icons like Clint Eastwood, Pringal has drawn them all with expert clarity and phenomenal photorealism.

With themes revolving around celebrity, the female form and a passion for wine, Pringal delivers chalk, pencil and pastel work that strikes the viewer with its hyper realistic semblance to photography.

As a self-taught artist, Pringal has delivered remarkable results at an applaudable speed. Completing a drawing within the impressive span of only three to six hours, Pringal leaves room for error with his brisk pace, allowing the resulting “imperfections” to act as the hallmark of his emotions embedded into each piece.

From his home near Annecy, France, Pringal enjoys a new life and is already taking orders for custom pieces and arranging upcoming exhibitions. With a revived sense of being and purpose, Pringal’s evolution has led him to a much more peaceful and fulfilling life.

[ 215 ]

[ 217 ]

BY JACLYNTRUSS

BENJAMINDAKOTAROGERS @benjamin_dakota_rogers / benjamindakotarogers.com Photo by Chad Pilkington for Benjamin’s Whisky & Pine Tour promo.

- 006

[ 219 ]

Benjamin Dakota Rogers Whisky & Pine

A

fiddle flares amidst a poetic ballad with passionate precision, the strings singing with traditional folk music, seeded with east coast influence. Benjamin Dakota Rogers, relaxes the bow in his hand. His voice—gritty and evoking—fills the space, pulling at parts of you from the inside, parts you didn’t even know you had.

A multi-instrumentalist, singer-songwriter and composer, Rogers—with his captivating storytelling—marries poetic lyrics with lively fiddle and brisk guitar compositions, creating songs that are, at times, both heart-wrenching and explosive.

“I feel like being on stage and getting to perform for an audience willing to listen and participate is always a gift, but I also love being in the studio and getting to build music and just experiment,” says Rogers.

This “alternative folk powerhouse” is debuting his third album, Whisky & Pine, a collection of eleven original songs brimming with raw emotion and sultry harmonies. Yet while influences of Leonard Cohen, Gregory Allen Isakov and Passenger ring throughout this album, Roger’s unique voice, thought-provoking lyrics, energetic performances and dynamic fiddle techniques leave this up-and-coming musician in a class of his own.

“My creative process has a lot to do with improvisation,” divulges Rogers, “I don’t write chords or lyrics one before the other. I sit down with a guitar and start singing and playing. Sometimes what comes out is exactly what goes on an album and sometimes I tweak it for a year, but it usually all starts out with some sort of emotion and just rolling with it.”

[ 221 ]

At the age of seven, Rogers inherited his great-grandfather’s violin and his passion for folk music began. Later he began street busking for money, which evolved into gigs in bars and eventually, larger venues.

While his love for creating meaningful and honest music has resonated with folk-lovers and gained significant praise, Rogers has also received many award nominations. Only four years into his musical career, he has already proven to be a marked veteran talent not indicative of his age. Rogers earned nominations for Young Performer of the Year at the 2014 and 2015 Canadian Folk Music Awards, one for his leadoff album, Wayfarer, and the other for his second album, Strong Man’s Address to the Circus Crowd. In conjunction with nominations at the Hamilton Music Awards and several international songwriting awards, Rogers can now also boast that Whisky & Pine has ranked six in the top ten albums of 2016 at Folk Roots Radio.

“Receiving recognition for my music is amazing,” Rogers admits , “When you submit to competitions you never know who you are up against or what they are looking for. I have been really fortunate that what I have created so far has been worthy of recognition.”

Benjamin is currently on tour promoting his latest album, Whisky & Pine, a collection he reflects on differently from his first two albums. In Wayfarer, written when Rogers was 18-years-old, he did not play the guitar yet, and all the songs were written on mandolin or tenor guitar and translated to his producer who played the guitar tracks for the album.

To play live and tour on his own, Rogers realized he would have to learn the guitar for Wayfarer, a primarily guitar-based album.

He buckled down to learn the the instrument, and that became one of the biggest progressions to Strongman’s Address to the Circus Crowd, his sophomore album that was released the next year.

“I feel like creating the album that’s in my head is the hardest part, trying to teach it to the people you are working with, without it changing too much.

It’s hard because everyone has a different vision and you have to pull it all together to create something that is beautiful.”

Rogers reveals the songs in both Wayfarer and Strongman’s Address to the Circus Crowd are written from a “childhood imaginative place”, when he had little life experience and was more inspired by books and short stories he had read, rather than other people. “ I think the biggest difference between my first two albums and Whisky & Pine, and the one being recorded now, is that now the songs are me,” remarks Rogers.

Undeniably talented, Rogers is poised to make his mark in the world of folk music. With a bright future ahead of him, he looks forward to completing his new album and touring.

“I love being on the road as much as possible with my music,” exclaims Rogers, “Writing as much music as I can and playing as many shows as I am able. All I want is to make music and share it.”

