Hi Evelyn. How a r e y o u ? I’ve already learned not to respond to this question. People usually don’t want to hear the truth— or, at least, they don’t expect it. So I’m fine, thanks. What’s in a life lived? I need intensity; I need to feel and, sometimes, to suffer in order to create. Life is too short to wait. What are you saying without saying anything at all? E v e r y t h i n g . Why silence? Silence was one of my very first projects; I learned everything by doing it. All of my photos have started out as an experiment with friends. Often, I choose the name of my projects after the shoot is finished and the concept is clearer to me. Then when I look at the pictures, I can better understand what it was all about. Booya! Icon, Ecce
Homo, Close and some whole ‘notha stuff—how’re you gonna keep up this fantastical pace you’ve got going on? I will try, that’s the only think I can do. What is beauty to you? Visualbeauty? An illusion of shape and light... … U g l i n e s s ? Lack of this illusion. Beauty or ugliness can be everywhere and everything. Often, it’s just the point of view matters. Does it ever get anymore easier than this, ever? No, I have the feeling that things are going to get more and more complicated every day. Howhave you benefited from the unexpected? The unexpected creates excitement, Excitement is the beginning of creativity, and creativity is needed for all of my creations. What do you k n o w f o r su r e ?
That I don’t know anything for sure. I g e t a f e e l i n g o f t o g e t h e r n e s s , and isolation, in Ecce Homo: Why? Because that’s one of its main topics... Ecce Homo is about humanity, about the behavior of a person in society, and the role of society in the world. What emphasis is placed on accessibility for your audience? I want to create photos that are interesting for everybody, because that’s the first step to understanding. Where do you find balance between aesthetic and concept in your work? I’m trying to stay exactlyinthemiddle. How would you describe the power of now? Opportunity. The Opportunity for everything—or, at least, an illusion of this feeling... Other people and they’re problems…am I right, or am I right? I have enough of my OWN problems. What’s the real reason you create? I need it. When I’m not creating, I’m not living. Where are you in your work? Still in
its beginning. Do you consider it a good or bad thing to be a woman in your chosen profession? I don’t consider it to be important; I don’t even feel like a woman in my work. How have you been hurt in life? Too personal... Everything can be hidden behind a smile. How would you like to motivate your audience? To see. To think. T o u n d e r stand. To do. Who are your s u b j e c t s ? Situations. Wait a second, you mean to tell me the presentation of products wasn’t enuff for you!? Never. I don’t think it’s worth my time. So, straight A’s this coming semester, or what? Of course =) I wish I cared. Is there anything I missed? Too many things… Any shout-outs? N o n e e d .
Hi Ane. How are you? G r e a t ! What’s the deal? Art is the deal. Thinking and making. What’s going on here? I’m thinking about the nature of matter, and how it’s all connected. I’m interested in the new materialist theories, especially from a feminist perspective. Exploring these ideas through visual work gives room for an abstract and experimental approach that suits me perfectly. Are you totally sure about that? Nope. We can never be too certain of anything, except uncertainness. Boom—smack, dab right in the kiss-
er w/ Your Groundwater, GraffLøw-Sandbeck and The Aforementioned Lack of Clarity; but you’ve got your next show slated as being New Work: care to let us in on what you’ve got in store for us there? Body parts, silk, marble and foam. The body is back! In parts! How is your past work entangled w/ your current? Everything is entangled, and my past and present practice is tangled together into a big ball of yarn. From the moment I started making artwork, I’ve focused, through different methods, on the melancholic fact that everything shifts and changes. My work’s aim is to reflect upon the nature of matter and its processes of change, either through growth or decay. And where does your current work fit w/ your past? I started my art practice making drawings examining the changes and shifts in organic matter (wood, minerals, etc.). I still draw, but I have extended my practice with different media such as textile work, paintings and sculptures. The main focus is on installations. Thematically, my interests stay with matter and the science of materials, but the new
work has a stronger emphasis on the poetic. Is your art on a dfrnt tme scale than you? I believe so. The existence of the materials happened outside of myself, on their own time scale/s. When I work on them, I disrupt their timeline. For example, the textiles where I “age” them through processes of wear and tear (printing, painting and washing). I believe all matter has its own time scale: it’s created, lives and dies—or, rather, it’s energy changes to a different form. Howwillwereachequilibrium? Hm. Through realizing we are just a miniscule part of it all? How important is each piece’s place in a whole? Every part matters. Some things we don’t see as being related can absolutely be so. We have limited insight through our senses. Through quantum physics, we can now know more about the smallest entities and their behaviour, but all it really tells us about is probability. How would you like your audience to interact with your work? I am thankful for people to see the work in person, as so much work lives a ghostly existence on the Internet. I don’t dislike the Internet, but the material’s real properties, and a work’s presence in a room, can never be conveyed the same way. I spend a lot of time making sure the installation in the room conveys a kind of sensory narrative, and this is almost hopeless to communicate through a photograph. …You work w/ itself? How’s my work is interacting with itself? An exhibition needs to create narratives in the room: sensory, reflexive, theoretical and emotional. There is a rhythm in an installation that also needs to happen and, certainly, a tonality of the whole. Installed correctly, each work conveys multitudes more together than separately. Why copper?
