Number 3 : The mouth Issue
It was inevitable that with the third issue of Bite Me that we come full circle and covered the mouth. Putting this issue together, there were just so many stories inspired by lips, teeth, tongues, gums, tonsils, cavities and throats. Of speaking, singing, yelling, yodelling, dialects, spitting and silence. We debated long and hard about what constitutes as a ‘mouth’. Any opening, a cave into worldly delights, mouth of oceans, mucousy membranes, holes in walls, human, animal, inanimate objects? In the end, we sought out what it was like to taste blue chicken, got some grills fitted, chatted to Yazbukey, purveyor of lippy goodness, horsed around with Hamish Munro, tasted the summer with Pippa Brooks and Sarah Lee, stepped back in time with KAWS, mined the depths of the punk era with Linder, probed the crevasses with Susanne Deeken, unmasked the dark jaws of life with Savannah Wyatt and Josh Goleman, paid homage to mouth-master Tadanori Yokoo and mu(n)ch more. A special shout-out to design duo Tin&Ed who designed the insane cover. A long time admirer of their work, it was privilege and lip-smacking good fun putting it together. That’s the whole point right?
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loud mouth Katrina Tran
maximus@bite-meee.com
ironic smirk Jason Schlabach
medius@bite-meee.com
mouth squad Thalea M.V. Adrian Mesko James Marsella Kristy Mucci Hamish Munro Tin Nguyen Torie Nimmervoll Beci Orpin Lokz Phoenix Laila Sakini Lisa Smithies Horiuchi Toya Benny Woo/Jourden Ben Wundersitz Savannah Wyatt
Kate Barnett Pippa Brooks Holly-Ann Buck Sheri Chiu Ed Cutting Susanne Deeken Kaws Gregory Keith Josh Goleman Nicolas Guérin Kiah GM Chan Wai Kwong Sarah Lee Kathryn Lefroy Linder
special thanks Tin and Ed
All text and images ©2015 the artists, authors and their representatives. No material whether written or photographed may be reproduced without the permission of the authors, artists
and
publishers.
The
opinions
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publications are those of the authors and artists and not necessarily of the publishers.
IsbN: 978-988-13320-1-1 Published in Hong Kong. Printed by Asia One Printing. Copyright ©2015 Bite Me Katrina Tran, Jason Schlabach
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mouth ing off 6
100 Kisses - 1 hour 10 minutes, 2015, Torie Nimmervoll Within a Kiss series, Lipstick on paper
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untitled , Benny Woo, Jourden 9
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Yaz Kurhan, Ottoman princess, owner of Yazbukey and creator of THAT MOUTH! by Kristy Mucci
This issue is all about the mouth, so ... So you had to talk to the queen of the lips. Yes, exactly. When did the lips start appearing this way? It’s ten years now. The first faces, we started them in 2003, something like that. You have the very iconic slightly open mouth, but I know you did a lot with Marilyn Monroe’s lips, too. What came first? We started with this one, the iconic one. So you put the lips on Pretty much everything now.
What inspired it? It’s such a difficult “ah” to have. There’s a singer here called Sebastian Tellier and he did a song that was a bit orgasmic, so these lips, actually, that’s why they’re called C’est Ahh, she’s saying “c’est ahh.” So, it’s an orgasm.
Is there anything you wouldn’t put your lips on? On any piece you want to say, or...
Amazing. I was going to ask.
Yes, sure, on any piece.
And then we started doing the faces. So it was faces that were cut, so you had the higher part of Marilyn’s face and the lower part. Then slowly slowly the C’est Ahh became the logo.
Actually, they fit everywhere, and as it’s the symbol now, it’s like nearly it’s me, you know, so even for the Oscar, we did the Yazbukey awards and I thought she would be nice with the lips as her head. You don’t need to see the face any more. The lips are the most important.
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Would you say that for real life, too? It’s quite important. It’s as important as eyes, you know? People say always “the eyes, the eyes,” but I think the lips are the same, and red lips are hypnotizing, no?
Yes! Do you wear red lipstick every day? Yes.
