OPALUS - Issue 18 by OPALUS "beauty"

OPALUS

beauty

arts

Issue 18

electric

april 2019

â&#x20AC;&#x153;The mind is an infinite space... thus it allows me to remain infinitely inspired.â&#x20AC;?

v i s u a l a r t i st

l in ds ay robinson

- Essence Ra

OPALUS edi tor

c r eat i ve di r ector m a lor i e S h myr c o py edi tor s a n d r a s h myr

o n th e b ack cover

on t he front c ov er

s u b m i ss ions su b m iss ions @o pa lus m agaz i ne.c o m

M a k e u p A r t i st

P h ot o g r a p h e r M a k e u p A r t i st A s s i sta n t & H a i r M o d e ls

P h ot o g r a p h e r H a i r S t y l i st L e a d H a i r S t y l i st S a lo n

M a lo r i e S h m y r J e s si c a P a di l l a Manana Saralidze A l e x i a o f stat e m g m t

M a lo r i e S h m y r Lauren Baril Jill Mcneil Rose & Onyx

No part of this publication may be reproduced in whole or part without the permission of the publishers. The views expressed in OPALUS Magazine are those of the contributors and are not necessarily shared by the publishers. Submissions are welcome but no responsibility is taken. We strive to provide accurate representation of our contributors work. We apologize for any errors or omissions. OPALUS Magazine is published twice a year, and we thank all of our amazing contributors for being a part of OPALUS.

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g ot t h e b e st

We've

contributors pol kurucz r e d g r i ts d av i d p d h y d e e m i ly e va n s jason goh

polkurucz.com r e d g r i ts . c o m d av i d p d h y d e . c o m e m i ly e va n s . o r g

jason-goh.com

e l i ot o pp e n h e i m e r

e l i ot o pp e n h e i m e r . c o m

manana saralidze

manalidze.com

e l u v i e r a c o sta g . emili a kuczma-porebska jag moussa s i lv e r s & b y n e s a l e x a n d r a a n g e lo n e m a lo r i e s h m y r l i n d s ay r o b i n s o n j e s s i c a pa d i l l a d a r a d u k h n o v s k aya anna ra dchenko ya n i s g e o r g e s lauren baril b r ya n m .

Sargent

kim garduno r ay m o n d c a s a shannon rodrigue z

e l u v i e r a c o sta . c o m e m i l i a b e a u t ya r t . c o m jaghedcouture.com s i lv e r s a n d b y n e s . c o m a l e x a n d r a a n g e lo n e . c o m m a lo r i e s h m y r . c o m l i n d s ay t h o m a s r o b i n s o n . c o m n o g u ts n o g l a m o u r . c o m

b e h a n c e . n e t / d u k h n o v s k aya annara dchenko.com

behance.ne t/e thikdesign roseandonyx.com

b r ya n m s a r g e n t . c o m kimgarduno.com r ay s q u a r e d 8 3 . w i x s i t e . c o m / p o r t f o l i o s h a n n o n r o d r i g u e z a r t i st r y . c o m

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Issue 18

electric

contents 8 18

I d ent i t y

th e e l e ct r ic ag e

stat ic ch a rg e

s h a r p e r im ag e

n at u r a l wa r n ing a rt i st int e rv ie w

p u ls a r

el e ct r ic I

el e ct r ic I I

Augm e nt e d R ea l i t y

koko s mo s a rt i st int e rv ie w

v i v ids

104

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bor 3 d a rt i st int e rv ie w

p rotot y p e

A NOTE FROM THE

edito r Electrici ty

i s g e n e r at e d t h r o u g h t h e m o v e m e n t o f

c h a r g e d pa r t i c l e s a n d c a n h o l d e i t h e r a n e g at i v e o r posi ti ve charge.

i s p o w e r f u l a n d b u r st i n g w i t h

c o lo r .

Whether

f o u n d i n n at u r e o r c r e at e d b y h u m a n s ,

electric energy has pe aked man's curiosi ty t h r o u g h o u t h i st o r y .

The

c o n t r i b u to r s i n t h i s

i s s u e s h a r e w h at c o m e s t o m i n d w h e n i n t e r p r e t i n g the word electric.

