Into The Void by The Manifold Magazine

into the void

manifold

fall/winter

the a unisex magazine for the independent age. art. music. fashion. profiles.

illustration x sam castro

letter from the editor into the void “Bad luck is patient, bad luck will wait.” I saw this phrase on the cover of a self published ‘zine by Matt Merkin and it got me to thinking... I hate to be a negative Nancy but sometimes it feels like that bad luck hits you once, then over and over and over again. That’s perhaps why I chose the theme for this issue: Into the Void. But out of that bad luck or darkness or negativity something else comes with it. As an artist I get some of my best work out of those times. I need to remind myself of this while I’m there. And while I’m there I often wonder who else dwells in the void with me? Who else revels in the darkness like I sometimes do? What comes of that darkness? This issue is half about that and half about being grateful for what already is.

---Napua Camarillo Editor-in-Chief

This issue is dedicated to my cat Stinky, whom I hope will find his way home one day. :(

We are thrilled to have some new contributors to our team. They are all very talented and amazing people we hope stay with us for a while! If you want to contribute please shoot us an email at TheManifoldMag@Gmail.com

contents

Art

Skate

Profile

Skate

Surf

Profile

Fashion

Profile

Music

Artist Jackie Gallagher paints the dead and we’re all about it!

We got that new new from local skate brands on some of the badest skaters.

Krystle Wright takes photos. Not your average photos-- check her out.

Big Island boy Dusty Owens tells Shane Reilly why he’s a ShittyKid.

Describe the Fauna, a photo duo, take a morning with Abi while she drags out the longboard.

Surf photographer Sean Davey shows us his latest collection of photos and talks story with our new writer Gui Alves.

Amanda and Cynthia attempt to make a run for it in this badass Ford Falcon. Shot by Adam Jung

One monster created by one illustrator compared to another monster created by another illustrator in our Versus section.

Visual artist Nathan Bell talks about the evolution of his art.

Lily Meola tells us about what it’s like to be under the wing of Willie Nelson.

4 questions

contributors

with Rose Jaffe

Rose Jaffe is an artist hailing from Washington, D.C. She is known for her bold line work in both drawing and painting, with a focus on portraits and the human body. She aims to use her art as a functional tool for social change, drawing on themes ranging from women empowerment to the environment. We finally caught up with this busy lady and picked her brain on the scene, what keeps her going and what’s up next.

DESCRIBE THE FAUNA (DTF) is the creative collaboration of Kelsey and Zivi. Currently based in Southern California, they work together to create imagery that is inspired by their love of culture, adventure, and music. Their bio photo was taken inside of a hotel made entirely out of one giant redwood tree in the 1950s. Kelsey and Zivi have 2 wonderful contributions in this issue, with “Early Morning Stoke” on page 38 and the photos of Nathan Bell on page 64.

JASMINE MANCOS was born in the back of pink Cadillac, and raised in Michigan, where her love of nature and all things cute manifested in her youth by chasing kittens and butterflies. No, but, really. She attended the University of Michigan, where she double majored in History and Women’s Studies. She is the mommy to Little Mint Julep and Little Nicole Jones (don’t worry, they’re cats), and just like any other young woman, her hopes and dreams include becoming a K-Pop sensation and owning more wigs than Cher.

Check out her stories on the next page and on page 70

GUILHERME ALVES, born and raised in Curitiba - Paraná, Brazil. Has been living in Honolulu since 2006 and when he is not teaching the DeRose Method at his School you can find him surfing Ala Moana Bowls, Straightouts, or riding pools and sidewalk surfing the streets of Chinatown. If you wanna find out more about what Gui teaches go to: DeRoseMethodHawaii.com Check out his interview with Sean Davey on page 44.

LILA LEE 27/F/HI likes bad dogs. She has a BFA in Photography from Art Center. View her Skatorial on page 20

SAM CASTRO Born in Japan and raised on the West side of Oahu, Sam graduated with a degree in history from U.H. Manoa. When she’s not slanging’ dranks, this bartender/book hoarder loves breakfast foods, cold beer, good whiskey, and talking shit. Her future plans include traveling to Europe, eating all the pizza and mastering parallel parking. Sam is the talent behind our first few pages.

How would you describe the young DC art scene right now? For me, the art scene in DC is ripe. There is a new era of pop up galleries and DIY art spaces that allow local artists a platform to show their work, build an audience, and unite a community around a creative culture. It is accessible and exciting. I am fortunate to have a studio space in the city where I can make work and also have shows, film screening, yoga classes whatever. The drawback is the city’s long term planning is not conducive to the spaces artists create. These areas are instead being stripped and developed, along with the creative culture that lived there. That said, artists continue to adapt and evolve with the ebb and flow of cities which I have no doubt will continue to happen here in D.C. For now, it is a wonderful mix of house shows and homemade art spaces, with a side of Smithsonian museum and galleries which gives the growing young DC crowd plenty of art to choose from. You’ve traveled around a bit, what made you return to DC? What inspires you about the city? When I moved home to Washington I didn’t think I would stay. I had my sights on the west coast, or maybe South America or Europe. But DC got me hooked. I was able to nail down a few shows within my first year back and continued to meet and be inspired by the artist community in Washington. The crowd was receptive to my work and pushed me to create more. I found an art studio with my partner and artist Graham Boyle and have been cranking on projects ever since. Having the space to create and a community ready to support it? Count me in.

How do you cure “artists block” what inspired you on a daily basis? Other than Pinterest? Just kidding… I am lucky to find inspiration in many spots. I am constantly inspired by my own friends, in their grassroots moves to make change here in Washington. I am inspired by my students, trying to make sense of this treacherous world while navigating their own adolescence, and also by the pulse of this small city I live in. Beyond the conceptual, on any given day I can bike 15 minutes down to the smithsonian, stand next to a Picasso, Suerat, Degas, Calder - you name it. The collections that come through the Smithsonian are truly a gift, and having access to it since I was a kid has no doubt helped shape the artist I am today. What do you have lined up for the future? I am part of a group show coming up at the Fridge DC, a street art oriented gallery space in SW Washington and one at Hole in the Sky, a live/work art space in DC that has a variety of art events featuring local artists. I am working on a larger body of work debuting in mid 2015. Always on my to do list is streamlining T-Shirt and printmaking, until then I will continue to make and sell one off at fun events here and there.

