SIX + NOSTALGIA by Funeral Parade

f u n e r a l pa r a d e

SIX

NOSTALGIA

A R T I S T S U P P O R T I N G A R T I S T FUNERALPARADE.COM A R T I S T S U P P O R T I N G A R T I S T

6 W h en n o stalg ia c r eeps i t s way i n to t h e fo re f ro n t o f o u r m i n d s e t , speak in g to u s in vo lu me s u n a bl e to i g n o re . W h e n m o m e n t s a re b r o u g h t in to th e lig h t, ste m m i n g f ro m s h a d ow s we â&#x20AC;&#x2122; ve l e f t u n k e p t , laid o u t in a sequ en c e o f s to ry l i n e s , a n d e x p e ri e n c e . Wh e n a past an d f u tu r e mer g e to g e t h e r to cre a t e a n i m a g e ry o f w h a t n ow? W h at th en ? W h er e w i l l I? Wh o a m I ? H ow d i d I g e t h e re ? Th e th eme o f issu e six bi rt h e d t h ro u g h to o m a n y l a t e n i g h t s , play in g qu estio n s o n r ep e a t . T h o s e m o m e n t s o f u n c e rt a i n t y m e t k n owin g . Star in g c o n tes t s w i t h ce i l i n g s m e rg e d e a rl y m o rn i n g s o f n ew b eg in n in g s. Missi n g . N o t i n t h e s a d, w i s h i n g fo r s o m e t h i n g lo n g past, sen se. . mo r e s o , a n a p p re c i a t i o n fo r t h e p a t h , a n d all to o f amiliar , qu iet ex ci t e m e n t k e p t l o cke d u n de r p i l l owca s e . A d eep r o o ted n eed fo r m o re . Day dre a m s m e t o p p o rt u n i t y. A f ac ad e lived , met r eal i t y ye t to . Th at mo men t yo u f in ally wa k e u p . Th is issu e c ame ab o u t t h ro u g h o n e wo rd, a n d o n e wo rd a l o n e ; No stalg ia. Th e ar tists i n vo l ve d t h e n i n t e rp re t e d t h i s wo rd to th eir own per so n al expe ri e n c e , i n a v i v i d s e n s e . Is s u e s i x m i g h t b e th e mo st c o lo r f u l, an d v i s u a l i s s u e we â&#x20AC;&#x2122; ve re l e a s e d , to da t e . An d , if yo u pay en o u g h a t t e n t i o n to t h e i n n u e n d o s w ri t t e n w i t h i n th e palette, yo u mig h t h e a r t h e s i l e n t w h i s p e r o f draw n o u t c o n ver satio n , waitin g to co n n e ct . I h o pe yo u en j oy.

xx, Sh een a Sn y d er E d ito r - in - C h ief & C r eati ve Di re c to r.

THINGS

E ARE

BETTER LEFT U N W R I T T E N . S O M E THINGS

ARE

B E T T E R

I N G R E D I E N TS

ARTIST FEATURES 030 062 100 150 172 202 228

LAURENCE PHILOMENE MYSTIC BONES KELLI MCGUIRE TESS JOHNSON JESSICA ELLIS YANG YANG PAN NORMA LOPEZ MORA

VISUAL FEATURES 010 044 078 114 136 160 184 214

SENSES AND THE GHOSTS THAT HAUNTED US DAUGHTERS OF SAMIR COME GET YOUR KNIFE THE MOON & THE VIRGIN I’ll BE YOUR SAVING GRACE TAKE ME TO CHURCH POEMA

DIARY FEATURE 126 236

AMALGAMATE JUST IN CASE YOU FORGET

CLOSING NOTE CREDITS

M I XTA P E LISTEN NOW ON SOUNDCLOUD

TWO FINGERS FOREST SWORDS SEXWITCH MOODOID LITTLE DRAGON TICKLEY FEATHER METRIC TAME IMPALA INTIMATCHINE TRAILER TRASH TRACYS WARPAINT MAZZY STAR THE TWILIGHT SINGERS UNKLE

Soundcloud.com/FuneralParade-1

adrians rhythym the weight of gold ha howa ha howa je suis la montagne pretty girls (lil silva rmx) not a drum grow up and blow away stranger in moscow (mj cover) eraser candy girl hi (equal all nite rmx) fade into you (saint saviour rmx) don’t call lonely soul feat. richard ashcroft

6 r ed olent ˈr edl-ənt|adjecti ve1[pr edict ] ( r edo l en t of / wi t h) st r on gl y r em i n i sc en t or sug g esti ve of (something): names r edo l en t of hi st o r y an d t r adi t i on . 1 litera r y str ongly smelling of somethi n g : t he c hu r c h wa s old , d ark, and r edolent of incense. 2 a r c ha ic o r literar y fragrant or sw eet-sm el l i n g : a r i c h, i n ky, r edol en t wi n e .

