Less Common More Sense 18 by Editor Editor

illustration by Elina Solomonov / www.elina-s.com

Contents illustration

Photography

EDITOR´S LETTER

ART IS...

UNDER WATCH

10/

Richard Wyatt

ANA NICOLAU

LESS COMMON MORE SENSE CONTRIBUTORS

PHOTOGRAPHY

TALES OF AN INTERN

PORTFOLIO

14/

SHOWCASE / ILLUSTRATION

16/

SHOWCASE / FASHION DESIGN

Elina Solomonov

ASA WIKMAN, FRANCISCA VELOSO, CLEA JENTSCH, JAAMINI PAN, JENNIFER YANG Marissa Ashford

RACHAEL LOUISE MILLAR

JOEY CHOY

15 17

18/

MARGAUX SOLAND

ANDREI AMADO

SHOWCASE / GRAPHIC DESIGN

20/

SHOWCASE / GRAPHIC DESIGN

22/

JACK LEE

24/

MARJO LOPONEN

SHOWCASE / GRAPHIC DESIGN

JOSEFINE GUSTAVSSON

21 23

SHOWCASE / SCULPTURE PROFILE / DIRECTING

26/

28/

PEDRO PIRES

DIMITRIS BOGDANOS

LIMITED EDITION / PAINTING

HIGHLIGHT / ILLUSTRATION

INTELLECTUAL RIGHTS / FILM

LESS COMMON MORE SENSE

JULIE BENNETT

Maria Vladimirova

CYRAN FIELD

Photography by Richard Wyatt / http://www.richardjohnwyatt.com

editor & Creative director Ana Nicolau design Ipek Altunmaral / Sub-Editor Katie Smyth fashion Eshe Nelson / Sub-Editor Sejal Kapadia Elle Jenkinson arts Andrea Hooijmans / Contributing Sub-Editor Roman Khripko production design Sam Dal Monte Kerry Jade Squires

marketing Vandna Jain / Marketing Manager Maria Pankova Anastasia Yakhnina Philip Wilson online Rebecca Cope / Sub-Editor Davide Scalzo/ Web Developer publisher Richard Willsher Kit Friend

contributors Andrei Amado, Asa Wikman, Clea Jentsch, Cyran Field, Dimitris Bogdanos, Elina Solomonov, Francisca Veloso, Jaamini Pan, Jack Lee, Jennifer Yang, Josephine Gustavsson, Joey Choy, Julie Bennett, Maria Vladimirova, Margaux Soland, Marissa Ashford, Marjo Loponen, Marta Gornicka, Rachael Louise Millar, Richard Wyatt, Pedro Pires

special thanks to Jamie Ruszczynski

Cover & Back cover / Photography by Marta Gornicka, Make-Up by Tereza Bila, Hairstyling by Davide Barbieri, Model Karolina Par

LESS COMMON MORE SENSE

EDITOR´S LETTER

For this issue, contributors were asked what Art was (see page 9). The answers were as varied as each unique individual is. This only came to demonstrate how many different points of view and life philosophies are out there. It is a risk to say that Art is a two-sided coin: it can either represent total freedom of the soul and individual expression in its most pure form or be a form of imprisonment when it does not find the right outlet to translate it into the physical world. How many sensible expressions of beauty never get to see the light of day but only the darkness of thought and go on to be forever lost in the depths of forgottenness. Fear of expression or laziness, are more often than we would like to admit, the real perpetrators. It takes courage and motivation to produce something that expresses ideas but, above all, to create something new, unseen and even “ugly” – as in something that does not fit within the established standards – and confidently share a vision with the world.

Most importantly, Art makes us question everything. Asking questions, that is the real challenge. It is the “what if” and “why not” that are the beginning of everything. At Less Common More Sense we celebrate those who dare to ask, think and question; especially those who do something about it. Care to try? Have a nice reading. Ana Nicolau Editor

W W W. W E A R E L E S S C O M M O N . C O M

a r t i s . less common more sense con t r i bu t ors

LESS COMMON MORE SENSE

ART IS...

a r t i s . less common more sense con t r i bu t ors

inspiration Francisca Veloso, Designer * Confusing Richard Wyatt, fashion photographer * an expression of yourself Marissa Ashford, photographer * self-aware margaux soland, Illustrator * not easy

to define Josefine Gustavsson, graphic designer * Delusion. art is everything Maria Vladimirova, Illustrator * The expression of your inner feelings Elina Solomonov, graphic designer * where the magic happens and what turns the impossible into possible Jennifer Yang, textile designer * Makes you look twice, makes you

a little bit envious, maybe a little bit emotional. How great

is that Marjo Loponen, graphic designer * Difficult Marta Gornicka, Fashion Photographer * all around us Clea Jentsch, product designer *

