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#4 CELESTIAL
Merel Bos Alina Asmus Chaya Alisa Aiv Ian Lanterman Caroline Corbasson Amber Day Amber Mahoney Manita Songserm Lela Maloney
Editor’s note
Dear Sucre readers, Welcome to the 4th issue of Sucre. This is our most thought-out issue so far. The theme of this issue is “Celestial” – everything is made of stardust, we are stardust. Today, our knowledge of the universe is bigger than ever; at the same time we’ve more unanswered questions than ever before. We’re fascinated by entropy, by many small things adding up to one big something. We are more knowledgeable than ever about the universe, we’re overwhelmed with pictures and noises from the cosmos. Along all this superfluous information, each and everyone of us has their own interpretation of what is celestial, what it is to be a part of the universe. In this issue we present our most favourite artists who work with and interpret the theme of celestial. A big thank you goes out to everyone who contributed to this issue. Especial thank you to Amber Mahoney, Amber Day and Lela Maloney for shooting the editorial in New York, exclusively for this issue. We are very honoured! Thank you to our proof reader Martha SchleeBamford.
4-7 Caroline Corbasson
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Thanks to Alejandro, Amanda, Sophie and Alan for all the feedback and help. Love, Angela Blumen
Alisa Aiv
10-11 Manita Songserm
Moodboard contributors (reading clockwise): Javier Castan, Rita Puig Serra, Agnes Lloyd-Platt, Chloé de Drezen, Olga de la Iglesia, Kate Robertson, Emma Hartvig, Brianna Ortega, Chang Fu Chieh.
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Front page: See editorial credits, Last page: Alisa Aiv.
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Ian Lanterman
Editorial
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Alina Asmus Merel Bos
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30-31 Chaya
Moodboard
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Caroline Corbasson
fine art
After a childhood fascinated with science, French artist Caroline has instinctively drawn great influence from the gaps and limits of the celestial universe in her work. We discuss her personal projects and what the future holds for this multimedia artist.
Echo, 2015
- Tell usabout your artistic background. I’ve been drawing since as long as I can remember. After hesitating between science and art, I finally studied art at les Beaux-Arts, in Paris. There, I understood how vital it was for me to create things every day. - You’ve been working with celestial objects for a very long time. What fascinates you about it? What keeps you going on with the theme, and what does it convey to you? Looking at the sky is looking into the past. That simple fact already blows my mind. Trying to understand the universe feels like endlessly scratching the surface of something huge. I love having conversations with scientists, they inspire me a lot. My practice focuses on the gaps and limits of science. My next projects are about Planck’s wall – a conceptual wall which defines the limit of the universe, a moment when physics can’t be applied anymore.
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Eclipse, 2013
Anomalia, 2013
- What is your favourite medium and how does it matter for you and for your work? Drawing and sculpture are both equally as important to me and usually work together. Sometimes, a drawing can become a sculpture and vice versa. In my work, the sculpture is often interactive and invites the spectator to experience something more than just a vision. - Do you practise any other forms of art? What do you do in your free time? I take a lot of pictures but rarely show them, and want to work more with animated video. During my free time – although I can never stop working – I like to travel and visit observatories, they’re often located in the most beautiful places in the world.
Cratère, 2013
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Caroline Corbasson
fine art
- How does the internet play a role in your work and the promotion of it? The internet is, of course, a huge image bank, and I spend a lot of time collecting source-material on various websites (www.nasa.gov, http://home. web.cern.ch/, etc). I also watch videos and listen to podcasts about the scientific events which I’m interested in at the time. I share my work and daily inspirations on instagram @carolinecorbasson.
Echo, 2015 in the front; Mine, 2015 in the back; Dust to dust, 2012, right.
- What are your future plans? I’m going to work with cast glass, a new medium which I can’t wait to discover. My next solo show will take place in Switzerland in November at Galerie Laurence Bernard. After that, I am going to spend three months in an artist residency to focus on new projects. Time is becoming a scarce resource! - Could you give any advice for aspiring artists? Follow your intuitions and don’t let the art world scare or change you. Hard work is more important than talent, and failures teach you more than success, so never give up! Galileo, 2010
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The photos with Caroline were shot by Sophie Tajan, the rest are courtesy of the artist.
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Alisa Aiv
photography Alisa is a Russian-born photographer who is inspired by the grandeur of natural light in every day life. We chat about her inspirations as well as her unconventional upbringing to art in a modern day Russia.
