Never Lazy
breathe creativity
----- s u m m e r 2 0 1 3
E D I T O R S A B B I E
C O H E N
J E S S I E
Features editor
C O H E N
Graphic designer
ten------summer 2013
C O N T R I B U T O R S
Anna ÅDÉN Paul ANDREWS Michael CINA M a i C H AYA C a s s a n d e r E . S C H AT T E N K E R K Anai GREOG Henrik ISAKSSON Shan JIANG Paul JUNG Robert M. ENGELSMANN K a t i e M A C KO W I C K Thierry MUGNY Jin NG G i u l i a P A R L AT O Gautier PELLEGRIN Andreas PREIS S e r g e RO G OV Alastair TEMPLE J a c o b VA N L O O N
2 N E V E R L A Z Y M AG A Z I N E
O N
T H E
C O V E R
Paul Jung
S tyling s k y o h • war d r o b e w h i t ma k eu p a i y o k o m i z o • hair s h a n n o n wa l l m o d el r o s i e t u p p e r • assistant m at t j o h n s o n
NEVERLAZYMAGAZINE@GMAIL.COM W W W. N E V E R L A Z Y. N E T • B L O G . N E V E R L A Z Y. N E T
THE SUMMER 2013 ISSUE 3
Welcome to NeverLazy’s Summer 2013
This season, we’re excited to present
issue! This season we’re celebrating
a variety of individuals from different
a milestone of sorts, as we’re releasing
walks of life and with very unique
our tenth issue. The journey has been
stories to tell, from quirky collagists
incredibly rich and dynamic and, after
to pensive painters. We could not wait
almost two years, it still feels as though
to showcase a number of exclusive
we’re only just getting started. We’ve
editorial pieces, from the original works
explored different paths, as young
of Gautier Pellegrin and Serge Rogov,
projects do; yet, our goal has always
to Mai Chaya’s thoughtful landscape
remained the same: to inspire artists
photographs, to the black and white
as well as visual arts and fashion
stories of Giulia Parlato, Jin Ng and
admirers, and to be a breath of fresh
cover artist Paul Jung. There’s a bit
air in a fast-paced world. We are proud
of summer on every page, so lie back
of the talents we’ve featured so far,
and savour the warmth of our Summer
without whom NeverLazy would not
2013 issue. • A B B I E C O H E N
quite be what it is today.
4 N E V E R L A Z Y M AG A Z I N E
co nt en ts
06 jin ng a lady possessed
16 cassander eeftinck schattenkerk the scientist 26 shan jiang intricately minimal 36 serge rogov japonism
44 michael cina exploring other spaces 52 anna aden sense and sensibility
62 thierry mugny “one’s introspection is personal” 72 giulia parlato the last living rose
82 anai greog psychological patterns
90 henrik isaksson garnell the explorer 100 paul jung essential elements
112 robert malte engelsmann “i would describe myself as a draftsman” 124 alastair temple “find people you get on with, and collaborate a lot” 134 gautier pellegrin the escape
148 andreas preis “what you see from me, is what i like” 158 katie mackowick playful fantastical ominous 166 paul andrews transient surrealism 178 jacob van loon the thinker
188 mai chaya “as for creativity, mine comes from solitude”
THE SUMMER 2013 ISSUE 5
A L ad y P ossessed 6 N E V E R L A Z Y M AG A Z I N E
p h oto gra p hy j i n n g • styling N ata l i e J e a n R o g e r s hair A l a n Wa n g • ma k e - u p J a h l e s h i a D e f l av e l l e m o d el J e s s W . at N o va M o d els ( N e w Z ealan d )
ossessed THE SUMMER 2013 ISSUE 7
8 N E V E R L A Z Y M AG A Z I N E
The haunting figure of a young woman, posed against a bleak wooden backdrop, adorned with a mystifying veil or surrounded by the fumes of an extinguished candle – the scenes conveyed in A Lady Possessed, in all their delicate and enigmatic nature, evoke only one thing: the darkness and lure of the occult. Invested with a bizarre sort of sensual appeal, this editorial piece is loosely inspired by Charles Baudelaire’s poem Le Possédé [The One Possessed] and offers a look into a mystical world unknown to many of us.
A Lady Possessed tells the tale of a young woman of the 1900’s, fascinated by the sublime and ethereal forces of occult magic that eventually come to possess her. Through this it narrates her physical and psychological transformations, as she separates herself from the Victorian norms that once confined her and fortifies her relationship with the devil. A strong tale of desire, darkness and temptation that greatly reflects Baudelaire’s often disturbing yet terribly inviting aesthetic. • AC
THE SUMMER 2013 ISSUE 9
1 0 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 11
1 2 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 13
1 4 N E V E R L A Z Y M AG A Z I N E
“ S le e p or s m oke a s you w ill; b e s ile nt , b e s o m b e r, And p lung e your w hole b e ing int o Ennu i ’s a by s s ; ” “ B e w ha t you w ill, bla ck nig ht , r e d d aw n ; T he r e is no fib e r in my w hole t r e m bl i n g b o d y T ha t d oe s not cr y: “ D e a r B e e lze bub, I ad o r e yo u ! ”
– T he One P o ssesse d , C harles Bau d elaire ( T ranslate d b y William A ggeler )
THE SUMMER 2013 ISSUE 15
The Scientist Cassander Eeftinck Schattenkerk
Cassander Eeftinck Schattenkerk produces photographic work that often stuns by its unusual character: the Netherlands-based artist stages natural phenomena and imagery through “simple interventions on location or by creating table landscapes� in his studio, and photographs them in an eye-catching and thought-out manner. >
1 6 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 17
Through this, Cassander creates
“It’s very important for me to walk or
photographs that wonderfully capture
drive around and find special places
scenes of a landscape in which “real and
that can be unspectacular or messy,
artificial elements of equal importance”
that make me imagine what [they] can
are made to coexist and are assigned a
be transformed into,” Cassander says,
new meaning. Having studied painting
as he talks to us about the initial
and photography during his time in both
creative stages behind his well-planned
Amsterdam and France, Cassander
photographs. “I then fantasize how to
seeks to combine his passion for the
transform these places, either with
visual arts with his childhood interest
interventions or by replicating parts
in science and nature – the latter of
of them in the studio”. Speaking of his
which he claims are “now an important
working space, a topic which many of
inspiration for both the content and
his spectactors would find of interest,
techniques” of his work.
he adds: “I work more and more in >
1 8 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 19
2 0 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 21
2 2 N E V E R L A Z Y M AG A Z I N E
a kind of laboratory setting, where
something that transforms the whole
the work grows in a setup in my studio
setting.”
which I only have to monitor.” Cassander’s experience hasn’t merely Cassander’s genuine curiosity for
taught him about the technical aspects
photography is apparent when he tells
of his work – it has given him a wise
us of the sense of accomplishment he
mindset that all artists can learn from:
has gained from being an artist: “It was
“An artist does not find his own language,
great to be at the Hyeres Festival in
but creates it himself,” he tells us. “This
France, where I was in the selection
sounds like such a straightforward
shortlist,” he admits, before adding:
thing, but it is not so obvious when you
“But I get most satisfaction from small
are starting out. The freedom one has is
achievements – [like] when I have
overwhelming, and by creating building
captured something, maybe in the
blocks of your own language you can
middle of the night in a forest – espe-
make sense of the crazy amount of
cially when I am in really mundane or
imagery around us.” •
suburban locations and where I can find
THE SUMMER 2013 ISSUE 23
2 4 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 25
SHAN JIANG in t r i c at e ly m ini m a l
Shan Jiang’s Japanese-inspired
runs a design studio – a task which he
illustrations detain a sort of magical
thinks of as a big challenge, alongside
appeal, that causes one to stop in
the more obvious one that all profes-
one’s tracks to take in their amazingly
sional artists face of “trying to survive
psychedelic colour palettes and endless
in the industry”.
