THE ISSUE 2
SPRING EDITION
PA P E R Daniel Arsham Explains His Artistic Process
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Bridging the Fashion Footwear Gap with Filling Pieces
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INSA on the State of Street Art
DANIEL ARSHAM’S MULTIPLE MEDIUMS OF ART As a man of a humble, calm and quiet disposition, Miami-born, New York-based artist Daniel Arsham perfectly fits the mold of an artist who’s work does most of the talking. Under a predominantly black and white color palette, Daniel’s body of work spans the dimensional sphere through a diverse range of mediums that include painting, sculpting, stage design and architecture – each lending themselves collectively to his ever growing universe of warped objects and environments. While setting up his exhibition at Hong Kong’s
Galerie Perrotin, we ask Daniel about the genesis of his artwork, the methods of his practices, and his artistic aspirations. Kindly introduce yourself and can you tell our readers what you do as an artist? My name is Daniel Arsham and my practice covers painting, sculpting and work that approaches an architectural scale. More recently, I’ve also gone into mediums of movement that includes both theatre and film.
How would you describe your artwork and its focus? Is there a general ethos or message that you’re trying to convey throughout the body of your work? The short answer to this question is, no. I try not to be prescriptive with what I convey and in most cases there is no message. My work is more of an invitation for viewers to enter an alternate place. For example, a place where architecture is malleable and can change forms. At times this experience can be a little disturbing for
the audience, especially as my work is “quiet.” When someone walks into a room they may not notice the piece, however once they do, it can be unnerving or even uncanny. This is because I am taking something that people know or have an expectation for and I manipulate it. For instance, when you alter architecture or cameras and phones, the material alterations cause a dislocation in time. What I mean is, a subtle difference can elicit the viewer to pause. continued on page 6
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CONTENTS 03 KUMAR PONNUSAMY 04 SHANIQWA JARVIS 06 DANIEL ARSHAM 08 FILLING PIECES 09 BRANDS TO WATCH 12 INSA 14 FOR THE SEASON 16 THE JACKET LIST 18 CASHMERE CAT 18 HYPETRAK’S SPRING/SUMMER PLAYLIST : ARTISTRY
PUBLISHER Kevin Ma PUBLICATION MANAGER Alexander Lendrum CONTRIBUTING EDITOR Eugene Kan DESIGN Tiffany Chan ADVERTISING Stefanos Constantinou Gems Ip Trung Le Thanh Tiff Shum Stephen Yu CONTRIBUTORS Zahra Jamshed Charlotte Jansen Petar Kujundzic James Shorrock Peter Suh SPECIAL THANKS Wilf Cho Jungle Lee Alex Maeland Stefano Mok Iveet Shiau Cheuk Yin To Bore Wong Gillian Wong
AN EYE FOR DESIGN WITH KUMAR PONNUSAMY Hailing from the land down-under that has more than enough sunshine to go around, Australiabased AM Eyewear does more than simply provide much needed protection. To many, a pair of sunglasses are nothing more than an afterthought, an embellishment that serves a function with stylistic options. For AM Eyewear’s Designer and Director Kumar Ponnusamy, there’s more than meets the eye as be believes there’s an art to the industry. In asking Kumar not only how, but who he designs his eyewear for, we find out why there’s so much “soul” in what he does.
As a brand that stands to bring classic designs through to modern times, what are the design challenges that you’ve faced in the past? I think my greatest design challenge is myself. I’m really hard on myself when it comes to releasing things too similar to other labels. If I’m working on a particular concept and I happen to see something similar, I scrap it. One thing I’ve really had to acknowledge in this business is straight out plagiarism is rife and something you just have deal with. There is also the challenge that you can only do so much to a particular shape before it becomes unwearable.
Can you introduce yourself and what you do? My name is Kumar Ponnusamy, but most people call me Simon after a drinking game I once played, and the name has kind of stuck. I’m the Designer and Director of AM Eyewear.
Based in Australia, is the eyewear scene different there from other countries, and how so? The eyewear scene in Australia is very competitive. With our year-round sunny weather, sun protection is extremely important and there are many sunglass labels that cater to a population of only 23 million. Obviously this creates a very competitive market and innovation is at the forefront.
