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Omen Magazine
is a showcase for multi-medium International creativity. It is a visual online magazine that is a homage to Art and Fashion that may not be necessarily mainstream. It will be a hybrid of talent from up and coming to famous.The focus is on the image, not the buzz. Omen wants to explore and expose to the cyber world, all the amazing work that is off the commercial radar.
www.theomenmag.com Cover Duggie Fields
03 Mário Correia - Graphic editor Marcus Leatherdale - Art Director / Art Editor Pedro Matos - Photo editor Jorge Serio - Fashion editor Frederica Santos - Production editor + Art Correspondents: Paul Bridgewater – NYC Amabel Barraclough – London Martin Belk – Glasgow Baptist Coelho - Mumbai Patric Lehmann - Toronto Jennifer Leskiw – Antwerp Muga Miyahara – Tokyo Hector Ramsay - Florence Elizabeth Rogers – New Delhi Andrea Splisgar – Berlin Jorge Soccaras – Barcelona + Fashion Corrspondents: Rebecca Weinberg – NYC Zuleika Ponsen - Paris
“Sometime in the late 1950’s I discovered my connection with the act of painting. By the mid’60’s I was at Chelsea Art School, the King’s Road in the heady days of Swinging London, having moved from the country to the city, after a brief encounter with Architecture at the Regent Street Polytechnic and there too the nascent Pink Floyd. By the early 1970’s I found myself sharing a flat with founder and former lead singer Syd Barrett, the home/studio I’ve occupied on my own ever since. In the ‘80s somehow I became briefly a reflection of my own earliest form of received iconography, the discarded display placards from my parent’s pharmacy storeroom where I spent many hours playing as a child, when I was featured on similar products myself in Japan. In the ‘90s I discovered the digital, and my workspace expanded out of the confines of my studio into the virtual world, making imagery always the main occupation of my time. Hours spent chasing line, form, colour and content, solitarily, obsessively, demonically, joyously, neurotically, irrationally, hopelessly, devotedly, delightedly.”
DUGGIE FIELDS Duggie Fields produces instantly recognisable post-pop paintings. Concerned with the identity-dissolving impact of mass media on the contemporary psyche, he sustains a coherent signature style that is flamboyantly dysfunctional, cool and simple, with overdriven colour and stripped down cartoon-like drawing, to produce mutant variations on classical poses and genres combining elements from disparate cultural and historical vocabularies. His paintings look like deranged icons or stained glass windows for some cathedral of modern Media . Promiscuous and dangerously volatile, Field’s multiverse is a place where ballroom dancing and comic book mutilation intersect. Nothing in Western culture is safe from Fields, for as the artist argues in his ‘Maximalist’ manifesto of 1995, digital media has rendered history part of a continuous present. Fields confronts us with the (sur)reality of an infinitely malleable, perpetually mediated world. The new media of the digital age allow ‘infinite opportunities for new synthetic constructs’, writes Fields. ‘We are of necessity the Primitives of a New Sensibility, born in the Virtual Age.’ “
PROTIC FALL / WINTER 2010 portrait by Paulo Segadaes
Aleksandar Protic Aleksandar Protic was born in Belgrade, in 1973. In 1998 Graduates at Applied Arts Academy in Belgrade, department for Fashion Design and Costumes, same year enrolls Royal Academy of Fine Arts in Antwerp, Belgium, Department for Fashion Design. While in Belgrade, the “Belgrade Fashion Statue” awards him with the Prize “The Most Promising Designer in Fashion”. Same year he is closing Belgrade Fashion Week with his graduation Collection. In 1999 moves to Lisbon, Portugal, where in 2000 opens his own shop and starts label Aleksandar Protic. Since 2001 regularly shows collections on Lisbon Fashion Week Schedule. Besides his work as fashion designer, collaborates as costume designer with various artists in the fields of Contemporary Dance and Theatre. ABOUT Aleksandar´s work is based on exploring forms through sculpting and draping, combining structured and soft forms often creating dramatic, wearable garments. He usually finds his inspiration in art, music and the world that surrounds him. Mirage Image Productions Photography and post production by Pedro Matos AD Concept/Styling/Make up and leather helmet by Jorge Serio assistant: Frederica Santos Jewelry - Teresa Millheiro model: Hellyda Cavallaro - Central Models
Photographs and Poems by Kalliope Amorphous
ROB HAY - NYC In Rob Hay’s recent paintings one finds oneself confronting a unique synthesis of visions. Assorted figures, striding, glancing, parading in their own worlds but united by a grid unknown to them; the viewer spies each individually while savoring the construct as a whole. At first glance, this may seem a clever optical exercise, but one quickly moves throughout the range of perceptual foci admiring the deft brushwork and weighty color. It is difficult to say which aspect of these works is more satisfying: the pleasing depictions of the individual subjects, always seen from an angle above, making them feel all the more watched, all the more surveilled, or the subtle, rhythmic play between them. The tug from a color note on one figure to a related note on another is delicious. These two aspects intersect, of course, but work independently as well, enriching the experience as a twofold sort of vision. Hay has a neo-classicist flair for melodious form but negates academic associations with the contemporary verve of his grids and the casual gaits of his figures. This, too, is a duality that speaks to his imagination, his gifts and the durability of his vision. Dualities pulse throughout these new works, those of optic and sensation, composition and configuration. But the singularity of Rob Hay’s vision is the unity he achieves, and it is most satisfying. by Mark Webber, assistant professor at Marywood University, Scranton, Pennsylvania.