An expression of some people that influences other people Jack Lee, graphic designer * Inspiring, exciting and sexy JULIE BENNETT, painter * About change Pedro Pires, Artist * The bridge between the

subconscious mind and the conscious reality Joey Choy, hair stylist & make up artist * The moment Andrei Amado, fashion designer

W W W. W E A R E L E S S C O M M O N . C O M

un d er wat c h . pro d uc t d es i gn

UNDER WATCH /

Asa Wikman, Illustrator/Designer “I am quite versatile and work with both digital and analog media but my work is always very inspired by nature and I do like to create happy work that leaves people with a smile. I get inspired by everything around me, markets, films, patterns in nature, design, people I met.” www.wikmanillustration.com

Rock ´n´ Roll Bird Pattern

/ Helmer Kitchen towel for Swedish company Åhlens, especially made for the Swedish crayfish season which is in the end of August/beginning of September.

Oh Deer Pattern Pattern

Pot Holder for Swedish company Åhlens, especially made for the Swedish crayfish season which is in the end of August/ beginning of September.

LESS COMMON MORE SENSE

Oh Deer Pattern Pattern

un d er wat c h . pro d uc t d es i gn

Bird Nest built with Kamihimo Paper, 120x120mm.

Bedside Cabinet birch plywood, biscuit joinery, 705x470x470 mm.

Francisca Veloso, Designer

Clea Jentsch, product designer

“Bird-house designed for sparrows, nuthatches and starlings, considering size of entrance hole, size of interiors and it’s ‘rain-protection’ shape. Part of a project by UEDA Industrial and its director Takayasu Ueda.”

“Bedside cabinet with hidden spaces. It looks simple and slightly unremarkable from the outside but it conceals four hidden spaces where you can keep all kinds of secrets, like love letters and money. It also has a built-in reading light.”

www.franciscaveloso.com

www.flexigirl.de

Collision Furniture wood; cutting, sanding, polishing, techniques of turnover formwork; inclination 23º, 246x1245x820 mm

Kaleidoscope Lamp origami folding and digital print design, approx 270x230mm.

Jaamini Pan, designer

Jennifer Yang, textile designer

“Traditional culture collides with the newly high-tech digital technology.”

“Kaleidoscopes, I want to capture their mood and turn it into a lamp, which can give people a surprise from the colour and shadow once its switched on.”

jaamini@hotmail.com

www.jennifer-yang.com

W W W. W E A R E L E S S C O M M O N . C O M

ta les of a n i n t ern . f a s h i on . R a c h a el L ou i se M i ll a r

tales of an intern / fashion by rachael louise millar The quest for the perfect, full CV is something every prospective journalist will be au fait with. It’s endless, and the elusive prospect of a job seems like an urban myth. Everyone knows someone who knew someone who once got a job after an intern placement, but you’re never sure you believe the fairytale. The pros? A lot of it is luck, but: you can meet some of the most influential people in the industry, even if the only words they speak to you are ‘half shot soya latte’.; seriously good freebies can find their way into your bag; and contrary to popular belief, you can have a good time occasionally. A personal highlight includes rubbing shoulders with who’s who of British fashion, backstage at Topshop Unique’s A/W 10 show. In an ideal world , interning leads to a paid position with more responsibility and perks. In the good old days of journalism a plucky youngster with promise would be taken under the wing of an old hack and shown the ropes. Now sadly, the vast majority of interns are not engaged with a view to future employment. How could they be? Vogue has a new intern every week of the year. A job becomes available at this publication - I would say at a guess - once every five years. In today’s world of journalism a raft of unpaid interns prop up our major newspapers and magazines, providing content for their internet presence and oiling the day to day wheels of the business. That said, journalism is an unbelievably nepotistic industry. Make friends with someone, impress them, and the red sea can be parted for you. This can often lead to insufferable brown nosing - which no one will respond well to but if you happen to click with someone you’re working with, then exploit that connection to the best of your ability.

