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50 ARTISTS 50 T-SHIRT DESIGNS EVERPRESS IN SUPPORT OF COMMUNITY-LED ORGANISATION JUSTICE4GRENFELL
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PUBLISHING INFORMATION
PUBLISHER SAMIRA ODENTHAL EDITOR IN CHIEF SAMIRA ODENTHAL COORDINATOR SAMIRA ODENTHAL ADVERTISING SAMIRA ODENTHAL EVERPRESS @STUDIO.KOEVOET DIGITAL PRODUCTION MARIUS SPERLICH SANDY KIM MATTEO BIANCHESSI DAVID HEYER MAXY LEUTHEN SPECIAL THANKS ALEX BERGER DAVID HEYER MAXY LEUTHEN CONTACT SAMMYODENTHAL@HOTMAIL.DE +49 15151573008 LEVERKUSEN PRINTING PRINTSTUDIO HMKW COLOGNE STEINBEIS TRENDWHITE RECYCLING PAPER PUBLISHER ARTN’CHAOS COLOGNE LIMITED FEBRUARY 2020
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TABLE OF CONTENTS
DIGITAL
UNLEASCHING RAW AND LUSTFUL PHOTOGRAPHY MARIUS SPERLICH
ANALOG
FROM SHOOTING BLOODY PUSSIES TO “MAKING IT” AS A PHOTOGRAPHER SANDY KIM
ILLUSTRATION ARTIST / DESIGNER / ENTREPRENEUR STEVEN HARRINGTON
FASHION SIMPLICITY IS THE MOST DIFFICUL THING GIOTTO CALENDOLI
TYPOGRAPHY FINDING THE BEST BALANCE BETWEEN EXPERIMENTATION AND LEGIBILITY FLORIANE ROUSSELOT
TATTOO NO ART, JUST VANDALISM ON YOUR SKIN ALEX BERGER
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EDITORS LETTER
We live in a volatile time where our youth are being pulled in all different directions. Buy this, look like that, make sure people know, take a photo of ourselves every day, go to concerts and watch them through our phones, go on holidays and record the best parts for other people. Our obsession with material goods and appearances, our blind panic to own the best and lastest - or at least look like we do - has birthed a kind of paranoia unique to this generation. We worship images that aren’t real, chant mantras that offer not peace of mind but diminishing self worth and incessant comparisions. We serve as enthusiastic proponents of celebrity culture, stanning the talented and talentless with equal abandon. Is it because we really can’t tell the difference, or because we simply stopped caring which is which? We’re a generation facing the future of a broken planet and dubious government heads, unafraid, outspoken social warriors who are also distracted by pictures of other people’s lunches and stuff we know we don’t really want but buy anyways. We’re angry yet jaded, “woke” yet complacent, a
generation that labors under nihilism so extreme that we may as well meme our way through national crises and film ourselves eating tide pods. Maybe this is why we’re so fascinated with people who seem to be “doing something”, whatever that something may be. People who, despite all that’s going on, are still able to make art, to make music, to offer themselves up to the world blissfully unaware of whether they’re being judged or not, whether they’re adored or ostracised, and 100 percent too absorbed in what they’re doing to care. They show us a different sort of craziness up for grabs: the kind of manic possession capable of making all the needs and noise fall away. Maybe these people are the ones who give us hope - whose personal liberty in turn directs us towards a brighter day.
Samira Odenthal
Editor in Chief
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UNLEASHING RAW AND LUSTFUL PHOTOGRAPHY
WORDS MARILI PHOTOS MARIUS SPERLICH
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MARIUS SPERLICH TAKES PROVOCATIVE PORTRAITS - BUT HE INSISTS THE CONTROVERSY IS ALL IN OUR HEADS
Marius Sperlich’s work is a tour de force of creativity, imagination and technical skill. Obsessed with how photography triggers our imagination, he shows the human body from an unusually close perspective. From braided Rapunzel-length underarm hair to figurine painters covering up nipples, Sperlich’s body of work has gained him more than 300,000 Instagram followers while bringing to the forefront critical examinations of the societal constructs surrounding media, purity and pleasure. And at a turning point in the culture of online censorship, the world is watching. One of Sperlich’s making-of videos has more than 11 million views on Facebook. He just wrapped a showing at CONTEXT Art Miami during Art Basel Miami. Madonna even shared his work last year—albeit without proper credit. His up-close, visceral photography has managed to build a cult-like following because it requires a deeper gaze by all viewers; it will always make the on-looker stop amidst a bombardment of stimuli to consider the artistic composite, construction and cropping. Whether it turns you on or makes you uncomfortable? That is entirely up to you. Artn’chaos caught up with Marius to talk about the line between provocative and empowering photos.
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Your work is at once provocative and empowering in its aesthetic. Is this a style that developed over time for you? I’ve always been one to have a project going at some stage. It’s really about evolving and finding new ways to tell a story. At first I took those classic bold and colorful shots, but that was what everyone was doing. The photos didn’t really have any clear idea behind them, and they weren’t powerful enough to create a feeling in the viewer.
How did you get into photography? When I was 9 years old I started skateboarding. My father gave me my first skate movie and I was totally stoked, because it inspired me to create something myself. I got a video camera and from there I started doing my own films. Although I had a lot of fun shooting and editing, it was all incredibly time-consuming. This led to the point where I decided to focus on photography instead. With photography you’re freezing the moment- it’s there for you to catch- and I find it more authentic in a way. To finance my studies, I worked as a party photographer and for start-ups for a while. But when I came to Berlin, I wanted to do something different, something that pushed me out of my own comfort zone. That’s how my style evolved.
I’ve always loved uncomfortable stuff, so I figured I could take very close portraits. That’s what got me started on what I do now, I discovered that being close makes a huge difference when you’re shooting faces. Why is that? You create something that is anonymous, but at the same time incredibly detailed, personal and unique. When you see full body shots of a person—in advertising for example—it allows you to compare your own body and looks to the person you see on the picture. But the anonymity of close-ups means you wouldn’t be able to recognize the subject on the street. At the same time, it’s a very personal and intimate perspective.