I li ke a s o f t meta l , a bendable hardness. I t s g o r geous or ange metallic luster certainly doesn’t hurt, either. Or its ability to express different colours, as such green, blue yellow or oxiwhen sure dized. It presents the of theories well change throughout this spectrum colours. of H o w
many many times have you printed/reprintedagain? Oh, millions... It is how I spend my days. My series of textile paintings are made of printed and painted textiles draped directly on canvas. They go through processes where they are treated with chemicals, soaked, re-printed and re-painted numerous times. Through this, the motives slowly fade away, leaving only traces behind. W h y ? Oh, it’s some kind of obsession. How to erase something that’s there, change it, and give it a new narrative and visual expression. Show the process of decay, or how figuration loses its “figure.” Be a part of the disintegration process; take part in it with my own hands. Is the end result ever the same as you’d anticipated? Never. The material feels alive through the changes, and responds to the process. Aside
from that, there is always a gap between idea and finished work. This is what keeps artists making art. Nothing is ever a fulfillment of the intensions...if anyone says so, I believe they are lying. How much control did/do you have over the results? Let’s say about 60/40. I can control the idea, the
choice of material, and the processes I choose to let the material go through. But how a material reacts to the process is always surprising. What are you undermining? Clear-cut narratives, perhaps? The idea that things are black-and-white, that we have all the knowledge we need, that a rational standpoint is enough—a linear perspective of time, where time is expected to lead us towards progress... I believe in trying to break up binaries and question categorization. Accepting that reality is more intertwined and complex than we’ve come to understand. Is your work free to touch? Yes, just don’t tell anyone. It’s the classic tale of artists carrying their work in an old plastic bag on the bus (i.e. me), and then the institution staff receiving it with white textile gloves. It makes me feel appreciated, but it’s also kind of funny and weird. Does artistry run in your family? Yes. My great-grand f a t h e r
was a Danish sculptor and made classical sculptures, some are still on view in Copenhagen. He also made lamps; I just found them online on an auction site. They are quite beautiful and totally over my pricepoint for lamps. There really should be a discount for family members. When, why and how have you abused your power? Oh, ha! You should ask my students... I have been teaching at the Oslo National Academy of the Arts for the last year. I dislike hierarchies, and I truly believe that power corrupts, but I’m also certain there is no escaping its effects. Try as I might to enter into an equal dialogue, I also know I take delight in my own voice being heard. Y o u b e ( c y ) ‘ b o r g i n ’ t h o u g h , r i g h t ? Donna Haraway’s essay, A Cyborg Manifesto, from 1983, has been quite inspirational to me. The essay is a rejection of rigid boundaries, notably those separating human from animal, and human from machine. Haraway calls for a revision of the concept of gender and a reconstruction of identity. I like that she is so knowledgeable in a number of fields, and her ability in combining these disciplines. Is there anything I missed? It’s all good. We can’t explain everything. A n y s h o u t o u t s ? To my boyfriend, who’s always helping me out on a practical level. And to all the a r t ists out there worki n g hard to produce something t h a t m a t ters— you can DO IT!
