UNEARTHLY MAGAZINE
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UNEARTHLY
MAGAZINE
In this issue we are very excited to introduce you to incredible new ar tists from Burntwood Academy for Girls. These talented students produced the body of works included here as par t of their GSCE’s and A Levels, with their ages ranging from just 14 to 18; there is no age restriction in producing ar t therefore we feel that there shouldn’t be one in publishing it either. There are many independent magazines out there but we don’t want Unear thly to be just another one, we are determined to showcase diverse catalogs of work from every corner of the ‘ar ts’. Ar t, Photography, Film, Animation, Music, Dance, Writing etc. There are not many platforms for ar t students to show their experiments and progress so we hope Unear thly will encourage and give space to everyone that wants to show their work, to help them find their place in the ar t world which is why this issue’s theme is Identity. Regardless of whether they found their identity within their ar t, we are proud to be par t of their journey. Enjoy! Cassie and Nathalia x
EDITORS-IN-CHIEF Cassie Molly Car thy Nathalia Takeuchi http://unear thlymag.co.uk
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GEORGIA WILSON These photographs were inspired by street photography capturing the little moments in everyday events, My intention for this series of work was to observe the long shadows that can obscure the image. I altered them in a way to change the aspect of the image, by scratching out the main subject in the photographs leaving the trace of the remaining figure. This series of photographs were shot in various locations such as, south London and Marrakech.
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INTERVIEW Georgia Wilson
How do you define yourself as an artist? I’m not sure what type of artist I am, as I like to experiment with a range of creative perspectives, however I always use shadows and lighting to my advantage while capturing street photography which is my preferred field of photography. What was your process for this work? It was about experimenting with light and shadow, working out their effect and using it to my advantage. Finally arriving at the idea to mimic a shadows effect when it conceals a par t of the image by physically hiding some the image.
What do you hate most about the art world? What I hate most about the ar t world is that anything is considered somewhat ar t. Ar t had become so contemporary and modern that hardly anyone can understand the meaning behind its exsistance. Ar t is becoming so far mis-understood that people have began to loose interest. What’s the idyllic vision of your future? Idyllic vision of my future would be to travel the world with a par tner capturing moments, and becoming a photojournalist. What Unearthly reminds you of? Immaterial, to be stripped of all ear thly goods.
What are the most dominant inspirations for your work? Social dynamics, the way the world works, its dramas, its conversations, its breaking points and resilience and most impor tantly its people. Without these street photography and photojournalism would not work.
Do you collect anything? Postcards. What is your favourite...
Are there any artists that you find you continually reference? Dryden Goodwin, Aget, Brassai, Steve McCurry.
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Colour? Green. Food? Fish and chips. Place? Top of greenwhich park which overlooks the city scape. Movie? Toy story 2. Book? Perks of being a wall flower. Thing to do? Sleep and listen to music. Tv show? Friends.
NAJIA AHMAD
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YOSSRA SBAITI They say that your eyes are the por tals to your soul, they can give away your darkest secrets and narrate moments when words fail you, the more you look into them the deeper you are pulled into the exclusive world. Yossra Sbiati’s series transforms close ups of eyes into landscapes of unknown realms, creating sneak peaks of individual imaginariums personal to each sitter.
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DAVID HAWTHORNE
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JACKSON TORR
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LAUREN CHIU The combination of teenage girls and distress or anguish is so common to our eyes that it is an expectation. Lauren Chiu has taken this dead subject and rejuvenated it, ignoring the trap of having a teenager scream into the lens, she captures moments of serenity, there is no def initive emotion, yet there isn’t a lack of one either, she has caught them in limbo mimicking the stage in their life. Adding the element of distress in a separate layer, burning and cutting the negatives, this act of distressing the replica of the girls rather than the girls themselves is what makes these images so accurate.
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My name is Lauren and I am studying photography. I began by exploring different ways of making portraits. After experimenting with black and white film I decided to create these distressed portraits by burning and cutting into the negatives. I enjoy trying different techniques in the developing process in the dark room. www.flickr.com/castrodies
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sweet escape Photography by Nathalia Takeuchi Stylist: Samantha War tooth Model: Amy W. @ Sapphires
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SAIMA AHMED
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JENNIFER CRABB
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ELLEN ECCELSTON BEECHAM
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ERICA HOURIGAN
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TABITHA WYKEHAM
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Cassie Molly Car thy
The tea party
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Cassie Molly Carthy Fashion Photographer
Vintage and Retro are words that circulate the fashion world, so incorporating this attraction to the old fashioned with the new trend of pastel colours, i looked to the signature style of little Shirley Temple and combined this with the treats and flowers to create an homage to the times when little girls had tea par ties. Girly, bright, fun and sweet perfect for summer.
