Issue 9 l Vol 4 I September 2021
ISSUE 1 | VOL 2 | JANUARY 2019
A MAGAZINE FOR CREATIVE PEOPLE
JAAMZIN CREATIVE
PAINTING
PHOTOGRAPHY Photographers and cinematographers
GRAPHIC ART Graphic artists, digital art
Visual artists, painters
ILLUSTRATION Illustrators, cartoonists
INTERVIEWS I nt er vi ews wi t h ar t i st s and cr eat i ve peopl e
JaamZIN Creative
TABLE OF
CONTENTS 2 Photography Photographers,, cinematographers
6 Painting Painters, visual artists, cartoonists
11 Illustration 14 Digital art 17 Design 18 Filmmaking 20 Interview Impressum JaamZIN Creative UXScoops Pte. Ltd. Singapore Registration No.: 201601782G
PHOTOGRAPHY
Dennis My name is Dennis a Visual Artist/street photographer in Singapore. I fell in love with photography in 2020 when covid – 19 happen. All my works are made in the streets. The very reason I choose B&W photography is that I can see colours every day but have you ever thought of the whole world in B&W? Well, I’m starting it with where I am now, Singapore. I’m an emotional person myself so B&W speaks to me louder and I would like my work to reach out to those who have a voice but finding it hard to speak. Recently I’m doing a big project about the neighbourhood where it is underrated or just mundane to many. If you are interested then head over to my website under “projects” for more.
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PHOTOGRAPHY
Gjert Rognli The force of nature are at the heart of Gjert Rognli`s award- winning practice, where references to everyday life, mythology and the surreal meet. He works as a multimedia artist, where he uses a wide range of media, including film, sound, sculpture, photography and performance.
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PHOTOGRAPHY
Kimberly A. C. Franklin My Name is Kimberly A. C. Franklin, and I am one of the photographers at Kimi Franklin Studio. I have the pleasure of working alongside my husband who is the other photographer. We started this business when our daughter was born. We wanted to document her growth, and it kind of spiraled from there. Since then we have had the pleasure of capturing other's timeless moments as well. Photography has always been a HUGE interest of mine.
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PHOTOGRAPHY
Renata Dutrée Former dermatologist Renata Dutrée creates classical Fine Art portraits and Still lifes by combining beautiful use of light with references to symbolism, religion, art and history. She draws attention to the possible aftermath of difficulties that we may encounter in our lives and they transcend the individual story and reflect on what is happening around us. There is a sense of mystery and apprehension that fill the compositions – objects act as metaphors for something else happening beyond the frame. Drawing the eye through bold aesthetics, colors and props, the images then reveal a deeper truth. "With my images I both hope to arouse the viewer’s curiosity about the other and create awareness of the presence of suppressed grief and anguish. It is an invitation to take a step back, zoom out and see life from a higher vantage point than your own, without prejudice."
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PAINTING
Shelja Art "The important thing for me is not to limit your desire and the will to create. I think it is within this direction that I am currently developing my work; ideas have grown and they guide me"
I'm India based professional Artist.I have been in love with painting since I was a kid. I adore colors and what attracts me most is to make them live Together in harmony not over power or under power.
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PAINTING
Penelope Nanton Fine artist Penelope Nanton (Pen’Ny) developed an unusual technique of painting, working with a paintbrush in both hands. This has attributed to her unique and distinguishable aesthetic. The work is only painted from inspiration, with the help of the universal energy and her connection with nature. Penelope discovered through the aid of her art therapist, that painting with both hands was a technique that came naturally to her and produced the most amazing results after years of working ambidextrously in her profession. Each canvas is extremely therapeutic as well as decorative.
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PAINTING
Laurent V. Laurent 36 years old Born in the Parisian suburbs. He grew up in a family of 5 children. Former graffiti artist, his influences are eclectic ranging from street art to the mix of his Asian culture. As a self-taught painter, he tries to capture his emotion of the moment through painting and a simple subject oriented in natures and human conditions. Working on straight lines, curves, parabolas or even contrasts, he delivers a spontaneous painting mostly without preparation. His painting is a raw mixture of softness and violence. We like to stop there, we like to get lost in and dream peacefully.
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PAINTING
Nina My name is Nina, I am 27 years old and I am a self taught artist. Like many people, I drew as a child, but I made the decision to do this on a permanent basis only in 2019. I started with sketches of food, nature, everything I saw, but I quickly found my favorite genre - portrait and nude. To a greater extent, my work is devoted to female beauty and sensuality. My goal is not to sexualize women and their bodies, but to show their energy and strength. My main material is watercolor, but I am also learning to paint in oil.
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PAINTING
Ernest Compta Llinàs Catalan artist and architect, I live and work in Barcelona. My works try to express social and emotional diversity through the face. Over the years I have moved between styles and formats, but I have always worked with the same theme: facial portrait. I work mainly with acrylics on canvas and paper, although some pieces are made with charcoal, oil, pastel and inks.
