StART by Sophie Lake

Issue 1

StART

At StART publications we believe in natural beauty, therefore none of the images we publish are airbrushed or enhanced for the purpose of beautification. Our publication celebrates the charisma of raw photography, unique artwork and individual style. We combine the work of new talented artists and designers from the fashion, art, interior and photography industries, to become a collective expression of style and art.

beauty I always find

in things that are

odd imperfect -they are

much more

interesting. - Marc Jacobs

a r c

The ideal beauty has many perceptions Of perfect images In which we ignore the imperfections To try and define what beauty is. To some a thing is beautiful To some it may be ugly Others find it rather dull The many things that it can be. The place where all the truth lies Is within the many tiny cracks And if you use your eyes You see reality flooding back. True beauty does not lie in the images that you dream Instead it's hidden in reality In the edges and the seams Where you will find the abnormality.

There's something strangely nice About a shattered shiny mirror The frosty cracks in frozen ice And wrinkle lines when skin gets thinner. The cracks in old wood doors When you search a little deeper Within those present flaws You'll find the treasures beneath her. Remember if you see a fault That is not what it may be For it is a secret vault A mask of hidden beauty. True beauty comes from deep within Beneath the surface you explore To see beyond the outer skin And further than the flaw.

Like a vintage leather book So old and oh so worn Yet the story makes you look Past the pages that are torn. As the old saying goes Don't judge a book by its cover You look inside, the truth shows And the depth you will discover. You can't see personality When you look from the outside You miss the speciality Of the soul that's deep inside. Look beyond the obvious To discover the true meaning Each figure stands before us Full of personality and feelings.

You stand all alone Stamped with distinctive scars They're more than skin and bone They define just who you are. Sometimes you feel wary About keeping things traditional But as humans we all vary Between each separate individual. You fear the rejection Of gaining other's acceptance So you sway in their direction To secure your presence. Every one of you is beautiful In your own unique way Mirrors not always truthful In the images they portray.

True beauty never dies It's something that remains Throughout the holders' lives The value that it gains. Maturity has a duty To youth you need not cling To put age before beauty There is no such thing. Beauty does not decrease With age it becomes more valuable Aging piece by piece Each one becomes treasurable. An image of perfection is an old antique As it keeps getting older Becoming more unique Its beauty becomes bolder.

Although it isn't perfect It has so many flaws Each tiny little defect Makes its beauty ever more. Perfect imperfections are what to me Scream messages of charisma And of desirability. The beautiful imperfections. The beautiful cracks in life.

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I explore printmaking medium in its own right.

d assembl , an e i m ate ul a en trying g t ip o es wh re an s, m m of the subco m ts a n s e n tortion of i m ci rr s a i g d u es rlds are being wo c

deconstruct, d igi ta o m u r y e . O m d lly a a ur r g an d I dium. Str h re me t on e g g npredictab u c ll a l e. e th T d ur own. D o rea be o

recognisable. Often when printed,

gh photo hrou -et t t ch n i eflection in r pr a g. r a f y th o m e tives in e arra th r r n e o e f a h t m mi l co r en i ar e o w an et might see y e m th t so

when a muted image finally becomes

My work focuses on the eruption of recognition,

B i llo y w is

The narrative of a dream is possible, until you realise there is a distortion, and then it crumbles, because the laws of nature does not allow it to happen. I am interested in creating a visual language that is at the intersection of collage and print. After thoroughly investigating the techniques of intaglio and relief prints last year, I am now focusing my practice around etching. I was captivated by not only the beauty of the final product, but also the process of making the print. The prints I am currently making are not just photo-etchings. I am constantly working on top of the plate using aquatint, hard-ground, dry point and sugar lift. I am exploring the possibilities of the laser-cutter, engraving and cutting into my paper before I print onto it. The print becomes a working progress, almost a drawing or painting that changes drastically over time.

daisybillowes.wix.com/daisybillowes

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Painting and Chine-colle have become a part of my print process, adding colour to form, line and tone. Print has the suggestion of continuity and permanence, through these multiples. This is why my work i s n o t o n l y d i s p l a y e d a s a t w o dimensional object, but depending of the individual needs of

la ws

each piece. There is a clash between the desire for accurate representation and the fascination of the abstract. I would like to create an atmosphere for this intersection.

