WHO WE ARE Photographize is beyond a Magazine! It’s a platform for artists, galleries, and Creatives. We dedicate our space to all kinds of art regardless of technique or period, such as illustration, painting, digital art, photography, sculpture, and video. It aims to become a virtual place based on immediacy, where the images are presented in their pure beauty and have the ability to capture and captivate the viewer. Have a good journey towards timeless Art.
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SALES AND ADVERTISING E-mail: sales@photographize.co Writer: Thomas Jukes All images and text published in Photographize are the sole property of the featured authors and subject to copyright. No image or text can be reproduced, edited, copied or distributed without the express written permission of its legal owner. October 2021 © Photographize Magazine Cover: © KAIWAN SHABAN
FUDO HUB LLC Photographize ISSN 2576-2648 - DIGITAL SSN 2639-5673 - PRINT www.photographize.co
CREATIVE HUB
www.anjadiabate.com
WHO WE ARE Photographize is beyond a Magazine! It’s a platform for artists, galleries, and Creatives. We dedicate our space to all kinds of art regardless of technique or period, such as illustration, painting, digital art, photography, sculpture, and video. It aims to become a virtual place based on immediacy, where the images are presented in their pure beauty and have the ability to capture and captivate the viewer. Have a good journey towards timeless Art.
SUBMISSIONS
www.photographize.co/submissions
SALES AND ADVERTISING E-mail: sales@photographize.co Writer: Thomas Jukes All images and text published in Photographize are the sole property of the featured authors and subject to copyright. No image or text can be reproduced, edited, copied or distributed without the express written permission of its legal owner. October 2021 © Photographize Magazine Cover: © KAIWAN SHABAN
FUDO HUB LLC Photographize ISSN 2576-2648 - DIGITAL SSN 2639-5673 - PRINT www.photographize.co
CREATIVE HUB
www.anjadiabate.com
GEORGE ASSAF www.instagram.com/geoasfphotography
GEORGE ASSAF www.instagram.com/geoasfphotography
www.taniaabitbol.com
www.taniaabitbol.com
www.danielagra.com
www.danielagra.com
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DANCHO ATANASOV
DANCHO ATANASOV
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PATRICK KRAMER CINTA VIDAL RBNKS KAIWAN SHABAN FUNKYVISION UNDERDOTT HELGA STENTZEL SABINE PIGALLE ALEXANDER BRONFER RAFAEL MANTESSO
INTERVIEW
29 ROB WOODCOX
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51 BRIONVEGA 55 FRANCISCO NUK 19 41 63 73 83 93
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WILLY VERGINER WOLFGANG STILLER G.B. SMITH OLEG DOU OLGA KARLOVAC BYOUNG HO RHEE
HIGHLIGHTS
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15 25 37 47 59 69 79 89 97 101
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PATRICK KRAMER CINTA VIDAL RBNKS KAIWAN SHABAN FUNKYVISION UNDERDOTT HELGA STENTZEL SABINE PIGALLE ALEXANDER BRONFER RAFAEL MANTESSO
INTERVIEW
29 ROB WOODCOX
MODULE
55
69
59
73
79
63
83
51 BRIONVEGA 55 FRANCISCO NUK 19 41 63 73 83 93
ARTICLES
WILLY VERGINER WOLFGANG STILLER G.B. SMITH OLEG DOU OLGA KARLOVAC BYOUNG HO RHEE
HIGHLIGHTS
105 CURATOR’S CHOICE 89
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UNITED STATES
www.patrickkramerart.com “The Critique”, oil on dibond, 20 x 20 in. ► © Patrick Kramer
Patrick Kramer is an artist hailing from Springville, Utah, who specializes in remarkably hyper-realistic paintings. A perfectionist by nature, art was an outlet for his obsessive personality allowing him to focus on getting things "just right". Taking art classes throughout high school, he was encouraged by his teachers and eventually decided to study art at Brigham Young University. There he continued to focus on realism, improving his technical skills and craftsmanship. Becoming more and more detailed, his work began to rival that of
"Glory is Fleeting", oil on panel, 22 x 22 in. ► © Patrick Kramer
the photograph. Painting whatever captures his interest, Patrick paints a variety of subjects, from still life's to
FEATURED 15
“In my work, I hope the viewer senses this tension between photography and the handmade -- the instantaneous and the prolonged, the ubiquitous and the unique, the impartial and the personal.”
"The Ex", oil on canvas, 60 x 48 in. ► © Patrick Kramer
"Perhaps They'll Listen Now", oil on panel, 48 x 48 in. ► © Patrick Kramer
FEATURED
landscapes to city scenes.
16
UNITED STATES
www.patrickkramerart.com “The Critique”, oil on dibond, 20 x 20 in. ► © Patrick Kramer
Patrick Kramer is an artist hailing from Springville, Utah, who specializes in remarkably hyper-realistic paintings. A perfectionist by nature, art was an outlet for his obsessive personality allowing him to focus on getting things "just right". Taking art classes throughout high school, he was encouraged by his teachers and eventually decided to study art at Brigham Young University. There he continued to focus on realism, improving his technical skills and craftsmanship. Becoming more and more detailed, his work began to rival that of
"Glory is Fleeting", oil on panel, 22 x 22 in. ► © Patrick Kramer
the photograph. Painting whatever captures his interest, Patrick paints a variety of subjects, from still life's to
FEATURED 15
“In my work, I hope the viewer senses this tension between photography and the handmade -- the instantaneous and the prolonged, the ubiquitous and the unique, the impartial and the personal.”
"The Ex", oil on canvas, 60 x 48 in. ► © Patrick Kramer
"Perhaps They'll Listen Now", oil on panel, 48 x 48 in. ► © Patrick Kramer
FEATURED
landscapes to city scenes.
16
"Perseverance / Futility", oil on board, 24 x 18 in.
"The Lost Pearl", oil on dibond, 16 x 16 in. ► © Patrick Kramer
“The Torment of Existence Weighed Against the Horror of Nonbeing”
Oil on dibond, 24 x 18 in.
"The Lost Pearl", oil on dibond, 16 x 16 in. ► © Patrick Kramer "Memories of a Broken Heart", oil on panel, 28 x 22 in. ► © Patrick Kramer 17
NEXT PAGE: "Unbroken", oil on panel, 24 x 18 in.. ► © Patrick Kramer
"Perseverance / Futility", oil on board, 24 x 18 in.
"The Lost Pearl", oil on dibond, 16 x 16 in. ► © Patrick Kramer
“The Torment of Existence Weighed Against the Horror of Nonbeing”
Oil on dibond, 24 x 18 in.
"The Lost Pearl", oil on dibond, 16 x 16 in. ► © Patrick Kramer "Memories of a Broken Heart", oil on panel, 28 x 22 in. ► © Patrick Kramer 17
NEXT PAGE: "Unbroken", oil on panel, 24 x 18 in.. ► © Patrick Kramer
ARTICLE
WILLY VERGINER Sculpture as Immersive Imagery
www.verginer.com
by Thomas Jukes Willy Verginer was born in 1957 in one of the most northerly areas of Italy, Bressanone. The young boy was to grow up surrounded by the towering forests and mountain peaks of the Dolomite range that would later become an important inspiration for his later creative work. There are people in this world who are seemingly called to by a life of artistic creation and Willy Verginer was no exception to this phenomenon. As a young man, Verginer would start his artistic career by studying painting at the Art Institute of Ortisei. However, the draw of the paintbrush would not last long, during his studies he would frequently pay visits to the many distinguished woodworking and sculpture studios across the Val Gardena region, many of these studios had been famed for their skill and craftsmanship with wood since the 18th century. After he graduated from the Art Institute of Ortisei he immediately began working in the various wood sculpture studios that he had grown so fond of. Although he was able to assimilate with these historical sculpture studios and their particular techniques of working, Verginer was not ready to simply follow on with the tradition. So, in the 1980s, with traditional sculptural training under his belt, he attempted to distance himself from these now conventional methods. His means of doing this was to be autonomous learning, putting his creative mind to work with the raw materials and finding his own personal approach to sculpture.
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PREVIOUS PAGE: Chimica del Pensiero, 2019 / Lindenwood, Acrylic Color 160x46x45 cm ► © Willy Verginer
Moongirl, 2019 / Lindenwood, Acrylic Color / 105x29x21 cm ► © Willy Verginer
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ARTICLE
WILLY VERGINER Sculpture as Immersive Imagery
www.verginer.com
by Thomas Jukes Willy Verginer was born in 1957 in one of the most northerly areas of Italy, Bressanone. The young boy was to grow up surrounded by the towering forests and mountain peaks of the Dolomite range that would later become an important inspiration for his later creative work. There are people in this world who are seemingly called to by a life of artistic creation and Willy Verginer was no exception to this phenomenon. As a young man, Verginer would start his artistic career by studying painting at the Art Institute of Ortisei. However, the draw of the paintbrush would not last long, during his studies he would frequently pay visits to the many distinguished woodworking and sculpture studios across the Val Gardena region, many of these studios had been famed for their skill and craftsmanship with wood since the 18th century. After he graduated from the Art Institute of Ortisei he immediately began working in the various wood sculpture studios that he had grown so fond of. Although he was able to assimilate with these historical sculpture studios and their particular techniques of working, Verginer was not ready to simply follow on with the tradition. So, in the 1980s, with traditional sculptural training under his belt, he attempted to distance himself from these now conventional methods. His means of doing this was to be autonomous learning, putting his creative mind to work with the raw materials and finding his own personal approach to sculpture.
11
PREVIOUS PAGE: Chimica del Pensiero, 2019 / Lindenwood, Acrylic Color 160x46x45 cm ► © Willy Verginer
Moongirl, 2019 / Lindenwood, Acrylic Color / 105x29x21 cm ► © Willy Verginer
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figurative and visually striking works. No longer combined with natural materials but instead making use of acrylic paint and vibrant shades of artificial colour in juxtaposition with the natural timber. This break from his original style was well received and he subsequently went on to exhibit across Italy. His work has now garnered so much attention that his works can now be found in numerous private and public collections: not just in Italy but now internationally.
The Dark Side Of The Bull, 2013 / Lindenwood, Acrylic Color / 60x74x21 cm ► © Willy Verginer
Willy Verginer would first show himself to the art world in the late 1980s when he held his first personal exhibition. The exhibition was curated by Danilo Eccher and was held at the Galleria Spatia in Bolzano. This first show would contain abstract works created by Verginer that were a mix of wood and other natural materials. Following on from this exhibition Verginer would continue to present his work at exhibitions that proved to be a highly profitable venture. In 1990 he even helped to found the Artistic Group Trisma alongside fellow artists, Walter Moroder and Bruno Walpoth. Sadly the next decade of the sculptor's life was not so joyous, research, crises and a creative drought would be the highlights of this difficult period for Verginer. One never knows what the future holds and often the hardest parts of our lives can lead to a period of rebirth and re-enlightenment. Willy Verginer reappeared following his decade-long slump in 2005 with a radically changed sculptural pathway. The exhibition held at Galleria Castello in Trento would be the first time the world would see the new form of sculpture that Verginer was now creating. His pieces were now highly 21
Tra Idilico e Realityl, 2014 / Lindenwood, Acrylic Color 160x60x120 cm ► © Willy Verginer
introduced to the sculpture and conveys that it is filling or swallowing up the sculpture. An invasive artificial covering that threatens to turn all that is natural to one consistent and man-made object. Il Gioco Infinito, 2020 / Lindenwood, Acrylic Color 132x41x50 cm ► © Willy Verginer
Willy Verginer’s sculptures are a creation of not only time and patience but also great skill and thought. A piece will start its life as several blocks of wood, these pieces are dried naturally over a period of six years in order to avoid any morphing. Once the blocks have been dried they are assembled together into a far larger mass and from here the sculptor visualizes the final result that awaits within the blocks. When the vision is in place Verginer can begin to work into the form using, at first, a chainsaw and a hatchet. This more brutal stage is followed by refining work using smaller tools such as chisels. The resulting sculptures are a marvel to behold, they have an incredible realism and yet you can still observe the carving marks. Rather than detracting from the realism, these marks seem to give the sculptures a stronger sense of movement, life, and texture. All of Verginer’s sculptures feature a dominant and striking colour. Said colours are usually found covering only part of the work, this creates a wonderful juxtaposition between the naturally muted colour of the wood and the vivid artificial paint surface. The use of colour in Verginer’s sculptures ties human and animal forms to other elements that are depicted in the work. Figures are connected and almost merged to the artificial objects that surround or ground them. From oil barrels to tin cans and bottles even animal subjects can be seen connected to these garbage items through the use of block colour. This technique brings with it a strong message of our worldly connection with the waste that we are producing. It feels very much as if the use of wood for the sculptures adds to this message: the figures and animals are natural, but the artificial objects are attempting to take the place of natural objects in both form and function. Then the block colour is 22
figurative and visually striking works. No longer combined with natural materials but instead making use of acrylic paint and vibrant shades of artificial colour in juxtaposition with the natural timber. This break from his original style was well received and he subsequently went on to exhibit across Italy. His work has now garnered so much attention that his works can now be found in numerous private and public collections: not just in Italy but now internationally.
