Lemonade Magazine 02 by Lemonade Magazine

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articles

interviews

p.14 - Hydro 74

p.04 - Anthony Gargasz

p.28 - Mike Shinoda

p.18 - Kim Holtermand

p.40 - Boris Tellegen (Delta)

p.34 - Nathan Jurevicius

p.66 - Inside The Artwork

p.44 - Yanni Floros

iron flag studio

p.82 - Origins

p.48 - Anti

p.84 - Daniel Everett

p.60 - Emma Critchley

silje marie kristiansen

p.72 - Silje Marie Kristiansen

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ANT ANTH HONY ANTHONYGARGASZ_

ONY

Anthony Gargasz is an up and coming player in the digital art world and has developed quite a name for himself over the past year. His combination of abstract fractures and a strong understanding of composition and colour captured our attention back in September and we immediately set about doing a write up on his work. When it came time to plan this edition of the magazine there were many things we knew we wanted to improve and expand upon, one of which was having a guest artist produce the front cover for the magazine. We wrote up a shortlist of artists who we wanted to approach for the job but we all agreed swiftly that Anthonyâ&#x20AC;&#x2122;s work represented the approach we wanted to go for.

GAR GARG GASZ ASZ 05

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Lemonade Magazine: For those who aren't aware of you or your art, could you introduce yourself ? Anthony Gargasz: Well my name is Anthony Gargasz, and I am a 19 year old digital artist & designer. I've been fascinated with digital creation for about 8 years now. It all began when I stumbled upon Photoshop on a friend's computer, and from that day forward I became obsessed with what you could creative using your mind and a machine. My skill set is mainly self taught with about a month of college education that really filled in a lot of blanks on basics that I had never learned. I'm very passionate towards digital art & its progression. If it were socially acceptable I would marry my computer and call of its apps my children. My main source of inspiration is electronic music, ranging from minimal glitch tunes to heavy dubstep. It helps me translate ideas in my head to beautiful creations. As for my personality you could say I'm very outgoing, enthusiastic, and optimistic. Life is too short to be serious all of the time, so I like to focus on making others laugh, smile, and enjoy life. You have recently been a part of the Evoke III exhibition; tell us about the exhibition and how it went. Ahh good ol' EvokeOne. For those who are unaware, EvokeOne is an online digital art & media collective founded in 2005 composed of a line-up of international artists from all walks of life who all share a burning passion for the arts. On November 12th we held our first live exhibition to celebrate the release of our latest pack Evoke III. James Merrill was the one who first hinted at having a live show about a year ago, and near the end of September of this year I touched base with him & we got the ball rolling! Together we selected a venue, promoted the event, gathered print files, and made it happen. The exhibition was one of the best nights of my life. It was fascinating to see people's reactions to digital art, because that is not what you usually see displayed in an art gallery. The overall purpose for the event was for exposure, and to add more value to the release of Evoke III by showing artwork on tangible mediums with artists in attendance, as opposed to people being limited to seeing our work on their monitors and talking to us via chat applications. A few of our artists from the states attended the event including Parker Gibson, Parker Peterson, Josh Thomas, Ted Yavuzkurt, and Daniel Kong. Meeting artists I've known for years online was quite an experience as well, for even though I was meeting them for the first time

nobody was a stranger. We had a constant flow of people browse our work throughout the night while enjoying the sounds of DJ Vibage, free stickers, brew, and arm wrestling. Throughout the entire event we also streamed everything live via a Google+ Hangout so that our artists overseas were not left out. That sounds like a really interesting concept for an exhibition, do you think that these sorts of exhibitions will become more popular over the coming years and how far can the boundaries be pushed? It indeed was an interesting experience, and yes I believe that over time it will become more common to see digital art displayed in galleries. Digital art galleries have immense potential to revolutionize galleries as we know them. Most great digital artists I know are self taught, and have learned almost everything they know from networking online, tutorials, and spending countless hours exploring programs. I've had a vision of digital art galleries hosting massive networking events, live tutorials, and live art creation therefore pushing the boundaries of galleries to not only displaying art but also being a resource for passionate artists and designers to develop their skills. I view digital art as new era of art that we are entering into, and it's just a matter of time before it becomes just as popular in real life on tangible mediums as it is on the internet. How did you get in touch with the other artists involved in the Evoke exhibition? With the top secret back end members section of course! All communication and criticism amongst Evoke artists goes down there. We're very fortunate to have such a great resource to develop our skills thanks to Matt Dobson! Tell us about your piece 'Antics' created for the Evoke III exhibition, what was the inspiration behind it? The inspiration for that piece actually came from a piece of pizza. I was just eating a slice at a cafĂŠ one day and since it was an abnormally large slice I started to spin it around a bit. I then held the pizza up and placed it at the bottom of my forearm and just loved the way the triangular pizza and arm looked together. Thinking about it now I can only imagine what the other people eating at the cafĂŠ were thinking, but I think the embarrassment was well worth the outcome!

Antics anthony gargasz

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If you had to choose your favourite piece from the show that wasn't yours, which one would it be and why? That's a tough one, but I'd say my favourite piece from the show that wasn't mine would be Ricardo Juarez's Kumiko Kisho. That piece is insane; I really love how complex it is yet how well he was able to keep it perfectly balanced. The colour scheme is amazing, the doodles make very interesting supporting details, and the main character looks like a raved out female with a Mickey Mouse hat to me. Overall it's a very unique concept with perfect execution! Let's get back to your point about being inspired by music now. Using music as inspiration for artists is quite common, however the choice of music and the effect it has on the artist can vary so much. What is it about the music in particular that helps and do you have any go to musicians, as it were, when producing a piece of work?

Music tends to be the mortar to my bricks, without it my pieces would fall apart during their creation. It helps me stay focussed on a concept from the time I create a new file to when I'm adding the final touches. When it comes to go to musicians it all depends on what concept I'm trying to execute. For pieces that contain multiple bright colours, intricate details, or involve some sort of chaos I usually turn to dubstep and pump some Datsik, Borgore, or KOAN Sound into my brain. I usually only listen to more hardcore music when creating art, however when indulging in some design I aim for more ambient & minimal sounds such as some Aphex Twin, Cex, or Telefon Tel Aviv. When not making art & just searching for inspiration I'll listen to anything. I really enjoy exploring different genres of music, and have always found something I like about them besides country. I can't stand that garbage. The work that first grabbed our attention was your 'Artjunks Wallpaper' design, As we mentioned in our article released earlier in the year, we find that this style of work can be quite

I believe that over time it will become more common to see digital art displayed in galleries. Digital art galleries have immense potential to revolutionize galleries as we know them. - Anthony Gargasz

Intrinsic Nature anthony gargasz

hit and miss due to the vast number of elements being used in one piece. How do you maintain such a strong sense of composition and symmetry without falling foul, as so many artists seem to do, of over composing the design? Having a strong composition with symmetry is a bit tricky. Typically when something is symmetrical it's a mirror image either horizontally or vertically, but to me that was too boring. So to bend the rule a bit and get away with it, I made the major geometric elements symmetrical, not so major elements and colours slightly symmetrical, and details asymmetrical. I'd say the secret to it is making sure all the elements and colours are well balanced and the supporting details of the elements are unique in their own way. Going this route is a hit or miss as you mentioned, so it takes a lot of trial & error to get it right. Which piece of your work would you say defines your style?