M a lo r i e S h m y r , C r e at i v e D i r e c t o r

E di to r

p hoto b y Li n d s ay Robinson O P A L U S m aga z i n e . C o m

s a o pa u lo , b r a z i l c r e at e d i n

B OR3D p h ot o g r a p h e r

c r e at i v e d i r e c t o r st y l i st m a k e u p a r t i st h a i r st y l i st m o d e ls

Pol Ku rucz Nê Ba r dac Edu Hyde Sol a nge Di as Ca m il a Simões o f m e g a m o d e l b r a s i l Th a is Borges, Fl av i a We iss & Natas h a So a r es o f a l l u r e m g m t V ictór i a Ross i & Na ky

N i p ple tass e ls by Os a da

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How Pol Kurucz is Giving the World More Color Interviewed by Malorie Shmyr Transcription & Intro written by Amanda Van Slyke

Pol Kurucz lives in Sao Paulo, Brazil, where he’s worked as a photographer for four years. Before this, he directed plays in France, which have influenced his photography skills with his unique set designs. Through his love of eccentricity, Pol is brightening up the world in the way he believes it should be seen. We caught up with Pol to chat about his series, BOR3D, the idea of the creative process, and the amazing images that are conceptualized in his head. So much of your work is bright and neon; what draws you to that color palette? I see the world like this. Or at least, my world is like this. I think I haven’t grown up too much, and in my head it should be always Christmas, with lights and presents and craziness. And that’s how I see the world – not the world that we’re living in, but the world that I like, which is pretty much in movies – movies and some places in New York and Paris that have these colors and this shine. Tell us about your series, BOR3D. It’s about eccentric teens who are living unconventional lives in the most natural way, in the most conventional way for themselves. I like the idea of crazy teenagers at home. At home, a teenager is trying out a lot of things. They don’t have a personality which is super developed yet – and since they’re doing it at home, they don’t feel the restraint of the view of other people, so they really live their eccentricity in a very free way. There are topics I like for unknown reasons, like smoking – I’ve never smoked, I hate smoking – but for some reason I like the aesthetics of smoking. It gives a very relaxed expression to the face. Your face is occupied doing something, and it’s not mimicking – I hate mimicking because it’s the expression of stolen social patterns.

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d r e ss b y NĂŞ Ba r dac How much is practical VS digital amping up of your colors? Itâ&#x20AC;&#x2122;s 90 percent natural. What you see is pretty much what comes out. There is almost no difference. I use photoshop to clean up, but the rest is real.

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s how e r ca p b y os a da s hoe s b y mel iss a What kind of stories are you trying to tell with your set design? I have a hard time accepting the way things are in the world, so the set is my way of saying things – a supermarket, a jail, a room and other places. I’m not trying to say anything [in particular], but rather construct something I’m visually comfortable with. You’re showing what your imagination looks like. Yes.

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Do you usually work with a set designer? Or are you doing that? I do the set design, and somebody draws it for me. It’s a collaboration with somebody in the group where the art direction is mine and the drawings are theirs.

When you say ‘group,’ is this a continuous group of people that you collaborate with to create all the images? Yes. There’s one group in Sao Paulo, and there are freelancers in New York with whom I work.

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B r a by Das H aus Pa nt yhos e b y Ca p ez io Sh o es by Da n i C u ry

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Tell us about the image of a girl watching TV and holding a melting weight while smoking a cigarette. Well, I like eccentric people. Eccentric people who are not eccentric in the sense that they try to show how different they are, but the people who are really different – who live their different normality in a very comfortable and natural way. The girl [in the series] just wants to get fit, but in the same way, she’s smoking, and she’s lifting the weight, but the weight isn’t responding. And the TV is on the floor. If you look at this picture you see that everything is in harmony – but still they’re different in the eyes of normality. Every picture I take is about this. I’m always looking for situations and performers and sets that show you can be different – not explicitly different in terms of gender and age and culture and color of skin, but going beyond that and questioning what somebody should or should not be in terms of aesthetic or social convention.