If only our eyes saw souls instead of bodies, how very different our ideals of beauty would be.

The

M ys te ry

of a Stranger.

Do you ever find yourself staring out of the window just watching passers by, wondering what they're doing? Where are they going? Who are they? You find yourself being ever so inquisitive about every little detail. You're not being nosey, you're just simply being curious. Whether it be whilst sitting in the snug comfort of your local coffee shop, sipping on your favourite drink, or whilst you're standing outside in the harsh British weather as you wait for the number four bus, you are always doing it. You always find yourself people-watching when left alone with your own thoughts. You just can't help it. You watch the rippling ocean of peoplebustling past. Everybody is busy doing their own thing, minding their own business, unaware that you are watching. Judging. Wondering. Questioning. You are questioning them, questioning their lives. You look at what they are wearing, how they are behaving, and immediately begin to judge their character, creating for yourself a perception of who they are. The mystery of a stranger.

The tall young man walking down the street towards you has thick dark brown hair and a preened designer beard. You have never met before, you have never heard him speak, but you can predict his life story. He is dressed impeccably in dark, ink black jeans of a straight fit, with a thick white chamois cloth shirt, a black cashmere scarf and a tweed jacket in a deep, smoky charcoal. The finishing touch to his immaculate look is a pair of grey suede Gibson shoes and a matching leather satchel. Although they're not the same shade of grey, if both colours were paint samples, they would be paired directly next to each other on the chart.

WHO COULD HE BE?

A The

rchitect

You imagine this stylish and well-presented man is in his mid-twenties and he is prosperous. He runs his own architectural design business and has worked hard all his life to be successful. The way he walks down the street suggests that he is a down-to-earth young man. Despite his accomplishments, he does not see himself as a superior and does not look down his neat chiselled nose at others because perhaps he is simply content within himself. You envisage the life of this stranger. The young architect lives alone in a smart, spacious terrace house just a ten-minute walk from the city centre. The interior, just as it should in any home, mirrors the owner's personal style. It is smart and organised and everything fits within a collaborating colour scheme - just like the outfit he is wearing. There is a luxurious aura to the town house you have created for this man. It is filled with furs, leathers, various sumptuous textures and tones of welcoming warmth. The vintage oak floors are filled, to almost every golden inch, with elegant furniture, and the crisp white walls are garnished beautifully with

paintings and architectural drawings. Cases piled neatly with books, serve more than their natural purpose, becoming the filler of empty space. The house is rather big for one person and, despite the completed look of the interior, there is still something missing from this home. The architect has everything he desires, everything he has dreamed of his entire life - except one thing. Although he has had relationships before, you imagine they have never quite met his expectations. He has spent a lot of his previous lifetime studying and focusing his ambition on his career. Now that his hard work has paid off, he desires somebody to share his successes with. One day the time will come, and for him the perfect stranger will come along and two strangers will be strangers no more. He is not searching, he is not trying, instead he hopes that one day it will all just fall into place and be how it should be, so for now he waits. The tall young man walking down the street towards you with his thick dark brown hair blowing in the wind, will go home to his spacious town house and continue being successful on his own, until the day he discovers

THE MYSTERY OF A STRANGER.

The key of persistence will open up any door that has been closed by resistance.

- John Di Lemme

, s y e K d l O New Doo

or 43

I stand miles from where I used to be, Shipped across the great wide ocean. Once in a flock, itâ&#x20AC;&#x2122;s now just me, We served a purpose of protection.

The time has come to retire, I’m old. After years of work I’m rusty and worn, My bony structure is metal and cold. Reincarnation – I am being reborn.

Worn on display for all to see, I hold my head up high and proud. Once in a group and then just me, I return in an unfamiliar crowd.

Transformation – into something beautiful, A glamorous life I’ve never lived before. I now serve no purpose of practicality, But I am a decoration of abnormality.

In a new family that hang together, On a chain where we’ll stay forever.

Donâ&#x20AC;&#x2122;t give up. Normally it is t the ring which o

- Paulo Coelho.

the last key on opens the door.

