GRAE
the Mulatto issue.
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March 2011
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grae magazine. Publisher
Grae Editor in Chief
Natalie Zigdon content Editor
Find us online at GraeMagazine.com Please note all submissions to Grae Magazine are protected by copyright laws which belongs solely to the artist. If you would like to get in touch with any of the artists, please email us and we’ll gladly pass it along.
Sophie Lavac Contributors
Steph Granshaw Jessica Ward Kyra Rogers Edward Hewitt Jr. Photographers
Natalie Zigdon the treehouse
Alyssa Wood
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Grae is always looking to expand our team. Whether you’re a photographer, writer, illustrator or designer, we want YOU to be apart of Grae. Email us at inspire@graemagazine.com
grae magazine. I’m Natalie and I am the creator & editor of Grae Magazine. Grae is a magazine was created to uncover underground artists who have a passion for creating. If you’re new to Grae, make sure to check out our talented artists and their take on this world. Read each word with an open mind, lose yourself in our treehouse and free your mind when indulging in our Rorschach Art Gallery. For this issue, we wanted to create a world that was solely black and white to see how our minds react. When we take the color out of the big picture, does it affect how we view the details? Does the way we feel change? We wanted to take a look at art from a different perspective. We live in a world full of color and beauty.. what if that color was taken out? Would we still manage to find the color in our hearts and the beauty in this world? This issue reminds us to appreciate the small details in life and the power of sight in the world around us.
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Vacuum #1, graphite on paper, 50 “ x 38 by Melissa Cooke
March 2011
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OUR MINDS ARE THE GREATEST WEAPONS WE HAVE. IT TAKES US TO PLACES WE’VE NEVER BEEN BEFORE, PLACES WE WOULDN’T BE ABLE TO REACH HERE ON EARTH. OUR MINDS IMAGINE AND CREATE THE WORLD WE LIVE IN. IT IS THE IMAGINATION WE HOLD ONTO THAT TAKES US TO WHERE WE WANT TO GO. THIS ISSUE WILL TAKE YOU THROUGH A BLACK AND WHITE WORLD THROUGH THE POWER OF ART. WE COME TO REALIZE HOW LIVING IN A WORLD WITHOUT COLOR WOULD AFFECT WHO WE ARE YET WE SEE THE BEAUTY AND SIMPLICITY IN BLACK AND WHITE. HAVING THE ABILITY TO DO BOTH, WE MUST NOT TAKE THE DETAILS FOR GRANTED. OUR MINDS HAVE THE POWER TO VIEW THE WORLD IN COLOR OR IN BLACK AND WHITE. WHICH WAY DO YOU VIEW THE WORLD AROUND US?
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I AM THE RIGHT BRAIN I am creativity. A free spirit. I am passion. Yearning. Sensuality. I am the sound of roaring laughter. I am taste. The feeling of sand beneath bare feat. I am movement. Vivid colors. I am the urge to paint on an empty canvas. I am boundless imagination. Art. Poetry. I sense. I feel. I am everything I wanted to be.
I AM THE LEFT BRAIN I am a scientist. A mathematician. I love the familiar. I categorize. I am accurate. Linear. Analytical. Strategic. I am practical. Always in control. A master of words and language. Realistic. I calculate equations and play with numbers. I am order. I am logic. I know exactly who i am.