amounts of detail. Shan describes his creative style to us as “intricate but
Inspired to collaborate with writer
influenced by minimalism” – a style
Haruki Murakami, Shan’s dreams are
made evident by his attempts at
evidently as vibrant as are his illustra-
bringing clean and meticulous line-art
tions. As he is well on his way to achiev-
together with bright yet simple and
ing this goal, the 33-year-old is keeping
harmonious colours. Through this, the
busy with a multitude of projects that
young Chinese artist shows an effort
certainly don’t mask his ambition and
to develop his creative identity, fuse
success thus far: “I am working on two
art trends and movements together
illustration projects for Nike and
and push boundaries, all whilst
Johnnie Walker, a few design projects
remaining true to his own aesthetic.
for a shopping mall called K11 in
A graduate of both the Fine Art College
Shanghai, and one personal project
of Shanghai University and Scotland’s
for my own fashion accessory label
Edinburgh College of Art, Shan now
‘Pig, Chicken & Cow’.” • A BB I E C O H E N
2 6 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 27
2 8 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 29
3 0 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 31
3 2 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 33
3 4 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 35
Anya wears sweatshir t and shor ts Topshop, headband Marmalato, backpack Atmosphere, handmade necklace, vintage shoes.
3 6 N E V E R L A Z Y M AG A Z I N E
J A PONISM p h oto gra p hy s e r g e ROGOV • m o d el a n ya s e m e n o va at rushm o d els • styling d a r ya k u z m i n o va hair & ma k e - u p d i l m u r at s u lta n o v
THE SUMMER 2013 ISSUE 37
Anya wears vintage denim jacket, t-shir t Zara, shir t Uniqlo, dress Concept Club, accessories Marmalato.
3 8 N E V E R L A Z Y M AG A Z I N E
Tell us about yourself and your creative
What is the story behind this shoot
identity... I’m a freelance photographer.
and what inspired it? How did you
I live and work in Russia. I have been
collaborate with your team to explore
working as photographer for about four
such a story? We took inspiration for this
years. Most of my shootings are model
shoot from Japanese streetwear and the
tests, editorials for different magazines,
extraordinary style of people in Japan.
and advertisements. Through my work
It was a team work: we – me and stylist
I try to show emotions, sexuality, and
Daria Kuzminova – did a lot of research
unconventional beauty. I’m always
trying to understand the way Japanese
looking for new faces and I’m open for
people put mismatched clothes and
collaborations with designers and stylists.
accessories together. We mixed clothes from high-street stores such as Zara and
What is it about fashion photography
Topshop with vintage and hand-made
that draws you in? I can’t explain what
jewellery, to show a bit of a Japanese feel.
draws me to fashion photography. I haven’t
Makeup and hair styling created by
thought about it. I just feel like it’s what
Dilmurat [Sultanov] also helped to com-
I want and need to do.
plete the outfits.
How has your experience influenced
What do you believe is the most impor-
your current identity and approach
tant factor in shooting an editorial?
to photography? Previously, I paid
The most important factor for me is the
much attention to the technical part of
coordinated work of the whole team. And
photography. Now, what comes first for
the model, of course. I’m very particular
me are emotions and feelings, but that
about choosing models.
does not mean that you can just forget about the technical part – you should learn
What accomplishments are you proud of,
to feel the light, and start thinking before
as an artist? My lastest accomplishments:
you push the button.
Zara bought my photo for t-shirt which you can now find all around the world, and I have shot for REVS Magazine. •
THE SUMMER 2013 ISSUE 39
Anya wears sweatshir t and shor ts Topshop, headband Marmalato, vintage shoes.
4 0 N E V E R L A Z Y M AG A Z I N E
Anya wears vintage denim jacket, t-shir t Zara, shir t Uniqlo, dress Concept Club, accessories Marmalato.
THE SUMMER 2013 ISSUE 41
Anya wears jacket, t-shir t and jeans Zara.
4 2 N E V E R L A Z Y M AG A Z I N E
Anya wears shir t and sweatshir t Stradivarius, skir t Topshop, jeans Armani Jeans, socks Topshop, vintage shoes.
THE SUMMER 2013 ISSUE 43
m i c ha e l c ina e x p l o r ing o t h e r s pa c e s
First and foremost, who is Michael
the amount of dedication and time
Cina? Tell us about yourself and your
you have to your craft. I live and breathe
practice... I don’t really like talking
design, typography and art. I learned at
about myself – I find it uncomfortable.
a young age that if you want really good
I am constantly changing. Every year
information, you go to books. I reinvest
I tweak what I do and how I do it. This
the money I make back into books. I also
year I have tried to boil my work down
work hard at developing my ‘practice.’
to graphic design, designing typefaces, and the fine arts. I run a small design
Which three words would you use to
studio in Minneapolis, Minnesota
best describe your work? Exploring
where I work primarily on corporate
Other Spaces.
branding for larger companies. But this is not who I am, it is what I do
We’re very much intrigued by your
on a daily basis.
work process. Would you care to share it with us? I don’t keep a schedule
How formal is your training?
and each work day is different. Early in
I completed a Bachelor of Sciences in
my career I made decisions on where
Fine Art and Communication Design
I would and would not work and it
but I don’t really care about titles and
pushed me to start my own design
I never graduated. What matters is
studio. Working for yourself, you >
4 4 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 45
4 6 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 47
4 8 N E V E R L A Z Y M AG A Z I N E
develop a rhythm and mine is completely
[one for] design. I spent a lot of time
you fads and even stats on which works
ruled by my whims and project deadlines.
fixing it up and eventually destroyed it
are appreciated more than others. It is
Yesterday I painted in the studio all day
through working.
easy for an artist to want to get caught
but today I will work on design. If a good idea comes about, I will drop the
up in trends and be highly influenced by I wrote a short piece for a book on
them. Who doesn’t want to be success-
design and spend time to mix some paint creative blocks and posted it on my
ful? I think this stunts people’s unique
to work with it, and then design later
blog (http://www.thenewgraphic.
visions and trades it for mediocrity.
today or tomorrow. I work on almost
com/2012/09/breakthrough/).
The creative mind must be explored
everything simultaneously. It is what
fully from a personal perspective to How valuable would you say social
fully flourish, not feeding exclusively
networking is to you as a creative
on fast food popular culture. We each
Who or what inspires and influences
individual? I don’t have time to network
have a unique vision and thoughts. The
your work? We are all influenced by
and I am horrible at it. I wish I was better.
Internet and society stunt this organic
keeps me interested in what I do.
everything throughout our day. Working Every job and opportunity normally
growth.
all the time and on various projects is
come to me and I weed through them.
my biggest influence. The art of making
Last year I was approached by 30-40
I have begun to not show new work
mistakes and ‘failing’ is a huge teacher
galleries and I turned them all down.
online because it is not advantageous
for me. I love the feeling of not knowing
This year I signed with two galleries:
for where I want to go with my work
what I am doing and learning from those
Public Functionary in the USA and Lilk
now. This way I can create work that
experiences. Music is a huge influence. I
in East London.
is interesting to me and let the galleries
consume it by the tons.
and collectors take what they desire. How do you feel your work evolving in
In which setting or atmosphere do you
an increasingly interconnected digital
A word of wisdom to share with us
work best? How do you overcome art
sphere? I am glad you asked this. When
and budding creatives? Be present
blocks? I work on art best by myself,
I was younger, I used to think the
(easier said than done). Right now I am
in my studio. It is in a building where
Internet was vital to the arts and now
trying to live in the now. I am trying to
[people] make clay. Lately I have been
I see it as destructive for many reasons.
be aware of what I am doing at any mo-
thinking of dividing out my two studios
When I was younger, I would paint what
ment, not of what happened yesterday
into separate offices. Right now my
interested me. I didn’t have anything to
or [will happen] tomorrow. That is what
studio is divided in three: a section for
determine what I should paint or how.
robs you of today. •
relaxing/food, [one for] painting and
I just painted. Now, the internet shows
THE SUMMER 2013 ISSUE 49
5 0 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 51
Anna Tranquility and innocence perspire through Anna Ådén’s photographic portfolio: at the age of 27, the Swedish artist boasts a delicate and innate ability for capturing a particular scene and captivating the viewer through it. Using the force, colour and beauty of natural landscapes, Anna never ceases to blow life into sets of photographs that tell wondrous and well-lit stories. Like pictures out of a modern-day Jane Austen novel, Anna’s photographs are soft, attentive and grippingly poetic. • A C
Sense and 5 2 N E V E R L A Z Y M AG A Z I N E
Ådén
Sensibility THE SUMMER 2013 ISSUE 53
5 4 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 55
5 6 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 57
5 8 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 59
6 0 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 61
THIERRY MUGNY -----“one’s introspection is personal.”