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What inspires your work? People. It can be anyone. Whenever I hear stories or see emotions in my surroundings, I take it in. That helps me create feelings in my photography. I’m don’t think you can create a sad picture if you don’t really know what sadness feels like. That’s why I let every emotion in. There’s an interplay between pleasure and pain in your pictures, especially through your use of props. Could you talk a little about the motifs? If my photos weren’t so real and pure, people wouldn’t really pay attention to them. We live in a society with predetermined structures. Many people Wwant to be different, but they can’t because others tell them what they should do. That’s both a blessing and a curse. The photo with glass on the tongue is an example of how people’s scars aren’t always seen on the outside, but only on the inside. I want it to be pure and real. The pain in my pictures is always pain caused by the set structures of our society. Same goes for the gif of the eye: You are forced to open your eyes and look at things all the time. The force is the pain in this. After all, pain shows us that we are vulnerable and my message is that you should do whatever you want to do, and be yourself.
“THE PAIN IN MY PICTURES IS ALWAYS PAIN CAUSED BY THE SET STRUCTURES OF OUR SOCIETY”
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Your photos show almost exclusively women. Why is that? I get a lot of questions about this. Some people think I take overly sexualized photos. But I think that impression happens only in the mind of the viewer: My close-ups just show a body part and they play with whatever somebody sees in them. In your opinion, are there any boundaries when it comes to creating work with provocative visuals? Pure nudity is my boundary. I focus mainly on eyes and lips because our faces are one of the strongest indicators for emotions. They are all communicative tools for us. You’re going so close, you’ve probably never seen emotions so closely before. That’s a game changer because the face is the only place feelings can be shown in the same ways for people. For example, you can cry when you’re happy and you can cry when you are sad.
“I CREATE PHOTOS THAT ARE BEAUTIFUL BUT ALSO MAKE YOU UNCOMFORTABLE”
When you see someone crying and covering their face it can be overwhelming. But if you rather just concentrate on the face, it’s really focused and I believe it has a stronger impact. Imagination triggers my work and my goal is to create an overall feeling which gives the observer more space for interpretation. I create photos that are beautiful but also make you uncomfortable.
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What have you learned from your shoots? Photography has taught me how to deal with people. I like to say that I am like a hairdresser: Everyone I work with always tells me what is going on in their lives. I have met so many interesting people who shared both disturbing, sad and some really cool and inspiring stories. That’s what I really love about this job. Finally, tell us about your upcoming projects. Where would you like to head with your work in the future? I’ll always be an artist and a photographer. Photography allows me to meet a lot of interesting people so I just want to continue to create, and see where my work can take me.In two years, I want to move to New York and live there for a while. I have never been there, butit seems to be such a great place.In October, I will be in LA for one month and do some work with MAC. I will go with one of my make-up artists as her assistant to explore new ways to do my work, and take it to the next level.
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WORDS ELAINE YJ LEE PHOTOS SANDY KIM
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Sandy Kim lives in California, but she’s all over the place. The multi-hyphenated photographer-videographer-graphic designer-skater who grew up in Portland seems to go from Hollywood to San Francisco to New York and everywhere in between in a flash, the instant teleporting exaggerated by the constant display of her life on Instagram Stories. At a glance, Kim seems to be all play and no work, but chatting with her for just an hour makes it clear that she isn’t too worried about balancing the two. For her, they are synonymous. Her over-the-top self portraits are as much a result of her artistic inclinations as her big-name brand campaigns. Kim has shot the likes of Larry Clark, Kendall Jenner, Kim Gordon, 2Chainz, Wacka Flacka, Ashton Sanders, Prodigy, Na-Kel Smith, Hari Nef, and the list goes on. She has also worked with fashion heavyweights like Louis Vuitton, Supreme, Calvin Klein, and Marc Jacobs. But her most recognisable photos are ones of herself, where she’s topless in the middle of Times Square or lying in bed in bloodied underwear. What unifies her work — whether they’re personal or commercial — is that they are raw and rough around the edges, always deeply intimate and real. Artn’chaos recently met up with Kim, who spoke about how she’s growing up from her extreme party-goer personality and the trials she faces as an Asian-American woman in a male-dominated world.
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How did you get into photography? When I moved to San Francisco for college, I was really inspired by the music scene and the artists that I met. A bunch of freaks. I found a polaroid camera that my dad used to have and started shooting my friends in situations at parties. Then I started putting my photos up on a blog and I noticed that people actually enjoyed them. People kept encouraging me, so I slowly started going on tour with bands and took their photos. One thing led to another, I guess. I felt like I was living an interesting life and I wanted to document it and remember all of it because I was loving life. I still do. I wanted to document all the people that inspired me in a sort of visual journal. How has your photography changed over the course of your career, if at all? In a way, it has changed, in another, it hasn’t. Before, I was just photographing a lot of parties and getting wasted. Just going to shows with people doing crazy shit. Not that I don’t take photos like that now, but you can only shoot parties and bedrooms so many times. I have photo agents now who bring me work so I also do shoots that are more thought-out and have concepts. They got me the Louis Vuitton campaign. I just got back from a New York Times shoot with Jennifer Aniston. Ten years ago, I never thought I would get to shoot Jennifer Aniston. It’s good to have agents to not worry about managing money or getting paid more. I’ve been taking photos for about nine years now, but I didn’t make any real money until about three to four years ago. I used to not even know the pay standard. Once I figured out how much men were getting paid I was like, “Fuck!” I guess that’s just how the industry is. I didn’t realise for a long time that I was getting ripped off.