Tell us about your personal history with eyewear – when did the concept of a well-made frame first appeal to you and how did you realize you wanted to participate in the artistry of eyewear design? As a youth I was captivated by hip-hop and graff in the ‘80s-‘90s. Brands like CAZAL stood out as statement pieces that every kid in the scene wanted to own. Growing up in Surfers Paradise – an area of QLD Australia – where every other car had an Oakley sticker on it, there was no hope of finding a store that stocked anything like CAZAL. This created a lust that led me to create my own versions from vintage finds by combining temples and fronts to achieve a desired look, which in many ways were ‘Frankenstein frames.’ From there, there was a natural progression to designing eyewear of my own.
The brand’s ethos is “to design beautiful, unique and exceptional eyewear that makes a difference.” How do you fulfill this? I design with my heart, and I think of it as an art form; there is a real human element behind our frames. We have a saying that “each frame is designed by hand, made by hand, and only ever complete once you have worn it.” What is it about AM Eyewear’s design and manufacturing process that makes it stand out? I’ve been designing and producing frames for 10 years now and one thing I have never wanted to change is the hands-on approach we take
with every aspect. I design every single frame with a pad and pencil, taking up to two days to perfect a drawing. I visit our materials factories in Italy and I know many of the workers by name. I also spend a lot of time with the artisans that handcraft our frames in Shenzhen. My view is if you know every facet of what you’re producing, it leaves you in a better understanding of what can be perfected. More importantly, you connect with the people making your product. How did your partnership with Zeiss come about and how does the standard of its lenses fit with AM Eyewear? It’s quite a tough process, as every single frame has to pass its stringent co-branding program. However its hands-on aspect and attention to detail is what drew me to Zeiss. They have a machine (no bigger than a bar fridge) where every Zeiss lens, one at a time, receives a laserengraved “Z” insignia. I remember the first time I saw it, I thought how could every ZEISS lens
in the world have been individually placed in that machine. When I mentioned it, their reply was that they only wanted to produce lenses for the best companies in the world. So far they have only approved 50 companies and there is no need to purchase another machine. Where do you find inspiration when designing and curating eyewear for upcoming seasons? With our sun collection, I start with thinking of a look that I forecast will be an upcoming trend. Then I think of a loved one who would best suit that look and I design the frame around them. I will name the frame after that person and in my own way, I’ve given each frame a bit of soul. Ten years on and 100’s of designs later, I still know every single frame by name.
Interview by Zahra Jamshed Photography by HYPEBEAST
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SHANIQWA JARVIS CAPTURES WHAT GOES ON BEHIND THE LENS
“I guess if I weren’t a photographer I’d be a therapist.” There is a long list of similarities between the two occupations, as like a therapist, a good portrait photographer works with an astute understanding of human nature. Shaniqwa Jarvis is one such photographer. She has an uncanny ability to build the kind of rapport with her subjects that’s necessary to capture the candid and emotional imagery she’s well-known for. As such, her work is sought after by a myriad of high profile clients including the likes of Nike, adidas, Stussy, Supreme and many more. For this feature, we asked Shaniqwa to switch up her game by pointing her lens at places instead of people. The following images represent a sense of artistry she personally sees within the streets, forests and transportation taken during her recent travels, with personal elements to them that, in essence, capture the side of her often left behind the camera.
To start things off ‘easy,’ I wanted to ask why portraiture is the predominant style to your work as a photographer. Why do you think we’re so susceptible to having our emotions evoked from witnessing a state of emotion even from a complete stranger? I am genuinely interested in other people and their stories. We are strange and diverse creatures and have all come to be by some way
or another, and I love to hear about it. When people ask what type of work I do I usually say I take sensitive portraiture with a hint of fashion, as I am equally drawn to how people express themselves sartorially and emotionally. I am interested in both the quiet and hysterical moments within someone’s thought, and believe we are susceptible to having our emotions evoked by others as it is very human to react and
want to connect to other people. Sometimes it is a validation of what you are feeling or have felt. I guess if I weren’t a photographer I’d be a therapist. Having traveled a lot through major cities like NYC, LA and London, do you notice significant and constant differences in expression with people from different places? As small as our world is starting to feel, with technology and more people than ever traveling the globe, some would say there isn’t a significant difference in expression with people from different places. I think there will always be a cultural difference in the way that people present themselves in front of the camera, however while working in and around a lot of major cities I’ve found that no matter the cultural differences, people tend to react to me in a similar way. For this feature, we asked you to change it up and focus on landscape with an element of
‘artistry.’ How was this experience? It was interesting as I normally shoot these types of images but they either sit on a hard drive or in a box somewhere. The moments I captured were all things I see while coming and going, all of which someone at some point designed and created. My grandfather worked on planes for most of his life and every time I am up in the air I think about his work and his craft and the impact it has had on so many people. The images I’ve captured from the plane are always for him because without him I wouldn’t be up there. Most of the images I included may seem pedestrian but these are the things that inspire me alongside my normal practice of capturing inspirational ‘on the verge’ people. When it comes to photographing people, how intimate do you have to be to truly capture the level of emotion you aim for? How involved are you with the subjects of your work? In general I think most people need to trust and
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relate to you in order to be themselves and to be comfortable. Each person is different. Some people trust me straight away and others take a bit of time. What goes through your mind when the subject you’re shooting is uncomfortable? What the fuck is wrong with this person? How do you try to change and direct the situation when you’re shooting? In the few situations I’ve had where people had to be redirected, I found myself talking it out with them, as the problem usually isn’t the shoot, it is something they brought to set or a place they would rather be. Everyone comes to set with a mind filled with a million little things, sometimes they need to be discussed in order for that person to move on. When it comes to timing, how do you know when to push the button? My gut tells me.
