mA SS E [en ]
FASHIO
N. AR T.
INSPIR
ATION .
[ premiere issue 2010 ]
mASSE [en]
Executive Editor/Founder Lola Shepard lola@enmassmag.com Creative Director/ Founder Jill Tashlik jill@enmassmag.com Copy Editor Juliet Bruce Promotions Ivy Tashlik Contributors Baldomero Fernandez Denise Boomkens Fareen Butt Jemina Vita José María García Armenter Kristiina Wilson Oli Rust Paul Sunday Shun + Hideki Special Thanks to: Fareen Butt Juliet Bruce
EnMasse magazine is owned and published by Studio O2 LLC. Copyright 2010 by EnMasse magazine. Reproduction or use of editorial or graphic content, in whole or in part, in any manner, without permission is prohibited. EnMasse reserves the unrestricted right to accept or reject any editorial or advertising material.
weARE [who]
Welcome to the premiere issue of EnMasse magazine. The idea of publishing EnMasse magazine came about in January 2009. Our goal is to create a
venue for diverse artists and fashion photographers without the need for service-oriented articles generated to sell a magazine. EnMasse is a French term meaning “as a group” or “altogether” and with that in mind each issue acts as a gallery group exhibition in magazine form. We carefully curate each issue to include fine artists’ works and imaginative and visually striking fashion editorials. At EnMasse magazine, fashion and art coincide as a collective. To kick off our premiere issue, we are thrilled to present the works of artists Jemina Vita, José María García Armenter, Paul Sunday and Fareen Butt, and fashion editorials by Kristiina Wilson, Shun+Hideki, Denise Boomkens, Baldomero Fernandez and Oli Rust.
Contents: Black Swan, by Shun + Hideki 004, Cross Examine, by Paul Sunday 012, In An Instance Of Reflection, by Baldomero Fernandez 018, AuContraire, by Denise Boomkens 026, X-tract A Memory, by Jemina Vita 032, The Outline Shadows, by José María García Armenter 036, On The Road To Nowhere, by Kristiina Wilson 040, Mirage Bamboo, by Fareen Butt 046, Persephone Unbound, by Oli Rust 052.
BLACK SWAN
Photography: Shun+Hideki, shunandhideki.com Stylist: Carlton Jones, JamArts.com hair and Makeup: melanie harris, oliverpiro.com Digital retouching: Kinya Ota Model: Bruna, wilhelmina.com
Vintage fencing mask, Stylist Own; Jacket, RUBIN CHAPELLE.
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This page: Turtleneck net dress, JEAN PAUL GAULTIER; Ban tube, LA PERLA. Opposite page: Aviator cap, leather jacket, skirt and boots, JEAN PAUL GAULTIER.
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Blouse, BOUDICCA; Caged shoulder piece, HEATHER HUEY
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This page: Sleeveless chiffon blouse with mesh mask, JEAN PAUL GAULTIER; Caged skirt, HEATHER HUEY; Hosiery, FALKE. Opposite: Dress with leather trim, BOUDICCA; Headress, HEATHER HUEY.
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exAMINE [cross]
Paul Sunday describes his work as “fragility, erasure, impermanence. I’m interested in borders where genres and
disciplines overlap and function as a hybrid practice. I am influenced by cities, water, empty rooms, and silence. My paintings grow out of a lifelong obsession with light.” Having worked for many years in photography, Paul first attempted to paint by making simple photographic backgrounds. He says he immediately became attracted to the physical properties of paint. “It was clear that here was the perfect medium for exploring questions around light and perception.” When asked about the “crosses,” Paul says, “My first painting was a white pearlescent cross on a white ground. That was about 15 years ago. Since then I’ve discovered that many of my favorite artists have used that form. For me it’s a sort of universal sign of rescue and healing and it always makes me happy when I see it. I go back to it frequently and enjoy finding new ways of using it in my work.”
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Paul Sunday lives and works in Brooklyn, New York. A former actor and performance artist, Paul shifted his emphasis to photography in the late ‘80s and began painting in 1995. His photographs have been published in magazines such as aRude, W magazine, Interview, Flaunt, Jalouse, World of Interiors, Interior Design, Architektur and Wohnen, Ceramics Monthly, Soma and Vanity Fair. He has participated in exhibitions at Spring Gallery, Art-O-Mat, Upstate Artists Guild, the Dumbo Art Under the Bridge Festival, Robert Miller Gallery and Art Space New York and has work in the artists’ book collections of MoMA and the Rhode Island School of Design. His paintings are currently on view at Foley and Cox in Hudson, New York. paulsundayart.blogspot.com.
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An Instance Of Reflection
Photography: baldomero fernandez, baldomero.com art direction: eric hoffman Styling: linda belkebir hair: vassilis kokkinidis makeup: shannon grey williams casting: laine rosenberg
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This page: Cape, A.F. Vandevorst; Wool turtleneck, Helmut Lang. Opposite page: Dress, Chloe; Shoes, A.F. Vandevorst.
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Cape, A.F. Vandevorst; Vintage tweed skirt, Odd Costume; Turtleneck, Helmut Lang; Shoes, Marc Jacobs.
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This page: Vintage outskirt, Odd Costume. Opposite: Dress, Moschino; Shoes, Nathalie Verlinden.
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This page: Cape and skirt, Devi Kroll; Shoes, Marc Jacobs; Stockings, Wolford. Opposite: Wool dress, A.F. Vandevorst; Shirt, Ann Demeulemeester; Shoes, Marc Jacobs.
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AUCONTRAIRE Photography: deniseboomkens.nl
photography Assistant: Willemijn Benneker Styling: martinereurings.nl hair & Makeup: Alexandra Leys Model: Anouk, modelsincompany.nl
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Jacket, Felicia Adelina Mak.
