NeverLazy - Issue 14 - Summer 2014

NEVER LAZY

Breathe Creativity

Summer 2014

TASSIA BIANCHINI / PAUL DERSIDAN / TYSON ERNSTE / QI HU / DANNY IVAN / LEILA JACUE / ANDREW KALASHNIKOV PIOTR JAN KULAS & OLA PUCHOWSKA / GIADA LEFEBVRE / IVANA MILOVANOVIC / AKOS RAJNAI / NURIA RIAZA SCHALL & SCHNABEL / ULF SVANE / TCHMO / VALENTINO QUIJANO / JUS VUN / SARA WESTERMANN

E D I T O R S A B B I E

C O H E N

J E S S I E

Founding Editor

C O H E N

Founding Editor

Features Editor

Art Editor

fourteen------summer 2014

C O N T R I B U T O R S

Tassia BIANCHINI Paul DERSIDAN Tyson ERNSTE Qi HU Danny IVAN Leila JACUE Andrew KALASHNIKOV Piotr Jan KULAS & Ola PUCHOWSKA Giada LEFEBVRE Ivana MILOVANOVIC Akos RAJNAI Nuria RIAZA SCHALL & SCHNABEL Ulf SVANE TCHMO Valentino QUIJANO Jus VUN Sara WESTERMANN

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

SCHALL & SCHNABEL Styling: Michael Hastreiter, Hair & Makeup: Tobey Sties, Model: Marlene Pina at Modelfabrik, Wardrobe: Jacket - DSTM, Skirt - Schmidt Takahashi

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 2014 ISSUE 3

E D I T O R ’ S

L E T T E R

There is a quiet energy to our Summer

display of skill and emotion. This energy

2014 issue, and as you flip through it

also seeps through a fantastic array of

you’ll find it to be constant – whether in

exclusive editorial works by photographers

Danny Ivan’s expressive abstractions (p.20),

Ulf Svane (p.180), Leila Jacue (p.6), Tyson

Tássia Bianchini’s most dynamic paintings

Ernste (p.198), Andrew Kalashnikov (p.68),

(p.154), or Jus Vun’s monochromatic

Giada Lefebvre (p.166), Ákos Rajnai (p.30),

fashion photographs (p.44). It is an energy

and duos Ola Puchowska and Piotr Jan

that fills us with excitement, as it comes

Kulas (p.92) and Schall & Schnabel (p.128).

in a multitude of art forms and narratives

As we bring you another selection of bright,

that we couldn’t wait to share with our

raw talent, we hope to give you the surge

readers – from nostalgic fashion stories to

of inspiration and drive you’ll need to get

traditional works glued, drawn or painted

through the long, hot days ahead. AC

with minute precision, each a magnetic

4 NEVERLAZY MAGAZINE

L e i l a J A C U E -------- 0 0 6 D a n n y I V A N -------- 0 2 0 A k o s R A J N A I -------- 0 3 0 J u s V U N -------- 0 4 4 I v a n a M I L O V A N O V I C -------- 0 5 6 A n d r e w K A L A S H N I K O V -------- 0 6 8 N u r i a R I A Z A -------- 0 8 0 P i o t r J a n K U L A S & O l a P U C H O W S K A -------- 0 9 2 S a r a W E S T E R M A N N -------- 1 0 6 Q i H U -------- 1 1 8 S C H A L L & S C H N A B E L -------- 1 2 8 P a u l D E R S I D A N -------- 1 4 4 T a s s i a B I A N C H I N I -------- 1 5 4 G i a d a L E F E B V R E -------- 1 6 6 U l f S V A N E -------- 1 8 0 V a l e n t i n o Q U I J A N O -------- 1 8 6 T y s o n E R N S T E -------- 1 9 8 T C H M O -------- 2 0 8

THE SUMMER 2014 ISSUE 5

boxer lunch kit Photography: Leila Jacue

Introducing Boxer Lunch Kit: a new editorial story by fashion photographer Leila Jacue, which comes across as a formidable marriage of attitude and spunk as it places the boxer within a new and unconventional world. Styled by Angie Elizalde and guided by the artistic direction of David Leon, this story packs quite a punch through it use of strong contrasts, a dominantly monochromatic palette and an imaginative play with props and paint.

An electrifying burst of energy, this story demonstrates New York City-based Leila’s flair for capturing shots that brim with tension whilst also delivering a poetic, sensible vibe. ∞ AC

Art direction: David Leon

Model: Miguel Rafael at ADAM Models

Hair & Makeup: Angie Elizalde 6 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 7

8 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 9

10 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 11

12 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 13

14 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 15

16 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 17

18 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 19

------- danny ivan

Visual artist Danny Ivan creates

always full of bold colours representing big

psychedelic bursts of colour that

emotions like happiness, enthusiasm and

stun through their sheer complexity

energy. They show my signature irreverence

– whether they take abstract,

and my partiality towards splendidly weird

geometric forms or are more figurative

and hypnotic images. I study Audiovisual

illustrations – and that demonstrate

& Multimedia at university and I have been

both his eye for colour and his

connected to contemporary art since my

consistently strong, dynamic aesthetic.

childhood through cameras, computers and

Hailing from Lisbon, Portugal, Danny

music.

aims to bring forth the boldness of life through his work – one of several

What does your work say about yourself

inspiring aspects which he touches

on a personal level?

on in an interview with NeverLazy Magazine.

My works represent what I appreciate in life, bold people, bold emotions and

Tell us about yourself and your creative

bold moments. I also really love and pay

background...

attention to the geometry and math of life.

I am a graphic artist and mobile game

What are the inspirations behind the

addict currently living in Lisbon, Portugal.

colourful abstract work you create?

My digital illustrations go from abstract geometric forms to raw textures and are

20 NEVERLAZY MAGAZINE

My inspiration comes from different >

THE SUMMER 2014 ISSUE 21

22 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 23

24 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 25

areas, but I love life and people. I’m a

them into more complex ones. I also try to

simple guy who wants a simple life and

work more with abstract art, because I feel

who respects the little moments [in life] –

that it is more universal and abstract things

from them I somehow create big emotions.

are not affected by time – or maybe I hate drawing figurative illustrations, haha.

What creative process do you follow? Is this process purely digital, or does it also

What would you like to accomplish

involve the use of traditional mediums?

through your art?

My creative process depends on the

I want to always be positive, happy and

project, but I always start with a concept

able to live from my art, because I feel

in my head. After that, I begin by drawing

blessed for doing what I love.

on paper or on my iPad. I then choose my colours and decide on the entire

How do you see yourself in ten years

composition of an image.

from today?

Some of your work is purely geometric,

Being the same things I am now: a Graphic

whilst others are more illustration-based.

Artist and a Father – hopefully with a big

Which do you find most challenging and

family.

why?

A word of wisdom to share with us?