Hmm my favourite piece would be Antics. Before creating it I never really liked minimalist, but after creating something so simple that has such a great impact it really opened up my mind to new horizons and gave me a new understanding of the phrase "less is more". It was also the first time I modelled an organic element in 3D which I've been trying to learn more about lately. Experimenting is always worth it! What is a day in the life of Anthony Gargasz like? Ahhhhh day in the life of me. Well, on weekdays I wake up every day anywhere from 7 - 8:30 AM, or at least try to, and begin by crawling to a pot of coffee. Mornings usually consist of checking email, touching base with clients, and wasting time on the internet a bit so I don't while I'm working. I'll then dive into a day of design and try and be as productive as possible by working on one task at a time, and taking 10 min breaks every 2 hours. I'll do this until anywhere from 3 - 5 PM, when or if I

What Did You Expect? anthony gargasz

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have to go to my day job. I tend to schedule meetings on my days off, so I'm always up to something design-related. I'll then work the day job until about 10 pm. Once I get home I shower up, get some food in my stomach if I haven't already, and then usually work on some art until I go to bed around 1 AM.

Absolutely, this allows people to understand the method to all the madness. Seeing everything broken down into layers, and being able to use the same program features really helps the learning process as well. With traditional art you can't hit cmd + z and go back to experiment some more or explain how you did something.

Which projects do you find the most rewarding? The ones that are fun, or the ones that have financial gain? The most rewarding projects are personal ones. They're the true expression of your passion, free of restrictions, deadlines, and barriers. Creating art for fun helps me be more creative when it comes to doing commercial work. It's like having a healthy balance of work and play. If you could create your own dream project, what would it be and why? My dream project would be to open up an art gallery that focuses on digital art. However, it wouldn't be just another art gallery. It was also be a coffee shop and classroom. There would be a corner room full of desks, computers, and developing digital artists. Myself and other knowledgeable artists would provide workshops on software, the creative process, and even the history of digital art. I would love to do this to be a very unique resource to developing digital artists, and provide great coffee & art to those who already are! This is just one of many twinkles in my eye, like monetizing Evoke one, designing children's toys, and an art installation of a C4D model. If money wasn't real I'd already be pursuing these things, but since it is very real I'm going to have to pick one & dedicate all of my focus towards its success. That's an interesting concept for an Art Gallery, How do you think digital work should be displayed in a gallery context? I think that digital art should be displayed on canvas so that it will have added value and people will appreciate it as art and not just another desktop wallpaper or cheap poster. As digital work is so different to traditional forms of art in terms of the ability to really document the design process, do you think this opens up more opportunities to experiment with the concept of a "gallery"?

Want to know how Anthony made the front cover for Lemonade 02? Check out the Lemonade website for a case study from the man himself, Coming soon!

Exhale anthony gargasz

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Villain anthony gargasz

Unleash Your Mind anthony gargasz

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74 y

HYDRO seventy-four

IS THIS SELF PROCLAIMED VECTOR JEDI RESPONSIBLE FOR THE BIRTH OF POP ART 2.0?

Joshua M. Smith, better know as Hydro 74, is a multi-talented American designer from Orlando. His work can be seen adorning numerous different areas of commercial products from sportswear giants Nike and Adidas to legends of the music world Smashing Pumpkins. Hydro 74 is known for his vector manipulation work that brings together a street art meets Pop Art style with a little bit of Art Nouveau thrown in for good measure. Now whilst Hydro74 displays a lot of vector design in his work, and one cannot argue with the sheer complexity and skill with which he does it, it is his use of symmetry and a mastery of type that must not go unnoticed. Whilst his vector manipulation gets most of the attention it is the backbone of a strong understanding of pattern and typography that helps provide a solid structure for his more expressive ideas to flourish and steal the limelight. This amalgamation of techniques and styles is what tips Hydroâ&#x20AC;&#x2122;s work over the edge and into a whole other dimension, far removed from anything out their at the moment. Could this be Pop Art 2.0?

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KIM HOLTERMAND Danish photographer discusses his most defining projects to date, Outliers, Volume One and Majestics.

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For those who aren’t aware of you or your art could you give us a brief introduction? My name is Kim Høltermand. I was born in Copenhagen in 1977 and used to work as a graphic designer in the advertisement business. In 2007 I bought my first DSLR camera and started shooting and uploading my first series to the Behance platform – and started a wildfire. I now work in the daytime as a fingerprints expert in the Crime Scene Unit of The Danish National Police and when I am not looking at fingerprints I work as a freelance architectural and landscape photographer focussing mainly on abandoned structures and desolate places. Using a minimal and de-saturated colour scheme in combination with the absence of people I create an eerie, epic and often lonely mood. Like David Lynch meets Stanley Kubrick.

It’s obvious you have a keen eye for lines and geometric shapes; do you think that’s due to your personality or education? Both, I think. I used to work as a graphic designer, loving grids, lines, forms and composition and craving the minimal, the cold and the clean. That has also more or less been a part of my personality so I think it all adds up to what I love and what my eyes see – and what I create. A number of your projects have been photographed in the beautiful city of Copenhagen, what is it about the city that inspires you to document it? It has the perfect balance between old and new. Recent years there has been a boom in new architecture and some of this is concentrated in one

Many artists hold a traditional day job to foot the bills, what keeps you passionate about creating art in your spare time? I actually have one of the coolest daytime jobs – I work as a fingerprints expert in the Crime Scene Unit of The Danish National Police. I feel like the luckiest dude alive. Working freelance with my photography gives me so much freedom and keeps my creative juices flowing. To me architectural photography usually entails a degree of commercial aspect, whereas your images have a fine art slant placed on them. How would you classify your own photography? I like to classify my work more as fine-art than commercial work. I feel more like an artist painting on a canvas than a factory producing a product for a customer/client. Most of my work actually starts out as personal work and later become “commercial” when clients contact me. I love the colours, or more accurately the lack of, in your images. It conveys a relaxed and peaceful feeling to me. What do you hope other people take away from viewing your artwork? I hope they get to see ordinary structures and buildings in another way than you normally would. The beauty and the soul of these “containers” that we walk in and out of every day. I try to breathe life into them and make them tell their story. And hopefully some people understand.