Make yourself invaluable and memorable, for all the right reasons. Try to make sure after you leave that they remember you worked for them. Don’t badger with emails, but don’t drop off the face of the earth either. So, tips for a successful internship? (Baring in mind these come from someone yet to be employed as result of an internship placement, so take these hints how you will.) Most people can smell indifference a mile away, so either be super keen or pop a few ‘e’ before you rock up to sort coat hangers for eight hours. Jokes aside, there is nothing that separates 99% of the interns that come to work for any given publication and that, interns seeming less than enthused about every single task you are asked to compete is a sure fire way to render yourself utterly forgettable. Piss anyone off and you’re worse than forgettable, you’re blacklisted. The journalism world is small and incestuous; never forget this. It has been well publicised and so I shan’t repeat it here, but interns aren’t always treated with the respect and consideration that they deserve. Sometimes expenses are offered, but often interning actively costs money. However, while there are those willing to work for free, publications will have no incentive to offer fairer working conditions.

It’s an almost impossible balancing act- keen but not sycophantic, cool but super-friendly – but sadly it’s a tightrope every prospective journalist must walk now. Not for the faint hearted; interning takes resolve, self confidence and an iron will. If you’re not 100% dedicated to the cause then it’s simply not worth it. Change direction, because it’s gruelling and often disappointing. However you could strike gold and be offered a job, or make valuable connections with the people in the industry. But be prepared to be disappointed, and return a LOT of clothes.

Left: Photography by Marissa Ashford / http://www.wix.com/MarissaAshford/Marissa-Ashford-Photography

W W W. W E A R E L E S S C O M M O N . C O M

P O R T F O L I O . HAI R & M A K E U P . J O E Y C H O Y

PORTFOLIO /

LESS COMMON MORE SENSE

P O R T F O L I O . HAI R & M A K E U P . J O E Y C H O I y

JOEY CHOY,

MAKE-UP & HAIR stylist You have an Engineering bachelor´s degree ...what made you want to be a make-up artist? I found out that I love human beings more than machines!

most valuable lesson you have learned... Not just to make

pretty faces but to create temperament.

mistake wouldn´t you repeat... Being late. the most interesting thing about being a make-up artist is... You work miracles when it is all about illusions.

and worst... Carrying all your beloved brushes and palettes up and down the tube when there is no escalator!

An industry insider would say... Seeing is believing. Who is the most interesting person you have worked with and Why... Transvestites because there are no boundaries from an aesthetic point of view.

Is your work underrated?

I don’t think so, in a shoot/show, most of the team works behind the scenes. Every one of us contributes our part to make things happen.

advice you would you give to someone following this path... Try to collaborate with different

people and you will always be amazed by the results!

You will never forget...... How

lucky I am! Photography by Sophie Buxton Styling by Tova Hasselblad Model: Leo@Profile Hair & Makeup by Joey Choy

Happiness is... Love what you are doing. http://www.the-jrevolution.com

W W W. W E A R E L E S S C O M M O N . C O M

S H O W C A S E . I L L U S T R ATI O N . M A R G A U X S O L A N D

LESS COMMON MORE SENSE

S H O W C A S E . I L L U S T R ATI O N . M A R G A U X S O L A N D

Margaux Soland, ILLUSTRATOR Tell us about this work... The starting point was the word “ambiguous”. This image is meant to reflect biological ambiguity. I set out to depict how biological ambiguity has been seen, throughout history, as both sublimation and decadence. What inspired you...

I drew inspiration from the book ‘Seraphita’ by Honoré de Balzac, the film ‘Naked Lunch’ by David Cronenberg and old pagan mythology.

What are you working on now? A project for the Royal Academy of Arts Masters degree I will start in October.

Your plans for the future are... Near future : studying at the Royal Academy of Arts. Not so near future: not fall flat on my face and somehow manage to make a living out of whatever it is I do.

Who would you like to collaborate with... Terry Gilliam or David Cronenberg, if I could travel back in time to the 80’s.

Why... Because their early films have shaped my artistic taste as I watched them growing up.

They keep inspiring me continuously as my understanding of them changed over time.

Where would you like to be exhibited most... anything then at the MoMa in New York or at Beaubourg in Paris.