My work is always challenging but I do really love geometry and math. I always try to start with basic concepts and then turn

26 NEVERLAZY MAGAZINE

Make your own luck. ∞

THE SUMMER 2014 ISSUE 27

28 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 29

Shirt Yves Saint Laurent, dress Manier, leather bracelet Stylist’s own

30 NEVERLAZY MAGAZINE

Makeup: Dorka Keizer

Styling: Orsolya Poppre

Photography: Ákos Rajnai

WHAT’S ON HER MIND Model: Virág Papp at Artmodels

Hair: Bálint Almássy at Close

Assistant photographer: Krisztina Ancza

THE SUMMER 2014 ISSUE 31

Visual artist Ákos Rajnai creates

Before settling in Budapest in 2008 I lived

the Hungarian fashion industry. There is

photographic works that shine with

in Pécs, a small city in the country where

a lot of talent; you can see great works

confidence, and that draw from

I worked as a photoreporter in parallel

in visual art, fashion design, and in the

his interest in looking beyond the

with my university studies. I reported from

domain of visuality, and many young

formalities of fashion to explore

a vast number of local events. I lived to

people achieve a lot on the mainstream

an editorial story’s shapes and

the heartbeat of the city, I could identify

market.

soul. For the Summer 2014 issue of

with it very much. I feel much more like

NeverLazy Magazine, the Budapest-based

an outsider in the capital, which is also

What does a typical day in your life look

photographer teamed up with stylist

down to the fact that I have changed, too.

like?

Orsolya Poppre to create What’s On Her

The whole country, as well as the captial,

Mind, a stunning shoot that conveys a

has an air of frustration. There are social,

My days are characterised by their

cool, contemporary atmosphere through

political, ethnic and cultural-economic

mornings and evenings. Every morning,

beautifully soft colours and light.

fault lines overflown by tension. And the

my darling and I meditate. In fact, for

most saddening thing is that the political

us, this is about soothing ourselves and

Who is Akos Rajnai? How has your

elite is very much interested in sustaining

listening inside. She is Tünde Újszászi, a

hometown, Budapest, influenced your

these circumstances. To be more precise, it

designer and artist who also likes to use

identity as a creative?

thinks it is interested in that. I do not have

her creativity on the frontiers of genres, so

a desire to identify with this; as a creative

we have a lot of common projects such as

This is a difficult question, indeed. In

I feel comfortable as an observer in this

installations and video art. A typical day

just a few words: I am an experimental

environment.

also involves keeping my finger on the

photographer and video artist; someone

pulse of different international scenarios.

who likes to cooperate, who does not direct

The provincial lifestyle, thanks to the small

The rest of my time is taken by current

but rather observes, who does not want

size of this country, has a really positive

projects.

but rather accepts. I could not possibly do

effect on those who want to break out

something else other than what I am doing

from the micro-market environment of

right now.

32 NEVERLAZY MAGAZINE

Could you tell us about this editorial >

Top and skirt Manier

THE SUMMER 2014 ISSUE 33

Leather blazer Jajcica

34 NEVERLAZY MAGAZINE

Top Humana, skirt Manier, leather bracelet Stylist’s own

THE SUMMER 2014 ISSUE 35

Painted top Glaser Maria, white trousers H&M, leather skirt Jajcica

story? What were your inspirations?

atmosphere you were trying to bring out

how it moved in a fictional direction. Virág

through it...

is a strong, self-conscious, sometimes crazy

One of the inspirations is thought itself

person with a free personality, which is why

– to put it more precisely, the abiguity of

Good co-operation is very important

she was ideal for this job. The atmosphere

thought. Many times, it is hard for us even

for me. I have been co-operating a lot

of the styling is oriented towards this: it

to make head or tail of our own thoughts.

with Orsolya Poppre lately. She is a

is not typical; it invokes a certain world of

This is particularly the case when we are

stylist and accessories designer who has

instincts.

watching somebody else, the signs they

designed collections for Nanushka, an

might give, what uncovers their thoughts.

internationally-known brand. We talked a

How do you combine your interests in

We could gain information from gestures,

lot about this project before its shooting. It

fashion and contemporary art? Would

fine movements, postures, clothes worn,

was important to let Virág, our model, act

you say this editorial story is a reflection

or by looking at them at a glance. The main

on her own and be a partner in this. We did

of your affinity to both areas?

idea is doubt.

not want her to act as a model – only to

Tell us about the colour palette and the

36 NEVERLAZY MAGAZINE

‘exist’ in front of the camera. Looking at the

Inspirations can be fused from the

shoot now, I can see her inner world and

borderlands of these two domains. >

Leather blazer Jajcica

THE SUMMER 2014 ISSUE 37

Shirt Yves Saint Laurent, dress Manier, leather bracelet Stylist’s own

38 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 39

Top and skirt Manier

40 NEVERLAZY MAGAZINE

Fashion takes its inspiration from the

motivations was to give soul to the series

to be able to let this go during the creative

outside, while art does it from the inside.

during the design phase as well as the

process. Another method is observation;

Both of them get their authenticity like

shooting. This is paired with Orsolya’s

I think we can get closer to reality if we

this. You can say that a fashion story is a

styling, which presents a number of unique

observe it instead of trying to conceive it,

reflection of both domains, but in the end

pieces.

so this is a path Orsolya and I could take in

it stays on the side of fashion. For us, this

the future. There are a lot of fashion photos

is an important step in turning towards art.

Orsolya and I realised that a major

worldwide that affect our desires with some

The continuous experimenting as a result

motivating factor was to express what

sort of visual magic – this is one of the

of my affinity towards art prevents me

we know of the model’s personality. We

essences of the fashion industry.

creating two projects that are similar to

wanted to find out what she wanted to

each other. This means a continous renewal,

give from herself, what she wants to let

When do you find yourself to be most

as well as new challenges, all the time.

others see; we searched for nuanced ways

creative?

to express the domain that is hidden within What motivated you most about working

her. It was vital for us to arrive to a form of

Interesting question. I cannot give a precise

on this story?

unity and openess by the end.

answer. Maybe I am most creative when I do not want to be.

The innovative trends of contemporary

What concepts influence your

fashion photography are too formalized

photographic work most?

A word of wisdom to share with us?

background, movements, characters; the

I like spontaneity – when not everything is

The world is full of words of wisdom. The

associations of ideas and compositions

designed in advance. A material for me is

question is whether, when we wake up in

obscure the personality, the inner

more honest and stronger if we let things

the morning, we even think about them at

motivations, the excitement of a strong

happen during the creative process, which

all. For me, it was a cup of hot coffee that

glance. So, aside from creating pictures

we did not anticipate. Planning always

came to mind when I opened my eyes this

with strong characters, one of my major

gives a kind of safety, but it is important

morning. ∞

for me. Everything is about shape: space,

THE SUMMER 2014 ISSUE 41

Painted top Glaser Maria, white trousers H&M, leather skirt Jajcica

42 NEVERLAZY MAGAZINE

Painted top Glaser Maria, white trousers H&M, leather skirt Jajcica

THE SUMMER 2014 ISSUE 43

------- jus vun

Anyone who looks into the world of

found a tool for self-expression which

photographer Jus Vun will, at first

eventually developed into a passionate

glance, notice his attraction to black

hobby. I mainly shot documentaries and

and white art. As he often indulges

personal work in a square format and using

in monochromatic colour schemes, the

35mm film cameras, and was commissioned

French-based creative enjoys the

to do some editorial work.

experimental edge that this format offers, and through it he creates

In 2012, I moved to Paris to focus all my

unparalleled narratives wrought with

energy on photography whilst completing

emotion and drama. Jus talks to

a MFA in photography at SpĂŠos Institute.