11 Endless path fired felt sunned g r a s s heavy eye blurred light faded stars sleept humbnail moon still awake mineral merchants busy carving mirages ahead mirages behind into aching eyes towards a pulling tide where the cosmos draw endless rips away at sea spitted sand chilling waters shared with seals complete fluke of nature.

road to skeleton By Trish Waters

Endless path

into aching eyes

fired felt

towards a pulling tide

sunned grass

where the cosmos

heavy eyes

draw endless rips

blurred light

away at sea

faded stars sleep

spitted sand

thumbnail moon still awake

chilling waters

mineral merchants busy carving

shared with seals

mirages ahead

complete

mirages behind

fluke of nature.

the manifold magazine create. submit. expose.

themanifoldmag.com photo x trish waters

r o

•

and heavy I always wake up before I get laid. Im even beta in my dreams. --Pat L 8. I have a dream where it seems I’m trying to push a gigantic glob of Playdoh through an open door way. The problem is- the blob is bigger and wider than the door. Haven’t quite pushed it through yet. The Playdoh is black too . And it’s a discouraging/ bad feeling dream. --Jenn M 9. I have a dream where my teeth turn to dust in my hand. The dream is so vivid that I when I wake up I immediately go to the mirror. --Julia S 10. I used to have this dream where I’m older and I’m driving a convertible in the middle of the desert with my boyfriend. And all of a sudden this black ball comes hurling out of the night’s sky. It crashes into the car killing my bf and I end up running into the nearest store which is vacant and creepy while this bat chases me up and down the aisles. Every time I’d have the dream more and more would be revealed. But it never came to a conclusion. I’d have that dream once a week when I was younger. --Jacqueline F 11. I’d always have this dream where Santa Claus was creeping in our house and I’m about to catch him but as soon as I jump out and say “Hey”, I wake up and never see his face. creeped me out for a long time and I never tried to wake up early on Christmas. --Ann D 12. I have this recurring nightmare that I’m in a coed bathroom with no doors. I always have to poop and dudes can see me and the floor is wet. --Adele B 13. Whenever I dream of kissing a girl in my dreams, my tongue stings me. Kinda like licking a 9 volt battery (the small square ones). It’s a weird sensation and I have no idea what it means. --Kieran R

l e t s

• 1. It’s another place I go when I dream that I’m familiar with but I don’t know where it is or if it’s even earth. If I had to sum it up there’s white marble pools with alien fish and a spiral train track on a green-ass mountain. It happens almost every night. It’s some past life shit! --Nick L • 2. I have a recurring dream that Michelle Obama hits on me. -- John R • 3. I had frequent attacks of sleep paralysis for a long time. I’d dream that I was awake in my bed and I couldn’t move and some crazy inanimate demon was sitting on my chest and trying to force its spirit body into my body through my throat. I wouldn’t be able to breathe or move. It was so gnarly. It happens less now but still occasionally. --Jen C • 4. Mine is inappropriate for any publication that you can buy without an ID. -- Josh H • 5. I live in a very cute tiny house all by myself, but the dimensions of the house and furniture in it are exactly my size; in the dream, my dad and husband can’t come in the house because they are too big and can’t even fit through the door. I love the house but hate that I can’t have company. Been having this dream for years! --Letti S • 6. I always dream that I’m descending a staircase at night and I reach a crowd of hundreds all wearing red. All staring blankly. I rush through the crowd and ask people where I am and no one responds. I never get anywhere, just wandering around the masses and hopelessly still asking. Then I wake up. --Sarah B • 7. In my recurring dreams I’m always being chased. Usually by the wolf from Neverending story, B-movie monsters or by aliens and UFOs. And every time I get caught or it gets hot

What’s your recurring nightmare?

B u

It is by going down into the abyss that we recover the treasures of life. Where you stumble, there lies your treasure. --Joseph Campbell

13 Bullets

1 3

word

Jackie Paints Dead

interview x james charisma images x jackie gallagher

The woman with the blank expression has an octopus-shaped tumor planted on the back of her head. Pale-faced waifs with rainbow unicorn horns stare with cotton candy hair and empty white eyes. Jellyfish monsters and stitched kittens. Cherubs eating blueberry pie. These are some of the paintings and illustrations of Jacqueline Gallagher, a Hawai’i native and “painter of zombies and the disturbed.” Her work juxtaposes the grotesque with bright colors and cartoon elements, creating hybrid creatures and people with the air of a Victorian-style portrait. In a recent series, the faces of celebrities such as Angelina Jolie, Adrien Brody, and Marilyn Monroe drip as globs, half covering the faces of classic film monsters like Nosferatu or the Swamp Thing. Despite the surrealism, Gallagher’s renditions of both the celebrities and the monsters are spot-on. We sat down with Gallagher over beers to find out more about her work and what inspires her creatures! Here’s a (fairly accurate) recap of the conversation.

17 JC: How did you get started with making art? JG: I was never athletic! [Laughs] I grew up with a lot of Disney movies and graphic novels, and drawing was always a passion for me. A lot of anime in middle school. Near the end of high school and during college, I got into classical art. JC: Has your work always gravitated towards featuring unusual creatures? JG: It comes in stages. Years ago, I created a lot of zombies, especially portraits. I guess I kind of felt like that going to school and where I was in my life at the time. Then, the focus became more about aliens and brain slugs—outside controlling forces, which was also where I was during that time. JC: It’s neat that it actively reflects how things are going with you. Not to say that feeling like a zombie or being controlled is neat, but just that your work is personal in that way. Did you grow up with friends and family as artists too?