The Dark Side Of The Bull, 2013 / Lindenwood, Acrylic Color / 60x74x21 cm ► © Willy Verginer
Willy Verginer would first show himself to the art world in the late 1980s when he held his first personal exhibition. The exhibition was curated by Danilo Eccher and was held at the Galleria Spatia in Bolzano. This first show would contain abstract works created by Verginer that were a mix of wood and other natural materials. Following on from this exhibition Verginer would continue to present his work at exhibitions that proved to be a highly profitable venture. In 1990 he even helped to found the Artistic Group Trisma alongside fellow artists, Walter Moroder and Bruno Walpoth. Sadly the next decade of the sculptor's life was not so joyous, research, crises and a creative drought would be the highlights of this difficult period for Verginer. One never knows what the future holds and often the hardest parts of our lives can lead to a period of rebirth and re-enlightenment. Willy Verginer reappeared following his decade-long slump in 2005 with a radically changed sculptural pathway. The exhibition held at Galleria Castello in Trento would be the first time the world would see the new form of sculpture that Verginer was now creating. His pieces were now highly 21
Tra Idilico e Realityl, 2014 / Lindenwood, Acrylic Color 160x60x120 cm ► © Willy Verginer
introduced to the sculpture and conveys that it is filling or swallowing up the sculpture. An invasive artificial covering that threatens to turn all that is natural to one consistent and man-made object. Il Gioco Infinito, 2020 / Lindenwood, Acrylic Color 132x41x50 cm ► © Willy Verginer
Willy Verginer’s sculptures are a creation of not only time and patience but also great skill and thought. A piece will start its life as several blocks of wood, these pieces are dried naturally over a period of six years in order to avoid any morphing. Once the blocks have been dried they are assembled together into a far larger mass and from here the sculptor visualizes the final result that awaits within the blocks. When the vision is in place Verginer can begin to work into the form using, at first, a chainsaw and a hatchet. This more brutal stage is followed by refining work using smaller tools such as chisels. The resulting sculptures are a marvel to behold, they have an incredible realism and yet you can still observe the carving marks. Rather than detracting from the realism, these marks seem to give the sculptures a stronger sense of movement, life, and texture. All of Verginer’s sculptures feature a dominant and striking colour. Said colours are usually found covering only part of the work, this creates a wonderful juxtaposition between the naturally muted colour of the wood and the vivid artificial paint surface. The use of colour in Verginer’s sculptures ties human and animal forms to other elements that are depicted in the work. Figures are connected and almost merged to the artificial objects that surround or ground them. From oil barrels to tin cans and bottles even animal subjects can be seen connected to these garbage items through the use of block colour. This technique brings with it a strong message of our worldly connection with the waste that we are producing. It feels very much as if the use of wood for the sculptures adds to this message: the figures and animals are natural, but the artificial objects are attempting to take the place of natural objects in both form and function. Then the block colour is 22
Schatten Im Wasser, 2016 / Lindenwood, Acrylic Color / 100x280x30 cm ► © Willy Verginer
Through this Verginer is able to convey the delicate balance that exists in our ecosystem and how the artificial world of humans is beginning to take over. By drawing us in with a striking, yet beautiful, aesthetic Verginer is able to encourage the viewer to contemplate the issue of global pollution and climate change. Importantly, all these thoughts are brought to the viewer through the use of time-honored sculptural traditions and skill. It is a credit to the artist that he has taken a classical training, where his skills would be purely for aesthetics, and turned his talents to not only creating beautiful sculpture but also to create emotive and challenging works of art. NEXT PAGE: Adesso è piu normale, adesso è meglio, adesso è giusto, 2013 / Bronze, Gold Galvanized, Acrylic / 180x150x40 cm Butta l’Acqua sui Piedi, 2013 / Lindenwood, Acrylic Color / 102x120x43 cm ► © Willy Verginer
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Schatten Im Wasser, 2016 / Lindenwood, Acrylic Color / 100x280x30 cm ► © Willy Verginer
Through this Verginer is able to convey the delicate balance that exists in our ecosystem and how the artificial world of humans is beginning to take over. By drawing us in with a striking, yet beautiful, aesthetic Verginer is able to encourage the viewer to contemplate the issue of global pollution and climate change. Importantly, all these thoughts are brought to the viewer through the use of time-honored sculptural traditions and skill. It is a credit to the artist that he has taken a classical training, where his skills would be purely for aesthetics, and turned his talents to not only creating beautiful sculpture but also to create emotive and challenging works of art. NEXT PAGE: Adesso è piu normale, adesso è meglio, adesso è giusto, 2013 / Bronze, Gold Galvanized, Acrylic / 180x150x40 cm Butta l’Acqua sui Piedi, 2013 / Lindenwood, Acrylic Color / 102x120x43 cm ► © Willy Verginer
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SPAIN
Wetzlar / Acrylic on wood. 60x60cm. ► © Cinta Vidal
www.cintavidal.com In her paintings, Barcelona based artist Cinta Vidal Agulló creates a universe in which the traditional laws of gravity do not hold. She discovered her love for art at a young age, studied at Escola Massana in Barcelona and worked in one of the most prestigious scenography ateliers in Europe. Cinta’s
work
incorporates
architectural
and
landscape elements to build three-dimensional mazes in which her characters wander, often unaware of those around them. Challenging our notions of perspective, her artworks are conceived
TAI O / Oil on wood panel. 50x50cm. ► © Cinta Vidal
FEATURED
as metaphors of how individuals might be close to
25
each
other,
yet
have
completely
divergent
viewpoints and ideas. In her own words: “With my constructions, I want to show that we live in a world, but that we live in different ways – playing with everyday objects and spaces. The inner dimension of each of us does not correspond to the mental structure of those around us.”
NEXT PAGE: Together apart Collage and acrylic on wood. 40x50cm. ► © Cinta Vidal
URBAN / Oil on wood panel. 80x80cm. ► © Cinta Vidal
SPAIN
Wetzlar / Acrylic on wood. 60x60cm. ► © Cinta Vidal
www.cintavidal.com In her paintings, Barcelona based artist Cinta Vidal Agulló creates a universe in which the traditional laws of gravity do not hold. She discovered her love for art at a young age, studied at Escola Massana in Barcelona and worked in one of the most prestigious scenography ateliers in Europe. Cinta’s
work
incorporates
architectural
and
landscape elements to build three-dimensional mazes in which her characters wander, often unaware of those around them. Challenging our notions of perspective, her artworks are conceived
TAI O / Oil on wood panel. 50x50cm. ► © Cinta Vidal
FEATURED
as metaphors of how individuals might be close to
25
each
other,
yet
have
completely
divergent
viewpoints and ideas. In her own words: “With my constructions, I want to show that we live in a world, but that we live in different ways – playing with everyday objects and spaces. The inner dimension of each of us does not correspond to the mental structure of those around us.”
NEXT PAGE: Together apart Collage and acrylic on wood. 40x50cm. ► © Cinta Vidal
URBAN / Oil on wood panel. 80x80cm. ► © Cinta Vidal
Living Together / Acrylic on wood panel. 63,5x50cm. ► © Cinta Vidal
Toguether alone 2 / Acrylic on wood panel. 60x60 cm. ► © Cinta Vidal Periphery / Acrylic on wood panel. 50x50cm. ► © Cinta Vidal
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Airport 2” / Acrylic on wood panel. 70x70 cm ► © Cinta Vidal
Caravan / Oil on wood panel. 36x36cm. ► © Cinta Vidal
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Living Together / Acrylic on wood panel. 63,5x50cm. ► © Cinta Vidal
Toguether alone 2 / Acrylic on wood panel. 60x60 cm. ► © Cinta Vidal Periphery / Acrylic on wood panel. 50x50cm. ► © Cinta Vidal
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Airport 2” / Acrylic on wood panel. 70x70 cm ► © Cinta Vidal
Caravan / Oil on wood panel. 36x36cm. ► © Cinta Vidal
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INTERVIEW
ROB WOODCOX
www.robwoodcox.com
Rob Woodcox is a fine art and fashion photographer currently splitting time between Mexico City, Los Angeles, and New York City. He exercises his talent for photography with a passion that is unquenchable and contagious. His passion for photography has developed into a dedication to advocacy; he has produced projects raising consciousness and conversation around the US foster system and adoption, queer identity, body neutrality, racial equality, and environmental justice. Having been adopted as a child and interacting often with the foster care system, Rob creates - from a unique perspective - finding hope in human connection and the will to overcome negative constructs within our complex societies. by Photographize We are always interested in the life experiences and processes that lead artists to where they are now. Tell us about your case, from the first spark of interest to the realization that this is what you want to dedicate your life to. Photography began as a fascination of technology and process for me; since childhood, I had disposable cameras in my hand, but I never thought about photography as a craft or art form until my late teen years. It was in my first year of college that I felt drawn to working with a sturdier camera and learning how the settings worked in unison to create an intentional photograph. I began working on 35mm film and developing the negatives and prints myself in the darkroom. As I explored, I started relating my own internally developing imaginations to the process of scenes developing on the chemical soaked papers in the darkroom. I instantly fell in love and went through quite an obsessive phase of creating new work. In the beginning, I had no concept of light, composition, or style, I simply had ideas that I felt 29
I needed to get onto paper. The process was catharsis at its finest and I continued to create with digital SLR cameras, falling in love with the instant gratification allowing me to process my ideas and concepts faster. Since the beginning, I attempted to tell stories with my portraits, and eventually, they just got bigger, more surreal, and more cohesive technically. When I look back at my first work it almost feels like looking at a different person; perhaps it is. What inspires you? Every detail of life inspires me; I love all the pieces that come together to create our experienced reality, both simple and difficult. I find it important to embrace the darkest moments we face, along with the joyous ones. I’ve always been drawn to nature and I find solace and inspiration spending time there. I’m inspired by intimate human connection and the journey of finding that. I also thoroughly enjoy experiencing all other artistic expressions and how they inform my own artistic experience. NEXT PAGE: Time Travel ► © Rob Woodcox
INTERVIEW
ROB WOODCOX
www.robwoodcox.com
Rob Woodcox is a fine art and fashion photographer currently splitting time between Mexico City, Los Angeles, and New York City. He exercises his talent for photography with a passion that is unquenchable and contagious. His passion for photography has developed into a dedication to advocacy; he has produced projects raising consciousness and conversation around the US foster system and adoption, queer identity, body neutrality, racial equality, and environmental justice. Having been adopted as a child and interacting often with the foster care system, Rob creates - from a unique perspective - finding hope in human connection and the will to overcome negative constructs within our complex societies. by Photographize We are always interested in the life experiences and processes that lead artists to where they are now. Tell us about your case, from the first spark of interest to the realization that this is what you want to dedicate your life to. Photography began as a fascination of technology and process for me; since childhood, I had disposable cameras in my hand, but I never thought about photography as a craft or art form until my late teen years. It was in my first year of college that I felt drawn to working with a sturdier camera and learning how the settings worked in unison to create an intentional photograph. I began working on 35mm film and developing the negatives and prints myself in the darkroom. As I explored, I started relating my own internally developing imaginations to the process of scenes developing on the chemical soaked papers in the darkroom. I instantly fell in love and went through quite an obsessive phase of creating new work. In the beginning, I had no concept of light, composition, or style, I simply had ideas that I felt 29
I needed to get onto paper. The process was catharsis at its finest and I continued to create with digital SLR cameras, falling in love with the instant gratification allowing me to process my ideas and concepts faster. Since the beginning, I attempted to tell stories with my portraits, and eventually, they just got bigger, more surreal, and more cohesive technically. When I look back at my first work it almost feels like looking at a different person; perhaps it is. What inspires you? Every detail of life inspires me; I love all the pieces that come together to create our experienced reality, both simple and difficult. I find it important to embrace the darkest moments we face, along with the joyous ones. I’ve always been drawn to nature and I find solace and inspiration spending time there. I’m inspired by intimate human connection and the journey of finding that. I also thoroughly enjoy experiencing all other artistic expressions and how they inform my own artistic experience. NEXT PAGE: Time Travel ► © Rob Woodcox
Your works often combine the dynamism of the human body with stunning landscapes and architecture. What do you look for in these two worlds and what emerges from the synergy between them? Humans are nature, and from the symbiotic relationship we’ve had with our environment in the past we have developed every aspect of modern society; from studying the bonding abilities of different raw elements to make homes and buildings, to watching animal patterns of hunting, harvesting and nurturing, to capturing energy from wind, water, etc. Our human world as we know it wouldn’t be possible without all of the hard work the ecosystems of our planet put in to make this Earth livable. Through my art, I aim to capture the unity humans have the ability to pursue with our environment to create a better existence for all. The images are symbols of achieving that harmony. Imagine the improved living conditions of our entire world if corporations and governments worked together to provide better food solutions that didn’t deplete natural resources, or energy transitioned from highly pollutant processes to entirely renewable energy sources. Imagine if we took the measures necessary to prevent 1/3 of our habitable land from turning to desert in the coming decades. We have the solutions, and my art aims to look towards that future while educating current generations about the problems.