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ILLUSTRATION
Eiko Yamaji Eiko Yamaji was born in Yokohama, Japan. She studied copperplate and woodblock prints at an art university. After graduating, she has exhibited in group exhibitions, event exhibitions, solo exhibitions, and has also draw illustrations for advertisements and magazines.
She makes artworks mainly with copperplate and woodblock prints. Her works are created by trying to find small stories in common scenes of everyday life. When I create my works, I hope to weave small stories softly and carefully, as if I am picking up small voices.
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ILLUSTRATION
Senny Sanjung I am an Illustrator originally from Indonesia and currently living in Berlin, Germany. I like to work by fusing traditional drawing techniques with digital technology creating vibrant and colorful illustrations for magazines, books, editorials, advertising, prints and patterns, decorations, or personal commissions.
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ILLUSTRATION
Yiffy Gu Yiffy Gu spent her college years in the United States where she earned a bachelor’s degree in illustration. She is passionate about creating beautiful color palettes, unique textures, and illustrating using a variety of elements. She defines her style as youthful and whimsical, and her illustrations and motion graphics reach a wide audience. Yiffy enjoys the hustle and bustle of big cities, and inspired by the diversity of people. She is constantly experimenting with new things, which is reflected in her art. Her illustration can be found in magazines, books, and ads worldwide.
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DIGITAL ART
istanbulelpintor An outsider based in Jakarta, Indonesia, not attached to any genre. It is more like metal projection therapy.
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DIGITAL ART
Katharina Postinett My name is Katharina and I am from Germany. In 2012 I bought my first graphic tablet because I was fascinated by the artworks I had been seeing in computer games and by Chinese digital artists such as Ruan Jia. As an artist I have always found myself in a space in between digital and traditional creative influences. One of my earliest influences was Gustav Klimt and lately I have felt a deep fascination for Yoshitaka Amano.
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DIGITAL ART
Daniel Hong I am a flight software engineer who does 3D digital art for fun. I started practicing in college with cartoons and moved to photorealistic renders shortly after I graduated.
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DESIGN
Wes Cockx Wes is a CG Designer focused on Illustration, Type and Motion based in Brooklyn, New York balancing commercial and personal work under the name CREAM. He mixes visual styles drawing inspiration equally from pop culture, street fashion, and product design. He has created typography, illustrations and animations for a diverse range of clients in tech, advertising, editorial and fashion. He strongly believes in exploring and experimenting with visual styles, techniques and software to push the limits of a project brief as well as his own creativity.
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FILMMAKING
Camille Boyer Camille Boyer, director and production designer, investigates the two-way relationship between a space and the person who inhabits it with her latest short movie: Open Season. The premise of the project naturally blossomed into a personal and moving film. Intrigued by the initial idea, the filmmaker reflected on a question: can our emotions influence a space just as a space has the ability to affect our emotions? Concept exploration led to the creation of this allegory, mirroring the intimate seismic events experienced by the filmmaker over the course of the last year.
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FILMMAKING
Jay Cunningham I'm an indie film maker, screenwriter and Director from Liverpool England. I have been writing films for many years, and got fed up of sending off to festivals and getting nowhere or pitching and nobody wanted to buy. So I thought sod it, I enrolled in a Screenwriting Masters and my aim was to try and better my craft and become a better screenwriter. When I finished I knew people still didn't know me, and I knew I had to start making my own films. Luckily there were like minded and very kind people in Liverpool who worked with me to make a few short films and trailers. I learnt so much and then felt I had to go for the feature film. Which I felt wouldn't be too hard if I planned it properly. How wrong i was. I failed multiple times raising the money, didn't raise enough, but told the cast and crew I had.
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INTERVIEW Interview with painter Haydn Dickenson Haydn Dickenson was born in Hertfordshire in the United Kingdom where he still lives and works, specialising in large, subtly exuberant free abstract pieces. In his unique work on canvas and board, collage, acrylics, oils and other media collaborate in a suggestive dance of colour, texture and form - at times urgent and vital, at others calm, meditative and spiritual. Haydn is inspired by the natural world, and by Humanity, Psychology, Mysticism and Spirituality. Musical references also appear – His former career was as a Concert Pianist.
Haydn Dickenson
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INTERVIEW How and when did you begin making art and in what way do you think your background as a classical concert pianist influenced your art and style?