JG: No, not really. None of my parents or siblings are artists, but they always encouraged me. In school, I was mostly solitary. I had a few close friends, but they didn’t really draw either. It was mostly something I did by myself. Now, it’s the same way. I usually work at home and really have to focus on it, be into it. I try to put it in hours every day, but some days, it doesn’t come. Some days, I paint for eight hours straight. JC: Wow. How long does it take you to finish a piece? JG: The larger oil paintings I do (two to four square feet or so) take about a month or so, but the sketches and smaller pieces, maybe a few days. Sometimes I have group gallery shows on the mainland and smaller pieces are easier to mail. Shipping gets crazy expensive with the bigger paintings! JC: I bet; where have you exhibited some of your work? JG: Oh, recently I was part of a group

19 show in Sacramento. Usually spots in California and New York, and a lot of tattoo parlors. And then there’s a taxidermy shop in San Francisco—Loved to Death—that features some of my work. I’m considering moving to Portland for a while, because there are a lot of opportunities on the mainland; galleries, clients, et cetera. Hawai‘i has a good developing art scene, but only a few places to showcase work. And the mainland is cheaper! [Laughs] JC: Ha, that’s true. How do people often interpret your work when they see it? JG: All kinds of ways. Sometimes they come up with all kinds of crazy backstories for the characters or what’s happening in the painting or image. Other times, they’ll just ask me to explain it. JC: Do you? JG: Nah. I tell them it’s just what they see in the painting, that’s all.

JC: Your work has a lot going on though; I could definitely see where their curiosity comes from. JG: Well, there’s a duality where the scenes have contradictions—these figures are beautiful and grotesque at the same time. They float through their worlds driven by needs like craving and vanity and addition, on display for the world while they slowly decay. When I paint, sometimes I think about who these characters are, but oftentimes they end up looking like me a little bit, self-portraits. JC: Eating blueberry pie? JG: Yes! Exactly. Check out Gallagher’s work through her Instagram account (@jackiepaintdead) or on her website (www.paintdead.com).

the

text x jasmine mancos images courtesy of krystle wright

Wright Adventure Excerpt from Krystle Wright’s Facebook page: Conversation with a random in the gondola, ‘You know when you play that game, what’s your dream job?’ ‘No, I don’t think I’ve ever played that game’ ‘Well what do you do for a living then?’ ‘I’m an adventure photographer’ ...’Damn You’

Twenty-seven year old adventure photographer Krystle Wright has followed her passion for the craft to the ends of the earth. Her love of storytelling coupled with a desire to explore led her to study photography in college but she says “I was never a good student. I had a low attention span.” While she worked as a photojournalist for several newspapers in Sydney, Australia, documenting mainly sports, she discovered that she didn’t feel she belonged there either. “Now a days you’re battling 80,000 people on the internet.” So she went after something that would last longer than a tic tac.. Soon enough a job led her to Baffin Island to shoot BASE jumping, she realized her true calling and decided to pursue adventure photography full time.

This has become more than her occupation or even lifestyle, she describes her work as “a mixture of passion and obsession” in a video sponsored by Canon Australia. Her photos are marked by powerful imagery and the ability to convey a story and is known for her striking photo essays. Wright’s work has been featured in Outside, The Red Bulletin, Inside Sport, Sidetracked, Australian Outdoor, Women’s Adventure Magazine, The Times London and National Geographic. She finds inspiration in the nature of the trade, trying to capture a fleeting moment and embody the soul of a place and time.

29 Her obvious determination to be in the midst of a story enriches her work as well as her experience, as she grows close to the fellow adventurers and athletes.

can perform either task and they serve as backups for each other. A koala on her key chain serves as a token of her homeland Australia.

Wright is truly a nomad whose home is on the road, traveling and shooting for eleven months out of the year. Her belongings are stored in shipping containers on four continents to facilitate her travels across the globe on each trip. Most recently, she adventured to the Palisades in the Sierra Mountain range to photograph alpine high lines. She hasn’t decided on where she’d like to settle down but mentions, “the ideal situation is to have a home where you can leave and go on a trip and be able to come back and have it be your place.” For now, Wright seems to be doing just fine playing the intrepid traveler, noting that “my friends say I’m a child of the universe.”

Many of Wright’s jobs require her to participate in order to get the shot-- anything from skiing, free diving, dodging 10 ft waves in Indo, paragliding, mountaineering or rock climbing, making her no stranger to accidents and injuries. She chipped her front teeth in China during a bicycling accident. She’s survived avalanches and extreme temperatures. Once, she completely lost feeling in her hands while waiting for skydivers to jump off a distant mountain taking pictures with frozen solid hands. Then she climbed back down alone because she’d made the journey by herself to get the shot. We asked her where her mind goes in these moments and what gets her through it. “I got a lot of griff from friends for doing that alone. I did think about polar bears, like, what the hell do I do if I run into

An obvious expert in light packing, Wright always bring two cameras, one dedicated to photography and one for video, though both

31 a polar bear? You become really focused on the task at hand. Putting one foot in front of the other and continue the pace. I try to give myself small goals, like, okay that’s my next point. When you’re hiking there’s something about hearing your own heart rate” In 2011, Wright was commissioned to capture Red Bull paragliders’ attempt to break the world altitude record. She traveled to the Karakoram mountain range in Northern Pakistan and prepped to ascend to 18,000 feet, where oxygen support is necessary. She was riding tandem with a paraglider when they had a bad takeoff and hit a boulder. She blacked out. She describes her 7 hour trip to the hospital as the most painful experience jolting her injured body over rough terrain. She received ten stitches on her forehead, had internal and bone bruising, two fractures, a torn ligament and a red eyeball for five weeks. Now fully recovered, she still has a scar to remind her of that day and is making plans to return to Pakistan. This chick’s so busy we had to let her go but she left us with something she’s learned from each adventure she’s gone on.