Your work is associated with brands like Nike, adidas, Stussy, Supreme and many more adopting your talents for their cause. What can you comment about your own fashion sense? When I first moved to London I lived with one of my best friends and fashion fairy godmother Kate Brindley who is head of communications at Liberty of London. She is obsessed with elaborate clothing and it rubbed off on me. I learned what works for me and quit the idea that I can roll around town in whatever, especially since I am a businesswoman that means business. I am a tomboy at heart; almost 90 percent of my outerwear is from Supreme. I try to mix up all of my obsessions like Vivienne Westwood, Acne, Surface to Air, Nicholas Kirkwood. Sometimes I kill it and sometimes I look like a lil’ dude, it’s all good. What’s your favorite rig so far and why? I use my 5D for most things, but will also use
my disposable cameras and no-name medium format film cameras for certain occasions. Define what makes someone ‘charming.’ I believe my dad holds the record as the most charming man. As a kid I couldn’t quite understand why everyone was infatuated with him. In my old age I believe I understand the concept of charming and although it changes from person to person, it’s all in the way someone makes you feel when you are around them. What’s your most memorable or favorite shoot? Most memorable shoot would have to be Stussy Deluxe Spring/Summer 2013 in Morocco. It was a dream job because they asked me to come up with a creative of which they funded. I took two guys, one of whom I included in my personal project This Charming Man, to Marrakech and went on a five-day road trip. It was stressful, as I had
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to do the production and research and had never been to Morocco, yet ridiculously fun and terribly interesting. Overall both Stussy and myself were very happy with the images as they had a myriad of raw and authentic images to choose from. What’s next for you? What do you have coming up that you’re excited about and what would you like achieve in the future? I’m working on a new series, which I’m quite excited about. I am trying something new with a completely different demographic than I normally work with. I’m publishing Bathroom Portraits, which is a series of images I started shooting in 2001. The project took place over the span of four years in the bathrooms of bars in LA, NYC and Tokyo. To launch the book I will create one-off exhibitions for each select city it releases at. Interview by Alexander Lendrum Images Courtesy of Shaniqwa Jarvis
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DANIEL ARSHAM EXPLAINS HIS ARTISTIC FLEXIBILITY AND THE GENESIS OF THIS PASSION
continued from page 1 Where did the appeal to create such an illusion come from? I find it difficult to pinpoint the genesis of my work, but when I look back at my childhood one incident comes to mind. Twenty years ago I was nearly killed in a hurricane storm in Miami. The experience was one of an architectural dismemberment – it was quick and violent. I witnessed the destruction of my house while I was inside of it. As I exited what was left of the house, I can remember how the architecture had been altered. This is possibly where my idea of manipulating architecture stems from. However, the alterations that I make to architecture are soft and fluid, as opposed to being fast and violent. Looking at your work, you seem to use a monochromatic color scheme. Is there a purpose behind this? There is no purpose behind the monochrome color scheme although I am almost completely colorblind. It’s a practical thing but I never noticed that it was something I was doing until people started asking questions about my color selection. In many cases the color used in my work is dictated by the material that I am working with. If a wall is white then often the piece will be white. My volcanic ash pieces are black because the ash is black. In this sense it’s about obeying the logic of the material. With regard to the #FUTUREARCHIVE wall installation, can you elaborate on how it was made? All of the pieces in this installation manipulate the surface of architecture, for example, causing something rigid to ripple, drip, melt, and to have natural erosion patterns. I’ve borrowed different