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Hi Eleanor. How are you? Verywell, thanks. I am sitting atmy desk with a massive cup of tea, and it’s pretty early in the morning. Have you found happiness? My work is tied up with my own happiness and emotional wellbeing; I am always trying to get better at both. I think if I found it, I would just give up, so I like it just within my grasp. What is it you would care to say the most here? Well, to be cheesily motivational, for anyone who is reading this and wanting to be an illustrator, you can absolutely make a living from it, and it doesn’t have to be just a hobby. Just don’t give up and keep making work. I think this is exactly what I wanted to hear a couple years ago. When did this start, where is it going and where will it end? It started in a small town in Hampshire where I grew up. I was
wa s n u n t ’t il
after
going to college, art school a n d then a MA at the Royal College of Art, that I decided I would focus on illustration as a career. I have recently been signed with my agent, Heart, and am very excited about the future. And you’re well on your way: the Guardian, New York Times, Nokia—to what do you attribute your great success? I would say lots of dedication and hard work. The hardest thing was finding a balance between supporting myself and having the time to work on and build my portfolio. I chose part time jobs that weren’t too stressful, like shop work. Any spare time I got was spent working on my portfolio. I sometimes wish I could just work during the week and have weekends off, as it’s very rare that I get to just completely chill-out. I started off by keeping a blog and updating my website with my work. I was then featured on blogs and did some interviews. And, slowly, I got asked to do a few pieces for magazines, like Wrap and Oh Comely. It was a slow and steady process, but I think every small part had its role to play. What are you currently working on, pers-
o na lly? I am working on a series of images to illustrate a wonderful, vibrant book I read recently called The Lacuna. It’s set in Mexico and is a fictional account of a young man’s experience working in the household of Frida Kahlo and Diego Riviera. …Professionally? I am currently finishing off a piece for the Smithsonian magazine. I take forever to finish illustrations—it’s kind of exasperating, as the process seems to really slow down towards the end. Is there any real difference between the two? With every commercial brief, I try to find a personal angle or something exciting, however mundane or boring the subject may be. I have found that working on personal projects often leads to getting paid work further on down the line. When are you surprised/pleased from/by
the results of experimentation? It’s taken me about a year to figure out my digital process, and I am now refining it. It’s often in play and experimentation that I find new, fun technique/s. How often is it that through the process of
l ay e r i n g , t h a t your work takes on a new direction otherwise unanticipated ‘til that very moment it appears on the page before you? All the time. I never truly know how any piece of work is going to turn out. Recently, I figured out a way of creating my images using only three colours, and layering them up with different textures. I find putting limitations on my process brings forth exciting results. But how much fun was had illustrating David Almond’s Half a Creature from the Sea? It was such a wonderful opportunity, and I really enjoyed creating the illustrations, but I wish I could have relaxed a little more and let myself have more fun. I put a lot of pressure
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on myself, as I am such a big fan of Almond’s work. I wanted the illustrations to live up to his amazing writing! How do you get in the mood to do what you do? I live about 2 minutes away from the beach in Brighton, so I like to go out and take a walk and think. Before I start any new project, I have to clean my desk and have a chucking-out session. Are you consciously directing your work while creating, or how would you describe it? I would say it’s a mixture. Drawing is such a meditative process, and I think it’s good to retain that feeling, particularly at the start of a project when ideas are forming. It can be very easy to be drawn into a piece of work while making it, and I sometimes forget to take a step back. It’s good to not be afraid to make big changes—even if it’s right at the end of a project Iamconstantlytry-
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get much of a chance to second-guess yourself? I am always questioning my practice and myself; I think it helps me to move forward as an artist. When do you find yourself discussing your work w/ others? If the work is going well, I like to just get on with it and let the ideas flourish. If I am struggling, I will sometimes send roughs to friends or talk to my very patient partner. I am very open to other peoples’ opinions and always find it helpful to mull things over with someone else. How do you let feedb a c k a f f e c t y o u ? I always like getting feedback. Even though, sometimes, it can be hard to take, I always try and use criticism to build on my work. I am very stubborn, so I would never let negative feedback break me.
How have deadlines enabled progression? I can take forever faffing over finishing off a piece. The deadline forces me to MAKE decisions, and some of my best work has just had a day or a few hours turn around. During tight deadlines, I get up at 6:00 and sometimes don’t finish working ‘til 10 at night. I have found myself sweating and almost crying over work to get it finished on time, but in the end I usually find it very rewarding. Where do you feel your Illustrations have succeeded in representing the provided theme/context? I have had some fantastic art direction working for the New York Times. Some of the commissions have really pushed me out of my comfort zone, but in a good way. One particular commission was dealing with the Rwandan Genocide.