“Everything is a general appreciation for life. You always learn something about yourself. There’s no luxury, there’s no one waiting around the corner to help you. It’s just you in nature.” Wright’s stories run deep, her adventures are like dream sequences that we only hope to have and she’s inspirational in that she changed her lifestyle to fit her dream. Krystle Wright is our dream girl. You can find more of her work on her website WrightFoto.com.au OR on instagram @krystlejwright

DUSTY OWENS “I first met dusty at the House of Ramps in Hilo almost 15 years ago. I had just moved to Hawai’i and was helping build the park. I remember his mom would drop him off at the park after soccer practice - he’d be all geared up in his soccer jersey, shin guards, cleats and he would just jump on his board and start shredding. I don’t think he even skated before the park was built - next thing you know he’s doing nose picks and hand plants in the deep end! Since then, Dusty has solidified himself as an icon of gnar on the Big Island and an all-around good dude who anyone would be stoked to know. “ -- Dan Madsen of Oasis Skateboards

interview x shane reilly images x vi su

50-50

smith grind

SPR: Alright, so it’s 10pm and you are still on Oahu. Why are you still here? Dusty: Missed my plane SPR: Cause you got hurted? Dusty: Yeah, listened to you and tried some 22 stair rail, rolled my ankle, went hospital, got x-rays, missed my flight. Leaving

tomorrow, missing work. Shitty. SPR: What do you do for work? Dusty: Build houses. I was supposed to be on a reality beach front carpenter show on Big Island, but it never went down. SPR: So you were flying to Big Isle? Is

SPR: So you ever snowboard the volcano? that where you’re from? Dusty: Yep. Born and raised in Hilo. SPR: So you are from Big Island? Just like Kamehameha? Dusty: Yeah, (shakes his head) and what’s your point.

down cause rent was so high.

SPR: What music are you into?

He donated all the wood to what is now the Volcano Skate park, we built it together with volunteers. In fact, the original sign for the park said ‘Owens Skate park’ but they took it down because someone graffittied it up.

SPR: Uhhhh..... Since we are on Oahu it could be said that ‘I grew here, but you flew here.’

SPR: That’s a rad story. So, your dad skated?

Dusty: I guess, next question.

Dusty: Nah, he was a surfer. He had me surfing at 5, but I never stuck with it. He built the skate park to keep me active. I would skate there everyday after school.

SPR: How many years you been skating?

Dusty: Oh you mean Mauna Kea? Yeah. Done some big airs and even bigger bails on to my head there, people were tripping. Haha.

Dusty: Since 2000.

SPR: What’s the most famous street spot in Hilo?

My dad built me a skate park, “House of Ramps”, in Hilo. He spent all his money on it, not too many paid the entry fee, and it shut

Dusty: Prolly Liliuokalani.

Dusty: Cool rock stuff.

50-50

SPR: What music are you into when you skate? Cool rock stuff? Dusty: Reggae. SPR: Let’s do some word association. SPR: Mikey Albert Dusty: Super funny gnarly guy. SPR: Top Bar at A’ala. Dusty: Nothing (haha)

SPR: Outside of skateboarding what you into?

SPR: Back flips.

Dusty: Cliff diving. I love the hang time, just flipping around. All the g’s pulling your body outward. And snowboarding, you can just catch so much more air effortlessly!

Dusty: Sick...easy. SPR: Verna’s Drive Inn. Dusty: Good. Hilo 24hour fast food. SPR: On Oahu should we embrace the

drop-in

Coqui frog or fear it?

Dusty: Just enjoy the time you have before the Coqui. It’s inevitable. SPR: Haha, shit alright, Who are your sponsors? Dusty: ShittyKids, Oasis Skate Shop, Converse, Ace Trucks, Bones Wheels. SPR: What makes you a ShittyKid? Dusty: People from the outside world just automatically associate skateboarders as shitty. Like, me out of the spot. I know that they just feel I’m such a shitty person. Haha SPR: Yeah us ShittyKids need to stick together, shine the positivity through the general perception, haha. SPR: Thanks Dusty, you’re a true ShittyKid, 100% skateboarder, going forward ever backward never, unless flipping over a spine! For more on Dusty Owens visit TheManifoldMag. com for our online spotlight or OasisSkateCo channel on YouTube.

board slide

50-50

39 early morning stoke photography x describe the fauna modeled x Abi Rae at VISION LA Surfboard x Grain Surfboards

inspiration: a morning that starts out with coffee, that crisp morning air, and a few waves. No hair and makeup needed, no clothing to report. just a girl, a rad board, and no one in the lineup.

In the Shadows

interview x gui alves images courtesey of sean davey

with sean davey

Sean Davey hailing from Tasmania, Australia, has been calling the North Shore of Oahu home for the past 17 years. A very interesting, friendly chap, with a sense of style all his own, he creates unique images by always looking for different approaches and different ways of shooting photography. In a sea of modern day photographers his work stands out. Take a glimpse into the world of Sean Davey. Guiherme Alves.: So how did you start shooting? Sean Davey: By accident, sort of (laughs). I was coming back home from school and went to the beach to check the surf and the surf was really, really small. I wished that I could shrink down to the size of a cockroach and ride those waves, but instead I went home and grabbed this old camera that you had been given years ago. I went back to the beach and, properly composed the picture and took just one shot. When I showed it to my friends they were all like: “Whoa, that’s nice! Where was this?”. And a light bulb went off. (laughs again). And that was the start of everything. This was late October back in 1977. G.A.: And who was a major inspiration for you when you started shooting? S.D.: Oh wow, there were quite a few… There was this guy, Max Dupain, which was an Australian photographer, and I always appreciated his work. He shot really good black and white. His blacks were really black and his whites were really white. The contrast in his pictures were so good. That always resonated

with me. Also Warren Bolster. He was an innovator. One of those guys always looking for a different shot, a different angle and I take a lot of that from him. That’s what I like to do. If there’s 20 other lenses at the beach I’m gonna try to do something different, maybe shoot speed blurs. And I don’t mind missing the shot. What’s the point of getting the same shot as everyone else? I would much rather try and create something of my own. I always was inspired by those who push the boundaries a bit. Another guy who inspired me when I was young was Woody Woodworth, Californian guy, and I remember living in Australia and seeing all his photos and thinking: “Wow, America has some really good waves!”, (we both laugh) little did I know! (Both laugh again). But I mean his work was that good. I was convinced that California had the best waves anywhere, back then. G.A.: So you’re much more concerned about the artistic process and not just shooting a famous guy riding a wave? S.D.: Definitely. Let me give you an example: people shooting Teahupo’o, sitting in the channel, in a boat,

and going through a whole roll of film in one wave, this was back when we were still shooting film. I don’t see the point in that. I’d much rather wait for that innovative angle, for that innovative shot. Something that makes my shot stand out from the rest.