Redolent . R emin isc en t o f so meth in g . I t ’s q u i e t . It ’s h a u n t i n g . It ’s t he frag r an c e th at r emin d s yo u o f yo u r ch i l dh o o d h o m e . A smell so u n iqu e, n o o th er plac e in t h e wo rl d ca rri e s t h i s s ce n t , but right n ow yo u smell it fo r n o app a re n t re a s o n . Moment by mo men t weaved in to th e n ow. A melange o f so u ls passin g thr o u g h t i m e , l e a v i n g be h i n d t h e i r a ro m a . Eau de To ilette 2 0 1 4 . W in e tu r n ed in to v i n e g a r. S p o i l e d m i l k . Ro t t e n f ru i t . Taint ed go o d s. L u sh g r een g r ass. C ow m a n u re . Dewey s k i n f ro m t h e Miami h u mid ity. Stale win e. Wed di n g ca k e . A bo u q u e t o f ro s e s . Sand storms. C alifo r n ia R ed wo o d F o re s t . Bra n d n ew a p a rt m e n t . Pacific Co ast seaweed . D ir ty mar tin i ’s . S m o k e - f i l l e d ca s i n o s . Exp ensive c h ampag n e. Plu mer ia b o dy s p ray. T h e bi t t e r s m e l l o f re j e ct i o n . Vidal Sass o o n mo o se f r o m th at o n e g u y ’s h a i r – t h e o n e yo u h o o k e d u p w i t h and don’t qu ite r ememb er , b u t yo u re m e m be r h i s s ce n t - i t s m e l l e d l i k e p e a ch e s and summer. Alex’s To m F o r d c o lo g n e , w h i ch I c l a i m e d s m e l l e d l i k e “ h e a ve n ” on our first d ate. Th e r ed b o ttle o f w i n e I dra n k t h e m o m e n t I fe l t h i m p u l l away. T h e salt iness o f my tear s th e d ay I g o t s to o d u p f ro m t h a t j e rk , w h o s e n a m e I’ve alread y fo r g o tten . Th e smell o f s o l a ce i n s p i cy p e a n u t s a u c e eat ing in t h at Th ai r estau r an t alo n e . A w h iff of leaves an d f r esh g r ass b l ow i n g i n m y f a c e during a deser t mo n so o n . Th e u n ple a s a n t s m e l l o f m y d o g ’s we t f u r. T h e cit rus vapo r f r o m h o t tea an d a l e m o n we dg e . Bu rn t c o o k i e s . Burnt sage. B u r n t C ed ar. Th e savo r y s m e l l o f s m o k e . Sweet p rayer s sen t u p to G o d . T h e scent o f n ow.

Writ t en by E r in L in d say

AW SENSES A

COLLABORATIVE

PHOTOGRAPHY LAUREN LUCK NARRATIVE SHEENA SNYDER FEATURING DAKOTA LYNN

SERIES

FATE WAIT S

FATE AWAIT S

There are too many shadows creeping within low-lit corners of yesterdays ghosts, attempting to make a home in me. Visualize scratched records. We. Ruffled edges. Leave. Memory imprinted skin. Moments. Iâ&#x20AC;&#x2122;m not ready to wipe completely clean of, just yet.

And, Arenâ&#x20AC;&#x2122;t we all faulted with homes harboring too many addresses? So many novels left, unfinished? I dropped my notebook back there. Filed up love letters placing comforted conversation met avoidance, behind eyelids. This obsession, with circus antics, merry-go-rounds. That game where if you were to stare long enough into the mirror, youâ&#x20AC;&#x2122;d forget who was really there.

Carnival rides, fortune tellers ..always asking the same question. Reciting yesterdays love sonnet for a new tomorrow, searching, a new tomorrow, a new tomorrow landed within too many yesterdays unfinished. And, there are moments I embrace this hold on me, silently hoping it will never leave. The fingerprints youâ&#x20AC;&#x2122;ve placed on me.

THE COUCH IS HEADQUARTERS FOR A WORLD ONLY CREATABLE IN MY HEAD WHERE THE BIRD HOUSE HOTEL I S QUITE FLIGHTY AND ALL MY BREATH IS JUST WIND IN THE ALLEYS BETWEEN SKYSCRAPERS.

08202009

Meet 21 year o l d, L a u ren c e P h i l omen e. G row i n g u p she used pho to grap h y a s a mean s of d oc u men t i n g h er l i fe, and gradual l y g ea red t h i s d oc u men t a t i on t ow a rd creati ng vi sual stori es, w i t h a v i v i d , en erg et i c , yet ethereal aestheti c. H er u se of c ol or i s w h a t fi rst attracted me to her w ork , b u t t h e emot i on a l asp ec t transl ati ng thro ugh eac h c rea t i on , i s w h ere I fel l i n l ov e. H er styl e evo l ves w i t h h er i n t erest s, ev er c h an g i n g , a s she i s, yet her exp l ora t i on t h rou g h c ol or a n a l ysi s a n d i nteracti o n remai n s a c on st an t , fl u i d messa g e thro ugho ut. Its been a p l easu re, g et t i n g i n si d e h er mi n d for a bi t and Iâ&#x20AC;&#x2122;m happy to sh a re t h i s v i v i d i ma g i n a t i on w i t h you .