NeverLazy Magazine about his curiosity

Not coincidentally, living in a major fashion

toward the Japanese aesthetic of Wabi-

capital had a significant influence on me

sabi, the differences between his

and shifted my attention to the world of

personal and commercial work and his

fashion.

shift from shooting documentaries to fashion editorials.

How has your approach to fashion photography evolved over the years?

Who is Jus Vun?

What have been your biggest influences?

Growing up in small cities in Malaysia and

I came from more of a documentary

Australia, I lacked artistic influences and

background so Daido Moriyama, Nobuyoshi

was never really a fashion aficionado. Fast

Araki, Jeanloup Sieff, Louis Stettner

forward to my late 20s whilst living in

and many others have inspired me.

Tokyo, I started photography and for once

My early influences in fashion include >

44 NEVERLAZY MAGAZINE

Wardrobe styling Ayaka Ito, makeup and nail art Keiko Terachi, hair styling Shin Horitake, models Nadia & Juliet Adelstein at Freewave Models, gown Yasutoshi Ezumi, choker LUVRA magic, bodysuit Stylist’s own

THE SUMMER 2014 ISSUE 45

Wardrobe styling Sho Nomura, makeup Erika Hirata, hair Shin Horitake, model Maiko Tiffany at Bon Image Tokyo

46 NEVERLAZY MAGAZINE

Styling Anna Rakel Olafsdottir, hair and makeup Kenji Noma, assistant Iyan Xavier, model Benoit B at L’Homme de Nathalie, glasses House of Holland chez Marc le Bihan Paris

THE SUMMER 2014 ISSUE 47

Helmut Newton, Greg Kadel, Peter

nothing is perfect, nothing is permanent

of frustration. However, I do realise I am

Lindbergh and a host of photographers

and nothing is complete. My existence

putting boundaries on creativity so I plan

in avant garde fashion magazines. I am

has been a transient one so far, relishing

on editing in colour more frequently in the

currently balancing my work between

fleeting moments from one day to the next.

future.

documentary and fashion so I hope this

There is a beauty to this visual philosophy

evolution will see my work being more

that is comparable to life itself and is

How do you combine darkness with

polished in the near future.

reflected in many of the works of Japanese

sensuality in your photographs?

Being relatively new to fashion, I am

artists, not just photographers.

still finding my feet but I have editorials

A somber narrative, colourless clothes and

published in several fashion magazines and

Your fashion editorials are mainly

recently shot some runway and backstage

black and white. Could you tell us the

photography during Tokyo Fashion Week.

motivation behind this?

a seductive girl.

What is the biggest struggle you face on a daily basis, working in the industry?

You are currently based in Tokyo. How

Before I started fashion photography, I

does this impact your aesthetic and

enjoyed shooting with black and white

I’ve never lost my motivation but you do

understanding of fashion photography?

film and this has simply carried over [into

go through ebbs and flows. In this industry

fashion]. I loved to push process film to

there will always be failures, rejection

It’s hard to define one’s aesthetic but

get the grainy effect, which doesn’t really

and people who will take advantage of

having lived in Japan for many years, I have

work well with colour. Perhaps a colourless

others. The important thing is to always

taken a liking to the Japanese aesthetic

universe may bore some but it fascinates

tell yourself that if things don’t go your

of Wabi-sabi: the imperfect, impermanent

me as I can focus on composition, shapes,

way, simply let go. With so much visual

and incomplete. My life has gone through

tones, shadows and highlights. Aside from

diarrhoea out there, it is also important not

many cycles, I have lived in many countries

that, I am not very proficient at colour

to lose sight of your own vision and style. >

and held a variety of jobs so at this point,

toning in Photoshop, so it saves me a lot

48 NEVERLAZY MAGAZINE

Styling Carmen Weiss, makeup Kenji Noma, hair Saya O, model Marije at IMG Paris, assistant Masahiko Koguchi, coat Quentin Veron

THE SUMMER 2014 ISSUE 49

50 NEVERLAZY MAGAZINE

Wardrobe styling Ayaka Ito, makeup and nail art Keiko Terachi, hair styling Shin Horitake, models Nadia & Juliet Adelstein at Freewave Models

THE SUMMER 2014 ISSUE 51

Styling Carmen Weiss, makeup Kenji Noma, hair Saya O, model Marije at IMG Paris, assistant Masahiko Koguchi

52 NEVERLAZY MAGAZINE

How do you approach portrait

My personal work has involved some

photography, in contrast with fashion

documentary projects around social issues

editorials?

and occasionally working with NGO groups.

In addition, I have a keen interest in the

There’s a lot of pre-production and

human condition, urban and underground

involvement with other creatives in a

subcultures and the beauty of the female

fashion editorial – from stylists, to hair and

form. Sadly, over the past year or so my

make-up artists. It’s more about creating

focus has shifted to fashion so I haven’t had

a strong artistic direction, planning and

much time to work on personal projects.

management of the team. Portraiture is strictly the rapport built between the sitter

A word of wisdom to share with us?

and shooter. Everything else is secondary.

In essence, the pursuit of passion and What does your personal work say about

creativity in life is the most admirable

yourself?

and attractive quality that I see in others.

When you have passions and dreams

My fashion and portrait work reflect the

you have to go for them. As cliché as it

multiverse of darkness in the human

may sound, achieving fame and financial

psyche. It can be described as a marriage

success should only be a by-product and

between the sensual and elegant, with a

not the ultimate goal. The reward is in the

gentle melancholy yet palpably intense.

journey. ∞

THE SUMMER 2014 ISSUE 53

Styling Carmen Weiss, makeup Kenji Noma, hair Saya O, model Marije at IMG Paris, assistant Masahiko Koguchi, dress MurMur chez Mise en Cage

54 NEVERLAZY MAGAZINE

Model Roarie Yum, glasses Gaultier, hood Wanda Nylon

THE SUMMER 2014 ISSUE 55

------- ivana milovanovic

Ivana Milovanovic creates striking

magazines and fanzines in Brazil, Australia

collages which draw from her vintage

and the USA, and on different websites

inspirations and her fascination for

dedicated to collage art.

the human body, to evoke a timeless and sophisticated feel that so easily

How did you discover an interest in

leaves one breathless. The Serbian

collage art?

collagist, known in the digital sphere by the name of Sara Key, takes us

Ever since I was a little girl, more than

through her creative process, her

playing with dolls, I have loved cutting

determination to be a more experimental

paper. I would cut all the magazines before

artist, and her desire to explore

my parents even got a chance to read them.

surrealism through her work.