From a very young age I always loved to paint and draw. My mother was a fine painter, rigorously trained at art schools and colleges and later going on to teach Art herself. She encouraged me so devotedly in drawing and painting when I was young and I am so grateful for that nurturing. As a withdrawn, often unhappy child, drawing was my solace. Later, at school, my maverick approach to painting was already apparent, and my teachers did not like that! In my early teens my other passion developed, that of classical piano-playing which was my father's obsession and in which I had also been encouraged and possessed a talent. Unfortunately there was some conflict as to which path I was to follow, and Music took precedence during my adolescence despite me having won awards for my Art. As for how Music has influenced my visual art, in my opinion the two disciplines are simply different ways of channelling the same artistic spirit. The classical pianists whom I admire most are from the so-called 'Golden Age', the early twentieth century, when interpretations of music were highly personal, immediate, passionate and spontaneous. Playing the piano in this way – as I also seek to do – seems to me to be very much akin to making wild gestural marks on a canvas. Music is rooted deep in my soul. I have music running through my head at all times; not only classical, but jazz (which I adore), vintage rock and other genres. John Coltrane, the Doors and others are as important to me as Bach and Brahms. Sometimes, in my paintings, the melodies may be 'submerged', sometimes they flood to the surface. I consider the marks made by my brush to be music too; just as when I play the piano, I paint with sound.
THROUGH THE LOOKING GLASS
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INTERVIEW We are interested in what you describe as the remarks made by people about the musical qualities in your paintings. Please tell us more.
In my performing career, I became associated with music by living composers, many of whom dedicated works to me. Echoes of this cutting-edge contemporary music can perhaps be seen in my abstract visual work. Moreover, just as music thrives on dissonance as well as consonant harmony, so must there be an element of conflict in visual art, too. Nothing should be too 'comfortable'. One is reminded of the epic struggle in, say, the late piano sonatas of Beethoven or in many of Chopin's Nocturnes, in which an element of terror exists against the more tranquil, lyrical aspects.
UNTORN
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INTERVIEW How does your style in abstract painting using line, texture, shape, form and color differ from that of other artists?
I never imitate. Of course I imbibe and absorb energy from the many great artists whose paintings and drawings fascinate and move me. Every artist is capable of developing an individual 'voice' however, and I hope I am no exception. I aspire to what Patrick Heron called 'Pure Visual Beauty', which leaves endless possibilities open to the abstract artist. Many devotees of my work have remarked that it is unique and not derivative, which pleases me, but it is up to them and not me to say how!
THE WAY THE WAVES COME IN
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INTERVIEW In the near future, what kind of art do you aspire to achieve and why?
I simply wish to continue developing and growing as an artist. I want my paintings to speak to people, to make them think and more importantly, to make them feel. My paintings have been described as 'sensual', which is a great compliment to me; painting seems to me to be a very sensual act. My work is indeed purely abstract. It starts life without any figurative reference; if apparent representations appear to the viewer, that is up to them – they are never placed there by me. Picasso stated that “There is no such thing as 'pure abstraction', because you have to start with something”. But what is that 'something'? When we look at an abstract painting, the object of our gaze is reality itself – the artist's heart laid bare on the physical canvas. In contemplating nature, our minds and souls can drift into subconscious realms – are these real or are they imagined? In the same way, we can see abstraction in the infinite patterns of nature, notwithstanding that nature exhibits a divine order. When I paint shapes, or 'take a line for a walk' as Paul Klee liked to do, the viewer may see echoes of finite, concrete objects or beings; but when I make that line, I am most content when it exists for a reason no more or less great than the sheer joy of its creation, unfettered by concrete references. Composition is as important in Abstract Art as in more traditional forms; chaos can coexist alongside order, and I greatly enjoy revelling in this dichotomy. I adhere to no 'rules' in my work though, compositional or otherwise. The great pianist Jorge Bolet told us that there are no absolutes in music – for me, the same applies to art! In any case, much of what we do, in all art forms, happens without our intervention. Every painting is a journey. The shift from completing one canvas to beginning the next is yet another. Let's see where the path leads.
ECHOING BACK
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INTERVIEW From whom and from where do you draw inspiration? What is your unique process?
Artists whose work will never cease to move and astound me include Bacon, Cezanne, Heron, Freud, De Kooning, Malevich and many others in no particular order. I adore the natural world and am fortunate to live close to nature. For this reason it is not surprising that the colours and rhythms of nature find their way into my tonal and gestural palette. Dreams, psychology, spirituality and the subconscious also infuse my canvases. Abstraction allows me to give vent to my fascination with these subjects. In painting, I prefer to delve beneath the surface and reflect submerged or hidden realms, rather than to imitate the glory of nature or of the immediately obvious. Nature – which profoundly moves me influences my work deeply, but emotionally and spiritually rather than in a literal sense. As for process, I often begin with collage, as I'm a little obsessed with the different surfaces that can be obtained by layering paper (often antique music scores) onto the canvas before painting on top of it. I often work 'alla prima', especially when painting in oils. Mark-making with graphite sticks and other media is also frequently present, and I love the act of scratching-back with a knife or pointed tool – this appeals to me as it means I'm going back behind the surface to something hidden, even perhaps to the canvas itself, the pure core. The 'pure core', in any case and as an ultimate destination, seems to be something worthy of an artist's voyage.
DESTRUCTION CONSTRUCTION
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