L A U R E N C E P H I L O M E N E L O C AT I O N MEDIUM MAKING ART

MONTREAL | NEW YORK PHOTOGRAPHY 7 YEARS

INTERVIEWED BY

ARTIS T

SHEENA SNYDER

FEATURE

W HAT GO ES TH RO UGH YOUR MIND WHEN CONTEMPLATING A CONCEPT FOR A N EW ‘SH O O T I DEA? GI VE US S OME INS IGHT INTO THE BEGINNING S TEPS O F YO UR C REATI VE P RO C ESS . I have ADHD s o my mind is u su al l y ru n n i n g a m i l l i o n m i l es p er m i n u te. I have ideas coming f r om al l over th e p l ace. S o m eti m es I’l l start with o ne idea fo r a s ho o t a n d en d u p i n a co m p l etel y di f feren t p l ace. I usually star t taking pho to s w i th a so m ew hat sp eci f i c i dea i n m i n d, but o nce I g et o n- s et I jus t let w hat’s aro u n d m e i n sp i re m e. G en eral l y one pho to shoo t will ins pir e th e n ex t an d so o n . Rig ht now I’ m wo r king o n a seri es o f sel f p o rtrai ts thro u g h o thers. I too k pictur es o f my f r iend E dw i n weari n g a w i g th at l o o k ed l i k e m y ha ir , po sing in my clo thes, an d real l y l i k ed i t. I co n ti n u ed do i n g thi s with other f r iends as well. . that’s u su al l y h ow a seri es starts fo r m e.

W HERE DO YOU P UL L I N SP IR ATION? A NY THOU GHTS ON THE CONCEPT O F A M USE? H O W DO YOU G ET THR OU GH THOS E INFA MOU S MOMENTS OF U NI N SP I RED TI M ES? I haven’t been unins pir ed in q u i te a l o n g ti m e. I u su al l y h ave so m an y projects g o ing o n at o nce th at w h en I g et bo red o f o n e I p ay m o re a t tention to ano ther. I have di f feren t m u ses! M y f ri en d Jasm i n R i sk i s re ally ins pir ing to me these days - m y f ri en ds E dw i n an d G raem e are t wo people I alway s want to p ho to g rap h, an d I l ove f i n di n g n ew ways to pho to g r aph them. The color p i n k i s al so a bi g “ m u se” o f m i n e. Obj ects ca n be muses. I g ot some f ake p i n k f u r back i n N ovem ber an d I’ve be en photo g r aphing it o bs essi vel y si n ce th en !

0 6 A R TIS T FE AT UR E + L A UR EN C E PH IL OM EN E

Y O U’RE A P ART O F A F EM I NIS T A R T COLLECTIV E, “THE COV EN” - S HED S O ME L I GH T O N TH I S. T he C oven is a collective I started w i th m y g i rl f ri en d over 2 years ag o now ! We o r g anize ar t s hows , m ake z i n es, an d su p p o rt arti sts we l i ke. I love or g anizing ar t events so i t’s a l o t o f f u n fo r m e, an d i t’s g reat to have a g r o up o f similar - m i n ded i n di v i du al s to m ak e art w i th. We’re a ll ar ound the s ame ag e, a n d m ak e a l o t o f wo rk rel ati n g to i den ti ty. L a tely I’ ve been r eally into S asha Cresdee’s wo rk i n o u r co l l ecti ve b e cause she’s making wor k that’s very co l o u r an d tex tu re based an d i t ’s s o mething I’ m also expl o ri n g at the m o m en t, tho u g h sh e’s do i n g i t using a dif fer ent medium.

T H E C OVEN SOUN DS L I KE A GR EAT EX PER IENCE! THINK ING B A CK ON ONE O F YOUR F AVO RI TE SH OWS YOU ’V E OR GA NIZED WITH THE COV EN, GIV E U S A VI SUAL OF TH E EXP ERI EN CE. Our show in San Fr ansisco l ast year was a to n o f f u n , m o stl y becau se i t gave us an excus e to vis i t the B ay area an d co l l abo rate w i th V i v i an Fu, who is o ne of my f avo ri te p ho to g rap hers. Ou r sh ow s i n M o n treal a re als o a to n of f un, beca u se we g et to see al l o u r f ri en ds an d show t hem what we’ ve been up to . It’s u su al l y p retty g i rl y, co l o u rf u l , w i th a t a ble selling zines , patches , an d screen p ri n ted p o sters.

W H AT I S A USUAL TUESDAY IN THE LIFE OF LA U R ENCE FEEL A ND LOOK LIK E? WH AT ABO UT A SUN DAY? Ever y day is dif fer ent! It u su al l y starts w i th m e ch eck i n g m y em ai l , c hecking my s o cial media . R esp o n di n g to al l m essag es. T hen i t’s e i t her r unning er r ands , pla n n i n g a p h o to sho o t, taki n g p i ctu res, o r making pr ints. Af ter that I ’l l be ei ther u p dati n g m y websi te/ so ci al media, editing photo s, follow i n g u p o n co n tracts an d cl i en ts, etc. At ni g ht I usually watch Netf lix an d m ake fo o d an d sn u g g l e u p . I t’s w i n ter rig ht now and it’s r eally co ld i n M o n treal so I stay i n m o st n i g hts! Or I’l l ha ve f r iends over fo r dinner. Today ’s s unday and so f ar I di d a v i deo sho o t, h ad a sm o o thi e, updated my Instag r am & Facebo o k p ag e, an d n ow I ’m an sweri n g these ques tio ns ! M y f r iend Alexan dra i s co m i n g over fo r di n n er an d we’re going to watch g ir ly movies, do o u r n ai l s, an d eat p o p co rn . M o stl y m y d ays ar e a lot of sitting in f ro n t o f the co m p u ter, an d hav i n g f ri en ds over for photo shoo ts .

