Visions libres Coincidence by Louisa Dawn / Visions libres

S N O I S i V M

Coincidence the cause of nothing ide Ins | ine gaz Ma re ltu Cu d an The Art

libres

LETTER from the editor COINCIDENCE, THE CAUSE OF NOTHING According to the eory of Very Large Numbers, there's no such thing as coincidence. Were we but privy to all the other bytes of information that connect two synchronous events, mathematicians say, we'd see there was no serendipity, just ordinary, everyday cause and effect. Cause and Effect are an Illusion. What happens in most people’s lives is beyond their control. ink about it, no matter how carefully you design your life, you cannot know how that design will be affected by a single random event. One small detail can and will change everything. Your most carefully planned project can be ruined by a single chance event, but a ridiculous project could be a huge success due to luck! Your decisions are based on logic. But no matter how clever you are, it’s not enough. A coincidence is a remarkable concurrence of events or circumstances which have no apparent causal connection with each other. e perception of remarkable coincidences may lead to supernatural, occult, or paranormal claims. Or it may lead to belief in fatalism, which is a doctrine that events will happen in the exact manner of a predetermined plan. Swiss psychiatrist Carl Jung developed a theory which states that remarkable coincidences occur because of what he called »synchronicity,« which he defined as an »acausal connecting principle.« A coincidence lacks a definite causal connection. A coincidence may be synchronicity, that being the experience of events which are causally unrelated, and yet their occurrence together has meaning for the person who observes them. To be counted as synchronicity, the events should be unlikely to occur together by chance, but this is questioned because there is usually a chance, no matter how small.

Features: Lo Bricard / Move a little closer page 4_35 Caras Ionut / Is this world a strange place? page 104_131 ARTlife: Krisztianna / »Las Muertas« page 76_83 Poetry District: MIKE LEE / All your Ambition page 36_37 Cover: Caras Ionut

Coincidence – the Cause of Nothing

Partizipating artists: Analua Zoé / www.facebook.com/analua.zoe Andrea Eddem / www.facebook.com/andrea.medde.3 Angie Stergio / www.facebook.com/angiestergio12 Barbara Travers / www.facebook.com/Traverphotographyart Boris Wilensky / www.facebook.com/boris.wilensky / www.facebook.com/hurban.vortex Boy Jeconiah / www.facebook.com/boy.jeconiah Caras Ionut / www.facebook.com/carasdesign.ro www.facebook.com/carasdesign Cat G. / www.facebook.com/cathG12 www.catg.photography Chih-Chieh Wang / www.facebook.com/Morrison.C.C.Wang CCW Fashion photographer / www.facebook.com/CCWFashionPhotographer Christine Gabler / www.facebook.com/myeyesbychristine Dadu Phoenix / www.facebook.com/dadu.phoenix http://daduphoenix.500px.com/ongoing Daša Ščuka / www.facebook.com/dasa.scuka Edwige R. / www.facebook.com/edwige.lereste Egon Hungerbühler / www.facebook.com/egon.hungerbuhler Francesco Paci Salerno / www.facebook.com/aliceassociatedpress.firenze Harry Cornuché-Belhassen / www.facebook.com/harry.cornuchebelhassen.7 Jenny Papalexandris / www.facebook.com/jenny.papalexandris www.facebook.com/JennyPapalexandris.OnPhotography Jeremy Clausse / www.facebook.com/jeremy.clausse.3 www.facebook.com/claussejeremyphotography Joe Josephs / www.facebook.com/joe.josephs.7 www.facebook.com/joejosephsphotography Jos Tontlinger / www.facebook.com/j.tontlinger Juan Albillo / www.facebook.com/juan.albillo.5 www.facebook.com/jalbillo Kazuyuki Shimokawa / www.facebook.com/kazuyuki.shimokawa.52 Kerstin Arnemann / www.facebook.com/kerstin.arnemann Konrado Sobczak / www.facebook.com/konrado.sobczak / www.facebook.com/pages/Wykadrowany/477411129039899 Krisztianna / www.facebook.com/Krisztianna Laurence Allegre / www.facebook.com/farid.bousba.7 www.facebook.com/pages/Laurence-allegre-photographies/262025253944734 Lo Bricard / www.facebook.com/achile.tatin / www.facebook.com/pages/Photos-by-lo/461310770605706 Louisa Dawn / www.facebook.com/louisa.dawn1 www.facebook.com/louisadawnstr8 Luiza Menescal / www.facebook.com/luizamenescal Malules Fernández / www.facebook.com/malules.fernandez.1 Maria Kazvan / www.facebook.com/mariakazvan www.facebook.com/mariakazvanphotography Mike Lee / www.facebook.com/mike.quinam Mladen Šaban / www.facebook.com/mladen.saban Nigel Maudsley / www.facebook.com/nmaudsley Olivier Rondeaux / www.facebook.com/olivier.rondeaux.9 Paulo Couri / www.facebook.com/paulo.couri1 Peder Aresvik / www.facebook.com/peder.aresvik Philip Rice / www.facebook.com/pjr47 Sammy Sharon / www.facebook.com/sammysharon Stefano Assisi / www.facebook.com/stef7718 Stella Sidriropoulou / www.facebook.com/stella.sidiropoulou.9 www.facebook.com/pages/Stella-Sidiropoulou/203348673068208 Smara Kand / www.facebook.com/smarakand Valerie Simonnet / www.facebook.com/simonnet.valerie Viola Ursu / www.facebook.com/vivi.ursu Yann Cielat / www.facebook.com/yann.cielat / www.yanncielat.wix.com/photographie www.facebook.com/ycielat Yasuo Furue / www.facebook.com/yasu0furue Yolanda Girón Gutiérrez / www.facebook.com/yolanda.girongutierrez 曾義欽 / www.facebook.com/marbury.tzeng

MENT BY LO BRICARD

t i l a e v o M VE PHOTOGRAPHY AND MO

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. r e s o l c tle ALL PHOTOS BY LO

06/07

ree adjectives describing Lo Bricard? PASSIONATE, DREAMY, HUMILITY.