words by the Shalmor Avnon Amichay/Y&R Interactive Tel Aviv, Israel
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steph granshaw
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simplesoulfulart.com art by steph granshaw The Mulatto Issue | Grae Magazine |13
Steph Granshaw from Simple & Soulful Art, creates exactly that. Women who are simply beautiful in their natural essence and art that is filled with heart and soul, which brings those women to life. I had the pleasure of interviewing the women behind it all. At times your artwork is only black and white, do you plan this before beginning the artwork or do you find yourself doing it that way in the process? -Yes, I tend to know how the work wants or needs to come out straight away. Graphite pencil is my first love in terms of what I choose to create with, if the inspiration for a particular piece asks for a mix in mediums, such as watercolor pencil or digital coloring in Photo Shop, then I usually know that right from the start. What ways has living in Thailand inspired you? -The solitude and being by the ocean has to be the two main factors for me, also the laid back lifestyle allows for contemplation, meditation and dreaming, I get a lot of inspiration from those three aspects. I live on an island that doesn’t really represent true Thailand because it’s very touristy, so I can’t say that I draw inspiration from the Thai culture. Do you believe that if suddenly the world became solely black and white that our emotions and our behavior would change? Do you think we would still be able to find the beauty in the world that we do now? -Yes I do think our emotions and behavior would change. We are greatly affected by color, it can raise our spirits, calm us down, energize us, make us happy. For me color has a spiritual element to it, it’s like water, it’s vital for our survival, plus of course a world with no color would be very boring. 14 | Grae Magazine | The Mulatto Issue
When did you realize your talents in art and that that is what your heart was meant to do? -I’ve always been a creative girl and always knew that I needed to be doing some sort of creative work. When I was young I wanted to express myself in so many different ways, either through dancing, drawing, and theatrics, loved the theatrical make-up side of things, creating characters and moods with make-up fascinated me, I also dabbled in playing the guitar for a bit. Today I’m still the same, as well as drawing, which to be honest has taken on a whole life of it’s own in the past 7 or 8 years, I also practice and teach the Healing Arts such as Reiki and Kundalini Yoga. I like to think of my creativity as multi facetted. Do you feel like your mind thinks in black and white (more logical, simply black or white) or do you feel like your mind thinks in different colors. -My mind definitely thinks in colors and light also. I have a very vivid imagination. When it comes to art I love to keep things simple, there is a real beauty in simplicity that can take your breath away, I hope I am able to create that response through my work, whether I use only graphite or not. Another major element to my work is being able to create a sense of light. We don’t like labeling art but if you could describe the women in your art in a few words or a sentence.. how would you describe them. What kind of women are they, how do you challenge yourself to portray them, or simply who are they? - There is always a soulful quality to each woman I draw. I want people to connect with that essence, so I would say that they are soulful, ethereal and full of light.
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the treehouSe.
where imagination is created. 22 | Grae Magazine | The Mulatto Issue
Into the mirror she looks, gazing upon the polished glass of what used to be her very best friend. Ages-it has been ages since she has done so, though now it is with such misery. Her skinny hands cradle herself around her once pristine visage at the desk of the curly scuffed vanity. Only hours beforehand she had squeezed herself into her old tight-fitting red polkadot dress and crossed her legs at the ankle, one boney foot over the other. And now, for minutes that drag on, she stares breathlessly at her own reflection, the saggy cigarette half-yellow and unimpressed between her once sultry lips. She takes a drag, a long drawn-out puff that lasts ages, before leaning forward and analyzing every single flaw. Exhaling, she pulls away the cigarette and ignores the red print of scarlet lipstick left behind around the circumference of it. Eyes scanning the glass, she spots the heavy lines around the top of her mouth, deep and ridge-like as if they’d been carved there by someone envious. She locates her head of once cotton candy blonde hair, and remembers
how it used to be full and wavy around the top of her skull. Now frail, the tragic truth was that it had lost its luster years ago. Yet she has been left with only the ghosts, the transparent outlines of herself that once were lovely. There is no longer the unmistakable shimmer behind her pair of upturned brown eyes. There is no longer the spark of electricity behind every slow suggestive wink. Back when she was young, and naïve, and twenty, she could have had any man she had ever wanted. Now, she is lucky if her neighbor’s dog comes up to snoop around her backyard on late Sunday evenings. And to herself, she poses the question, “What happened?” What happened to her clear skin, and straight teeth, and long lashes? Where had time hidden her poise, and her confidence, and her youth? The image of the woman in the mirror before her, it is the picture of someone she does not recognize. It is only the face of someone who has lost everything. Gone is the money, and the home, and the yard; gone are summer days at the pool. Gone is the