What are your favorite colors? We just launched the Yazbukey with Shu Uemura, and I have my Yaz Red now. We collaborated on it for 10 months. It’s a red that has a lot of blue inside, but I didn’t want them to go too purple. I wanted to have a color that’s deep and goes on every skin, so we got it, and it’s written “Yaz Red,” so it’s really cool.
Do you feel like you’re a little bit pigeonholed by the lips, and the aesthetic of the brand? Yes. I’m pigeonholed in my body as well, as a persona now, and my thing is that I like to change all the time. It’s not a problem but it’s a bit awkward because in my work I like to change every 6 months. Change the hair color, find the right ways to be according to the collection, so not staying the same. But they really like when people stay the same or static. Karl Lagerfeld needs to have this and this and this, the other one needs needs to have her hair like that [motions to signify Anna Wintour’s bob], and they’re all recognizable like that but I’m not sure I want that. I like to live different lives. Explore.
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Where does the inspiration for the seasons come from? This season I started watching different old movies and I thought I would do an homage to all these ancient Hollywood actresses like Bette Davis, Marlene Dietrich, etcetera, because I don’t find the quality today... it’s not quality, it’s crazy. You have three of them, maybe, you can say Julianne Moore, she could be at that time. Then most of it is a... disaster. And also, I have a friend, Liz Goldwyn, she’s the granddaughter of Samuel Goldwyn from Metro Goldwyn Mayer, so she inspired me as well with her family story. And I always wanted to do a red carpet kind of event [note: the presentation for this collection was a red carpet, awards ceremony-themed party]. It was basically making fun of everything that’s going on today. There was the old one that doesn’t want to leave, the young one that everyone hates, and everyone’s jealous about. And I even had the Kim Kardashian type, the one in red that’s not invited and taking selfies on the red carpet. That’s good, no? Paparazzi she brought with her, and she leaves with the big oscar in front of the door because she didn’t get the real one.
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So are there any other modern stars that you do like? For redesigning? I don’t think I would use non-iconic faces because it’s difficult. Imagine I wanted to do Nicole Kidman, it won’t look like anything because it’s so ...
Where are your plexiglass pieces made?
What about Kim Kardashian? Kim Kardashian actually would work but.. I don’t hate Kim Kardashian 100%, no I don’t. I think she opened something so big for the curvy type that it changed the sense of the fashion of now. I think, she can represent the Arab type, she can represent the Latin-American type, the Indian type, a lot of different emerging countries and physiques. And the fact that she has all those weird curves gave more courage to girls who thought that even if they like the clothes, they can’t have them because it’s not their size, or doesn’t even exist in their size. So this is the good thing, I think. The only good thing.
They’re made in Turkey, at my atelier, and I taught the people that are working there how to do it, actually. Like the idea it’s flat, and by having these cutouts you have the feeling that it’s 3-D. That was the main idea. It’s called in French trompe l’oeil, so it’s all about that. It’s about real and fake. It’s like makeup, you know, you can play with it and pretend to be anything you want to become. You can pretend everything. You can pretend to be very rich, by having your black credit card [shows clutch with a black Yazbukey Express card on it] and then you can pretend to smoke your cigar [takes a puff of a plexiglass cigar]. You can do autographs, you can drink champagne...
You’re letting everyone live all kinds of fantasies Yes! It’s like how with nothing, you can pretend to have everything. Do you ever draw regular people? I do sometimes. People ask me for, like, a couples picture to have hanging on their wall. Sometimes it’s difficult because you can draw them then they’ll ask “don’t you think I should have more cheekbone?” and you’re like “no, because you don’t have it!”
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Who has your favorite mouth? What are some of your favourite famous lips? You know Marilyn is very difficult to do because she had a smile that when you do that smile, it’s not nice. It’s not a smile, actually, it’s really weird, have you noticed? It’s very difficult to have. I would say I really love Vanessa Paradis’ mouth because of the teeth and the [points to lips]. I would say I love also La Cicciolina’s lips, maybe Brigitte Bardot. Jane Birkin is an amazing mouth as well.
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Arthur Russell, a mix of confidence and curiosity and the supposed safe haven of the studio.