ideas from movement and decay and integrated them into an architectural space. There are different directions that I’ve taken in this work and one of them includes a series of figures that interact with the architecture of the piece. It’s almost like all of the architecture is moveable. Can you describe the work that goes into installing this display? The pieces in this installation are made from fiberglass. The process begins with a plaster mold of myself that is subsequently turned into a mannequin. From this, fabric is draped over the mannequin and I will shape all of the folds by hand. The installation process involves creating an illusion where these figures become part of the architecture. I implement a technique commonly used when building walls, which is to put two sheets of drywall together and plaster over the seam. Everything in this installation has a physical edge for the main purpose of transportation. The installation process is about erasing the edges and creating a smooth finish effect. Have you ever thought about using someone notable or personal as the mold for a mannequin? I have thought about casting other people but the problem is each mold requires a subject to remain completely still and encased in plaster for four to five hours. It’s not a pleasant experience and it becomes too much for most to handle. I’ve done it a few times and I never look forward to it. It’s part of the process and I’ve learnt to manage it but it doesn’t get easier. Pharrell was keen on doing it but his agency had to convince him not to. As you were developing as an artist, did you make a conscious effort to branch into different areas? My work in different areas – painting, sculpting, architecture and stage design –
evolved naturally. I never originally set out to work in all these mediums. Photography was the first discipline where I felt that I was creating art but it’s not something that I practice anymore, except for documentation. My interest in architecture is my next area of expertise and it led to the collaborative project Snarkitecture. My stage work, on the other hand, happened accidentally. In 2003, I was working on an exhibition in Miami and my work caught the eye of a respected choreographer, the late Merce Cunningham. I ended up collaborating with him on a stage design and I fell in love with the discipline. It’s completely different to working in art galleries, in terms of the energy behind the work because of the fixed nature of the audience, and the endless lighting possibilities. Once I achieve what I set out to in a particular area, I look for other avenues to explore. Although, entering a new discipline is always quite terrifying. For example it took me years to enter film. People have always described my paintings as being filmlike with a black and white film quality. Film is such a challenging medium as bad film is worse than bad art. Recently, I’ve been working on my film “FUTURE RELIC” and I got the right collaborators involved with the project. We’ve spent a long time editing and the nine-minute short took over a year and a half to curate. What is it like taking on an unfamiliar discipline like theater and film? The type of medium that I am working with doesn’t matter to me because it’s all the same. I have no problem with jumping back and forth between architecture, painting and stage design in the studio. The only work that requires me to remain solitary is painting, while everything else relies on the collective skill of other people. Realizing that I could not be a master of all crafts was a big
part of the creative process. For my latest film I created the screenplay, mise-en-scène, props and even starred in the film. However, I did not direct, film score, design costumes or execute the cinematography because I needed to bring experts in. All of these artists contributed to the larger vision of the project and this is the way that theater operates. What is your goal as an artist? My goal as an artist is [to create] more and bigger [pieces]. Once each piece of work is done I’m already thinking about the next piece and the next challenge. That is possibly why I’m working in all of these areas. Many of the best artists spend their entire career wrapped up in a single idea. For me, James Turrell is one of the greatest living artists with the monumental scale of his work, not just physically but also what it can mean to a viewer. All the work that I’m doing has a similar language to it and together it builds a unique world. I hope that one day all of my work can come together to build a universe that offers a truly unique experience. Are there any types of mediums that you haven’t explored yet and that you may explore in the future? We haven’t constructed full-scale buildings, which is a big part of architecture. Conceptual architecture is about creating ideas rather than fabricating an actual space, and taking that next step to create something lasting is a goal of mine.