I like to create something that people haven’t seen before. Something that make people look a second time. Anyone can shoot a “great photo”. I wanna take a really great photo. G.A.: And what do you mean by “anyone can shoot a great photo”? Do you mean it is too easy to shoot with all the technology we have nowadays? S.D.: Well, yeah. Nowadays you don’t need to know much about photography. People just point and shoot. Maybe they change the settings a bit. But it doesn’t matter. You’re not shooting film, if you mess up you just keep shooting. Where when you shoot film and you mess up a whole roll of film, you’ll remember next time (laughs). So the experience is different. People don’t gain as much knowledge from it. Way back then (when I was shooting Kodachrome) I had to wait two weeks to see the pictures that I shot. Two weeks! Very different from someone just pointing and shooting, pointing and shooting. People don’t acquire the experience that we had to have when we used to shoot film. So that’s the main difference. G.A.: I know you do really great black and whites and speed blurs, but is there anything in particular that you really like to shoot more? S.D.: My “Shadow Land” collection has been the big thing for me in the past year or two. I always

have been drawn to shadows and silhouettes and strong blacks and whites, that kind of thing. I have this image that I shot of these swimmers at Waimea Bay from several years back, and I took this picture looking straight into the glare, it came out looking like it was black and white even though I shot it in color. G.A.: It seems like the inspiration for those shots are much like the composition you would use in black and white, right? S.D.: Well, there are a lot of influences coming together to create “Shadow Land”, from my early influences with Max Dupain and his black and whites, to panoramics, as there are a lot of panoramics in my “Shadow Land” collection. And color, I always been into intense colors. It doesn’t have to be oversaturated, what I like is when colors are separated into blocks. A big chunk of blue or a big chunk of red, it makes it look very much like art; I like bold colors and contrasts. But in “Shadow Land” I wanted to also show the human form. So it’s not about shooting someone in specific, no identities. And I feel like people get really into that. I feel that they can “transport” themselves into the image as there is no clear identity and that allows them to imagine themselves in that picture. Also, some of those pictures were taken years ago and some of them were taken yesterday. I don’t necessarily try to make my images look like they were taken at any particular time. With over 140 magazine covers and a career that hax spanned for over three decades it is clear that his work is here to stay. If you would like to know more about Sean Davey look for his social media outlets: Instagram: @sean_davey Facebook: facebook.com/SeanDaveyPhotography and his website at www.seandavey.com His art is also available at the Aloha Gallery at 62-208 Kamehameha Hwy, Haleiwa and North Shore Soap Factory at the Waialua Sugar Mill.

E H T

RUNAWAYS photography x adam jung styled x napua camarillo &and jasmine mancos hair x andria lopez at JSalon makeup x isabella hashimoto modeled x cynthia jane &and amanda k. duke

inspiration: bell bottoms and bright colors to see the rest of this editorial visit themanifoldmag dot com

L : hat x f21, kimono x astr, dress x free people, boots x doc marten, thrifted necklace; 2nd down: top x f21, sunglasses x f21, bell bottoms x mother (the cruiser), wedges x mossimo; 3rd down: top x chloe k, stylistâ&#x20AC;&#x2122;s own dress, belt x barrio vintage, hat x truffau (casablanca), vintage necklace. R- rings x independent free trade Thai jewelers (the family tree in Hua Hin)

L: necklace x f21, stylists own crochet tank, modelâ&#x20AC;&#x2122;s own bathing suit top, shorts x the city, stylists own boots, bracelets x f21; 2nd down: top x bp, bell bottoms x mother (the cruiser), vintage necklace, scarf head wrap x f21, earrings x barrio vintage; 3rd down: hat x truffau (super wide brim), top x bp, shorts x volcom, necklace x independent free trade Thai jewellers (the family tree in Hua Hin), vintage bracelets, ring x f21; R: vintage tassle earrings, top x mish mash vintage, vintage bell bottoms, wedges x mossimo.

What challenges you and your art?

For this challenge, was there music you listened to to accompany your creation? If so, what was it? I've been listening to the band Geographer a lot lately. I've particularly been listening to their album called Myth. I really love the song The Boulder. Walk us through your creation process.

The monster I made is from an abysmal dimension. It is harmless from a distance, but if you get too close you will begin to smell something vaguely like burnt rubber, and then you'll pass out. You could be unconscious for hours to years before you awake. Holding your breath won't help so make sure to avoid this creature at all costs! Where can we find your work? You can follow me on Tumblr at: danielhshaffer.tumblr.com/ website: daniel-shaffer.com

I think the biggest challenge is usually myself. It can be hard to overcome my own doubts so I have to find a balance between listening to myself and ignoring myself.

Tell us about your monster: Does it have a name? Where does it live and what does it do? What does it eat?

u s r

Favorite tool in your arsenal? A fresh cup of coffee!

Into the Void makes me think of entering a place that is silent and endless. I would imagine you could find all sorts of bizarre things that have become lost there.

I knew I wanted to be an artist since I was a little boy. I haven't looked back since. I recently graduated from the Maryland Institute College of Art with a B.F.A.

What does the phrase "INTO THE VOID" bring to mind?

Tell us a bit about your background in art.

Name: Daniel Shaffer Age: 22 Hometown: Decatur, GA but living in Baltimore, MD Occupation: Freelance Illustrator Medium: Photoshop CS6, Wacom Intuos Tablet, Kyle T. Webster's Gouache brushes Years in the arts: Since I was a little kid

My process isn't very organized. A lot of how I work is based on trial and error. Part of the reason why I use Photoshop instead of a traditional medium is because it allows me to make really quick changes. If I didn't work digitally I would most likely go through hundreds of sheets of paper before I even thought I could start on the final piece. I'd probably also make a huge mess. I typically start by making blocks of color and play around with different shapes until I find something that I like.

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We asked 4 very bold and different artists to give us their interpretation of a monster they’d find In The Void. Here are their creations one VS. the other.

u r e v

Definitely the demand for stability- a longer project will need an established or steadily evolving aesthetic for visual coherency, but for a young illustrator it is best to always try new things! It has been challenging to match story ideas and drawing styles, especially when they are both changing so often! For this challenge, was there music you listened to to accompany your creation? If so, what was it?