Trois adjectifs décrivant Lo Bricard? PASSIONNÉ, RÊVEUR, HUMBLE.

Qui serais-tu et que ferais-tu si dans ta vie il n'y avait pas la photographie ? JE PENSE QUE JE FERAI DU DE SSIN, D'AILLEURS L'IDÉE ME TRAVERSE RÉGULIÈREMENT L'ESPRIT. AD OLESCENT, JE DESSINAIS AU FUS AIN, JE VOULAIS ÊTRE DESSINATEUR ET RENTRER AUX BEAUX ART S.

Who would you be and what would you do, if in your life there was not the photography? I SHALL HAVE LIKED BEING A DRAFTSMAN, IT WAS MO REOVER MY AMBITION AS I WAS YOUNG.

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ony reveal a harm t s rk o w ic h p ra res and concep tu Your photog a fe l a ic n ch ular te n of between partic and your visio ry et o p r u o y t ou ality? art; tell us ab n, illusion or re io ct ru st n co : y photograph E R OF TO G R A P H AS A PHO F L SE Y M KNOW IN I DEFINE N, I NEVER IO T A U T SI ND R A PH . INSTINCT A TO PHOTOG G IN O G M HAT I A ION FOR ADVANCE W ULAR OBSESS IC T R PA A E HAV ENT. I AIM TO W E L L ON I S ENVIRONM IT IN G IN E B HILE TRYTHE HUMAN E REALIT Y, W H T O T ST A LOSE O TO G R A P H BE IN THE C RY. TO PH O ST A R L E L IF TH E ING TO TE NO INTEREST S A H T E E R N HE ST XPRESSION O PERSON IN T ND OR NO E U O R A LL A IS NOTHING THE FACE.

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Quels ont été les moments les plus importants de ton expérience artistique, le plus grand succès et éventuellement la plus grosse désillusion? L'EXPÉRIENCE RÉCENTE QUI ME VIENS TOUT DE SUITE À L’ESPRIT SONT MES IMAGES PRISES AU CAMBODGE. UN EBOOK EST EN COURS DE RÉALISATION. LA RENCONTRE AVEC LE PEUPLE CAMBODGIEN FUT FANTASTIQUE. QUANT AUX DÉSILLUSIONS J’EN AI À CHAQUE SORTIE PHOTO, QUAND JE RATE UNE SCÈNE DE VIE, L’INSTANT D'APRÈS IL EST TROP TARD.

What were the most important moments of your artistic experience, the biggest success and the toughest defeat if any? MY BEST ARTISTIC EXPERIENCE(EXPERIMENT) THIS DAY IS CERTAINLY MY RECENT JOURNEY IN THE CAMBODIA WHICH I CROSSED IN MOTORCYCLE. WE WENT TO MEET POPULATIONS, IT WAS VERY MOVING AND MOVING, A DIGITAL BOOK IS IN PROGRESS. I DID NOT UNDERGO FORTUNATELY YET FAILURE IN THIS DOMAIN, I MAKE OF THE PHOTOGRAPHY ABOVE ALL FOR THE PLEASURE, PEOPLE ARE GREAT(TREMENDOUS) WITH ME.

Tes œuvres photographiques révèlent une »harmonie entre une technique particulière et l’art conceptuel«. Peux-tu me parler de ta vision de la photographie et de la poésie que tu y mets? Est-on dans la construction, l’illusion ou la réalité? JE FAIS PARTICULIÈREMENT DE LA PHOTO DE RUE, JE SUIS BIEN ANCRÉ DANS LA RÉALITÉ MAIS J’ESSAIE TOUJOURS DE RACONTER UNE HISTOIRE, JE SUIS TRÈS ATTACHÉ À L’ÊTRE HUMAIN ET SON MILIEU.

Que penses-tu du fait de col laborer à des magazines ou des éditoriaux conceptuels? JE TROUVE LA COLLAB ORATION INTERESSANT E ET ENRICHISSANTE, ELLE PERMET D'AVOIR UNE PLUS GRANDE EXPO SITION À UN MOMENT DONNÉ ET SURTOUT DE POUVOIR FAIRE PARTAG ER TES IMAGES AU PLUS GRAND NOMBRE. LA PH OTO DOIT ÊTRE PARTAG ÉE. L’ARTISTE CONTEMPORAIN A LARGEMENT SA PLACE DANS NOTRE SO CIÉTÉ, C'EST LUI QUI, PAR SES OEUVRES, LAISS ERA UNE TRACE DES ÉV ÈNEMENTS PRÉSENTS, PASSÉS ET FUTURS.