New York State Of Mind ► © Rob Woodcox
Your creations frequently depict people as building blocks of intricate structures. What message does this convey about our connections and collaborative interactions?
Human Tetris ► © Rob Woodcox
We are so much stronger together. The phrase “it takes a village” has now become “it takes a global society”. We are so interconnected that something as simple as someone starting a small fire while camping can cause a devastating wildfire that impacts millions. On the other hand, a single smile or kind deed can start a chain of positive events that offsets pain and sadness by starting a whole internet campaign of kind deeds. We’re stronger and simultaneously more vulnerable than we’ve ever been as a species, and therefore now is the time to act as one, as a team, to create positive change that includes everyone.
You are not only a remarkable artist but also an advocate, deeply committed to raising awareness about the US foster system and adoption, queer identity, body neutrality, racial equality, and environmental justice. How do these two facets of yourself interact, and how does your art channel your thoughts and message? I was adopted when I was a baby and then started volunteering with foster kids when I was a teenager. I’ve always seen the world through a lens of gratitude for the privileges I have. Not everyone has the same privileges and therefore it's important to me that I use my art to extend education and conversation surrounding equality and justice for all people groups. Art gives an individual the opportunity to express their deepest emotions, desires, and passions, and so those are the parts of me that I aim to channel through my photography. Interconnectivity ► © Rob Woodcox
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Your works often combine the dynamism of the human body with stunning landscapes and architecture. What do you look for in these two worlds and what emerges from the synergy between them? Humans are nature, and from the symbiotic relationship we’ve had with our environment in the past we have developed every aspect of modern society; from studying the bonding abilities of different raw elements to make homes and buildings, to watching animal patterns of hunting, harvesting and nurturing, to capturing energy from wind, water, etc. Our human world as we know it wouldn’t be possible without all of the hard work the ecosystems of our planet put in to make this Earth livable. Through my art, I aim to capture the unity humans have the ability to pursue with our environment to create a better existence for all. The images are symbols of achieving that harmony. Imagine the improved living conditions of our entire world if corporations and governments worked together to provide better food solutions that didn’t deplete natural resources, or energy transitioned from highly pollutant processes to entirely renewable energy sources. Imagine if we took the measures necessary to prevent 1/3 of our habitable land from turning to desert in the coming decades. We have the solutions, and my art aims to look towards that future while educating current generations about the problems.
New York State Of Mind ► © Rob Woodcox
Your creations frequently depict people as building blocks of intricate structures. What message does this convey about our connections and collaborative interactions?
Human Tetris ► © Rob Woodcox
We are so much stronger together. The phrase “it takes a village” has now become “it takes a global society”. We are so interconnected that something as simple as someone starting a small fire while camping can cause a devastating wildfire that impacts millions. On the other hand, a single smile or kind deed can start a chain of positive events that offsets pain and sadness by starting a whole internet campaign of kind deeds. We’re stronger and simultaneously more vulnerable than we’ve ever been as a species, and therefore now is the time to act as one, as a team, to create positive change that includes everyone.
You are not only a remarkable artist but also an advocate, deeply committed to raising awareness about the US foster system and adoption, queer identity, body neutrality, racial equality, and environmental justice. How do these two facets of yourself interact, and how does your art channel your thoughts and message? I was adopted when I was a baby and then started volunteering with foster kids when I was a teenager. I’ve always seen the world through a lens of gratitude for the privileges I have. Not everyone has the same privileges and therefore it's important to me that I use my art to extend education and conversation surrounding equality and justice for all people groups. Art gives an individual the opportunity to express their deepest emotions, desires, and passions, and so those are the parts of me that I aim to channel through my photography. Interconnectivity ► © Rob Woodcox
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How does your experience in fashion photography influence your other creative pursuits? I adore fashion, I’ve found that dressing up and entering the streets often draws like-minded and open-minded people in my direction. It's this subtle form of communication that can make a statement with no words. I wear almost entirely handmade, local, repurposed, and sustainable designers, so my clothing often starts conversations about the environment and sustainability as well. I like incorporating fashion into my work, whether it's the statement of nudity, wearing paint, or wearing clothing. I enjoy pushing gender boundaries and extending the body to its surroundings through fashion. I’ve designed pieces before in my work and I think designing a clothing line would be really fun. I’m looking forward to a new film project as well that will use fashion as part of the narrative to tell a story. The possibilities are endless.
Unity ► © Rob Woodcox
You recently reached another milestone in your remarkable career, with the publication of Bodies of Light, a book showcasing your photographs. Tell us about the concept behind this project. I couldn’t be more excited to have a book out! I never thought I’d publish a book so early in my career, but it's also remarkable to have a book that covers my first decade of being a photographer. The book takes the viewer on a stylized journey through different series of works, weaving them together with poetry I wrote while in creative retreat. It explores my fine art and fashion work, each image throughout feeling like a showcase of different characters from the same universe. I’m quite proud of the work my publishing team did to bring this to fruition, you can pick up a copy and see for yourself here:
Tree Of Life ► © Rob Woodcox
https://shopcatalog.com/product/bodies-of-light/ Can you walk us through your creative process, from the inception of an idea to the final piece?
You divide your time between the US and Mexico. What are the differences and similarities between the creative energy in these two places? How do they contribute to your art?
My creative process at the beginning sort of reminds me of developing film in the darkroom. I often meditate on concepts and as I focus on the feelings or emotions, a visual starts to form in my mind, hazy at first, until it reaches clarity. I always write these ideas down with as much relevant detail as I need to remember in the future. Once I’ve captured it, I can then expand to form a more robust concept with locations, models, etc. I then pull all the necessary talent together and create the piece(s), usually in a day or two or over a small trip to the destination. Everything comes together in post-production over 1-2 days and then I release a piece or save it for the appropriate time.
The energies of the US and Mexico are strikingly different. Mexico has a warmer, more joyous energy that compels you to run free and explore Love Not Lost ► © Rob Woodcox
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How does your experience in fashion photography influence your other creative pursuits? I adore fashion, I’ve found that dressing up and entering the streets often draws like-minded and open-minded people in my direction. It's this subtle form of communication that can make a statement with no words. I wear almost entirely handmade, local, repurposed, and sustainable designers, so my clothing often starts conversations about the environment and sustainability as well. I like incorporating fashion into my work, whether it's the statement of nudity, wearing paint, or wearing clothing. I enjoy pushing gender boundaries and extending the body to its surroundings through fashion. I’ve designed pieces before in my work and I think designing a clothing line would be really fun. I’m looking forward to a new film project as well that will use fashion as part of the narrative to tell a story. The possibilities are endless.
Unity ► © Rob Woodcox
You recently reached another milestone in your remarkable career, with the publication of Bodies of Light, a book showcasing your photographs. Tell us about the concept behind this project. I couldn’t be more excited to have a book out! I never thought I’d publish a book so early in my career, but it's also remarkable to have a book that covers my first decade of being a photographer. The book takes the viewer on a stylized journey through different series of works, weaving them together with poetry I wrote while in creative retreat. It explores my fine art and fashion work, each image throughout feeling like a showcase of different characters from the same universe. I’m quite proud of the work my publishing team did to bring this to fruition, you can pick up a copy and see for yourself here:
Tree Of Life ► © Rob Woodcox
https://shopcatalog.com/product/bodies-of-light/ Can you walk us through your creative process, from the inception of an idea to the final piece?
You divide your time between the US and Mexico. What are the differences and similarities between the creative energy in these two places? How do they contribute to your art?
My creative process at the beginning sort of reminds me of developing film in the darkroom. I often meditate on concepts and as I focus on the feelings or emotions, a visual starts to form in my mind, hazy at first, until it reaches clarity. I always write these ideas down with as much relevant detail as I need to remember in the future. Once I’ve captured it, I can then expand to form a more robust concept with locations, models, etc. I then pull all the necessary talent together and create the piece(s), usually in a day or two or over a small trip to the destination. Everything comes together in post-production over 1-2 days and then I release a piece or save it for the appropriate time.
The energies of the US and Mexico are strikingly different. Mexico has a warmer, more joyous energy that compels you to run free and explore Love Not Lost ► © Rob Woodcox
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all the possibilities of life. People have really welcomed me in there and taught me to live in the moment and appreciate more. The US has a more robust drive for financial success that seems built into every corner of society; people often ask me how much money I’m making or who’s the biggest person I’ve worked with much quicker in a conversation. The difference in priorities is evident, however, I find both to be valuable energy for surviving and thriving as an artist. There is a balance to be had between working hard and enjoying life, and I try to find priority in both. Human Arc ► © Rob Woodcox
Another remarkable feature about you is your dedication to teaching photography, giving seminars and workshops to students throughout the world. What are your feelings about these experiences? I love teaching; nothing is more rewarding than seeing the light in someone's eyes as they experience a breakthrough in their own journey or craft. Early in my career, I cold-called sponsors to fund world tours teaching photography, and to my delight, I received many opportunities this way. What I was met with exceeded my expectations- I think I learned more from my students collectively than I ever could have taught. Traveling teaches us so many facets of beauty through how other people and cultures live, think and express. Combining that with my specific craft of photography allowed for extremely rich growth and deep connections that have lasted in all the years since. Can you give us a glimpse of what to expect from you in the future? I can’t believe I’m saying this, but I’m in pre-production for my first two short films. I can’t give away the details yet, but they’re going to be as if my photographic concepts came to life. I’ll also be showing work at quite a few more galleries and museums over the next years and can’t wait to have conversations with new audiences all over the world. I’m excited to put my all into these new endeavors and look forward to the interpersonal and community experiences these will lead to. El Espíritu Asciende ► © Rob Woodcox
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all the possibilities of life. People have really welcomed me in there and taught me to live in the moment and appreciate more. The US has a more robust drive for financial success that seems built into every corner of society; people often ask me how much money I’m making or who’s the biggest person I’ve worked with much quicker in a conversation. The difference in priorities is evident, however, I find both to be valuable energy for surviving and thriving as an artist. There is a balance to be had between working hard and enjoying life, and I try to find priority in both. Human Arc ► © Rob Woodcox
Another remarkable feature about you is your dedication to teaching photography, giving seminars and workshops to students throughout the world. What are your feelings about these experiences? I love teaching; nothing is more rewarding than seeing the light in someone's eyes as they experience a breakthrough in their own journey or craft. Early in my career, I cold-called sponsors to fund world tours teaching photography, and to my delight, I received many opportunities this way. What I was met with exceeded my expectations- I think I learned more from my students collectively than I ever could have taught. Traveling teaches us so many facets of beauty through how other people and cultures live, think and express. Combining that with my specific craft of photography allowed for extremely rich growth and deep connections that have lasted in all the years since. Can you give us a glimpse of what to expect from you in the future? I can’t believe I’m saying this, but I’m in pre-production for my first two short films. I can’t give away the details yet, but they’re going to be as if my photographic concepts came to life. I’ll also be showing work at quite a few more galleries and museums over the next years and can’t wait to have conversations with new audiences all over the world. I’m excited to put my all into these new endeavors and look forward to the interpersonal and community experiences these will lead to. El Espíritu Asciende ► © Rob Woodcox
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NETHERLANDS
www.rbnks-art.com
Ruben Kos, alias rbnks is a Digital Artist living in
A ship like this can make you lose a little bit of hope
Utrecht, the Netherlands. The settings of his artworks describe, with a humorous touch, a mostly desolate post-apocalyptic world where ancient objects still survive. In this new era, these recognizable symbols and pop culture characters are the only remaining links to the past. Ruben first studied at the graphic school in Amsterdam before going to the School of Arts in Utrecht, where he completed a master's degree in design technology. Since then he’s been active as a Motion Designer for over 20 years and has started creating his own digital art. Ruben’s blend of sci-fi imagery with everyday
FEATURED
landscapes makes his work stand out. Using his
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signature method of stacking buildings and objects on top of each other to make viewers contemplate the history of these creations. Ruben’s unique approach of combining unfamiliar structures with well-known characters and commercial signs in desolate landscapes makes his art unique.
Go promote yourself and tattoo it on your butt ► © RBNKS
Eternal consumption Engine ► © RBNKS
NETHERLANDS
www.rbnks-art.com
Ruben Kos, alias rbnks is a Digital Artist living in
A ship like this can make you lose a little bit of hope
Utrecht, the Netherlands. The settings of his artworks describe, with a humorous touch, a mostly desolate post-apocalyptic world where ancient objects still survive. In this new era, these recognizable symbols and pop culture characters are the only remaining links to the past. Ruben first studied at the graphic school in Amsterdam before going to the School of Arts in Utrecht, where he completed a master's degree in design technology. Since then he’s been active as a Motion Designer for over 20 years and has started creating his own digital art. Ruben’s blend of sci-fi imagery with everyday
FEATURED
landscapes makes his work stand out. Using his
37
signature method of stacking buildings and objects on top of each other to make viewers contemplate the history of these creations. Ruben’s unique approach of combining unfamiliar structures with well-known characters and commercial signs in desolate landscapes makes his art unique.