This monster is a super shape shifting cyberspace invading interstellar travelling man eating cyborg criminal mastermind! Each separate process its body runs, self-identifies- it has lived countless tiny lives and had many, many names! The pair of hands at the bottom right are ‘Mikke’. The uppermost mouth goes by ‘Yuri’. The mass of limbs at the top right are in perpetual identity crisis, unable to decide between ‘Marduk’ and ‘Stjepan’. Where can we find your work? keksesmlikom.tumblr.com

What challenges you and your art?

Tell us about your monster. Does it have a name? Where does it live and what does it do? What does it eat?

Always changing! Right now it is the Sakura Micron pen (005 and 02 gauge).

Space!!!

Favorite tool in your arsenal?

What does the phrase “INTO THE VOID” bring to mind?

I have been drawing and writing for a while! My technique is mostly self-taught, but I have also spent some time in university and design school. I mention my writing because it is very close to my drawing, and the two often help each other.

Okay! Sometimes I draw small thumbnails to understand the composition of a picture, but for this project I already had a composition in mind. I doodled a rough image on the final production paper, inked the drawing mostly on impulse, and completed it with colours and digital elements in GIMP 2.8.10.

Tell us a bit about your background in art.

Walk us through your creation process.

Name: Pavao Bukovčan Age: 19 Hometown: Oakville, Canada Occupation: Student Medium: Pencils/inks and digital colours Years in the arts: 6

Hmm... not this time, actually! This picture was completed during a few science fiction films, podcasts, and in the stairwell at a wedding reception.

VS s u s r e v

It seems like everything about art is challenging. Every new piece is an opportunity to do something more beautiful, more horrifying or more meaningful than the last and a lot of the time you feel like you failed. I keep a lot of very good artists for friends and seeing them improve and flourish keeps me motivated to do better and learn new techniques and try out subject matter that I wouldn’t otherwise.

I think about the unplumbed depths of the ocean and the horrifying infinity of outer space. And I wonder what is lurking just out of sight in both. Tell us about your monster: Does it have a name? Where does it live and what does it do? What does it eat? This little guy has no name! I’m confident that he is from the bottom of the lonely sea. He spends most of his time eating rotting whale and fish carcasses and is absolutely ecstatic to see deep sea explorers wander through his dark habitat. (Though they might not be too excited to see him.) Where can we find your work? autumnhaynes.tumblr.com facebook.com/AutumnHaynesIllustration teafortrolls.tumblr.com/

What challenges you and your art?

What does the phrase “INTO THE VOID” bring to mind?

The brushpen - it’s convenient for travel and makes for great fluid line work.

It all starts with the sketchbook. I keep it around at all times and whenever I have an idea for a character, a comic or I see something inspiring, it goes into the book. Keeping a regular sketchbook is great fodder for the creative process. Whenever I’m strapped for ideas I go back through my old ones and pull material from them. Later once I have an idea in my head I start drawing and inking with traditional media. From there it ends up scanned and in Photoshop for coloring and painting.

Favorite tool in your arsenal?

Walk us through your creation process.

Like most artists I started drawing as a kid and just didn’t stop. After going to college for art I worked a string of strange jobs trying to get a handle on a career in the arts. They provided a lot of good material for my auto-biographical comics. I’m now currently doing freelance illustration and design. I’ve been doing more comic work recently which is pretty exciting.

61 e

Tell us a bit about your background in art.

Usually when I’m drawing I put on a podcast like “Welcome to Night Vale” or something relaxing like Lullatone or Nick Drake. I require a lot of focus when I’m sketching out my lines and music that’s too energetic distracts me. When it comes time for inking and coloring I’ll put on something fun like Professor Elemental.

Name: Autumn Haynes Age: 28 Hometown: Bland, VA Occupation: Illustrator Medium: Mixed Media: Traditional/Digital Years in the arts: I graduated from Virginia Commonwealth University in 2009 so I’ve been working as a professional artist for about five years now.

For this challenge, was there music you listened to to accompany your creation? If so, what was it?

Name: Ahmet Özcan Age: 29 Hometown: Mersin, Turkey Occupation: Freelance illustrator, student of graphic design master’s degree Medium: Traditional and digital mediums Years in the arts: 2014

Void is very precious for me. I pay attention to voids in my life and my works. Each space has meaning. You can-anything-- in space, so you can see other creatures in my spaces :)

I follow many comics, traditional and digital artists, T. V. shows, music groups. They also give me inspiration.

Tell us about your monster: Does it have a name? Where does it live and what does it do? What does it eat?

What does the phrase “INTO THE VOID” bring to mind?

Favorite tool in your arsenal?

They do not have a name but belong to the same place(s). Not need eat something, just need lines to live.

Pen, paper, canvas, wood, markers, watercolors, oil paints...

Where can we find your work?

What challenges you and your art? I challenge all of nature and human rules. Therefore haunted by a new idea every time. I’m always trying to find new ideas. This way my works can be unique.

ahmetozcan.tumblr.com behance.net/ahmetozcan instagram.com/hayallerevi And my print shop: artrebels.com/shop/stores/houseofdreams

I’m often influenced by a film or an illustration done by someone else. If something alive in my mind, I draw sketches. After that choose a media and some materials. This is usually a small work or digital work, because I do not have a personal studio yet.

Walk us through your creation process.

I’m drawing since five years, love design and drawing creatures (robots, monsters...). When I was child, I used to imagine the creatures living on another planet. And there would be no problems and wars, everyone lived in harmony. So I started designing creatures of this planet. Each carrying something from me.

Trip-hop musics and other electronic sounds are activating my feelings. Sometimes Alco classical music is good for that.

Tell us a bit about your background in art.

For this challenge, was there music you listened to to accompany your creation? If so, what was it?