Some serious interest in collage art began three or four years ago, after watching a

Tell us about yourself and your creative

documentary about collages on television;

background...

that’s when I got the desire to try myself in this area, and the rest is history...

My name is Ivana Milovanovic and I’m a collage artist from Belgrade, Serbia. I also

What collagists, or artists in general, do

exhibit my work under the name of Sarah

you admire?

Key. I had four exhibitions in Belgrade last year – three solo shows and one group

I usually seek inspiration outside of

show in the Railway Museum – and two

the genre, especially in photography,

group shows in London and Oxford in 2014.

illustration and film. I love the work

My works have been published in various

of Masao Yamamoto, Moonassi, >

56 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 57

58 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 59

60 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 61

Joan Miró, Ray Caesar... I would also like

experimenting with collage art?

to mention the book, The Age of Collage

My style has changed a lot, from the first

[published by Gestalten], which has so

work up to now - especially in terms of

many great collage artists and inspirational

colours, elements and materials. I also have

works in it.

more experience so let’s say that I’m more brave to experiment now than before.

What elements are most recurring in your collage work and why?

What themes or concepts are you curious to experiment with in the future?

The human body in every way, shape and size, is an inexhaustible source

Surrealism, psychology, the human body

of inspiration for me. I am particularly

and emotions are themes that always

fascinated by human hands. I love the

inspire me.

dynamics and movement that body language brings into my work.

Do you have any forthcoming projects to share with us?

How much do you believe in digital collage art, and how much of this do you

I’m currently working on a new series of

incorporate into your aesthetic?

collages. I’m also taking part in a group show in Berlin this fall, which I’m very

I appreciate digital collage art, but I have

excited about.

never done anything digital – all my collages are hand cut. Scissors, glue, scraps,

A word of wisdom to share with us?

sticky fingers – that’s what I love.

Try to keep an open mind because ideas are How would you say your creative style has changed since you first began

62 NEVERLAZY MAGAZINE

everywhere. ∞

THE SUMMER 2014 ISSUE 63

64 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 65

66 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 67

25-year-old photographer Andrew Kalashnikov instills a sense of melancholy into Nowhere Somewhere, a picturesque editorial story within which loss and longing are conveyed with utmost beauty and simplicity. Like stills from a film, this story evokes Saint Petersburg-based Andrew’s self-confessed cinema addiction and showcases his deep and mysterious visual identity.

Styled by Ramira Zimuldinova and featuring garments designed by Yuli Chulkova, Nowhere Somewhere is a soft and sweet masterpiece by the talented photographer, which stands out through a delicate retro colour palette and a poignant, albeit innocent and youthful mood. ∞ AC

68 NEVERLAZY MAGAZINE

Clothing designer: Yuli Chulkova

Model: Eleanor at Models 1 London

Styling: Ramina Zimuldinova

Photography: Andrew Kalashnikov

nowhere somewhere

THE SUMMER 2014 ISSUE 69

70 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 71

72 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 73

74 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 75

76 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 77

78 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 79

80 NEVERLAZY MAGAZINE

------- nuria riaza

With her eye for detail and her undeniably steady hand, traditional artist Nuria Riaza spins wildly imaginative narratives within illustrative works that float between surrealism and figurative art.

Armed with her blue ballpoint pen – as well as an apparent fascination for the details contained within both still life and the human figure – the budding Spanish visual artist creates illustrations that are meticulously thought-out and traced in soft, fine lines. Nuria’s works are nothing if not symbolic of her sensibility, as they brim with a fragility that will endear any viewer to her creative vision. ∞ AC

THE SUMMER 2014 ISSUE 81

82 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 83

84 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 85

86 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 87

88 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 89

90 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 91

Hair & Makeup: Grazyna Walczak

Photography: Ola Puchowska & Piotr Jan Kulas

COLONIAL DRESS Models: Dominika at Claris Model Management, Weronika at Hook Model Agency

Assistant: Przemek Podolak

Fashion designer: Blazej Telinski

Ethnic fashion is given a futuristic twist in Colonial Dress, a cool editorial story by photographers Ola Puchowska and Piotr Jan Kulas which stars the works of Polish designer Blazej Telinski. Drawing inspiration from Himalayan garments, the thoughtful designs featured in this shoot give off a traditional appearance yet also manage to deliver an unmistakably contemporary feel. Colonial Dress edges towards the beautifully bizarre yet remains captivating in its pure and innocent nature; an understated ode to femininity, this story offers itself as a refreshing source of inspiration for the warm season ahead. ∞ AC

92 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 93

94 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 95

96 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 97

98 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 99

100 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 101

102 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 103

104 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 105

106 NEVERLAZY MAGAZINE

------- sara westermann

A graphic designer and art director

I’m grateful to be able to work mainly

who dabbles in a range of mediums

in artistic and cultural mediums. I work

and techniques, from screen printing

as a graphic designer at one of the most

and photography to typography and

beautiful concert halls in the world – Casa

illustration, Portuguese-based Sara

da Música. I also had the great chance in

Westermann preserves an aesthetic

2007 of meeting and working with one

that is refined, sophisticated and

of the most acclaimed designers – Stefan

beautifully influenced by urban themes

Sagmeister. I felt like I had checked one

– a display, if anything, of her

of my “to do” items off my list, as a junior

youthfulness and keen experimental eye.

designer at the time.

At 32, the multidisciplinary artist tells us about her desire to constantly

I hated to be called a “junior”. I don’t think

explore new art techniques, her vision

there is a need to label designers, although

of the ideal client, and how she found

marketeers are very fond of it. Besides

an affinity to graphic design through

graphic design I also love photography, and

her father.

last year I started making my own screen prints at home as well as my own stamps.

Who is Sara Westermann?

When and how did you discover your I was born in Lisbon in 1981, but I currently

affinity to graphic design?

live in Porto, Portugal. I work as a graphic designer and art director. When I was

I think that the desire and affinity came

younger I used to spend many hours

from my father. He was colourblind but

daydreaming. I feel like I have grown old

his watercolour geometry drawings were

very slowly… I’m now 32 but I feel very

amazing. I treasure them to this day with

youthful.

all my heart. >

THE SUMMER 2014 ISSUE 107

You are a multidisciplinary graphic

Tell us a bit about your experience as a

designer – what are your specializations

working professional, and how this differs

and which do you find most intriguing?

from your personal approach to graphic design...

I love working through different mediums and always try to explore new tools and

I feel at ease working with clients. My

techniques. That keeps me motivated. It’s

personal approach is very free and pure; I

like Christmas time whenever I buy new

follow my instincts as I go. The professional

brushes, markers or paper blocks.

field is a lot more predictable, which

I also try to explore new paths in print

sometimes doesn’t fulfil my needs as a

production. Last year I started collaborating

creative, but it’s also challenging trying to

with my friends from The Portuguese

find new solutions to clients’ needs. It’s

Conspiracy. They collaborate with several

challenging trying to find solutions to their

portuguese creatives in areas such as

expectations though I always try to take the

gastronomy, music, movies and crafts. I

path I believe in.

had to make the posters for some music concerts, and I embraced this project with

Your work is sophisticated, yet it also

the production of posters with an artisanal

incorporates a graffiti element. How

nature. This allowed me to explore screen

do you combine both aspects and what

and risograph printing.

challenges do you face? >

108 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 109

110 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 111

112 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 113

114 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 115

116 NEVERLAZY MAGAZINE

I always like to try new tools which make

when you marry someone: for better or for

challenges more intriguing. Exploring new

worse they are always with you and trusting

paths means obtaining unexpected results.

your judgment and state of mind.