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ﬀ? ial stu r o t i Ed WITH ional t p e c RATE N A n o O B C or LLA GO O CO ojects RKIN ILED. T r O p Y P e W zin HAP LIKE E I FA Maga VERY WIC NO T D, I

g in E, T OR E . I AM SE. I DO orkin TWIC AS B ZINE L w E E A W t G M u G I A RY. N l abo IT TO A CIT Y, e R A M OMETHI E STO e f D O H F E T u S K o S L O F

OR OP NY T EL ) O EIW Y PR RE A NG S E TO M I D O I G D A F T A L E E IRST ALR MAN RE B E(HO HE F NOT EASU WE HAVE ITAG L R D P I E IT’S T D SA RK, HE H CAUSE I , IT I N T Y WO O BE R YOU O S S L ES S WA UL T P B E M U N O CO , DO LAST RESTED) THE R A PED( STOP

do How

Est-ce que te « cacher » derrière la caméra est une façon de te révéler? OUI JE PENSE, À L’ORIGINE JE SUIS ASSEZ TIMIDE, JE NE PARLE PAS FORCÉMENT BEAUCOUP, LA PHOTOGRAPHIE EST MON LANGAGE, MA FAÇON DE COMMUNIQUER.

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Whenever you hide behind the camera, how much do you like to reveal yourself? YES I THINK ORIGINALLY I’M QUITE SHY, I DO NOT NECESSARILY SAY MUCH, PHOTOGRAPHY IS MY LANGUAGE, MY WAY OF COMMUNICATING.

Lo, à ton avis, quelle est la meilleure méthode pour reconnaître les qualités d'un photographe? J'ATTENDS TOUJOURS DE L'ÉMOTION DE LA PART D'UNE PHOTO, QU'ELLE ME RACONTE QUELQUE CHOSE, PEU IMPORTE QU'ELLE SOIT BELLE AU SENS PROPRE DU TERME. PETERSEN, SAUBOL, MORIYAMA ME FASCINENT...MAIS AUSSI BEAUCOUP D'AUTRES PHOTOGRAPHES ONT CES QUALITÉS POUR FAIRE RESSORTIR UNE ÉMOTION, UNE INTERROGATION, POUR MOI C'EST L'ESSENTIEL.

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Lo, in your opinion what is the best method to recognize the qualities of a photographer? I AM NOT THE BEST PLACED TO RECOGNIZE THE QUALITIES OF A PHOTOGRAPHER. HOWEVER I EXPECT FROM A PHOTO THAT SHE(IT) MAKES ME REFLECT(THINK), THAT SHE TELLS ME SOMETHING, THAT SHE QUESTIONS ME. THE WORK OF PHOTOGRAPHERS AS PETERSEN, SOBOL OR STILL MORIYAMA FASCINATES ME.

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What is the main diямАerence in shoting in BW and Color? TOWARDS THE AGE OF 15 YEARS, I BORROWED THE ARGENTIC CAMERA OF MY FATHER, NATURALLY I BOUGHT DANDRUFF BLACKS AND WHITE. LATER WHEN I RETURNED TO THE PHOTO BY MEANS OF THE DIGITAL TECHNOLOGY, I BEGAN TO TAKE COLOR PHOTOS AND QUICKLY I RETURNED TO THE BLACK AND THE WHITE. I FIND THAT THE BLACK AND THE WHITE GETS MARRIED VERY WELL TO THE PHOTO OF STREET, FACES, THE FEELINGS. THE GRAIN(BEAD) IS VERY IMPORTANT IN MY BLACK AND WHITE.

Quelle est la principale diﬀérence dans la prise de vue en noir et blanc et celle en couleur? J’AI COMMENCÉ PAR LE NOIR ET BLANC À L’ÂGE DE 15 ANS AVEC L’ARGENTIQUE DE MON PÈRE, PLUS TARD QUAND J'AI RECOMMENCÉ LA PHOTO, J’AI FAIT DE LA COULEUR ET TRÈS RAPIDEMENT JE SUIS REVENU AU NOIR ET BLANC. JE PENSE, MAIS CE N'EST QUE MON AVIS, QUE LE NOIR ET BLANC FAIT RESSORTIR DE FAÇON PLUS CONSTRATÉ, LES ÉMOTIONS, LES MARQUES DE LA VIE, LA NOSTAGIE, ON PEUT JOUER SUR LA MATIÈRE ET LE GRAIN. LES PHOTOS DE GILDEN EN SONT UN EXEMPLE PARFAIT. BIEN QU'IL AIT FAIT DES PORTRAITS EN COULEURS, SES NOIRS ET BLANCS SONT POUR MOI BEAUCOUP PLUS IMPRESSIONNANTS.

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À ton avis quelle est la meilleure des chose dans le fait d’être un photographe Et la pire ?

NS, C'EST FAIRE DE LA PHOTO PERMET DE RENCONTRER DES GENS DE TOUS HORIZO QUE JE ME ÉNORME LE NOMBRE DE PERSONNES QUE J'AI PU RENCONTRER DEPUIS FRUSTRATION. SUIS REMIS À LA PHOTO. LA PIRE DES CHOSES, À MON AVIS RESTE LA IT AU BON LA FRUSTRATION DE RATER UN MOMENT, DE NE PAS ÊTRE AU BON ENDRO MOMENT, DE NE PAS AVOIR LA BONNE LUMIÈRE, LE BON ÉCLAIRAGE...

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What is the proper relationship between photography and contemporary art and what do you think about the cultural and artistic »territory« and scope on which now triggers the photograph?