- How did you get into photography? I have been taking photos since childhood. Initially, my father took all the family photos, but I took away this duty from him. Later, I moved from shooting with an amateur camera to a more professional. Photography in Russia is not considered a profession – it is rather a hobby or it is used for entertainment. So, I am not formally educated in this field. I studied journalism thinking it was close enough to photography. - What fascinates you about light? I love to shoot in direct sunlight, it gives monumentality and grandeur to the objects. It is like a wonderful moment in a movie when everything is illuminated by the bright sun. - You are focused on shooting female models only. How does working as a woman with female models influence the mood and the photograph, in your opinion? Female models are more expressive and flexible, thus allowing for a larger range of images and emotions. I find it easier to introduce female characters, passing them through myself and trying it out on a model. The perception of men in Russia is very restrained, so retreating from the “standard” may shock. The male character is limited by rigid frameworks such as boys don’t cry, don’t smile, don’t make unnecessary movements, don’t feel any emotion. Of course, this prohibition has the unspoken, but ignoring them can cause a variety of effects – from confusion to shock. It’s not my goal.
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- Where do you live, and how do your surroundings influence your work? I live in Novosibirsk, the third most populous city in Russia. It’s often called the capital of Siberia. It is cold most of the year, and the surrounding reality is reminiscent of the “Silent Hill” movie. Also, it is very dirty and the city can be called “grey”. Most of the time I’ll try to shoot on sunny days only, and not in typical places, opposing to all they greyness. It is like “catching the moment”, but instead applied to the time and place. - Is your photography celestial? Yes, definitely. I love using skies as backgrounds and the light that is available only on a very bright day. - Where do you draw your inspiration from? For me, an idea for a shooting starts from a place or any object. I’m beginning to think about how the model may interact with it: what she would do, how she could act, what is her mood, etc. I am usually attracted to big, clean spaces, for example, a white cyclorama could be such a place.
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Manita Songserm
graphic design
Thai visual designer Manita possesses a great skill creating work that balances both art and graphic design. We ask her about the concepts of graphic design in Thailand as well as her plans for the future. (-1) “The great artist of tomorrow will go underground” - Marcel Duchamp Poster and booklet, 2015
- Tell us about your background! I am a freelance graphic designer from Thailand. I started my career in 2013 as an exhibition graphic designer at Bangkok Art and Culture Centre (BACC). By working with experimental concepts and also applying various methods, I created works that are in between art and graphic design, which has been my preference since I was a student in the design school. My current style is influenced by Dada’s installation art and minimalism, focusing on communication through typography, which is sometimes arranged to create spaces, creating images known as typewriter art. - Tell us about graphic design in Thailand – since most of the design world is evolving around Western culture. What’s the difference designing in your own language vs with latin influences? It is not so much difference in terms of aesthetics since the foundation in design was initially obtained from the West. A little difference may arise from languages and the characters used, but, in my opinion, excellent design must be universal, and able to convey the same message after all. - What’s the future of graphic design in your opinion? Design is becoming a crucial factor in economy. Also, people nowadays become more aware of its importance, concerning the fact that nothing will be recognisable unless it has it’s own identity. This identity can be established and set the direction by, of course, the hands of designers.
Resort Poster and pamphlet, 2013
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Always Poster, 2015 Ficciones Typografika
- Several of your projects are “celestial” – you work a lot with tiny things that together create a whole. What fascinates you working that way? At the beginning I am interested in arranging font elements in a pattern form. Then, it becomes like arranging characters with typewriter’s keystrokes. I experiment with this method until the characters overlay with one another, finally producing a picture. I appreciate typography thus adapting its technique with my work. The final product becomes a mixture of neo+geometric+ digital, and sometimes scientific, too.
(-1) “The great artist of tomorrow will go underground” - Marcel Duchamp Poster and booklet, 2015
- Where do you draw your inspiration from? From everything surrounding me and each piece of work I had the chance to create at that time. When I am obsessed with a particular topic, I do a lot of research reading, and looking for pictures related to it. I enjoy discovering new things in that process. - What are your future plans? Making more individual graphic art works, having the chance to co-work with artists in various styles and, still being happy with my career.
Run & Learn Projects & Art Guide Thailand Book, 2015
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Ian Lanterman
photography Vancouver-based fashion photographer Ian Lanterman possesses a constant fascination in the manipulation of light. We talk to him about his creative process and how he balances his photography with his other skill in music.
