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editor’s note Thanks for taking the time to suppor t our communit y of young ar tis ts . I am so happy to share this issue with you . These pages are fille d with images that excite me; some jump of f the page (like our amazing cover by Alondra Cos tilla) and others ask you to look closer. As you move throu gh these works , I encourage you to take your time and reflec t on these pieces . O ur contributors have taken great care as they explore physical spaces , youth , memories , mental health , and sexualit y. I feel for tunate to have been able to watch this publication and team grow with ever y issue. Issue 01 set the foundation , Issue 02 define d our s t yle, and now Issue 03 intro duces a new sec tion: ‘ Focus’. This sec tion is a place for ar ticles , essays , photo projec ts , and collab oration . With new e ditors on the horizon , ‘ Focus’ and L AB 140 will continue to evolve. I ’m excite d to see what ’s nex t . - Lia Hanson
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Lia Hanson
e ditor-in- chief @liakhanson
Tia Ruszkowska creative direc tor @tia _ ruszkowska
Maya Hull
assistant e ditor @mayahull
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Alexandra Kern photo e ditor @alexandrakern
Brittany Toombs
designer @brit tany toombs
Riani Singgih
assistant e ditor @jejakria
about L AB 140 is a magazine create d to showcase the photo graphic ar ts made by the s tu dents and alumni of Chapman Universit y. This publication is open to works of all genres and topics . L AB 140 is pro duce d by a team of current s tu dents with the suppor t of the Chapman U Photo Club. All work is collec te d on a submission basis and selec te d in a blind review conduc te d by the magazine s taf f.
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contents
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t wo or more
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focus
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contributors
Colin Arp ’18
Camr yn Eakes ’18
Cole Borgstadt ’19
Julia Elihu ’20
film production @corgstadt
film production @juliaelihufilm
Vince Carpino ’18
Gracie Flowers ’18
computer science @red5seeker7
pr & adver tising @gracieflowers
Alondra Costilla ’20
Alyssa Forsy th ’18
film studies @busybokanist
ar t @kodaksoundtrack
Tram Dang ’20
ar t, business administration
Cailey Gulinson ’19
ar t @damnitar t
business marketing, pr & adver tising caileygulinson.com
Tue Duong ’18
Claire Jant zen ’21
film production myowntuehands.com @tuezzles
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dance @camr yneakesphoto
film production clairejant zen.com @clairejant zen
Sam Kigyos ’18
strategic and corporate communications @samkigyos
Kayla Loeb ’19
strategic and corporate communications @kayla_loeb
Katie Peck ’17 ar t katiepeck .com
Vanessa Mar tinez ’18
Hayden Rusk ’21 film production @haydenrusk
Justin Rypma ’18 film production @j jrimages
Grant Sewell ’20 communications gcsewell.com @sewell.jpg
Jordan Valdés ’20
sociology @vanesssa.02
screenwriting valde156.mypor tfolio.com @banannika
Alison Pirie ’18
Eli Weiss ’21
ar t @alisonpirie
film production eliaweiss.com
Anne Roffler ’18 biochemistr y @anneroff
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Doodles exist in the real world. You just gotta be looking for them. Characters of ever y shape, size, and color live among us, but we rarely give them the time of day. Letting our imaginations wander for a little bit allows us to see new things, or in this case, Doods. Hayden Rusk
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I
wanted
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capture
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strength of bisexual people despite the adversit y that is thrown at them. Grant Sewell
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india This pas t Januar y, I spent t wo weeks in nor thern India s tu dying their religions and culture. Throu ghout the trip, I learne d a great deal ab out India , but even more ab out myself and humankind . India is a place of unparallele d beaut y. Stunning temples are cons tantly fille d with worshipers and religion is clearly inte grate d in the communit y. Children roam freely and motorc ycles zip by spee dily. And when the sun sets over open land in a countr y of over 1 . 3 billion , there is no bet ter word to describe this feeling than: serenit y. Perhaps the mos t impac t ful par t of my trip was witnessing the pure happiness that the people possesse d , despite their apparent pover t y. Women dresse d in color ful clothing are contras te d with the dir t in which they sit and huts in which they live. Poor families are contras te d with the smiles on their faces . The ashes over the Ganges River from nightly cremation contras te d with the candles floating in the water and the hymns of prayer over the holy river. A place that should be devas tate d in pover t y, thrives . Many of these photos were inspire d by this contras t and were taken at moments that I felt in awe of my surroundings . Still, to day, it is dif ficult to put into words what I witnesse d and the mix of emotions I experience d . These photos are small memories of an incre dible experience that I will never forget . India is a place like no other and I am forever thank ful for this beautiful countr y. - Cailey Gulinson