Conversation #1 I was talking to freelance writer and music lover, who is a really good whistler, who was going to see a performance of Arthur Russell instrumental songs, directed by Peter Gordon in London early 2015. We were trying to pinpoint exactly what attracted us to Russell’s vocals, as we both agreed that we thought he was good. The whistler contended that it was confidence; I suspected my admiration was drawn by something else, because I watched The Arthur Russell documentary Wild Combination recently which explains that he was actually really self-critical and uneasy about putting stuff out – which I didn’t know before watching the doco. After a friendly exchange of opinions we realised that we mutually agreed on various points founded on our limited knowledge of Russell:
talking about singing
by laila sakini His uneasiness probably resulted in some sort of a vulnerability quality. Under the impression that the songs may never leave the studio he felt confident enough to curiosity explore all of those unusual vocal melodies that we love him for. We also wondered whether a mix of uneasiness and confidence could have been the reasons for the very wet reverb and delay which we also liked: uneasiness to ‘hide’ the vocal with effects, confidence to veto the logical counter thought that perhaps it could have been too much reverb and delay.
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Lyrics and performance, the role of narrative presented physically.
Conversation #2 The next conversation was with a writer-editor, who likes music but admits they don’t know much about it. Again these conversations were geared toward defining what made us decide a singer or song lyric was good.
image by Thalea M.V
The writer-editor opened with words to the effect of: I don’t understand how I can enjoy such simple, and sometimes even cliché, words and sentences when I hear them in a song. We went back and forth on this for a while, talking about the role of tone and the different treatment of narrative in song vs the written word. We talked about Stevie Nicks’ Landslide and Amy Winehouse’s Back to Black, among other Winehouse classics, and then considered the possibility that performance was the demarcating aspect here: the physical accountability associated with performing yielded more of a response from us (the audience). We realised we afforded a special kind of attention for people that opt to present their words through visceral means (singing), like this meant they were bearing more of themselves, risking more. This conveniently connected with a TED talk I watched a little while back that explained that society respects people who put themselves in “the arena” and reminded me of doing presentations and having lecturers assuring us that “nobody wants to see you fail up there”. We couldn’t really pinpoint why narrative presented in this way garnered less of a critical reaction from us. We just couldn’t figure out where this sense of instilled camaraderie came from. Our talk after this drifted away at this point and we stopped talking about singing.
Rhythm and simpicity: historically and present.
Conversation #3 The academic I spoke with was so versed on this topic. They popped in examples from deep history as far back as 700 BCE to get to our end point - what made a lyric good – and we skipped to-and-fro present and past examples. The role of cadence, the academic said, was once something that pre-text civilizations focused on heavily to ensure phrases were remembered. We traced the trajectory of this principle as we discussed repetition and the development of the “hook” in modern pop. I continued to struggle with finding the correct definition of what I did like, what was “good”. For me a moving lyric was still an ineffable thing I couldn’t capture with words. We also talked about Winehouse, Russell and Nicks. The academic didn’t seem as fraught with this, she liked that it could be an ongoing conversation. But she did leave me with a fair resolution: There is a very subtle margin between the banal and the persuasive. The good ones are deceptively simple. I agreed.
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Life of Cliff, 2015, Ben Wundersitz 18
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Grills: A Smile on the Rocks
Grillz, 2015, Horiuchi Toya 20
“I got my mouth lookin’ somethin’ like a disco ball . . . my teeth gleaming like I’m chewin’ on aluminum foil”
by Katy Lefroy
Grills (or Grillz depending on how urban you want to sound) are a type of jewelry worn over the teeth. They are generally made of solid gold or silver, then inlaid with diamonds, rubies, sapphires or any other precious rocks your smile desires. Grills can be made to entirely cover both sets of teeth (remember Jaws from James Bond?), or as a highlight for one or two of your favorite pearly whites. The visual effect of wearing Grills is probably best described in Nelly’s 2005 hit song Grillz (feat. Paul Wall, Ali and Gipp): “I got my mouth lookin’ somethin’ like a disco ball . . . my teeth gleaming like I’m chewin’ on aluminum foil.”