L A U R EN C EPH IL OM EN E.C OM

GI VE A VI SUAL DESC RI P TION OF WHAT A S TA ND A R D PHOTOS HOOT LOOK S AN D F EEL S L I KE BETWEEN YOU A ND YOU R MOD ELS . IE: THE ENER GY BEHI N D, F RO M C ON C EP T TO FINIS HED PIECE. I do mo st of my shoo ts i n m y stu di o ro o m , w h i ch i s i n m y ap artm en t. I us e day lig ht, so shoo ts u su al l y h ap p en aro u n d the m i ddl e o f the day. It can be pr etty f r antic o r sl ow, dep en di n g o n w h at the sho o t i s fo r, and what kind o f imag es I n eed. U su al l y I’l l try di f feren t thi n g s, an d tel l the mo del to move as they p l ease an d o n ce I f i n d so m ethi n g I th i n k i s vis ually pleasing I’ ll have them stay i n th at p o si ti o n an d sl ow l y m ove them until I g et the per fect i m ag e! I o f ten have co m p l etel y u n rel ated ideas , so I’ ll star t takin g p i ctu res o f o bj ects o r o ther thi n g s i n th e middle of the shoo t. Still l i fe sh o o ts are very m essy, u su al l y I’l l bri n g a to n of o bjects into the stu di o , l i q u i ds, g l i tters, an d j u st see w here i t all takes me.

F ROM YOUR “F EM I N I N E I DENTITIES ” GA LLER Y ON YOU R WEBS ITE, PLEA S E GI VE M E SO M E I N SI GH T I N T O THE S TOR Y BEHIND . S HA R E YOU R CONCEPT WI TH US ON A M ORE P ERS ONA L LEV EL. Feminine Identities was a seri es I sh o t fo r o n e o f m y g radu ati n g por tfolio s in co lleg e. It was m y f i rst ti m e real l y p l ayi n g w i th g en der with my pho to g r aphy. The w ho l e i dea behi n d i t was to take i n di v i du al s who pr esent as masculi n e i n thei r day- to - day l i fe an d p u t th em i n f ictio nal feminine scenari o s, based o n certai n arch etyp es. I t was ki n d o f about pr o jecting my ow n fem i n i n i ty o n to these p eo p l e. It was al so new fo r me to photo g r aph p eo p l e w h o weren ’t g i rl s, an d the way I wen t about it was to r eally s ho o t them the way I wan ted to , w hi ch was i n a mor e intimate and feminin e m an n er.

WH ERE DO YO U EN VI SI ON YOU R S ELF 1 YEA R FR OM NOW? WHAT A BOU T 5? I jus t moved to a new city so I ’m a l i ttl e al l over th e p l ace ri g h t n ow. I’ m hoping I’ m mor e calm an d settl ed i n a year. I n 5 years w ho kn ow s!! I’ d love to own an ar t g al l ery, so th at’s the dream fo r n ow.

AN D, F O R F UN ERAL P ARA D E’S TR A D ITIONA L FINA L Q U ES TION. LETS S AY I TS YO UR L AST BREATH, WHATS YOU R TOMB S TONE GOING TO R EA D TO THE WO RL D? I tr ied my bes t.

A ND THE GH OST S T H AT H AUN T ED HER WERE N EVER FAR BEH IN D

PHOTO

SERIES

PHOTOGRAPHY ERIN MARIE MILLER FEATURING NICOLE ANTONETTE

and the sadness began to fade away, all she could think of was tomorrow.

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And never knowing what was best was always the part that got her Sadness had always felt like falling on your feet.

Medi tati o n, heal i ng, h ea rt c h ak ra, l ov e, emot i on , sa c ra l chakra, bo dy, m i nd; Myst i c B on es i s n ot ju st a p i ec e of hardware yo u wear aro u n d you r n ec k , you r fi n g er, you r an k l e, i t i s a m eeti ng o f ene rg y, ra w mi n eral s, a n d g ood i n t en t i on . “There i s hi gh energ y w h en I ’ m c reat i n g somet h i n g . I ’ l l start o ne pro ject th en a n ot h er a n d an ot h er. I ’ m u su al l y wo rki ng o n 2 o r 3 p i ec es a t a t i me. My fl oor i s c ov ered i n to o l s, chai n, and c ryst a l s. Ev en b efore t h a t exp l osi on happens, I cl eanse th e c ryst a l s w i t h sa g e an d l et t h em settl e.” Mo o n phasi ng , smu d g i n g , c l ea n si n g , ri t u a l s, c ryst a l quartz, am ethyst, rose q u a rt z , a n t i q u es, Meg an Orozc o bri ngs yo u beauti ful c reat i on s w i t h i n t i ma t e i n t en t i on s.

M Y S T I C B O N E S C O N VERSATI ON WITH MEGA N OR OZCO OF M YSTI C BON ES L O C ATI ON R A NCHO CU CA MONGA , CA M EDI UM J EWELR Y M AKI N G ART 2 YEA R S F EATURI N G I N TERVI EWED SH EEN A

ARTIS T

CHR IS TINE LA NTING PHOTOGR A PHED B Y S NYD ER

FEATURE

T O START, TEL L US A BI T ABOU T MYS TIC BONES . HOW D ID IT COME TO BE? I star ted M y s tic Bones beca u se I l i ke creati n g an d seei n g m y v i si o n s com e to life, ther e is some th i n g very rewardi n g i n that. I’ve al ways be en in love with unique jewel ry, w hi ch I thi n k h as a l o t to do w i th m y grandma, and mother. M y sti c B o n es i s abo u t creati n g p i eces yo u feel drawn to , the pieces call to yo u . I th i n k i t’s m o re sp eci al w h en yo u ha ve a connectio n with thin g s versu s j u st cho o si n g an o ther p i ece o f j ewelr y. I us e r eal cr y s tals, al l o f w hi ch are cl ean sed befo re th ey’re made into s o mething . That way, w hen yo u recei ve yo u r p i ece, o n l y yo u r e ner g y is being put into it; the p i ece beco m es a p art o f yo u .