NATHAN BELL

interview x napua camarillo images x describe the fauna (dtf)

Visual artist and entrepreneur, Nathan Bell, makes us want to drink whiskey, listen to vinyl and howl at the moon. I caught up with him finally (after three failed attempts on my part) and chatted on the phone about San Diego, art in general, and the life of a freelancer. So sit back, grab a scoach of scotch and grow out your beard, buddy! Napua Camarillo: I noticed you have a 619 number. Nathan Bell: Yeah, I lived in San Diego for a while-- about 10 years. That’s where I moved from Michigan. Now my gf and I have been up in LA for 5 years. NC: Crazy, I was there at the same time as you. We probably bumped into each other and didn’t even know it! NB: Yeah, I went to the Art Institute, which I have mixed feelings about. NC: Ah, yes, I’m familiar. I went to State.. unsuccessfully. HA! How did you feel about San Diego? What

made you want to go from SD to LA? NB: It was kind of just a natural progression. Work and different ventures kind of just moved us up the coast. I got a job at Solpak for Etnies up in North County. Opportunities just kept moving us up. San Diego is just a different vibe. It’s a little slower and more of a beach vibe, where as LA seems more progressive and we’ve met so many people that’ve been super helpful and doing all these fun projects and down to collaborate and are super supportive. NC: Definitely. I feel like LA has more of a work push to it where as SD is a bit lazier. NB: Yeah it’s a good place to post up. NC: Talk to me about your art progression. Where did it enter your life?

NB: I’ve always done art stuff and done creative type work from an early age. In high school I honed in on the whole design thing. And I think I just luckily saw that I could take art and make it a practical job. I latched onto graphic design early and went to school for that. It was probably about 4 years ago, and from meeting people in LA and seeing the scene here and getting some encouragement that I started branching out of the standard design bubble that I was in and doing more fine art based stuff and getting into shows and working on more painting and drawing. It was a kind of a reverse progression and it went full circle. NC: What do you like about freelancing? Or do you like it? NB: I’m pretty new to it. I’ve always had a nine to five. But I was able to do a lot on the side. I find the less time I have the more I get done. In a weird way I was super productive. I’m still feeling it out, it’s definitely a challenge. It’s cool being able to freelance for different companies though. When I was in-house for Foundation or for Etnies it was limiting to where I couldn’t really do stuff for other people cause it was a conflict of interest or I didn’t have the time. NC: You have a pretty nice body of work. I see that

you’ve worked for Etnies, Transworld, and The Quiet Life. Tell me about your interaction with them. I noticed you have a tee with them that’s classified under the “Camera Club” what’s that all about? NB: Well I’ve known Andy for a while just from the industry, and now that we’re up in LA and we’ve become closer friends with them. And the first thing was that

“Camera Club” where people will submit photos and sometimes they’ll end up on clothing. Recently I did The Quiet Life tee for FYF (Fuck Yeah Fest). NC: Tell us about your artistic process. Do you have a brainstorming session and add some music and pump it out? I know you mentioned that you work better under pressure, does that mean you kind of leave things to that last minute? NB: It depends. If I have a certain deadline, I’ll want to think about stuff for a long time, write down ideas.. when it gets closer I’ll quickly execute the ideas. But if I have a lot of time... I like to put out a lot of different ideas. I think it’s bad to over think things too much. I like to put out as many things as I can then edit it, because I think... you’ll miss out on ideas if you over think it. NC: When you’re working do you have a particular music that you listen to? Or what’s on your playlist now.

Always music. Music is constantly playing. Lot of classic rock. Bruce Springsteen, Warren DeVon, and Electric Light Orchestra but also newer stuff, the new Goat album is good.

NB:

The new Shellack album. A lot of hip hop... Wu-Tang, Ghostface. I don’t get too stuck in one artist or genre. NC: Okay so tell me about Beard-Buddy and how it came about. NB: Beard Buddy came about from my friend Gareth and I who I used to work with at Tum Yeto at Foundation Skateboarders. He was a team rider and I was the art director there. So we’ve been friends for a long time. We were hanging out in LA at lunch and one of us was getting food in our beard and he said, “it’d be nice if we had something to clean it out, like a beard buddy.” And we just got a kick out of the name and thought it was a cool idea. And at the time we didn’t

see any products that were beard focused and if you did, it was super high end or way cheesy and cheapo stuff . We decide to put together a brand idea. It started out with a handkerchief with embroidery. Then it expanded from there, eventually a wash and an oil. It’s been this weird thing of connections in LA. People are so down to collaborate and have a lot of their own hopefuls going on. That’s really been the heart of the whole BeardBuddy line is kind of aligning ourselves with all these different friends that have their own projects going on. I was making things by hand (wash oil) which wasn’t working out very well. So a friend of mine got me connected with this girl Amina who is the sister of Salman Agah (pro skater) who we were already friends with. And Amina had her own line of oils and soaps and that sort of thing. And she collaborated with us to make the oil. That ended up being a great relationship. Then Gareth had a good friend who had a jewelry line, so we designed the dog tags with them. It’s been this great growing line where we reach out to people or we naturally meet people who’ve got these great things going on and we’re able to work together. It’s been super fun. NC: It sounds like it came together organically. NB: Yeah at the time, I didn’t really have much time at all. I was full time at Etnies. I was working long hours, commuting an hour each way. But, yeah definitely very organic natural progression, adding products and getting the word out on it, getting retailers and now we’re in Urban Outfitters and carried in 25 stores. And we’re even in Anthropology for the holidays too and on Amazon. It’s been a lot of work, a lot of hustle and learning things along the way. NC: Since this issue is based around the idea of “Into the Void,” as an artist, is there something that gets you out of the creative block that some artists tend to get?

I mean, honestly, just some good music, beer and some whiskey as well.

NB:

NC: Haha, drunk thoughts! NB: Yeah get drunk and listen to music, that usually helps jog some ideas. NC: What album would you take to your grave? Or top three? NB: Oh, that’s a tough one. Neil Young - Comes A Time, Gravediggaz - 6 feet deep, Michael Jackson - Thriller NC: Last alcoholic beverage? NB: Hmmm. An old fashion? Cause you’ve got the whiskey and you go out kinda classy! NC: Last meal? NB: I would probably go simple and go for a large cheese pizza. NC: What would be on your tombstone? NB: “That’s what she said.” NC: If you could tell your younger artist self some advice, what would it be? NB: I would tell my younger self to trust your hands, trust your instincts, and embrace technology but don’t use it as a crutch. Also, don’t be so awkward, learn how to speak Spanish and play the piano. Nathan Bell can be found online at Design: designernotafighter.com Art: nathan-bell.com For the Bearded: Beard-buddy.com

Maui girl Lily Meola is a true tour de force. She’s cuter than Taylor Swift and has a voice that could hold it’s own in a sing-off with Aretha. She’s collaborated with Willie Nelson and counts Michael Buble as a fan. At just 20 years old, her star is rising fast and shows no sign of slowing down.