husband she thought she had loved once. He had left her years ago for a woman who was taller, and curvier, and exotic. Still, as she flicks the cigarette ash on to the ground, she curses her lying ex-husband and coughs up a brutal, blackened lung. Is this her life? Is this the existence that she had been indefinitely damned to? At the realization that she will never again walk the streets with such confidence, her aged heart sinks. She wishes to be able to turn the clock backwards, to watch the wrinkles smooth on her face, to see the laugh-lines fade. Another minute passes by; another sixty seconds that marks that now she is just that much older. In her last few moments in front of the putrid reflection glass, she prays for a miracle. And then, with her cigarette smoldering as it ejects the rise of gray smoke, she hopes blindly for a fountain of youth. Fountain by Alyssa Wood
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What if you were told exactly when you were going to die. Would you use it to your advantage and conquer your fears because you knew nothing else can kill you? Would you make every single dream a reality because nothing should be stopping you now? Would you actually
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appreciate life and ‘seize the moment’ because you knew how much time you have left? Or would you constantly feel the complete opposite because every single day you’re a day closer to the day you die. I guess you’ll never know. -grae
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jessicawar
a W a r d
ardart.com
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You take hair and you make it a very creative contradiction in your art. The hair you wrap around the women in your artwork is beautiful yet eerie and mysterious. Can you elaborate or explain further on why hair is big part of your artwork? Personally, here’s what hair means to me and how it shaped who I am as an artist. It started as a way to hide, I was called ugly for a good portion of my childhood and I felt like I could hide my face behind my hair. Hair was the ultimate symbol for femininity and beauty which I so desperately craved. It seemed like the longer it was the more ideal you could be. If someone were to cut their hair it seems like a lack of control or when a woman shaves her head, a feeling as if they are letting something go to gain control. A rebellion against oneself, or self sabotage, or a cry for help. There felt like so many symbolic similarities between hair and eating disorders. The ideas began to merge and I choose to represent my Bulimia visually as hair. Rather than depicting vomit or things in a literal since I used hair. Now in my art it visually and symbolically encompasses all the unseen forces that as to do with eating disorders.
Were you creative/dark/a talented artist as a child... as you are now? Yes, probably more so as I feel I have mellowed out a bit in age. I had a happy childhood but never quite fit in. From moving around allot, being a geek turned freak, and having one traumatic childhood experience in which I feel gave me a dark side, I was just lucky to be creative and have that as an outlet.
Besides hair, are there any other signature marks you include in most of your artwork? I like to give my subjects sanpaku eyes, I did not realize I was doing this it was completely unconscious, until I find out about it a few years ago. It really seemed to make since in going along with my themes, Sanpaku eyes is a Japanese term for people having the bottom whites of their eyes showing. It represents a physical imbalance in the body, while normal at very old ages is abnormal for anyone younger and indicates an extremely unhealthy condition and possible premature death. In individuals with Bulimia they appear healthy but are dangerously abusing their bodies I want show their beauty but also that they are close to death or illness with out being over the top.
Does your life or who you are influence the art you create? Your art is at times considered dark.. is there a reason for this that goes a little deeper? Yes, I use my art as a way to visually express inner turmoil but it also reflects not only what I am going through or have been through but everyone whom can relate on a universal level. I do things not only for myself but things I know could reach out to others and promote awareness. If it helps me shoulder the burden of what is constantly going on in my mind I figure maybe it could do the same for someone else in a similar situation and that means allot to me.
Do you feel that art is ever seen in a completely different perspective when it is solely black and white? As if it tells a different story then it originally has? Yes, there is art out there that relies solely on it’s color like color field paintings and Impressionism. Color makes them what they are and would be lost if it was only black and white but I also think it works the other way around. For example, if Lori Lipton’s drawings were full color they loose their deathly aesthetic and Travis Louie’s paintings would loose that Victorian postmortem photography style. I think it’s important for artists to choose their intention for how they want to depict their ideas and envisionments and stick to what works for them conceptual and perceptually. I experimented in art school in various media like painting, and in color, doing my style of art. Through trial and error I found what works best to execute both my concepts and style and most importantly what I like using.
If this world was suddenly only black and white... do you think we would still manage to find the beauty in the world like we do now? Well, I see the world in black and white, it’s all or nothing. So when you are looking at my art work you are looking essentially at the world through my eyes, my filter the way I see it. I still see beauty around me even through my distorted point of view.
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rorschach. dont see with your eyes, percieve with your mind. They reflect your own desires and fantasies right back at you. They are a stolen world in which you create the streets, the faces and the sky. These pictures will be whatever you want them to be. To me, art is exactly like a rorschach. There is simplicity in what you are looking at but it is your mind that creates a beyond ordinary place. Every month this section will be filled with brilliant artists who strive to have their art lose you into an entirely different world.When appreciating art, let your mind wander. Let your mind be free.