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FOR ME THE PHOTO JOINS OBVIOUSLY IN THE CONTEMPORARY ART IN THE SAME WAY AS THE DRAWING OR THE PAINT. SINCE THE ARRIVAL OF THE DIGITAL TECHNOLOGY THE PHOTOGRAPHY BECAME MORE DEMOCRATIC. I THINK THAT THE PHOTOGRAPHY TAKES MORE AND MORE PLACE(SQUARE) IN THE CULTURAL DECORATION(SET), NUMEROUS EXHIBITIONS, BOOKS, ETC. AND ALSO THE SOCIAL NETWORKS, FB, TO TWEET, INSTAGRAM. THE DIGITAL TECHNOLOGY MAKES ART MORE DEMOCRATIC AND IT'S A CHALLENGE FOR THE ARTISTS TO FIND HIS FIELD.

Quelle est la relation entre la photographie et l'art contemporain, et penses-tu que le champ artistique et culturel influence la photographie? LA DERNIÈRE FOIS QUE JE ME SUIS PERMIS DE DONNER UN CONSEIL À UN DÉBUTANT, C’ÉTAIT QU'IL PRENNE BEAUCOUP DE PHOTOS ET ENCORE DES PHOTOS AFIN D'EXERCER SON OEIL ET SON IMAGINATION. BIEN CONNAITRE SON BOITIER AUSSI POUR CELA NE PAS PRENDRE UN APPAREIL TROP COMPLIQUÉ ET AUSSI DE LUI RAPPELER QUE CE N'EST PAS L’APPAREIL QUI FAIT LE PHOTOGRAPHE. SE DOCUMENTER ÉGALEMENT, LIRE, APPRENDRE, S’INTÉRESSER À TOUT CE QUI TOUCHE LA PHOTOGRAPHIE. AUJOURD’HUI JE NE SORS JAMAIS SANS MES BOITIERS.

What do you think about the role of the contemporary artist? HE HAS TO TESTIFY OF OUR TIME AND MAKE HIM(IT) WITHOUT CONCESSION. SÉBASTIAO SALGADO VERY WELL MADE HIM(IT) IN THE MOVIE »THE SALT OF THE EARTH«, I WAS BOULVERSÉ BY HIS IMAGES. 30/31

Que penses-tu du rôle de l'artiste contemporain? POUR MOI LA PHOTOGRAPHIE EST UN ART CONTEMPORAIN À PART ENTIÈRE, ELLE A EXERCÉ UNE INFLUENCE MAJEURE SUR DE NOMBREUX ARTISTES ET PERMIS DE DONNER NAISSANCES AUX ARTS MODERNES. LA PHOTOGRAPHIE PERMET DE CASSER DES CODES, DES EXPÉRIMENTATIONS NOUVELLES, DE PROPOSER DE NOUVELLES IDÉES CONCEPTUELLES.

Which equipment do you use taking your images? How did you started? Analog or digital? I use two cameras, a fujI X100 and a rIcoh Grd III, small devIces, dIscreet, sIlent whIch are perfectly adapted to the photo of street.

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Quel matériel utilises-tu ? Et comment as-tu comm encé, en analogique ou en num érique ? comme je le dIsaIs un peu plus haut, j'a I commencé avec l'arGentIque de mon père, un fu jIca stX-1, j’aI acheté des pellIcul es noIr et blanc et j’aI prIs des photos de ma petI te amIe, dans la ru e. elle est devenue mon épou se depuIs. aujourd’h uI j’utIlIse un fujI X100 et un rIcoh Grd III. Ils so nt parfaIts pour la photo de ru e, dIscrets et sIlen cIeuX.

ch the profession of photographer? roa app to nt wa o wh to e giv you ld What advice wou ImaGInatIon. and espe-

ak Its heart and Its to remaIn sImple, to let spe ke up(compose) wIth I thInk that It Is necessary to tame hIs(her,Its) case, ma tos pho ny ma ke ma y, all on all cIally, especIally, especI t to hesItate to document eye In the observatIon. no the se rcI eXe d an ctIce. ent pra nm lace the the envIro IonInG, but nothInG can rep est qu of lot a er sw an can the subjects, Internet

ntastIque, un lIvre seraIt fa e Ir fa en s, on tI ns mon nord ontre des popula e, aller à la renc ns s’annoncent da Io qu rI sIt af po en eX Ir es rt qu pa el qu j’aImeraI te. pour l’heure bodGe. détermIné de da re co en s ebook sur le cam pa I a on n’ m je de Ie rt so la avec ImpatIence natal et j'attends

Quels sont tes prochain

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s projets?

phe? it devenir photogra ra ud vo enne i qu n 'u quelqu à c’étaIt qu’Il pr t, tu n sai ta u er éb nn d do n conseIl à u Ion. bIen Quels conseils de donner un son ImaGInat

oeIl et Is permIs I de luI Is que je me su d’eXercer son fo n fI re a Iè s n to er o plIqué et auss d m ph la co es p d o re tr Il co re photos et en ment, lIre, endre un appa beaucoup de menter éGale cela ne pas pr cu r o u d po I se ss e. au ph r aIs sans toGra n boItIe je ne sors jam I uI faIt le pho u q connaItre so 'h Il rd re u a jo pp a au l’ . ce n’est pas photoGraphIe rappeler que quI touche la ce t u to à er ntéress apprendre, s'I mes boItIers.