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a private matter The most profoundly human experiences exist in ordinar y moments. Through photography, I have tried to create a collection that reflects these experiences - be it a family’s clothing dr ying in the sun, a cit y asleep, or lovers in an embrace. These moments allow us to connect to one another across cultural, political, and geographical differences. These are moments that move me and I hope they move you, too. - Anne Roffler
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characters of nor thern india This is a series of photos I took of people and moments that I encountere d in my travels to Nor thern India this pas t Januar y. I wante d to capture people in raw moments , really seeing their personalit y and culture throu gh more candid photos . Coming from an Iranian background I have always grown up hearing ab out the more Middle - Eas tern culture that my parents grew up in , however, I was never grante d the oppor tunit y to fully experience this culture in the pas t . B eing in India made me realize the incre dible and various ways of thou ght throu ghout the world . I t opene d my eyes to multiple beautiful ways people live their lives . - Julia Elihu
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summer memories I got my firs t film camera before going home to the Philippines for the summer and I brou ght it with me on a family trip to South Africa . I have always love d taking photos , but shooting film made me appreciate the beaut y of photo graphy and the privile ge of capturing a moment in time before it disappears forever. - Jordan ValdĂŠs
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villa vanilla These photos were taken in Cos ta Rica at a sus tainable spice farm calle d Villa Vanilla . Ticos , or Cos ta Ricans , seem to share a fundamental unders tanding of their relationship with the environment: give to the Ear th and she will give back , in abundance. These s till life images are meant to represent that relationship as well as their “pura vida� ideolo gy of life. - Kayla Loeb
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misc. My work varies depending on what I am feeling or tr ying to say. I enjoy the use of color, decons truc tion , and human presence in my images . I s tar te d photo graphing when I was a junior in high school and , since then , I have definitely grown as a photo grapher in envisioning what I want to tr y to capture. I am influence d by many things - whether it is music , fashion , friends , or emotions . - Alondra Costilla
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I enjoy creating my own little world in each image, an
existence
of
human
form, emotion, and color. Alondra Costilla
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light spectrum This series was an exploration of light and color and how it interac ts in the physical space. Using projec tion and mirrors , I wante d to document the illusion I was creating with my designs . - Tram Dang 64
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a recollection Memories are never the exac t recreations of the ac tions that took place. The longer we hold them , the more they take dif ferent shapes . This series was a beautiful accident that parallels what our minds do with our own memories . Photos from my old vacation got move d from drive to drive in an at tempt to archive the memories . However, the at tempt to preser ve the photo graphs is ultimately what lead to their des truc tion . While we, as humans , s trive to preser ve ever y thing that happens , the truth displaye d in these photos is that memories fade and take on new forms despite our ef for ts . - Alyssa Forsy th 71
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double sequence D ouble Sequence is an exploration of collab oration and a conversation with formal elements in photo graphy. Throu gh the process , Peck and Eakes took great consideration of the physical nature of photo grams and the process that comes with objec t-making . Eakes , a dancer, focuse d on defining pic tures and moments within the process while Peck , a sculptor, looke d throu gh the lens of creating an image within space. Throu gh combining the processes of seeing and creating , they focuse d in on materialit y and ins tallation of the work . By using the materials found within the image as a means of displaying work , they acknowle dge d the s tar t of the process and the sculptures that create d the forms capture d on the paper. The forms presenting the mages give the viewer hints of the materialit y that came before the image. The work has a play ful nature that is uncovere d by walking throu gh the ins tallation allowing for moments of discover y. The ins tallation pushes beyond his torical forms of displaying photo graphy and looks to new oppor tunities for the works to acknowle dge space. D espite being paper thin at points , its sculptural nature is evident in the final ins tallation and was evident throu ghout the creating process . - Camr yn Eakes and Katie Peck