Well if I can say

The most interesting thing about you is... I’m not what I seem. People say... “You’ll understand when you grow up” You can´t live without... Fiction. You will never forget... The fox in “The little Prince” with Gerard Philipe’s voice. Happiness is... Peace of mind and a slow steady heartbeat, and the opposite of that. Your favourite thing in life is... To belong. If a wish were to come true it would be... To have super powers. You live by these words... I would rather feel remorse for the things I have done than to regret not having done them.

http://psychoplastics.tumblr.com/ Left: Untitled, collage, acrylic paint, photography, 200x280 mm

W W W. W E A R E L E S S C O M M O N . C O M

S H O W C A S E . F A S HI O N D E S I G N . A N D R E I A M AD O

LESS COMMON MORE SENSE

S H O W C A S E . F A S HI O N D E S I G N . A N D R E I A M AD O

Andrei Amado, fashion designer Tell us about this work... The t-shirt dress was made for a friend. What inspired you... Nothing special, its the best way for me to relax. What are you working on now? Research and first design work for my Central Saint Martins Masters final collection.

Your plans for the future are... Design for a company whose vision I admire and some freelance illustration work would be great.

Who would you like to collaborate with... I would love to design an album cover for Alela Diane.

Why... I can relate to the nostalgia of her music.. The most interesting thing about you is... I still need to find out. People say... “Stop eating!” You can´t live without... Popcorn! You will never forget... What my mum taught me. Happiness is... To be aware. Your favourite thing in life is... There is no such thing as a favourite thing in life. If a wish were to come true it would be... to work in Australia in a

Koala bear resort.

You live by these words... I live, I love. http://andreiamado.blogspot.com/ Left: Sabrina Fischer wears T-shirt dress by Andrei Amado

W W W. W E A R E L E S S C O M M O N . C O M

S H O W C A S E . G R A P HI C D E S I G N . J osep h i ne G us tav sson

LESS COMMON MORE SENSE

S H O W C A S E . G R A P HI C D E S I G N . J osep h i ne G us tav sson

Josefine Gustavsson, graphic designer Tell us about this work... The brief was to update the cover look for H.G. Wells story about Arthur Kipps, written in 1905. In the book the protagonist falls in love with his woodcarving teacher, which explains the choice of medium. What inspired you... Traditional woodcarving and letterpress type. What are you working on now? My website. Your plans for the future are... Starting to take shape. Who would you like to collaborate with... People who are prepared to put a lot of work and effort into making exciting things happen.

Where would you like to be exhibited most...

My most recent animation ‘Window Interplay’ (http://vimeo.com/12809392) is a non-commercial piece of work, created for the moving image screens of the London Underground. To be able to showcase the animation in the location it is intended for would be a great culmination of the project.

The most interesting thing about you is... That I most often carry out what I aim to do.

People say... That it is difficult to acquire design jobs at present. I hope to prove them wrong. You can´t live without... A phone line to Sweden. You will never forget... Meeting tailors at Savile Row when doing research for a

final year project. Their craftsmanship is impressive.

Happiness is... Feeling the smell of fresh ink in the printing studio. Your favourite thing in life is... The adventures that appear through my

interest in art and design.

If a wish were to come true it would be... To be able to afford a professional DSLR camera.

You live by these words... “If you’re not prepared to be wrong, you will never come up with anything original,” Ken Robinson

www.josefinegustavsson.com Left: Kipps, wood carving, photography, Jelutong wood, 160x250 mm

W W W. W E A R E L E S S C O M M O N . C O M

S H O W C A S E . gr a p h i c d es i gn . J a ck L ee

LESS COMMON MORE SENSE

S H O W C A S E . gr a p h i c d es i gn . J a ck L ee

Jack Lee, graphic designer Tell us about this work... Human decision always results in something else that is unintended. The aim of this project is to investigate the human-decision-input and visualize the unintended and unpredicted consequences. What inspired you...

I’m always aware of Human existence; the moment when two people come together, the conversation, the tone, laughter, the silent, the gestures, the eye gaze, all those details. After a few special experiences, I like to analyze my feelings, document them or visualize them.

What are you working on now? On my series of letterform illustrations and some low-tech interventions.

Your plans for the future are... Travel more before the world ends, take risks before knowing dangers, have fun before feeling bored.

Who would you like to collaborate with... Musicians (not singers). Why... I’m deeply in love with music-inspired art, creations and videos. Where would you like to be exhibited most... Places where people

appreciate creations.

The most interesting thing about you is... I’m quiet, but I get wild occasionally.

People say... Don’t work too hard. You can´t live without... Accepting changes around you. You will never forget... There is no perfection. Happiness is... “Happiness is only real when shared.” Your favourite thing in life is... The ability to imagine. If a wish were to come true it would be... A round-applause from the crowds.