The author of the article fled the genocide by swimming across Lake Kivu to DR Congo in the middle of the night, and returned 20 years later as a defence lawyer for a member of the murderous Interahamwe Militia. He explained how he learned that most of the Rwandan soldiers responsible for the horrific killings of innocents did so without question because of a culture deeply rooted in obedience. It was a particularly challenging article to illustrate, but in the end it was very rewarding, as both the editor and writer mentioned how powerful they found the illustration to be. I think that was, probably, my proudest moment. What do you find yourself revisiting and why? I am always drawn back to nature. I am inspired by its alien-like qualities and random surprises. Is anything just beyond grasp? I truly believe that with sheer grit and determination that nothing is beyond reach. W h a t d o y o u d o j u s t f o r k i c k s ? I wish I could say longboarding; I really want to have a go (Is 27 to old?), but instead I spend far too much time inside. I cook curry and enjoy watching horror films. When do you tell people exactly what you’re thinking? All the time, I am an open book. My face says it all. I am crap at hiding my thoughts. Is there anything I missed? If you want to see more you can check out my tumblr: http://eleanorsvisions.tumblr.com, and my instagram: http://instagram.com/eleanorsvisions. Any shout-outs? h t t p : / / m i c h a e l k i r k h a m . c o m h t t p : / / f a y e m o o r h o u s e . c o . u k h t t p : / / d a v i d d o r a n . c o . u k
H i L a r a . H o w are you? I’m fine, t h a n k s . When are you, you? I must confess that I’m tomboy with an extremely bad temper and tactless behavior. I fight for justice and am a big thinker. But sometimes I have this wish to become a pretty, seductive dummy with Botox and perfect abdominal muscles. Who are you w h i l e d e s i g n i n g ? I’ve become a sort of navigator for myself. I do not know who my driver is, but I clearly know WHAT I’m doing. I see the road, the dir e c -
tio foll the thin to do. When I feel my moment of tru This is right.”), I push on and increase Is that then represented by each Oh, no. My clothes express a completel ferent side of myself…the girl I desire t I’m sayin’—back-to-back-to-backs w/ Vincent, B do and ESC: How does change as a constant en your progression as an artist/designer/human Today many designers purposely choose one stylistic direction for their work and stay constant in it, no matter if it is fashionable or not. Seems that they are afraid to take a step: right or left, good or bad. I guess it is because all experiments are fraught with missteps, or even failure. Their creative work reminds me of overcooked noodles... I’ve chosen a completely different path, which gives me freedom and releases my potential. I like to choose different ideas and work with different styles. Every single new collection shows up as a completely new idea, radically opposite to the p r e v i o u s
on I need to low, and ngs I need uth (“Yes! my speed. h item? ly difto be. Bushinable n?
collection, I implement new fabrics and color palettes, which are also contrary to the previous collection. This freedom enables my growth, my way of searching myself. Where have you succeeded in outdoing yourself? In my self-organization. I do not have a boss who tells me what to do and when to do it. So I have an obligation to myself to take control, to upgrade my skills and, the hardest part, to keep my desires in check. What new materials and concepts would you care toexpandonforthefuture? My dream is to create my own fabrics from new materials. I feel like I need this to materialize my craziest ideas into perceptible forms and textures. In regards to this concept, I would like to produce innovational designs of clothes with the help of art from various genres and forms. Have you found home in your work? Yes, I’ve found myhome in work. But, of course, I dream about more. I feel harmony on my own, I do my job, and I do not depend on anyone else. I do not
work with clients personally; I only work with stores and buyers. And I don’t like when anyone drills my brain w/ that “The bottom of the skirt would be “just right” if shortened 4mm…” nonsense. I just don’t like it because I want people to take my garments and adore them. Is it your hope to blur the line/s beESC? tween reality and fantasy w/ Yes, this collection was my desperate attempt to break out of the mundane and into the world of fantasy. Stiff girls are tired of monotonous reports, keyboards, bookmarks and document cases: they imagine themselves with messed up hair and burning smoky eyes. But it isn’t easy to get rid of business thoughts, so they introduce the details of their office life to a party or journey. For instance, a jacket with folder-like sleeves and a shirt printed with texts and files embody a dedication to work. Thoughts about deadlines and projects follow businesswomen instantly. H o w
h a s c o l o r i n f l u e n c e d y o u r l i f e ? Since I am not sensitive to color, this gives me the opportunity to bine colors, which often aren’t compatible. I am always on the edg or solution. I don’t believe in tasteless, unfashionable color How have you managed to find your creati My senses are engaged first. They react to different bright moments o tants from the outside. My heart starts to beat faster kindled by var Butterflies in my stomach. My head gets involved, it starts to generat alize the design. My hand starts to draw embodying shapes on paper, and color through touch. That is why I can say that my entire body is m When have you forced When I realized that I was ready to work for myself, and that I was starting was very scary because there is a lot of competition, and I wasn’t sure if any nize/understand my talents or taste. And even after the production of my (Vincent), there were a lot of bumps in the road… But, still, I’ve managed to Were the results to your Onlyayearandafewmonthshavepassedsincemyfirststepsinbuildingmybrand…But,yes You’d mentioned masculine cut, shape, line/s and feeling within your work:
o comge of colcombinations. ive center? or striking irririous impressions. te ideas and visutransmitting lines my creative center. yourself? my own business. It yone would recogfirst collection o move forward. liking? s,I’mhappy! Why?