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scans In exploring my own mental health and the s tigmas and s tru g gles around it , I began to realize that what I (and so many others) struggle with is communicating our problems and our pain . I became frus trate d with my inabilit y to accurately share what I was going throu gh , which in turn pro duce d a lacking response from those around me whom I was seeking validation and help from . At one point of frus tration I remember wishing I could point to the pain I was feeling , the same way I could if I t wis te d my ankle or broke my arm . B ut unlike physical health problems , mental ones don’t af ford this communicative ease. I be gan to explore this idea more - even shaving my head in an o dd physical manifes tation of my desire to see closer into my mind . Eventually, I came to a creative solution I like d and thus the SC ANS projec t was b orn . The ques tion behind the projec t is “ what if you could x-ray emotions? ” I wante d to reveal the par ts we hide of ourselves in our day-to - day lives . Goo d or bad , I wante d to capture these emotions , ideas , and feelings lying dormant in people. B ut , I wante d it to look like an x-ray. To do this , I use d a flatbe d scanner. I had subjec ts press their faces agains t the cold glass plate of the scanner as the thin bar of light move d slowly from end to end , capturing their emotion . The process resemble d the physical awk wardness of a get ting an x-ray and the way the scanner pro duce d the final image gave an accurate black and white, almos t glowing image warrante d by the real machine. These images were finally something tangible a person could have, to say “look , this is how I ’m feeling , this is what I ’m thinking . I t may not make sense, but this is it .” While in no way does having this image resolve or undo someone’s mental health problems , I do think it helps to ease some sor t of frus tration we all have with our non-physical emotions , and be gin to create a more open dialo gue and language around the subjec t . - Eli Weiss
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The question behind the project is, “what if you could x-ray emotions?” Eli Weiss
brooke’s fire tower B rooke and I date d for a few months in high school. Her family has this fire tower from the 30s in their back yard . We went up it right before things got s tar te d with us and I should’ve kisse d her up there but I chickene d out . I t would’ve been a bet ter s tor y than while we were watching Sherlock on her couch . Any ways , she and I are goo d friends now. She’s up at SC , but I took these over Chris tmas when we were b oth home in Arkansas . I t seeme d like a goo d excuse to see her and catch up a bit . - Cole B orgstadt
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running water with autumn color I of ten feel the mos t contemplative around water as it heightens my senses and translates into poetr y. What s tar te d out as a normal, event ful day in Washington became a spiritual release. Like the running rivers of M t . Rainier, hundre ds of oppor tunities and meaningful moments pass by you and it ’s your job as an ar tis t to pick out the ones that speak to you . The only technique I applie d here is patience. - Tue D uong
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national parks Many people are quick to go abroad to travel and explore but miss out on the beaut y Nor th America has to of fer. With our national lands at risk , it is more impor tant than ever to view these spec tacular lands . Throu ghout this series , I was motivate d and inspire d by Ansel Adams . Adams was an American photo grapher and environmentalis t known for his beautiful landscape photo graphs of Yosemite. My vision for this series was to get people to see the beaut y of our lands and be inspire d to go see such sights in-person . I hope “ National Parks� brings awareness to our public lands and motivates more environmentally conscious decisions . - Sam Kigyos 100