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Mercedes Helnwein 36 | Grae Magazine | The Mulatto Issue
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Alex Cherry
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Melissa Cooke
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Nicole Mc Evilly 42 | Grae Magazine | The Mulatto Issue
Bethany Monsted The Mulatto Issue | Grae Magazine |43
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Michael Ostermann
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Malte Pietschmann 46 | Grae Magazine | The Mulatto Issue
Conrad Roset The Mulatto Issue | Grae Magazine |47
Melissa Cooke 48 | Grae Magazine | The Mulatto Issue
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Raquel Aparicio
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Michael Ostermann
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Elena Jasic
Austin Kamps 54 | Grae Magazine | The Mulatto Issue
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Alex Cherry 56 | Grae Magazine | The Mulatto Issue
Ben Tour The Mulatto Issue | Grae Magazine |57
58 | Grae Magazine | The Mulatto Issue Michael Ostermann
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Malte Pietschmann 60 | Grae Magazine | The Mulatto Issue
Alex Cherry The Mulatto Issue | Grae Magazine |61
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She is Frank
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Melissa Cooke 64 | Grae Magazine | The Mulatto Issue
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Alex Cherry The Mulatto Issue | Grae Magazine |67
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Jo Holden The Mulatto Issue | Grae Magazine |69
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Elena Jasic
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Chrissy Lau
Benitta 72 | Grae Magazine | The Mulatto Issue
Zaeger Jones
Mimi Illustration The Mulatto Issue | Grae Magazine |73
Mercedes Helnwein 74 | Grae Magazine | The Mulatto Issue
Thierry Lebraly The Mulatto Issue | Grae Magazine |75
Magazine | The Mulatto Issue She76is| Grae Frank
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Pedro Julien
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Michael Ostermann 80 | Grae Magazine | The Mulatto Issue
Sarah Hankinson
Javier Lovera The Mulatto Issue | Grae Magazine |81
Ben Tour 82 | Grae Magazine | The Mulatto Issue
Pedro Julien The Mulatto Issue | Grae Magazine |83
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Marcos Huerta
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Malte Pietschmann 86 | Grae Magazine | The Mulatto Issue
Elena Jasic The Mulatto Issue | Grae Magazine |87
88 | Grae Lebraly Magazine | The Mulatto Issue Thierry
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operation f. photography & concept by natalie zigdon
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“once i accepted my flaw, I could finally breathe.” I was running, I should actually say I was dying... but I was running, and I could feel my heart pumping out of my chest. There was barley any air left in me and I wanted to quit. Why were my legs even still running? What was stopping me from telling myself to stop running? Oh yes, the barbie dolls on the next four treadmills next to me. I was so sick of being that little short chubby girl to come in last. Just looking at them made me want to chuck something their way so I could claim some victory. As I was running, I was feeling extreme self pity for myself because of the fact that I couldn’t run like they could. Because of the fact, that I had asthma. Asthma isn’t the end of the world but it has always been an obstacle in my world. I could never keep up, and I was always slowing down. I was sick most of my
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childhood and was always spending my days in bed with a nebulizer and the care bears to keep me company. As I was running on that treadmill I thought to myself, it’s amazing how we have flaws that keep us from being who we truly want to be yet no one can see them. These aren’t flaws you can see, or flaws that you can tell about a person when first meeting them. What if these flaws were written all over us? At that moment, I had wished there was asthma written all over me, so people knew why my body looked like it was about to collapse. There are flaws that we can hide. They’re not acne, thunder thighs or big ears. They’re deeper than that, they’re worse than those. They eat you up inside because they are flaws you can’t control at times. Flaws, that no matter how hard you try to get rid of, they find a way to keep coming back. Ironically,
sometimes the flaws feel like they’re written all over us, although they aren’t being spoken out loud, they are so strong that sometimes it feels like they are. There are so many of us who are ashamed of our flaws and let those flaws become obstacles in our lives. We let them hold us back and change who we truly are just to please everyone else. Operation F. was about letting those people know... you’re not alone. We all have monsters inside us, but there is no need to let that stop us from living our lives, the way we want to. This isn’t about asthma, or myself… this is about our flaws and how we hide behind these walls because were so afraid that somebody might tear them down, brick by brick and see what is really going on. Let them. Let them tear that wall down because if they can’t handle what is behind it, they don’t deserve to.