W HERE ARE YO U RI GH T N OW? WHAT’S OU TS ID E YOU R WIND OW? Cu r r ently, I’ m in my r o o m, s i tti n g o n m y bed w i th a beer i n han d. T h ere’s a g r eat view o f the clo ud s bei n g l i n ed by th e su n set o u tsi de m y window. It’s kind o f mag ical .

W HERE DI D TH E N AM E M YSTIC BONES COME FR OM? T h is is actually a little embarrassi n g bu t I was i n th e sh ower w h en I t ho ug ht of M y stic Bo nes. Th e n am e was j u st ki n d o f w hi sp ered i n m y e ar , and it liter ally g ave me th e ch i l l s. I kn ew th at was the o n e.

Y O U M EN TI ON ED YOU C L EAN S E EA CH PIECE B EFOR E S END ING OU T TO A CU STOM ER, TEL L US A BI T A B OU T THIS PR OCES S . T he bes t time to do a clea n si n g i s du ri n g a f u l l m o o n o r a n ew m o o n . But, it does n’t neces sar ily m ean yo u can o n l y do a cl ean si n g o n tho se day s . This is when the energ y i s at i ts stro n g est. T h ere’s di f feren t way s you can do the clean si n g p ro cess bu t w hat I l i ke to do i s u se sa g e, br ing the cr y s tals o u tsi de w i th m e, an d say a chan t w h i l e cleans ing them. The chant i sn ’t an ythi n g i n p arti cu l ar an d ch an g es ever y time, it’s mo r e s o how I ’m feel i n g i n th at m o m en t. Fo r o r der s, I’ ll talk with my cu sto m ers o n ce they’ve p l aced an o rder or when r eques ting a per son al o rder, an d feel o u t thei r v i be i n a way. I put this exper ience into thei r p i ece so i t’s sp eci al an d u n i q u e fo r t hem.

S O YO U GET TO KN O W YO UR CLIENTS ON A MOR E PER S ONA L LEV EL A ND IN CORP ORATE TH I S I N TO THE CLEA NS ING PR OCES S ? I us ually send them a no te an d we’l l g o back an d fo rth th ro u g h em ai l s. I’l l as k if it’s a per s o nal o r d er o r a g i f t an d we g o f ro m there. I t’s a very intimate, s pecial pr o cess .

0 6 A R TIS T FE ATU R E + M EG A N OR OZC O x M YST IC B ON ES

G IV E US SO M E I N SI GH T I N TO A CHA NT YOU MIGHT S AY TO CLEA NS E ONE O F YOUR P I EC ES. It chang es of ten but someti m es I’l l say so m ethi n g l i ke, “ S p i ri t G u i des I call upo n yo u, to help g u i de an d p ro tect th i s p i ece, m ake su re i t t ravels safely, and br ing s po si ti ve en erg y to i ts n ew ow n er.” It do esn ’t have to be something that n ecessari l y rh ym es. I k n ow so m e p eo p l e, when they think o f s pells o r ch an ts, bel i eve i t n eeds to be so m ethi n g kind o f my thical o r f air y tale l i ke bu t, i f yo u ch o o se the ri g h t wo rds, yo u have the r ig ht ener g y, and en o u g h m ean i n g beh i n d the i n ten ti o n , i t can de liver s o many dif fer ent th i n g s.

T H E JEWEL RY YO U C REATE HA R BOR S ITS OWN S TOR Y. TELL U S A BIT AB O UT ON E O F YO UR F AVORITE PIECES A ND THE S TOR Y BEHIND . I h ave a Quar tz point nec kl ace I ’ve m ade fo r m ysel f an d I wear i t a l most ever y day ! People love i t an d ask i f I can m ake them o n e al l of the time. It’s a simple cr eati o n ; chai n an d crystal . I carry di f feren t sto nes or cr y stals with m e bu t am al ways af rai d o f l o si n g them . Wear ing my Quar tz neckla ce keep s m e cal m becau se i t h o l ds m y e ner g y and I’ d love for o the rs to ex p eri en ce that feel i n g .

W HAT KI N D OF VI BE, F EEL I NG, OR ENER GY A R E YOU HOPING THOS E WHO W EAR YO UR C REATI ON S TO EX PER IENCE WHEN THEY R ECEIV E? I want them to feel excited w h en they recei ve an d a co n n ecti o n w h en t hey wear. W ith my packag i n g , I stam p i t w i th the el em en t o f Ai r, fo r sa fe tr avels . O n the inside, I’l l i n cl u de m o re l o o se crystal s, an d g o i n g for war d I plan to s tar t add i n g l i ttl e p erso n al to u ch es; l i ke a si n g u l ar t a ro t car d with insig ht into h ow th ey m i g h t be abl e to i n co rp o rate th at into their lives . I mig ht inclu de a bu n dl e o f sag e, so they can cl ean se t heir cr y s tals when they feel i t’s n eeded. I u l ti m atel y wan t m y cu sto m ers to feel a connectio n when they p u t o n th ei r j ewel ry fo r the f i rst ti m e; to tap into their Divine self.