6 2 N E V E R L A Z Y M AG A Z I N E
Who is Thierry Mugny? What is the
(Ecole Cantonale d’Art à Lausanne [editor’s
meaning behind your pseudonym,
note: Cantonal Art School of Lausanne]) and
Tchegg TM? I love looking and observing
did not get in. Since 1998, I have been
both nature and people. I am single and
working as an organiser in an establish-
live in a small village called Corcelles-près-
ment providing medical and social assis-
Payerne (near Lausanne). From a young
tance to elderly people. I went through
age, I have loved drawing. I am self-taught
multiple training schemes in this domain
and learned about drawing as it is taught in
and morally, this job offers me a lot. Life’s
school. I have always been interested in art
big questions are presented to me on a dai-
but never took any classes in an art school.
ly basis. Therefore, I undertake my artistic
Painting came later on.
activities... in my free time and at night.
At first I wanted to undertake an appren-
Tchegg is a nickname that someone gave
ticeship as a graphic designer, but I ended
me when I was 18 and had made new
up following a different path to become
friends. As it had only been spoken by
a civil engineering designer, instead. After
my friends, I spelled it the way I wanted to.
finishing my training for this career, I had
A few years later, I discovered on the
no desire to continue down that path and
Internet that this name already existed,
left France to travel around Asia and South
so I added the initials of my real name –
America. For eight years I would leave
Thierry Mugny. I generally sign my name
France, and come back to earn money by
using my initials.
doing all sorts of small jobs. I took up painting again, more seriously this time, and
When and how did you develop your
took classes held by Corinne Colombo, a
current aesthetic? For 15 years I have
painter in Lausanne. I applied late to ECAL
been taking photos of textures and >
THE SUMMER 2013 ISSUE 63
6 4 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 65
“rhythms” in urban or natural landscapes. I
Mentally, I try to see which ones are
What do you aim to convey through
wanted to translate them in painting.
likely to bring out the idea that’s in my
your art? People want to make art that
I tried this on several attempts but was
head, once they are layered. There is a lot
is ordered and beautiful, but with time
never really convinced by the results. My
of freedom in this regard, and interesting
everything crumbles and disintegrates.
own movements always intervened and
mistakes can be made. Sometimes, many
Yet with time, beautiful colours appear, the
I was not satisfied. One particular year, I
hours pass and I won’t have produced
piece of art undergoes a transformation
discovered that with Photoshop, I could
anything. I feel like a sculptor putting an
and gains a new appearance. With time,
assemble these photos and obtain an
image together, with the use of photo-
an object separates itself from its creator
interesting result, without it seeming too
graphic images of rhythms and textures.
and becomes an object in its own right.
digital. I do not worry about classifying my
The third part is when the advanced stage
The creator loses power over it. People try
work – whether it’s digital art, photogra-
of production appears. At this moment,
to paint over their wooden shutters – it’s
phy or anything else! It doesn’t matter to
I sometimes go too far and need to go
a permanent process. An old wall tells so
me. What is interesting is keeping these
back. I try to heighten the tension [in the
many stories – when it is painted over in
textures, these “rhythms”, these traces
image] before improving the balance of
white, what is left for it to tell? Nature is
and lines in their purest state, as they are
the composition, trying as I do so to not
different, though – the creator is not the
captured by the lens of a camera.
erase the interesting mistakes I’ve made.
same! Gardens or parts of nature are taken over by mankind but thankfully,
What is the creative process behind your If rhythm lacks from the composition and if
mankind does not paint an autumn leaf
work? How do you address the com-
it seems smart to do so, then I take a photo
over and again or stick it back onto its tree.
plexities of layering different textures,
of lines traced on paper with a paintbrush
and how do you combine traditional and
or a pencil. This is rare, as I mostly find
In my art, I draw on the representation
digital mediums? The first part consists
what I need in photos of urban or natural
of our bodies. The fear of growing old
of taking photos. I am not a photographer,
landscapes. I mostly want the final piece
becomes a more and more obsessive part
but for some time now I have been using
to have a pictorial look to it, which can be
of our behaviours. So, I ask myself about
a reflex camera and have started to make
found somewhere between photography
these old walls – what do they whisper to
better use of the possibilities that such a
and digital art. I find it interesting to cover
us? It isn’t impermanence that scares us;
camera offers. Within this first part, there
tracks and cause confusion. Many ask me if
we’re scared of slipping, of losing control.
is of course a choice of image composition
my works are paintings! I simply call them
It’s not the end that we fear, but the threat
to make, in order to use the photo without
“compositions”.
of the end. Working with elderly people as
reframing it. The second part is about
a part of my job, I am confronted with this
having a large amount of photos at hand.
topic on a daily basis. >
6 6 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 67
6 8 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 69
7 0 N E V E R L A Z Y M AG A Z I N E
In our society, there is no more room for
the traces, the lines and the rhythms,
the accomplishment of life’s natural cycle.
whether in urban or natural landscapes,
So, I take the whispers of the walls, and
draw my attention. Such abstract forms
assemble them to make them into modern
fascinate me, as though time was adding
totems with a realistic aesthetic and a
a melody to the poetic nature of objects.
contemporary, abstract form, and have them evoke life’s natural cycle.
Who would you be interested in collaborating with? I haven’t yet given
I dare say that my intention is that of
any thought to this possibility.
bringing the spectator to reflect on such thoughts. When I show my “compositions”
What projects are you working on at the
to people in my surroundings, at first, they
moment? At the moment I am focusing on
seem to represent figurative images:
photography. I am improving the quality of
heads, animals, objects, etc. But one’s
my photographic shoots, which widens my
introspection is personal.
possibilities when I edit and layer them.