Go promote yourself and tattoo it on your butt ► © RBNKS
Eternal consumption Engine ► © RBNKS
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Crazy machine madness ► © RBNKS
Laps Around a Picture Frame ► © RBNKS
Hey Look Ma, I Made It ► © RBNKS
Stupid heavy metal trailer punk ► © RBNKS
PREVIOUS PAGE: Virtual Insanity 40
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Crazy machine madness ► © RBNKS
Laps Around a Picture Frame ► © RBNKS
Hey Look Ma, I Made It ► © RBNKS
Stupid heavy metal trailer punk ► © RBNKS
PREVIOUS PAGE: Virtual Insanity 40
ARTICLE
Burnt out bodies www.wolfgangstiller.com
by Thomas Jukes
Matchstickmen ► © Wolfgang Stiller
Wolfgang Stiller is a German artist who was born in Wiesbaden in 1961 and has been working as an artist for almost 40 years. Primarily an installation artist, Stiller has become a very well-known and much-shown artist across the globe, amassing over 55 solo shows and an incredible 85 group show exhibitions! However, Stiller’s artistic journey to a globally known creator was not an easy one. Through his early experience of the arts, Stiller began studying communication design but was painting and focusing on his installation work in the background. Realising that he didn’t want to end up in some creative office environment would push Stiller towards making a name for himself as an artist. Thanks to a friendly connection Wolfgang was accepted into the prestigious Art Academy in Düsseldorf. Still, at this point, he was mainly painting but his work and mind were continually drawn to space and his works began their journey into the 3rd dimension. After leaving the academy Wolfgang moved to Berlin in the late 1980s, the city was still divided and at the time was not seen as the artistic centre of Germany. Nevertheless, Wolfgang never regretted his move, and when the wall came down in the following years' everything in the city changed. Over the next decade of his life, Wolfgang Stiller started focusing on his large-scale installation projects. Whilst being the art-form that most excited him it sadly did not have the same effect for galleries. However, many museums took the young artist on for solo shows and he was even being picked up by private collectors. Stiller was sticking true to the art that he was passionate about and was more than happy with the exposure that he was getting from the museums and private collections. Wolfgang continued to face challenges of getting his work into gallery spaces after he made the move to New York in the year 2000. With his time in the studio rapidly waning and side jobs taking over, Wolfgang Stiller made the decision to move across to Beijing, China in 2006. From here he would not look back, his work was incredibly warmly received. Seemingly having stepped into a different world he began finding it easier and easier to get work into the huge arts spaces that were springing up all across the megacity. His works drew great and curious audiences and whilst over there he would begin the series of works that have become his most well-known pieces: the Matchstick Men series. 42
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ARTICLE
Burnt out bodies www.wolfgangstiller.com
by Thomas Jukes
Matchstickmen ► © Wolfgang Stiller
Wolfgang Stiller is a German artist who was born in Wiesbaden in 1961 and has been working as an artist for almost 40 years. Primarily an installation artist, Stiller has become a very well-known and much-shown artist across the globe, amassing over 55 solo shows and an incredible 85 group show exhibitions! However, Stiller’s artistic journey to a globally known creator was not an easy one. Through his early experience of the arts, Stiller began studying communication design but was painting and focusing on his installation work in the background. Realising that he didn’t want to end up in some creative office environment would push Stiller towards making a name for himself as an artist. Thanks to a friendly connection Wolfgang was accepted into the prestigious Art Academy in Düsseldorf. Still, at this point, he was mainly painting but his work and mind were continually drawn to space and his works began their journey into the 3rd dimension. After leaving the academy Wolfgang moved to Berlin in the late 1980s, the city was still divided and at the time was not seen as the artistic centre of Germany. Nevertheless, Wolfgang never regretted his move, and when the wall came down in the following years' everything in the city changed. Over the next decade of his life, Wolfgang Stiller started focusing on his large-scale installation projects. Whilst being the art-form that most excited him it sadly did not have the same effect for galleries. However, many museums took the young artist on for solo shows and he was even being picked up by private collectors. Stiller was sticking true to the art that he was passionate about and was more than happy with the exposure that he was getting from the museums and private collections. Wolfgang continued to face challenges of getting his work into gallery spaces after he made the move to New York in the year 2000. With his time in the studio rapidly waning and side jobs taking over, Wolfgang Stiller made the decision to move across to Beijing, China in 2006. From here he would not look back, his work was incredibly warmly received. Seemingly having stepped into a different world he began finding it easier and easier to get work into the huge arts spaces that were springing up all across the megacity. His works drew great and curious audiences and whilst over there he would begin the series of works that have become his most well-known pieces: the Matchstick Men series. 42
11
Since starting the matchstick men series Wolfgang Stiller’s interest in the human head, separated from its body, has steadily increased, with his latest works all containing human heads in varying locations and situations. His matchstick men works are fascinating pieces to behold, they evoke a very surreal experience within the viewer as we look upon them. Seen from a distance they easily resemble a very standard match, yet blown up to a ridiculous scale. The detail work of the pieces is incredible with the rich and deep black scorching its way down the wooden stick. And then of course there are the heads of the matches, quite literally in this instance. Each match has at its top a human head, seamlessly sculpted into the wood. The heads that Wolfgang has used for his most recent works focus on representing people of different origins, through this universal notion that concerns every human being. These specific works by Wolfgang Stiller are therefore open to the public interpretation, however the artist is consistent in the following statement “My main motivation for this work is the impermanence of our human existence as well as pointing out the way we burn and waste human resources, which can be said for every system.” From our point of view, there is an interesting sense of peace that comes from the work, like a beauty from the flames that has warped and altered the matchstick but the human head remains unchanged. Perhaps it is to say that there is an individuality to all humans but in essence, we all burn the same, we are all made from the same material. However, you choose to view these pieces by Wolfgang Stiller there is no denying the visual and mental impact of the work. His installations are stark yet beautiful, and yet, also haunting and somewhat unnerving. They are a demonstration of an artist who has always stuck to what art means to him and not to other people. Wolfgang Stiller has not taken the easy path to artistic success,
11
Matchstickmen ► © Wolfgang Stiller
Since starting the matchstick men series Wolfgang Stiller’s interest in the human head, separated from its body, has steadily increased, with his latest works all containing human heads in varying locations and situations. His matchstick men works are fascinating pieces to behold, they evoke a very surreal experience within the viewer as we look upon them. Seen from a distance they easily resemble a very standard match, yet blown up to a ridiculous scale. The detail work of the pieces is incredible with the rich and deep black scorching its way down the wooden stick. And then of course there are the heads of the matches, quite literally in this instance. Each match has at its top a human head, seamlessly sculpted into the wood. The heads that Wolfgang has used for his most recent works focus on representing people of different origins, through this universal notion that concerns every human being. These specific works by Wolfgang Stiller are therefore open to the public interpretation, however the artist is consistent in the following statement “My main motivation for this work is the impermanence of our human existence as well as pointing out the way we burn and waste human resources, which can be said for every system.” From our point of view, there is an interesting sense of peace that comes from the work, like a beauty from the flames that has warped and altered the matchstick but the human head remains unchanged. Perhaps it is to say that there is an individuality to all humans but in essence, we all burn the same, we are all made from the same material. However, you choose to view these pieces by Wolfgang Stiller there is no denying the visual and mental impact of the work. His installations are stark yet beautiful, and yet, also haunting and somewhat unnerving. They are a demonstration of an artist who has always stuck to what art means to him and not to other people. Wolfgang Stiller has not taken the easy path to artistic success,
11
Matchstickmen ► © Wolfgang Stiller
he has remained true to his personal experience of art and it is giving the world installations that challenge us, make us think about the nature of being human and of our world around us. They inspire different reactions from different people, do you relate it to personal experiences or does it seem like an installation of somebody's used-up playthings. Individuals burnt up for the sake of seeing them burn?
“When we are confronted with an artwork we always bring our personal experiences and history into this observation or reflection. Sometimes this can be much richer and more original than the intention of the artist. If we limit our encounter with the work to the intention of the artist, we deprive ourselves from some unique experiences.” - Wolfgang Stiller, 2020
Matchstickmen ► © Wolfgang Stiller 45
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he has remained true to his personal experience of art and it is giving the world installations that challenge us, make us think about the nature of being human and of our world around us. They inspire different reactions from different people, do you relate it to personal experiences or does it seem like an installation of somebody's used-up playthings. Individuals burnt up for the sake of seeing them burn?
“When we are confronted with an artwork we always bring our personal experiences and history into this observation or reflection. Sometimes this can be much richer and more original than the intention of the artist. If we limit our encounter with the work to the intention of the artist, we deprive ourselves from some unique experiences.” - Wolfgang Stiller, 2020
Matchstickmen ► © Wolfgang Stiller 45
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IRAQ
www.kaiwanshaban.com I have always loved the cinematography and the
Outburst ► © Kaiwan Shaban
artist in me would always make up cinematic scenes, but at the end of the day, they were just figments of my imagination. I was not able to bring them into existence. That is until I learned 3D art. It was a blessing and I was overwhelmed by the possibilities and range of things I could create. I could finally translate those imaginative figments into artworks that people could see and appreciate. I was not limited by equipment, logistics, other people...etc. I utilized my unique color grading style in combination with my background in photography and filmmaking to create realistic cinematic artworks. That mix gave a truly fresh take and got the community's liking from the worlds of photography and digital art. I feel like this creative
FEATURED
venture combined the best of both worlds and humbly gathered artists from them into one space with works that they both can fully appreciate and understand. I'm truly excited for what's to come next!.
Invincible ► © Kaiwan Shaban NEXT PAGE: Trapped ► © Kaiwan Shaban 47
24/7 ► © Kaiwan Shaban
IRAQ
www.kaiwanshaban.com I have always loved the cinematography and the
Outburst ► © Kaiwan Shaban
artist in me would always make up cinematic scenes, but at the end of the day, they were just figments of my imagination. I was not able to bring them into existence. That is until I learned 3D art. It was a blessing and I was overwhelmed by the possibilities and range of things I could create. I could finally translate those imaginative figments into artworks that people could see and appreciate. I was not limited by equipment, logistics, other people...etc. I utilized my unique color grading style in combination with my background in photography and filmmaking to create realistic cinematic artworks. That mix gave a truly fresh take and got the community's liking from the worlds of photography and digital art. I feel like this creative
FEATURED
venture combined the best of both worlds and humbly gathered artists from them into one space with works that they both can fully appreciate and understand. I'm truly excited for what's to come next!.
Invincible ► © Kaiwan Shaban NEXT PAGE: Trapped ► © Kaiwan Shaban 47
24/7 ► © Kaiwan Shaban
Sinking Memories ► © Kaiwan Shaban
Human-free Earth ► © Kaiwan Shaban 49
Objective ► © Kaiwan Shaban
Shallow Fantasy ► © Kaiwan Shaban 50
Sinking Memories ► © Kaiwan Shaban
Human-free Earth ► © Kaiwan Shaban 49
Objective ► © Kaiwan Shaban
Shallow Fantasy ► © Kaiwan Shaban 50
DESIGN by Thomas Jukes When is a radio not just a radio, and when do our everyday objects become more than their component parts and service to our needs. That is something that the Italian electronics design company Brionvega has been asking the world since 1960. A company that has strived always to push the boundaries of industrial design, to create products that have their own personalities. One such product is the Radio.Cubo, affectionately termed the TS502 or “Cube” on the first production in 1964. Its fantastic functionality is seamlessly blended with an innovative and beautiful aesthetic thanks to its designers. Marco Zanuso and Richard Sapper, both highly accredited and influential designers of their time, it was their genius which would be lent to this new product. Brionvega wanted their products to be a worthy competitor against the electronics being produced in Germany and Japan, but they wanted to retain the Italian flair for design which had made the country a cornerstone in the industry for decades. Zanuso and Sapper certainly knew how to deliver, the final product was a harmonious blend of form and function. The original design launched in 1964 had no external power socket or headphone jack and of course, was only available in bright orange, but it laid the groundwork for this iconic piece of industrial electronic design. Its second-generation arrived in 1966 and saw several improvements including a choice of colours, a telescopic antenna, two 3.5mm jacks for headphones, and external power.
The ts502 – also known as the “Cube” – is a global icon of industrial design and as such is on display in the most important contemporary art museums of the world. It can be found, for example, at New York’s MoMA. The legendary object is made up of two plastic “valves” that make it look like a cuboid seashell: ready for your favorite radio program when open, off to rest when closed.