Outliers, Vol I (above) Kim Høltermand

(right)

Majestics Kim Høltermand

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Your previous work has been well documented so let’s focus on some of your newer projects. Can you tell us the story behind the Outliers project and what your hopes and expectations are for it? The Outliers project started out in 2010. I started chatting with fellow photographer Tim Navis via Facebook and we quickly ‘clicked’. We wanted to meet in person and the idea of making a documentary together quickly grew in our minds. A documentary of two photographers with completely different styles, shooting the same things in a remote place on the face of the earth. That special place became Iceland. Mostly due to its epic beauty and unique environment but also because we both felt drawn to this mysterious island of fog. What started out as an idea of the two of us along with a cameraman in Iceland grew into more – after endless amounts of emails and chatting we got even more creative people on board. Film collective Scenic Studio and music composer and producer Deru also joined the crew. Because music is such a big part of our inspiration we wanted a killer soundtrack to go along with the beautiful visuals and a lot of our favourite

musicians agreed on composing new material for our soundtrack. Artists such as Shigeto, Loscil, Goldmund, Asura, Tycho, Joby Talbot, Ryuichi Sakamoto, Take, Thomas Knak, Heathered Pearls, Eskmo and Son Lux cwhere confirmed. A project of this calibre would need money to become reality so we started a Kickstarter project and crossed our fingers. On September 4th 2011 our project got funded successfully thanks to the amazing Kickstarter community – collecting more than our goal of $ 45.000 USD in 45 days. We were ecstatic – we were going to Iceland! – to meet for the first time and to shoot the documentary of our dreams and a lifetime. And so we did. In October of 2011 we met and we had the trip of a lifetime. A trip that I will never forget and a trip that I am so thankful to have been part of. The finished result will be shown to the public for the first time next year – during spring 2012 when we hit the Pritzker Pavillion in Chicago with a special event including a screening of our documentary and an audio/visual performance from Deru along with artists from the soundtrack. Outliers will be unlike anything you have ever seen and on a whole new level. You will get a unique look behind the minds of two internationally renowned photographers and

two photographers with completely different styles, shooting the same things in a remote place on the face of the earth. That special place became Iceland. - Kim Høltermand

hopefully it will inspire and encourage other creatives; photographers, musicians, filmmakers to believe in what they do – to follow their dreams and make it happen. For the project you worked in partnership with two other artists. Was this something you’d done before and did you find it easy? I had never worked with other artists on any project before so of course I was exited (read: nervous as hell) to see if it would work. But it was so giving and inspiring to work with such an amazing group of creatives. We learned a lot from each other and made friendships for life. New developments are always changing the nature of creation. You use digital cameras and recently funded your latest project with the crowd funding website Kickstarter. What do you think the next big thing will be? I honestly don’t know. Well I have always wanted to make a book and a documentary on me and my work as photographer. And I also have some other concepts and ideas which I prefer keeping for

myself. There is no doubt that having succeeded with the Outliers project has given me even more inspiration and believe that this is just the tip of the iceberg. Who knows what’s next? That’s what makes my work so damn nice. You don’t know what happens tomorrow. The sky is the limit. If you could travel back in time and give some advice to your younger self what would it be? Also, do you have any advice or words of wisdom for aspiring artists? Keep believing no matter what and never give up your dream. What can we expect from you in the future and is there anywhere you would like your work to take? Expect the unexpected. Hopefully I will still be able to amaze people with my imagery and push my creativity to unseen heights. And I have a feeling that my work might be going in the cinematic direction…

I had never worked with other artists on any project before so of course I was exited (read: nervous as hell). - Kim Høltermand

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Majestics Kim HĂ¸ltermand

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Kim HĂ¸ltermand deserted city

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MIKE SHINOD

Most commonly known for being one sixth of multi-million selling rock band Linkin Park. Multi-talented, Mike Shinoda has been carving a name for himself outside of the music world of late with a return back to his child hood roots of art and design. Shinoda’s work has a distinct style, which is something that cannot be doubted. It fits perfectly into a little niche within today’s new wave of street/pop art, and whilst the discussion of this art genre is for another time, this can often be looked down upon by certain quarters of the online community. Add into the fact that he is a member of a highly recognised rock band and you have a recipe for a lot of negative opinion. However, just as Linkin Park have done with their music since their debut release, Hybrid Theory, back in 2000, Shinoda’s art has evolved and matured and is now capable of really pushing the boundaries and dealing with potentially difficult concepts and themes in a challenging and thought provoking way.

r A A f

His 2008 & 2009 solo exhibitions ‘Glorious Excess (Born)’ and the follow up ‘Glorious Excess (Dies)’ demonstrates this ability. For this exhibition Shinoda has produced a wonderful series of paintings and mixed media pieces that deal with the trappings of celebrity in a visually exciting way. What is also interesting about the selection of works chosen for the exhibitions is their ability to cater for a range of different audiences. Some of the themes are obvious and clear to see, expressed through a vibrant palette of colour and collage, Whilst others are hidden and require far more engagement with the work to truly crack its meaning.

The range of detail and depth of the work and the high level of exploration of the concept of ‘celebrity’ is what truly makes the exhibition series a wonderful collection of art, and if the theme isn’t for you, well then you can just admire the application, variety and creativity of the artwork, which I think we can all agree is visually impressive.

q 29

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If anything comes from this article, all I hope is that you explore the back catalogue of Shinoda’s work. Whilst we have focussed specifically on two collections of his work there is much more of his art waiting to be explored. I would imagine that the majority of you reading this will be aware of Linkin Park and the artwork produced for their albums is fantastic. Although Shinoda has not always been solely responsible for the work produced, he has played an important role in all the art that does adorn their covers. The collaboration with Dutch Artist Boris Tellegen (Delta) ,to name one, produced a fantastic collection of work. Where I would draw your attention to however is Shinoda’s début solo outing under the Fort Minor alias. The album art for ‘The Rising Tied’ really was the starting point for where his latest work has gone, style wise, and spawned his first solo exhibition ’Diamonds Spades Hearts & Clubs’ Which personally, is my favourite collection of his work to date.

It got to a point where the pervasiveness of “celebrity news” concerned me. It seemed like it has jumped out of its niche into places where it doesn’t belong. I would be watching the news, and thinking, “of all the things going on in the world right now, why are they covering so-and-so’s breakup?” It didn’t make sense to me. Add to that the fact that I’m supposed to somehow “belong” to that celebrity group—and I really don’t feel like I do in a lot of ways—and you can see how the topic started to become really interesting to me. The Glorious Excess (BORN) show was my way of diving into those topics, trying to find answers. It follows a central “celebrity” character, who is filthy rich, slightly violent, and famous without any particular skill or talent. - Mike Shinoda

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Mike Shinoda various

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nathan jurevicius s

lemonade catches up with the creator of Scary Girl to talk about all things creative and the rise to fame of his mysterious creation.

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Lemonade Magazine: For those who aren’t aware of you or your art could you give us a brief introduction?

What is it about the “How Quest Sought the Truth” work that you find dated? And how would you go about updating it?

Nathan Jurevicius: I’m an Australian artist based in Toronto, Canada and sometimes the US. Probably best known for my limited edition toys, books and game based around my Scary girl brand.

It was created 100 years ago when I was first coming to grips with the computer. Visually and technically it feels dated – like looking at an old hidden photo. Since then my work has evolved and feels more sophisticated. If I was to redo the story I’d probably tell it in a more experimental way, possibly play with live action and animation…pulling out smaller themes and focussing on them. There would be no musical moments in the revised version.