How does your environment influence
A word of wisdom to share with us? “La
the textures, lines and colours in your
liberté, c’est la liberté de l’autre, tant qu’il
work? I live in a country where everything
y a un esclave, vous n’êtes pas libre.”
is “clean”. On the stairs of a new and
- Bakounine, anarchiste [editor’s note: “Your
modern parking lot built not long ago,
freedom is the freedom of the other; as long as
I noticed that rust has already appeared.
there exists a slave, you will not be free”]
The rust brings colour. Like an additional
• Translated from the French by AC
musical note in a melody. The textures,
THE SUMMER 2013 ISSUE 71
The Last Living Rose p h oto gra p hy g i u l i a pa r l ato • m o d el n ata l i e m i r z a
The sensibility of the female figure is a thing that Giulia Parlato appears to capture well. With the help of her camera lens, she guides one into the heart of an emotionally-charged story that is certain to leave one transfixed. The Last Living Rose is a story that exemplifies this perfectly, as it sets a striking contrast between the softness of femininity and the power of nature, in a beautiful narration of a young woman’s solitude and fragility. With its rich sepia tones, The Last Living Rose is another fantastic contribution on Giulia’s part to the vast realm of photography. • A C
7 2 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 73
7 4 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 75
7 6 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 77
7 8 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 79
8 0 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 81
8 2 N E V E R L A Z Y M AG A Z I N E
ANAI GREOG Psychological Patterns Symbolism takes a vibrant and intriguingly
world,” she tells us. “This somehow led to a
“I actually have the feeling that I fell into
circular shape with Georgiana Teseleanu,
discovery of some beautiful artistic roots
this artistic game, that it just happened to
a Romanian artist more famously known
[within me] that wanted to be expressed.
me one beautiful coincidence at a time. I
by her pseudonym Anai Greog: drawing
It’s quite wonderful and liberating to be
am just having fun, most of the time with
from her background as a psychologist and
able to translate emotions into shapes and
the same surprise and joy that a child has
psychotherapist, Georgiana creates pieces
colours.”
when opening presents.”
that arise from ongoing explorations of
Whilst Georgiana has always loved doo-
Inspired by the beauty of our world and
her inner self: “When you do psychology,
dling, she believes art to be a path she
the belief that one can do whatever one
you get to travel deep into your own inner
stumbled upon much by coincidence:
wants within it, Georgiana allows her >
of art infused with musings and emotions
THE SUMMER 2013 ISSUE 83
8 4 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 85
senses to take over part of her creative
do the colour math until you reach the final
process, as the shapes she illustrates
result, when you can just feel it is finished,
“always flow naturally”. Colour poses more
and you step back, have a look, and get
of a challenge to her, as she sometimes
amazed by what came out.” Georgiana’s
feels that the use of colour resembles
illustrations link the technical and expres-
solving a math equation: “You have to
sive aspects of artistic creation together
add the right tone, so that the colours sur-
and are therefore always, as she calls it,
rounding that tone are happy. You have to
“part inspiration, part perspiration”. • A C
8 6 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 87
8 8 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 89
Henrik Isaks
The Ex 9 0 N E V E R L A Z Y M AG A Z I N E
sson Garnell 26-year-old Swedish artist Henrik Isaksson Garnell takes scientific photographs with the aim of giving life to inanimate objects. Through this, his work takes on a abstract form as it places an ordinary subject within a surreal and complex narrative. As he tells us, his photography involves the “exploration of deterioration”, and he has taken to “recording, enhancing or distorting reality” through his work. A visionary with a keen eye for detail, a penchant for rich textures and hues and a particular attraction to photographic exposure, Henrik enjoys the element of surprise that lies in the act of taking a photo: to him, there is a sort of enigmatic energy contained within “that brief moment, when you think you have control [but] when the result exceeds your expectations.” • A C
xplorer THE SUMMER 2013 ISSUE 91
9 2 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 93
9 4 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 95
9 6 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 97
9 8 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 99
Styling Raytell Bridges; Makeup Latisha Nicole Rankin; Grooming Yetty Bames; Wardobe William Watson NYC, Ninh Collection; Grooming Assistant Geneva Clarke; Assistant Matt Johnson; Model Mitch Baker at Should Ar tists Management Special thanks to Sky Oh & Timothy Baga
PAUL JUNG ------ESSENTIAL ELEMENTS
1 0 0 N E V E R L A Z Y M AG A Z I N E
Who is Paul Jung? [I am] still looking
inspiring, a piece of work should be able
for the answer. It’s an ongoing process
to transport your mind to another realm
of self-discovery.
– I find that cinema does this very well.
Tell us about your aesthetic and
How does your interest in film feed in
aspirations as a creative individual...
to your photographic work?
I’m inspired by the tiny details of the
My favourite types of films portray a
world. By eliminating and simplifying
story and layer it with beauty through
noise, I find beauty in purity. Then I
light, fashion, and human emotions. All
look to combine tension in the simplest
these aspects are like ingredients and
forms, whether it be conceptual or
herbs from a garden that one can pick
visually daunting. I seek to create work
from to prepare an exciting new dish.
that involves [visual] contrasts, not
New wave directors are also very
just light and shadow, and conceptual
interesting for me, as they seek to
contrasts.
find new ways of expression, with ‘constraints’ such as budget and
How did you develop an interest in
production value. Through this
film and what you hope to achieve
restraint, however, they always
through this form? Movies play a
discover new, extraordinary
big part, as they combine so many
approaches to their work. >
vocabularies for the imagination. To be
THE SUMMER 2013 ISSUE 101
Stylist Sky Oh; Wardrobe WHIT; Makeup Ai Yokomizo; Hair Shannon Wall; Model Rosie Tupper; Assistant Matt Johnson
1 0 2 N E V E R L A Z Y M AG A Z I N E
As p.100; Models Loammi Goetghebeur and Mitch Baker
THE SUMMER 2013 ISSUE 103
Stylist Alice An & Rocky Li Milliner, Ellen Christine; Makeup Ai Yokomizo and Bethany Townes; Hair Eric Jamieson; Model Elisabeth Vandenbergh at Ford
1 0 4 N E V E R L A Z Y M AG A Z I N E
As p.100; Model Loammi Goetghebeur
THE SUMMER 2013 ISSUE 105
How do you approach fashion
If you could relive a memorable
photography and how does this differ
experience from your career so far,
from your way of approaching beauty
what would it be? Shooting for Vogue,
photography? I see both as ways of
and moving to New York.
dissecting and understanding forms. What projects are in store for you this What does the use of black and white
year? Music videos, fashion films, an
symbolize to you? Being slightly
exhibition, and seeking new artist
colour blind, the peacefulness of black
representatives.
and white allows me to understand the work in shapes and geometry,
A word of wisdom to share with us
where I can then balance and mould it
and our readers? Keep on searching
to my desires.
and discovering the world around you. The more you look, the more you will discover. •
1 0 6 N E V E R L A Z Y M AG A Z I N E
Wardrobe Photographer’s own; Producer Alexander Lee; Models (left) Sara Lucassen at Hollywood Models Management, (right) An Le
THE SUMMER 2013 ISSUE 107
As p.100; Models Loammi Goetghebeur and Mitch Baker
1 0 8 N E V E R L A Z Y M AG A Z I N E
As p.100; Models Loammi Goetghebeur and Mitch Baker
THE SUMMER 2013 ISSUE 109
As p.100; Models Loammi Goetghebeur and Mitch Baker
1 1 0 N E V E R L A Z Y M AG A Z I N E
As p.100; Models Loammi Goetghebeur and Mitch Baker
THE SUMMER 2013 ISSUE 111
1 1 2 N E V E R L A Z Y M AG A Z I N E
Robert Malte Engelsmann / “I would describe myself as a draftsman.”
Who is Robert Malte Engelsmann?
forthcoming projects, collaborations,
I am an independent designer/illustra-
possibilities to exhibit and new
tor and visual artist. After a time-out
adventures.
from commissioned work and cutting off almost all communication for research,
What initially drew you to the world
meditation and drawing, I set a strong
of illustration? I would describe myself
focus on my self-taught creative works
as a draftsman – I think [what drew me
– drawing and mixed-media painting. My in] was the love for creating lines and aim is to inspire and share the joy of the
the possibility to communicate ideas
drawing process (flowstate-drawing).
and concepts with drawing.