Mario Zanuso and Richard Sapper 51
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DESIGN by Thomas Jukes When is a radio not just a radio, and when do our everyday objects become more than their component parts and service to our needs. That is something that the Italian electronics design company Brionvega has been asking the world since 1960. A company that has strived always to push the boundaries of industrial design, to create products that have their own personalities. One such product is the Radio.Cubo, affectionately termed the TS502 or “Cube” on the first production in 1964. Its fantastic functionality is seamlessly blended with an innovative and beautiful aesthetic thanks to its designers. Marco Zanuso and Richard Sapper, both highly accredited and influential designers of their time, it was their genius which would be lent to this new product. Brionvega wanted their products to be a worthy competitor against the electronics being produced in Germany and Japan, but they wanted to retain the Italian flair for design which had made the country a cornerstone in the industry for decades. Zanuso and Sapper certainly knew how to deliver, the final product was a harmonious blend of form and function. The original design launched in 1964 had no external power socket or headphone jack and of course, was only available in bright orange, but it laid the groundwork for this iconic piece of industrial electronic design. Its second-generation arrived in 1966 and saw several improvements including a choice of colours, a telescopic antenna, two 3.5mm jacks for headphones, and external power.
The ts502 – also known as the “Cube” – is a global icon of industrial design and as such is on display in the most important contemporary art museums of the world. It can be found, for example, at New York’s MoMA. The legendary object is made up of two plastic “valves” that make it look like a cuboid seashell: ready for your favorite radio program when open, off to rest when closed.
Mario Zanuso and Richard Sapper 51
52
2020 - ts522D+S The best radio.cubo of all time is updated and includes a new rechargeable lithium battery to allow you to always carry it with you and never leave you alone.
In many ways, it is this ‘version two’ which saw the Radio.cubo begin its definitive life as a portable radio. The external design would change very little over the next four decades and remains the same to this day. A true testament to the original design. The central folding form is reminiscent of a shell or parallelepiped shape, formed of two plastic ‘valves’. This open and closed design both allow for a protective state of the inner workings and alter the radio’s state from an object of function to one of pure form. Born in the space race era the design feels sleek and refined, gently smoothed edges mix with vibrant colours create a timeless piece that is as appealing today as it was in 1960. This iconic design would see it earn a place in the prestigious MoMa in New York as well as being popularized by design pioneers such as David Bowie. Its formula would remain constant, one half containing the speaker, a hinged design allows the user to alter the direction of the sound where needed. The other half contains the controls, initially very simple FM radio control it has evolved with the years to suit the technology of the time. Included in the latest release: Bluetooth connectivity, aux socket, DAB radio, and remote control. Allowing the customer to have all the modern functions alongside the evocative and retro styling that has become such a pinnacle of Brionvega design. 54
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2020 - ts522D+S The best radio.cubo of all time is updated and includes a new rechargeable lithium battery to allow you to always carry it with you and never leave you alone.
In many ways, it is this ‘version two’ which saw the Radio.cubo begin its definitive life as a portable radio. The external design would change very little over the next four decades and remains the same to this day. A true testament to the original design. The central folding form is reminiscent of a shell or parallelepiped shape, formed of two plastic ‘valves’. This open and closed design both allow for a protective state of the inner workings and alter the radio’s state from an object of function to one of pure form. Born in the space race era the design feels sleek and refined, gently smoothed edges mix with vibrant colours create a timeless piece that is as appealing today as it was in 1960. This iconic design would see it earn a place in the prestigious MoMa in New York as well as being popularized by design pioneers such as David Bowie. Its formula would remain constant, one half containing the speaker, a hinged design allows the user to alter the direction of the sound where needed. The other half contains the controls, initially very simple FM radio control it has evolved with the years to suit the technology of the time. Included in the latest release: Bluetooth connectivity, aux socket, DAB radio, and remote control. Allowing the customer to have all the modern functions alongside the evocative and retro styling that has become such a pinnacle of Brionvega design. 54
11
DESIGN
Uselessness should be seen as the driving will of transformation. An experiment in pushing the boundaries of our understanding of the useful and the useless, where does one become the other? In a way Francisco Nuk uses his wonderful furniture to push this question away from the very basic concept of objects being useful or useless. It is there to make us question why we live by the dictates of what is useful, always surrounding ourselves with useful things and attempting to turn our own existence into the ultimate expression of being useful. The artist worries that in exchanging our lifetimes for our most useful object: paper money, we may, in turn, lose the ability to observe and feel the fullness of art.
FRANCISCO NUK - Upending Utilitarian Uses by Thomas Jukes
www.instagram.com/francisco.nuk
Welcome to the wonderful and tilted world of Francisco Nuk, a Brazilian artist working in the Bonfim municipality of Minas Gerais. As much a carpenter as he is an artist, Francisco Nuk utilizes furniture to explore his messages of use and usefulness. His office is his workshop, this is where he makes use of his talents with woodwork to produce artworks that are constantly challenging the viewer. Whether this is from his earlier work experimenting with bold, almost constructivist, chairs, furniture, and lighting accessories, to his now far more well-known and recognizable furniture pieces. His recent work amazingly manages to be both more conventional and entirely less conventional all at the same time. The series focuses around draws and cabinets that all share a very traditional hardwood style of cabinet making. You wouldn’t be surprised to see this style of furniture in a stately house but, quite obviously, this furniture has been heavily subverted and manipulated. Francisco Nuk gives his furniture a fluid-like state as if seen in some fever dream where the furniture and world around you appear to melt and flow around you. It brings to mind images conjured by Salvador Dalí of surrealist worlds that do not conform to the rational world view. Sculpture in Peroba wood / 190 x 217 x 36 cm ► © Francisco Nuk
Sculpture in Peroba wood / 180 x 43 x 37 cm ► © Francisco Nuk
In many ways Francisco Nuk shares some of the values of surrealists of the past, they are both wanting to challenge the viewer with artworks that subvert the normality of life and make you question the very basic elements of our day-to-day lives. The sculpture/furniture of Nuk is a direct challenge to the idea of utilitarian productivity and to the concepts of use in our modern world. The artist believes that such utilitarian productivity is a mere fallacy and totally irrational. We surround ourselves in this modern and technological world with ‘useful’ things. Objects and devices whose whole purpose is to simply serve as a use to human beings. The impossible and impractical pieces that Nuk produces are his way of showing us that we need the useless. Undoubtedly this is the first thought that will spring to mind for many viewers of Nuk’s work: that chest of draws is useless! Francisco Nuk believes that uselessness should not be viewed as an antagonistic force that exists to rattle the cage for no other point than an annoyance. Sculpture in Peroba wood / 168 x 36 x 43 cm ► © Francisco Nuk
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Whether you believe this element of the artist's creations is purely down to individual feelings. What we can agree on at a more basic level is that Francisco Nuk’s artwork does challenge the viewer. Even if this is simply by making you double take what you have just viewed. It takes mundane objects that we would use and take for granted every day and throws a literal curveball into the mix. Chests of drawers reach to the sky or twist and flex like the very elements that make them have been switched. What we would see as strong, sturdy, and reliable pieces of furniture have become liquid and curved.
DESIGN
Uselessness should be seen as the driving will of transformation. An experiment in pushing the boundaries of our understanding of the useful and the useless, where does one become the other? In a way Francisco Nuk uses his wonderful furniture to push this question away from the very basic concept of objects being useful or useless. It is there to make us question why we live by the dictates of what is useful, always surrounding ourselves with useful things and attempting to turn our own existence into the ultimate expression of being useful. The artist worries that in exchanging our lifetimes for our most useful object: paper money, we may, in turn, lose the ability to observe and feel the fullness of art.
FRANCISCO NUK - Upending Utilitarian Uses by Thomas Jukes
www.instagram.com/francisco.nuk
Welcome to the wonderful and tilted world of Francisco Nuk, a Brazilian artist working in the Bonfim municipality of Minas Gerais. As much a carpenter as he is an artist, Francisco Nuk utilizes furniture to explore his messages of use and usefulness. His office is his workshop, this is where he makes use of his talents with woodwork to produce artworks that are constantly challenging the viewer. Whether this is from his earlier work experimenting with bold, almost constructivist, chairs, furniture, and lighting accessories, to his now far more well-known and recognizable furniture pieces. His recent work amazingly manages to be both more conventional and entirely less conventional all at the same time. The series focuses around draws and cabinets that all share a very traditional hardwood style of cabinet making. You wouldn’t be surprised to see this style of furniture in a stately house but, quite obviously, this furniture has been heavily subverted and manipulated. Francisco Nuk gives his furniture a fluid-like state as if seen in some fever dream where the furniture and world around you appear to melt and flow around you. It brings to mind images conjured by Salvador Dalí of surrealist worlds that do not conform to the rational world view. Sculpture in Peroba wood / 190 x 217 x 36 cm ► © Francisco Nuk
Sculpture in Peroba wood / 180 x 43 x 37 cm ► © Francisco Nuk
In many ways Francisco Nuk shares some of the values of surrealists of the past, they are both wanting to challenge the viewer with artworks that subvert the normality of life and make you question the very basic elements of our day-to-day lives. The sculpture/furniture of Nuk is a direct challenge to the idea of utilitarian productivity and to the concepts of use in our modern world. The artist believes that such utilitarian productivity is a mere fallacy and totally irrational. We surround ourselves in this modern and technological world with ‘useful’ things. Objects and devices whose whole purpose is to simply serve as a use to human beings. The impossible and impractical pieces that Nuk produces are his way of showing us that we need the useless. Undoubtedly this is the first thought that will spring to mind for many viewers of Nuk’s work: that chest of draws is useless! Francisco Nuk believes that uselessness should not be viewed as an antagonistic force that exists to rattle the cage for no other point than an annoyance. Sculpture in Peroba wood / 168 x 36 x 43 cm ► © Francisco Nuk
11
Whether you believe this element of the artist's creations is purely down to individual feelings. What we can agree on at a more basic level is that Francisco Nuk’s artwork does challenge the viewer. Even if this is simply by making you double take what you have just viewed. It takes mundane objects that we would use and take for granted every day and throws a literal curveball into the mix. Chests of drawers reach to the sky or twist and flex like the very elements that make them have been switched. What we would see as strong, sturdy, and reliable pieces of furniture have become liquid and curved.
Sculpture in Peroba wood / 128 x 163 x 44 cm ► © Francisco Nuk
The nature of the furniture pieces has been altered to make them feel like artwork, pieces to be admired for their beautiful shapes. Yet one cannot escape the thought that these objects have lost their use. You look at a wardrobe slumped against the wall like a dejected teenager and you see just that, a human feeling, exhaustion, defeat. Still, your thoughts wander back to the artwork as a useful object. There’s no way you could keep your clothes in that wardrobe anymore, you could even open the doors! Sculpture in Peroba wood / 161 x 63 x 43 cm (each) ► © Francisco Nuk
Sculpture in Peroba wood / 128 x 163 x 44 cm ► © Francisco Nuk
Perhaps this all leads back, no matter how you approach it, to what Francisco Nuk is trying to communicate with his work. Perhaps we have become too stuck in the mindset of the useful. We judge something on its ability to perform a duty, to fulfill its use. Maybe it is true that we, now more than ever, need a good dose of the useless. “Let's listen to the useless. One day I heard from him: what if the base of the pyramid got tired, for one day, of supporting its weight? What if the rationality of its existence did not imply utility? What if, for just a moment, she was aware of the beauty and complexity of the useless?.” - Francisco Nuk 58
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Sculpture in Peroba wood / 128 x 163 x 44 cm ► © Francisco Nuk
The nature of the furniture pieces has been altered to make them feel like artwork, pieces to be admired for their beautiful shapes. Yet one cannot escape the thought that these objects have lost their use. You look at a wardrobe slumped against the wall like a dejected teenager and you see just that, a human feeling, exhaustion, defeat. Still, your thoughts wander back to the artwork as a useful object. There’s no way you could keep your clothes in that wardrobe anymore, you could even open the doors! Sculpture in Peroba wood / 161 x 63 x 43 cm (each) ► © Francisco Nuk
Sculpture in Peroba wood / 128 x 163 x 44 cm ► © Francisco Nuk
Perhaps this all leads back, no matter how you approach it, to what Francisco Nuk is trying to communicate with his work. Perhaps we have become too stuck in the mindset of the useful. We judge something on its ability to perform a duty, to fulfill its use. Maybe it is true that we, now more than ever, need a good dose of the useless. “Let's listen to the useless. One day I heard from him: what if the base of the pyramid got tired, for one day, of supporting its weight? What if the rationality of its existence did not imply utility? What if, for just a moment, she was aware of the beauty and complexity of the useless?.” - Francisco Nuk 58
11
SPAIN
www.instagram.com/funkyvision_art Spanish artist Juan Carlos García is a master of Digital Collage. The origins of collage art can be traced back hundreds of years, but this technique made a dramatic reappearance in the early 20th century and has remained as a novelty art form since then.
Typical Spanish Grandma ► © Juan Carlos García
As long as Juan Carlos remembers, he has always been an enthusiast of collages. He believes Digital Collage is a great way to tell stories and to portray an imaginary reality. Such an art form provides multiple creative possibilities and infinite artistic freedom. The universe the artist creates is very personal; his aim is to transform everyday scenes into extraordinary, emotion-filled displays.