- Which part of photography fascinates you most? Fashion photography has always fascinated me, although I never saw myself working in that field or really thought about shooting it. It’s more of a recent development. I also love still life. - What’s your background? I went to school for music and briefly worked in that field, but quickly realised that it wasn’t what I wanted to be doing as a career. An opportunity came up which allowed me to work in a photo studio part time. It wasn’t glamorous work by any means, but I think that it really pushed me to start working for myself. It also developed my confidence posing and working with models. I can’t really remember not taking photos though. I’ve always had a camera. - What is your creative process? Do you follow any routine? What are your mediums? How does light play a role in your works?
Hair and Make Up - Redia Soltis Model - Brenna Holler Assistant - Malcolm Lam
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I’m very technical and process driven. Almost obsessively... Sometimes I’ll be trying to sleep, but I can’t stop thinking about lighting haha. It can be really debilitating at times. I do follow a pretty specific routine, but I always leave as much room for spontaneity as I can. I feel that I constantly need to surprise myself and that never happens when shoots are too planned out.
I go between Medium format and 35mm, but I’m also shooting a lot of digital. I feel like digital lends well to the aesthetic I’m trying to achieve with my product photography. Lighting plays an integral part to my work and it’s something that I love experimenting with. It dictates so much and determines the posing and even styling. I’m always trying to achieve lighting that doesn’t exist in nature but doesn’t seem entirely unnatural. I love imagery that has an inherent stillness and the lighting that can give you that. - You’ve are making music on the side – how does that influence your photography (or vice versa)? Do you think it’s important to be active artistically in many fields? Music has always been a really big part of my life and I feel that there are many parallels between the two. I’ll often approach music and photography with the same mind set. I’m constantly looking back in time to find inspiration. I love finding those tangents an artist never seemed to fully realise on an album or in a series of photos. It might be something that only you pick up on, but I find those moments really inspiring and an interesting ground to explore. I also love the photography on album covers. Particularly Japanese albums from the 70’s and 80’s. Both the music and imagery from that era has had a huge influence on my work. - Tell us about the photos you consider celestial! These photos shift their focus towards an inquiry into ephemerality. We observe the subject from multiple perspectives and applications of Spring’s almost celestial light. We catch glimpses into texture, not only in the fabrics, but also the fluid movements of the garments themselves. Though the subject remains obscured, we observe and remember the sensation of sitting in the radiant Spring light.
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Alina Asmus
photography
After making the leap from fashion designer to fashion photographer, Alina’s journey has allowed her to develop an understanding of the medium through a whole different perspective. She discusses her inspirations and plans after her recent move to Paris.
- You’ve recently moved to Paris – how does being in the city influence you? Why did you choose it? After living in cities like Tel Aviv and London, I felt it was time for a change again. I visited Paris more often the last couple of years and developed a real connection to the city. It gives me a lot of new opportunities, experiences and challenges, not to forget a new language. For the moment this city has the energy I need. - You went from fashion design studies to being a photographer. Tell us more about your change and the reason behind it. Looking back now, everything came very naturally. At the age of nineteen I moved to London to intern for the label Peter Pilotto, and this was the first time I came in touch with fashion photography and people working in this industry. While being passionate about my design work, over the years I continued to be a part in this field by working for other brands, doing small projects of styling and actually organising photoshoots for my own collections. Nevertheless I never found anyone speaking my language and began to create things on my own. I wanted to speak my own language and show my own idea of beauty.
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It was during my time in Tel Aviv where I refined my style and started publishing my work. Living in Israel shaped me, my character, and my vision. Discovering all the countries’ contrasts, conflicts and beauties, lead me to completely new experiences. Since then I’ve been focusing on my photography. - Where do you draw your inspiration from? My inspiration comes from all sorts of places and areas, with a focus on architecture, movement, feelings and gestures. -You use a lot of natural light in your photography. What fascinates you about it? The phenomenon of natural light and shade was the first thing that fascinated me about photography and of which I actually took my first pictures. Pointing out that the light in the Middle East had a strong impact on my work, it felt very special to me. I just wanted to capture it all the time. To conclude, it gives me the effects that I need for my natural and clean aesthetic.