Interview by Alexander Lendrum Photography by Oliver Clasper
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REDEFINING FOOTWEAR WITH FILLING PIECES
In the span of just a few years, Filling Pieces has gone from being a relatively unknown brand to one of the most promising independent footwear brands in the industry. The brainchild of Guillaume Philibert, Filling Pieces has built its reputation on the ackle the world of footwear. We caught up with the man himself to talk a little bit about the brand, how it started, what it’s working on, and where it’s going in the future. First of all, can you introduce yourself and give us a little bit of background on the brand? How did you end up in the footwear business? My name is Guillaume Philibert, and I’m the founder and designer of Amsterdam-based footwear label Filling Pieces. I started the brand in 2009, and at the time, I couldn’t find shoes that were exclusive and high quality at an affordable price point. I was studying architecture back then and was looking for ways to design my own product that would fill that gap. Basically, our shoes are the filling pieces that fill the gap between high-end and street footwear. Growing up, did you have an interest in footwear? I was definitely into footwear growing up. From Vans, Nikes and so forth, I moved to more expensive trainers from fashion houses like Gucci, Dior and Lanvin. I remember buying this pair of white Dior trainers, and I wore them for over a year and realized the quality was amazing. The only problem was that a lot of other people around me were wearing the same shoes and they didn’t feel special, even though they had cost me a fortune. This was an important
element for me and I wanted to change that. In the last few years, we’ve seen FP really take off, with coverage on major outlets and several great collaborations. How has this success come about and has it taken you by surprise? We have worked very hard over the last few years to build the brand and try to make every collection special. I think that because of the strong silhouettes and colors, the collections became visible for a lot of new customers and stores. That exposure led to a lot of stores and brands discovering Filling Pieces, which in turn led to several collaborations. The first two years we got into some really good stores like LN-CC, Selfridges, I.T and Kith, and that really helped us to grow. Speaking of collaborations, how do you approach them and what has it been like working with some of the major names in the industry such as Ronnie Fieg and Daily Paper? Are there any names or brands you’d like to work with in the future? We are big fans of collaborations because it’s two different minds, ideas and experiences joining forces for a single project. Since we are working with a very small but experienced ‘handmade’ factory in Portugal, we are able to produce timely and in small quantities, which makes collaborations easier. One of my personal favorites was the ‘Batik Pack,’ which was a collaboration with clothing label Daily Paper. We’re also very proud of the collaborations with Ronnie Fieg. We actually did two collaborations with him, but the second was, for us, the
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BRANDS TO WATCH Highlighting a few brands that we feel are worth watching out for.
Over All Mastercloth www.oamc.com Offering contemporary design with a classic workwear aesthetic, Over All MasterCloth is fast becoming an innovative menswear staple, emphasising on sophisticated apparel crafted through modern engineering.
MKI www.mkistore.com Hailing from the MKI Miyuki-Zoku Store in Leeds, MKI BLACK was created by Vik Tailor in 2010, offering Japenese heritage design with an English Flair. It has since grown to establish itself as one of streetwears most essential outerwear labels.
most impressive. He knows literally everything about colors, materials and fits. The second collaboration was really special because we sold the shoes for an affordable price, which was really hard to achieve. You’re based in Amsterdam and manufacture your shoes in Portugal. Was that a conscious choice or did it occur organically? What is it like making shoes in Portugal as opposed to the more traditional hubs of shoe manufacturing such as China, Vietnam and Indonesia? We actually produced our first three seasons in Asia and we were lucky to be able to start with only 50 pairs as a first production run. If not for that, we probably would never have been able to start the brand. Afterwards, we came across this small but very experienced and established factory in Portugal and made a sample run over there. We are now able to travel there easily, perform the quality control ourselves and produce samples very fast. Since we work with a lot of experienced craftsmen, a sample is made in only two hours and because everything is done inhouse except for the sole, we’re able to guarantee a high quality product. Can you tell us a little bit about the collaborations featured in the paper? Most shoes in these pictures are special releases and limited editions. The shoes in cork we are planning on releasing as an Eastern pack, and are made out of cork with nubuck details. Together with Poste Harvey Nichols, we have created a pack of three low top trainers in leather and nubuck with monotone dragon-embossed heels, which will be releasing early 2014. The navy
blue authentic alligator is a 1 of 1 pair made as a bespoke for a buyer in Europe.The low top trainers in floral-embossed nubuck are part of the SS14 range, together with the wrinkled leather trainers.
out. I think that these designs have helped us a lot in the development and growth of our brand, because people are always looking for exclusive and special products.