You’ve been performing since you were pretty young, when did you first realize that music was your thing? Around what age did you start booking gigs and really going for it? Throughout my life, singing has always been something I’ve loved and done. I started booking gigs and playing around Maui nine years ago [at age 11]. I have had so many incredible experiences and met some amazing people. I can’t even imagine what my life would’ve been like without singing the past nine years. Was it always really obvious to you that singing was your true calling, or have you dallied with any other interests?

Maui Gold photography x michael chad michaelchad.com styled x dusty james dustyjamesmaui.com interview x jasmine mancos

You know when you’re a little kid and you picture what you’re going to be when you “grow up”? It was always something to do with performing for me. I have other passions, like jewelry making, hairdressing, designing and painting, but it’s singing that keeps me sane. What style did you start off with, and have you gone through any major changes style-wise? Tell us a little about the evolution of your sound. My mom has amazing taste in music so I grew up listening to a medley of Ella Fitzgerald, Neil Young, Cat Stevens, Joni Mitchell and a whole bunch of others. At the beginning of my career, I saw myself starting out with music like Michael Buble and Ella, but as I’ve grown I’ve drifted to more of my own sound. I’m working on an album now and I’m not sure what the outcome is going to be so it’s hard to say [where my sound is headed].

Who are some of your musical influences? I have so many influences and people I admire, but these days I’m really inspired by the sound track to the new surf movie Attractive Distractions; awesome artists like Manchester Orchestra, Meg Myers, Lukas Nelson and Elliphant. I love all types of music and find them all inspiring in different ways. How do you think growing up in Maui shaped your sound? Growing up on Maui is something I treasure. I can’t imagine having grown up anywhere else.

The island life is wild yet sweet. The unconditional love and support from the community is unlike anywhere I’ve been. Do you have any advice for aspiring songbirds? Any really big Dos or Don’ts? Always make sure you’re having fun in whatever you choose to do. It’s not as easy as you think! It takes a lot of hard work, creativity, and guts. Always stay true to yourself. I know Willie Nelson is a frequent visitor to Maui, was it at a performance there that you guys met? How did you two first hook up?

I have known the Nelsons for quite a while but not really well. Willie’s wife Annie brought him to a couple of my shows a few years back.

I used to perform regularly in a little outdoor cafe in Paia called Cafe Des Amis. After one of my performances there, Willie sat in and sang “Crazy” with me. He handed me a piece of paper with a couple songs on it and said, ‘let me know if you’d like to record one of these with me’. Since then the Nelsons have taken me in as one of their own and have taught me so much. I owe them so many thank you’s for believing in me. You’ve traveled all over and “seen the scene” in so many places. LA, Austin, Nashville… how do you think these more well-known music scenes compare to the one here in Hawai’i? What’s the best part about traveling to these places?

such a great cause and it’s really cool to see so many people come out and support it. The world needs more Farm Aids!

What was it like collaborating with Willie Nelson on “Will You Remember Mine”? Was anything especially unnerving about performing with someone who is so iconic, or did it seem pretty natural? Everything with Willie has been great, I’ve always felt very comfortable on stage with him and his amazing band. They are a bunch of genuinely kind people and I feel so lucky for each opportunity I get to play with them. There’s not too much information out there about you and your life, what do you want people to know about you? Give us Lily in three sentences. Growing up I had a strangely large pig collection. I’m in love with flowers. Rather than one sweet tooth I’ve got a whole mouth full. As a Maui girl, what do you miss most when you’re traveling on the mainland? What’s the first thing you do when you get back home? When I’m gone I miss my family, my boyfriend and my dog Baloo. First thing I like to do when I get home is take a dip at Ho’okipa.

I’ve actually have never been to Nashville. I am hoping I’ll only have to say that for little bit longer cause it’s definitely a place I’d love to visit. I love to travel, the traveling that I’ve been able to do so far has been amazing. I love almost every bit of it-- besides the flying. Traveling with Willie on his bus has been such a great experience. I love meeting new, inspiring people, and seeing such a love of music.

It’s obviously easier to “get discovered” and pursue a music career on the mainland, is that something you’ve considered, given all of the success you’ve had as a Hawai’i based artist? Or, in other words, do you see yourself staying here and pursuing singing or following the music where it takes you?

You’ve done Farm Aid for two years now, what was your experience like there?

Where do you see yourself in five years? Or rather, what would the dream be, five years down the road?

I’ve performed at Farm Aid [the nonprofit founded by Willie Nelson, John Mellencamp and Neil Young 28 years ago to help small farmers keep their land] the past two years and hope to be part of this amazing event for the rest of my life. It’s

As far as the future goes, I’ll be happy wherever my music takes me, as long as I’m singing a lot and having fun!

Well, Maui will always be my home, but wherever my music takes me, I’ll go!

When I last spoke to Lily, she was on her way to Dallas to record a duet with Jamey Johnson. She is currently recording an album, release date TBA.

last word

poem x jasper kinnear background x emily urbaniak

the cloud over yesterdays wet nose and cath sniffles. trigger the phantom flinch dead mans bluff my souls stench child’ s arcade of last breath. pool side fun - to bed side manner. dives and suicides. pilots on the storm who rides. maggots to flies. ocean strangled tides. practical smiles on the kids arcadian face. fold of flesh to form a phantom flinch. the cloud over yesterdays wet nose. tickled throats. and cath sniffles. these days i’ ve fallen through the cracks the slits of my eyes. no longer caressed by the warmth of the sun of her blond hairs. into the dark. the vacant vacuum of the null and dull voidoids. cut the throat of sacrificial relief. blood drip. blood and sweat. milk and shit. sense and cents spill negative five thousand pence. flow down my rivers of thought and heart filled regrets like the infant Joseph alone and drifting to the ocean where he suckles tender nipple and fishes breast, cry’ s in un- nurtured slumber under the sea and moon - left to the sharks.... gillets and tarts. food for the bottom feeders and forever where we all forgot.

77 the manifold magazine

art. music. fashion. profiles. a unisex magazine for the independent age

the manifold magazine