Who or what inspired you to start drawing? My father. He’s a potter, painter and art teacher and was the biggest influence on me becoming who I am. He would always provide my brother and me with unlimited amounts of supplies to create whatever we wanted (much to my mother’s horror, who would at the end of each day literally rake up the drawings in large pile). Can you tell us a little about you education in art? Are you self taught or did you go to uni? I have a degree in Design majoring in Illustration but self taught using the computer (the Illustrators had limited or no real access to computers during my time at University). How did you find your time at University? Did it help you become the artist you are today? I’m glad I went but I found my time there mostly depressing….maybe it was the school or something personal I was going through. Fortunately during my 3rd year I was offered a series of children’s books from a local publisher…this helped me a lot after graduating and got my foot into the world of full time freelance illustration. In 2002 you created “How Quest Sought the Truth”, Could you tell us about the creative process for this and how the project came about? A design company based in Croatia (Bulaja Publishing) contacted me in 2000 to work with a series of other artists interpreting famous Croatian folk tales. We were allowed to transform these stories in any way we desired as long as they could be presented online. Eventually we all met in Croatia at the Zagreb Animation Festival and showed the project there. It was an amazing experience and a lot of life-long friendships were developed. I’d love to redo my piece though as it looks very dated….but I suppose that’s the nature of developing your work.

You have worked for many different companies and brands across the globe; do you have a favourite piece of commissioned work? I think my favourite projects have been self initiated but funded/commissioned by external bodies. I really enjoyed a mural created for T Mobile in Berlin. It was developed by my side company ‘Harley & Boss’ with co-creator Andrea Kang. A few years ago I was also asked to conceptualise the characters / worlds for a new preschool series by Pocoyo creators ‘Zinkia’. It wasn’t my own project but it felt personal to me and it was during a good time mentally. Which projects do you find the most interesting? The fun ones or the most beneficial ones? The ones that are fun are the most beneficial to me. It helps if there’s a financial incentive involved but I generally accept projects (or create my own) that are engaging. Your project ‘Scary girl’ is really taking off at the moment; for those who aren’t aware of ‘Scary girl’ could you tell us what is going with that project at present and where you plan to take it. Scary girl has been my slowly evolving child since 2001 but in the last few years has moved into some interesting territory. Currently developing the property into an Xbox live and PSN game (due for release early 2012) and in active development on an animated feature film with Oscar winning producer Sophie Byrne (Passion Pictures Australia). 2012 is also the 10 year anniversary of Scary girl so there’s a few exciting things have planned to celebrate this.

The way that “Scary girl” has evolved sounds a lot like Alex Pardee’s ‘Chadam’, Are you familiar with his work? Yes, Alex’s work has moved into all types of realms (art shows, album covers etc). He’s also been involved in the toy scene creating his character ‘The Walrus Rider’ with Upper Playground. I’m looking forward to seeing what things he does in the future. What do you think the current trends are in illustration and how do you see the industry evolving. It’s interesting to see how illustration and fine art are merging. Many galleries are accepting illustrationbased works and art directors are looking at more art-focused illustration. I’m noticing a lot of abstract/interpretive works that reinterpret the environment we live in. Nature and fantasy seem to be a big trend. Who are your favourite artists, past and present? NJ: As a little kid I used to love staring at a Hieronymus Bosch calendar on our friends toilet door…spent a long time hanging out there! When I got a bit older I was into Francisco Goya, Picasso, Barbara Hepworth and Herge. There’s so many present artists I love – Yoshitomo Nara, the personal/cut paper work of Andrea Kang, Kelsey Henderson, Friends With You….too many to name them all…. have aaparticular particularmaterial materialor orbrand brandof ofmaterial material that you swear Do you have by and use for all your that you swear byof and usework? for all of your work? Winsor and andNewton Newtondrawing drawing inks, Prismacolor brush tip markers and inks, Prismacolor brush oddly, reallyand cheap Papermate ball point pens. ball point pens. tip markers oddly, really cheap Papermate What can we weexpect expectfrom fromyou youininthe thefuture futureand andisisthere there anywhere you would likeyou your worklike to take? anywhere would your work to take? projectI’ve I’vebeen beendeveloping developing a while There’s aaproject forfor a while – – organically growing from my Lithuanian heritage. It’s called Peleda (Owl). It began as a series organically growing from my Lithuanian heritage. It’s called of windup figures andasana series art show at the Magic Gallery in Canada Peleda (Owl). It began of windup figuresPony and an and has grown art show at the Magic Pony Gallery in Canada and has grown into the early stages of a major online game and short TV series with the ABC. I’m really excited about the potential for this as it’s quite a side step from the Scary girl universe conceptually/visually. Also have a show planned for 2013 in NYC that will be quite personal and new for many people….not sure exactly where it’s going to head though. Do you have any advice or words of wisdom for aspiring artists? Be open to learning new things, have patience and let yourself develop over time – don’t just stick with what you know. Seek advice as much as possible and hang out with creative people of all mediums.

My father. He’s a potter, painter and art teacher and was the biggest influence on me becoming who I am. - Nathan Jurevicius

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Scary girl has been my slowly evolving child since 2001 but in the last few years has moved into some interesting territory. - Nathan Jurevicius

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DELTA SIDESTEPPING TRADITION

FROM SPRAYPAINT TO CONCRETE KINDERGARTEN MODENA

[ ] Boris Tellegen aka Delta is an artist that I have been an avid follower of for sometime. I first became aware of the Dutch artists work after he produced the album art for Linkin Park’s second album ‘Meteora’ and I have been a keen observer ever since.

Known predominatly as a street artist early in his career, Delta sidestepped the traditional route of the graffiti artist and forged a style all of his own, and it is this style that has become synonymous with his name. Delta has now transformed this signature style over the past few years and has developed his graffiti inspired aesthetics into more sculptural and architectural type designs. Looking back over Delta’s portfolio shows an interesting timeline of development, moving from his now infamous satellite styled graffiti pieces, into a mixture of both 2D and 3D work and now into full on architecturally influenced pieces. His most recent work entitled ‘Kindergarten Modena’ is a prime example of this exploration of the third dimension and gives his signature style a completely new feel. Made out of what looks like giant blocks of pre cast concrete, The work also conjures up thoughts of a giant puzzle, with pieces being interchangeable and movable to form an ever-changing composition. With Delta’s 2D work you almost felt like you actually climb around and over all of the different sections as if it were a futuristic playground, and ‘Kindergarten Modena’ now makes those feelings a reality.

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KINDERGARTEN MODENA_

BORIS TELLEGEN/DELTA/ 2011

THE CONCRETE PLAYGROUND.