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ÂŠMike Lee

n o i t i b m A r u o All Y

Poetry District

mIke lee

Mike Lee is a writer and photographer based in New York City and Managing Editor of Public Employee Press, the voice of District Council 37, AFSCME. Previous publications include e Ampersand Review, Paraphilia, Sensitive Skin, Glossolalia and e Potomac Journal. His stories are also featured in several anthologies, including Forbidden Acts (Avon) and Pawn of Chaos (White Wolf). A collection of photos, Le miroir invisible (e Invisible Mirror), was published by the French publisher Corridor Elephant. His photography is featured in ArtPhotoFeature Magazine, Aspect: Ratio, Black & White in Color Magazine, Visions Libres, SHOT! Magazine, Inspired Eye and in the books Black and White Street Photography, World Street Photography (Kujaja Press, Austria). Web: www.mleephotoart.com.

rough the forest passage anthony went, struggling through vines, climbing over fallen tree limbs and brushy undergrowth, and navigating the rocky creeks that seeped downhill between the hills, under a canopy of pine, cedar and oak. In autumn’s grasp, the first snow flurries already dropping at mountain summits, and colder aernoons with rain, anthony knew with shorter days his journeys through the forest would be shorter in duration, having to return home before dark. darkness fell heavy upon the country, and anthony moved in haste, having dawdled at the summit of the far mountain he ascended earlier in the aernoon. ere was a sadness with each heavy step, because on the mountain anthony had an epiphany; one too old for a 12-year-old boy. he tried not to think about what he discovered while looking at the valley below his feet, the narrow strip of asphalt that was fairview road, scattered houses and small developments on either side, along with the high school. e sky was clear that aernoon, and for miles beyond he could see the broken backs of the blue ridge mountains oﬀ to the distance, fading into the haze. It all started with a dream the night before. In the dream he visited his grandparents. while he lived with them, along with his mother, who slept on a fold out couch in the living room, he dreamed of them when they lived elsewhere before, as a small child. In the center of the room was their television set from the time. ey sat regally in overstuﬀed chairs on either end. is was like meeting the pope for an audience. his grandmother looked sourly at him.

he always feared that expression. his grandfather also looked none too pleased, staring at him from behind his horn rimmed glasses. pointing at the television set, anthony’s grandmother said, “you came all this way to ask us … this?” “yes, is that the tv we had, then?” he moved closer, and looked into the fading cathode rays. anthony remembered little else, and nothing of what he saw, but when awoke in the morning he felt a little sad, and those emotions grew until he decided to go for a walk through the forest behind their house. when he arrived at the precipice, looking down at the valley below, he remembered an important aspect of the dream. he had gone to see them as a middle-aged man. he could not recollect why he knew this, but this thought struck him as truth, and it was piercing. is realization pained him, and he suddenly had a sense of where and what from this dream occurred. down, down, walked anthony through the forest passage toward his home, feeling he will be losing, missing it, as he will where he lived next, and aerward. e clouds now obscured the sun, the shades heralding the last hour of daylight growing dimmer as he hastily made his way to the hill trail that led further down the mountain, terminating at the gravel track that led to his house. he did not remember what he saw on that screen, but he surmised it was the future. eventually he would forget all but the lingering doubts.

by konrad sobczak 38/39

by louIsa dawn

by konrad sobczak

40/41

by konrad sobczak

Coincidence

by chrIstIne Gabler 42/43

means you are on the right path

by kazuyukI shImokawa

44/45

46/47

by nIGel maudsley

by kazuyukI shImokawa

by stefano assIsI

48/49

by ccw I fashIon photoGrapher

by jos tontlInGer

50/51

by jos tontlInGer

by boy jeconIah

by marIa kazvan 52/53

by paulo courI

by marIa kazvan

by malules fernรกndez

54/55

by 曾義欽

by anGIe sterGIo

by olIvIer rondeauX

Prolific •S• »Peacw, 9 Points – War, 6 Points«, so stop

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c Profile •A• Anonymous Call

by jeremy clausse

by nIGel maudsley

Tim Andrews - Cockle Beds #2 by jeremy clausse

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by juan albIllo

Walk through time by nIGel maudsley

Tim Andrews #4

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BY JENNY PAPALEXANDRIS

BY YANN CIELAT

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BY JOE JOSEPHS PHOTOGRAPHY

BY JENNY PAPALEXANDRIS

BY STEFANO ASSISI

64/65

BY LAURENCE ALLEGRE

BY HARRY CORNUCHÉ-BELHASSEN

BY EDWIGE LE RESTE 66/67

Coincidence?

BY SAMMY SHARON

BY VALERIE SIMONNET 68/69

BY STELLA SIDIROPOULOU

BY CAT G.

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Circle of life

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BY BORIS WILENSKY

»Origins« published in the Hurban Vortex Art Book / www.hurban-vortex.com

BY BORIS WILENSKY 74/75

»Collapse« published in the Hurban Vortex Art Book / www.hurban-vortex.com

Photo by Piero F. Giunti / www.pierofgiuntiphotography.portfoliobox.me/

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ARTLife KRISZTIANNA

WHY DO YOU DO WHAT YOU DO? Because when I don’t, I feel ill. My palms get itchy and my stomach gets hot. I call it the fire in my belly. HOW DO YOU WORK? I keep trying to find more eﬃcient ways of creating, but for some reason it doesn't always work out. If I save time in one way, then I end up spending more time in another. I’m constantly trying new things, especially right now. I’ll move between acrylics, watercolor, clay, and digital. Each time I come around again, I want to try something new. So, I guess I work slowly.