Where can we view your work? There’s my website, there’s Instagram...There’s a list of the shows on my website where they can be viewed in the world. And in the shop section, the sales point to New York, Miami, Paris, London, Berlin and larger cities in Brazil and China.

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dr ess by Nê B a r dac How do you push past a creative block? I don’t know this feeling. I think that people are really occupied with things like creativity and process inspiration references, and the one thing I can tell you about that is please ask – I’m not putting myself in the list – the most incredible artists using the world like everybody else uses it. Ask them, “What’s your creative process?” The maximum they will tell you is, “I have a breakfast with three eggs, and then I go have a walk and then I go back to work...” I mean, people have things to say. If you say something else than what you are, it’s going to be fake. If you say what you are, then there’s no process in creativity – you can have process in the production, which is extremely important because you can make shitty photos, but it won’t make you less creative.

Find Pol Kurucz on Instagram @polkurucz & on his website www.polkurucz.com

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D e s ig n by NÃª Ba r dac

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D u b a i , UAE c r e at e d i n

id enti t y a r t i st

r edgr i ts

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lo n d o n , e n g l a n d c r e at e d i n

t h e e lectric ag e p h ot o g r a p h e r st y l i st m a k e u p a r t i st

props

h a i r st y l i st model

Dav id PD Hyde Em ily Eva ns Brya n n a-Angel Allen Jason Goh Ma rt yn a O o f W i l d L o n d o n

B ody Su i t b y U o oya a B oots b y F r a nc e sca . R . Pa lu m b o

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Le ota r d & T igh ts b y F r a nc e sca . R . Pa lu m b o

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P VC bik in i to p b y Nath a l ie C o ste Ha r ness by P l a i r e Ch a ip h et L e ggings by Gaberon

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Red d r ess by A da m F ro st PVC b i k i n i bot to ms b y N ath a l ie C o ste

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Body s u i t b y N at h a l i e Coste S a n da ls b y Ho us e of Holl a n d x Gr enson

co at by Z l ata Al e k h no Kn ic k ers by Agent P rovo cate u r S a n da ls b y H o us e o f H o l l a n d x G r e nso n

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dr ess by Elv h a m

m as k b y Pl a i r e C h a ip het t ro us e rs b y Gaberon

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n e w yo r k , n e w yo r k c r e at e d i n

static cha rge p h ot o g r a p h e r m a k e u p a r t i st h a i r st y l i st model

El iot Op pen he imer Ma n a n a Sa r a l idze su n ny bell a dav ison o f stat e

mgmt

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C a lg a r y , C a n a d a c r e at e d i n

s h a r per im age p h ot o g r a p h e r st y l i st m a k e u p a r t i st h a i r st y l i st h a i r st y l i st a s s i sta n ts n a i l a r t i st m o d e ls

Eluv ier Acosta G. Ma rt in Bezgl as n i Em il i a Kuczm a- Por ebs ka & Kr ista Ho Le m Jag Mo uss a Ja n ice Goss & Jen n ifer A mbr idge Miho Goto Er in Re m pel, Lea h Beauches ne, T i a Re m pel & Dest iny Ho pe o f m o d e m o d e l s i n t e r n at i o n a l

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L ea h w ea rs to p b y k e n z o glove s, pa nts & so c ks b y K ate H e w ko ea r r i ng s & s h o e s b y a l d o e r in w ea rs to p b y mc q j ac k et b y z a r a s k irt b y K ate H e w ko ea r r ing s b y a l d o belt by l a m a iso n s imo ns b o ots b y pl eas e r t i a w ea rs b l a z e r b y A r i tz i a j ack et & s k irt b y to ps h o p gloves & so c ks b y K ate H e w ko s h o e s b y De mo n i a d e st iny w ea rs v est b y 3 . 1 P h il l ip L im pa nts b y d o+b e j ac k et b y J h o n C u a dr a d o t ro us er c h a i n b y L a M a iso n S imo ns shoes by aldo

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lef t page dest iny w ea rs j acket b y m a lor i e u r b a nov ic h to p is v i ntage O P A L U S m aga z i n e . C o m

Boise, USA c r e at e d i n

n atu r al war n ing a r t i st

essence r a

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essense ra on sending cosmic messages Interviewed by Malorie Shmyr

Essence Ra is a clothing designer and visual artist currently based in Boise, Idaho. His inspiration and ideas appear in our conscious plane utilizing modern and ancient symbols, nature, other worldly realms, and the cosmos. We chatted with Essense Ra about his brand Natural Warning and how he controls his inspiration and imagery.