E TS Y . C OM / SH OP/ M YST IC B ON ES

W IT H AL L THI S TAL K ABOU T MYS TIC BONES , I’D LIK E TO K NOW MOR E A B OUT TH E P ERSO N C REATI NG IT. TELL U S A BIT MOR E A B OU T YOU A ND Y O UR O WN SP I RI TUAL P ATH . Well, I’ ve alway s known that I’ve been a l i ttl e di f feren t, even w hen I was young er. It’s f unny actu al l y, m y si ster wo u l d al ways tel l m e I was a n alien o r I was adopted o r so m ethi n g su p er craz y l i ke that w hen we wer e young er. M y g r andm a o n m y dads si de was a h eal er an d I feel I’m ver y much like her in th at sen se. I t’s been a sel f l earn i n g p ro cess a nd was n’t until a co uple o f years ag o , w hen a sp i ri tu al adv i so r I t a lked to co nf ir med I was , th at I beg an to bel i eve i t. M eeti n g h er was a star ting point and f r o m there I g o t m o re i n vo l ved w i th th i s p art o f myself. I s tar ted doing r eadi n g s, an d then beg an do i n g them fo r o thers, a nd it kind o f g r ew f r o m there. I t’s real l y n i ce to kn ow th at so m eth i n g you ar e g if ted with can hel p o th er p eo p l e, i n a sm al l way o f co u rse, b ut it’s helping them nonethel ess. I’m sti l l l earn i n g an d f i g u ri n g o u t wh at I’ m meant to be doing ; how to f u rth er ex p an d m ysel f, an d how to t rans cend. Ever yo ne is always l o o ki n g fo r th e tran si ti o n . S p i ri tu al i ty a nd being co nnected with yo u rsel f, w hether yo u ’re a rel i g i o u s p erso n or no t, is what will help you .

W H ERE DO YO U GATH ER YO U R INS PIR ATION TO CR EATE? A s f ar as ins pir ation g o es , I k i n d o f j u st g rab i t f ro m everyw here. I know that’s a ver y g ener al thi n g to say bu t I feel l i k e I do n ’t real l y ge t inspir ed by the thing s h ap p en i n g n ow. Wh at i s seen i n m ag az i n es, d esig ns , o r what celebr ities are weari n g do n ’t do i t fo r m e. T he p i eces I make and wo uld like to p erso n al l y wear, are m o re si m p l i sti c; they ha ve meaning and a per so n al co n n ecti o n . I ’m very m u ch a v i su al per s o n. If this makes any sen se, I v i su al i z e tho u g h ts i n to thi n g s. I guess my inspir atio n come s f ro m w hat I see, “ v i si o n s” i f yo u wan t to call them that. The insp i rati o n co m es f ro m w hat I ’m g etti n g f ro m myself and how I’ d like it to m ateri al i z e.

W H ERE DO YO U SEE M YSTI C BONES GOING? I K NOW YOU ’R E S TA R TING TO IN C O RP ORATE VI N TAGE AN D ANTIQ U E PIECES , HOW WILL THIS INFLU ENCE T HE DI REC TI O N ? A s of r ig ht now, I actually do n ’t k n ow. I feel becau se I ’m a Li bra I’m so indecis ive, co ns tantly g o i n g back an d fo rth an d ch an g i n g m y m i n d a bo ut ever y thing . I wo uld def i n i tel y l ove to see M ysti c B o n es g row a nd I know it’s g o ing to; I’ m j u st n o t en ti rel y su re w hether i ts g o i n g to b e mor e towar d vintag e an d an ti q u e p i eces o r m o re cu sto m p i eces. I honestly have no idea. Bu t, I see thi s as a g o o d th i n g becau se I’m open to whichever dir ection M ysti c B o n es i s g o i n g to tak e m e. I ’m very e xcited for what’s to come, I feel l i ke n ex t year i s g o i n g to be p retty ki ck ass .

A N D, L AST BREATH , WH AT’S YOU R TOMB S TONE GOING TO S AY TO THE W ORL D? T his lifetime was my f inal chap ter.

D A UGHTERS OF S A M IR

PHOTOGRAPHY NEDDA AFSARI FEATURING LAUREN LUCK

NEDDA

AFSARI

G r owin g u p i n t h e m i ddl e - e a s t d u ri n g m y a do l e s c e n ce , I exper ien c ed r e p re s s i o n a s a wo m a n a n d ove rp owe ri n g co n t ro l . A lo t o f my exp e ri e n ce s t h e re s h ow i n m y s t y l e o f p h o to g ra p h y with th e u s e o f ve i l s a n d m y m o d e l s f a ce s be i n g cove re d, fo r th e mo s t p a rt . I wa n t e d to t e l l a s to ry o f t h e s e wo m e n a n d p o rt ray t h e i r h a p p i n e s s w h e n t h ey a re a l o n e a n d u n bo t h e re d by t h e a u t h o ri t i e s . A s a c re d s i s t e rh o o d.

WHO AM I BECOMING? I THINK SOMEONES BEEN PAINTING MY MIRROR PAIN TING MY VOCAL CHORDS.