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depar tmentalized As a filmmaker and documentarian , I have always been interes te d in the relationship bet ween a subjec t and their environment . For this projec t I wante d to explore the s trangely detache d intimac y of “s treet photo graphy ” but place d within an entirely dif ferent environment , far remove d from the s treets . I initially set out with the plan to capture the corporate craziness of “ B lack Friday ” at the local mall, but when I arrive d I discovere d a quiet calm that ran counter to my expec tations of the clamor and commotion charac teris tic of desperate deal-seekers . I also quickly learne d that mall securit y gets ner vous ab out cameras not at tache d to cell-phones . I decide d to approach the projec t from a dif ferent angle and simply do my bes t to capture the energy in front of me throu gh an indirec t lens . Thank fully, malls are compose d almos t entirely of polishe d mirrors and reflec tive glass which of fere d me an innovative solution to my problem . Throu gh these images I was able to decipher that s trange presence, that detache d intimac y, in this place and the people within it . In some unconscious way, malls represent and reflec t b oth the private and public aspec ts of ourselves and , thou gh we may be around others , we are s till divide d into our own worlds by our various nee ds and desires . - Colin Arp
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studio visit: alison pirie Alison Pirie is a senior s tu dio ar t major who makes photos , videos , and per formance pieces that inves tigate themes of gender, femininit y, and sexualit y. Her B FA thesis video, “ The Pelvic Theatre Presents the His tor y of Hys teria”, explores the 4,0 0 0 year his tor y of absurd - yet totally real - me dical prac tices use d to “cure” women of their hys teria . We met up with Alison in her garage -turne d-s tu dio and found a vulva the size of a wall, vintage vibrators , basketball-size d ovaries , and piles of hot pink fur. Perche d on a gynecolo gy chair from Craigslis t , she told us ab out the creative process behind her lates t projec t .
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lexandra Kern: Since we are in your creative space, I want to hear ab out the process for your thesis .
Alison Pirie: This , like a lot of my projec ts , s tar te d research heav y. It was ver y calculate d until the shoot and then it was more improvisational. I think ab out my video work photo graphically, composing shots as thou gh they are s till images and you can see that in moments of s tillness throu ghout the video. The visuals in this specific projec t were base d on primar y drawings and photo graphs from the documentation of hys teria . As I was researching I be gan making lis ts for sets , props , and cos tumes which became the foundation for the s truc ture and look of the video. AK : You can definitely see that in your work . So, how did you land on exploring this subjec t mat ter? AP: I s tar te d researching hys teria af ter a conversation with this guy I was seeing who said , in a play ful way, “All you women are craz y ”. And I thou ght “ Why is it that women are always the craz y ones? ” A lot of my work s tar ts with language, of ten a slang term that irks me and sparks me to want to research where it comes from and why we use it . This projec t s tar te d from my own confusion in wanting to unders tand the origin of female madness and how it has shape d contemporar y discourse.
AK : O h yes! AP: O nce I s tar te d reading into it I was like, “ this makes so much sense as to how we’ve got ten to where we are to day ”. I s tar te d hearing the word ‘hys terical’ ever y where, female politicians like Kamala Harris were being calle d hys terical. Even centuries later we are s till talking ab out women this way! As soon as I s tar te d reading into this his tor y, I imme diately took notice of the per formative nature of the language and contemporar y s tereot ypes of femininit y at play, which drove me to want to make my own per formance. My work of ten walks a line bet ween humor and seriousness , combining the absurd , of f-put ting , visceral, and even tab oo. AK : I am glad you brou ght up humor and the use of absurdit y because much of your work is an intelligent and play ful way of reclaiming your voice and b o dy. AP: Yeah , I like that dualit y to it because it makes the subjec t mat ter more diges tible for the viewer while s till speaking to its severit y and contemporar y influence. AK : Right! Tell me ab out creating these charac ters you por tray in your work . AP: In the video I play seven charac ters: the contemporar y female doc tor, his torical male doc tor, male psychoanalys t , general female patient , female hys teric , wandering womb, and clitoris . Playing the roles of the 117
male charac ters , female charac ters , and female anatomy was empowering because it allowe d me to reclaim the male me dical gaze and give a new sense of agenc y to the cis-female experience - his torically and contemporarily. I felt a special connec tion to this his tor y because, if I were living in the Vic torian era , I would be a prime patient for hys teria . This projec t became a way of inser ting the female voice in a male - dominate d and documente d his tor y.