What is Natural Warning? Natural Warning, to me at least, is an open ended cosmic message calling humanity to a conscious awakening by as many means possible. Driven by my life and psychedelic experiences, Natural Warning is a synthesis of the knowledge I have acquired in these and other spaces beyond, back into laymen understandable visuals. What message(s) are you trying to convey with your imagery? With my work I would say that I’m trying to portray a few things but foremost being the infinite beauty of the physical plane. The sheer fact that we exist (or don’t exist) on a figurative pebble in space in which no two plants, humans, or any natural form is identical (in my mind) should have every soul in awe and appreciation of the planet and further our existence. But I suppose that’s why we create, to show the beauty to those less beholden. What mediums do you use to create your imagery? In the past I created using traditional means - micron pens and paper. It’s still my primary medium but I’ve been branching out into digital art mediums as well over the last year. Basically if I can figure out how to interpret my messages and vision through a medium I will add it to the arsenal. I’m currently exploring several new mediums which will take my work and visions to a new level. I notice you use yellow, black and white in your work. What are you trying to communicate in this color choice? The yellow and black combination is for its socially universal understanding as subliminal signals of warning. I want my work to catch the eye of and even strike upon the viewer. Like on a roadway, yellow warning signs always evoke thought and alert weary drivers. And I seek to have my work achieve the same.

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What do you find appealing about symbols?Â My fascination or appeal for symbols comes from their root as the basis for all written languages we know today. From early man to modern computers, symbols have been used to create both visual and psychological systems of understanding. The idea that the greatest movements, tribes, and civilizations throughout time used symbols to code-decode their knowledge from others to protect and share its contents fascinates me. Itâ&#x20AC;&#x2122;s just interesting how in such a complex and modern world we are still stumped by the perceived simplicity of ancient symbology. Who really is the simpleton?

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Is the original meaning of the symbol important to you, or do you just like the look of them? Well, each symbol has a specific letter attached to it. It does mimic traditional code form but the letter shapes do change over time. The language was given to me and it is psilocybic in nature... naturally. How does your physical environment influence your work? I would say that physical environment may influence certain aspects of my work, such as the types of plants I use, and maybe it influences other characteristics within my work, now that I think about it... But really I live within my head probably 70-80% of the time. The mind is an infinite space...thus it allows me to remain infinitely inspired. O P A L U S m aga z i n e . C o m

Explain the image you created with the cross sections of brains and do you have a title for this? As for the piece Um... I don’t have a title for it, usually I never title my work. Honestly, I don’t know why its something about each piece being allowed to exist on its own and to be interpreted without a title steering the viewer. Odd notions I know haha... As a piece, it’s a play off of S.E.E.D.S (Natural Warnings secondary instagram page) being the research agency/lab to Natural Warning covering the basics and behind the scenes etc.

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What does electric mean to you and how can it, if at all, relate to the work you create? To me electric means; thought provoking, igniting, empowering, those are a few that come to mind. And I believe my work embodies the word by evoking critical thought from each viewer with each piece and garment created under the Natural Warning Order. How do you push past a creative block? I can honestly say don’t have it. I may have dormant moments where no work is being physically created (which is never more than a few days) but am mentally switched on 24/11/777. I can’t turn it off. I don’t know... I’ve gotten so in tune with the infinite so closely over the last few years that at this point I’m drowning in ideas. I would say that if I can get even 7% of my ideas out into the world, I will transfer to the next plane in peace. Is there anything you are working on that you would like to tell us about? Yeah, there a few things abrew within the Natural Warning umbrella that will be manifesting soon. One must stay in tune.