HEIDI WILLIS
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Red Blossom Photography by Nathalia Takeuchi Make-up: Anne Timper Hair: KT Gal Hairdresser Styling: Jennifer Damoah Model: Sam @Profile
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MIRIAM JAMIL
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TATE DONALDSON
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Playing on the notion of identity being attached to the home, removing the physical presence of the human from the images but still leaving their imprints, illustrating the integral relationship like a titanium umbilical cord. Never Severed.
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ELEANOR PARKER-HARBORD
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With the latest social obsession with all things that are vintage, the words ‘ I was born in the wrong era’ are constantly uttered. Eleanor Parker-Harbord not only illustrates this but has pushed its limits and managed to wrap it in a comical blanket free of judgement, with a f inish touch of good old British pessimism, commenting on the realist life of Londoners, blindly going about their day to day life. Accompanying these por traits is a shor t movie that can be found on our website. www.unear thlymag.com
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VIVIEN YAP
The modern day Pocahontas seeking refuge in the nature of the woods... 110
. Or Snow White being tormented by the alien environment? 111
Cirque de
BeautĂŠ Cassie Molly Car thy 112
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INTERVIEW Sophie Teasdale
How do you define yourself as an artist? I would say I am a documentary photographer, as I am inspired by what is already surrounding us in the world. The natural, realistic elements to documentary photography is interesting, capturing a moment that people can relate to or be immersed in and then I myself can learn about people through this.
What was your process for this work? Feral Child was a group University project with 4 photographic students, after different ideas to play with, we decided on pursuing this project of an interpretation based on the true story, The Wild Boy of Aveyron. Looking at how different conditions and environments children are placed in affect their identity of how they view themselves and how society views them. After researching into different Feral stories and photographers, filmmakers and so on, we planned our photographs, the type of camera to be used
“I am drawn to people, I am curious about what they do, how they breathe, how they sleep� - Michael Hoppen.
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(medium format), location (woods), model (young boy), props, black and white or colour film. Then we photographed and processed the film deciding on the size.
like that everyone will interpret everything differently. Photographers such as Ansel Adams. Writers: George Orwell. Directors: Coen Brothers. FIlms and Music as well.
SImple process: Ideas - research planning own work - photographing research -develop film - analyse work.
Are there any artists that you find you continually reference? Ansel Adams. “When I see something I react to it and I state it, and that’s the equivalent of what I felt. So I give it to you as a spectator and you get it or you don’t’ get it, but there’s nothing on the back of the print that falls you what you should get”. - Ansel Adams. He seemed like a wise guy.
What are the most dominant inspirations for your work? Going to galleries and exhibitions, being in that kind of environment is nice. It makes you reflect on the reasons behind your own work. Also, I
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What do you hate most about the art world? Bricks on the floor, (or like that kind of ar t where I could trip over it).
What are you most proud of? Work wise? The Swingland music image piece, made this year, documenting a group of Swing dancers in London. The atmosphere was really great, people were so happy, the music and dance was so upbeat you couldn’t help but want to join in, I hope this is reflected in the moving image piece. And also the expressive landscape images I produced in 2011. Taken on a Medium format camera and originally printed on liquid emulsion paper, this series deals with the land revealing the cycle of life, new plants grow while older ones die. Exploring the subject of emotive landscapes through photographing close-ups of tree stumps, fatigued trees and disjointed branches.
What is your favourite... Colour? Grey and dark blue. Food? Watermelons. Place? Green park,. Movie? No Country for Old Men. Book? I’m reading One Flew Over the Cuckoo’s Nest by Ken Kesey at the moment. Thing to do? Cycling. Tv show? Don’t really watch tv. Whats your idyllic vision of your future? As long as I’m out and about on location I’ll be happy, so maybe travelling over the world for a magazine or newspaper. (haha sounds like I’m asking a lot).
What do you think of when I say Unearthly? Supernatural, Sci -Fi. Do you collect anything? Nope.
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ELOISE ROUGEON
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COURTNEY PAYNE
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OONAGH WELLS
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