Rob Hay @ New Heart City Gallery,11 rue de Picardie, Paris, France from October 23rd until December 11th.
MARCUS LEATHERDALE NEW YORK CITY STUDIO 1980’s
This selection of photographs are from a period of time in New York City which was amazing and unique. A time when Bohemia and comradary amongst artists was alive and flourishing…..unlike Manhattan today. These photographs were taken in the “privacy of my studio… not stolen paparazzi moments from the dance floor of Studio 54…..but a personal glimpse of the “In Crowd” of New York. during the 1980’s. Artists, dancers, performers, and healthy exhibitionists were my choice of subjects. I did not realize at the time that I was actually archiving an era that would be extinct in 20 years. These images now reflect a New York which was and will never be again. This is my New York. Marcus Leatherdale’s pristine, magically foreboding, theatrical world of black and white silverprint photography resurrects archetypes of myth with a contemporary, humourous twist. There is a sense of tradition to his ritualistic and symbolic choreographies. He seems intent on revealing the narrative character of the sensuosly apppealing figures he portray. ARTS magazine 1989 But as F. Scott Fitzgerald once wrote in a story about New York. “We knew things would never be as much fun again. Now clubs are on a bend towards confusion rather than atmosphere.” Photographer Marcus Leatherdale used to go out nightly to immerse himself in that confusion because he’d be turning it into perfectly logical camera compositions the next day. “Marcus, You are Downtown” Michael Musto 1986
NYC PHOTOGRAPHS 1980s / Ralph Pucci Gallery 44 West 18 street, NYC / Oct 7 - Jan 27
Photographer: Bruce Soyez Bernard Stylist: Rebecca Weinberg: OMEN fashion correspondent NYC Weinberg@www. judycasey.com Assistants: Autumn Adeigbo & Mareike Bruns
Within Privacy
Eres Nude High Waist Panty / Adrienne Landau Shearling Coat / All Jewelry Kimberly McDonald
Adrienne Landau Fur
Eres Lace Bra and Panty / Adrienne Landau Fur / All Jewelry Kimberly McDonald
Black Lace Body Suit (Available at Le Petite Coquette NYC www.thelittleflirt.com) / Woldford Black Stockings / Adrienne Landau Fur Blanket / Kimberly McDonald Jewelry
Eres Nude High Waist Panty
Sequined Bra and Panty, Nude Vest with Shoulder Pad, all VPL / All Jewelry Kimberly McDonald
Eres Nude High Waist Panty
Kimberly McDonald Geode and Diamond Ring
What is the nature of the animating force we call life ? What is a soul, a spirit? Where is it before we are born, and where does it go when we die ? What energy moves the body and keeps it from being a pile of flesh ? If I cut off my arm, is my arm still me ? Am I my body and face or my mind and thoughts ? What is the germinating source of my ideas and who is home to receive them? Am I who I am to you or to myself ? These are simple questions, and still we carry them all of our lives--Who am I ? Why am I here ? How much of who I am is shaped by the fact that I am female, growing up in this time period, in this culture, and born to these parents ? Or a reaction to all of this ? How much of who I am is due to the chemical makeup of my body ? And how much of this will I ever get to know before my life comes to an end ?