I think that everything has already been done, and that all that remains is to play with shape. Through shape we show something new, and develop it with the help of line/s and sophisticated cut/s. Who’ve you got your eye on for future collaborations? The talented and OUTSTANDING. Those who inspire me and complement myideas with their own, and…itis veryimportantto find people who are a little insane, so we can create smtn unreal and mind blowing together. What were you like as a child? I was a very happy and joyful kid. I was not afraid of heights and climbed all the trees. I enjoyed fishing and taking care of our country cottage. My body was covered with wounds because I often got into street fights trying to solve conflicts naturally and fairly, fighting for justice. All homeless dogs and cats were my pets. I used to take food from our home, behind my parents backs, to feed and heal all the homeless animals. I loved observing people, sometimes I’d even go as far as spying on them. I was a true tomboy in my childhood, and now I truly miss that time of freedom. Howhave pastexperiences helped to define the individual you are today? I think everything we do in life, however trifling and unnecessary, reflects on us and makes us stronger in many ways. My experience mostly comes from university, various competitions and previous jobs I’ve had along the way. This long path has led me to who I am now, and I believe that I have truly found myself. How have you fought to break free? I do not need to put much effort in to break out. The need for freedom is in my blood. I’m even thinking that it is time to add radically different hobbies to my everyday life, something not related to design and fashion. Perhaps astrophysics or physics? “Why the fuck did ya do what ya did when ya done it?” –Devin the Dude I once had a job that did not give me any bliss out. I was working as a buyer at some stupid online store that had just opened, and my job was to pick out different design stuff for their website and fill in heaps of documents. I was so bored and felt so miserable that after month and a half I quit. Have you gotten your point across when making a point? So far, I feel the artistic vision and explicit details of my clothes have been translated too clearly. There was no need for a press release because the clothes spoke for themselves. I am now learning to change this manner. I want to develop deeper, more sophisticated collections. Is there anything I missed? The interview was a real psychoanalysis; you’ve enabled me to really open up. I’ve been delighted to answer all your unusual and fancy questions. Thank you. Any shout-outs? My wish is for all the girls who have brains brains out there to not be afraid to live their lives to the fullest and change dramatically.
Hi Emily. How are you? Doing great. Thanks for having me. W h a t i s love to you? In what context? Have you ever been in love? O h , y e s . Many times. When did you know you were an adult?
Ha! I’m not sure I am yet... Honestly, I think adulthood is about finding a balance of childhood and adulthood in a way that makes sense for you. I think there are parts of my being that will always be childlike. For example, I think play is an incredibly important facet of adulthood for many reasons. How would you describe your relationship w/ light? Light is pure magic. My relationship to natural light is so important to me. My relationship to artificial light is love/hate.
Alright, yeah, so— Where Death Dies, Of Love and Loss and Objects of Childhood: How did each of these series come to be? They are all born of very different times in my life and very different stories. Of Love and Loss was my exploration of love through space, which, then, led me to Where Death Dies. Objects of Childhood happened in my mother’s house, my childhood home in California. I
loved that she kept these things of mine. When I found them all, they were all packed up in boxes and containers, and they looked like li’l coffins. And what led you from youth to love to death, or was it even in that order? W
e l l , if you think about it, they all are pretty related, aren’t they? It wasn’t a conscious decision to move from one to the next realizing their relationship with one another—that was just how it happened. What’srevealedina space? Well, I think that is highly subjective. But, for me, what is revealed is a lot about the human experience. The rooms and spaces in Of Love and Loss were es tially portraits of the aftermath of an experience, which, in my opinion, can be v How much time is spent in each shots S o m e t i m e s 5 m i n u t e s , s o m e t i m e s m u l
ssenvery telling. s preparation? l t i p l e t r i p s .