Also known as Fronts or Golds, Grills have traditionally been associated with hip hop culture. However, in recent years the mouth jewelry has become a mainstream fashion statement, with everyone from Justin Bieber to Khloe Kardashian to Madonna sporting a set. Even Olympian Tony Estanguet, who won gold for France in canoeing, displayed an iced out smile at his medal ceremony.
But wearing Grills will not give you Jawsesque super powers, so no attempting to bite through steel cable please. In fact, according to the American Dental Association, the wearing of Grills can promote acid production and bacterial growth, which can cause tooth decay, harm gum tissue, and wear away enamel on teeth. Make sure you floss!
The majority of Grills are custom made and fitted to the individual’s teeth. First, an impression of the teeth is taken and a tooth mold is obtained by filling the negative. This mold is then used to fit the Grill. Custom designed Grills by the big names in the business such as Johnny Dang, Paul Wall or Sincere Palacios can be upwards of $10,000, but cheaper made-to-order versions are available for a couple of hundred dollars from stores with names like Mr Bling Gold Teeth, Grillz 4 U, or Krunk Grillz. These days, you can even buy a DIY dental putty kit, send off the impressions to any number of online Grill retailers, and have your bling delivered to your door. (There are also ‘universal’ Grills, but that’s sort of like buying one-size-fits-all shoes).
And nothing screams edgy and urban more than a French canoeist, right?
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In the early 2000s, Grills became even more entrenched into popular culture due to the popularity of Southern hip hop, which emerged out of Atlanta, New Orleans, Houston, Memphis and Miami as a reaction to the domination of East and West coast styles. Anyone who was anyone was sporting a set of Grills, and the plain gold versions had morphed into bedazzled tiaras for the teeth (apparently, Lil John has a platinum and diamond set which are valued at $50,000). Eddie Plein, often credited as the grandfather of Grills (he did golds for Flava Flav and Big Daddy Kane in the 80s) spoke about this time: “By 2000, 2001 I started noticing jewelers come out of the woodwork, trying to do gold... Things have changed. The last couple of years have been about the ‘ice age’... Everybody wants ice.”
The concept of decorating teeth with jewelry didn’t start last century. In fact, the first known evidence of people wearing what we would now call Grills can be traced back to the Etruscans, who lived in Italy from 800 BC to 200 BC. In his 1999 study Etruscan Gold Dental Appliances, Marshall Joseph Becker writes: “high-status Etruscan women deliberately had [front teeth] removed in order to be fitted with a gold band appliance holding a replacement, or reused, tooth.” Archeologists in France discovered dental implants from a skeleton at a Celtic burial site that dates back to the third century BC. The Celts were in contact with the Etruscans via trading routes, and it’s likely they became aware of Etruscan elites sporting mouth bling that way. And later, during the Classical period (300--900 AD), Mayan kings and queens drilled holes in their teeth to insert pieces of jade as a symbol of wealth and status symbol.
Today, people wear Grills for the same reasons--as a way to ostentatiously display a perception of wealth. Gabriel Tolliver, author of Bling: The Hip-Hop Jewelry book says, “you can be the most broke-ass rapper, but if you accessorize, you’re balling. It’s all about appearance, even if there’s a recession.”
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Etruscan Gold Dental Applicances
Like so many trends, the modern concept of Grills emerged from practical necessity. Gold teeth started appearing in the mostly black areas of New York City around the 1970s, when immigrants were arriving from the West Indies and Jamaica--countries where gold was used to fix broken or rotten teeth. Before long, flashy gold smiles had been appropriated by hip New Yorkers, and in the 1980s and 90s rappers like Slick Rick, Big Daddy Kane and Kool G Rap were all wearing gold Grills in their music videos.
skull illustration, Kate Barnett
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But a kiss is never just a kiss. In Hollywood particularly, kissing is about more than just two individuals sharing a special moment. Kissing can be open to endless interpretations. New York Times Film critic A.O. Scott writes: “Scroll through the famous kisses of classic Hollywood, and you find yourself in a dense forest of sexual semiotics. There is yearning and hostility, defiance and pleading, male domination and female assertion.”