[ 223 ] “I’m so tired of this holy war I’m laying down my guns I can see it in your eyes you’ve already won So turn my cannons from your tower With gunpowder and smoke The world you’re fighting for has long been broke So build me a campfire out of whisky and pine Over the ridge stay up til sunrise Lay by my side and watch the stars collide Will you think of me when you watch the night sky”

BY ANISSASTAMBOULI

JESĂšSORTIZ @handsandcolors / jesuso_ortiz / www.jesusoart.com

- 005

[ 225 ]

Playful Tableaus & Cute Couture Any moment, even if it seems insignificant, can be inspiring.

T

wo rose-headed lovers swept up in a passionate kiss, a barrage of button hot air balloons soaring high above the clouds, floating cherry tomato balloons with a penchant for escape, a girl sashaying fashionably in her orchid petal skirt — these are but some the sweetly charming and whimsical creations of 3D artist Jesús Ortiz.

Since his childhood, Ortiz dabbled happily in all forms of art. Distinctive in his creativity from the beginning, Ortiz even painted his watch so that it would be uniquely his. At the age of 14, he began to study a variety of artistic disciplines in Cordoba, Spain, including natural and technical drawing and met other artists with similar interests. While he learned much in his studies, he remains steadfast in his belief that true learning comes from practice and work. Originally moving to Málaga from Cordoba to study advertising in university, Ortiz has since stayed, made his home there, and now crafts contemporary art in one of the oldest cities in the world.

“I started working with real objects in a casual way, initially including illustrations in some photos,” explains Ortiz, “I liked the effect of the illustration on a photo, and that’s how I started to focus on the illustration as the central theme of my gallery.”

Blending natural objects such as flowers, leaves, twigs, fruits and vegetables, and manmade objects such as buttons, clips, cotton, matchboxes and confetti, with adorably detailed cartoon drawings or realistic portraits, his creations range from beautiful to endearing, but always intricate in their simplicity and exquisitely captivating.

“Many people tell me that I always bring them a smile with my works and that they transmit calm and tranquility,” says Ortiz, “I am very direct in my work, I like to show a little, but to transmit a lot. Simplicity and playing with colours fascinates me.”

One glance at his portfolio and the expanse of his creative well is

inarguably apparent. To create such pieces, one must look at everyday items in unique ways that have yet to be expressed by their current being or use: a rose becomes a hat and the eyebrows of a lady’s face; a hot pepper becomes a smiling gnome’s conical hat; a hibiscus head becomes the horn of an old gramophone; a pinch clip becomes the head of a pet alligator. Married with talented drawing abilities, Ortiz orchestrates simple, playful tableaus and cute couture that immediately captures your attention and your heart.

“Inspiration simply arises,” admits Ortiz:

“It is not something that can be explained, it just happens.

Ideas can come at any time. I think it helps to be calm, without situations of stress and with a clear mind. Any moment, even if it seems insignificant, can be inspiring.

Each image depends on the moment. Sometimes I can think of an idea and look for the elements to create it; other times, I see an object or a flower and I can think of an illustration to add to create something original; other times I simply photograph objects and save the photos, so that when I see them again at a later time, I can come up with ideas that I did not think of the first time around. I like my images to be very clean and without too many elements. Works that feature many elements are meant to be enjoyed over time in order to discover everything that the author wants to tell us. In my case, posting my art on Instagram where images are viewed quickly, I think it is better to be very direct. To transmit as much as possible with fewer elements.”

The platform of Instagram has been integral to Ortiz’s social development as an artist. He first began publishing his images in 2013 and since then, the exposure and ability to reach people around the world have led to working with fashion designers for couture collections, worldwide campaigns, and even working with some brands on Instagram. While very selective in accepting proposals, Ortiz had never imagined working on projects such as these on his own, and he is very grateful for these opportunities.

“Now I have the possibility to work for myself,” relates Ortiz, “I have worked for major brands, and I have projects outside my country thanks to Instagram. It has been a very good leap for me because I have a lot more creative freedom when I work on my own.”

Now, Ortiz’s illustrations are for sale printed on paper, small mirrors, magnets and cloth bags, as well as commissioned work for clients.

“I would like to work exclusively on my own,” says Ortiz, “Focus on my online store and commission as an illustrator for my clients.”

To check out Ortiz’ online store, please go to .jesusoart.com and find—or create—that perfect gift to tug at the heartstrings of that special someone!

[ 229 ]

[ 231 ]

BY JACLYNTRUSS

REBECCAMILLEN @shizukapicture / rebeccam-fotografie.de

- 005

[ 233 ]

D

Requiem of a Dream

ripping in gold, cast in silver, adorned with feathers, flowers and fearsomeness, Rebecca Millen unveils sheer masterpieces of photography, digital manipulation and transformational inspiration. Having always had a poetic mind, it was completely natural for Millen to inhabit all her ponderings within the realm of the fantastic. As a child, Rebecca Millen imagined that the human soul resembled a harp; now, she creates striking portraits that, metaphorically strung like a harp, play the melodic tale of humanity’s Achilles heel: the lack of acceptance of self and others.