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H ere i s an arti st who sen d s you i n t o a real m of et h erea l dreams. H er arti sti c w eap on of c h oi c e; a n al og fi l m. Sh e has al ways fel t m o re of a c on n ec t i on , a sen se of ma g i c wi th anal o g pho to grap h y t h a t d i g i t a l c a mera s c ou l d n ev er gi ve. S he started usin g fi l m at a you n g a g e a n d h a s n ot strayed fro m her ana l og root s d esp i t e l i v i n g i n a w orl d where di gi tal rei gns. I t i s t h rou g h t h i s med i u m a n d c ol l ag e wo rk that Kel l i pai nts h er h au n t i n g a n d v i sc era l i mag ery, sendi ng her audi ence i n t o a su b l i me d rea m.

K E L L I MCGUIRE L O C ATI ON M EDI UM M AKI N G ART I N TERVI EWED EL L E C H EN

NEW J ER S EY PHOTOGR A PHY 20 YEA R S &

ARTIS T

PHOTOGR A PHED

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W H AT P O INT I N YO UR L I F E DI D YOU D ECID E TO TA K E THE A R TIS TIC PATH? WAS IT AN I N N ATE P ASSI ON , O R WA S THER E A MONU MENTA L MOMENT IN Y O U R L IF E TH AT BROUGH T YOU TO THIS J OU R NEY? I’ve be e n making ar t my entir e life. I was al ways draw i n g as a l i ttl e ki d, a nd my cous in had a video camera so we were al ways m aki n g l i ttl e mov ie s. M y mo m did photo g r aphy as a ho bby so I was p retty f am i l i ar wit h ca mer as . In hig h s choo l I to o k m y f i rst dark ro o m cl ass an d p retty much never s to pped shoo ting f il m . M y p aren ts were al ways real l y support i ve o f me making s tuf f, wh i ch h el p ed a l o t. I thi n k m ak i n g art a t a youn g ag e shapes yo u. Cr ea ti n g h as al ways been m y g o - to fo rm of e xpre ss ion.

Y O U R P H OTOGRAP H Y I S VERY EXP E R IMENTA L IN NATU R E. YOU PLAY WITH L IG H T -- WHAT I N SP I RED YO U TO D O THAT? HOW D ID YOU COME TO DE V E LO P YOUR STYL E? I t hink I’ve alway s been ins pir ed by dream y, sad, su rreal stu f f. T h at’s wha t I l ike loo king at, the ty pe of m ov i es I en j oy, a l o t o f th e m u si c I like ha s that feel. I r emember cr y i n g at T he N everen di n g S to ry w h en I wa s re a l ly little, and thinking abou t i t a l o t af terward. I ’ve al ways been drawn to intens e, emo tio nal beauty. Light i ng is s uper impo r tant no matter w hat yo u sho o t, i t to tal l y sets th e tone for each pho to g r aph. I’ m dr aw n to dram ati c l i g h t. Latel y I’ve been usi ng Suspir ia as an ins pir ation to m y l i g h ti n g . I thi n k th e su bj ects I shoot ca n be exper imental, althou g h I sho o t m ai n l y p o rtrai tu re. I n the pa st , if a r o ll o f f ilm didn’t co me o u t h ow I en v i si o n ed i t, I p hysi cal l y ma ni pula ted it; either by solar izin g p ri n ts i n th e dark ro o m , cu tti n g u p ne ga t ive s, putting bleach o n them , o r p l ayi n g aro u n d u n ti l i t fel t ri g ht.

W H AT A R E SOM E TH I N GS O R EXP ERIENCES THAT INFLU ENCE YOU R WOR K ? W H E R E DO YOU GATH ER I N SP I RATI O N? I ge t i nsp ir ed while I’ m dr iving a l o t. S o m eti m es thi n g s j u st co m e toge t he r when I’ m s pacing out, listen i n g to m u si c. I’m i n sp i red m ai n l y by mov ie s , other ar tis ts , my ps ycho l o g i cal tu rm o i l .

0 6 A R TIS T FEAT UR E + KEL L I M C G UIR E

WE A LL HAV E CR EATIV E ID OLS WE LOOK U P TO, PR OV ID ING A CONTINU A L S OU R CE OF INS PIR ATION . WHO A R E S OME OF YOU R ID OLS ? E l l en R o g ers, Al ex Prag er, D ari o Arg en to , D av i d Lyn ch, H en ry D arg er. I al so fo l l ow a l o t o f am az i n g arti sts o n l i n e, thro u g h Tu m bl r an d Fl i ckr. I am very g ratef u l fo r th o se si tes, they p rov i de a l o t o f i n sp i rati o n .

D ES CR IB E YOU R CR EATIV E PR OCES S , FR OM IT’S INCEPTION ‘A ’ TO ITS COMPLETION. M y creati ve p ro cess i s al l over the p l ace. Li k e I sai d, I th i n k a l o t i n m y car, o r i f I’m o n a trai n . I keep a to n o f n o tes, ei th er han dw ri tten o r i n m y i Pho n e. Fo r p h o to g rap h y, u su al l y I ’l l m ak e so m e typ e o f i n sp i rati o n fo l der o n m y co m p u ter w hen I’m p l an n i n g a sho o t. Wh en I ’m co l l ag i n g i t’s a m atter o f f i n di n g m ateri al s. I u se a l o t o f o l d bo o ks an d N ati o n al G eo g rap hi cs. I g o thro u g h th e m ateri al s, ri p p i n g o u t an ythi n g th at catches m y eye. Fo r m e, co l l ag e i s l ess stru ctu red than p ho to g rap hy. I p l an sh o o ts fo rever, I u su al l y do n ’t p l an co l l ag e i n advan ce.