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Do you have a favourite subject? My favourite one always changes, but I really love shooting Young Thug and Ashton Sanders. I shot Ashton for the Louis Vuitton campaign. And Sky Ferreira; we’ve been friends for so long. I also like to reshoot a lot of the people that have been in my life periodically throughout the years. I always stay in touch with my muses and friends that inspired me so I can continue shooting them. Which photographers do you look up to the most or have learned from the most? Ryan McGinley has definitely always been supportive of my work and been a mentor to me. When I was in New York, every time I was broke, he’d give me work and I would help him with model casting or even model for him a couple times. I love his work. And Nan Goldin, Maplethorp... In your view, is there anything common between these great photographers? I think a lot of it is subject, who they choose to shoot. How photographers fit their lifestyles into their work intrigues me the most. Ryan McGinley, Larry Clark, and Nan Goldin lived crazy lives. Not that you have to have a crazy life to be an artist, but it definitely makes your work more interesting, especially if you’re a photographer — getting a glimpse into someone’s real life through photos. That’s how Ryan got so big in the beginning and also what got me into his work. I related to his photos of road trips because I would go on tour with bands and it was kind of the same thing. He would take a group of kids on tour and they would be naked, running around the fields, and he created beautiful images. They’re so intriguing and have inspired a bunch of photographers today. And I think they inspire each other as well.
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How did you start working with Supreme? I’ve always been friends with skaters. I love them and they love me. I photographed all those kids who are grown now like Sean Pablo and NaKel Smith. We used to just kick it. About four or five years ago, I hit up Angelo Bacque, who was Supreme’s creative director at the time, to ask if I could shoot Sean and the kids for The Fader. Supreme is really territorial and normally doesn’t allow others to shoot their skaters. I think there’s some sort of contract; if not, an unspoken rule. Cut to a year or two later, Angelo reached out to me and was like, “Hey, I think you’re a dope photographer. I want you to shoot for Supreme. Would you be down?” And I was like, “Fuck, hell yeah.” I still shoot for Supreme, not all the time, but consistently. They’re one of my most consistent clients. How is it working with Supreme? What’s the process like? I would go into shoots without having any idea what I was doing. I would know who I was shooting, but wouldn’t even know where — not even the day before, or even the day of. They would be like, “Okay, you’re going to Paris with us,” and I would ask where we’re shooting, and their answer is “Don’t know.” Angelo and I would location scout and figure out what would look good where, but most of the time, we just wanted the models to have a good time and hang out to get more candid shots. There were no reference images. I guess the reason they like my style is that I’m able to capture actual candid moments because I’m friends with the brand and their models. They feel comfortable around me, and that makes a huge difference. They don’t want photos that are too posed; they like it to be real - not glossy.
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You have quite explicit self portraits. What is your message? What are you trying to capture? Instagram would find a photo from my profile to flag everyday, even photos from years ago. I was just documenting everything that was going on in my life, pretty much unfiltered. When I first started posting those photos, people were super shocked. Back then, I was in love and wanted to capture everything that was going on because I had all these crazy feelings. And I didn’t have a crazy career, so I didn’t give a fuck. I eventually started selling those prints; I thought it was even crazier that people wanted to own them. Any man or woman or anybody should be comfortable in their own skin. My agents asked me to change my website and take some photos down so I wouldn’t lose luxury jobs. I know I’ve lost lots of work because of my provocative photos. There are conservative clients out there who don’t understand what i do. My agents even asked me to get a new Instagram account to separate my personal photos from my professional ones. I finally gave in and made one last week, didn’t realise how crazy my photos were until my family found them. You come from a Korean-American immigrant family. What is your family’s reaction to your work? I still don’t really tell them what I do for a living. They know what Louis Vuitton and Adidas are, but not Supreme for example. Forget about it. I’ve done some things that they would consider successful, but they have no idea what I do in art. As long as i’m happy with what im doing, they will support me. That’s how it goes in our family. But i’d lie if i’d say that i don’t like them seeing part of my work. Specially the more intimate ones.
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How does being Korean-American impact your work, if at all? I’m first generation. My parents used to open restaurants, and when they got successful, they would sell them. One time, a Korean president came and ate at one of our restaurants. That’s why I moved around so much when I was a kid. When I was in middle school, a contractor ran away with all the money we invested for a restaurant and fucked us. Then, suddenly, we were super poor. I send my parents money every month. That’s another reason I finally gave in and deleted some pictures, because I really need to take care of them. They’re getting older, in Korean culture, you are supposed to take care of your family. They have been taking care of me as much as they could, but now that I’m finally starting to see money, I feel more confident that I can take care of them as long as I keep my shit together. I feel so bad that it has taken this long. I used to just party away and waste all my money, but I’m getting older too and can’t keep doing this. I’m an only child, so I don’t have any siblings who can help me either. I’m trying to grow up a little. How is it like being an Asian-American woman in the creative industry, especially in the street, hip-hop, and skate industries that are so male-dominated? The bad thing is that I didn’t realise then male photographers make way more money than female photographers. But this is not just in the creative industry, it’s in every industry. I would get to a photoshoot and people would ask if I’m the intern without having any idea that I’m the actual photographer.
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My looks get a certain reaction. Man, this is fucked up and it pisses me off. I find it annoying that people who don’t know my work find it skeptical or they think I won’t know what I’m doing just because I am an Asian woman. Just because of the way I look, you’re questioning my work? To my advantage, though, I feel like people are more likely to open up to me or feel more comfortable around me because I am a woman. I am really short and not intimidating. But I do find it kind of discouraging that there’re not a lot of Asian female photographers out there. I hope that will change. That’s why I find it so cool that Supreme uses me. They use a couple of other girl photographers, but I think more companies need to do that. Things are changing a little; all these male photographers are getting #MeToo’ed and all these guys who have been running the game are being taken down. Now it’s time for us women. Do you have any advice for photographers who want to be in music, entertainment, culture, or fashion? For the creative industry, honestly, you have to keep shooting what you want to shoot. If you want to be in the music industry, shoot musicians, even if it’s for free. If you want to shoot for Supreme, shoot skaters, or even just people in Supreme. And post that shit. You have to put in the work if that’s what you want to do for a living. Money follows after. You just have to do it until you get to a point where you can shoot what you want. I feel like creative directors are always going through Instagram and looking through editorials for new talent, so keep making work and putting it out there so people can see it. If you do it long enough and you are good, you will get to that place. Even if you suck, you can always learn.