Find Essence Ra on Instagram @natural_warning & @s_e_e_d_s_nw

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b o st o n , u s a c r e at e d i n

puls a r p h ot o g r a p h y

c r e at i v e d i r e c t o r

m a k e u p a r t i st h a i r st y l i st model

Silvers & Bynes Alexa n dr a Angelone Gin a Sta nely An a is Ga ju o f m a g g i e i n c .

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n e w yo r k , n e w yo r k c r e at e d i n

electric I p h ot o g r a p h e r m a k e u p a r t i st

m a k e u p a r t i st a s s i sta n t

hair

m o d e ls

Ma lor ie s hmyr jess ica pa dill a m a n a n a s a r a l idze a lex i a & r a dh a o f stat e

mgmt ny

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n e w yo r k , n e w yo r k c r e at e d i n

electric II p h ot o g r a p h e r m a k e u p a r t i st

m a k e u p a r t i st a s s i sta n t

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m o d e ls

Ma lor ie s hmyr jess ica pa dill a m a n a n a s a r a l idze a lex i a & r a dh a o f stat e

mgmt ny

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Kyiv, Ukraine c r e at e d i n

Augme nted Rea lit y p h ot o g r a p h e r st y l i st

m a k e u p a r t i st & h a i r st y l i st lo c at i o n artworks m o d e ls

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Arsen i i Ger asymen ko Ir in a Savchen ko Da r a Du khnovs kaya Sa ms ka r a Ky i v exhibi t ion An droid Jones , K y i v , U k r a i n e Snezh a n a & Gelya o f i n t e r m o d e l s

ukraine

j ack et b y M a z a r ib a z

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dr ess by M az a r i b az

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PA N TS , D R E S S & JAC KE T b y ROU S SI N D e s ign Stu dio VE ST & D R E S S by Maza r ib az

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l ef t page co at & p u llov er by R O U S SI N De s ig n Stu dio s h orts by Savchen ko r ight page dr ess by M az a r i b az jacket by R OUSSIN D e s ig n Stu dio

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London, England in

C r e at e d

Ko kosmos

di r e cto r & e x e c u t i v e p r o d u c e r c o - di r e cto r

d i r e c t o r o f p h ot o g r a p h y e di to r s st y l i st m a k e u p a r t i st c o lo u r i st producer

p o st - p r o d u c t i o n p r o d u c e r c g a r t i st , s u p e r v i s o r

An n a Ra dchen ko Mikh a il Svjatogor Ro m a n Yu din Suga Su p i a h & Ikk i Dhes i An n a Ba kh a r eva Da rya Kholodnykh Tobi as To m k ins An astas i a Lim a r en ko Jack Goodw in Mu r at K ılı ç

& c o mp o s i t i n g c g a r t i st model

Ya n is Georges Ya n a Dobrol iubova

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Anna Radchenko Says Space Travel is in Her DNA Interviewed by Malorie Shmyr Transcription & Intro written by Amanda Van Slyke

Director Anna Radchenko’s new film, KOKOSMOS, features model Yana Dobroliubova, recognized for her striking looks which break away from traditional beauty standards. KOKOSMOS is a tribute to Russia’s infatuation with space, and is at a crossroad between a fashion film, music piece and experimental video. The film is scheduled to go live on April 12 for Russia’s Cosmonautics Day, where Anna worked exclusively with Russian fashion designers and stayed true to the post-Soviet space theme through a neon color palette. We talked with Anna about her new film, her background as an artist and the wonders of space travel. 92

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What does KOKOSMOS mean? Kosmos means ‘space’ in Russian, whereas Ko is ‘co’ – meaning, ‘together’. It’s basically a play on the ‘shared space’ idea. What message are you trying to convey with KOKOSMOS? To be honest, I don’t like to try and come up with a special message for such pure aesthetic pieces. They are there to inspire, tickle your brain and provoke some surreal and vivid fantasies in your mind. What about the neon color palette is suitable for the theme of your film? For me, neon has something magical and surreal to it, so it just made sense to choose it as a visual support for the surreal ideas in the film.