And although, in theory, anything goes these days, kissing on-screen is still a representation of the sexual act that won’t be shown. Freud claims that “no one rejects [kissing] as perverse; on the contrary, it is permitted in theatrical performances as a softened hint of the sexual act.”
by kathryn lefroy
Cinema and television have shaped our expectations of kissing and being kissed. On-screen kisses are glamorous, choreographed, and breathtaking—a la Scarlett and Rhett, Baby and Johnny, Piper and Alex. That isn’t to say our own experiences don’t live up to the Hollywood hype, but I don’t remember the last time orchestral music swelled when I puckered up. And let’s face it; my first kiss was slightly more fraught than Kevin and Winnie’s in The Wonder Years. I’m talking teeth clashing, lips chaffing, and spit going everywhere. There was probably some warm vodka stolen from my parent’s liquor cabinet involved, too. Romantic, right?
The entertainment industry has mastered the art of presenting the on-screen kiss. Music swells, fingers intertwine, eyes close, lips skim softly against each other… 24
But there was a time when even the representation of a kiss was not acceptable to show on screen. In 1896, Thomas Edison scandalized the world with the first on-screen kiss in his aptly named film, The Kiss. The film is only about 18 seconds long, and features May Irwin and John Rice reenacting a kiss from the final scene of the stage musical The Widow Jones. Public kissing was greatly frowned on by Victorian society at the time, and one contemporary critic of the film wrote: “The spectacle of the prolonged pasturing on each other’s lips was beastly enough in life size on the stage but magnified to gargantuan proportions and repeated three times over it is absolutely disgusting.”
Although censorship laws have changed, we see continuing echoes of this moral stance over two consenting adults pressing their lips together throughout the history of film and TV. The first interracial kiss in film was in the 1957 Robert Rossen movie Island in the Sun, which was about race relations and interracial romance. The film caused an uproar—particularly in the south of America—and many cinemas refused to screen it.
In 1964, an episode of the British medical soapie EmergencyWard 10 included the first interracial kiss on television when Dr. Louise Mahler (Joan Hooley) and Dr. Giles Farmer (John White) fell into each other’s arms. Soon after, Louise Mahler was written out of the script. Actress Joan Hooley says: “I suddenly found myself in the papers under the headline ‘Black and White TV Kiss Banned’ . . . My part suddenly evaporated and Dr Mahler was sent back to Africa where she was bitten by a snake and died. What an exit!”
Our Lips Are Sealed The first same-sex kiss occurs in the 1927 silent movie Wings, in which Buddy Rogers and Richard Arlen star as rival combat pilots. Even though the film’s main characters are fighting for the affections of the same woman, neither, (as Kevin Sessums recognizes), “show as much affection for her . . . as they do for each other.” The first intentional and affectionate same-sex kiss is often credited to the 1971 John Schlesinger film Sunday Bloody Sunday in which Peter Finch and Murray Head lock lips. However, there were a number of films prior to this in which same-sex kisses were portrayed as an assault on an unsuspecting and unwilling victim.
Prime time TV has been a little later to the party. The first lesbian kiss on network television was in 1991 on L.A. Law, when actors Amanda Donohoe and Michelle Greene shared a moment. Advertisers threatened to pull their ads after this scene. And it wasn’t until 2000 that Dawson’s Creek aired the first passionate male kiss between Jack and Ethan (actors Kerr Smith and Adam Kaufmann), igniting a dialogue surrounding representations of same-sex love. This dialogue has fired up again recently due to ABC’s The Fosters airing the youngest gay lip lock on screen, a first-kiss between two 13 year old male characters. Twitter, of course, went crazy.
While The Fosters kiss may not be the most realistic representation of a first kiss (where was the warm vodka? Seriously?) representations of kissing on-screen continue to break new ground and provoke discussions about issues larger than just the kiss itself.
When is a kiss just a kiss indeed.