What’s coming up for you? I’m working on two feature-length films. It’s inspired by a lot of 90’s movies. It’s about a bunch of kids who accidentally take a shit ton of drugs and throw a party to get rid of it. Hopefully, we will be shooting next year. Eventually, I want to direct movies. I’ve also been working on this hardcover book that was supposed to come out last year. I don’t seem like it, but I’m a perfectionist and it doesn’t feel finished. It can come out in a couple months, or another year. And lastly, I definitely want to shoot Korea more. I have a special place in my heart for K-Pop from listening to them when I was a kid. I would love to shoot more musicians there.
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STEVEN HARRING ON
ARTIST DESIGNER ENTREPRENEUR WORDS TINA ESSMAKER IMAGES UNKNOWN
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Steven Harrington is an LA-based artist & designer and a cofounder of design firm National Forest. Cited as the leader of a contemporary Californian psychedelic-pop aesthetic, Steven is best known for his bright, iconic style. Embracing a multimedia approach, his portfolio includes large-scale installations, hand screened prints, limited-edition books, skateboards, and sculptures. He has exhibited artwork in LA, NY, Paris, Berlin, Milan, Barcelona, and Tokyo, among others.
Did you always want to be an artist and designer? Like most kids, I grew up drawing and painting. My parents really embraced that and pushed me further into it. When I hit high school, I realized that I liked drawing and painting so much that I didn’t want to stop. So you had a plan when you went to college? I knew that there would have to be some kind of financial reward at some point, but, to be honest, I didn’t think about it. I still feel somewhat guilty for that. I’m older now, and this is serious. This is what I do. I’ve realized that a certain amount of living off of this takes not thinking about whether or not it’s going to work. I’ve somehow managed to do it, so I’m going to celebrate that. I can say I never put together a plan or anything. That makes sense. Not that you don’t take your work seriously, but if you consider everything you have to do to start your business at once, it could feel overwhelming. Exactly. And to this day, it can feel overwhelming. You have to invest so much of yourself into your work that if you get caught up in questioning yourself too much, then that imaginative, creative spark can easily vanish. Being vulnerable by making things is uncomfortable enough in the first place. To add the discomfort of being an adult, paying bills, owning a house, and all that other shit makes the stakes even higher.
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“WHAT’S MOST IMPORTANT TO ME IS TO REMEMBER THAT THIS IS MY PASSION. EVEN IF I WAS WORKING SOMEWHERE ELSE, I’D BE TRYING TO DO THIS, SO I MIGHT AS WELL TRY TO DO IT FOR MYSELF”
Where did you attend college? I went to Art Center College of Design in Pasadena, California. In high school, I was lucky enough to have a teacher who was really devoted to art. He taught me about Art Center, and I took college-level Art Center courses while still in high school. Unfortunately, I couldn’t afford Art Center right away, so I went to Pasadena City College after graduation. I built up a portfolio and did the whole scholarship thing to see how much money I could get from the government. After college, you dove into design work and started National Forest with your friend, Justin. How did that come about? I met Justin at Art Center and the two of us had a mutual passion for art, design, and drawing. At the end of college we both thought, “Whoa, we’re either going to split up right now and go work for different companies or we can do this together and try to figure something out.” It was a really big decision. We chose to put our portfolios together, create a business, and try to get jobs. And that’s what we did: we literally put our illustration portfolios together and hustled our work around.
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What were the first years of National Forest like? Looking back, are there any practical insights or things you did to actually keep the doors open? Yeah, we cold-called various art directors and businesses. We also went out to New York. At the time, there was an editorial building where we literally walked from floor to floor with our portfolio to show our work to a bunch of art directors. We hit up pretty much every contact we had. The main thing Justin and I had going for us was that we had both worked pretty shitty jobs early on, as we all do. My dad owned a construction business and I learned how hellacious that type of work was. My first job from ages 12 to 22 was construction. Because of that, I knew what hard work was. Justin and I were determined not to go back to the bullshit that we were previously doing and to work hard to get what we wanted: to make fun stuff and hang out together. What was the first big gig National Forest did that made you and Justin realize you were making it happen? Right after we graduated, we got a pretty big illustration job for Rolling Stone. It wasn’t the cover, but it might as well have been. It was like, “Holy shit!” From there, we decided to focus more on artwork and design versus commissioned illustrations. When we got the job to art direct Urban Outfitters’ printed catalogs, it was massive for us. We were in our early twenties and it was just the two of us doing everything from choosing the models to finding locations and photographers. That project was a good confidence builder because it forced us to learn so much shit we didn’t know.
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“ALL WE’RE LOOKING FOR IS HONESTY — THAT ONE LITTLE OUNCE OF HONESTY IN THE WORLD, WHETHER IT’S FOUND WITHIN ART OR OTHER THINGS”
Very cool. In addition to your agency, National Forest, you do personal work under the moniker, You & I, right? Yeah. A lot of people consider it illustration, but it goes back and forth between illustration and art. I like drawing, so my work tends to feel illustrative, even though a lot of the work is not necessarily illustrating in a traditional sense, like what Saul Sternberg did for the New Yorker. It’s more vague and surreal. What advice can you offer to someone who wants to start a business? I’ve recently talked to several friends about this. When we started National Forest, I thought, “We need to incorporate now, get the tax dude involved now, start financial planning now, and I need to make sure I’m paying estimated quarterly taxes now.” You can get consumed by every facet of business before you jump into what it is that you’re interested in. Now my advice is different. For the first year, focus on bringing work in. Bring projects in, execute them as best as you can, get them out the door, and move on to the next one. Focus on completing the work and billing for it. Make sure you spend time on executing the work, because you’re only going to get paid for what comes in
and goes out. After your first year of work, then you can start to consider the taxes, trademarking, and all of the bullshit it takes to run a business. If you make it past that first year and you’re still into it, then do it. If you’re not, then there’s no real loss. At least you know that it’s not your passion. What’s most important to me is to remember that this is my passion. Even if I was working somewhere else, I’d be trying to do this, so I might as well try to do it for myself. Finding what you’re passionate about can be a hard thing. Even when you hit that point, you have to figure out what it is specifically within that passion. You have to ask yourself what you are good at and what you are bad at.