Have the recent prolonged executions contributed to the discovery of your work? Oh, absolutely. Everything around the subject makes history; it’s all very influential. The work is ongoing, so we will see. Are folks surprised to find the actuality of their surroundings’ past? Yes, often! I love hearing the reactions and responses. Why do you think individuals, rather than institutions, manage so much of this information? In my experience, it wasn’t individuals managing the information; they simply had it. For example, a man’s father had been a warden, and somehow he ended up with maps of the prison. Back then documentation wasn’t widely circulated like it is today. I found that a lot of needed information
about Where Death Dies was word of mouth, which made it hard to prove things. Eventually, I found evidence for each site through individuals who had documents in their homes (like the previously mentioned example). Despite the dark nature of your recent work, how much fun has been had in your travels? It’s truly my BIGGEST pleasure in this life to explore with my camera. It’s such a privilege to see and explore aspects of history that may be lost. I have been lucky to have met so many helpful, kind individuals who were supportive of my odd requests. Are you actively shooting outside of your current projects? I am! Yes. I shoot as often as I can. When are we gonna be able to check those shots out!? Keep checking... I put a lot up on Instagram, too. When are you w/o your camera? In this day an age, no one is ever without a camera if they have a cell phone. I use a lot of cameras, so even when I’m not with a formal one, I always have my iPhone camera. At this point in the game, are you considering carpeted walls for da crib? Oh, honey… Since. Day. One. Shag carpet or wood paneling and I’m good to go. How much fun can be had in sex & violence? Wait, what magazine is this again? Have you ever thought about bringing one of those blacklights along like Chris 20/20? Handsmen from Sure, it’s crossed my mind, but I have a pretty good idea about what I would find…so I’m good. Any shout-outs? Rest in peace to the amazing Lynne Cohen, who was a mentor and friend that we lost last year. She will always be someone who influenced me hugely, and who will be sorely missed. Her contributions to the photo world were vast.
Hi Sabrina. How are you? Fine, thank you. When’s the time right? Whenever you decide it is. How do you know for sure? I never know anything for sure. Is it then clear as to what needs to be done? It gets clearer through the process. Tadow!—you do lotsa stuffs like Visites Possibles, your entire Sight-
ings series and LONGUEUR D’ONDES; but what keeps you clamoring back for more? This is, simply, what I like/want to do. Are you then @ your best? I wouldn’t say so… The process can be very difficult at times. But this is definitely what I like to do best. Has it always been this way for you? Pretty much. Through consistent experimentation, how considerable have your practices become? I am not sure if I understand the question well… But I do experiment a lot, almost everyday. I believe that the most certain way to get interesting results is through constant and disciplined work. Where are you going to take your work next?
I am interested in exploring all the possibilities and potential of the electronic image. A m o n g o t h e r things, I want to explore the installation aspect of it in more depth. When is it that you learn new things?
I m o v e o u t o f m y c o m f o r t z Is that the case w/ the Amiga you just picked Yes, it is. Working with new tools is a long learning process for me, but it always enriches my work, while providing unpredictable new direction/s. What impact would you hope to make w/ your work in video on an audience? When I make videos, I am often searching for a specific effect.
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To describe it roughly, I would say that I am interested in feeling immersed in an environment: be it architectural, abstract or landscape like. The electronic feel of the image is another important aspect of my work; I am interested in manipulating it as if it was a material to be bent or sculpt-
ed. I am also interested in blurring blurring the idea of temporality, by suspending time, or emphasizing its feel by using different strategies through editing or sound. But whether some people receive my videos as a narrative, as a technical experiment, as an abstract environment, or as something else that I can’t even think of rn—is all very interesting to me, because I hope that my work would be ALL of these things. That it would leave space for many different interpretations. A n d h a s t h a t g e n e r a l l y b e e n t h e c a s e ?