I love that. I love hand-drawing and letting my hand dance with an unpredictable

Where do you see yourself in a few

outcome of strokes, shapes and textures.

years’ time?

Who and what have been your biggest

I can’t imagine myself other than being

influences over the years?

creative; my mind is constantly driving away and trying to push against the

I identify myself with what I believe in.

boundaries. I do know that I don’t want

I am inspired by everything that surrounds

to spend so much time sitting in front of

me, sometimes in the most improbable

a computer and I still want to continue

things. I find my inspiration in music,

learning and trying new things as a graphic

mountains, the sun, friends, fiction, words,

designer. Photography is also something

food, vegetables, storms, swimming naked…

that I want to explore.

I admire those who solve problems using different approaches and who

A word of wisdom to share with us?

create exciting new solutions, like Stefan Sagmeister and James Victore who

Get up, get your hands dirty with ink, kick

constantly surprise me.

your computer once in a while… and also always try to be surrounded by people that

Who, in your mind, is the ideal client?

make you happy and inspire you. Be honest and truthful – that will reflect in your work

The one who trusts my instincts. My

and in everything you do. ∞

instincts may fail or they may not. It’s like

THE SUMMER 2014 ISSUE 117

118 NEVERLAZY MAGAZINE

------- qi hu

Sparked by a ceaseless desire to convey

French department store Grands Magasins

whether good or bad. But I believe the most

her Chinese roots through her work, Paris-

Printemps – draws from her childhood days

fun part is the process: not knowing the

based Qi Hu designs accessories that are

of playing with origami, the Japanese art

exact result makes the design even more

richly interwoven with her cultural beliefs

of paper folding. Based entirely on her use

passionate.”

and her memories – an ambition reflected

of paper, this collection comes across as

through the concept behind her brand,

a thoughtful, monochromatic display of

With its edgy and futuristic vibe, this

HU: “HU is my surname which, in Chinese,

strength, masculinity and power.

collection appears mystifyingly alien and otherworldly – yet, inspired by Chinese

is pronounced the same as the word ‘tiger’. The tiger symbolises power and

“The design process behind this collection

mythological creatures, Qi has injected

courage in Chinese culture, and my brand

did not involve any computer technology;

each headgear with traditional elements

HU represents strong will and powerful

it’s all origami, made by hand. I could not

that liken them to lions, dragons and kylins

personalities.”

guarantee the perfect consistency [of the

– a choice which also invests them with

concept] from prototype to final product,”

a unique appearance as well as a truly

Qi’s latest collection – a series of

says Qi. “[When working with this medium]

timeless spirit. ∞ AC

headdresses made in collaboration with

there will always be some surprises,

THE SUMMER 2014 ISSUE 119

120 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 121

122 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 123

124 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 125

126 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 127

Photography & Artwork: Pierre Horn & Eileen Huhn at Schall & Schnabel

Model: Marlene Pina at Modelfabrik

128 NEVERLAZY MAGAZINE

Longsleeve and dress Karlotta Wilde

Styling: Michael Hastreiter

Hair & Makeup: Tobey Sties

hello darkness, my old friend Photography duo Eileen Huhn and Pierre Horn, the creative minds behind concept studio Schall & Schnabel, have created yet another thrilling editorial story which encapsulates their minimal and atmospheric aesthetic: a delightful combination of fashion and art, Hello Darkness, My Old Friend is rich in nostalgia, secrecy and beauty, and presents itself as a pensive collection of images that stills the air and leaves one hanging for more. Despite the dark palette and deep-set grief that reigns throughout, this story has set itself out to become as liberating to any viewer as it is unforgettable. ∞ AC

THE SUMMER 2014 ISSUE 129

Body DSTM, leather pants DEYK

130 NEVERLAZY MAGAZINE

Blouse Issever Bahri, pants DEYK

THE SUMMER 2014 ISSUE 131

132 NEVERLAZY MAGAZINE

Dress Michael Sontag, shades Issever Bahri

THE SUMMER 2014 ISSUE 133

Coat Martin Niklas Wieser, tights DSTM, shoes Vladimir Karaleev

134 NEVERLAZY MAGAZINE

Vest Ep_Anoui, dress DSTM

THE SUMMER 2014 ISSUE 135

Dress Bagaz, tights DSTM

136 NEVERLAZY MAGAZINE

Coat Issever Bahri, tights DSTM, shoes Vladimir Karaleev

THE SUMMER 2014 ISSUE 137

Outfit Vladimir Karaleev

138 NEVERLAZY MAGAZINE

Jacket DSTM, skirt Schmidt Takahashi

THE SUMMER 2014 ISSUE 139

Top Michael Sontag, skirt Bagaz, shoes Vladimir Karaleev

140 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 141

Vest Ep_Anoui, dress DSTM

142 NEVERLAZY MAGAZINE

Dress and shoes Vladimir Karaleev

THE SUMMER 2014 ISSUE 143

------- paul dersidan

Graphic artist Paul Dersidan strikes

living and working in Bucharest. I grew up

a perfect balance between maturity and

in a small and quiet town in the western

youthfulness in his designs, which

part of the country. When I was a kid I used

boast a clean-cut feel as much as they

to sing in the church choir so I had a lot

play with an edgy, urban aesthetic.

of time to observe church frescos and old

One to value the importance of

handwritten books. That was probably my

expermentation, Paul possesses a range

first encounter with composition, colour,

of skills that showcase his versatility

grid systems and typography.

and serve him in his role as art director for advertising and graphic

In high school my interest was more

design agency, Blau Creative. In an

towards math, especially geometry and

interview with NeverLazy Magazine, Paul

trigonometry. I started using 3D software

looks back on his experiences so far as

to help me solve math assignments; soon I

a designer and lets us in on what helps

realized I could render abstract, psychedelic

him maintain his focus as a creative.

images that looked great on my desktop. I put math aside and started studying graphic

Tell us about yourself and your

design, instead. I consider myself to be

relationship with design.

mostly self-taught, even though I went to an international design school. I guess that

I am an art director and graphic designer

144 NEVERLAZY MAGAZINE

with time my relationship with design >

THE SUMMER 2014 ISSUE 145

146 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 147

148 NEVERLAZY MAGAZINE

turned into a way of being.

Graphic design plays a central part in my advertising work.

How would you describe your experiences so far as an art director?