You live by these words... “Get excited & make things.” www.jacktherabbit.info Left: Composition of Consequences, sliding platform and felt-pens drawing, 594 x 841mm

W W W. W E A R E L E S S C O M M O N . C O M

S H O W C A S E . gr a p h i c d es i gn . M a rjo L oponen

LESS COMMON MORE SENSE

S H O W C A S E . gr a p h i c d es i gn . M a rjo L oponen

Marjo Loponen, graphic designer Tell us about this work... The project was to transform an already existing piece of creation to a different medium. I chose to turn sound into a visual representation of my own. Studying the tones, the highs and lows of my chosen song “Twisted Nerve”. What inspired you...

I soon abandoned the conventional rules of sound visualisation and took inspiration form Cornelius Cardew’s Treatise, a notation system that any instrument can follow and produce a sound that is unique.

What are you working on now? I’m working as a freelancer. Being in an

agency for the past two months has given me the most invaluable lessons on working hard and trying to work smart.

Your plans for the future are... I try not to plan too far ahead, for my plans

never seem to go the way I thought they would, and I actually quite like that. I’ll aim to keep working, being surrounded with good friends and keep my personal projects going, no matter how busy things get.

Who would you like to collaborate with... I was lucky enough to find a brilliant working partner, Jessica Williams, who I look forward to doing another project with in the near future.

Why... They seem to be the most fun not to mention the most fruitful method of work for me! Where would you like to be exhibited most... I’m really looking

forward to the print workshop exhibitions I’ll be taking part in this autumn, that hopefully manages to offer a new dimension for visitors less familiar to the beauty of print and the passion that goes into that craft.

The most interesting thing about you is... Probably the things that keep me interested in creating.

People say... Way too much. You can´t live without... Garlic. And ketchup. I know, I have great taste. You will never forget... I like to take a good sniff whenever I really wish to

memorise a moment. Its amazing what a scent can do to your memory.

Happiness is... Feeling like you are in the right place. Your favourite thing in life is... Walking in the woods, not getting lost. If a wish were to come true it would be... To have challenging and inspiring work, keep myself efficient and being able to see the world on the side.

You live by these words... Oh whatta heck, Go on then. iamnotyourtype.co.uk Left: Sound, silk screen print, 420 x 594 mm

W W W. W E A R E L E S S C O M M O N . C O M

S H O W C A S E . S culp t ure . P e d ro P i res

LESS COMMON MORE SENSE

S H O W C A S E . S culp t ure . P e d ro P i res

Pedro Pires, artist Tell us about this work... I was invited to design a sculpture for a building in Parque das Nações in Lisbon, where Expo´98 happened. This piece is part of a group of five almost identical sculptures, all made of metal. There are other works there of such artists as Antony Gormley, Pedro Cabrita Reis and Fabrice Hybert. What inspired you...

The idea was to create a sculpture that would question the concept of identity in our contemporary industrial world. I wanted to create a work with an anthropomorphic look, using small metal squares that relate to pixels. The site´s history was very important to me as a starting point, as if it was an old factory.

What are you working on now? Photography. I wanted to explore the

dynamic space of the human body so I naturally turned to photography. It allows me to capture the body in movement.

Your plans for the future are... Keep on developing my work, find a studio in London, collaborate with a London gallery and continue to develop my career in Portugal.

Who would you like to collaborate with... Tim Hawkinson and Francis Alys.

Why... Tim Hawkinson, because he explores the relation of measurements and the human body through sculpture, sound, kinetic sculptures, robotics. Francis Alys, because I admire his strategies in approaching contemporary issues. Where would you like to be exhibited most... Venice Biennale. The most interesting thing about you is... My family history. People say... Clichés. You can´t live without... Memory. You will never forget... My Mother. Happiness is... Laughing. Your favourite thing in life is... Making a sculpture. If a wish were to come true it would be... Having a beach in London. You live by these words... Everything is relative. www.pedropires.pt Left: Man Wall, sculpture/ welding, 1980x750x450 mm

W W W. W E A R E L E S S C O M M O N . C O M

prof i le . d i rec t i ng . d i m i t r i s bog d a nos

profile /

andy comes to town by ana nicolau

Ana Nicolau/ How did directing enter your life?

I started acting at the age of 12 in my school´s theatre group and I ended up teaching while I was still a student.

Dimitris Bogdanos

AN/ That is unusual.