FEATURED
Jumping on Saturn ► © Juan Carlos García
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Pandemic Discussion ► © Juan Carlos García NEXT PAGE: I want to Believe ► © Juan Carlos García
SPAIN
www.instagram.com/funkyvision_art Spanish artist Juan Carlos García is a master of Digital Collage. The origins of collage art can be traced back hundreds of years, but this technique made a dramatic reappearance in the early 20th century and has remained as a novelty art form since then.
Typical Spanish Grandma ► © Juan Carlos García
As long as Juan Carlos remembers, he has always been an enthusiast of collages. He believes Digital Collage is a great way to tell stories and to portray an imaginary reality. Such an art form provides multiple creative possibilities and infinite artistic freedom. The universe the artist creates is very personal; his aim is to transform everyday scenes into extraordinary, emotion-filled displays.
FEATURED
Jumping on Saturn ► © Juan Carlos García
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Pandemic Discussion ► © Juan Carlos García NEXT PAGE: I want to Believe ► © Juan Carlos García
Vietnam Afternoon ► © Juan Carlos García
Love Travel ► © Juan Carlos García
Spece Jump ► © Juan Carlos García
Siesta ► © Juan Carlos García
Time Stopped ► © Juan Carlos García 07 61
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Vietnam Afternoon ► © Juan Carlos García
Love Travel ► © Juan Carlos García
Spece Jump ► © Juan Carlos García
Siesta ► © Juan Carlos García
Time Stopped ► © Juan Carlos García 07 61
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MONOCHROME ARTICLE
A Majestic World in Monochrome
www.gbsmith.com
by Photographize
Collapsed ► © G.B. Smith
Light helps us discover the world, nurtures life, and crosses the entire cosmos before reaching us from the most distant edges of time. It is fundamental for both the existence and our perception of reality. Yet, it remains ethereal and elusive. Monochrome photography captures and creates beauty through the basic interplay between light and shadows. It is a visual expression in its purest form. G.B. Smith has an unparalleled gift for harnessing and manipulating light, with which he brings stunning black and white images to life. His photography journey began over 40 years ago as a teenager in England learning the fundamentals of the craft in the darkroom and with large plate cameras. A passion for emerging communication technologies and entrepreneurship took him around the world. A truly global citizen, he now resides in Maryland, USA, and combines extensive global travel with a passion for Fine Art photography. Having lived in four continents and worked in six, the exposure to multiple cultures and environments has had a profound influence on his work. He believes that traveling opens the mind to new possibilities and perspectives and energizes the desire to create and explore different ideas. In his words: “The more we stretch our mental comfort zones, the more we open our neural pathways to make connections between disparate forms. I believe this is instrumental in increasing our overall cognitive flexibility and enhancing our creativity.” PREVIOUS PAGE: Gotham ► © G.B. Smith
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MONOCHROME ARTICLE
A Majestic World in Monochrome
www.gbsmith.com
by Photographize
Collapsed ► © G.B. Smith
Light helps us discover the world, nurtures life, and crosses the entire cosmos before reaching us from the most distant edges of time. It is fundamental for both the existence and our perception of reality. Yet, it remains ethereal and elusive. Monochrome photography captures and creates beauty through the basic interplay between light and shadows. It is a visual expression in its purest form. G.B. Smith has an unparalleled gift for harnessing and manipulating light, with which he brings stunning black and white images to life. His photography journey began over 40 years ago as a teenager in England learning the fundamentals of the craft in the darkroom and with large plate cameras. A passion for emerging communication technologies and entrepreneurship took him around the world. A truly global citizen, he now resides in Maryland, USA, and combines extensive global travel with a passion for Fine Art photography. Having lived in four continents and worked in six, the exposure to multiple cultures and environments has had a profound influence on his work. He believes that traveling opens the mind to new possibilities and perspectives and energizes the desire to create and explore different ideas. In his words: “The more we stretch our mental comfort zones, the more we open our neural pathways to make connections between disparate forms. I believe this is instrumental in increasing our overall cognitive flexibility and enhancing our creativity.” PREVIOUS PAGE: Gotham ► © G.B. Smith
11
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Embracing the digital age, he brings some of the old-school photography techniques to the creative process, resulting in a more mindful and manual approach. Geometry, patterns, contrasts, serenity, and dynamism converge in his visual universe. His philosophy is clear: “I endeavor to take the viewer through a journey of the image, using light to illuminate patterns and forms as signposts along a pathway between spaces. I try to distill the scene down to its uncluttered form and flows to simplify. Therefore, I use only black and white and mostly minimalist imagery, believing profoundly that less is indeed more.” The resulting images are simply breathtaking. Some of his works play with the fascinating geometric structures hidden in modern architecture. He exploits the repetition and variety of shapes and geometric patterns inherent in many of these structures as the building blocks of almost abstract images in which lines, curves, and reflections take the central stage. Other collections explore the interplay between water and man-made structures or the landscape. He exquisitely uses long exposure to slow down time, providing a forcing function to further explore, reflect, and truly absorb the moment of the scene. He likes to think that the viewer can hear the calming flows of the water when they follow these pathways of patterns through the imagery. He has received multiple accolades and is a lifelong member of the Royal Photographic Society. Monochrome photography has a long tradition and a vibrant present, but G.B Smith takes it into a whole new dimension. Something as simple and yet as challenging as mastering light. PREVIOUS PAGE: Rounding ► © G.B. Smith
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Embracing the digital age, he brings some of the old-school photography techniques to the creative process, resulting in a more mindful and manual approach. Geometry, patterns, contrasts, serenity, and dynamism converge in his visual universe. His philosophy is clear: “I endeavor to take the viewer through a journey of the image, using light to illuminate patterns and forms as signposts along a pathway between spaces. I try to distill the scene down to its uncluttered form and flows to simplify. Therefore, I use only black and white and mostly minimalist imagery, believing profoundly that less is indeed more.” The resulting images are simply breathtaking. Some of his works play with the fascinating geometric structures hidden in modern architecture. He exploits the repetition and variety of shapes and geometric patterns inherent in many of these structures as the building blocks of almost abstract images in which lines, curves, and reflections take the central stage. Other collections explore the interplay between water and man-made structures or the landscape. He exquisitely uses long exposure to slow down time, providing a forcing function to further explore, reflect, and truly absorb the moment of the scene. He likes to think that the viewer can hear the calming flows of the water when they follow these pathways of patterns through the imagery. He has received multiple accolades and is a lifelong member of the Royal Photographic Society. Monochrome photography has a long tradition and a vibrant present, but G.B Smith takes it into a whole new dimension. Something as simple and yet as challenging as mastering light. PREVIOUS PAGE: Rounding ► © G.B. Smith
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Spacing ► © G.B. Smith
White Piers ► © G.B. Smith
Iron Man ► © G.B. Smith Pier Wobble ► © G.B. Smith
Light Breaker ► © G.B. Smith
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Dam Patterns ► © G.B. Smith
Jumble ► © G.B. Smith
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Spacing ► © G.B. Smith
White Piers ► © G.B. Smith
Iron Man ► © G.B. Smith Pier Wobble ► © G.B. Smith
Light Breaker ► © G.B. Smith
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Dam Patterns ► © G.B. Smith
Jumble ► © G.B. Smith
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GREECE
www.instagram.com/underdott For the last years, Greek digital artist Underdott has worked predominantly as an architect, a field that requires significant and precise attention to detail. While architecture is about patterns or rules, his art allows him the contrary: “My artwork fulfills my inner need for creativity in a way that architecture cannot.” Inspired by his father, who was also an architect and traditional painter, Underdott has been involved in art since an early age. Now, he uses everyday life experiences to construct scenes of surrealism. The flaws are all that's left ► © Underdott
FEATURED Decisions ► © Underdott Degeneration ► © Underdott
Searching for a way to escape ► © Underdott
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GREECE
www.instagram.com/underdott For the last years, Greek digital artist Underdott has worked predominantly as an architect, a field that requires significant and precise attention to detail. While architecture is about patterns or rules, his art allows him the contrary: “My artwork fulfills my inner need for creativity in a way that architecture cannot.” Inspired by his father, who was also an architect and traditional painter, Underdott has been involved in art since an early age. Now, he uses everyday life experiences to construct scenes of surrealism. The flaws are all that's left ► © Underdott
FEATURED Decisions ► © Underdott Degeneration ► © Underdott
Searching for a way to escape ► © Underdott
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Soul searching ► © Underdott
At the edge of the unknown ► © Underdott 07
Dizzy ► © Underdott
It's a woman's world ► © Underdott
Let's go and feel free ► © Underdott
Simplicity ► © Underdott 72
Soul searching ► © Underdott
At the edge of the unknown ► © Underdott 07
Dizzy ► © Underdott
It's a woman's world ► © Underdott
Let's go and feel free ► © Underdott
Simplicity ► © Underdott 72
ARTICLE Beautifully Repulsive
www.olegdou.com
An award-winning photographer who has been on the rise in the art and photography scene for the past 8 years picking up awards for ‘best young photographer’ and ‘photographer of the year’ on two separate occasions. Oleg Dou certainly has developed an incredibly unique style. The artist’s story starts at the age of 13 with the gift of Adobe Photoshop from his parents, this captivated Dou and he began to experiment with this incredible tool. Its power to manipulate became the real draw as he started to alter images of his classmates and teachers. For the purpose of this article, I will be focusing on two series by the artist ‘Heaven in my Body’ and ‘Reborn’.
Viewing Oleg Dou’s work is a complex and ever so slightly confusing experience. Striking portraiture mixes with muted colour palettes that not only encapsulate the backgrounds and objects in the image but also the models, who appear, whether naturally or through the use of Photoshop, as perfect and delicate forms. This is warped in some photos as the artist adds extra forms on the model, changing them into strange beings that seem both alien and mythological. In all the works in this series, my mind is drawn to the paintings of the 18th and 19th century artists who created fantastical visions of beauty and elaborate scenes of mythical creatures
by Thomas Jukes
REBORN - Impossible Love ► © Oleg Dou
Vera 2 ► © Oleg Dou
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ARTICLE Beautifully Repulsive
www.olegdou.com
An award-winning photographer who has been on the rise in the art and photography scene for the past 8 years picking up awards for ‘best young photographer’ and ‘photographer of the year’ on two separate occasions. Oleg Dou certainly has developed an incredibly unique style. The artist’s story starts at the age of 13 with the gift of Adobe Photoshop from his parents, this captivated Dou and he began to experiment with this incredible tool. Its power to manipulate became the real draw as he started to alter images of his classmates and teachers. For the purpose of this article, I will be focusing on two series by the artist ‘Heaven in my Body’ and ‘Reborn’.
Viewing Oleg Dou’s work is a complex and ever so slightly confusing experience. Striking portraiture mixes with muted colour palettes that not only encapsulate the backgrounds and objects in the image but also the models, who appear, whether naturally or through the use of Photoshop, as perfect and delicate forms. This is warped in some photos as the artist adds extra forms on the model, changing them into strange beings that seem both alien and mythological. In all the works in this series, my mind is drawn to the paintings of the 18th and 19th century artists who created fantastical visions of beauty and elaborate scenes of mythical creatures
by Thomas Jukes
REBORN - Impossible Love ► © Oleg Dou
Vera 2 ► © Oleg Dou
11
interacting with human subjects. The human subjects in these paintings and the works of Dou both share common features, most distinctively is the complexion of the people. They are conveyed as porcelain-like, with pure blushing pale skin tones and no imperfections. A vision of a perfect specimen of the human form which was the societal aspiration for the 18th and 19th century elite. Dou depicts the models as almost fairy-like with flower garlands and vine leaf headbands much like Shakespearean depictions of the Fairy King and Queen in ‘A Mid Summer Nights Dream’.
REBORN - Now I Know ► © Oleg Dou
REBORN - Strange Year ► © Oleg Dou 75
18th and 19th century works were seen as fanciful and beautiful portrayals of imagined and perfect worlds. Whereas with the photography of Oleg Dou, there is definitely an air of the peculiar and off-putting. While the artist creates the forms as perfect skinned and pale, they have a much more un-natural feeling about them, as the model is identifiably human but the skin seems plastic. The models have forlorn features and are often depicted crying. Perhaps a comment on our increasing need for creating ourselves as flawless beings with imperfections being hidden or replaced. It is clear from Dou’s work that a flawless human being is actually very unsettling to behold. Many of the models in both ‘Heaven in my Body’ and ‘Reborn’ are not simply unsettling because of this plastic manikin like visage but because the artist has manipulated the form to produce strange alien or mythological beings. Pointed ears, fangs, claw-like fingernails and strange growths on the head are some of the most notable features. These alterations give the viewer the impression of human-animal hybrids or that the models are actually made to look like nymphs or sprites from forgotten myths and folklore. Those that were represented in centuries-old paintings were things of mystery and intrigue but captured in modern photography are bizarre and abhorrent. NEXT PAGE: HEAVEN IN MY BODY - Narcissus in love - Self Portrait ► © Oleg Dou
interacting with human subjects. The human subjects in these paintings and the works of Dou both share common features, most distinctively is the complexion of the people. They are conveyed as porcelain-like, with pure blushing pale skin tones and no imperfections. A vision of a perfect specimen of the human form which was the societal aspiration for the 18th and 19th century elite. Dou depicts the models as almost fairy-like with flower garlands and vine leaf headbands much like Shakespearean depictions of the Fairy King and Queen in ‘A Mid Summer Nights Dream’.