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It’s interesting to think about our tendencies as children, too. Thinking about your natural inclinations and what you were drawn to or what experiences you really enjoyed over others can give insight into what you might explore as a starting point.
It’s hard to decide what to focus on career-wise straight out of high school. You don’t necessarily know what your contribution is yet, or you don’t know what you’re good at because you haven’t tried enough things. How do you determine what to focus on? I figured it out through experience. What do you find yourself doing or wanting to physically do? I’m not talking about something you wistfully daydream about. There’s a big difference between what you actually enjoy doing and the daydream of what you want your identity to encapsulate. For example, if you don’t constantly pick up a pencil to draw and want to do that for large periods of time, then chances are that you don’t like drawing that much. If you don’t pick up a guitar or find yourself attracted to music and surrounding yourself with people who make it, then music probably is not for you. That said, I think it goes both ways: there are plenty of people who find their passions in their 50s, 60s, and 70s. I can see myself evolving within art and drawing, and I hope I will. It’s awesome to think that all of us could someday evolve into something completely unexpected. That’s just as awesome as the initial thing you fall in love with.
Yeah, I think so. I remember a big turning point for me in school, which I still think about. I was trained academically during the first half and then turned loose to make whatever I wanted. It was kind of frightening. We had done lots of figure drawing courses and were forced to do academic drawing, but I had a moment when I thought, “Wait, if I’m not going to paint naked ladies for the rest of my life, what am I going to do?” I had that summer off and I mentally dug deep down into my mind to remember where I was before I went to art school. I was trying to grab ahold of what I thought was real within my life and what was important to me. A lot of it had to do with music I was excited about before school, so I turned that subject matter into gigantic art projects for school. It was a big reminder that it’s easy to lose your personality while in school or in the day-to-day of working with clients. It’s easy to lose what you’re truly passionate about—or your natural tendencies, as you said. Yeah. Let’s talk about your voice. It’s fun, vibrant, fresh, and definitely recognizable. Did that moment you just described—thinking about music and the things that inspire you—help you find your voice? Was it a conscious evolution for you? No, it wasn’t. It was actually something I was trying not to do, which is bizarre for me to think about now.
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“THERE’S A BIG DIFFERENCE BETWEEN WHAT YOU ACTUALLY ENJOY DOING AND THE DAYDREAM OF WHAT YOU WANT YOUR IDENTITY TO ENCAPSULATE”
I read a book by Milton Glaser, and he talked about the big difference between art and design: art is a really personal dialogue that you have with yourself over a long period of time. Everything you make has a direct relationship or correlation with the previous piece you made. It’s about exploration, which you don’t necessarily need in design work. In design, you feel more free to play with general aesthetics, approaches, and perspectives because each project is completely and absolutely different from the previous project. I really liked that. I liked how he talked about art being personal poetry. Over time, I embraced that. Everything I make in my own time is poetry, even if it looks like an illustration or even if it starts to become client-based. It’s about letting myself explore new ideas and be intuitive with what it is that I like doing, which I’ve realized has to do with drawing. Over time, it has naturally become this weird universe I’ve created where certain rules apply. I talk about this with friends and other artists all the time: once you develop a weird world and so much of it makes sense, you start coming back to it, because over time you’re chipping away and trying to make sense. You create this world because it feels right. For me, it’s a good reflection of where I am at this point in my life.
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Do you think one of the reasons you were able to develop such a strong voice with your personal work was because you had the commercial work as your bread and butter and there was no pressure no make money from the personal stuff at the start? It didn’t cross my mind then, but it does now. I completely agree with you. It’s like I’ve hit this weird moment of, “Fuck it, I can make this into whatever I want it to be,” because like you said, it’s art. I’m not reliant on it. Even if another Nike doesn’t come around, I’ll continue making whatever the hell I want. And you know what? It’s going to look like this weird, cartoon world. Some people are going to look at it and say, “Dude, this fucking guy is all about cartoons and it’s really naïve—is it for a kid?” (laughing) I’ve thought about that recently. It’s so weird what my work is turning into, but at the same time, I let myself intuitively make it. I love cartoons: I love that language, and I love bright, big, pop-y stuff. I wish I was into minimalist, smart design. I wish my work looked like a Rothko or a Rauschenberg. I would love for my work to be that, but it’s just a fucking weird, crazy cartoon world where anything is possible. At the same time, it doesn’t really make sense. Abstract art doesn’t have all of the answers we want, and that’s why I love it. No, but it has a lot of feeling. That’s what I’ve tried to create. I always thought there was something wrong with me because I grew up hearing interviews with people who said, “Oh, I love telling stories.” Films are all about stories, and it’s about great storytelling.
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“I ALWAYS THOUGHT THERE WAS SOMETHING WRONG WITH ME BECAUSE I GREW UP HEARING INTERVIEWS WITH PEOPLE WHO SAID, ‘OH, I LOVE TELLING STORIES’... WHAT ABOUT WHEN YOU DON’T WANT TO TELL A STORY? WHAT IF YOU JUST WANT TO FEEL SOMETHING?”
Don’t get me wrong — I love stories — but what about when you don’t want a story? What if you just want to feel something? What about the artist who believes there’s another language and grouping of emotions that you can’t express through words? Speaking of feelings, you recently did a series of paintings addressing emotions, specifically anxiety. Tell me more about that. Yeah. It was the last big show I did in Paris at a place called Colette. It was a series of paintings I slowly chipped away on over the last year and a half. I kept coming back to the anxious thoughts that we many of us constantly have. After making one or two paintings, I realized they were totally about these weird, anxious moments I was having. I think we’ve all suffered and are continually suffering from anxiety, stress, and overworking ourselves. Through the paintings, I was creating practical jokes on these emotions in hopes of not only shedding light on them, but also getting my brain to not take the anxiety so seriously. Anybody who has suffered from anxiety attacks or ongoing anxiety knows that more often than not, it about absolutely nothing. It’s a self-afflicted thing you keep doing to yourself.