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Bigmouth Strikes Again Sweetness, sweetness I was only joking
The Smiths
When I said I’d like to Smash every tooth in your head
Sweetness, sweetness I was only joking When I said by rights you should be Bludgeoned in your bed
And now I know how Joan of Arc felt
And now I know how Joan of Arc felt
Now I know how Joan of Arc felt
Now I know of Joan of Arc felt
As the flames rose to her Roman nose
As the flames rose to her Roman nose
And her Walkman started to melt
And her hearing aid started to melt
Bigmouth, bigmouth
Bigmouth, bigmouth
Bigmouth strikes again
Bigmouth strikes again
And I’ve got no right to take my place
And I’ve got no right to take my place
With the human race
With the human race
Written by: Steven Morrissey, Johnny Marr
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Horiuchi Toya 27
Cyan Chicken: a journey in tasting colour
Gustation is one of our five traditional senses: the sensation we get when food comes in contact with our taste buds and a chemical reaction occurs that, along with smell and trigeminal nerve stimulation (registering texture and temperature), determines how we perceive flavour.
by lisa smithies
But when do our perceptions of taste actually begin? When food touches our tongue? When we smell it? Or see it? Or when we imagine it from a description on a menu? Our understanding of the world comes from the ways we interact with it, through our senses. So we have no trouble understanding what is meant by a bitter divorce, a sweet ride, or a spicy affair. This is more than an artistic metaphor. Taste is something we take for granted, but it is not as straightforward as it seem. For example: we tend to perceive flavours as stronger if the colour is more intense – ie: clear strawberry-flavoured liquid is perceived as more intense simply by adding a tint (even a blue tint). Experiments with identical flavoured candies show we tend to perceive round/ spherical foods as sweeter and square/cubic objects as more sour. Then there is synaesthesia ‌
illustrations, Kate Barnett 28
Dr Sean A. Day did not become fully aware of his own tastebased synaesthesia until he was 21 and a college professor offered him a pot of strong coffee. He immediately saw before him a large pool of dark green oily liquid. This was not his synesthetic perception. For as long as he could remember, different musical instruments produced unique colours and shapes in his visual field, but this coffee experience made him aware he had also been experiencing taste related perceptions all along, but never paying attention to them.
Synaesthesia is a neurological phenomenon where the different senses (of vision, hearing, taste, touch and smell) cross over, so the stimulation of one sense provokes a conscious response in one or more different senses. Sean has a rare form – ‘flavour to visual-spatial’ synaesthesia. He loves pumpkin-flavoured beer – the shades of lavender, from the pumpkin, and the shades of cyan, from the beer, produce a gorgeous bluish-purple colour. His visuals synaesthetic perceptions are projected out in front of him. For most foods, what he see is usually within arm’s reach, however, some visuals can be metres away if the flavour is strong enough.
Synaesthetic perceptions are individual, meaning no two synaesthetes share the same exact associations. Sean recalls a wonderful cloud of orange shaving cream over people’s heads when he ate amazing squid sashimi in Taiwan. In Scotland, he had an unusual spiced haggis. Generally, he dislikes haggis, but this one turned out to be quite delicious — and very colourful — producing elaborate streaks of glowing orange, purple and green, against a medium grey background, made of a material that kept switching between an oily fluid and a field of ionized particles (a plasma), while the spices produced hundreds of tiny cut gemstones sparkling in and out of this fluid.
Synaesthesia is involuntary, unable to be suppressed and does not change over time. He has never liked diet colas due to the extremely unpleasant greyish yellow stain they produce in the upper left-hand corner of his visual field. Sean’s associations are the same now as when he was a child. And in his childhood, he avoided an ice cream truck that came through his neighbourhood after a purchase that produced an unpleasant combination of brown with purple.
Sean has a recipe called Light Cyan Blue, which combines chicken, vanilla ice cream and orange juice concentrate. The dish itself would not appear remotely blue to anyone else, but in Sean’s mind this combination creates a perfectly pleasing cyan blue. Most people he offers it to say, “No, thanks.” 29
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untitled , Chan Wai Kwong 31
untitled , Chan Wai Kwong 32
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Kaws
Brian Donnelly’s work, all sharp lines, colour and dynamism. We celebrate his best mouth pieces from 2009-2014.