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This page: Dress, Individuals Satamfi; Hat, Vintage. Opposite page: Top, Catta Donkersloot.
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This page: Lace jacket, Vera Mont; Hat, Enz; Opposite: Dress, Elsien Gringhuis; Hat, Enz; Corset, H&M.
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meMORY [x-tract a]
Jemina Vita questions the conventional linear unfolding of time and views the concepts of past, present and future
as too predictable and repetitive to convey experience. She attempts to step away from the restrictions of prevailing orders by constantly changing the forms of captured pasts. Her investigation of how time is stored, repeated and recycled is demonstrated through her experiments with photos, film, music and the plasticity of materials. The process of scraping and removing the emulsion from old photographs is analogous to taking an experience out of its assigned position in time. Projected to become an expansion of itself, enclosed within frames and capsules, or distributed onto various surfaces, the depicted subject matter no longer has a reference from which an origin can be determined.
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Jemina Vita is a contemporary media artist working with video installations, projections, sculpture, paintings and other mediums. In 2004, her sculptures were displayed as an installation in the windows of Bergdorf Goodmans, which led to their placement in the permanent collection in the Cafesjian Museum of Art in Yerevan, Armenia (2006). Her work has been exhibited in the Fashion Institute of Technology Gallery and Museum, Gershwin Hotel, The Art Student League’s Phyllis Harriman Mason Gallery, Shore Institute of Contemporary Art Center, Visual Arts Center of New Jersey, and other galleries and venues throughout New York City. jeminavita.com.
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shaDOWS [the outline]
José María García Armenter starts with a drawing and a flat sheet of copper, bronze or silver. Once his idea
takes form, it is scribed and pierced onto the metal surface and starts to be transformed from flat to dimensional. The emptiness left surrounding the sculpture plays an equally important part in the reading and perception of the sculpture as a whole. The main drive in his search to uncover new ground within his exploration of positive and negative shape, continuously surprises him with it’s infinite possibilities. Reading between the “lines” evokes an infinity of perceptions and angles which generate multiple interpretations of the work. Each sculpture is crafted from one sheet of metal and is never soldered because Jose believes that space and shape are already contained in that sheet.
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Pienso, bronze, 30 X 20 X 18
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Fieria, bronze
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Por Si Las Moscas
Tightrope
Half More
José María García Armenter was born in Las Palmas de Gran Canaria, Spain in 1956. Since 1978, he has lived in New York City where he worked as a Master Engraver at Cartier, Tiffany & Co., Bulgari and Harry Winston. The detailed and elaborate art of engraving in gold and platinum paved the way for his venture into his own jewelry designs and sculpture. www.josemariagarciayarmenter.com.
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Photography: KristiinaWilson.com stylist: angella-n.com Model: Laurel Stoval, NY Models.
ON THE ROAD TO...
W O N 040
E R E H W 041
Opposite page: Ring, Alexis Bittar; Cardigan, Barney’s New York.
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This page: Leather Jacket, Shipley & Halmos; T-shirt, Alexander Wang; Jeans, J Brand; Boots, Ann Demeulemeester. Opposite page: Necklace, Stylist’s own.
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bamBOO [mirage]
Fareen Butt’s Mirage Bamboo Series is based on photo-
graphs taken of serene forest landscapes in China and the Himalayas. The inspiration of the natural is translated onto the canvas through a unique process of combining the Japanese painting technique of Nihonga, using precious and semi-precious stones as pigments, with Pointillism. The word Nihonga or literally “Japanese-style paintings” is a term used to describe paintings that have been made in accordance with traditional Japanese artistic conventions, techniques and materials. Her hybrid technique produces a meditative effect on the viewer as he or she steps from the painting to watch the disconnected “points” of color merge to form vibrant landscapes. Fareen perceives the landscapes to be visions of “places rendered sacred by many: the earthly manifestation of the pervasive cosmological landscape; the earthly manifestation of the Universal consciousness in the form of the Human collective consciousness. It is a representation of the landscape as a fertile spiritual Mecca, in its entirety.”
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Mirage Bamboo 3-4, 6x5 feet, 2009
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Mirage Bamboo 2, 5x6 feet, 2009
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Mirage Bamboo 12, 30x30 inches, 2009
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Mirage Triptych, 2009
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Mirage Bamboo 1, 6x5 feet, 2009
Mirage Bamboo 5-6, 5x12 feet, 2009
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Mirage Canyon 2-5, 5 x 20 ft, each panel 5 x 5 feet, 2009
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Mirage Bamboo 7-8, 5x12 feet, 2009
Fareen Butt is an abstract Nihonga Pointillist artist who has been painting and exhibiting for over a decade. She spent her childhood in California and South Africa, and has also lived in Mexico, Cameroon, Canada, and Pakistan and travels extensively around the world, exhibiting in Dubai, Pakistan, New York and Egypt. In 2010, Fareen’s work will be exhibited in New York, as well as in Canada, Paris, Germany, Dubai, Bangladesh and India. Fareen has studied and experimented with the Nihonga technique for seven years, and has now started to use minerals more traditionally known to geologists and rock collectors for their physical characteristics and abilities. fareenbuttart.com.
Mirage Bamboo 11, 30x30 inches, 2009
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persephone unbound Photography: Olirust.com Styling: julia grunz hair & Makeup: julia grunz Model: sandra j., fotogen
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Gown and cap, BABY BLUE LINE.
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Gown, ANDERSON & LAUT; Vintage bolero, MEINE GARDEROBE; Headpiece, LE CHAPEAU; Necklace, RADA.
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Gown, MORGAN LE FAY; Vintage blouse, MEINE GARDEROBE.
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Dress, AKIRA; Vintage hat and heels, MEINE GARDEROBE; Stockings and gloves, FOGAL.
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