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Being real about our struggles makes us feel vulnerable, but it’s important. I love that you embraced your anxiety and used it to create art. In showing the series and talking to the press about the pieces, what kind of response have you had? It was interesting because when I put that show together, I thought, “Man, this is so strange, and it’s definitely opening up this very personal thing.” But I got great feedback from the show. There were so many people who came out and took photos with the work who completely related to it. We live in this weird, fucked up, competitive kind of culture-slash-society where any sign of weakness is a negative attribute. Or at least we’re trained to think that. So we’re all dealing with this shit, and instead of running or painting or dealing with it in a somewhat responsible way, a lot of us end up knocking on the door of the medical industry or taking drugs or drinking too much or smoking too much or exerting it in other ways. Anxiety is a shitty emotion to have to deal with. I recently talked with a friend about it: it’s kind of like the closest emotion you can feel to death. It’s a really scary feeling and you don’t know what it is, but you know that it’s horrible. It just sucks, and we all struggle with it, but we rarely openly talk about it.
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Right. And I think the Internet perpetuates that. Everything is seen as a brand now. We’re pressured to present everything, including our own lives, as perfect and glossy. In contrast, I think people are looking for things that are real and honest, and not commodified. The question we have to ask ourselves is: Am I going to be the first one to be vulnerable? Totally. All we’re looking for is honesty—that one little ounce of honesty in the world, whether it’s found within art or other things. Everything comes back to that in some way, shape, or form. I once heard a really cool interview with Tom Hanks. The interviewer asked him, “What makes a piece of art good to you, whether it’s film or music?” He said, “Every great piece of art asks the eternal question that we all have, which has to do with existence.” As generic as that sounds, it has to do with asking the eternal question: Why? Why are we here? What are we doing? What is this place? What I enjoy about painting and art is that it can lead to conversation about anything. It might lead us to talk about death or being afraid or anxiety, and then hopefully it will get us to ask the larger question about what the human experience means to each of us. To me, that’s a much more interesting conversation.
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WORDS ROBERTO MALIZIA IMAGES MATTEO BIANCHESSI
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Born in Naples, emigrated in London; a gypsy soul and an introverted traveller. Giotto Calendoli is sophisticated and effortless in everything he does and harbours the epitome of Italian style. Known for his modern and gritty approach to the classic aesthetic and after founding his blog, it wasn’t long until he established himself in the fashion scene working alongside the biggest luxury brands as a content creator – something most people only dream of. Boasting over 130,000 followers on Instagram, artn’chaos caught up with the creative following his first art exhibition. Taking place in Milan, its success went hand-in-hand with the launch of his first label “Handle with Freedom”. In other words, the guy can’t be stopped.
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You recently hosted your first art exhibition. What did you intend to communicate through your art? How do you expect your viewers to react to it? You incorporate a lot of life “quotes” and I can see myself in lots of them, like they are connected to past experiences… Yes, I hosted my first art exhibition during the Milan design week. The exhibition was called ‘Hajime’, meaning ‘BEGINNING’ in English. Giotto you are a free spirit and it is strongly expressed into your style and art. Have you always been like that or did something shift in your vision? Being free is the key to expressing yourself. It took a while to understand it, but as in everything, things take time to evolve but, above all, you should never cease to analyse yourself and love yourself. That’s how I started to discover who I am and what I really want to do in my life.
The concept of the exhibition was just the beginning, the beginning of an inspection of the new generation. Selfishness, fears and prejudices, memories of a past that can often cover your wings. So I wanted to enclose everything around us in one word, the society we live in with all the pros and cons and also personal experiences in which we all can reflect ourselves throughout canvases, installations, inspired by my last trip in Japan. What a trip! I can’t wait for the next one.
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Do you have the ultimate spot you would paint. The “dream spot’? I would love to paint an entire building! I don’t have one in particular, but I would certainly do it in a classic building with a typical Milanese courtyard. Now I’ve made myself want to do it. F***k, they will arrest me. I know that these days, coming up with something fresh is hard considering how crowded the market is, but your vision is so effortless and balanced. Your motto, “Handle with freedom” is in everything you do basically and now in your first label. When did you start planning this? What is the biggest obstacle you found on the way? As you said, today considering the market is full of everything you could possibly want, the thing that has always pushed me to create a brand is due to the difficulty of finding something simple. Simplicity is the most difficult thing, as much as we take it for granted. But that’s my message, the story behind the brand. I don’t want to be one of the many, who follow the trends of the moment by selling clothes without a soul. I want to tell a story, I want to take the customers by the hand, accom-
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panying them in my world, a free world where you can feel free to express yourself at best by getting out of the flock of sheep that pursue what the market requires to follow. What’s the root of my brand? A brand that doesn’t follow any trend, a no-gender brand, a brand for those who dare to wear their own trend. Maybe this is the biggest obstacle to face, but if you believe in what you do, you can do it. It will take time but I can wait. Artist, luxury content creator, fashion designer. Is the work balanced or is there something you would like to focus more on? At the moment this is enough since I was also a consultant for different brands but I had to stop. I believe in doing more than one thing but doing it at the most. One day I will resume my passion for cooking, who knows. I live in the present by continuing to walk my way, trusting and blindly believing in destiny.
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Finding the best balance between experimentation and legibility
WORDS COLLIDE24 IMAGES TYPELAB.FR
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“Typography is an important part in design. I believe both are inseparable, functional aspect needs graphic aspect and vice versa”, explains Floriane Rousselot, founder and curator of the TypeLab.fr – a platform for young type designers and a digital space dedicated to the experimentation with typography. Even if the project has just launched about a year ago, it is already well known amongst graphic designers and type lovers. With a strong focus on display fonts and ornamental types, the platform pushes the boundaries of readability and challenges conventional typographic rules.