DB It was weird. Suddenly, I knew exactly how those kids felt on that stage. I then went to University to do a BA in Fine Arts and Science of Art and, at the same time, started a second BA in Drama school. AN/What were you supposed to do with your BA in Fine Arts? DB I could become an artist, graphic designer or art critic,

depending on the direction I would choose. When I got into Drama school they only gave me the opportunity to join the school for one year, so I decided to do both. It was a great pleasure. After I finished Drama school, I worked as an Assistant Director for a couple of quite important theatre productions in Greece.

AN/You studied acting but went on to be a Director...

DB During Drama school, I never had any ambitions to become a Director. My tutor was consistently trying to convince me that I should do it. He was absolutely right. Even now, although I love acting and I´ll be very grateful of any opportunities that may come in the future, directing has become my thing. I love it, I love it now.

AN/Then you came to UK to do the Directing course at the Royal Academy of Dramatic Arts and the MA in Performance Design and Practice at Central Saint

Martins School of Art and Design, both in one year. DB When I decided to come to London, I had money saved from of the TV series I was doing, so I knew that if I spent all that money in a year in London I had to take full advantage. I also did short courses in Central

LESS COMMON MORE SENSE

Dimitris Bogdanos

Great talent is bred under London’s grey sky. We sat down with emerging Director Dimitris Bogdanos , a RADA and Central Saint Martins Alumnus, who told us how he is bringing Andy Warhol to town. School of Speech and Drama and in The Place. AN/How were they?

DB They had different feels to it. I think as a Director you

need to have full knowledge of what all your people have to do. I had the chance to work with a Choreographer and a Musical Director and have a general feeling about their work. You need to know about what they do, because you one day you will be calling them to do it. The MA in Performance Design gives you the opportunity to do any part of the performance that interests you within contemporary performance.

AN/And the Royal Academy of Dramatic Arts was more about acting.

DB Yes, on how to direct your actors. It was a great balance. Probably if I had only done one of the two I wouldn´t be so satisfied from this year in London. Central Saint Martins School of Art and Design is, of course, very contemporary. But the freedom you usually have is endless and you might get lost with your actors. The Royal Academy of Dramatic Arts has a more conservative structure and methodology, which is great. It was also very valuable that I had the acting background. What you need to do as a Director is to love your actors.

AN/What do you mean?

DB I mean that, from the very first moment you need to

take care of them. Actors are very insecure creatures. Suddenly, you create a bonding that lasts generally for about three months. As a Director you need to know everything that´s going on with their lives.

AN/That sounds personal.

It becomes personal. And it is weird because it only lasts that long. Of course, you might make friends but not with all of them. Definitively not all of them.

prof i le . d i rec t i ng . d i m i t r i s bog d a nos

AN/is It either hate or love? DB

Yes. [laughs]

Central Saint Martins or something you decided to do because you wanted to?

AN/How do you manage to distance yourself?

DB No, it was something I wanted to do. But if it wasn´t

The thing is that you work for so many hours with them. You become very close to each other. It´s not a nine to five office job. Everything is give and take. You need to take distances at some point.

AN/What is “andy” about?

AN/Is it hard?

It is, because feelings usually are shown so you know whether the other is a friend or not. It is also works the other way around. If you have someone working for you that is a really close friend or a lover, suddenly things become weird. You can´t control your worker.

AN/That is your challenge as a Director. DB Yes, one of the challenges. AN/What other challenges are there?

DB Usually the first challenge has to do with production.

You have the idea and need to find funding, actors, all your contributors. Time is always a challenge in theatre because you never have enough. And now, the new challenge after the MA is contemporary theatre. The most important thing is that you´re totally free. That´s also the thing London offers you. It is productive, it´s how things go further.

AN/Is theatre all about the people?

DB Hmm, I´m very sentimental so I would say, yes. [laughs] AN/You´re Mediterranean so that´s fine.

Yes, probably that´s fine. It´s always about the people. The outcome is not defined by that. You can have a great team and the result won´t be good. But, at the end of the day, you will either have a good time doing what you´re doing or not.

AN/What sort of things inspire you?

Anything could inspire me. It doesn´t matter if it´s theatre related or any other kind of art. You create images out of anything, that´s your job as a Director, and to be honest; that is one of the major things. The truth is the goal, be it in comedy or drama.

AN/What is being honest as an actor? Is it just make-believe?

Yes. You have Meisner and Stanislavski methods and all kinds of techniques to help you recall feelings and everything, but I wouldn´t ask an actor to follow a certain method to do it. You are free to find your way and I´m here to guide you in the way that suits you best.