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Flaws will always be here, society will always create them, and others will always judge us but it is up to you to decide how you’re going to let a flaw affect your life.
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“You don’t h You are a soul. Y 100 | Grae Magazine | The Mulatto Issue
have a soul. You have a body.� C.S. Lewis The Mulatto Issue | Grae Magazine |101
GRAE MAGAZI
“OUT FOR A STROLL” AN
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INE PRESENTS
ND “THE
HIPSTER PARADOX”
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OUT FOR A STROLL. TEXT EDWARD HEWITT JR The original idea for the film came from listening to the song “Minha Menina” as done by The Slackers. It’s just super up-beat and probably the happiest sounding song I’ve ever heard. And that gave me the idea for the main character in this: an unbelievably up-beat Harold Lloydlike character. It would have been much cheaper and far easier to shoot this project on a digital format and just put filters on the video in post to make the image look like film. But honestly, I don’t really care for that fake film look. The film as a whole pays homage to the silent movies of the early 1900s for example the characters played by Harold Lloyd, Buster Keaton and Charlie Chaplin. So in order to achieve the look I really wanted my DP, Just Aguirre, suggested
we shoot on Super 8mm. The film choice was Kodak Tri-X B&W Reversal which we shot at 18 frames per second to try to get a nice, grainy look. The story is one that most everyone can relate to. It shows the interaction between the sexes, specifically the way women make men act. They (women) can make us (men) be romantic, and sing songs just to get them to look our way. But there’s also the more physical side of things. Sometimes it isn’t all about love, but rather we just want to... for lack of better words: get into each other’s pants (euphemistically represented by dancing the tango). And women as well as men are fickle creatures with short attention spans. If someone else comes along and gets our
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attention, it’s easy to forget about what we were previously so focused on. After The Man and The Villain realize that a third man (The Jogger) has started vying for The Love’s attention, they team up and beat the snot out of him. But as soon as they walk away they run into another girl and the whole thing starts over again. It’s a vicious and inevitable cycle. The villain’s look was more dedicated to the original idea for the film, which was two competing musical personalities: The Man (represented by “Minha Menina”) and The Villain (represented by psychobilly music). So even though the 1950s rockabilly greaser type doesn’t usually exist with the 1910s silent movie/Harold Lloyd type, he’s just got such a good, villainous look. And the tattoos and makeup were just too much fun.
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The Crew. Edward Hewitt Jr (Writer, Director, Producer) Justin Aguirre (DP) Kachain Thongmanee (Producer, providing crafty, grip) Alex Crews (grip) Jasmine Etienne (makeup) Alicia Castile (tattoo art) Federico Friciello (Original music, titles)
The Cast Jonathan Castile (“The Man”) Lisa Wardell (“The Love”) Federico Friciello (“The Villain”) Winston Peters (“The Musician”) Todd Christian Hunter (“The Jogger”) Alicia Castile (“The Young Girl”). 106 | Grae Magazine | The Mulatto Issue
“YOU CAN UND
N’T PLAY JAZZ UNLESS YOU DERSTAND THE BLUES.” The Mulatto Issue | Grae Magazine |107
THE HIPSTER
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PARADOX..
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TEXT KYRA ROGERS Last year, toward the end of post-production on my previous short, “Me & Al Jolson,” I felt that my next film should be a step in a different direction. While “Me & Al” wasn’t exactly a commercial short, I felt that ideally I would be doing work with a little less plot. I wanted to create something that was essentially a telepathically communicated thought branded onto celluloid. I’m not sure the film will be totally successful in this way, but so far it seems headed in the right direction. The film itself is not plot-heavy by any means and for this I am a little proud, but what I’m most proud of is the film’s “idea-heaviness” I 110 | Grae Magazine | The Mulatto Issue
guess you could call it. I took many emotions I had for the Hipster culture, worked them out in my head and on paper, but then I had way too much to work with. I became overwhelmed, and then decided to take co-writer Scott Morgan onto the team. He really helped to translate my ideas into the language of cinema. It was even tougher to go through this process than to explain going through it but we both did our best and I’m happy with the way things are turning out. The inspiration for this film came mainly from the Jorgen Leth Film “The Perfect Human” and the Jean-Luc Godard film “Le Gai Savoir.” I also took into account
Jesse Richards’ Remodernist Manifesto (which I like but have mixed feelings about) and good friend Guy Maddin’s so-called “postmodern” cinematic delicacies. Richards and Maddin played a big role in the decision to shoot on film instead of going RED (digital) like I’d done before. All in all I think if you like these filmmakers and films, there’s a good chance you’d like “The Hipster Paradox” as well. I tried to use it as a medium through which I could communicate some emotions I felt toward the hipster culture but I really wanted to make this stew of emotions and ideas fun and accessible too. Bon Appetite!