Morning People ''Proper'' academic subjects weren't really for me. I hated sitting written exams, doing equations and revising covalent bonds. I just love creatingbe that drawing or experimenting with materials, the majority of the time without any foresight. I tend to work with the ''fuck it'' work attitude, doing things with no thought of the consequences. I feel it allows my work to be a lot freer and more organic. Me and my work have a very sour relationship. I struggle to find any piece which I actually enjoy. I don't see this as a bad quality to have, it means that I am constantly giving myself critical feedback and therefore constantly improving. I am ambitious with work and always find ways to work outside my comfort zone. I will sometimes use a visual reference to help makes sense of an idea but most of the time the work comes initially from my head. I used swift lines to create form then pattern to give the illusion of texture. When I work, I distance myself from everything, enter in this weird world and spend hours working. I often get frustrated at the work I have produced and instantly go on to start

something new. My studio is constant battle of conflicting ideas, leaving it looking like a messed up war zone. There is weird relationship between my mood, music and the work I produce. I find it impossible to work without music as I get so easily distracted. I will listen to my ipod and use soundcloud, it helps me get into a chilled mood. Throughout my early education I was primarily an illustrator, doing work for local music festivals and published illustrations for the Scouting Organisation. I dabbled in commercial designing for phone cases, which is more of side project now. My aim is to produce the ''weirdest'' work, that stands out completely to that of anyone else's you will ever see. I feel that by working in different disciplines is important to keep my mind engaged as I always multiple works on the go. I have a burning desire to legally spend a day painting some obscenely big wall and leaving my mark in the eye of the general public. So if anyone reads this and has a disgustingly big wall that needs painting I am your man. ...

â&#x20AC;&#x153;My aim is to create the weirdest work.â&#x20AC;?

Instagram: @morningpeople

T he

i Dvl r Bi d e

Way up high amongst the rustling leaves Sit two monochrome feathered thieves They watch the busy world below Their beady eyes flash to and fro Searching for sparkling treasures To hide beneath their oil black feathers. A razor-like beak that is sharp and unblunted To pierce and kill the prey that theyâ&#x20AC;&#x2122;ve hunted Pecking their remains Picking their brains They waste no time destructing the carcass These blood-thirsty birds are cold and heartless

They swoop down from the swaying treetop They screech and flap and peck and hop Around the twig carpeted woodland Their full fledged wings are spread and spanned Squawking and crowing and making a racket Dressed to impress in their smart dinner jackets In a black suit with top and tails Dusted with shimmers of deep blue details Their crooked feet made of crinkled black leather The same jet black like that of their feather An under layer of waistcoat in white Prepared and ready, they take flight. Soaring through the cold crisp air They often travel in a pair Teamed together on a covert quest To sneak the eggs from anotherâ&#x20AC;&#x2122;s nest Their aim in life to steal and loot The devil bird you must salute.

INIMALISM ...

IS NOT THE LACK OF SOMETHING, IT IS THE PERFECT AMOUNT OF SOMETHING.

SPIRITUAL BONES

JOELGABBDESIGN.TUMBLR.COM

THE TRUTH ABOUT THE COLOURFUL, CAMP COWBOY

An interview with 3D designer, Joel Gabb, discovers the reasons behind this young artistâ&#x20AC;&#x2122;s first ever comtemporary jewellery collection. SO WHERE DID YOUR INSPIRATION FOR THIS PROJECT COME FROM? This project was inspired when I purchased five magpie skulls through a friend while coincidently starting a new project at Manchester Metropolitan University while studying Three Dimensional Design. In the beginning I was curious how I could turn this into jewellery.

WHY DID YOU CHOOSE TO MAKE JEWELLERY AND WHY THESE SPECIFIC PIECES? For the project, as part of our grading criteria we were asked to collaborate with a company or other student. As a result, I found myself a Fashion Design student and figured jewellery and wearable items would be an easy way to complete this task. Fashion students that I spoke to tended to have not taken into consideration jewellery for their collections and saw it as an opportunity. The fashion student I teamed up with had a bizarre clothing range best described as colourful, camp, cowboy and skulls fit well with the western theme.