Currently I am finding an interested audience with the help of social media,
Tell us about your educational
especially Tumblr and its awesome
background and how this has helped
community of artists. I love art books
shape you as an artist... I studied
and recently I opened an etsy store to
communication design at Muthesius
publish my own art monographs in small
Academy of Fine Arts and Design. I have
editions. The feedback is great and the
a strong passion for photography and I
books are traveling to a lot of distant
am grateful of having had the possibility
places all over the world. With this
to learn from and study under the great
motivation I am looking forward to
Dirk Reinartz. The interdisciplinary >
THE SUMMER 2013 ISSUE 113
curriculum was also a nice opportunity,
pens – Polychromos are favourites.
and the aim of creating projects which will somehow serve society in
Your work is often black and white –
a concrete way gave a good education
what does the use of colour symbolize
in conceptual thinking. Some events
to you? I always was attracted to pure
really opened my mind. On the other
black and white artworks. One reason
hand, the academy was paradoxically
why I focused on a pure black line was
also narrowing, which pushed me to
that I was not satisfied with my forms
break out of that box.
and shapes. Being traditionally trained to draw with a pencil, I have always
Your illustrations are very detailed
erased a lot, and choosing to draw
and textured. What tools do you
unerasable lines has helped me achieve
generally use when producing them? I
a better level of concentration. When
always draw on paper or cardboard. My
every line counts, drawing can be like
lines are mostly drawn with a Japanese
sword fighting – a fast black line is a
rollerball pen. Textures are added when
thrilling thing.
I create mixed-media work. I really like to experiment with lots of tools: I use
It was not my intention to exclude
brushes and knives with gouache or
colours. I love colours and use them
acrylics, and also all kind of pencils and
in an intuitive way. Mostly, it is not >
1 1 4 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 115
1 1 6 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 117
1 1 8 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 119
1 2 0 N E V E R L A Z Y M AG A Z I N E
me wanting the colour – the work
this feels very good. At this point of my
demands it, then I use it.
creative path, I look at commissions and art directors who consider my visual
How do you apply your personal style
language and its roughness as a benefit
to a commercial project and what are
to connect with.
the main challenges you have faced in this regard? Before my time-out
Where do you see yourself in ten
I worked very conceptually, and
years from now? I have said to myself:
reducing or changing my styles to
ten years of intense drawing. I am on my
achieve a project goal was absolutely
way – we will see what will happen.
no problem. I also tried a special illustration portfolio, but my audience
A word of wisdom to share with us?
really demands my personal work and
Say hello. (^_^) •
THE SUMMER 2013 ISSUE 121
1 2 2 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 123
Alastair Temple
“Find people who you get on with, and collaborate a lot.�
1 2 4 N E V E R L A Z Y M AG A Z I N E
Who is Alastair Temple? I’m an
earlier. My education itself has actually
Engineering student – and about to
had little impact on my artistic styles.
be a professional engineer – from Aberdeenshire in Scotland, who has
If anything, my lack of a formal
been known over the last five or so
education has definitely allowed me
years to dabble with digital art and
to simply create the artwork that I enjoy
photography. I am also a co-founder
making: no-one has really pushed me
of the international art collective The
in any direction or towards any specific
Luminarium (http://www.theluminarium. styles, it has all been [developed] just net), as well as a staff member of
from what is fun. On the other side,
Intrinsic Nature (http://www.intrinsic-
my own studies have meant that I
nature.net) and an artist for EvokeOne
probably don’t spend as much time
(http://www.evokeone.com).
actually practicing as I would if I were at art school.
Tell us a bit about your educational background and training, and how
Who and what are your biggest
these have informed your creative
inspirations? When I first started
style and identity... I’ve never had
getting into digital art I was really
any formal artistic training. I study
inspired by a lot of the abstract artwork
Structural and Fire Safety Engineering
going around, particularly that of MI-7
at The University of Edinburgh so my
(http://mi-7.deviantart.com/) and the
education has taken me on a completely
early releases of Depthcore and
different track (I’m not complaining,
EvokeOne. It was trying to emulate
I do get to set fire to things in the lab!)
all of these artists that got me started
In many respects I’m fairly self-taught,
down the abstract artwork road. These
with the help of people I’ve met through
days it is a much larger combination of
art sites and the collectives I mentioned
things [that inspires me] – films >
THE SUMMER 2013 ISSUE 125
1 2 6 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 127
and novels feed a lot into my digital artwork. I also bounce creatively off all the people in the collectives I take part in, and people like Nico Monin-Baroille and Kuldar Leement whom I have collaborated a lot with definitely feed into my work.
Photography-wise, Ansel Adams was one of the people who really made me want to go out there and take photos in the first place but realistically, when you get out into nature or the wilderness, I don’t know how you can’t be struck by its beauty and want to record it all!
How would you say your photography work feeds into your design work? My photography and design work tend to be quite distinct when it comes to final outcomes, and there tends to be little crossover style-wise between the two. However, I do use a lot of photo textures that I have built up over the years in my design work, and techniques I have learnt from doing both definitely cross over afterwards. I think my photography has also helped me develop my compositional skills quite a lot. >
1 2 8 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 129
1 3 0 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 131
1 3 2 N E V E R L A Z Y M AG A Z I N E
What has been your proudest
it has mainly been finding time and
moment as an artist? One of the
being able to balance my creative
things I am most proud of is definitely
endeavours with my education and
The Luminarium. The group is now five
engineering life. University has often
years old and has come quite a long
taken over during periods of deadlines
way from our beginnings as a group of
and hand-ins, and making sure these
friends who met online, to now being
don’t impact on my creative projects
host to a large artist base including
has always been hard. I seem to have
some incredible talents in all fields.
managed to always find enough time
It is amazing how much the group has
so far, so long may that continue!
developed and I hope that it keeps growing. I’m also quite proud to be the
What creative projects are in store for
only artist to have submitted a piece
you this year? I have a few really
to every one of the group’s releases!
exciting things lined up with the art collectives I’m involved in, so keep an
What do you believe is the best as-
eye out for them. I would also like to put
set an artist can possess? Personally,
together a book full of artwork at some
I think one of the best assets an artist
point – I feel this would be a lot of fun to
– or as any person for that matter – is
do and even if no one else buys a copy, it
the ability to work with others. You can
would be cool to have a load of my stuff
learn a lot from other people; if you can
printed out and on my bookshelf!
take any criticism (as usually, it is aimed to help you improve) from others on the
A word of wisdom to share with us and
chin, learn from collaborations and gen-
our readers? Find people who you get
erally have fun with what you are doing,
on with, and collaborate a lot. You can
you will do well in life.
get some awesome things done working in teams and you will all learn a lot from
What has been your biggest challenge
each other. But really, at the core of it
so far, as a creative individual? For me,
all, just have fun and enjoy yourself! •
THE SUMMER 2013 ISSUE 133
Suit Chicca Lualdi BeeQueen; Bracelet Valentina Brugnatelli; Shoes United Nude
1 3 4 N E V E R L A Z Y M AG A Z I N E
THE
ESCAPE p h oto gra p hy GAUTIER PELLEGRIN • styling lu d o v i c a m a r t i n e l l i • ma k eu p r a f fa e l l a to m a i u l lo hair Fa b r i z i o Pa l m i e r i at to ni an d guy italia m o d el j e s s i c a at elite milan o
THE SUMMER 2013 ISSUE 135
All outfit Paolo Errico; Shoes United Nude
1 3 6 N E V E R L A Z Y M AG A Z I N E
Who is Gautier Pellegrin? How did you the time. I did read a fair amount of find your interest for photography?
books on art photography by buying
I had been wanting to change careers
the stuff the French National School
since forever. I was working on the
of Photography recommends on its
business side of the music industry for
website, so maybe that counts as an
various record labels, organising stuff
education.
and taking care of artists, and I wanted to be the artist. I was living in New York
I quickly got a job at a modelling
by then and had dabbled in many losing
agency by shooting free tests for them,
bets, doing way too many different
so that got me into the industry and
projects, and decided to start again
gave me a year during which I shot
from zero.
model polaroids and videos, and designed composites to get a grasp of
The choice of photography was
the fashion photography landscape.
pretty natural: I had taught myself a
I have always loved pictures, magazines
fair amount of graphic design and had
and fashion, but had no grasp of what
always collected images online, using
goes on behind the scenes and of the
them to express myself. I love the digital
dynamics involved to get going.
part of it so I moved to Milan where
Fashion photography is the most
my family was staying and, with their
sophisticated, vast-ranging type of
support, I was able to take a course
photography there is; it’s so incredibly
for six months and get started.
precise and the amount of production that goes into shooting is pretty
How formal is your training as
extensive. I am still not remotely
a photographer? [I have] very little
happy with my own work and I still
training: six months of studio training
learn every time I shoot. >
in a language I barely understood at
THE SUMMER 2013 ISSUE 137
Shir t Tibi; Trousers David Wyatt; Shoes David Wyatt; Bag Miguel Alex
1 3 8 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 139
What themes and concepts do you most enjoy working around when shooting? I’m still trying to find my own language. I like stuff that has a lot of character [and that is] either very modern, very cinematographic or very vintage, but it all has to fall into place and not get tacky. I still have to develop my own style, though; I’m still experimenting, and I’m still too flexible.