Inspired by transformation and the ever-shifting consciousness of the planet, Millen is driven by how people react and develop in response to the circumstances that permeate their lives.

Using her exquisite art as a channel to express all her experiences and emotions, Millen hopes that her work gives people the chance to reflect on themselves, both on an individual and collective level.

Visibly touched by opulent auras, Millen’s portraits display moods that we are not generally allowed to express in everyday life. Believing that dark times gift us with the great chance to learn to love ourselves more authentically than we could without them, Millen sees potential in sombre experience, finding abundant opportunities for growth and learning empathy.

Although it may seem unbelievable, Millen has been an autodidact in most of what she does. At 23, she is still searching for an apprenticeship, but with her incredible talent and already widespread recognition, it is a wonder that Millen has yet to be snapped up by a mentor eager to embrace her prodigious natural savvy. At the same time, Millen is always embracing more opportunities to learn and evolve her talents and is often approached by designers and models for collaborations.

Feeling as though she has finally found her place within a field of creatives that enables her to develop her own art and use it as a meaningful medium to inspire and uplift others, Millen shares her series Requiem and the emotional journey of humanity inside these masterful portraits in an exclusive with INSPADES.

“Creative work is what makes me feel whole and connected to everything. It’s the air my soul is breathing. A lot of creatives I know started out like me, doing self-portraits. In these self-portraits, I found a way to express many different aspects of myself and release my inner creativity into a tangible world. In the beginning of these projects, it just helped me to reconnect with my emotions and to realize my own strength.”

“In life, light and shadows get mixed. That’s our natural human experience. We are awash with feelings and thoughts. For me, the most important thing is to be conscious enough to decide which feelings and which thoughts I want to focus on—what is constructive, helpful, and what I want to give to humanity in relation to my talents.”

“I think that humanity is on a journey. Our collective has changed so much over thousands of years. Sometimes for the better, sometimes for worse. Either way, in the long term we evolve, change, experience new ways of living in relative harmony, and a lot of people go with this flow.”

“I have a deep longing to be an inspiration for people feeling connected to my work, to be a person that gives people the chance to see themselves through different eyes—to see their beauty within every aspect of themselves and to feel accepted, especially when they are going through hard times. Nature’s variety often leaves us in awe, so why not be in awe of these incredibly unique and fascinating people?”

“My works don’t always show characters or feelings that are appreciated by our society. I have a lot of dark moods within my work but it is not meant to be destructive. As an observer, you are free to let your feelings about these works guide you to your inner truth and, honestly, that’s what I wish for my audience. I personally appreciate my Requiem works very much on an emotional level because they give emotions space, and imply that it is okay to feel and express. To overcome those feelings, we have to accept and embrace our pain.”

“When I see a person glowing from the inside, I know they have discovered their true self beneath the negative feelings that may have veiled it. Every single person has this ability to shine. Often, it only needs the realization that we are all equal, no matter who we are. There is nothing in this world that could cause someone to have less worth than another. As children, we naturally feel okay with everything, until outer influences make us feel less good, less worthwhile or less acceptable. It is not the truth, it is a big illusion that humans are ‘rateable’.”

“When we create, we are free. We can express whatever we feel, whatever we think, whatever wants to be expressed through our talents.

We can just enjoy this freedom or use our talents to serve humanity—to make people feel again and to make them see things from a different angle. Art is such a powerful way to reach out to people, which gives us the ability to connect and to feel connected because it makes us see that, although we are all very unique and individual, we have a common root and this can ignite empathy.”

“Empathy is one of the most important things in our world, especially in our time. It can help us overcome differences and see the commonality. Everyone who has ever felt the power of a group that acts as one on a base of empathy and humanity knows the magic of it, and that this power can be overwhelming and world-changing.”

“Art can be an important moral foundation for our society, where everyone—no matter what religion or belief they might be a part of—can connect with it. Art does not discriminate, it doesn’t care about the life you’ve lived or the success you’ve had; it removes every barrier that makes people feel isolated.”

“Imaginative art is a way to connect with our feelings, fantasies and deepest longings. Although I’m doing portraits touched mainly by fantasy, I see it as an incredibly authentic thing, visualizing things which are happening in another dimension and opening a window to our true majestic selfs.

I hope my art can bring people to realize that they are majestic and perfect as they are and they just have to believe in their own power and beauty, a beauty far beyond physicality. By showing emotions like grief, sadness—and sometimes just a subtle dark mood—with a sense of dignity, I can change the interpretation and stigma around them, thereby removing self-judgment for the image’s subject and viewer.”

“Thinking about a future where we stand side by side, enhancing our talents and supporting each other worldwide, makes me feel very excited. I know that everyone who wants to can take part in the process of reaching this goal. It’s time for humanity to wake up—to see that we are one.”

i n s p a d e s m a g . c o m

[ 243 ]