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and Terri Kapsalis . The older journals and tex ts were all writ ten from the male perspec tive, so I was please d to discover that many of the contemporar y writings on the subjec t were writ ten by female identif ying authors who are also looking at this his tor y throu gh a critical lens and reclaiming it throu gh a dif ferent me dium .
AK : Yes . Tell me ab out how you use d research to back up your message.
AK : So, overall, how do you separate the charac ters that you por tray in your work from your re gular self, specifically during a unique perio d of grow th in colle ge where you are finding your voice as an ar tis t?
AP: Much of my research for this video was primarily pulle d from me dical tex ts , ranging from the be ginning of Hippocratic me dicine up to Freu d’s writings on hys teria , but also contemporar y works by feminis t scholars like Rachel Maines
AP: I have always had a dualit y to my personalit y - the shy, normal Alison and Alison the per former. Recently, I have become more aware of this ar tis t persona and the per formative nature that comes out when I am creating . When the
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cos tumes , makeup, and props come out , I turn on . When I look back at the footage it ’s like I am looking at a dif ferent person , which is helpful when I am e diting my work because I can s tep back and look at myself almos t objec tively. AK : B ut , I am sure you also have to be ver y vulnerable. Is that intimidating? AP: D efinitely. I have use d my prac tice to help me develop a healthier relationship with my b o dy and sexualit y. E xploring my insecurities throu gh photo graphy and video per formance has helpe d me gain more confidence and feel more comfor table in my own skin . AK : When did you s tar t using your prac tice as a way to explore something more personal?
AP: The be ginning of my junior year was an especially vulnerable time for me and is when I really s tar te d using myself in my work and dealing with these topics . Per forming and creating ar t became a way for me to process the new experiences I ’ve had in colle ge and analy ze how they ’ve change d and shape d my perspec tive on my identit y and relationship with my b o dy and sexualit y. I t was a turning point in my life that somehow found its way into my ar t and I am really happy it did . Inter view by Alexandra Kern , photos by Riani Singgih , and video stills cour tesy of Alison Pirie Watch “ The Pelvic Theatre Presents the His tor y of Hys teria” at alisonpirie.com .
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credits Front cover - Alondra Costilla, BLUE II, 2018, digital pg. 3 - Alondra Costilla, PRIMARY COLORS, 2018, film pg. 6 - Cailey Gulinson, Serenit y, 2018, digital pg. 10 - Vince Carpino, Half Dome, 2016, digital pg. 1 2 - Gracie Flowers, Too Close, 2018, digital pg. 13 - Gracie Flowers, Rough, 2018 digital pg. 14 - Justin R ypma, Touch of Love, 2017, digital pg. 17 - Hayden Rusk, Saturdays Are For The Doods, 2017, digital image pg. 18 - Claire Jant zen, Carls, 2017, digital pg. 19 - Claire Jant zen, Reach, 2015, digital pg. 20 - Justin R ypma, Two Roads, 2018, 35mm contact sheet pg. 22 - Vanessa