SO WHERE DID THE IDEA FOR USING MAGPIE SKULLS COME FROM? Magpie skulls we amongst a few of the remains I had offered to me by a collector of such oddities. After some brief research, I found that magpies have significant spiritual symbolism and represent creativity and expression- what better symbolism to have in contemporary jewellery?

IS THERE A SPECIFIC REASON YOU CHOSE THESE PARTICULAR COLOURS? In my initial drawings I was not intending to have such vibrant colours on my pieces, until I saw the collection I was going to be working with. Both myself, and the fashion student agreed they needed more colour adding. Brighter colours best fitted the collection as well as attracting more attention individually.

“MAGPIES HAVE SIGNIFICANT SPIRITUAL SIMBOLISM AND REPRESENT CREATIVITY AND EXPRESSION.”

IS EACH ITEM OF THE COLLECTION UNIQUE? Yes. Each piece was handmade and unique in its own right from the glass jewels on the septum pieces to the plate the rings sit on.

IS THERE ANY REASONING BEHIND THE DIFFERENT SHAPES USED IN THE DESIGNS? Due to the painstaking, hand made process of making the pieces I came to the conclusion varying the designs would make for a more interesting collection as well as being more interesting to create.

TALK US THROUGH THE PROCESS OF MAKING THESE. Firstly the original magpie skull had to be filled with clay as it is far too fragile to make a cast from, from there I was able to create a rubber mould from which I could create the resin skulls found in the ear piece and the septum pieces which uses a chemical reaction to turn from liquid to solid. The rings and bolo tie however are made from a semi-precious metal called pewter; using the same moulds I created a wax replica of the skull. This was covered in plaster, let to dry and once cooked the wax original melts out and it is time to pour the metal into the empty space. When it solidifies you then have break away the plaster and you have your metal magpie skull to be attached to the rings. This process is called lost wax casting.

ARE YOU PLEASED WITH THE FINAL OUTCOME? I am very pleased with the final result, this was my first time at attempting jewellery making and I thoroughly enjoyed it. I feel between myself and my partner we created an interesting collection.

IS THERE ANYTHING ELSE YOU WISH TO ADD? I would have liked to experiment with more animal skulls. I purchased a sheep's skull during the course of the project, however due to the size and structure this would have proved very time consuming and difficult which I was disappointed to not have the opportunity to experiment with. Perhaps there will be an opportunity with that in the future.

O INA Find JOY in the

ORD ARY

100

Robbie Seneschall Robbie Seneschall is a third year art student at Newcastle University. Originally from Dulwich, in South East London, he was Inspired by his school Art tutor who was a ceramicist, Robbie's work has always found its base in materials, working previously with porcelain and plaster. His focus is on experimenting with different sculptural materials, testing the limits of the medium and the textures it can create.

Currently my work is an exploration into using a new, unorthodox material and looking at how it can be adapted and used in the casting process. I have looked at the subversion of every day objects, turning the space that is invisible to the human eye, into artwork. However, instead of using concrete, cement or resin, my material of choice is soap. I have focused primarily on the domestic, casting various objects that one might find around the house.

multiples of the same work will always be slightly different.

robertseneschall.tumblr.com It is through this that I want people to understand my work, relating to what is in front of them whilst maintaining a level of interest through the unusual choice of material and a solid representation of the negative space. Working with domestic objects allows for the casts to pick up the dust, hair and dirt that come with living. I find this a really interesting aspect as it adds a new layer to the casts, making the object feel like it has been used, whilst ensuring that even multiples of the same work will always be slightly different.

intelligence having fun.

Acknowlegements

We want to say a big Thank You to everyone who contributed to the first issue of StART

Models: ALICE HOWE (Pages: 8-23) DANIELLE BARNES (Pages: 42-73) HOLLY COATES MCDOWALL (Pages: 42-73) JOEL GABB (Pages: 86-97)

Artists/Designers: DAISY BILLOWES, Artist. (Pages: 26-31) SOPHIE LAKE, Jewellery Designer. (Pages: 42-73) GEORGE STEWART - MorningPeople, Artist. (Pages: 76-83) JOEL GABB, 3D Jewellery Designer. (Pages: 86-97) ROBERT SENESCHALL, Artist. (Pages: 100-105) Photography and Styling by Sophie Lake

The style and art publication with no beauty retouching.