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Lemonade Magazine: For those who aren’t aware of you or your art could you give us a brief introduction? Yanni Floros: I’m an artist based in Adelaide, Australia. I’ve been doing art professionally now for about 18 months. I went to the National art school in Sydney and graduated as a sculpture major. I’m working primarily with charcoal at the moment but also paint and sculpt. I’m interested in the way we use what we make but also the process of how we get there. Who or what inspired you to start drawing? I’ve always been drawing. Growing up, I would leave it and always come back to it. It was just a fast and direct way to convey ideas. It’s the first form of art that everyone becomes familiar with whether they become artists or not. You graduated as a sculpture major from Art School, what inspired you to make the switch from sculpture to charcoal drawing? Or do you see a connection between the two? There never really was a switch; I always draw no matter what medium I’m presently working in. I work in charcoal these days because drawing has been a strong point for me and I wanted to see just how far I could push it. Definitely a connection is present. It is beneficial to practice many different disciplines because they all help each other in the end. I’ve learned a lot about painting through my drawing and a lot of my drawing through my sculpture. Do you think that your education in sculpture helped you with your ability to create the highly detailed and anatomically sound drawings that you do? Yes. Sculpture helps you think in a way that is not just illusionary but physical. That is a very strong combination. You’re not just thinking about the way that a Jacket or hair looks, but also the body underneath it, whether visible or not.

How did you find your time at University? Did it help you become the artist you are today? Yes and no. At times art school was difficult. I know successful artists that didn’t go to any art school. If you’re not ready for it then it could be very hard. I failed art school the first time around. I took a year off and practiced a lot and applied again the year after. I completed my degree but it was some years before I started doing art again. You have taken part in many exhibitions across Australia, Can you tell us a little about your first exhibition, post University, and the work you chose to exhibit. The first exhibition I had after art school was my metal sculpture exhibition. I was a small exhibition at a gallery in Sydney. They were architecturally based with influences from architects Frank Lloyd Wright, Le Corbusier and others. Examples can be seen on my website. It was tough and a little scary, the sculptures are very different from my drawings and I was a little concerned about how they would be received. The next was my recent exhibition in July at Lethbridge gallery which was 2 years later. For me, the work that really stands out in your portfolio is your ‘DJ Girl’ series. Could you tell us a little about the creative process, what inspired the series and where you plan to take it in the future? Those DJ girls are very personal. I started drawing them at tough time for me at the beginning of 2011. There is a hidden meaning in them masked by this unobtainable beauty which is distracting. The very first one ‘Hear No Evil’ was the last of the ‘Heads’ series which included the fire fighter, scuba diver and others. They were fun and interesting to draw so I made a series out of them. I wanted to represent a DJ and music but didn’t want to use a male in a male dominated industry. The models I chose are usually my friends and sometimes strangers I find interesting. The series has evolved quite a bit since the first and I have ideas for where I want it to go. You’ll have to wait and see…

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Do you see your work as a commentary on society? For instance your series of iconic weaponry have a disturbing beauty to them which raises a lot of questions, is this something you were aiming for with that particular series of works? Yes. All my work, in particular my drawings, are about our human world, especially my new work. As for the weapons, you are exactly on the money. That’s why the guns are represented by themselves, in that way, you have no choice but to view them for their aesthetics. With the human hand removed the gun just is a piece of brilliant design made of many moving and precision parts. Once you add a human hand to that gun, it becomes something entirely different. Can you tell us a little about the reoccurring theme of masked people in your work? In particular the pieces ‘That which is owed’ and ‘Rescue me’ The masking of people references a potential loss of identity. With the more technology we incorporate into our lives the more we are in danger of losing our sense of who we are and taking for granted the simpler things. In ‘Rescue Me’ a heroic figure is facing the most dangerous situation for him BUT he is entirely prepared for that situation with his technology. Whether he makes it or not all depends on his choices, his mind. ‘That Which Is Owed’ has a similar theme. Both these figures carry a great weight of responsibility which we all share in our own way.

Who are your favourite artists, past and present? I have many. Mostly from the past. The sculptors of ancient Greece, Edgar Degas, Auguste Rodin, Michelangelo, Leonardo Da Vinci and Gian Lorenzo Bernini just to name a few. Do you have a particular material or brand of material that you swear by and use for all of your work? I like certain brands but not so much that I rely on them. Limiting yourself to one particular thing isn’t good. As artists, we always need to expand and grow. Do you have any advice or words of wisdom for aspiring artists? If you want to get your work out there, enter every competition you can. Put yourself out there and don’t be concerned with rejection. It’s a part of life. I entered 10 competitions one year and got into 2. You got to just keep moving forward and work hard. What can we expect from you in the future and is there anywhere you would like your work to take? The focus has shifted slightly and the scale is a lot bigger. I’m happy that people respond to the work positively. That helps me keep moving forward.

The masking of people references a potential loss of identity. With the more technology we incorporate into our lives the more we are in danger of losing our sense of who we are and taking for granted the simpler things. - Yanni Floros

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Lemonade continues its series of articles focussing on the art that has spawned from the Norwegian music genre, Black Metal. In this edition we speak with Kjetil Wold of the Norwegian design group â&#x20AC;&#x2DC;Antiâ&#x20AC;&#x2122; about their Black Metal inspired clothing company, Anti-Sweden.

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Lemonade Magazine: For those who aren’t aware of Anti-Sweden, could you give us a brief introduction to what you guys are about? Kjetil Wold: Anti Sweden is Anti Denim´s first line of jeans. We are a denim brand who aim to put rebellion back into jeans. As Norwegians we are heavily influenced by the True Norwegian Black Metal sub culture. Coming from Norway we find it natural to build our philosophy around something truly Norwegian. We wanted to challenge our neighbours in Sweden and their successful clothing brands such as Acne, Cheap Monday and H&M. Sweden and Norway have been in a friendly rivalry since the liquidation in 1905 and still continues to this day. What was it in particular about the genre that became so integral to the formation of the brand? The sub culture and music will forever represent rebellion, darkness and the power of the individual. You have worked with illustrator Justin Bartlett and photographer Marius Tharaldsen who I believe helped with some of the concept art and photography, what was it that drew you to these artists? Justin Bartlett was the first artist we worked with on the Anti Sweden collection and his illustration and background have fit perfectly with us. The raw and very obsessive artwork he produces represents darkness in a way that blew us away. Marius took the images for our second limited line where we created a small series of denims as part of our deal with the devil concept. This concept gave the customers the opportunity to deliver their old Swedish denims to our brand store and get a discount to buy our jeans for only 666 Norwegian Krones. Then we re-used the Swedish jeans, burned them and made a limited Anti Sweden line from them. Have you had any feedback from any remaining members of the early 90′s wave of Norwegian Black Metal? We have had good feedback and are proud to say that artists like Satyricon,1349 and Runhild Gammelsæter are not only using our denims but are or have been involved in several projects with us. Do you still keep up to date with the Black Metal scene and if so, how do you think it has changed over the years? We are of course following the scene closely and the Black Metal scene is much more diverse today than in the early