I honestly believe a good photographer is in absolute control of every detail. Great photographers often seem slightly nutty, obsessive people – that’s very beautiful to me and I want to be like that. At this point I also want to focus on strengthening my portfolio with whatever I feel is missing in there, so it’s not all about enjoying: it’s about becoming a viable commercial product with character. >
1 4 0 N E V E R L A Z Y M AG A Z I N E
Shir t Tibi; Skir t Parker; Bracelet Stylist’s own
THE SUMMER 2013 ISSUE 141
All outfit Koonhor Bracelet Valentina Brugnatelli
1 4 2 N E V E R L A Z Y M AG A Z I N E
Whenever I think up a project in my mind, it’s always light- and location- and music-based – dark wood floors, grey daylight, dub music... that sounds like a project to me.
Who or what inspires you? How do you overcome creative blocks? Photographers I know or follow are always inspirations for sure. Quality wise, they show me what level I want to get to. It’ll take a while, but I’ll get there.
As for creative blocks, I get in a rut once in a while but [if you] take on somebody else’s project and force yourself to shoot something, things fall back into order. One project leads to another. Meeting people in social environments is the least inspiring thing in the world – I like meeting people on set while working and watching people work: that’s when you start thinking of the stuff you could do. >
THE SUMMER 2013 ISSUE 143
All outfit Koonhor Sunglasses Illesteva Shoes Charline De Luca
1 4 4 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 145
Tell us about the thinking and
How do you see your practice evolving
processes involved in your editorial
in the near future? I’m so anxious about
submission, The Escape. This one was
that. I need to up the quality of my work
location-based and technique-based.
and make more valuable artwork.
I had been eyeing the lobby of this bank
I need to shoot and shoot and shoot and
for a while. I sort of loved the way it
publish, give more depth to my work,
looked and also wanted to shoot a
and maybe work on the production side
project that involved absolutely
more. Each story has to be better than
nothing more than a camera – no
the one before. I have to always smile
flashes, no panels, no lighting of any
and be positive; work hard and then
sort. This place was interesting for that
some more; take on more commercial
because there are at least five different
gigs, find more clients and keep them
types of light in the main shots and
happy; learn new aspects of my craft
I was going to have to learn how to make and get in better gear; work on my it look okay. Then, Ludovica [Martinelli,
retouching, on how to get emotion out
fashion stylist for The Escape] came to
of a model and on how to understand
me with a project and we sort of just
light better; and lastly, work with people
went for it. The story came to me as we
that always brings more to the shot.
were shooting it. Are you working on any current or What creative achievement(s) are you
upcoming creative projects? A few.
most proud of? I picked up a camera
Not enough, actually. Let me get back
for the first time in September 2010.
to you on that.
Since last October, I now make a living only from my craft. That is my biggest
A word of wisdom to share with us?
achievement.
Don’t ever rush. Don’t ever rest. •
1 4 6 N E V E R L A Z Y M AG A Z I N E
Sweater Miguel Alex Jacket Koonhor
THE SUMMER 2013 ISSUE 147
ANDREAS PREIS “What you see from me, is what I like.”
Though he typifies himself as “one of
us. “My whole portfolio represents
many artists from Berlin”, German-
different stages of my development
based illustrator and designer Andreas
but, most of whatever anybody needs,
Preis certainly has a unique voice and
I somehow have already created some-
personality of his own – highlighted,
thing similar to. In fact, it would be great
if anything, by the strong sense of
if more clients would think a bit further
character that he gives off: “I just do
and not just ask me to do something
what I want to do,” he tells us as he
they’ve already seen in my portfolio,
defines his artistic identity. “What
but that’s how it is at the moment.”
you see from me, is what I like.” With his use of bold, confident lines as Andreas proves himself to be a skilful
well as his signature geometric shapes
illustrator through his versatility, as his
and patterns, Andreas detains a
work has been adapted to a multitude
refreshing approach to illustration
of formats of varying scales – from
characterized by an effortlessly cool
posters, to snowboards, to the body of
and youthful vibe. Aspiring to make
a truck. As he talks to us about applying
a living from his art, and armed with
his art to such diverse canvases,
the perseverance necessary to any
Andreas displays an admirable trust in
professional in this industry, Andreas
his abilities: “Working in these
is set to take the world of illustration
different areas is not very difficult
by a storm – his impressive list of clients
for me, especially since most of my
so far, which includes DC Comics and
projects and even most commissioned
Nike, is a simple hint at the fact that
jobs emerge from personal works I have
this is already underway. • A C
done for my own pleasure,” he informs
1 4 8 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 149
1 5 0 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 151
1 5 2 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 153
1 5 4 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 155
1 5 6 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 157
Katie Mackowick
Tell us a bit about yourself and your
What three words would you say best
creative identity... Well, I am from
describe your style? Probably playful,
Pittsburgh, Pennsylvania, a place
fantastical, and ominous.
I consider very beautiful and unique and that is deeply enmeshed in both
Tell us about the creative process
my personal and creative identity.
behind your collages and the
Stylistically, I am fond of surrealism and
inspiration behind them... After
always strive to create work that looks
giving it some thought, I guess I’d say
like it could be a real place somewhere,
a fascination with the esoteric aspects
but is in fact a crazy-ass picture.
of religion and 1/1 symbolism, as well >
playful fantastical ominous
1 5 8 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 159
1 6 0 N E V E R L A Z Y M AG A Z I N E
as a sense of existential anxiety combined a really compelling image with such with my own experiences of being in
immediacy.
awe of nature and feeling restless, seem to all come together as inspiration
What do you believe is the best asset
for my collages. I also always appreciate
an artist can possess? An open and
a good visual pun.
curious mind.
As far as process, I cut out a million
Who would you most like to collabo-
individual elements from magazines
rate with within the art sphere? A few
and books, spread them out in piles and
really excellent collage artists I would
piece them together as my attention
love to work with include Tim Manthey,
span sees fit. Sometimes it happens
Jesse Treece, and Anthony Gerace.
quickly, sometimes it takes a while. Collage is my favourite medium because
What is the one artistic exploit you
of the potential it affords you to create
would like to accomplish? That is >
THE SUMMER 2013 ISSUE 161
1 6 2 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 163
1 6 4 N E V E R L A Z Y M AG A Z I N E
a big question! You like to think the
whacked out little visual universe.
sky’s the limit with a creative path, but realistically it’s pretty difficult. I think
If you had one artistic goal this year,
that mainly, I just want to keep getting
what would it be? To continue
better and hopefully earn the respect of
to expand my creative network in
people I’ve admired.
Pittsburgh, wherever else I may end up, and in all other places.