The founder of the platform, Floriane Rousselot, is a french graphic designer with a strong specialization in type design. Being based in Aixen-Provence in the South of France, the graphic designer already took her degree in art direction and graphic design. “I would say my style is always an hybrid between different influences, usually very contrasted and resulting from graphic mistakes. I am trying to find a balance between experimentation and legibility – I try to find where the boundaries are and play with them.” During a workshop hosted by Colophon foundries at her university, her interest in type design started to grow. “The project was to create a typeface which could represent an institution, a place, a building in the city. My team and I decided to focus on churches, so analyze every church in town, every typeface we could find there and create a hybrid,” Floriane explains the origin of her lasting fascination, “At this point I realized how a typeface can represent an idea, an influence, an emotion or a culture. Since now I am interested in how typography is a strong visual aspect and what I can transmit through it.” She started specializing more and more in this subject – and soon after the idea for typelab.fr was born.
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“The idea merged one year ago as a part of my diploma project. Some friends and I wanted to communicate on our type design projects, but it was mostly WIP display fonts, and they couldn’t fit with Foundries’s catalogues”, Floriane tells. “That’s why I decided to create a digital platform which could help firstly my friends and then young designers to showcase their fonts, communicate on their practice. The basic but difficult goal is to help young designers to be highlighted, help them find clients and/or collaborators. Help them acquire more visibility.” What was meant to be a showcase for the work of her friends, soon turned into be a bigger platform now featuring about 30 different typefaces from 24 young type designers including “Tundra” by Ciaran Birch (2018), “Zorn” by Laura Csocsan (2019) and “RED” by Frédéric Jaman and Vrints Kolsteren (2018). The typefaces are subdivided into four different collections: the WWW Collection, the Gadji Collection, the Future Collection and the Territory Collection. “Mainly I am trying to find the good match between some typefaces I chosen. I try to keep the display and experimental aspect in every collection. But the selection is always subjective, what’s shining to my eyes!”, Floriane explains the concept behind the unusual titles of the collections. While Territory incorporates the idea of bringing type designers from all over the world together and therefore creating one digital territory, Future is more about the visuality of the typefaces in said collection. The typefaces “Bogoni” by Colin Doerffler, “Sword” by Kazuhiro Aihara and “Kraft” by Jacob Wise all had something in common: their expressive and futuristic looks. The name of the third collection, Gadji, was inspired by a french slang word from Marseille, meaning “girl” or “woman”. Therefore the collection concentrates solely on the work of female designers and highlights the relevance and importance of women in the field of type design.
“The basic but difficult goal is to help young designers to be highlighted, help them find clients and/or collaborators. Help them acquire more visibility.”
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The fourth and last collection, “WWW”, incorporates the spirit of the world wide web as a positive medium that connects designers from all over the world and also symbolizes the internationality of the platform. But not only the typefaces have an expressive and futuristic visuality, the design of the platform is pretty impressive itself. After Vanille and Julien, the two founders of the french web agency Twistudio, already supported Floriane during her diploma project, they also decided to support her in designing the platform. “We’ve talked about 2 or 3 different designs, but I wanted something very efficient, brutalist, refined in order to highlight typefaces. This is exactly the vision of Twistudio, we quickly agreed on the visual direction and final aspect”, Floriane tells us about the collaboration with Vanille and Julien. “So it has been really Fast&Furious. They are always following the evolution of the website with relevant advices and surprising ideas! It is an easy collaboration where we mutually know what we want and we share the same vision on this project.” Together they camp up with the idea of the WWW quiz, a fun gadget which can be found on the website. The quiz is based on the first personality test created by Carl Gustav Jung, using three different criteria: Extraversion – Introversion, Sensing – Intuition, Thinking – Feeling. Asking you fifteen personal questions, the end result of the quiz matches you with one of the typefaces of the showcase which personality is meant to fit yours.
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1999 Floriane Rousselot 2019
Slyther Floriane Rousselot 2019
Sages Floriane Rousselot 2017
Galejade Floriane Rousselot 2018
ASTR Floriane Rousselot 2019
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12:51 Colin Doerffler 2017-2018
Zorn Laura Csocsan 2019
Neustadt Samara Keller 2018
MK Amour Jules Morin, Alexandra Karaolanov 2018
GoliaGolia Alex Valentina 2019
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“I mainly find typefaces and type designers on instagram. I am choosing typefaces which grab my attention, this is always subjective but always focusing on experimentation or hybridization. Typeface which are based on interesting and surprising shapes or concept”, Floriane tells us about curating the platform. Bringing young designers together and creating some sort of community is of great importance to her. “I am often in contact with some of the designers featured on Typelab, to get some news, and I am sure some of them are in contact as well!” Connecting with other designers and collaborating on mutual projects, is “the most interesting part of our design practice. Sharing and learning from each other seems to be the best way to evolve so I hope it’s gonna continue. This is the moment you are faced with new ideas, new approaches you are not always familiar with. So you need to deal with it but at the same time it helps to bring surprising ideas, create new combination of visual tools, bounced on aspects you might not think about by your own. The moment you are experimenting and you are outside of your comfort zone is when you are able to create new things. Collaboration is this moment, so go for it!”
“Sharing and learning from each other seems to be the best way to evolve so i hope it’s gonna continue.”
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NO ART, JUST VANDALISM ON YOUR SKIN
WORDS JACQUELINE SKVORC KATHARINA KUNATH PHOTOS DAVID HEYER MAXY LEUTHEN
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ALEX BERGER
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Having grown up in Chorweiler, Cologne, Alex Berger has always had a great affection for art. He started drawing from an early age, was actively involved in the Cologne graffiti scene later on and lived out his creative streak with the can in his hands. After school he studied design, but then realized group work isn’t his thing. Alex is a “solo artist”, preferring to play by his own rules and to choose his work himself. Constantly sitting at a desk in front of his computer was not the real thing for him, he wanted to “do something with his hands”. In the meantime, the 28-year-old has been successfully tattooing in Cologne for three and a half years and does what he wants to do. Alex dropped out from his design studies and is more than satisfied with the current situation. Will it stay that way? “Who knows, maybe I’ll finish my studies sometime, but maybe tattooing will be a springboard for the next step in my career. I’m open to anything.” - One can therefore remain curious.