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years. We now see that the scene is highly influential to a broader audience, with new bands rising but still having bands like 1349 and Ulver who are true to the original concept. Moving away from Anti Denim for a moment, let’s discuss your design studio, Anti. Your work for Anti is very broad and diverse, what is your manifesto? Anti is short for A New Type of Interference and we are constantly looking for it in our work, either by challenging the way things in a certain genre are executed visually or by finding new and challenging strategies to create the work. The branding created for Solberg & Hansen’s black coffee is a really interesting concept and fits in well with the ethos of Anti Denim, Could you tell us a little about the process you went through when coming up with the artwork for it? Solberg & Hansen coffee was one of our main collaborators when we launched ‘Fashion Week in Hell’, Hell being a small village in rural Norway. The interest for pure black coffee is growing and Solberg & Hansen actually drove to Hell with a coffee-burner to be the first coffee producers in the world who had coffee burned in ‘Hell’. We designed the Black Coffee label for them and they also got some nice PR together with Calico Cooper, daughter of Alice who was one of the models when we presented our jeans in Hell. You won a number of awards for your design work for your Anti Brand ‘Identity’, the concept really shows a broad range of disciplines and styles within, what was the idea behind the work and why do you think it represents Anti? The interference focus is something we try to include in all of our work and we have designers who we are truly proud of when it comes to the delivery of excellent design. Which project created by Anti has been the most important to you guys so far? The Anti denim brand has been very important for us as we are doing this as a project which has now grown into a company where we can experiment with the design and work with artists we look up to. This has given us a unique experience that we then used in the development of other brands. Massimo Dutti worldwide was also very important, creating the

design for their international online store was a great project. What can we expect from Anti and Anti-Sweden in the near future? We will continue to develop both of these brands, and aim to continue to improve our execution of the brand. for Anti Denim we are now working with a new concept called ‘Anti Sixteen’ which we already had a prerelease for in Jakarta. Rebellion is a world wide concept and there will be some very exiting new denims and concepts that will hit the market in early 2012. We are also producing a line of t-shirts for x-mas to follow up last years success with the corpse painted Jesus.

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like this?

get it for your desktop & Apple product backgrounds at the lemonade website.

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EMMA CRITCHLEY. exploring the human relationship with the underwater environment

Lemonade Magazine: For those who arenâ&#x20AC;&#x2122;t aware of you or your art, could you give us a brief introduction to who you are and what you do? Emma Critchley: My name is Emma and I am an artist working mainly with underwater photography and video. My work explores the human relationship with the underwater environment. I am interested in looking at the underwater space as somewhere that shifts how we relate to our bodies, and demands that we realign ourselves with sight, sound, breath and movement.

Reflection

â&#x20AC;&#x2DC;Reflectionâ&#x20AC;&#x2122; focuses on the relationship between the breath, time and consciousness and the contemplative nature of the underwater environment. - emma critchley

Single Shared Breath

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Who or what inspired you to start photography? I started working with photography on my art and design foundation course at De Montfort University, Leicester. Before this I was a painter, but for some reason when I started the foundation course I got frustrated with painting and so I started working with photography. Discovering this new medium was very exciting and inspirational for me; I had some great tutors and used to spend hours in the darkroom. How did you find your time doing your Degree and Masters? Did it help you become the artist you are today? Or was it external factors? Both my BA and MA were invaluable experiences and have definitely helped develop my practice as an artist. I have been very lucky in having inspirational tutors and peers on both courses. My BA was where I started working underwater and where I really established my practice in this area; my personal tutor really encouraged me with this. The MA gave me the space, support and inspiration to develop my ideas; it challenged me to think and work in different ways. A lot of your photography is taken under water; can you explain what drew you to this? I was drawn to working underwater from an initial interest in my own experience of being in water and wanting to explore this in others. I’m interested in this place, where as humans we don’t belong and how being in the space affects how we relate to our bodies. Tell us about your series ‘Surface’, what was the creative process behind it? The series Surface captures the reflection of a figure that is lying below the water’s surface. I wanted to capture this ephemeral image that lies on the boundary between the two worlds of water and air. I am interested in the distorted quality of the reflected image, where the water acts as a conduit for the threshold state that the body enters when submerged. You have also expanded your visual language into film, ‘Reflection’ is a really interesting piece, could you explain a little of the background behind this video?

‘Reflection’ focuses on the relationship between the breath, time and consciousness and the contemplative nature of the underwater environment. In the piece, the subject’s reflection finds stillness through the extended duration of the breath-hold. The rhythm of the reflection provides a space for the viewer to engage with the subject. The work was initially inspired by Anselm Kiefer’s painting Star Fall; it explores the phenomenological way in which, when suspended in water for an extended period of time the body can start to lose its boundaries and feel as if it becomes part of the surrounding space. You are currently involved in an exhibition at the Science Gallery in Dublin. How did this exhibition come about and what work are you exhibiting? The video piece ‘Single Shared Breath’ is in the Dublin Science Gallery in an exhibition called ‘Surface Tension: The Future of Water’. The exhibition was curated from an open submission from artists and scientists responding to the question; what is the future of water? Are you involved in any other exhibitions now or in the future? There are a few exhibitions on the horizon for next year, one being The Open West, which will be at Gloucester Cathedral in March. Do you have a favourite piece of work that you have created? I don’t really think I have a favourite piece of work; they become relevant or mean different things to you at different times. Who are your favourite artists, past and present? Hiroshi Sugimoto, Roni Horn, Ori Gersht, Matt Collishaw, Andrei Tarkovsky, Caspar David Fredreich. Do you have any advice or words of wisdom for aspiring artists? Make sure you are passionate about and enjoy what you do as this is what will keep you going.

Suspended emma critchley

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IRON F L A G

Inside The Artwork Iron Flag Studio/Noir_

For the second edition of Lemonade Magazine we thought long and hard of ways to improve the quality and variety of content that we put out for our readers. We decided that one of the things we really like reading about is the design process that an artist goes through when creating a project so we thought, why not ask them? Kicking us off with what we hope will be a long and interesting series is Danish Design Studio, Iron Flag. We recently caught up with Kasper Fjederholt who took us through the different stages of design that they went through when asked to re-design the visual identity for Danish Fashion Label, Noir. Iron Flag is a newly established multi-disciplinary design studio by Mikkel MĂ¸ller Andersen, Kasper Fjederholt and Marco Pedrollo. From both the digital and more tactile end of the creative spectrum, they aspire to utilize their different visual backgrounds to crate singular works within the fields of art direction, graphic design, illustration, photography and video.

The Brief. Last year, Danish fashion label Noir changed owner and head designer,which prompted a need for a subtle changes in direction for their visual identity. This was to be emphasized in their visual material for the SS12 season. The aesthetic of their clothing had become more minimal, with subtle details, so we aimed to reflect in the printed matter. How they approached the design of the clothing, we approached the print â&#x20AC;&#x201C; with stylistic restraint, something that later helped to define the design aesthetic of Ironflag, and became a big part of our ethos.

