NeverLazy - Issue 10 - Summer 2013

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