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editorial
Out of silver sands
Photography: Amber Mahoney Styling: Lela Maloney Featuring pieces by Amber Day Model: Julia Belyakova of New York Models Makeup: Katie Mellinger Hair: Andrita Renee Shot in New York, USA
AMBER DAY - AMBER-DAY.COM AMERICAN APPAREL - AMERICANAPPAREL.NET CARLEEN - CARLEEN.US ERICA WEINER - ERICAWEINER.COM FAMILY AFFAIRS - LOVEFAMILYAFFAIRS.COM MARYAM NASSIR ZADEH - MNZSTORE.COM OMONDI - RECHOOMONDI.COM SAMANTHA PLEET - SAMANTHAPLEET.COM SUPERGA - SUPERGA-USA.COM SUZANNE RAE - SUZANNERAE.COM 7115 BY SZEKI - 7115NEWYORK.COM
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Foil scarf - Stylist’s own; Top - American Apparel; Coat - Amaber Day; Pants - Samantha Pleet
Worn throughout: Silver stud - Model’s own; Gold earring - 7115 By Szeki; Rings - Erica Weiner; Socks - Stylist’s own; Sneakers - Superga.
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Top: Foil scarf - Stylist’s own; Top - Maryam Nassir Zadeh; Pants - Amber Day Left: Sweater - Amber Day
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On previos spread Left: Sweater - Amber Day Top: Tutrtleneck & Raincoat - Amber Day; Jeans - Samantha Pleet
Right: Coat & Pants - Amber Day; Top - Stylist’s own Top: Top & Pants - Amber Day
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Merel Bos
fashion design
- How did you get into fashion design? What’s your background? I clearly remember how for many years I wanted to become a teacher until one day I happened to visit an open day at the tailoring school situated in Amsterdam. Something about the beauty and complexity of making clothing really hit me. I was interested in exploring how the matter of a 2D fabric can become a 3D silhouette. However, after doing three years of technical training this education could not satisfy me anymore as my interests already started to turn in the direction of art and fashion. I chose The Royal Academy of Art, The Hague as my next step to becoming a fashion designer because of its diverse workshop possibilities and different departments. I was now surrounded by other students studying different disciplines, such as fine arts, photography or graphic design. To be influenced by not only fashion is very important to me. - What do you base your colour choices on? My colour and formal choices clearly depend on the concept and message I’m bringing forward with my collections. For instance, my graduation collection “Jump into the Baakisiimba!” has an ethnical influence and the photographer Lorenzo Vitturi was a massive inspiration. His book “Dalston Anatomy” deals with capturing the essence of a market situated in England that is soon to be closed. Every single image is so vibrant with colours of spices, plastic bags, fruit, headpieces of women visiting the market etc. The atmosphere created in this photo book was the basis for my colour choices. Furthermore, my collection is meant to be inviting, vibrant and unique, which means colours have to be bright and joyful but as diverse and as many as possible.
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Merel’s final fashion collection ‘Jump into the Baakisiimba’ expresses a vast array of style and techniques aimed to represent society’s need to connect in its uniqueness. We ask her about her process in this exciting project as well as her plans for the future.
- What is celestial about your works? The previous collection “POP” was based on a feeling we often have in our stomach when something exciting happens, or just at the pinnacle of a moment, for example, when you just reach the peak of a roller coaster. Reaching the climax. To illustrate the fullness of this feeling I used a lot of round forms made out of felt, as it is a thick material and creates a sculptural feeling. However, because this peak moment has a lot of lightness and feeling of lack of gravity in it, I used transparent fabrics and made sure the contrast of lightness and big, full forms remains prominent. I agree there is something celestial about my collections, but it derives from my urge to constantly exaggerate my daily observations and experience life always in a more intensified manner than people actually do. My collections are my way of responding to life.
“POP” Photographers: Luka Karssenberg & Daan Liu MUA: Malou Bos
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fashion design
Merel Bos
- Your designs are very eclectic, combining embroidery, pompoms, pleats, print, and so on. Can you tell us about these processes and your thoughts behind them? What is your reason for using such a broad variety of techniques?
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“Jump into the Baakiisimba!’ Photographer: Olya Oleinic MUA: Marije Koelewijn.
The use of multiple different techniques serves an important role in illustrating my concept. “Jump into the Baakisiimba!” discusses my observation of the fact that people today seem less and less interested in joining a group. Everybody wants to be unique. Ironically, this causes isolation: the more someone tries to differentiate themselves, the more they blend together. I don’t believe should repel the formation of groups, but instead create a new kind of group: one in which everyone can be unique, yet still share a collective ideal. I conducted this idea through the technical aspect. I deliberately chose moulage, a very open manner of designing forms and shapes, in nearly every piece of my collection. This created very dynamic, unique images throughout my designs. I also put a lot of emphasis on different techniques such as embroidery, silk screen printing, punching, digital printing, painting, etc. Like most groups, mine does not intend to scare people off, but invite them in. Everyone can belong to this group, regardless of origin or ideals, because in the end we’re all part of the same species.