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Inspiration The theme of the collection “The Tall Surviving Ship” was inspired by a series of photos by Alan Villiers. In the story, a ship returns from a storm at sea, it's foggy silhouette representing a mythological return from the dead. Black & White has always been a significant part of the Noir label's image, so it was only natural to continue with a colourless palette, to fit both the inspiration and the brand itself. Research Out on Ørestaden, a somewhat desolate place outside Copenhagen, we found an alternative nature playground shaped as a ship half sunken into the ground, with high wooden pillars around the railing. The wooden materials of the playground and rough Nordic nature surrounding it, seemed to fit the theme of the collection perfectly – without being too literal. We had the chance to take a slightly more abstract approach, leaving only a few clues in the photos that could reference back to the storyline. The visual reference of the pillars on the ship would then again link to a genuine forest, next to the playground, incorporating a rougher natural environment. First Draft The black and white photos combined with a very minimal layout seemed to have a symbiotic effect and drew attention to subtle details of which both the clothes and the graphic design depicted. The references to the backstory of the collection are few and subtle, again keeping in line with Noir's new profile. The text is limited to a description of Noir that also works as a typographic pattern on the front and back of the inner pages; our intention was to frame the purely visual content with decorative text. The campaign book has loose pages, where each page has the same theme, one with frames, one with photos etc. That way, when the book is flipped through, it has a slight mirror effect. The Final Outcome Noir only had minor changes to the layout, a satisfying result that underlined a project with good communication and a mutual understanding of where Noir should go visually. The Noir Campaign book was, and still is, a very important project for us, it helped us define our own studio, visualize some of our thoughts and later put them into words. We are currently working hard at pushing Noir AW12 further and feeding our own development at the same time, so its become a project that works many levels and not just a regular case.

IRON F L A G

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Silje Marie KRISTIANSEN

lemonade steps into the world of Norwegian illustrator, Silje Marie Kristiansen

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In the lyrics, single words, and combinations of several inspired me, and I illustrated my interpretations of their meaning

Lemonade Magazine: Ok, so the first question is pretty straight forward, for those who aren’t aware of you or your work, tell us a little about yourself. Silje Marie Kristiansen: I am a 23-year-old Norwegian illustrator, recently graduated from an illustration degree in Falmouth, England. As a teenager, I fell in love with music, and my pencil and I became best friends drawing portraits of all the musicians I worshiped. Later on when I started studying art and illustration I started using other mediums and more colour and began looking for inspiration in other places. There is still a strong link between my passion for music and passion for illustration, but I also love nature, animals, and shapes that are geometric or abstract. Currently, I’m based back in Norway, trying to work full time as a freelance illustrator, which is almost working. One day I hope to use art to do some good for the world. Tell us about a typical working day for Silje? A typical working day is usually turned into a working evening and night. I’m not nocturnal, I love getting up early and having a productive day, but I usually end up working half the night. I get very distracted during daytime with other people, nice weather etc. Late nights are great for illustration with good music, candles and a cup of tea. A typical working day consists of me sitting still for hours drawing or painting until my knees hurt from being in the same position for too long, and my hand aches; the finger where my pencil lays always lack nail varnish. My illustrations are usually made up of mostly traditional medium, most of it is hand drawn or painted, and that takes up a lot of hours. Then it’s all scanned and worked into digitally, by putting pieces together, adding colour or tweaking details. Let’s talk about some of your work; your portfolio is very exciting and full of interesting pieces. One of our favourites, of many, is your Jónsi vinyl sleeves which are highly conceptual and expressive pieces. Tell us a little about your inspiration for them and the design process you went through. The Jonsi project was based on a D&AD illustration brief, asking you to present music in a new way. I decided to present it on old vinyl sleeves as a

concept of recycling, since the majority of people today buy music digitally instead of vinyls, I thought this would be a good approach. I illustrated two songs, one where I focused on the melody of the song and presented it as an abstract timeline, moving across the sleeves. With the other, ‘Boy Lilikoi’, I was influenced by the lyrics, and illustrated it as a large figurative image using the sleeves together as a large canvas. In the lyrics, single words, and combinations of several inspired me, and I illustrated my interpretations of their meaning. I used animals together with geometric pattern, shapes and paintings of galaxies. In my head, the creatures rise from the pattern and run free and wild. That’s a really interesting way of working, do you approach all your projects like this or do you try and approach each project differently? I think every project is different. Sometimes I start experimenting with visuals and then work out a concept from that. Actually, that just happened once, but it worked out well for me in the end. I usually brainstorm and research background information and visuals, before sketching and doing the final artwork. I always try and plan out the image before I start it, but my sketches are always so rough, that not many, sometimes including myself, can tell what they are. Therefore my final artworks often don’t turn out as they look in my head, and there’s always some impulsivity in them. So which artists would you say have been an inspiration to you? Mark Ryden was my first artistic obsession, which emerged from his Michael Jackson – Dangerous cover art. I do love a lot of the famous artists from the past, but I find my inspiration from mostly contemporary artists and designers. Sara Blake aka Zso and Leslie David are amazing. And I feel very patriotic with my other favourites being Robin Snasen, Oh Yeah Studio, Martin Kvamme, Commando Group and the people at Anti and AntiSweden. Speaking of Anti-Sweden, We recently interviewed Kjetil Wold and he told us that you produced some work for their new range, AntiSixteen. How did that working relationship come about and what inspired the work that you created?

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After graduating I sent my portfolio to Anti hoping that they would have a look at it and consider me for future projects. I was exceptionally excited when they told me that I could contribute with some work for Anti-Sweden, which I am a big fan of. All the work was art-directed by them and their previous work was the inspiration for the outcome. I love their dark image, their influence from Black Metal and how it is presented through fashion. It was a really good project to be a part of. You mentioned Black Metal as one of the main influences on Anti-Sweden’s range of clothing. We have been writing a series of articles focussing on the art inspired by Black Metal and it would be interesting to get a Norwegians take on the impact the genre had upon the country. It’s known as being Norway’s biggest musical export but for those people out there that have never bothered to read about it properly, it can paint quite a bleak picture. Just how influential is the history of Black Metal on the Norwegian people and is this morbid stereotype true? Black Metal has been the music of hatred and with that culture came controversy, anti-Christian attitudes, crime, burning of churches and even murder. When the wave of black metal arose in Norway in the beginning of the 1990s, it pinned Norway’s music culture to the map for the rest of the world to see, with the genre becoming the most well known export. I don’t think that the majority of Norwegians immediately tie Norway to Black Metal, unless you are in the centre of that culture, even though a lot of people abroad might. But I do think it opened up a new and different side to the country showing independence, individuality and diversity away from the traditional national characteristics. I find a lot of the visuals within Norwegian Black Metal, their outfits, art and photography of the musicians, really interesting, and I think it’s intriguing how Anti-Sweden has been influenced by this type of mood, atmosphere and darkness in their designs.

that certain topic than I had expected. Not being much of a writer I worried about what to write, and how to write it. I posted my dilemma on facebook asking for suggestion for the content, and the majority of the feedback from locals didn’t really put this town in a great light. And after laughing at how right they were, I thought of the reasons why after living abroad for three years I always looked forward to going home for the holidays. Hønefoss is a small town cliché, and I think I love that. It was fun to put pen to paper and make letters instead of drawings. I really look forward to reading the next Origins articles. Let’s get back to looking at some more of your work. You have a number of projects that are inspired by music as you mentioned, what is it about music that inspires you to create? It’s a great excuse to listen to loads of music, read lyrics, watch music videos or go to concerts because you can justify it as research. No, really it just brings out passion. There’s so much to grab a hold of and be inspired by. The rhythm, mood, beats, the emotions it brings out, the content of the lyrics. I just love it. If you could create your own dream project, what would it be? I could probably create about a hundred dream projects. I probably will, while waiting for someone to throw enough commissions at me. At the moment I think it would have to be a series of portraits of both humans, some famous, some not, and animals. I would then like to mix some of them in a sort metamorphosis style, add in elements to create surrealism, abstract shapes and textures and use different media wherever suited. I’d love to interpret someone through their creations and visualize them with elements that I feel represent them well. Portraits have always been my favourite, and an exploration of that would be dreamy.