Your skillset is quite varied. What mediums have you experimented with

I used to make video graphics for a local

to this day and which have you most

TV station so I watched TV programmes

enjoyed?

all day long. I knew all the commercials that were on air by heart, so I guess I

Experimentation has always had an

wanted to meet and work with the people

important role in my work. I would carry

that created those commercials. At 22,

these little notebooks around and doodled

I got hired as a junior art director at

a lot. The notebooks started to fill up with

Saatchi Bucharest. I was fortunate enough

loads of ideas that I felt I should take a

to work for big clients right from the

step further. I started creating artworks

beginning, so I needed to learn things fast.

using watercolours, acrylic, pastels, clay,

Talking to photographers, directors and

collage, stencils. I like to challenge myself,

production crews was new, exciting and

always trying new mediums – I look for the

fun. It still is. But the most important thing

medium that best fits my concept, always

I learned, after many years of working with

with the intent of turning the design work

international advertising agencies, is that

into beautiful things. I’ve been doing

any strong design needs a strong concept.

DVD and vinyl covers, type design, digital

I co-founded an advertising and graphic

illustration, pins, t-shirts, stamps, playing

design shop [Blau Creative] as I see those

cards, stickers, books, screen printing.

two areas working very well together.

Every medium has its limitations, hence >

THE SUMMER 2014 ISSUE 149

150 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 151

152 NEVERLAZY MAGAZINE

its beauty. It’s hard to choose one over the

case, I always try to create work that has a

other.

clear style attached to it.

How do you approach a brief? How do

How do you maintain your focus?

you draw a line between the client’s needs and your personal identity?

I take long walks or I run. Also I travel as much as I can. But what helps me most

I think any work of design is defined by

to maintain my focus, I think, is that rule

its limitations. Trying to adjust the ideas

I made for myself: constantly work on

to the clients’ needs was a lesson that

projects aside from client work. As soon as I

taught me not to be afraid of limitations,

end a project, I’m already looking for ideas

but to embrace them as a source of good

for the next one. That keeps me alert.

creative design. But still, limitations can be good as long as we approach them with an

What would you say is a key

open mind. Often though, clients’ needs

characteristic a designer should possess?

or fears leave an effect on the final work’s quality that I’m not happy about.

Attention to detail.

There’s also the flip side, when I have 100% creative freedom to answer a brief,

A word of wisdom to share with us?

no restrictions on the design style, as was the case with projects based almost

Work, play and then play some more. ∞

entirely on personal work. No matter the

THE SUMMER 2014 ISSUE 153

------- tassia bianchini

154 NEVERLAZY MAGAZINE

Tássia Bianchini is a São Paulo-based artist and designer, whose paintings evoke warmth and movement as much as they are elevating to those who happen upon them. In an insightful conversation with NeverLazy Magazine, she shares with us her thoughts on abstract art and speaks of the inspirations that she finds in nature, dance and the experiences that define her everyday life.

Tell us about yourself and your experience as an artist so far...

I grew up in the countryside and left to live in the southern region to study industrial design. Now I share my time between the arts (painting and photographing) and surface design.

I’ve been painting and drawing since my childhood because my mother was a painter. I was always around her when >

THE SUMMER 2014 ISSUE 155

156 NEVERLAZY MAGAZINE

I was a little child, but I only seriously

and writing. I also usually take photographs

Yves Klein is an artist who has influenced

pursued painting during University. I had

[of what I can then paint] - without using

me a lot – his philosophy, his monochrome

a lot of free time there to experiment, so I

much control, and just letting things come

works, the themes he has worked with, the

started studying photography and painting

up… even if they don’t make much sense.

silence in his work.

deeply to develop a “language of the self”.

I keep making studies of colour and

With time this has become my main activity. movement, searching for the ideal

I am also influenced by the things that

expression of that feeling. I paint a lot,

happen to me – the things I love or hate,

until I lose control of the movement and

the frustrations, desperations, the great

reach that raw feeling. When the feeling

joys, the constant questioning of time and

Freedom, lightness, contradiction, extremes,

is there and pure - and I can finally see it

life, the tension between extremes. Before I

instinct, movement.

and paint it – then the idea takes its shape.

start painting, everything is emptiness. It all

It’s a very instinctive process. Even though

becomes an overflow of experiences, ideas

How do you express concrete ideas

the execution of the final piece is usually

and feelings during the creative process,

through your abstract style?

very fast, the process of achieving the idea

before ending up as emptiness again.

What words best sum up your identity?

behind it can be very long and intense.

I rarely start with a well-defined and concrete idea. Actually, I start with a feeling

Nature, especially the sea. When I’m in What are your biggest influences?

or a sensation about something, that is

front of it, I don’t need anything - there’s nothing else, and at the same time there’s

barely recognizable. I investigate and work

I am strongly influenced by dance. I studied

everything! Its energy is so condensed;

on that until I can remove all the layers and

ballet for many years, and when I listen

it seems so independent yet it holds

reach the raw state of the feeling, so that

to music I think in movements – the way

everything. I paint, searching for that in

the idea designs itself in the process. It can

our body responds to sound, touch and

every idea and feeling.

take many days, or even weeks to do that. I

situations. Everything that is alive is, even

identify this guiding feeling by using music

at the smallest scale, in movement.

What is it about oil painting that draws >

THE SUMMER 2014 ISSUE 157

158 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 159

160 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 161

you in? Have you experimented with

very dark eyes in its centre. There were no

other mediums?

boundaries between that glimpse of a face

What are your resolutions this year?

and its light blue surroundings, so the eyes

Paint more, more consistently and for a

Yes, I do experiment with other mediums.

pulled me into the painting. Unfortunately,

longer time on a particular theme. I plan

I’ve been using acrylic paints more and

I don’t remember the name of the artist,

to do some residencies abroad, to explore

more lately. I do graffiti and digital art, too,

but I enjoyed painting it so much and those

different environments. I also plan to

but oil painting has been my main medium

eyes haunted me for a long time after. The

explore the concept of volume in my next

because of its texture. I feel it is softer, and

painting held a deep and scary yet peaceful

works, but using the same techniques and

the fact that it takes so long to dry for some

sensation.

tools that I do now. I want to develop a

reason gives me the feeling of freedom

project around mixing photography and

while painting. It’s as if the shape wasn’t

What interests you most about abstract

definitive and could be worked on again

art?

and again – even if it won’t be, there’s still a

painting together onto different surfaces.

A word of wisdom to share with us?

possibility of that happening. It’s the same

For me, abstract art is freer than figurative

feeling as writing with a pencil – I know it

art, not only because of its execution

The only thing stopping you is yourself.

can be erased, and so I write more freely

but also in terms of its meaning. It’s not

Create anything at any time – a poem, a

with it than with a pen.

something I rationalize – it’s just there.

word, music, clothes, drawings, an engine,

Painting abstract art does not feel like a

a recipe – with all you have and all you

What is the earliest experience you

choice to me; it’s the only way.

believe, and expand your perceptions.

remember as a painter?