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Death Race, 2012, Kaws Acrylic on canvas
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The Long Way Home 2009, Kaws Acrylic on canvas 37
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Presenting the Past, 2014 , Kaws Screenprint
tadanori
open
yokoo
excellence
Legendary Japanese graphic artist Tadanori Yokoo stands alone at the pinnacle of subversive, spiteful and strong responses to the eras he’s lived through in his mixed medium artwork. Born in 1936, an improbable time for such forward thinking collaging and consumer commentary, Yokoo’s work had wide ranging and stunning appeal. Seen all over the world from MOMA to the Paris and Sao Paulo Biennales; to the Centre Georges Pompidou and extensively through his native Japan. His work is defiant and his famous lips and mouths – open, gaping, showing rotten teeth – is a huge inspiration as to why this issue of BITE ME was dedicated to the Mouth. Tadanori Yokoo’s work is permanently on display at the Teshima Yokoo House on Teshima Island, Japan.
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untitled , Hamish Munro 41
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untitled , Hamish Munro 43
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Adrian Mesko 45
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Adrian Mesko 47
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Beci Orpin 49
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Beci Orpin 51
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Beci Orpin 53
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Kiah GM 55
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Kiah GM 57
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Lokz Phoenix 59
Collagism – Lust: Flesh, 2015, Holly-Ann Buck 60
Collagism – Lust: Stuff, 2015, Holly-Ann Buck 61
Collagism – Lust: Candy, 2015, Holly-Ann Buck 62
Collagism – Lust: Cash, 2015, Holly-Ann Buck 63
Horiuchi Toya
100 Kisses - 56 minutes, 2015, Torie Nimmervoll Within a Kiss series, Lipstick on paper
Punk icon, Linder Sterling, the Lancashire-based artist, musician and performer embodies the rip-it-up spirit of 70’s Northern England and beyond. With her works first published in Secret Public, the punk collage fanzine she co-founded with Jon Savage, Linder’s work embodies the shambolic, loud, mesmerising Manchester music scene which saw the emergence of the The Fall, Joy Division, the Buzzcocks, Magazine, and The Smiths. Her collages depicting want, desire, feminism, riches, sexuality, violence, household appliances and the banality of modern life makes for uncomfortable yet captivating viewing.
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Linder, Untitled , 1977, photomontage on card , framed size 30 x 38 cm Copyright the Artist. Courtesy of Stuart Shave/Modern Art, London .
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Linder, Untitled , 1978, photomontage on paper, 33 x 27 cm Copyright the Artist. Courtesy of Stuart Shave/Modern Art, London .
Linder, Untitled , 1977, photomontage, 32.9 x 21.5 cm Copyright the Artist. Courtesy of Stuart Shave/Modern Art, London .
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Linder, Oranur Experiment, 2011, collage, 27.4 x 21.4 cm Copyright the Artist. Courtesy of Stuart Shave/Modern Art, London .
Linder, Untitled , 1977, collage on card , 28 x 30 cm Copyright the Artist. Courtesy of Stuart Shave/Modern Art, London .
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White Stretch Lambskin Leather Bodysuit JITROIS Open Toe APOLOGIE
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bite guy
A challenge given: to be inspired by, yet not slave to, the photos of Guy Bourdin. To look at some of the most recognisable portraits of mouths ever made and then go and make their own version. Challenge accepted:
nicolas guÉrin sheri chiu
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Black and Yellow Bodysuits L ACOSTE Black Fishnet Tights and Pink Stay Ups FALKE
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“AIRISM” Fuchsia Tank Top as a Bodysuit UNIQLO Nude Fishnet Tights FALKE
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“AIRISM” Fuchsia Tank Top UNIQLO “BERVOIL” Wool Beret and Veil BENOIT MISSOLIN Earring L AURIE FLEMING