REBORN - Now I Know ► © Oleg Dou
REBORN - Strange Year ► © Oleg Dou 75
18th and 19th century works were seen as fanciful and beautiful portrayals of imagined and perfect worlds. Whereas with the photography of Oleg Dou, there is definitely an air of the peculiar and off-putting. While the artist creates the forms as perfect skinned and pale, they have a much more un-natural feeling about them, as the model is identifiably human but the skin seems plastic. The models have forlorn features and are often depicted crying. Perhaps a comment on our increasing need for creating ourselves as flawless beings with imperfections being hidden or replaced. It is clear from Dou’s work that a flawless human being is actually very unsettling to behold. Many of the models in both ‘Heaven in my Body’ and ‘Reborn’ are not simply unsettling because of this plastic manikin like visage but because the artist has manipulated the form to produce strange alien or mythological beings. Pointed ears, fangs, claw-like fingernails and strange growths on the head are some of the most notable features. These alterations give the viewer the impression of human-animal hybrids or that the models are actually made to look like nymphs or sprites from forgotten myths and folklore. Those that were represented in centuries-old paintings were things of mystery and intrigue but captured in modern photography are bizarre and abhorrent. NEXT PAGE: HEAVEN IN MY BODY - Narcissus in love - Self Portrait ► © Oleg Dou
In the series ‘Reborn’ we see other imagery and messages conveyed. Increased use of flora and fauna in and around the subjects, with some photos containing only these items. Reminiscent of classical still-life paintings with a sense of immaculate beauty captured in the simple forms of fruits and flowers. Again there is always something not quite right, from the unusual blueing roots of a rose to the sexual connotations suggested in fruit and human interaction with it, to the downright obvious inclusion of a used condom. Each photo captures a beauty which has been artificially created and ruined at the same time by human interaction. The impression of plastic comes through again, much like the fake fruits and flowers that children would play with or the enhanced food used for product photography, these objects look enticing but at the same time, we perceive something fundamentally wrong.
ANOTHER FACE Series ► © Oleg Dou
Oleg Dou certainly is a distinctive photographer whose skill in Photoshop cannot be denied, with his beautiful final images a testament to this. Yet, a photographer whose work is more than skin deep and carries with it an incredible amount of questions and interpretations for the viewer. Challenging perceptions of beauty and classical imagery whilst conveying messages about the nature of being human and what it means to be ‘perfect’. “I am looking for something bordering between the beautiful and the repulsive, living and dead. I want to attain the feeling of presence one can get when walking by a plastic manikin…” 77
TOY STORY - Cheburashka 2 ► © Oleg Dou
78
In the series ‘Reborn’ we see other imagery and messages conveyed. Increased use of flora and fauna in and around the subjects, with some photos containing only these items. Reminiscent of classical still-life paintings with a sense of immaculate beauty captured in the simple forms of fruits and flowers. Again there is always something not quite right, from the unusual blueing roots of a rose to the sexual connotations suggested in fruit and human interaction with it, to the downright obvious inclusion of a used condom. Each photo captures a beauty which has been artificially created and ruined at the same time by human interaction. The impression of plastic comes through again, much like the fake fruits and flowers that children would play with or the enhanced food used for product photography, these objects look enticing but at the same time, we perceive something fundamentally wrong.
ANOTHER FACE Series ► © Oleg Dou
Oleg Dou certainly is a distinctive photographer whose skill in Photoshop cannot be denied, with his beautiful final images a testament to this. Yet, a photographer whose work is more than skin deep and carries with it an incredible amount of questions and interpretations for the viewer. Challenging perceptions of beauty and classical imagery whilst conveying messages about the nature of being human and what it means to be ‘perfect’. “I am looking for something bordering between the beautiful and the repulsive, living and dead. I want to attain the feeling of presence one can get when walking by a plastic manikin…” 77
TOY STORY - Cheburashka 2 ► © Oleg Dou
78
RUSSIA
www.helgastentzel.com Helga Stentzel is a Russian-born artist based in London, UK. She works across a wide range of media including illustration, photography, video, and stop motion animation. Helga received the "food art creator of the year" award in 2020 and has collaborated with BBC, Honda, and O2, among other important companies. A St. Martins alumna, Helga worked in the advertising industry and ran a children’s clothing business before becoming a full-time artist.
Pegasus ► © Helga Stentzel
ARTIST WORDS:
Hang On! ► © Helga Stentzel
I work in the household surrealism genre, which to me is about finding magic in the mundane, seeing beauty in imperfections, and connecting to our reality in a new way. Even though nature alone has an array of patterns and playful similarities to explore and build on, in my practice, I focus on the juxtaposition 07
MyBearaby ► © Helga Stentzel
PREVIOUS PAGE: Smooothie
FEATURED
Having read Mayakovsky's "What is good and what is bad" as a child, I spent years dividing the world into black and white while pursuing the unachievable - perfection. It took me a long time to understand that reality with all its complications and contradictions is a lot more grounding than any polarizing concept no matter how convincing the ideology behind it may sound. Similar to active listening, actively looking, or looking around without judgment or expectations, can be very empowering when it comes to self-identification and a deeper understanding of individuals and systems that we're integrated with.
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RUSSIA
www.helgastentzel.com Helga Stentzel is a Russian-born artist based in London, UK. She works across a wide range of media including illustration, photography, video, and stop motion animation. Helga received the "food art creator of the year" award in 2020 and has collaborated with BBC, Honda, and O2, among other important companies. A St. Martins alumna, Helga worked in the advertising industry and ran a children’s clothing business before becoming a full-time artist.
Pegasus ► © Helga Stentzel
ARTIST WORDS:
Hang On! ► © Helga Stentzel
I work in the household surrealism genre, which to me is about finding magic in the mundane, seeing beauty in imperfections, and connecting to our reality in a new way. Even though nature alone has an array of patterns and playful similarities to explore and build on, in my practice, I focus on the juxtaposition 07
MyBearaby ► © Helga Stentzel
PREVIOUS PAGE: Smooothie
FEATURED
Having read Mayakovsky's "What is good and what is bad" as a child, I spent years dividing the world into black and white while pursuing the unachievable - perfection. It took me a long time to understand that reality with all its complications and contradictions is a lot more grounding than any polarizing concept no matter how convincing the ideology behind it may sound. Similar to active listening, actively looking, or looking around without judgment or expectations, can be very empowering when it comes to self-identification and a deeper understanding of individuals and systems that we're integrated with.
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Crunchy ► © Helga Stentzel
Lighten the Load ► © Helga Stentzel
Egg ► © Helga Stentzel
He Socks ► © Helga Stentzel
of the natural world with man-made objects, be it a sweater on a clothing line looking like a horse or a slice of bread resembling a dog’s head. There is something comforting in building a visual link between a highly recognizable object designed by a human being and another equally recognizable object or subject of natural origin. As it is vital for me to reproduce reality in its finest detail, my preferred media are photography and videography with the occasional use of line drawings and digital illustration. I keep photoshop editing to a minimum by investing time in creating realistic props. What looks like a quick fix or an effortless match on a photo may take weeks of preparation. For example, I glued 52 green gummy bears to a vine to recreate a bunch of grapes for the 'My Kind of Grapes' photograph. For the image of a polar bear from my Clothing Line Animals series I hand-painted and embroidered a hat for a greater resemblance with the bear's head. 81
Happy Home ► © Helga Stentzel
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Crunchy ► © Helga Stentzel
Lighten the Load ► © Helga Stentzel
Egg ► © Helga Stentzel
He Socks ► © Helga Stentzel
of the natural world with man-made objects, be it a sweater on a clothing line looking like a horse or a slice of bread resembling a dog’s head. There is something comforting in building a visual link between a highly recognizable object designed by a human being and another equally recognizable object or subject of natural origin. As it is vital for me to reproduce reality in its finest detail, my preferred media are photography and videography with the occasional use of line drawings and digital illustration. I keep photoshop editing to a minimum by investing time in creating realistic props. What looks like a quick fix or an effortless match on a photo may take weeks of preparation. For example, I glued 52 green gummy bears to a vine to recreate a bunch of grapes for the 'My Kind of Grapes' photograph. For the image of a polar bear from my Clothing Line Animals series I hand-painted and embroidered a hat for a greater resemblance with the bear's head. 81
Happy Home ► © Helga Stentzel
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MONOCHROME ARTICLE
The intermediate dimension between dreams, memories, and paintings. by Photographize
www.olga-karlovac-photography.com
There is just something magical about black and white photography. It is more than just about shooting and then turning some of your shots in black and white in post-production. It is about capturing the distinct disparity between light and darkness in a way that color photography, unfortunately, can’t. Just like a book without illustrations allows the reader to imagine the characters and setting for themselves, a photograph without color allows the viewer to imagine even more. Our existence is a continuous sequence of ephemeral encounters, of brief snapshots that we hardly perceive. Visual artist Olga Karlovac takes us on a journey into a deeper layer of reality, one of the imperceptible gems hiding within the flow of time. A master in this field, Olga’s work is simply out of this world. Olga's flawless works celebrate light, motion, and textures to create exquisite monochrome images suspended in an intermediate dimension between dreams, memories, and paintings. Born in Dubrovnik and currently residing in Zagreb, Olga has reached widespread recognition, with exhibitions throughout the world. Her photographs have also been collected in a successful trilogy of books: “The Disarray”, “Before Winter” and “Escape”. Her constant exploration of different media and the drive to erase the boundaries between art forms has led to the creation of musical pieces inspired by her work. Powerful, mysterious, and compelling, Olga Karlovac’s vision of the world is pure visual poetry.
► © Byoung Ho Rhee
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► © Olga Karlovac
MONOCHROME ARTICLE
The intermediate dimension between dreams, memories, and paintings. by Photographize
www.olga-karlovac-photography.com
There is just something magical about black and white photography. It is more than just about shooting and then turning some of your shots in black and white in post-production. It is about capturing the distinct disparity between light and darkness in a way that color photography, unfortunately, can’t. Just like a book without illustrations allows the reader to imagine the characters and setting for themselves, a photograph without color allows the viewer to imagine even more. Our existence is a continuous sequence of ephemeral encounters, of brief snapshots that we hardly perceive. Visual artist Olga Karlovac takes us on a journey into a deeper layer of reality, one of the imperceptible gems hiding within the flow of time. A master in this field, Olga’s work is simply out of this world. Olga's flawless works celebrate light, motion, and textures to create exquisite monochrome images suspended in an intermediate dimension between dreams, memories, and paintings. Born in Dubrovnik and currently residing in Zagreb, Olga has reached widespread recognition, with exhibitions throughout the world. Her photographs have also been collected in a successful trilogy of books: “The Disarray”, “Before Winter” and “Escape”. Her constant exploration of different media and the drive to erase the boundaries between art forms has led to the creation of musical pieces inspired by her work. Powerful, mysterious, and compelling, Olga Karlovac’s vision of the world is pure visual poetry.
► © Byoung Ho Rhee
11
► © Olga Karlovac
► © Olga Karlovac
" In the blink of an eye in the moment between day and night, somewhere at the edge of darkness and light walking down an empty road below the mountain of memories while strong winds from the north carve your marks all over my skin I feel your breath and I imagine" - Olga Karlovac
► © Byoung Ho Rhee ► © Olga Karlovac 85
► © Olga Karlovac
► © Olga Karlovac
" In the blink of an eye in the moment between day and night, somewhere at the edge of darkness and light walking down an empty road below the mountain of memories while strong winds from the north carve your marks all over my skin I feel your breath and I imagine" - Olga Karlovac
► © Byoung Ho Rhee ► © Olga Karlovac 85
► © Olga Karlovac
► © Olga Karlovac
© Byoung ► © ►Olga KarlovacHo Rhee 88
► © Olga Karlovac
© Byoung ► © ►Olga KarlovacHo Rhee 88
FRANCE
www.sabinepigalle.fr
Horn Please ► © Sabine Pigalle
Sabine Pigalle is a French photographer and an artist. She was born in Rouen in France in 1963, and now lives and works in Paris. Pigalle studied at Sorbonne University and worked with Helmut Newton for four years focusing on fashion photography before moving on to more personal projects. Most of her work concentrates on the reinterpretation of myths. Religious history, mythology, Flemish Party Animal ► © Sabine Pigalle
primitives painters, and also mannerism provide both the varied sources of her inspiration and the raw materials for artistic explorations. Sabine produces hybrid photographs in different series, combine the contemporary with references to ancient art.