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ABOUT HIS STUDIO We find Alex in Bunker 13 - a basement studio near Hansaring. In the past, there was a pure artistic flair here and now and then, for a change, big parties with DJs were celebrated at pompous turntables. In the meantime, the studio in downtown Cologne now has a team of four: Three tattoo artists and a colleague from Chile share the premises for daily creativity and colourful acting out. Old metal lockers, a fish head on the wall, green artificial plants and a discarded granny sofa from road-side bulk waste make the studio a very special place. At Bunker 13 no daylight shines in, you never know if the sun is shining outside or if the world is just about to end. And yet the boys have made themselves more than comfortable there. ABOUT HIS STYLE When we ask Alex about his tattoo style, he smiles. “I’m often asked how I would describe my style.” When he was little, he drew lots of comics, and later, during his design studies he became more interested in illustration - both have influenced his tattoo style. If you browse his Instagram profile @alexbergertattoo, you might feel submerged in a black and white comic from another decade. Loud, roaring motifs accentuated with ironic writing. His answer to our question? “Fresh ignorant.” And that applies 100%.
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I’D NEVER TATTOO There are no limits with Alex, who looks like a Burberry Male model in a classic checkered shirt in our interview, by the way. “I’m a whore, I’ll do anything for money.” I wonder if he means it. Alex does not see himself as an artist, but as a service provider. And his customers should be able to do whatever they want with their skin - as long as they don’t harm anyone. “But I am still in favour of taking an ironic approach to controversial motifs. Unfortunately, many people don’t understand this black humour.” FAVORITE MOTIF
I’D LOVE TO TATTOO
Alex really does not have a favourite tattoo. You don’t need to - we all think Alex’s motives are pretty brilliant.
As a great film fan, Alex has a very clear answer here: “More film scenes! More screenshots from movies, and more embarrassing or ridiculous scenes if you like. I’d like to see it continue in that vein.” He gets most of his ideas for motifs while watching a film, as he tells us - or from everyday situations. When you get involved with Alex for a tattoo, usually little happens the traditional way. But it’s all the more humorous. “It’s important to offend people. If you want people to see you and listen to you, it’s usually not enough to pat them on the shoulder. You have to hit them on the head with a sledgehammer.” That’s what his motives do - and that’s the best advertising you can get.
COLOGNE “For me, Cologne is a tattoo city, because I have my largest clientele here. But from another point of view there’s not really much going on here”. If you take Alex’ word, there are hardly any people in the cathedral city where you can get cool tattoos. “In terms of taste. Technically it’s a different story again. But here in Cologne there’s still a lot of potential for improvement.”
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WHAT WAS YOUR FIST TATTOO? A Chicano Gangster Lettering on my arm.
WHAT WAS THE FIRST TATTOO YOU GOT? My first self-engraved tattoo was a Rolling Stones mouth with a cigarette on my inner thigh. It was not necessarily my most beautiful experience.
WHAT WAS YOUR STRANGEST TATTOO REQUEST? Usually I try to make the client feel good and refrain from evaluating the desired motives. At least until the person is out the door.
WHAT ANNOYS YOU MOST ABOUT THE COMMUNITY? All those unwritten tattoo rules from the past. I’ve met a lot of tattoo artists who are much too stiffeyed on the changing scene. Best example: drawing on the iPad. Here the minds are split. And artists who design their works almost exclusively digitally get a lot of hate from the old-established scene. I see digitalisation as a means to an end, to make life easier for them. Rules are there to be broken. The future is now old man!
WHERE DO YOU FIND INSPIRATION? Inspiration I mostly get from everyday life. Situations that I find funny or sad and social issues of course. This whole political correctness story has restricted freedom of expression, we have to change that again. Humour is a good way to make people aware of problematic issues and you should never lose your sense of humour, especially when it comes to yourself.
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WHAT IS THE HARDEST PART OF YOUR JOB? When I tell other men to take off their pants.
WHAT ADVICE WOULD YOU GIVE TO PEOPLE WHO ARE GETTING THEIR FIST TATTOO? Don’t worry so much about the first tattoo. In five years you will be covered from head to toe anyway.
WHAT WOULD YOU NEVER GET TATTOOED? Something in colour.
WHAT ELSE IS ON YOUR BUCKET LIST? Riding the Trans-Siberian Express, seeing the northern lights and helping with trimming on an illegal grass plantation in California.
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SOURCES
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SOURCES
MARIUS SPERLICH PHOTOS @MARIUSSPERLICH INTERVIEW https://www.eyeem.com/blog/marius-sperlich-unleashing-raw-and-lustful-photography SANDY KIM PHOTOS @SANDYCANDYKIM INTERVIEW https://www.vice.com/en_asia/article/xgq85q/sandy-kim-photographer-profile STEVEN HARRINGTON PHOTOS @S_HARRINGTON INTERVIEW https://thegreatdiscontent.com/interview/steven-harrington GIOTTO CALENDOLI PHOTOS @GIOTTOCALENDOLI @HANDLEWITHFREEDOM INTERVIEW https://icon.ink/articles/giotto-calendoli-exhibition-interview/ FLORIANE ROUSSELOT PHOTOS @FLORIANE.ROUSSELOT @TYPELAB.FR INTERVIEW https://w w w.collide24.org/2019/10/15/finding-the-best-balance-between-experimentation-and-legibility-typelab-fr/ ALEX BERGER PHOTOS @ALEXBERGERTATTOO @DAVIDHEYER_ @MAXYLE_ INTERVIEW https://www.wearecity.de/koelner-tattoo-kuenstler-alex-berger/ https://noizz.de/fashion/tattoo-talk-11-mit-alex-berger/e32xkh6
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