THE FILM ITSELF is NOT PLOT HEAVY BY ANY MEANS AND FOR THIS I AM A LITTLE PROUD.
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never give advice y
lifestyle photograp 112 | Grae Magazine | The Mulatto Issue
you wouldn’t take.
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lifestyle photography, is about not only capturing the
world around you yet capturing the world in it’s natural, raw state. just the way we see it with our own bare eyes. the lens is an extension of what our minds can’t capture in a single moment. its about CAPTURING the many beautiful things this world has laying around waiting to be discovered. its about the things we pass by every single day and never take the time to truly appreciate. its about the simple things that make up our lives and come together to make us who we are. lifestyle photography is about the lifestyle around us. candid, raw and simple... how photography should be.
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the labyrinth issue coming april 2011 Labyrinth (n)- Complex system of paths or tunnels in which it is easy to get lost. A face, is one of the perfect definitions of a Labyrinth. Every move of the brows, the lips, and the eyes go in different directions when affected by emotions. Another person’s face is the biggest place a person can get lost. The mouth is saying one thing and the eyes are saying something completely different. We never know what a person’s face is truly trying to portray. Send us all the art of faces you’ve got. We want to see different types of emotions and how well they are portrayed through art. Portraits and unusual distortion of faces are encouraged. Send your art to inspire@graemagazine.com to be featured in the next issue.
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Contribute to grae. Rorschach. Want to have your art work featured in Grae? Send your art work to inspire [at] graemagazine.com. How do you know you’re qualified? Grae is searching for underground artists and people who simply have a passion to create. Whether it is a picture, a song, a canvas or a story. If you think your creations are creative and inspiring then you are more than qualified… you’re exactly what we’re looking for!
The TreehouSe. Consider yourself a writer? Send us a sample of your writing or a piece you wrote especially for Grae’s theme of the month and your work could be featured in our treehouse section. We only take fiction and creative writing. We’re not trying to sell anything or promote anyone in this section. The treehouse is all about writing with a twist. Show us your creative side by sending your work to inspire [at] graemagazine. com.
Featured InterviewS. Think you deserve a featured spread showcasing your art and your mind? So do we. Send us 3-4 photos of your artwork to inspire [at] graemagazine.com and we’ll answer back with the intriguing questions. You can get a featured spread with an interview by simply speaking up. How will we ever know you’re there unless you don’t use your voice? Don’t be shy. Feeling the opposite and think you know of the perfect artist to interview? Do your thing and send us the artwork and interview you’ve set up for them. We’ll be more than happy to feature you as the brilliant writer who found such an inspiring artist. Maybe you’re not a brilliant writer, just really good at asking questions. Hey, we’ll take it.
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Natalie Zigdon
Thank you To ThoSe who live to create. Steph Granshaw
Jo Holden
Mercedes Helnwein
Chrissy Lau
Alex Cherry
Benitta
Melissa Cooke
Zaeger Jones
Nicole Mc Evilly
Mimi Illustration
Bethany Monsted
Thierry Lebraly
Michael Ostermann
Javier Lovera
Conrad Roset
Pedro Julien
Malte Pietschmann
Marcos Huerta
Raquel Aparicio
Melissa Flores
Elena Jasic
Ray Kim
Austin Kamps
Niccole Marciano
Ben Tour
Danielle Marciano
She is Frank
Sahar Malekpour
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Kyra Rogers The Mulatto Issue | Grae Magazine |139