Sunday Cocooning ► © Sabine Pigalle PREVIUS PAGE: Hey Mister Tambourine Man ► © Sabine Pigalle
FEATURED
mainly dedicated to the art of portraiture, that
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FRANCE
www.sabinepigalle.fr
Horn Please ► © Sabine Pigalle
Sabine Pigalle is a French photographer and an artist. She was born in Rouen in France in 1963, and now lives and works in Paris. Pigalle studied at Sorbonne University and worked with Helmut Newton for four years focusing on fashion photography before moving on to more personal projects. Most of her work concentrates on the reinterpretation of myths. Religious history, mythology, Flemish Party Animal ► © Sabine Pigalle
primitives painters, and also mannerism provide both the varied sources of her inspiration and the raw materials for artistic explorations. Sabine produces hybrid photographs in different series, combine the contemporary with references to ancient art.
Sunday Cocooning ► © Sabine Pigalle PREVIUS PAGE: Hey Mister Tambourine Man ► © Sabine Pigalle
FEATURED
mainly dedicated to the art of portraiture, that
90
Let It Bee ► © Sabine Pigalle
91
Saturday Night Fever ► © Sabine Pigalle
Foxy Lady ► © Sabine Pigalle
Waiting For Godot ► © Sabine Pigalle
NEXT PAGE: Bow Widow ► © Sabine Pigalle
Let It Bee ► © Sabine Pigalle
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Saturday Night Fever ► © Sabine Pigalle
Foxy Lady ► © Sabine Pigalle
Waiting For Godot ► © Sabine Pigalle
NEXT PAGE: Bow Widow ► © Sabine Pigalle
ARTICLE How one photographer shapes
the way the world he sees. www.photographize.co/byounghorhee by Photographize While photography has become one of the principal filters between the world and us, digital technology has become the tool used in codefined as another level of photography. Through the progress and advancement of technology, photography has maintained the last stage of its development using electronic technologies and creating captivating outcomes. Byoung ho Rhee has fully dedicated himself to photography after retiring from a thirty-year career at LG and Samsung as an electronic engineer and technical executive. This technological background has left an imprint on his artistic language clearly seen in his works.
► © Byoung Ho Rhee
Symmetry and beauty effortlessly converge in the work (Acudala) of Korean artist Byoung ho Rhee. Taking a lot of creativity and imagination to see beyond the surface and capture the invisible, Byoung ho Rhee transforms the world as we know it into an abstract web of forms, lines, and colors. His distinctive style focuses on Neo-Surrealism photography with digital integration, manipulation, and 3D modeling. His work (Acudala) invites us on a journey to the uncharted depths of perception.
ARTICLE How one photographer shapes
the way the world he sees. www.photographize.co/byounghorhee by Photographize While photography has become one of the principal filters between the world and us, digital technology has become the tool used in codefined as another level of photography. Through the progress and advancement of technology, photography has maintained the last stage of its development using electronic technologies and creating captivating outcomes. Byoung ho Rhee has fully dedicated himself to photography after retiring from a thirty-year career at LG and Samsung as an electronic engineer and technical executive. This technological background has left an imprint on his artistic language clearly seen in his works.
► © Byoung Ho Rhee
Symmetry and beauty effortlessly converge in the work (Acudala) of Korean artist Byoung ho Rhee. Taking a lot of creativity and imagination to see beyond the surface and capture the invisible, Byoung ho Rhee transforms the world as we know it into an abstract web of forms, lines, and colors. His distinctive style focuses on Neo-Surrealism photography with digital integration, manipulation, and 3D modeling. His work (Acudala) invites us on a journey to the uncharted depths of perception.
► © Byoung Ho Rhee
► © Byoung Ho Rhee
ISRAEL
www.bronfer.com ► © Alexander Bronfer
► © Alexander Bronfer
Israeli photographer Alexander Bronfer is a true citizen of the world. He was born in Ukraine and studied in Saint Petersburg, Russia. After arriving in Israel, Alexander lived in a kibbutz in the south, where he immediately fell in love with the Dead Sea. In his words: “Why? ... I don't know but each time I drive from Tel Aviv to these yellowish shores, I feel myself like the stalker from Andrei Tarkovsky's famous Soviet period movie. The Dead Sea is my "Zone" where I strive to return. Some eternal power pushes me here.” The Dead Sea soon became a powerful source of inspiration for Alexander. In his latest project, he decided to shoot in monochrome to remove any possible visual distractions. He wanted to capture the invisible bonds that have tied us to this magical place for centuries. In fact, he wanted to capture our relation to the Dead Sea while trying not to show it.
07
► © Alexander Bronfer
People have always been fascinated by the Dead Sea. Over centuries, this place has been a refuge for messiahs, zealots, martyrs, kings, and ascetics. People prayed, sinned, healed and killed each other on its shores. They built dams and plants, drilled wells, cut the sea from any source of freshwater and left it to die. And meanwhile, we continue praying, sinning and killing each other, moving our beach chairs and sunshades deeper and deeper, silently following the disappearing sea.
FEATURED
► © Alexander Bronfer
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ISRAEL
www.bronfer.com ► © Alexander Bronfer
► © Alexander Bronfer
Israeli photographer Alexander Bronfer is a true citizen of the world. He was born in Ukraine and studied in Saint Petersburg, Russia. After arriving in Israel, Alexander lived in a kibbutz in the south, where he immediately fell in love with the Dead Sea. In his words: “Why? ... I don't know but each time I drive from Tel Aviv to these yellowish shores, I feel myself like the stalker from Andrei Tarkovsky's famous Soviet period movie. The Dead Sea is my "Zone" where I strive to return. Some eternal power pushes me here.” The Dead Sea soon became a powerful source of inspiration for Alexander. In his latest project, he decided to shoot in monochrome to remove any possible visual distractions. He wanted to capture the invisible bonds that have tied us to this magical place for centuries. In fact, he wanted to capture our relation to the Dead Sea while trying not to show it.
07
► © Alexander Bronfer
People have always been fascinated by the Dead Sea. Over centuries, this place has been a refuge for messiahs, zealots, martyrs, kings, and ascetics. People prayed, sinned, healed and killed each other on its shores. They built dams and plants, drilled wells, cut the sea from any source of freshwater and left it to die. And meanwhile, we continue praying, sinning and killing each other, moving our beach chairs and sunshades deeper and deeper, silently following the disappearing sea.
FEATURED
► © Alexander Bronfer
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► © Alexander Bronfer ► © Alexander Bronfer
07
► © Alexander Bronfer ► © Alexander Bronfer
07
BRAZIL
www.instagram.com/rafaelmantesso
FEATURED
On Rafael Mantesso’s thirtieth birthday, his wife left him. She took their cookware, their furniture, their photos, their decorations. She left Rafael alone in an empty all-white apartment. The only thing she didn’t take was their bull terrier, whom she’d named after her favorite shoe designer: Jimmy Choo. With only Jimmy for company, Rafael found inspiration in his blank walls and his best friend and started snapping photos of Jimmy Choo as he trotted and cavorted around the house in glee. Then, when Jimmy collapsed in happy exhaustion next to the white wall, on a whim Rafael grabbed a marker and drew a new world around his ginger-eared pup. Suddenly, Rafael felt his long-dormant inspirtion—for drawing, for art, for life—returning. The whimsical drawings starring Mantesso’s bull terrier attracted the world’s attention, with the images broadcast across global media. He also counts with a book with hundreds of charming and cheeky images chronicling the owner and dog’s relationship and adventures, including poses in a Star Wars stormtrooper helmet, passed out with liquor bottles, and as the shark in Jaws. In the book, Mantesso presents a definitive selection of new and classic images of Jimmy and includes the backstory of how the two became such great collaborators. As heartwarming as it is hilarious, A Dog Named Jimmy will delight animal lovers everywhere.
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► © Rafael Mantesso
BRAZIL
www.instagram.com/rafaelmantesso
FEATURED
On Rafael Mantesso’s thirtieth birthday, his wife left him. She took their cookware, their furniture, their photos, their decorations. She left Rafael alone in an empty all-white apartment. The only thing she didn’t take was their bull terrier, whom she’d named after her favorite shoe designer: Jimmy Choo. With only Jimmy for company, Rafael found inspiration in his blank walls and his best friend and started snapping photos of Jimmy Choo as he trotted and cavorted around the house in glee. Then, when Jimmy collapsed in happy exhaustion next to the white wall, on a whim Rafael grabbed a marker and drew a new world around his ginger-eared pup. Suddenly, Rafael felt his long-dormant inspirtion—for drawing, for art, for life—returning. The whimsical drawings starring Mantesso’s bull terrier attracted the world’s attention, with the images broadcast across global media. He also counts with a book with hundreds of charming and cheeky images chronicling the owner and dog’s relationship and adventures, including poses in a Star Wars stormtrooper helmet, passed out with liquor bottles, and as the shark in Jaws. In the book, Mantesso presents a definitive selection of new and classic images of Jimmy and includes the backstory of how the two became such great collaborators. As heartwarming as it is hilarious, A Dog Named Jimmy will delight animal lovers everywhere.
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► © Rafael Mantesso
► © Rafael Mantesso
07
► © Rafael Mantesso
07
Highlights Curator’s Choice
DANIEL CASTONGUAY www.dancastudios.com www.instagram.com/daniel.castonguay.165
CRISTIAN TOWNSEND www.cristian-townsend.squarespace.com www.instagram.com/oswaldfitchjapan
Highlights Curator’s Choice
DANIEL CASTONGUAY www.dancastudios.com www.instagram.com/daniel.castonguay.165
CRISTIAN TOWNSEND www.cristian-townsend.squarespace.com www.instagram.com/oswaldfitchjapan
GIGI CHUNG
ERIC M. RENARD
www.photographize.co/gigichung
www.ericrenardphotography.com
www.instagram.com/gigi8188
www.instagram.com/renard_photo
GIGI CHUNG
ERIC M. RENARD
www.photographize.co/gigichung
www.ericrenardphotography.com
www.instagram.com/gigi8188
www.instagram.com/renard_photo
HANY HOSSAMELDIN
AAKIB AMJAD
www.facebook.com/hanyhossam.photography
www.instagram.com/el.magnific0
www.instagram.com/hanyhossameldin
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HANY HOSSAMELDIN
AAKIB AMJAD
www.facebook.com/hanyhossam.photography
www.instagram.com/el.magnific0
www.instagram.com/hanyhossameldin
109
MARTIN DEE
GUS
www.martindeephotography.com
www.gusfineart.es
www.instagram.com/martindeephoto
www.photographize.co/gus www.instagram.com/gusfineart www.facebook.com/gus.fineart.501
112
MARTIN DEE
GUS
www.martindeephotography.com
www.gusfineart.es
www.instagram.com/martindeephoto
www.photographize.co/gus www.instagram.com/gusfineart www.facebook.com/gus.fineart.501
112
ANNEKE BLOEMA
113
RENÉ ROESER
www.wondrousgoose.com
www.reneroeser.com
www.instagram.com/wondrous_goose
www.instagram.com/reneroeser
www.facebook.com/WondrousGoose
www.facebook.com/rene.roeser
114
ANNEKE BLOEMA
113
RENÉ ROESER
www.wondrousgoose.com
www.reneroeser.com
www.instagram.com/wondrous_goose
www.instagram.com/reneroeser
www.facebook.com/WondrousGoose
www.facebook.com/rene.roeser
114
ITZIK RABINOVITZ
115
ALESSANDRO ZOMPANTI
www.facebook.com/itzikrab
www.alessandrozompanti.com
www.instagram.com/itzikrab
www.instagram.com/alessandro.zompanti
116
ITZIK RABINOVITZ
115
ALESSANDRO ZOMPANTI
www.facebook.com/itzikrab
www.alessandrozompanti.com
www.instagram.com/itzikrab
www.instagram.com/alessandro.zompanti
116
NIC KELLER
117
ANA JOVEVA
www.nic-keller.ch
www.anajoveva.com
www.instagram.com/nic_keller_photography
www.instagram.com/ana_arch_eng
118
NIC KELLER
117
ANA JOVEVA
www.nic-keller.ch
www.anajoveva.com
www.instagram.com/nic_keller_photography
www.instagram.com/ana_arch_eng
118
GAYA LASTOVJAK www.instagram.com/gayalastovjak
CAREY SCHNEIDER www.careyschneider.com
120
GAYA LASTOVJAK www.instagram.com/gayalastovjak
CAREY SCHNEIDER www.careyschneider.com
120
MICHELE GENNARI www.instagram.com/michi.miguel.09
MARTA MARGRÉ www.instagram.com/blonde_in_brussels
MICHELE GENNARI www.instagram.com/michi.miguel.09
MARTA MARGRÉ www.instagram.com/blonde_in_brussels
Hahn mUhle
PAPER MAKES THE DIFFERENCE
G.B. SMITH www.gbsmith.com
ISSN 2639-5673