Abstract art is not linked directly to a

I will always try to keep this quote by

local culture, period of time, gender, or

spiritual teacher Marianne Williamson in my

What I remember most vividly is a painting

political and social issue. For me, it is about

mind: “Your playing small does not serve

I made for art class when I was about ten

something deeper, something beyond that.

the world. There’s nothing enlightened

years old: we had to reproduce an art piece

It is shape, colour, movement, texture; it is

about shrinking so that other people will

of our choice, and I chose an abstract blue

related to the things inside of us, the things

not feel insecure around you.” ∞

painting. It was something like a face, with

that aren’t labeled.

162 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 163

164 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 165

DON’T GO AWAY Photography: Giada Lefebvre Makeup: Sara Marniga Model: Francesca Ravera Location: Milano Certosa train station

With her new editorial story Don’t Go Away, Giada Lefebvre explores the uncertainties of a love story gone awry and the pain of losing a loved one. Based on a song by the band Oasis, this story captures an irresistible melancholy and sense of helplessness, brought to life by a softly-lit colour palette, a black-clad model and a unique urban setting – a near-abandoned train station in Milan’s hinterland.

Cool, edgy and contemporary, this story delivers the same lyrical passion and timeless atmosphere of the song that it is inspired by. Don’t Go Away is as memorable a shoot as it is a cool yet warming breath of air, created by Giada with the help of make-up artist Sara Marniga. ∞ AC

166 NEVERLAZY MAGAZINE

All clothing Zara Woman, jewels Tiffany, leggings Calzedonia, shoes Zanotti

THE SUMMER 2014 ISSUE 167

All clothing Zara Woman, jewels Tiffany, leggings Calzedonia, shoes Zanotti

168 NEVERLAZY MAGAZINE

All clothing Zara Woman, jewels Tiffany, leggings Calzedonia, shoes Zanotti

THE SUMMER 2014 ISSUE 169

All clothing Zara Woman, jewels Tiffany, leggings Calzedonia, shoes Zanotti

170 NEVERLAZY MAGAZINE

All clothing Zara Woman, jewels Tiffany, leggings Calzedonia, shoes Zanotti

THE SUMMER 2014 ISSUE 171

172 NEVERLAZY MAGAZINE

All clothing Zara Woman, jewels Tiffany, leggings Calzedonia, shoes Zanotti

THE SUMMER 2014 ISSUE 173

All clothing Zara Woman, jewels Tiffany, leggings Calzedonia, shoes Zanotti

174 NEVERLAZY MAGAZINE

All clothing Zara Woman, jewels Tiffany, leggings Calzedonia, shoes Zanotti

THE SUMMER 2014 ISSUE 175

176 NEVERLAZY MAGAZINE

All clothing Zara Woman, jewels Tiffany, leggings Calzedonia, shoes Zanotti

THE SUMMER 2014 ISSUE 177

All clothing Zara Woman, jewels Tiffany, leggings Calzedonia, shoes Zanotti

178 NEVERLAZY MAGAZINE

All clothing Zara Woman, jewels Tiffany, leggings Calzedonia, shoes Zanotti

THE SUMMER 2014 ISSUE 179

------- black liquorice

Copenhagen-based Ulf Svane collaborated with Danish food blogger Anne Au Chocolate and liquorice developer Johan Bulow to craft Black Liquorice, a photographic story which presents liquorice under an experimental and inevitably fascinating light. Using dark elegance and a dose of edginess, the photographer has masterfully created deep contrasts between each photograph, all of which still work together as a harmonious portrayal of liquorice in its varied forms.

A stunning play with lines, shadows and textures, Black Liquorice is mysterious and mesmerising, as it has us seeing the plant in entirely new and imaginative ways. ∞ AC

180 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 181

182 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 183

184 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 185

186 NEVERLAZY MAGAZINE

------- valentino quijano

Valentino Quijano digs into the

it keeps me clear on what’s important in

complexities of the human figure

life and remembering how – for lack of a

through serious and complex portraits.

better word without religious connotation –

Whether he uses oil paints, digital

blessed I am.

processes or mixed media, his work is continuously entrancing as it is

What does your work say about you?

layered with strokes of rich colour and feeling, as well as with an often

People say all sorts of things about me and

dark, dramatic yet honest aura. In an

my work, both accurate and not even close.

interview with NeverLazy Magazine, the

I get a lot of people reading way too much

artist wonders what his work says of

into my works and describing very specific

himself and recalls the concept behind

things that weren’t my intention at all. This

his most experimental project to date.

is exactly how I like it. While I feel like I’m totally incapable of seeing my work from a

Tell us a little bit about yourself...

viewer’s perspective, I do find the meaning in a piece much in the same way a viewer

I’m a 38-year-old husband and father from

would. It reveals itself. I begin with an idea,

the San Francisco Bay Area, living in Hawaii

let it go awry; it reveals itself, then I shape

for the last ten years. Being a husband and

it from there. >

father is my favourite thing in the world,

THE SUMMER 2014 ISSUE 187

188 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 189

190 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 191

192 NEVERLAZY MAGAZINE

What is your earliest memory as an artist?

When I was maybe three years old my dad, who was always painting, let me use his Grumbacher brushes and oils (which I still use today) to work on a large painting that he’d been working on. I’m pretty sure he still has it. Spending hours finishing each other’s drawings, or with him setting me up with watercolours and showing me all the tricks, was commonplace. I remember him showing me how to make grass with watercolours by throwing some green [onto the canvas] and pulling the blades of grass out of the it using the wrong end of the brush.

What has been your most experimental project to date? Can you tell us about >

THE SUMMER 2014 ISSUE 193

194 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 195

196 NEVERLAZY MAGAZINE

the concept behind it, and what pushed

There are a lot of causes I feel too strongly

you to explore it?

about to not be involved in in some way. I basically want to be fighting the bad guys

I’ve done a portrait of one of my daughters,

on some Robin Hood-type shit.

which was the first project for which I double exposed a photo of a subject

What are your resolutions this year?

with a photo of my paint and altered the paint to accompany the photo, repeating

To grow as an artist, find places to exhibit,

the process to completion. The concept

take more photos of people to work from,

and motivation were the same as usual:

and make more time in my life to pursue

to do something new and different and

art.

create and solve problems in the process, ultimately resulting in making me feel good. A word of wisdom to share with us?

Where do you see your career as painter

Have your own rules to live by and live by

taking you?

them.

Hopefully to a place where I will be

There’s also a truck driver trick everyone

financially able to spend my time and

should know about, that is an actual life-

energy doing things – not necessarily to do

saving fact: You won’t fall asleep behind the

with art – that I think are important and that

wheel of a car if you’re eating sunflower

will improve people’s lives in a real way.

seeds. This is real. ∞

THE SUMMER 2014 ISSUE 197

Hair & Makeup: Pascale Hoogstraate

Styling: Karen van Binsbergen

(DIS)CONNECT Direction: Tyson Ernste & Karen van Binsbergen

Photography: Tyson Ernste

Models: Nina at Human-Models and Hibo

Rotterdam-based photographer Tyson Ernste presents his fascinating new editorial story (dis)connect, which stuns through its odd yet brilliant conceptual nature.