I have, honestly, no idea how my audience receives my work. I believe that the relationship we have with a work is a very personal and subjective experience. Images have different connotations depending on what you have been exposed to in life, and I think that this is what makes the dialogue with an audience an interesting and important learning experience. How have you become your w o r k a n d viceversa? I don’t think that I am my work and vice-versa. But my practice definitely shapes and influences the way I perceive reality, and you can definitely find a lot of my conceptions of the world in my work. In the end, I see this more as a relationship between the medium and me, than as a fusion of identities. And how does that m a k e y o u f e e l ? What I like about the idea of
a relationship between two different entities, rather than a fusion of identities, is the fact that it feels more open, there is space for learning, and for unexpected results coming out of experiments with the medium. I like this dialogue between the tools that I use and the ideas that I have, and how both “sides” shape and influence each other. Has it been worth all the time you’ve invested so far? A b s o l u t e l y . Is there anything about your work that you just hafta push urself through e a c h g o ‘ r o u n d ? Each proj- e c t contains its own specific challenges. But creation, in general, is about problem solving, and it is very satisfying when
you find a way around a problem you’ve faced for a long time. When have you had to face the facts? When I wake up every morning. “L’enfer, c’est les autres”? –JeanPaul Sartre Effectivement, JeanPaul Sartre dit cela… L’enfer, c’est sûrement aussi ce que l’on projette sur les autres. Is there anything I missed? That depends on what you wanted to know. Any shouto u t s ? h t t p : // w w w. saraludy.com/ h t t p : / / www.kristwood.com/ h t t p : / / b m r u e r n pnhay.com/ http://lerevelateur.org/ h t t p : // w w w. computersclub.org/ h t t p : // u n d e rvo lt. c o /
Hi Melodee. How are you? Fine, thank you. How the heck was your first European tour? Well, my first European tour was, really, pretty fucking amazing! I did so much traveling and performed everywhere in Europe: from Spain to Poland, Belgium, Germany, Switzerland, France, everywhere… And the crowd reactions were really good, too, so I’m really happy about the tour. I just know there’s gotta be some amazing highlights… Yeah, one of the highlights was the show I did in Sopot, Poland—the place was packed and everybody was super-live! Plus, I sold a lot of merchandise. I do have some footage online of that show, so you can check that out @
http:// mcmelodee.com. Can you sense the crowd’s vibe beforehand? Well, before the show I always go into the crowd to see what the vibe is like, because you’re in a different city/country, and you don’t know exactly what’s hot over there. So I’ll like to check if people are already in a feel good vibe, or if we’ll have to warm them up a bit. What would you describe your relationship w/ your audience as being? Well, to me, it’s really important to always give a super-energetic show. On stage is where the music really gets live, and you can perform it for the people the way you feel it and truly express yourself. My relationship with my audience is really important. I also do a lot of call & response things. If they don’t know the songs, I introduce each to them and explain the choruses so that they can sing along. I make ‘em bounce, make ‘em nod their heads, and make ‘em scream. Word, Crunch Time justdropped, and rightbefore that it was Coolin’ and In My Zone—what led you to releasing 3 solid, free EPs in such a short timespan? Well, I felt like in 2013 everybody had to buy my album My Tape Deck, which was entirely produced by Cookin’ Soul and released through a German label, Jakarta Records. That’s why in 2014 I wanted to give something back to the people. So I gave them 3 EPs that they could download for free. In My Zone dropped in February, Coolin’ dropped in July, and Crunch Time just dropped in November. In releasing regularly and often, how do youmanagetomaintainyourcreativeedge? It’s definitely quite difficult sometimes. Most of the time you have to finish something before a certain deadline. And then it’s like, “Okay, well, we gotta get this done even though I haven’t found the perfect beat for it or whatever.” In the past, I was always working with one producer, and that, to me, is so much better because you have such a big variety beats to pick from, and can decide together which direction the project’s going. But right now, it’s just me solo as a writer, and I’m working with different producers. So I never know, like, what type of beats they’re going to send me, or how they’ll inspire me. So now it’s more of a quest to get things done. Where do you find yourself in music? Music is my way of expressing myself. I see it