FP has a very tight range with just eight models right now. Are there any plans to add new models? Or perhaps you’ve got new materials you’d like to introduce to the range? Currently we have eight silhouettes in the collection, which we reintroduce every season. We chose to do so to make a solid foundation in our brand. Personally I think that people like to have this recognizable line in the brand and they re-buy the style that they like. Every season we introduce at least one new model to the collection, so the complete range expands. In the previous collection we introduced more mature and preppy models like a penny loafer and a monk strap. The upcoming SS14 collection will include a new mid top model. We really try to be different from other brands with our use of materials and colors, and for AW14 we are introducing several new leathers, textiles and finishes.
FP occupies a space between streetwear and high-end fashion. How do you see this space evolving? Similarly, how do you see FP growing in the future? Bridging the gap between the two segments is still our main goal and vision. We will always keep this as our spirit, because we want to provide these products for all people. So we try to base every decision we make on this concept and let our products always speak for themselves. I think more and more brands are trying to position themselves in this space between streetwear and high-end, and so nowadays the line between the two is a very thin one. Brands like Givenchy, Kenzo and 3.1 Philip Lim are certainly high fashion, yet they are also street-minded, and a large part of their collections make the gap between street and ready-to-wear much smaller. I personally really like this development, because more people and different groups of people are connecting through this. Take for example people from different age groups buying these products in the same boutique or department store. However, I do think that pricing is a very important element that needs to evolve together with the bridging of this space. This particularly is also what we aim for and where we want to succeed. So our quality, design and price are basically the strongest points.
With some of the more recent pieces, such as the collaborations featured in the paper, the designs have become more intricate. Is that something we will see more of? Also, how does that reflect on FP’s growth within the industry and in terms of brand maturity? Thank you! Because we are sticking to the basic silhouettes, we really try to make the models more intricate by using special materials and colors. We will always try to have some more reserved or neutral colors in the collection, but with the special colors and designs, we also want to stand
Interview by James Shorrock Photographs Courtesy of Filling Pieces
Uppercut www.uppercutmilano.com With a label name that is directly intended to reference a “superior cut,” Italian fashion house Uppercut is noted for tailoring innovative design with a fusion of colors, clean cuts and sleek, structured silhouettes, all handcrafted to Italian standards.
Nicklas Kunz www.nicklaskunz.com Already a major influencer in the U.S hip-hop and street fashion scene, Danish born label Nicklas Kunz is known for its tailored take on sportswear and innovative reworks of classic menswear, with its unique blend of leather with jersey and mesh with wool.
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and the street goes on
35 years ago, the Top Ten created a frenzy on the streets. In 2014, the legend lives on.
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INSA REFLECTS ON THE PUBLIC PERCEPTIONS OF GRAFFITI AND STREET ART Hallucinatory, aspirational, fetish-like and unreal, London-based artist INSA’s work – which first appeared on streets the world over – has since shown in galleries in LA, Lisbon, Luxembourg and London (including a commission for Tate Britain), and his impressive client roster includes the likes of Nike, XL Records, Evisu, Atlantic Records, Warsteiner and Ketel One. With epithets such as “art legend!” and “bleeding-edge!” attached to his evolving and multifaceted practice, INSA is known for pushing art to the next level of innovation, constantly surprising followers. But those admiring apostrophes are more than just the words of fans: INSA has built his reputation over two decades through painting and producing artworks, products and more from his ubiquitous heel pattern, to his most recent development, ‘gifiti’ – the hand-painted, animated online art that’s exploded on the net. One wonders how it feels to see what has happened given the recent acceptance of this contemporary category of art, from the perspective of someone who spent their 21st birthday in prison for writing graffiti on an abandoned building and is now paid to paint his designs in some of the premier spots of the world’s major cities. For artists who have emerged from grassroots graffiti culture around the world, the difference between ‘graffiti’ and ‘street art’ is emphatic, and INSA is incisive on the way public perception of art in the urban environment has changed. “There are clear differences between graffiti and street art: graffiti is done by graf writers for other graf writers. I think the public still doesn’t like graffiti in its rawest form – but they are not meant to – it’s not done for them. But I think people are starting to, or should, realize that without any of the tags or perceived vandalism there wouldn’t be any ‘street art,’ none of those artists that came from graffiti who are now popular would be around... For me, after years of doing graffiti I wanted a broader audience, I wanted to do more than just paint letters, I wanted to consider concepts, and graffiti alone wouldn’t allow me to do that.” So he became a ‘street artist.’ “I know I’m labeled as a street artist, but I consider myself more as someone who used to do graffiti, and now makes art, and sometimes that art is in the street.” For INSA, coming from the early generation of graffiti writers who simply kept doing what they love and expanding their practice to new media, it seems there’s a clear difference between those who have ‘paid their dues’ and those who are exploiting the medium as an easy platform. “I think the fabrication of this ‘street art’ label has allowed people who aren’t committed enough to break the law, but aren’t talented enough to be artists, rise from mediocrity and find audiences.” This once elusive subculture has been appropriated by the mainstream on a gigantic scale, largely thanks to the net. Since this is a key issue in his work – and what direction he thinks it’s headed – INSA clearly had an opinion on street culture now used as mass consumer products. “I think the initial mania for street art is passing… graffiti culture has seen some awful appropriations by mass consumer culture… but that’s been going on since the ‘80s. The underground scene was awesome as a teenager, it was the best lifestyle. Jumping trains, racking food, breaking the law; when you’re young and you feel you have no voice and no power, and the best way to deal with that was painting on shit and not caring about the repercussions. It was fun.” Although an advocate for the underground, INSA still sees the positives behind the current state of ‘street art.’ “It brought attention from
outside to a culture that is producing many talented and important artists, and it’s allowed many people to make a career out of what they love, which is ultimately a good thing.” So how do you term this group of artists that emerged from this primordial artistic expression to something more characteristic of the conventional art world? “In critical terms I quite like ‘post-graffiti.’ When I think of the artists I most admire in this field – KAWS, Stephen Powers, Os Gemeos – they all came out of the graffiti movement, painting illegally in the streets for many, many years before anyone knew them.” Now that INSA’s work is seen as a part of contemporary art rather than solely through the narrow prism of ‘street art,’ one wonders what problems he’s encountered in transitioning his art from the graf crowd to public audiences, especially since his work has often been accused of being both sexist and feminist. “My work
is about dialogue with the public. Ultimately for me that is the definition of art: to communicate, to elicit some kind of response. My work isn’t about preaching a political or social message but there is irony, there is humor, and I use that to converse about things that are important to me. The viewer might stop at that and miss the message or the underlying meaning of a work, but that’s OK with me. When you put something out you accept that will happen, and I’d hope people enjoy my work on any level they choose, rather than feel they’re being indoctrinated.” In INSA’s work, the medium often is the message. Few people know who the ‘real’ INSA is or what life he leads – as he points out his anonymity allows people “to create an image of whatever they relate to, of whatever to what speaks to them.” INSA’s art works primarily because it is so visually compelling, and it is by drawing the viewer in that he then disturbs
with the fraudulence of fantasy. The influence of compulsive consumerism in the modern world – a new iconography symbolized by big butts and high heels – is a contradiction represented in INSA’s work. When I caught up with him, he’d just spent a week painting in a remote village in Gambia. Next week he’s flying out to Shanghai to oversee the completion of a Michelin-star restaurant project he’s been designing. “It’s important to me to make work that can exist in all kinds of places, whether it’s in the walls of a millionaire’s play-pad or on a sleazy downtown backstreet.” Although INSA has grown to be a recognized name, it’s this attitude of making accessible art – and being unconstrained by conventional barriers – that goes back to the heart of graffiti. Words by Charlotte Jansen Photography Courtesy of INSA
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FOR THE SEASON
SPRING
WINTER
SILENT DAMIR DOMA Midnight Blue Bleach Tenta Cutoff Hoodie OPENING CEREMONY Opening Ceremony x Elvis Black Shakerattle Roll T-shirt SILENT DAMIR DOMA Midnight Blue Bleach Pam Mns Basic Sweat Shorts GOURMET Animal The 35 Lite Shoe KRISVANASSCHE Light Grey Melange Backpack
ROCHAMBEAU Greycarbon Padded Wool Bomber KRISVANASCHE Black Jacketsweatshirt Hybrid Top SURFACE TO AIR White Classic V8 Shirt ETUDES Archives Wool Pants DAMIR DOMA Black Fune Low Layered Sneakers SURFACE TO AIR Black Leather V1 Gloves
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limited edition book 156 PAGES HARD COVER FINE ART ARCHIVAL PAPER 4,000 curated images from across 37 countries & 6 continents
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THE JACKET LIST A definiate and noticable trend throughout the winter and upcoming spring sees an influx of branded jackets – namely the Bomber and Varsity. In order to make things easier for choice, we’ve selected a few of our favorites that’s now on offer.