Photos by Christopher Rigg / www.riggimaging.com

WHAT’S YOUR BACKGROUND? I grew up in a small town and a loving home that encouraged creativity. at was good, because I was a bad student at first, and not too great at making friends, goals, or money. I am the youngest of 6 children by 10 years, so I had excellent hugs, hand-me-downs, and guidance. My siblings got me to apply to colleges and to dream big, and somewhere I finally got my feet under me. WHAT RESEARCH DO YOU DO? Pinterest is where I put all my research now. My research is Google.

A mixed-media sculpture exploring my artistic influences and the thematics of natures gis. Winter Muertita is one of four seasons.

MY NAME IS KRISZTIANNA, AND I LIKE TO MAKE ART AND STORIES. I GRADUATED FROM OTIS COLLEGE OF ART AND DESIGN IN ILLUSTRATION AND GRAPHIC DESIGN. DURING THE DAY I WORK AS A CREATIVE DIRECTOR IN ADVERTISING. AT NIGHT I GO HOME TO A PATIENT HUSBAND TO SCULPT, PAINT, WRITE, AND DRAW.

ARTLife KRISZTIANNA

Collaboration with Tim Tadder, »LAS MUERTAS« Photographed by Tim Tadder Wardrobe by Julia Reeser • Hair & Make-up by Dezi V Seasons concept, Headdresses, face-paint, and the pattern-halos by KRISZTIANNA

WHAT’S INTEGRAL TO THE WORK OF AN ARTIST? I suppose it’s diﬀerent for every artist. For me, it’s caﬀeine, vitamins, moving past the mistakes, and continuing to create. WHAT ROLE DOES THE ARTIST HAVE IN SOCIETY? I like to think we all have the desire and need to create within us. For me, the artist is an important part of us seeing what we are capable of doing. I think art should be part of everyone’s life, and as many people as possible should be exposed to art so they can find the inspiration to create on their own, and become artists themselves.

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WHAT’S YOUR FAVORITE ART WORK? at is a very difficult question to answer. ere is so much. ere are many that I love deeply for different reasons. I’ll write the first three that occur to me, in no particular order: Las Dos Frida’s, by Frida Kahlo. e Rothko Room at the Tate Modern, haha yes the whole room is one of my favorites. All those pieces by Mark Rothko were presented with such excellence ... I’d like to remember the overwhelming effects of that experience for the rest of my life. I really can’t pick a favorite from that room. e Sandman: e Dreamhunters illustrated by Yoshitaka Amano and written by Neil Gaiman. e whole book is filled with incredible art by one of my favorite illustrators, especially the Itsumade page.

SEEING BEAUTY IN THE OVERLOOKED PEOPLE AND THINGS AROUND US.

DESCRIBE A REAL-LIFE SITUATION THAT INSPIRED YOU? I was watching over one of my nieces and she was a wild bundle of energy. I didn’t want my sister coming in and seeing how out-of-control her daughter was aer entrusting her to me. I asked my niece if she wanted to color, and that I could draw her anything she wanted. I figured at least I could get her to sit down. “A horse ...” she stated, and she began galloping in circles around the couch. I thought I’d do better, and began drawing a winged unicorn. When she got close enough in one of her loops, she stopped and her jaw dropped. She ran over to the table, grabbed a purple pencil, and began screaming “Pretty! Pretty! Pretty”. She climbed on the table on all fours and proceeded to color the entire sheet of paper purple while screeching “Pretty! Pretty! Pretty”. at is of course, when my sister walked in. Luckily no one got in trouble.

To this day it may be the best reaction I’ve ever had to a sketch. at moment inspired my coloring books series, which I am now self publishing. My niece is quite the little lady now. WHAT JOBS HAVE YOU DONE OTHER THAN BEING AN ARTIST? I have been a secretary, a receptionist (Intercoms are awesome fun), an architect’s assistant / delivery girl (I had to use my dad’s omson guide because I couldn’t aﬀord a smartphone at the time), a fine-dining hostess, a nanny, a knife salesperson (Yup. Cutco. I was horrible at it.), and one who cut mats for art ... is that an art “matter”? WHAT FOOD, DRINK, SONG INSPIRES YOU? Bourbon and my Tom Waits playlist.

Photos by Christopher Rigg / www.riggimaging.com

A mixed-media sculpture exploring my artistic influences and the thematics of natures gis. Summer Muertita is one of four seasons.

WHAT MEMORABLE RESPONSES HAVE YOU HAD TO YOUR WORK? One of my favorites was at the Hollywood Forever Day Of e Dead celebration. Along with the incredible event, they fill a giant Mausoleum with art. It gets very hard to tell who the artists are as the crowd thickens throughout the night. I was standing behind a woman who was horrified by my work. She said to her friend, “Disgusting. I would buy this piece just so I could throw it in the trash.” I was actually impressed by her vehemence. Of course I wished that she didn’t hate my work so much, but that brought another realization; I actually prefer that reaction than an apathetic gaze. It was a pretty excellent moment.

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Willow Blossom is an elemental spirit made of conjoined twin sisters. ey were hunted for their knowledge. Because they cannot truly die, they remain between the world of the living and the dead. Now that they finally found their resting place, they can impart their wisdom from the walls of their new home in peace and contemplation.

e other best response I had was that same night. A little girl, about 8-9 years old, locked eyes with my piece from across the room. She let go of her mothers hand and bolted into the crowd. She gasped the whole way. Stopping in-front of my piece which was far too high for her, she craned her neck all the way back to see it. Aer staring at it for a beat, she said “Wowwwwww!” with a giant exhale. I can still feel my joy in that moment when I think about it. WHAT MAKES YOU ANGRY? Blatant and proud disregard for another’s point of view.