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Black Panty PRINCESSE TA M TA M Ultra Transparent Tights FALKE Long Leather Gloves JITROIS
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“ JA M AIK A” Iron Bodysuit WOLFORD Black Fishnet Tights FALKE Stripped Pumps APOLOGIE
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“MINOR AY” Bodysuit JITROIS Pink Stay Ups FALKE Leather Gloves LES CING
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photographer: Nicolas Guérin stylist: Julien Mazzoli hair: Robin Navarro-Harraga at B Agency makeup: Vichika Yorn photography assistant: Esteban Wautier models: Sheri Chiu , Aliane at Mademoiselle, Aninha at The Face Transparent Trench-coat with Multicolor Bords WA NDA NYLON Long Leather Gloves JITROIS
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p JI TR O IS E “M A SS A I” To t Ti gh ts FA LK TI A N LO U BO U TI N en ar sp U lt ra Tr an ps C H R IS m Pu r he LI N at lfs ki n Le N O IT M IS SO E” W hi te Ca H ea db an d BE ps Li l “D EC O LL ET ta ys Cr “VA N ES SA” 81
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hole Susanne Deeken
Special thanks to Rachel Clark 83
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Head over gregory keith
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Heels
Opposite page: Burnt Orange Heels with XL Beaded Heel CH ARLOTTE OLYMPIA This page: Chartreuse Shoes with Sparkle Buckle M A NOLO BL AHNIK Purple Stripe Chunky Socks HUE 95
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Opposite page: Metallic Shoes CH ARLOTTE OLYMPIA Rhinestone Thong DAVID DALRYMPLE for PATRICIA FIELD Gold Belly Chain Vintage This page: Purple Colour Blocked Ankle Strap Heels M ALONE SOULIERS
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photography: Gregory Keith wardrobe: Shea Daspin makeup: Colby Smith nails: Cas Lamar leg model: Nikole lip model: Adele Uddo
Opposite page: Blue Eye Kitten Heels PIERRE H ARDY Yellow and Black Stage Costume Vintage Above: Puzzle Piece Shoes M ARSKINRY YPPY Y Left: Black Heels with Blue Soles BETSEY JOHNSON
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savannah wyatt
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artists: Savannah Wyatt and James Marsella photography: Josh Goleman model: Savannah Wyatt 108
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Hissing Summer Lawns
photos: sarah lee models: pippa brooks & frieda
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photography: Sarah Lee model: Pippa Brooks and Frieda
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Horiuchi Toya 124
Credits
Cover, inside cover: still life
Page 2, 27, 64, 124: illustrations
Tin & Ed Melbourne
Horiuchi Toya New York
tinanded.com.au
toyahoriuchi.com
Page 7, 65: mixed media
Page 8-9: photo
Page 10-15: interview
Torie Nimmervoll Melbourne
Benny Woo, Jourden Hong Kong
Kristy Mucci New York
c3artspace.com.au/torie-nimmervoll
jourden.co
kristymucci.com
Page 16-17: essay
Page 18-19: photo
Laila Sakini Melbourne
Ben Wundersitz London
soundcloud.com/laila-sakini
beyondhippodrome.com 125
Page 20-23, 24-25: articles
Page 28-29: article
Kathryn Lefroy San Francisco
Lisa Smithies Melbourne
kathrynlefroy.com
Page 30-33: photos
Page 34-38: paintings
Page 40-43: photos
Chan Wai Kwong Hong Kong
Kaws New York
Hamish Munro London
suckphoto.hk
kawsone.com
hamishmunro.com.au
Page 44-47: photos
Page 48-53: illustrations
Page 54-57: collages
Adrian Mesko New York
Beci Orpin Melbourne
Kiah GM Melbourne
adrianmesko.com
beciorpin.com
instagram.com/kikifwafwa
126
Page 58-59, inside back cover, back cover
Page 60-63 collages
Page 66-71: collages
Lokz Phoenix Hong Kong
Holly-Ann Buck London
Linder London
lokzphoenix.com
collagism.com
modernart.net/view.html?id=1,3,18
Page 72-81: photos
Page 82-93: mixed media collages
Nicolas Guerin and Sheri Chiu Paris
Susanne Deeken London
nicolasguerin.com instagram.com/nakiesheri
instagram.com/susannedeeken
Page 94-99: photos
Page 100-109: masks
Page 110-123: photos
Gregory Keith New York
Savannah Wyatt / Josh Goleman New York
Sarah Lee and Pippa Brooks London
gregorykeithphotography.nyc
savannahwyatt.com joshgoleman.com
sarahlee.com pippabrooks.com 127
illustration, Lokz Phoenix