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There are a lot of spherical references in this film – what is the significance of this? I associate space with spheres, planets, space suit helmets, etc. A sphere is something perfect and self-sufficient, what a great shape to play with. In what way does Russia’s space travel influence your film? I guess dreams about space travel are in my DNA. When you’re in school as a post-soviet child, you always hear about the heroism of Gagarin (the first man in space). There are also so many great sci-fi books that teenagers of my generation grew up with, so I think those ideas are always present somewhere in the background. How would you describe your artistic style? Surreal, stylized, provocative.

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How do you push past a creative block? You don’t – you sleep and relax through it, otherwise you can make your burn-out and frustration worse. Tell us about your background and studies. I graduated from London College of Fashion with an MA in Fashion Photography. This was my second degree after the one in International Economics from the Finance University in Moscow, which is now resting in one of the drawers in my parents’ home as dusty proof that I can still have a ‘normal job!’ I’m now studying for a third degree in Existential Analysis. I guess I just can’t stop learning. Psychology and existential philosophy absolutely fascinate me. Where are you based out of now? I’m based in London.

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Your looks break away from traditional beauty standards, but they’re unusually beautiful in their own right. How was each look created? We really wanted to combine a futuristic vibe with folklore. Humans sometimes experience very strong nostalgia, and I can only imagine how strong that must feel in somewhere as far as outer space. That’s why we wanted to work with Russian fashion designers that had those vibes in their collections. For example, the wonderful headpiece in the scene with multiple eyes: That’s a traditional Russian headpiece called ‘Kokoshnik,’ but it looks super contemporary and surreal with that eye in the middle. How do you feel this film compares to your body of work, and did you learn anything new from creating it? I definitely learned a lot, as this was my first attempt to work with a lot of CG. In a nutshell: Never, ever, ever shoot a project like this without a CG supervisor!

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I found the kissing scene very intriguing, please tell me your inspiration behind this. I just love when eroticism is combined with something strange and surreal. What if every time the earth shakes or something else is happening on our planet, it’s just some space goddesses having a bit of fun? What can we expect from you in the future? I’m planning to conquer the world with further surreal, philosophical and visually arresting pieces across different genres – from short erotic films to music videos and art installations.

Don’t forget to follow Anna Radchenko on Instagram @anna_radchenko & view her new film, KOKOSMOS, on OPALUSMAGAZINE.COM

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st . a l b e r t , c a n a d a in

C r e at e d

v i vi d s p h ot o g r a p h e r a r t d i r e c t o r & l e a d st y l i st s a lo n h a i r st y l i sts

m a lor ie s hmyr l au r en b a r il Rose & onyx Mya Ku r pjuwe i t Ta n i a K eber n ik Jill Mcne il

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100

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101

102

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O P A L U S m aga z i n e . C o m 103

n e w yo r k , n e w yo r k c r e at e d i n

p r o t o t y p e p h ot o g r a p h e r & r e t o u c h e r st y l i st st y l i st a s s i sta n t m a k e u p a r t i st h a i r st y l i st model

Brya n M. Sa rgent Raymon d Cas as Nata l i i a Bu rtnyk Sh a n non Rodr ig uez K im Ga r du no Rebecca Ha nobik o f

f e n to n m o d e ls

d r e ss & r a b b i t m as k by Qi a n Wu r i ng b y Solo me in a s hoe s b y La u r ence Daca de

O P A L U S m aga z i n e . C o m 105

d r ess b y Z a dig & Vo lta ir e vest b y M o no s u i t s leev es b y S imo n E l l is soc ks b y W e L ov e C o lo rs s a n da ls b y o f f-w h i te 106

O P A L U S m aga z i n e . C o m

O P A L U S m aga z i n e . C o m 107

108

O P A L U S m aga z i n e . C o m

b l az er b y Q i a n W u pa nts b y pas k a l pa nt i es b y L a p e r l a p i n b y M & S S c h m a l b e rg

O P A L U S m aga z i n e . C o m 109

d r ess b y Q i a n W u gloves b y Wo l f o r d

110

O P A L U S m aga z i n e . C o m

t ig hts & ga r d e r b e lt by La Per l a g love s b y C or nel i a Ja mes d r e ss by Qi a n Wu

O P A L U S m aga z i n e . C o m

111