alle, l i k e , ways as a puzz ese experi“How can I get th ese feelings I ences I have, or th get that across have—how can I t beat to go with and select the righ peoe? and get as much ym rh a to in it t pu it and n?” So it’s worldwide as I ca ally ple to listen to it ow. And to me it’s re kn u yo e, ng le al also a ch ake a song that I manage to m e m ti y er ev st ju e.” ’s nice; it this is the outcom d an … it d di I y, ific for it’s like, “Oka is topical and spec at th ng so a be ht And it mig fe. And that’s or period in my li e am fr e m ti n ai y stuff. a cert how I deal with m ’s at Th . ow kn u ? what it is, yo t h a p p e n s r i f s i h t W h e n d i d something... or 16 , ke li , was I rhymes. When writing ted ar st I n ? he w That’s t h e f e e l i n g e b i r c s e d u o onal H ow wo u l dy ngs is a very pers so g in ak m d an cs ri put all I think writing ly ing when you get to el fe t ea gr a ly al thing. And it’s re s—if you manage to ce en ri pe ex d an gs elin fferthese thoughts, fe e metaphors and di us d an e, ym rh a l song put that all into u create a beautifu yo d an g, in ym rh ent ways of l give people l. A song that wil ia ec sp ’s at th , your it with n take people into ca at th or g, in el I think it’s a certain fe tter understand. So be to em th lp he ugh d world an press yourself thro ex to g in el fe t ea ut hurta really, really gr of doing so, witho ay w fe sa a so al ’s much. music. And it lf out there too se ur yo g in tt pu or tistry? i n g anyone else enabled your ar cy en nd pe de in s ing up How ha at; me just grow th is g in th e th was, like, Well, you know, Eindhoven, there in , nd la ol H orof in the South ke that. We had to li ng hi yt an or s ere always no hip-hop partie rselves. So we w ou G IN H YT ER EV woods ganize bridges or in the r de un , ke li s, ie e throwing part ke that. And if w li f uf st d an s ng ildi d alor in squatted bu , you know. So I ha ld ou w se el dy bo rtant to didn’t do it, no that it’s very impo t, in po at th at d pend ready learne ent, and to not de nd pe de in be To . . So, for do things yourself to get things done t an w u yo if le tly. on other peop things independen do to al rm no so d all me, it’s just, it’s ening to any an st li n he w g in I get the feel
of your music that we’re getting that pure unadulterated MC Melodee. Do you ever filter yourself elsewhere in society? I’m being pretty close to being myself and honest about all things. If I don’tfeel it, I don’tgetinvolved with it. But, to me, I don’tlike to be rude. I don’t like to start fights with people or anything. I’m more of a person that goes and follows her own path, you know, wherever that may be. Have you found happiness in completion, or is it on to the next, forever? Good question. I’ve always looked further and said, “On to the next, on to the next...” On to the next project. On to the next tour. On to the next show. I think, right now, since I’ve finished so many EPs, and I’ve put out so much stuff this year, I just feel like, “You know what, maybe it’s good to take a moment and reflect, you know?” And not just jump onto the next thing. Let’s just say: To be continued… What brought about the Dam Dutchess platform? Well, the Dam Dutchess platform I started because I was always got the question, “Melodee, we know over here in Holland that you’re a female emcee holding it down, but where are these other females? Where are these women in hip-hop?” And I could never give an answer because I didn’t know anybody else who was BUSY. So that’s why I figured, “Like, hey! Why not go on a quest and search these females?” So that’s what I did with Dam Dutchess. We did auditions and about 30 ladies came over from Amsterdam and Rotterdam, and from them we selected, like, 10 ladies. W h o a l l ’ s i n v o l v e d ? Well, you can check out the website: http://damdutchess.com/, and see the names of all the dope artists involved. There are singers, emcees, producers and DJs. By gathering that many creative minds together, there definitely must not be any lack of creativity about… No, definitely not. Creativity is flowing, and we’re influencing each other and hyping each other up. It’s just really nice to hit the studio again with artists, because it has been a long time. Plus the FAM tour’s coming soon, June 2015. What can audiences expect to see there? A lot of great artists. A lot of great energy. Different styles—like, maybe, more hyped-up stuff, new stuff, but also more laid-back stuff, classic stuff, soulful stuff. We have all kinds of singers in there, emcees in there—but do expect a lot of energy. It’s gonna blow your mind away! And the quality is gonna be on-point. Mad on-point. Is there anything I missed? Next year, I’m going to be performing in Mexico and in Germany, Sweden, Switzerland and Holland, of course, amongst others. Yeah, so many places… Be sure to check out the shows and come see me live! Any shout-outs? Shout-out to UNDR RPBLC, thanks for the interview. And I wanna give a shout-out to my crew: Pay, DJ EZD and Cookin’ Soul. Thank you. I couldn’t have done it without you. And, of course, big shout-out to all my fans, thanks for all the support and love!
Photo contributors: Adam Lawrence, Advers.com, big bozo, Bobby Zucco, Derek Smith, Luna Park, Milo Baumgartner, nalice_malice, Oliver Jaeschke, O V E R U N D E R, Philippe Carmes, Steve Rotman and Walter Yetman. Thank you.