Tiger Blossom is a unicorn-tiger-sphynx who was hunted for her knowledge. Because she cannot truly die, she remains between the world of the living and the dead. She has finally found her resting place from where she can impart her wisdom in the walls of her new home.

ARTLife KRISZTIANNA

Midnight Harvest Muertita is the mysterious guardian of the Six Harvest Sisters, who represent the color spectrum of the autumnal palette. She watches over them from a distance. She had been hunted for her knowledge, but because she cannot truly die, she remains between the world of the living and the dead. She has finally found her resting place where she can inspire thoughtful contemplation from the walls of her new home.

Is the artIstIc lIfe lonely? What do you do to counteract It? is one is a struggle, not because of loneliness, but because it is solitary work. I am quite an excellent hermit. Locking myself away from the world and doing art is what I most desire. All too oen I succeed in doing just that, and lose track of the passage of time. Upon surfacing from my art haze, I realize I have not tended to friendships with those I love, I have not spent time with family and friends, and I feel a terrible loss in that moment. I am presently trying to find a balance between my work, my art, and the people I love. Let me know if you figure it out. should art be funded? State financial policy is not my strong suit, but as far as the loy idea of it, yes, absolutely. I also think people should want to fund art. I would love a bare bones funding by the state to get proper art curriculums, then give financial or press-worthy perks for larger projects funded by the communities that want them. But until that happens, sites like Kickstarter and Patreon are an excellent way for crowds from all over the world to support and connect over projects they love. name somethIng you love, and Why. My husband. He makes me a better person, and loves me, not despite my crazy, but sometimes because of it.

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name somethIng you don’t love, and Why. Raisins. ey are vile. Keep them out of my cookies. Such treachery. What role does arts fundIng have? In schools it exposes developing minds to a means of self-expression. It supplies art classes with materials for kids and young adults so they can learn diﬀerent mediums and find their artistic voice through experimentation and exploration. In communities it brings people together, inspires them, and forces people to work together. What superpoWer Would you have and Why? For real, I’ve thought about this a lot. I want the ability to have someone understand another’s point of view perfectly. Like, I zap them with my brain power and suddenly someone else they were just fighting with makes sense to them. And I could do it to crowds too. ZAP! Everyone sympathizes with everyone else all at once. What Is your dream project? To be able to do a solo show that portrays a sequential progressions of a story using painting, interactive art, and sculpture.

ARTLife KrIsztIanna

What’s the best pIece of advIce you’ve been gIven? “Shuttup and work.” - Jim Auckland, Illustration teacher at Otis college of Art and Design. And its true. If I make something horrible, instead of hating myself for it I put it aside and make another thing. If I want to do something, if I stop talking about it and do it, I can almost finish it. If I’m not good at something, I keep trying and given enough time I will improve. What Wouldn’t you do WIthout? With my art? I would say a quiet place to escape to, free of distractions, where no one is looking over my shoulder.

Photo by Piero F. Giunti / www.pierofgiuntiphotography.portfoliobox.me/

contact: www.krisztianna.com www.facebook.com/Krisztianna http://twitter.com/KrisztiannasArt http://krisztianna.wordpress.com/ http://instagram.com/krisztianna/ publIcatIons: http://www.amazon.com/-/e/B00FYAA9MK

by mladen Ĺ aban

84/85

Kill me = save me

by chIh-chIeh Wang / ccW fashIon photographer

My life without me

86/87

NYC Hotel

by dadu phoenIx

by daŠa ŠčuKa

by sammy sharon

88/89

by peder aresvIK

by edWIge K

90/91

by egon hungerb端hler

by stella sIdIropoulou

by yasuo furue

by phIl rIce 92/93

by sammy sharon

î&#x201A;ťe war of the worlds

unbearable

by smara Kand

by daŠa ŠčuKa

94/95

by nIgel maudsley

by analua zoĂŠ

Waiting for the poet in the tomorrow window

96/97

by nIgel maudsley

From far

98/99

by andrea eddem

Into the light 100/101

by KerstIn arnemann

BY YOLANDA G

BY LUIZA MENESCAL 102/103

GIRÓN GUTIÉRREZ

BY FRANCESCO PACI SALERNO

Caras Ionut

the little hero inside me

104/105

morning

ÂťIs thIs World a strange place?ÂŤ

echo

oo l l ba y m

First of all, tell us a little bit about yourself, how do you spend your free time? What did you do over the weekend? WELL, ABOUT ME, NOTHING SO SPECIAL :). I LOVE PHOTOGRAPHY SINCE 2000, AND AFTER A WHILE I WAS FALL IN LOVE TO PHOTOSHOP AND I START TO MAKE SOME MANIPULATION, OF COURSE MORE PLAYING THAN MAKING SOMETHING BUT I WAS ENJOY A LOT WHAT PHOTOSHOP CAN DO. AFTER IN TIME, I TAKE IT MORE SERIOUSLY AND TODAY IS PART OF MY LIFE AND IN THE SAME TIME, MY JOB. USUALLY I MIX MY FREE TIME, BECAUSE VERY RARELY I CAN CLEAR MY MIND FROM WHAT I'M DOING AND TO CONCENTRATE ONLY TO MY FAMILY. BUT IS DEPEND ALSO ON MANY THINGS, IS QUITE DIFFICULT TO SAY I DO THAT OR ONLY THAT ETC. 106/107

avatar

How did you get into photography? Did any photographers influence you? How? USUALLY WEEKEND I WORK TOO :), SOME CUSTOMERS ARE FREE IN THE WEEKEND AND THEY LIKE SOME PHOTO SESSION, OR SOMETIME I JUST GO SO SHOOT SOME EVENTS, MOSTLY WORKING :)