What creative projects are store for you this year? Currently, I’m working
A word of wisdom to share with us?
on getting into some collage collabora-
Do what you need to get by and always
tions. I am also trying to get back into
try your best, but don’t lose sight of
photography (which is a great excuse
doing what you truly love. It’s what’s
to do some more traveling), adding to
going to be there to give you comfort
a few ongoing series, and just continu-
if that other stuff falls apart. •
ing to exist in my own, ever-expanding,
THE SUMMER 2013 ISSUE 165
Paul Andrews transient surrealism
1 6 6 N E V E R L A Z Y M AG A Z I N E
Who is Paul Andrews? Good question.
change came when I started using the
of surrealism. I enjoy being outdoors
I am freelance photographer but trained
iPhone several years ago - I found it lib-
and taking more conventional landscape
as a cell biologist. A curious mix, you
erated me and awakened my creativity.
shots, but even then I love to capture
may think. I was born in the north of
It’s actually a versatile tool that does
patterns, shoot using long exposures
England but have been living in Dundee,
creative things other cameras can’t.
and use intentional camera movement
Scotland for twenty years.
Ironically, using it has rekindled my love
to create an impressionistic image that
of film so now (when I can afford it) I
captures space and time.
I am pretty sure my love of photography
enjoy taking Polaroid, medium format
started in my early teens: my father was
and 35mm analogue photographs.
keen on photography and he and I developed black and white film and printed it
The most interesting work gets infused with emotion. I often get inspired by
I’ve always been interested in art
poetry, and can even develop a narrative
in a makeshift darkroom (over the bath!) and have always sketched, doodled
to my images on a good day. I suppose
My first camera was a Zenit E and from
and cartooned. I have explored oil
I like to break the rules and feel uneasy
that point on I was hooked. After
painting (portraits and still life,
about being categorised, tending to
moving up to a more sophisticated
largely), ceramics and sculpture and
draw inspiration from art rather than
film camera (an Olympus OM10),
would love to dedicate more time to
photography, though I admire many
I began to enjoy documenting the world
exploring these media more – as a cell
photographers, past and present.
around me, particularly enjoying
biology researcher I felt I had to
capturing light and shade, landscapes
prioritise my scientific leanings for
What do you most enjoy conveying
and nature as well as some tentative
many years, whilst still maintaining
through your experimental work?
street photography. Years passed.
interest in the arts and particularly
I take pleasure from conveying many
Along came digital [photography]
in science-art collaborations.
things, really – whether they are
and of course I was drawn in, but my
“natural” (as in a beautiful landscape,
photography was a little sterile
How would you describe your work?
an interesting person on the street
using digital until I realised I could use
Experimental in the main, with a pinch
or the play of light on an object) or
the camera in different ways. The real
of abstraction and an occasional dollop
conceptual and fictitious or surreal. >
THE SUMMER 2013 ISSUE 167
1 6 8 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 169
1 7 0 N E V E R L A Z Y M AG A Z I N E
I think transience or impermanence are
and got a monumental mason to help me
interesting subjects to try to capture,
make a granite plinth and then mount it,
as are cumulative occurrences across
which was fun and satisfying for him and
time. We miss so much – many things
me alike. The discovery of my Grandad’s
pass us by without us noticing at all.
Box Brownie with film in it was exciting
I like how natural light hits surfaces
but hopes of a glimpse into a lost world
and objects so temporarily. The inner
were dashed when I developed the film
life fascinates me too: the rich world of
and found there was nothing on it!
emotions, mortality and existence, loss and ageing. Basically, contemplations
I’m not sure I’ve got any thrillingly
on life and death, I suppose.
witty anecdotes, sorry. Note to self: Invite creative exploits!
Tell us about the exploit you are most proud of as a creative individual.
How has your work evolved since you
That is incredibly hard to answer. I’m
developed an interest in the visual
not sure what an exploit really is in
arts? Would you say technology has
this context. Apart from the magazine
played a part in this evolution?
interviews about my photography and
It is constantly evolving, and for sure
online reviews (e.g. on The Guardian),
technology has often driven and
I’m short on actual exploits. I’ve been
certainly facilitated my creativity.
involved in some very interesting
However, I really need to get painting
exhibitions and science-art collabora-
more and working with non-digital
tions over the years with local artists,
techniques such as collages and print-
but I’ll save the details for another
ing/etching. One ambition is to be able
interview.
to do more sculptures, and I still have a burning desire to cast a bronze. Perhaps
I cast a sculpted head some years ago
I’m a little bit of a pyromaniac. >
THE SUMMER 2013 ISSUE 171
1 7 2 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 173
1 7 4 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 175
What are the biggest challenges you
adventurous and a little different – I
and whether we really remember still
have faced or currently face as an
would like to work with Chris Friel for
images, sequences or a stream of mov-
artist? I think the hardest thing is how
example, but there other contacts that
ing images. The photograph is largely
to be noticed and yet stay experimental
would be good fun to work with if dis-
about capturing the snapshot – a single
– to balance having a recognisable style
tance didn’t work against us.
moment frozen in time. I like the idea of being able to capture time and motion.
(which is pretty abhorrent to me, so at best stay focussed on a project for
If I could resurrect some people it would
a while) and also staying fresh and
be Andrei Tarkovsky and some legends
The other area of interest is how to
exploratory. The next important
like Picasso, Man Ray, Dali... the list is
bring emotions into imagery. The world
challenge is also how to make enough
virtually endless. Street photographers
is an absurd place of such diversity –
money out of what you do to feel like
like Boris Savelev and Alexey Titerenko
from the good to the bad and from the
you are earning your keep.
are also very inspiring.
ugly to the beautiful – how human beings relate to this and process it is
I would love to be able to have an
What direction do you think you will
extremely interesting. I’d like to explore
exhibition, either as a group or solo.
be taking as an artist? What, in the art
the perceptions of beauty and the
A dream would be able to have a studio.
sphere, are you most curious to
common timeless human desire to
In the words of Robert Frank, “When
explore? I am still fascinated by, and
be awe-stuck.
people look at my pictures I want them
keen to further investigate, time and
to feel the way they do when they want
motion and their representation in a
I will, at some point, revisit the
to read a line of a poem twice.” That
still image. So much of what should be
similarities and differences between
is quite a challenge…
seen is missed, yet the internet and
art and science and the way the two
people’s mobile phones are crammed
can interact.
Who would you most like to collabo-
full of everyday occurrences of
rate with? That’s another interesting
Starbucks frappuccinos and pets and
A word of wisdom to share with us
question. Probably Gerhard Richter or
plates of food, or manicured nails. It’s a
and our readers? Don’t be afraid to
Michael Wolf. More realistically though,
curious paradox. I am very intrigued by
experiment – it’s human nature,
there are a few photographers that are
memory and how it comes into being,
after all. Stay curious. •
1 7 6 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 177
1 7 8 N E V E R L A Z Y M AG A Z I N E
ja c o b van l o o n Th e Think e r
Who is Jacob van Loon?
isolated as they were, academically.