ANNE ARDEN MCDONALD As Darwin said, it’s not the smartest or the strongest that will survive, but the ones most adaptable to change— The Body in Transformation is a series about the body and its relationship to the person who lives in it, as a location of evolution and change. The silhouette I used came from an outline of my body, so the figures are all life sized, the final pieces are 50 inches wide and 8-12 feet tall. I developed a number of new processes for this project to illustrate different aspects of the body, such as building a body out of glue, and then digging down to the photo paper with developers and fix to create an image on the paper. I also made contact prints of objects, made images on the photo paper with powdered bleach, and burned a line around the nude figure to expose the paper and create a shadowy image. I tested 80 medicines, spices and household cleaners and painted them onto photo paper. Some of these bodies were made in the dark and some in daylight, some are additive and others are reductive. I am now taking these processes and using them to make a series of images about circles and spheres, meant to represent planets and atoms, to visualize the macrocosm and the microcosm of life.
This piece is an installation about the body and its relationship to the person who lives in it—as a location of evolution and change—of growth, learning and metamorphosis, also of aging and disease-There are many lenses through which to see the body—and all of these complex layers exist simultaneously— There is the physical body—skin, bone, blood, hair, colors, textures-And the products of the body—sweat, tears, urine, blood, spit, feces— The body as animal, an organism with a certain matter--height and weight-The systems of the body—breath, digestion, blood flow, nerves, reproduction, lymph— The body as liquid, gas and solid—osmosis, structure, pathways, tides, ebb and flow— The body in motion, even when at rest—the rhythms of the body--peristalsis, urges, metabolism, gesture, stimulation, throb— The energetic body--heat, radiation, vibration, charkas, light, magnetism, electricity, synapses, aura, acupuncture meridians— The body as a site for individual personality, emotion, consciousness, courage, thoughts, needs, dreams— The body is abstract (the place we call us is a cluster of cells) and very real and concrete at the same time, especially in times of pain-The metaphoric body—symbols help us visualize the abstract nature of the place we call home—body as a temple, body as landscape—seeds and eggs-the heart as a center of feeling, the breath as a small wind-The body as site for connection, and communication, in relation to others, to the outside world—influences pour in, tumble out—the vibration of the voice— The body in growth and decomposition—miracle and tragedy—like a plant, bloom and die and return to earth—
Ingredients Body of Liquid—terracotta clay, starch, sea salt, hydrogen peroxide, lemon, aspirin, betadine, tabasco sauce, glucosamine, alka seltzer, epsom salt, arnica gel, silver blackener, borax, corn starch, baking soda, various spices, medicines, household cleaners Body of Cells—lentils, rubber bands, rings, pastilles, pasta, basil seeds, Christmas balls, cotton balls, buckshot, millet, fish roe, life savers, glass fishing floats, tapioca, raspberries, tomato seeds, fur balls, garbanzo beans, marbles, petri dishes, eggs, etc. Body of Illness and Decay—8 layers of rubber cement, patience Body of Energy (Fire)—my body, lit by flash paper Body of Fragility (Glass)—2 inch pile made of layers of glass and eggshells, exposed with a flashlight Body of Light—powdered bleach painting Body of Metaphor—dirt, nails, watch parts, rusty metal, seed pods, rings, salt crystals, keys, bones, paper, cicada shells, twigs, leaves, fluoride crystals, watch hands, onion skin, tiny dolls, etc. Spirit—antique glass fishing floats, half silvered Christmas balls, bleach painting Aura—imprint of a body covered in acrylic gel medium, hydrogen peroxide, lemon, poison ivy wash, hair bleach Body of Synapses—bleach painting, string Body in pain and healing—pins, needles, nails, handprints Chakras—sand, bleach painting
little devil Mirage Image productions
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Diamanda Galas Kalliope Amorphous Anne Arden Mcdonald Bruce Soyez Bernard Marcus Leatherdale Aleksandar Protic Pedro Matos / Jorge SĂŠrio Duggie Fields Rob Hay Teresa Milheiro
www.diamandagalas.com www.kalliopeamorphous.com www.anneardenmcdonald.com www.brucesoyezbernard.com www.marcusleatherdale.com www.aleksandarprotic.com www.mirageimageproductions.com www.duggiefields.com www.taglialatellagalleries.com www.teresamilheiro.com