AN/Would you be able to work with someone you really don´ t like? DB No. It destroys everything. AN/Would you fire that person? DB Usually, you can´t do it. Once production starts, you

have to work with them. Mainly, we are talking about actors. They are a team and that´s why it´s very hard, because when they are on stage the problem won´t be if I had a fight with someone. It is between them that is the main issue; we need to have a good atmosphere.

AN/Is your new play “Andy” your first experience as a Director? DB No. I directed a play back in Greece. This will be my

first directing experience in London though.

AN/Is this play the culmination of your MA at

for the MA I wouldn´t do it. The MA was the platform that allowed me to do it. The play is a biographical monologue by Andy Warhol. He´s coming back to share thoughts and feelings he had during the 30 years of his career. What he actually does, at the end of the day, it to take off the costume that he wore as an artist.

AN/Costume as in social mask.

DB The first portrait he created was his own. In a way that

before starting, even at the young age of 23 years old, he created this image with the wig, the silver hair, the glasses, he had a nose job. I mean, he tried to create a portrait that would be easier, let´s say, served. So definitively, the play is about his misunderstood and unexplained personality. I can´t say I totally broke the code.

AN/Why Andy Warhol?

DB That´s one of the influences you were asking me before.

He was one of my favourite the artists when I was doing my BA in Fine Arts. I don´t know, I had this obsession of doing something about him. We can find him in films but only as a supporting character, they were always about someone else - Edie Sedgwick, Basquiat, even the story about the girl that shot him, Valerie Solonas.

AN/What sort of research did you do?

When I started I thought “Ok, this will be easy” because there is so much information out there. He wrote books, created a magazine, made movies, paintings, pictures. So what I thought it would be easy ended up being the main difficulty in the end, because the amount of information was endless.

AN/What are you hoping people will take after they see the play?

That they will mostly understand Andy Warhol´s human side and not the obvious career/art perspective. I don´t want someone to leave the play – and that´s one of my biggest concerns- and feel that they only heard about celebrities and parties. We are trying to describe him as a human being in a general sense.

AN/The premiere is on September 25th.

Yes and it´s a one-off show. There is a possibility to continue showing in the future but we don´t know yet. We don´t have the space at the moment.

AN/Space, as in funding or physical space?

DB [laughs] Space as in funding. AN/What advice would you give to someone wanting to be a Director? DB I would tell them to follow their instinct. When you

are called to direct a play, don´t try too hard. Simplicity is much stronger than trying to combine lots of stuff and ideas.

AN/What are the key qualities a Director must have? DB A director needs to be a good manager of people, money,

time, everything. They shouldn´t be a lost artist. A Director needs to be able to communicate and be productive.

AN/And probably be a hard worker. DB

That´s not even a question, it´s obvious. W W W. W E A R E L E S S C O M M O N . C O M

l i m i t e d e d i t i on . pa i n t i ng . jul i e benne t t

limted edition /

Johnny, painting, oil on canvas (Household gloss), 1520x1220 mm

Julie Bennett has produced a limited edition print of “Johnny”

To reserve your copy of one of the edition of 25 signed by the artist, email julie@juliebennett.co.uk Archival pigment print on cotton-rich fibre based paper. Image size 355x540 mm, paper size 450x610 mm. £150 unframed; £250 framed. WWW.JULIEBENNETT.CO.UK

W W W. W E A R E L E S S C O M M O N . C O M

h i g h l i g h t . i llus t r at i on . M a r i a Vl a d i m i ro va

highlight /

Deadly thin, hand-drawn illustration, liner, markers, photocopy of photograph “The wasp waist”, 1890´s, approx 210x297 mm

Maria Vladimirova

“When created, a corset was regarded as a medical garment. In early 19th century women were thought of as the weaker sex and corsets were used to support the spine since they were 4. By the time girls were teenagers such aid became necessary, as their bodies became weaker. Seen good for morality and health, a corset became an alienable part of life. But tight lacing resulted in health damage and by the end of the century, corsets were blamed for causing diseases such as cancer, rib displacement, abortion, epilepsy, hysteria, melancholy, spine curvature, consumption and hunchback. They were also critised for titillating qualities especially when used in erotic literature.” http://mina-milk.com W W W. W E A R E L E S S C O M M O N . C O M

I N T E L L E C T U A L R I G HT S . F I L M . C Y R A N F I E L D

INTELLECTUAL RIGHTS / Film by Cyran Field The intellectual property issues concerning creating a film are vast, in an attempt to consider the salient points that may affect you, here the some issues to scrutinise when submitting your film to a film festival. If you are considering submitting your film to a festival, the film festival guidelines contain general requirements that are relevant to all film festivals; however one should never assume that the rules and requirements for one festival will be the same as those for another. Pay close attention to the “Frequently Asked Questions” and the “Terms and Conditions” of entry for the particular festival you are submitting your piece to, as failing to comply with these guidelines can lead to disqualification and loss of your entry fee.