Mar tinez, Me and All My Personalities, 2018, digital pg. 23 - Vanessa Mar tinez, Unconscious Company, 2018, digital pg. 24 - Cole Borgstadt, Picnic Table, 2017, digital; Claire Jant zen, Scanned, 2016, digital scan pg. 25 - Alondra Costilla, BLUE, 2018, film; Claire Jant zen, See, 2015, digital pg. 26 - Grant Sewell, D., 2018, digital collage pg. 28 - Cailey Gulinson, Ancient Dormitor y, 2018, digital pg. 30 - Cailey Gulinson, Man + His Naan Machine, 2018, digital pg. 32 - Cailey Gulinson, Thinker, 2018, digital pg. 33 - Cailey Gulinson, Emerging, 2018, digital pg. 34 - Cailey Gulinson, Daily Flour, 2018, digital pg. 36 - Anne Roffler, San Francisco at Night, 2015, film pg. 38 - Anne Roffler, Something Personal, 2017, film pg. 39 - Anne Roffler, Down the Rabbit Hole, 2017, film pg. 40 - Anne Roffler, A Private Matter, 2017, film pg. 41 - Anne Roffler, Lovers in Venice, 2017, film pg. 42 - Julia Elihu, Man Watering the Grass, 2018, film pg. 44 - Julia Elihu, Man with Water Jugs, 2018, film pg. 45 - Julia Elihu, Boy Driving Truck, 2018, film 124
pg. 46 - Julia Elihu, Waiving Boodbye, 2018, film pg. 47 - Julia Elihu, Man Praying Outside Sikh Temple, 2018, film pg. 48 - Jordan Valdés, Rice Terraces, 2017, film pg. 50 - Jordan Valdés, Holy Cows, 2017, film pg. 51 - Jordan Valdés, Tiangge (Store), 2017, film pg. 52 - Kayla Loeb, Unripened, 2018, film pg. 54 - Kayla Loeb, The Farm, 2018, film pg. 55 - Kayla Loeb, Toolbox, 2018, film pg. 56 - Alondra Costilla, BLUE II, 2018, digital pg. 58 - Alondra Costilla, RED, 2018, digital pg. 59 - Alondra Costilla, RED II, 2018, digital pg. 60 - Alondra Costilla, SMILE, 2018, digital collage pg. 62 - Alondra Costilla, SUNDAY NIGHT, 2018, film collage pg. 64-69 - Tram Dang, Untitled, 2018, digital pg. 70-74 - Alyssa Forsy th, Untitled, 2015, digital pg. 76-80 - Camr yn Eakes and Katie Peck, Double Sequence, 2018, steel, wood, chain, magnets pg. 82 - Eli Weiss, Dave, 2017, digital pg. 84 - Eli Weiss, Daniel, 2017, digital; Eli Weiss, Eli, 2017, digital pg. 85 - Eli Weiss, Sam, 2017, digital; Eli Weiss, Kevin, 2017, digital pg. 86 - Eli Weiss, Natalie, 2017, digital pg. 88-95 - Cole Borgstadt, Untitled, 2017, digital pg. 96 - Tue Duong, Resting, 2017, digital pg. 98 - Tue Duong, Rushing, 2017, digital pg. 100 - Sam Kigyos, The Upsidedown, 2017, digital pg. 102 - Sam Kigyos, Untitled, 2017, digital pg. 103 - Sam Kigyos, Sequoia, 2017, digital pg. 104 - Sam Kigyos, Peaks, 2017, digital pg. 106-1 10 - Colin Arp, Depar tmentalized, 2017, film Back cover - Alondra Costilla, GREEN, 2018, digital 125
connect L AB 140 Magazine @lab140 mag lab140 mag @ gmail.com issuu .com/lab140 Chapman U Photo Club @chapmanuphotoclub chapmanphotoclub @ gmail.com chapmanuphotoclub.wordpress .com
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thanks To Eric , thanks for let ting me be your 2:30 on Tuesdays . B rit tany and Maya , thank you for taking over the magazine. I know she’s in goo d hands with you . And , to my dear Alexandra , I can’t thank you enou gh for being my par tner in this projec t . This may be the end of our time with L AB 140 but it is jus t the be ginning of ever y thing else. I love you , s tarshine. - LK
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SPRING 2018