WELL, IS HARD TO SAY HOW I GET INTO THIS, BUT LIKE ALL OF US, I WAS A PASSIONATE, AFTER I SEE THAT I LIKE WHAT I DO AND I WAS APPRECIATED FOR WHAT I DO, SO I STILL DO WHAT BEFORE WAS PURE HOBBY. YES, A LOT OF PHOTOGRAPHER INFLUENCE ME, BY MANY SIDES, LIKE COLOR, TONING THE PICTURE, BY KIND OF PICTURE, COMPOSITION, IDEA AND SO ON, ALL OF THEM HAVE OPEN SOME INTEREST INSIDE OF ME TO EXPERIMENT, TO LEARN OR TO DISCOVER MORE AND MORE. TODAY I BELIEVE I HAVE MY OWN STILE AND I LIKE THAT.

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Tell us a bit about your “Strangers” collection. Who are these people and how did they become subjects of your work? WELL, I LOVE THIS COLLECTION. I LOVE ALL OF THEM BECAUSE I PERSONALLY MAKE THE SHOT OF THAT "STRANGERS" AND I NEVER TALK WITH THEM. I JUST WAIT FOR SOME GREAT MOVE FROM THEM, AND AFTER I TRY TO PUT THEM IN A FANTASY WORLD, OR AT LEAST SOMETHING WINCH WILL BRING THEM TO SOME KIND OF ADVENTURE TRIP. SO, USUALLY I WALK TO THE STREET, AND LOOKING ALL AROUND, TRY FINDING SOME GREAT SUBJECT. IF I FIND SOMETHING, I TRY TO GET A BEST SHOT, SOMETIME IS LIKE HUNTING, I SPEND EVEN MORE THAN 30 MINUTE OR SOMETHING. SOMETIME I JUST GO STRAIGHT AND MAKE THE SHOOT :), IS DEPENDS.

living to life

overloaded world

110/111

the earth is round

the blue diamond

stick together

How would you describe your work in three simple words? PATIENCE, CONFIDENCE AND WORKING HARD.

112/113

world of freedom choices

message from sky

the patient observer

tree dispersion

the dream maker

disturbing reality

114/115

the broken wings What do you want your pictures to tell the world? What is their message? WELL, USUALLY I DON;T WORK SOME SOME KIND OF MESSAGE, I JUST LIKE TO CREATE ANYTHING WHAT CAN LOOK SURREAL, ABNORMAL :) I LIKE TO CREATE SOMETHING WHAT ONLY IN DREAMS CAN SEE, SOMETHING FAR FROM THIS WORLD. AND IF I SUCCEED THIS, ANYBODY CAN INTERPRETING WHAT THEY LIKE, BECAUSE ALL OF US HAVE A DIFFERENT TYPE OF INTERPRETATIONS, WINCH IS REALLY A GOOD THING.

water world girl 116/117

cold-call-of-a-morning

forest-in-color

up-side-down 118/119

let the rain fall over the sea

the follower dreamer

a beautiful day for swimming

looking over the snow-dotâ&#x20AC;&#x2122;s 120/121

butterflies in the stomach

cold morning

the oldest alley

122/123

soft motion of the sea

the secret about a lonely journey

the dreamy fisherman

blue love 124/125

once in a lifetime

Ionut, where can we see more of your work? I know there are people out there interested in actually owning some of it, so can we buy it as well? ALMOST ALL OF MY WORK CAN SEE ON MY PERSONAL WEBSITE, WWW.CARASDESIGN.COM, ON THE FINEART SECTION. AND YES, THERE CAN ALSO ORDER PRINT, SMALL PICTURE OR FOR ADVERTISING/LICENSE MY WORK.

the hunter of beauty

spectrum over the hill 126/127

leading the sheep

suspended

128/129

the great playful sea

What are your plans for the future, a new collection perhaps? I LIKE TO GROW MORE AND MORE, TO HAVE SOME OTHER TYPE OF CUSTOMER, WITH BIGGER PROJECT, IDEA AND SO ON. AND I'M SURE IN THE NEAR FUTURE THIS DREAM WILL BECOME TRUE.

iever l e b iâ&#x20AC;&#x2122;m a

the full shining door 130/131

queen of the silent-city

CONTACT: www.carasdesign.com www.facebook.com/carasdesign

ViSIONS M

libres

The Art and Culture Magazine

Visions Libres Magazine / VL Editions is an international photography and contemporary Art Collection. The magazine serves as an exhibition space that embraces every aspect of photography and art. Take a free review on Visions Libres Magazine / VL Editions on www.issuu.com.

Visions Libres Magazine / VL Editions est une collection d'art contemporain et photographique. Le magazine est un espace d'exposition ouvert Ă tout aspect photographique et artistique. Les ĂŠditions du magazine Visions Libres sont visibles en ligne gratuitement sur www.issuu.com.

EditionS

The Print-Issue VL Editions is available on www.blurb.com

La version papier de ce magazine est disponible sur www.blurb.com.

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