A disappointment to people who do
With most of my new work I realize
online image searches for “loon
photographic, illustrative and design
paintings”, in reference to the bird.
aspects simultaneously. Everything
I’m a Midwestern native, living in
I learned about tone, saturation,
Chicago. I’ve been told I “think too
balance and composition came from
much”. I split my time between
photography. I learned the importance
painting, designing, and thinking
of line and contour through drawing
about how I think too much.
and illustration, and conveyance/ aesthetic purpose is where design
How did you come to develop your
informs me the most.
current artistic style and how would you describe it? I think of each new
What is it about the world of visual
piece as a patient experiment and don’t
arts that draws you in? I communicate
always set out to reach the level of
best visually, save the time when I was
visual complexity that some of my work
very young: I was part of a ceramics
does. I’m still new to painting, and some
class in Barrington, Illinois. [I made]
of that experimentation is evident in my
nothing beyond coils and pinch pots,
work. My background is in design and
but I decided to model a deep-sea
illustration which, as taught by the
diver fetching a pearl from a giant
universities I attended, were separate
oyster. Everyone thought it was
practices for the most part. I never
a mermaid and I was pissed. >
found a good reason for them to be as
THE SUMMER 2013 ISSUE 179
1 8 0 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 181
What is the creative process behind
tools support mixed media approaches
your works? How do you fuse digital
in art and design. Time is the most
and traditional media together and
important resource to any artist or
what are your intentions behind this?
designer, so the efficiency and conven-
During 2005-6, I was in the middle of
ience of digital platforms appeal to me,
shooting a photographic essay focusing
even as an artist based in traditional
on the harbour in Waukegan, Illinois.
media. Not only has technology
I spent a few semesters there, doing
changed the industry, digital media
what every teenage boy suburban
has given artists a whole new arena
photographer does — breaking into
of experimentation to feel out.
condemned property and taking photos of old dirty stuff. I was interested in
Where you do see yourself as an
semi-alternative processes like split
artist ten years from now? Design is
toning and printing from cross-pro-
the inspiration for everything I do, and
cessed film. It was either the mid-
I would love to be working with a team
semester critique or the final where
of other creatives within publishing
my teacher at the time, Jeremi Bialowas, and advertising. I’d like to think I’ll be asked me straightforward: “why is this
a wiser, more well-traveled individual
interesting?” – While technically the set
by that point. This year has been about
I presented was fine, it lacked concept.
seeing what I can offer Chicago as a
Not that I had operated outside of
creative, and it will be interesting to
concept up until that series, but I was
see how this will play out over the next
holistically challenged by the question.
decade. Less aspirational, I’ll probably have arthritis in my hands.
The two years I studied photography in conjunction with design have been the
What is the one project you are most
most informative aspect to my work,
inspired or hopeful to work on? I was
and ever since it’s been my aim to use
recently extended an opportunity for
whatever media best suits a concept –
my first solo show at a new venue on
that usually means combining several
the north side of Chicago, for January
different types of media, and digital
next year. I have no work to show >
1 8 2 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 183
1 8 4 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 185
1 8 6 N E V E R L A Z Y M AG A Z I N E
at the moment so this year will be about
There’s things I love about the place
creating work to show, not specifically
and the people, but what I’m trying to
for the solo exhibition but obviously
deduce is if Chicago is home to me. I’ve
with that in mind.
worked outside of the City/State quite a bit up to this point, so I don’t know if
Anobium has a great release planned for I will understand what Chicago can offer this year, with the theme of “weird love”.
me unless I first offer it something more
I can’t wait to start working on the
tangible.
design for that. I’ve also explored the idea of releasing Anobium’s first art
A word of wisdom to share with us and
book for another artist I look up to,
our readers? I often get asked about
which is a different animal from the
what it takes to get over a creative
existing releases Anobium has.
block. There’s nothing a person can see, hear or read that will dissolve a block.
Are you working on any projects at
An actual creative block is a serious
the moment? I’m working on a piece
issue because at that point, literature,
influenced by the historical repercus-
visual art and music have all lost their
sions of the Naperville Train Collision
persuasive ability on the individual
in 1946. I’m also preparing some new
experiencing the block. It takes work.
work for a possible show coming up
The physical act of working through
this summer in Chicago.
a block can be strenuous, and work produced while experiencing a block is
What do you believe this city has
usually awful. The method of painting
offered you as an artist? Has it
I started to develop about 3 years ago
influenced your approach to art in
came from what was probably my worst
any way? As far as my attachment to
and longest dry spell. It came because
Chicago, it’s unresolved at this point,
I didn’t wait for the block to disappear,
or at least without specifics.
I lifted it myself. •
THE SUMMER 2013 ISSUE 187
MAI CHAYA
1 8 8 N E V E R L A Z Y M AG A Z I N E
“As for creativity, mine comes from solitude.”
THE SUMMER 2013 ISSUE 189
Tell us about yourself and your artistic background... I’m a self-taught Japanese photographer based in Tokyo. After graduating from university, I worked for a publisher as an assistant and developed an interest in motion pictures; I then made independent films, and moved to still photography because it is more accessible than making motion pictures.
How do you perceive yourself as an artist? How would you say your environment has shaped your creative individuality? To be honest, I don’t see myself as an artist. I am just Mai Chaya, who takes photos. As for creativity, mine comes from solitude. I want to avoid being alone, and to take photos is to make contact with someone.
What is the one aspect about photography that you most enjoy? The moment when I take a photo and I can catch the air and the wind (if I get lucky), and the time when I take a look at developed photos. >
1 9 0 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 191
1 9 2 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 193
Tell us about a significant episode or a turning point in your life as a photographer... There hasn’t been a turning point for me as a photographer, but the movie “Farewell my Concubine” which I watched when I was a high school student, totally changed my life. That one movie shows life in a splendid way.
Whether a subject, concept or emotion, what do you most love photographing and conveying to the viewer? My purpose is to rip everyday life and to let the viewer have the feeling of opening a new door.
What is the most important thing you have learned through photography? It’s that words cannot possibly express everything, and that all the things you see with your eyes may not be everything. >
1 9 4 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 195
1 9 6 N E V E R L A Z Y M AG A Z I N E
Are you working on any projects at the moment? I have just finished a video clip of Japanese musician Go Koyashiki. I want my products to make people take a step forward. To make that happen, motion picture is more suitable because it has time to talk to the viewer.
Where would you like to be in ten years from now? I have to have an environment that allows me to concentrate on my work.
A word of wisdom to share with us and our readers? I wanna share my favourite quote from Franz Kafka’s letter: “A book [(I think here of any kind of art)] must be the axe for the frozen sea inside us.” •
THE SUMMER 2013 ISSUE 197
1 9 8 N E V E R L A Z Y M AG A Z I N E
THE SUMMER 2013 ISSUE 199
/credits
ALASTAIR TEMPLE
GAUTIER PELLEGRIN
http://www.alastairtemple.co.uk
http://www.gautierpellegrin.com
p.124 In collaboration with Brandon Spahn, http://brandonspahn.com
GIULIA PARLATO
p.132 In collaboration with Kuldar
http://paine93.wix.com/giuliaparlato
Leement, http://www.kuldarleement.eu/
giuliaparlato@yahoo.it
ANAI GREOG
HENRIK ISAKSSON GARNELL
http://anaigreog.tumblr.com
http://www.henrikisaksson.se henrik.isaksson@gmail.com
ANDREAS PREIS
(+46)(0)739-729252
http://www.designerpreis.com http://www.behance.net/designerpreis
JACOB VAN LOON http://jacobvanloon.com
ANNA ADEN
j@jacobvanloon.com
http://imable.se anna@imable.se
JIN NG http://jinngphotography.viewbook.com
CASSANDER E. SCHATTENKERK http://www.schattenkerk.nl
KATIE MACKOWICK
ceeftinck@gmail.com
http://www.katiemackowick.com katie.mackowick@gmail.com
2 0 0 N E V E R L A Z Y M AG A Z I N E
/credits
MICHAEL CINA
Stylist: Darya Kuzminova
http://cinaart.com
http://40degreesbelowzero.blogspot.ru
http://cinaassociates.com
Hair & Makeup: Dilmurat Sultanov http://dilmuratt.tumblr.com
MAI CHAYA p.190/191, 200/201 Model: Sho Mineo
SHAN JIANG http://everynicething.com
PAUL ANDREWS
http://shotopop.com
http://www.pdandrews.com photographipaul@gmail.com
THIERRY MUGNY http://tchegg.com
PAUL JUNG
http://tchegg.tumblr.com
http://pauljung.co.uk http://pauljungdiary.tumblr.com
ROBERT M. ENGELSMANN http://kaeghoro.de hello@kaeghoro.de @kaeghoro
SERGE ROGOV http://rogovserge.com
THE SUMMER 2013 ISSUE 201
2 0 2 N E V E R L A Z Y M AG A Z I N E