One of the fundamental points to take note of, supports my initial point about thoroughly reading the submission guidelines. It is a common entry requirement that once the piece has been submitted for one festival, it may no longer be eligible to be entered into another festival. So you must consider carefully your strategic position when considering those festivals you decide to enter. You do not want to prevent yourself from entering the same piece into two different festivals simply because of the order in which you have chosen to apply. Copyright in a film or video exists at many different levels to protect the creations at different points until the completion of the final piece. As you are aware, films are highly collaborative works and film-related intellectual property rights are not only limited to copyright of the released film; copyright subsists in the script, the soundtrack, the film screenplay, the set designs (either designs on paper or as 3D installations), the film itself and eventually when that film is shown at a screening or on TV, that broadcast itself is also protected. Knowing your rights at each of these stages will allow you to be commercially aware of your position, should you choose to exploit your intellectual property as well as being able to take adequate steps to protect your work too.

LESS COMMON MORE SENSE

The score for a film should not contain music without first being cleared and properly licensed from the copyright owner, unless of course, the score has been specifically created for the film in question. Usually, licensing for this purpose can be obtained from organisations that look after the interests of different parties involved in creating music, although you will essentially need a Mechanical Copyright Protection Society (MCPS) license. Licensing specifically for submission into the film festivals will mean that you may not be able to broadcast the film commercially outside of the film festival. So be aware from the outset as to which type of licence you require. In the event that you do not intend to make any money from your film, remember this does not excuse your use of copyright material without the owners consent. The film’s director and producer are joint authors of the work under UK copyright law and therefore joint owners of copyright. Contractual agreements can change this position however, and you can agree who should own what amongst those involved. For example, the ownership of rights is usually strongly influenced by the film’s production, so a large production company may insist in the assignment of the director’s copyright whereas a smaller production company may be happy to be joint-owners of the copyright alongside the director and or producer. Practically, if you are presented with the option of signing over your rights to copyright, you should make sure that you are adequately compensated. In order to take advantage of your work, ultimately your aim is to have a ‘cleared’ film. A cleared film is one that can be distributed, performed, copied, and otherwise exploited by the copyright owner without infringing or violating another’s intellectual property rights and without the likelihood of a claim for such. Do not be caught out ‘accidently’ using another individual’s copyright work; always be aware of those involved in creating your final piece and the rights their contribution may attract and be prepared to discuss them at conception.

wwww.wearelesscommon.com

Less Common More Sense /ell-ee-ess-ess-cee-oh-emm-emm-oh-enn-emm-oh-arr-ee-ess-ee-enn-ess-ee/ • noun award winning magazine and media brand, controlled by University of the Arts London (UAL) Students, showcasing the work of students and alumni at UAL. • adjective the best creative student work in the UK, probably in the world. • verb the action of the collective 20 000 + of the world’s best creative students and graduates. Derivatives • acronym: LCMS • twitter: @wearelesscommon • email: lesscommon@su.arts.ac.uk • website: www.wearelesscommon.com

Call for Submissions Do you want to see your work published? Less Common More Sense is now calling for work . Visit www.wearelesscommon.com to submit your work . We welcome submissions from all areas of the creative arts. You must be a current student or an alumnus of the University of the Arts London.

Copyright 2009-2010 The Students Union, University of the Arts London and the authors. No article may be reproduced or altered in any form without the written permission of the editor. The views expressed by the contributors/writers are their responsibility and not necessarily those of the editor(s), the publishers, or the university of the Arts London. Disclaimer All content we showcase remains copyright of the original creator and if you submit content, expect it to be posted somewhere! If you’re oﬀended by anything, we’re not responsible (and don’t moderate lots of what will be up here, particularly on the “Them” feed) - so if this is likely to be the case, we suggest you don’t visit wearelesscommon.com. Frankly there’s worse stuﬀ on the toilet walls, so we hope you enjoy yourself and indulge in our online home.