- Where do you draw your inspiration from? As I mentioned before, I’m constantly inspired by observations and magnified experiences of daily life. Besides this, for years, I have also been triggered by the traditional and festive costumes. For example, I love the Samhain costumes up until the 19th century, before the Gaelic celebration officially became the celebration of Halloween. There is something deviant about it, which might scare people off, however, I like to take the form and create it into something inviting and imaginative. - What are your future plans? Whilst working on my graduation collection I was so busy with print making that it became a very personal, collection-unrelated study of its own. I might be interested in taking this to the next level in the future and maybe even consider doing a study in this field. Besides that, I feel very open for collaborations with other artists in different disciplines. For now I will leave a lot of options open and try out my hand in several different directions. Weirdly enough, I am also very passionate about cooking so I am curious to see if it can somehow be combined with fashion. - How did your approach to the previous vs new collection differ? There is a big contrast between the two of them. I look at my previous collection as a step toward my graduation collection. It was also the one I started to use moulage technique, which allowed me to make forms that I couldn’t execute while working in 2D, therefore opening my mind towards more daring possibilities. In my graduation collection everything regarding form, colour and technique is executed hundreds of times bigger, brighter and with absolutely no limitations. This year I felt like an explosion and decided to go for everything or nothing.
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fine art
Chaya
After drawing direct inspiration from celestial bodies and the universe, Australian fine artist Chaya has created an incredible collection of abstract images using a variety of media. She talks of the importance of the internet in promoting her art and her plans after graduating high school. - How did you start with your series on celestial bodies? I think it was just a natural movement. I don’t really make anything for the sake having something to say, I just make for the sake of making. I try not to consider why I draw the things I do; I think it’s more interesting to let others do the work. At a push, I guess I’ve always been interested in infinity, the universe. But for me drawing stars and the depth of space stems from merely the need to just sit down and create. It’s all rather subconscious. - How do you base your choice of medium? How does the medium matter in the creation process? Comfort, mostly. Graphite is what I know best, I know how to control it, I know what to expect from it. It doesn’t give the effect that any other medium could give – it’s incomparable. I think the creation process is very important to look at. The medium plays a large role as well, obviously, what you’re using influences how you make something. - How do your surroundings influence you? I’m stuck on this question! Although my work mostly consists of visions of the environment, they are not images from my direct surroundings. Growing up I was very interested in science – astronomy / geology / meteorology. I spent a lot of my childhood in the school library buried in the various books they had, mesmerised by images of the deep ocean and the infinity of the universe. I think I’ve always looked for surroundings that seemed impossible and were separate from my immediate reality.
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- Tell us about Australia’s young art scene? Where do you see it, and where do you see yourself in five years? I’m only ankle-deep in Australia’s young art scene. I don’t really read that much art news or interviews or papers or anything outside of my immediate circle. I’m very sheltered, I guess. When I do see it, it’s a select few of online friends. My whole world is on my Macintosh right now. In five years I hope to be alive, at least. Functioning would be a blessing. Success would be a miracle. I want to study history (mostly Ancient) at university so hopefully I’ve done that. I plan to study a lot, read a lot, listen a lot. I hope I’m not homeless and am doing what I love. I hope to have not given up on my art just yet. I’m moving past drawing the cosmos, expanding myself, so who knows what sort of stuff I’ll be making then? Maybe I’ll write a book! Shortly: I’m curious and very excited for the future. - How does the internet play a role in your art and for the promotion of it? Not to sound trite, but if it weren’t for the internet I probably wouldn’t be where I am in my art. Being able to connect with other artists at such a young age has allowed me to develop my style, to push me to make more and aspire to be better. The internet has also connected me with many supporters of my work. These people have really encouraged me and helped me keep going in times of infinite self-doubt. I’m very grateful. - What inspires you? I try to get most of my inspiration from outside of the art world: clouds, trees, light, water, earth, space. Anything intricate, tedious, repetitive, vast. Nature mostly. I am also inspired by a lot of Jewish literature (such as Schulz) – there are often descriptions of the cold, forests, meteor showers, comets. The imagery is really beautiful and the stories always resonate with me. I always develop some sort of setting in my head and want to recreate it.
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Self published, limited edition of 200 ..... /200
Any kind of reproduction of this paper is prohibited All rights belong to the photos’/artworks’ owners. Design, AD and interviews by Angela Blumen.
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