STUSSY Black 8 Ball Varsity Jacket
SSUR Black Varsity Jacket
BLACK SCALE Multi Baron Jacket
CLOTHSURGEON Black Pookie Silk-bomber Jacket
OPENING CEREMONY Burgundy/Navy Reno Varsity Jacket
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STILL GOOD Grey Camo/Navy Bomber
ROCHAMBEAU Grey/Carbon Padded Wool Bomber
SHADES OF GREY BY MICAH COHEN Black/White Abstract Baseball Jacket
VAINL ARCHIVE Navy Mil Puff Jacket
SURFACE TO AIR Black Space Reversible Bomber
GIULIANO F UJIWARA Grey/Black Multi-textured Bomber
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HYPETRAK CONVERSES WITH CASHEMERE CAT As an up-and-coming DJ, Magnus August Høiberg quickly established himself as a name to watch with three successive appearances in the finals of the DMC World DJ Championships. From that early success, the 26-year-old went on to expand his talents under the moniker Cashmere Cat. Best known for his experimental samples overlaid with rhythmic acoustics and stripped-back drum patterns, Cashmere Cat’s reinterpretations of hits from the likes of Lana Del Rey, Miguel and 2 Chainz were some of the more compelling edits of recent years. After debuting on Belgium’s Pelican Fly Label, Cat is now set to release his Wedding Bells EP on Glasgow’s LuckyMe Records, home to club music heavyweights Rustie, Hudson Mohawke, Lunice and Jacques Greene. We caught up with the Norwegian producer for a casual chat about his musical influences in addition to what 2014 hold for him. Can you introduce yourself? Hello, my name is August and I’m from Oslo but I moved to New York around six months ago. Where did the name Cashmere Cat come from? I can’t give you an exact answer, I simply tried to come up with a name that I liked and found Cashmere Cat. You’ve been traveling a lot for your work recently. Are there any notable experiences you can share with us? One time during my travels, while flying from New York to Europe, I was really tired and cried while listening to a Sean Paul song.
How did the Wedding Bells EP land on the label LuckyMe? I first met the LuckyMe guys when we shared a hotel room for SXSW 2013. They took care of me and we decided to work together on a record. Your production draws reference from the likes of R&B, hip-hop and slow jams. How do these genres influence you? I use love and romance as influences for my music. I try to make music that sounds like me. Which artists do you listen to in your downtime? Who do you consider your contemporaries? I listened to the Yeezus LP the most this year. Recently, I’ve also been listening to the Cold Mission LP by Logos a lot. You’ve reworked tracks from a formidable list of artists including Drake, Lana Del Ray, Jeremih, Miguel and more. Why have you chosen to remix tracks by these artists? I listen to music from these artists all day, nonstop. That’s all I do when I’m not producing. What do you bring to your shows when DJing? I normally just bring myself and my turntables to shows. I like simplicity. What does 2014 hold for Cashmere Cat? A lot of new records, a lot of shows, a lot of kisses, and a lot of hugs. Interview by Arthur Bray Photography by Tonje Thilesen
HYPETRAK SPRING/SUMMER PLAYLIST : ARTISTRY As this edition of the HYPEBEAST Paper pays tribute to artistry and its relevant culture, HYPETRAK has curated a 10 track playlist composed using carefully selected tracks that fall in step with this theme. Kicking off the playlist is a cross-culture rework of British duo Disclosure’s “January” by bass-friendly Canadian, Kaytranada, before moving into hip-hop with one of 2014’s biggest names: Schoolboy Q. Electronic music legend Giorgio Moroder then takes over with a tribute track to legendary 1983 film, Scarface, before more familiar names such as Drake and Childish Gambino step in alongside newcomers Mapei and Kali Uchis. Check out the full list of HYPETRAK’s Top 10 Artistry selects below, and head to HYPETRAK.com for the listen. DISCLOSURE January (Kaytranada Edition) SCHOOLBOY Q Man of the Year GIORGIO MORODER Tony’s Theme (Scarface 30th Anniversary Remix) CHILDISH GAMBINO Telegraph Ave (Ta-ku Remix) MAPEI Don’t Wait (Kingdom Remix) JUSTIN BIEBER FEATURING CHANCE THE RAPPER Confident JOEY BADA$$ & J DILLA Two Lips DRAKE Come Thru (James Blake Version) KALI UCHIS What They Say GESAFFELSTEIN Hate or Glory
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