We are fascinated with finding out about new towns and cities because of the new experiences it brings and we have started work on a new series of articles entitled, Origins, aimed to explore this interest. You wrote the first article for our new series, how did you find writing an article about your hometown, Hønefoss?

So, now we know what your dream project would be, Let’s get back to some of the work that you have already produced. We are big fans of Sigur Ros and your “Heima” poster design captures the essence of their music perfectly, Tell us about the design process for that, what inspired you and how you arrived at the final outcome.

It was surprisingly a lot more fun to write about

With the Heima poster I wanted to show the

In the lyrics, single words, and combinations of several inspired me, and I illustrated my interpretations of their meaning 77

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beautiful and relaxed mood of the film and also try and create a visual interpretation of the music. I landed on a concept of jellyfish because I think there are a lot of similarities between them and Sigur Ros’ music. I found inspiration in the colours and atmosphere in the film, as well as their music. I think I only did one sketch of it, and spent more time on the artwork, rather than trying other approaches. In the documentary, the band returns home to Iceland, to play music live, and that’s what the roots on the poster represents, and then the music, the jellyfish, grow out of these roots. Sigur Ros’ music is sung in a made up language, Hopelandic, so there’s nothing intelligent to read from the songs, it is all about the sound and melody, where the voice is another instrument. I think it’s the same way with jellyfish, they don’t have a brain, and they float around and are extremely aesthetically beautiful to watch.as a response to her statement in the article about feeling close to nature.

I wanted to show the beautiful and relaxed mood of the film and also try and create a visual interpretation of the music. - Silje Marie Kristiansen

Your editorial design for the Icelandic musician Björk is another example of your musical inspiration but also shows another side to your work. Editorial design is notoriously hard to get right but you really managed to to capture the essence of her music in this piece, what inspired you to create this piece? The Björk editorial was a university project, where I decided I wanted to do an editorial to explore that side of illustration. I’m really amazed by Björk, I think she is one of the most interesting people ever, both visually and musically, and she was the inspiration behind this. The article is about her new album at the time, Medulla, which is an all a cappella album, so I wanted to focus on her voice. I represented it with strings that are ongoing through the pages; as well I included two portraits of her. In one of them I placed a bird on her neck, which is symbolic of her vocal cords, and in the other I combined her with the Icelandic arctic fox,

If you had to choose one piece of your work that you think defines your style or approach to art, which one would it be and why? I think it would have to be the self-promotional project of the album sleeve art for the Norwegian artist, Rockettothesky. I’ve included the elements I prefer to communicate through, portraits and animals, with a minimal colour palette, a realistic visual approach, and a bit of an absurd twist. I like presenting beautiful things in an abnormal setting, where people can make interpretations, and to some extent I guess that could define my approach to art. This has been a wonderfully insightful interview and as we draw to a close, do you have any advice or words of wisdom for aspiring artists? Just keep badgering people with your portfolio, and not worry about not getting replies or being turned down. Look for inspiration and keep doing loads of work, even if it’s just for personal appreciation. And finally, what can we expect from you in the future and is there anywhere you would like your work to take? I don’t even know what to expect. But I do hope it goes everywhere. I want it to grow and develop, try new styles and different contexts. I hope I get to do some work for musical projects, but this early in my career and artistically I’m completely open and want to try everything. 79

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Origins, A series of articles written by artists about their homeland, raw and unedited_

Hønefoss, Norway. Creatively, there isn’t much inspiration lying around ready to be sucked into your soul and mind in a small town like Hønefoss. A place that to a lot of people feels smaller and less eventful than anywhere else in the world. I could really drag this town through the mud and kick it while it’s down. No disrespect to the boys with flame printed shirts and tribal tattoos driving around in cars for the only purpose of driving around, to the several girls who every year try to make the front cover of FHM magazine, or to the 5 or so pubs you can go to, of which only one used to play good music. It is the type of place where most people usually look common, and if you wear bright red lipstick and a big leopard patterned coat someone will mention it. Norway is quite heavenly with its beautiful snowy and sunny seasons, its woods, mountains, fjords and northern lights. Located an hour from the capital Oslo and 20 minutes away from the once idyllic island Utøya, where our country got robbed of the statement of never having been attacked by terrorism, is Hønefoss. A small piece of heaven. Right through the town runs a river that forms a waterfall giving the town its name. Directly translated it reads ‘chickenfalls’, and the few tourists around have to laugh at that. In the waterfall is a sculpture of a tree-sawing-tool from the 15-1800s which has become symbolic of the town. Its got two beautiful parks which sadly no one goes to, for the reason that you don’t want to sit on a bench next to a junkie. Like the rest of the country, Hønefoss is close upon nature, and we have woods filled with skiers in the winter, and fjords and rivers filled with half-naked people in the summer. Although we have gorgeous scenery, and art in form of sculptures pretty much everywhere, what make this town beautiful are the people. After the terror attack of 2011, one local person lost her life, and thousands of people gathered in a parade of roses and torches to commemorate. When the local football team made it to the top league, fireworks filled the sky. And when on your way home one night you are bewildered to hear bells from what appears to be the 3 reindeers that a neighbour brought home from the mountain for a few days, you smile for the rest of your walk home. Even though there is a lack of inspiration to get from cultural events or surroundings, it makes a great place to come home to. -Silje Marie Kristiansen

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DANIEL EVERETT DEPARTURE

Occasionally when you’re researching a project you’ll come across an artist who does exactly what you wish to portray and so much more. When I was in my early teenage years I desperately wanted to become an architect. Close contacts in the trade always seemed to try to discourage me and questioned my choice. One year into University and it all became quite clear to me. I didn’t want to jump through endless hoops and lectures for years upon years, I wanted to create, to capture and photography seemed the ideal choice. Everett’s Departure series really struck a chord with me. The presentation of the environment seems surreal and otherworldly, yet these scenes depict airports. Transport hubs that we all use on a constant basis. The eerie nature comes about due to the strange colour palettes and combinations. Also the lack of passengers and workers in a usually bustling atmosphere lends itself to a somewhat creepy vibe. I’m a huge fan of urban and industrial photography, and it’s photographers with talent like this and an eye for a beautiful narrative make me want to pickup my camera and go exploring.

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Daniel Everett departure series / untitled_

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Daniel Everett departure series / untitled_

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