This story showcases the 23-year-old photographer’s imaginative character, as it touches upon the themes of ethnicity and consumer culture in a fun yet consistently fashion-forward light. We are excited to introduce this polished and playful shoot – a work of art and a definite step in the right direction for the skilled Tyson, a student at HKU University of the Arts Utrecht. ∞ AC

198 NEVERLAZY MAGAZINE

Dress Asos, top Zara

THE SUMMER 2014 ISSUE 199

Belt made by Karen van Binsbergen

200 NEVERLAZY MAGAZINE

Nina wears blouse Zara, top Primark, bra H&M, skirt Weekday; Hibo wears sweater H&M, bag made by Karen van Binsbergen

THE SUMMER 2014 ISSUE 201

Blouse Zara

202 NEVERLAZY MAGAZINE

Nina wears top, bra and skirt Weekday, belts made by Karen van Binsbergen; Hibo wears top (under) Primark, top (above) H&M, bag made by Karen van Binsbergen

THE SUMMER 2014 ISSUE 203

Hibo wears dress Asos, belts and bag made by Karen van Binsbergen; Nina wears top, bra and skirt Weekday, bag made by Karen van Binsbergen

204 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 205

Hibo wears top (under) Primark, top (above) H&M, cap Speedo; Nina wears dress Asos, top Zara, trousers Asos, belt made by Karen van Binsbergen

206 NEVERLAZY MAGAZINE

Hibo wears socks Weekday, slippers Zara; Nina wears top, bra and skirt Weekday, belt made by Karen van Binsbergen

THE SUMMER 2014 ISSUE 207

208 NEVERLAZY MAGAZINE

------- tchmo

tchmo brings a fascinatingly unique vision to the world of abstract art, with series of highly saturated, bold and wild digital works that are nothing if not eye-catching.

The Montreal-based artist spins most exciting visual stories, told through complex layers of textures and colours often interposed with landscape photographs and portraits. We speak to him about his projects, his resolutions and his tendency of getting lost in his own art.

Tell us about yourself and your experience as a visual artist.

I started out with painting and then studied photography at art school. I especially liked experimenting with analog photography.

I always enjoyed making collages, too. I had used Photoshop a little, but it wasn’t until I had a skin reaction to a cheap dollar store glue that I had to stop making traditional collages and start making them on the computer. I’d found my tool: I love the >

THE SUMMER 2014 ISSUE 209

speed of the computer and how productive

I found my own way of playing with

I’m always trying new things which I don’t

I can be with it.

Photoshop like some might teach

always share publicly. I limit myself to

themselves to play a musical instrument

small changes at a time. At the moment, I

or handle a paintbrush.

am using the movement of my hand with

Could you describe your aesthetic to us?

the mouse which is evident in my new I prefer to work without defining my

Do you most enjoy experimenting with

own aesthetic, so that I can work without

landscapes, portraiture, or your more

limitations. However, I enjoy it when other

abstract work?

What projects are you keen to explore?

glitchy and playful but also as having

All my work comes from the same art-

New series or projects emerge from my

emotional depth.

making process. The different series of work

work process. I read and research every day,

have emerged as result of selecting similar

and right now I’m really into history. Who

What is the explanation behind the name

samples to mash together. After I made

knows what will emerge through my work

‘tchmo’?

a few landscapes I became a little lost in

next?

abstracts.

people describe my work as colourful,

them, myself. I also became concerned tchmo is a nickname my friends call me by.

about how the landscapes read together

It’s actually just a weird derivative of my

on my website. At that point I consciously

real name. When I started publishing my

began making more abstracts. I found it

Why wait for a new year? If I have a

work online I thought it would be a good

calming to focus on colour and texture

resolution worth making, I’ll start it that

name to use.

alone; they became palate cleansers for

day. When I do make a resolution though, I

my eyes. Now I enjoy moving from series

only ever take on one resolution at a time.

What are your resolutions this year?

What is the creative process behind

to series, and also developing new series

your work? How do you bring together a

along the way.

A word of wisdom to share with us?

How do you see your work evolving in the

Never underestimate the creative insight

future?

you may gain from an impromptu dance

certain combination of textures, colours and figures?

My process is centred around play and serendipity. It’s an automatic process.

210 NEVERLAZY MAGAZINE

break. ∞ Evolution is at the heart of my process.

THE SUMMER 2014 ISSUE 211

212 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 213

214 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 215

216 NEVERLAZY MAGAZINE

THE SUMMER 2014 ISSUE 217

C R E D I T S Tassia Bianchini

Piotr Jan Kulas & Ola Puchowska

hello@tassiabianchini.com

contact@puchowska-kulas.com

http://www.tassiabianchini.com

http://www.puchowska-kulas.com Claris Model Management:

Paul Dersidan

Schall & Schnabel http://www.schallundschnabel.de Michael Hastreiter: http://michaelhastreiter.com

http://www.clarismm.com

Ulf Svane

info@pauldersidan.ro

Hook Model Agency: http://www.hook.pl

http://www.pauldersidan.ro

Blazej Telinski: http://www.telinski.com

mail@ulfsvane.com

Przemek Podolak: http://www.facebook.

http://www.ulfsvane.com

Tyson Ernste

com/przemekpodolakfashion

tchmo

info@tysonernste.com http://www.tysonernste.com

Giada Lefebvre

http://tchmo.com

http://www.behance.net/giadalefebvre

Qi Hu huqi.hq@gmail.com

Valentino Quijano Ivana Milovanovic sarah2key@gmail.com

brownrussian@gmail.com http://valentinoquijano.com

Danny Ivan info@dannyivan.com https://www.behance.net/dannyivan

Akos Rajnai akosrajnai.photographer@gmail.com

Jus Vun http://www.jusvun.com

http://www.akosrajnai.com

Leila Jacue leilajacue@gmail.com http://leilajacue.com

Sara Westermann Nuria Riaza nuria.riaza.rovira@gmail.com http://www.nuriariaza.com

Andrew Kalashnikov http://www.andrewkalash.com http://andrewkalash.tumblr.com

218 NEVERLAZY MAGAZINE

http://www.sarawestermann.com

D I S C L A I M E R All content published in NeverLazy Magazine and/or appearing on NeverLazy Magazine’s digital platforms (website, blog, social networks) is unless stated otherwise, copyright Š 2011-2014 NeverLazy Magazine, the Editors and respective Contributors and collaborating individuals. Any adaptation, reproduction, direct-linking and/or selling of content found in NeverLazy Magazine and/or NeverLazy Magazine platforms is strictly forbidden.

Content may not be reused or republished unless consent is found between the Editors, the Contributor, and Third Party, and written permission is attributed by both the Editors and respective Contributors and collaborating individuals.

NeverLazy, Summer 2014 Founding Editor, Features - Abbie Cohen Founding Editor, Design - Jessie Cohen

Please address feedback, queries and other to: neverlazymagazine@gmail.com

Where to find us: http://www.neverlazy.net http://www.issuu.com/neverlazy http://www.facebook.com/neverlazy http://www.twitter.com/neverlazymag

Thank you to all our readers and contributors.

THE SUMMER 2014 ISSUE 219

220 NEVERLAZY MAGAZINE