WHAT CA MER A D O YOU U S E. WHAT A R E S OME EQ U IPMENT YOU CA N’T LIV E WITHOU T? M o stl y I u se a M am i ya 6 4 5 . I sho o t a l o t o f Fu j i In s t a x as wel l . As f ar as eq u i p m en t I travel p retty l i g h t . I al ways n eed a l i g ht m eter, an d a tri p o d i s h el p f u l . Fo r l i g hti n g I u se stro bes o r n atu ral l i g ht. I wo u l d def i n i tel y di e w i tho u t g el s.

FI L M HAS BEC OM E A L OST A R T IN THE D IGITA L A GE. B U T YOU HAV E S TAYED F AI TH F UL TO I T. W HAT K EEPS YOU S O FA ITHFU L? WHAT A R E S OM E O F TH E H ARDSHI P S YOU MEET U S ING IT? I will never switch to di g i tal . E ver. T here i s n o Ph o to sho p technique that can g ive m e w h at f i l m g i ves m e. D i g i tal cam eras w ill never be mag ical to m e l i k e f i l m cam eras are. I can see th e advantag es in cer tain f ie l ds, j u st n o t fo r w h at I l i k e to sh o o t. I’ve h ad my s har e o f f ilm ha rdsh i p s, m essi n g u p ro l l s o f f i l m ; i t can be expensive to s ho o t f i l m . I was real l y sad w h en I co u l dn ’t g et Po lar o id 600 any lo ng er.

W H AT TO P I C S AN D TH EM ES D O YOU D ELV E INTO THR OU GH YOU R W O RK? WH AT I S TH E F EELING YOU HOPE YOU R A U D IENCE COME AWAY W I TH WH EN TH EY EXP ERI ENCE YOU R WOR K ? Dr eams, depr es sio n, anx i ety, hal l u ci n ati o n s. S o m eti m es I ’m j u st about aesthetics. I’ d like to l eave m y au di en ce a l i ttl e co n f u sed, just eno ug h, I never want an ythi n g to be to o l i teral . I wan t them to be aes thetically pleased an d m aybe a l i ttl e creep ed o u t.

LAST BREATH , WH ATS YOU R TOMB S TONE GOING TO S AY TO THE W O RL D? https ://m. yo utube. com/watch? v =z 7 w X R AM m - X o

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AWKWARD FIRST DATE WITH THE UNIVERSE 11252014

AMALGAMATE A DI AR Y SE RIES DAN I K OWAL C Z Y K

In a v er y conf us ed sta te , in a n explic it f l u x p art i cu l ar t o t h i s k i n d o n l y. N o matter the crosse d off to-dos, no ma t t er t h e m i n o r p l an s an d i n v es t m en t s o f t rus t, I f ind not a fit. One step c lose r, o n e s t ep m o re co n fu s ed an d u n s u re. Is m y c l a ri ty contingen t on my free dom and wh at i s t h e co s t o f s u ch i n t a ngible? This mind of mine ne ve r break s , p l ay s wi t h t h e p ret en s e o f t i re, an d i s a l w a ys looking for more . It sca re s me to s h i t . Bu t itâ&#x20AC;&#x2122;s all I â&#x20AC;&#x2122; ve got, rea lly.

But y o u k n o w, som e people never cha nge , not to who you wa nt the m to be . Not t o w h o y o u m i s s, w hat you miss in those pe ople a nd pla c e s, a nd c e r ta inly not what y o u â&#x20AC;&#x2122; v e l i k ely m issed. A nd altho ugh you c r e a te a f a c a de to he lp ma sk the i n b e t w e e n , t h e silent search, the tip- toe into tr e a ty is slow but ste a dy. Av o i d i n g i s i m p ossible.. every argume nt, silly misunde r sta nding, a nd misste p wi l l t e l l y o u so. B ecause no one w ill e ve r be like you, like us, like how it wa s. Not e v e n y o u now, not even I. It w as the r e , we ha d it, a nd it we nt. But no one can e v e r r e p l a ce that, no one ever co uld, no one e ve r will.

Reminder s that we are mortal. R emi n d u s t h at we are m o rt al . We h av e o n l y t h at d a y, thos e hour s, these minute s. Eve ryth i n g el s e we â&#x20AC;&#x153;o wn â&#x20AC;? . . o u r j o b s , h o m e, cars , p ro b l e m s . . ar e all m ockery. F ille rs to flourish an d em b el l i s h o u r d ay -t o -d ay l i v es b ecau s e l i vi n g i t , s eizing it, ha s be come sec ond. Se con d t o wh at o u r s o ci et y s ees as b ei n g act i v e o r u s e f u l or hones t. We me asure our live s no t b y m o m en t s cl ai m ed , b u t b y t h e l i t t l e v i ct o ri e s o f stuff .

T h a n k you f or the memorie s that have sinc e fad ed . Dep l et ed an d rep l en i s h ed wi t h a gl a n c e back, back to you. B a ck to the trips, t o t h e t rai l s an d t ren d s . To t h e p h o t o s i n bo o t h s , alleys , dir ty ba throoms, hoste ls, an d s u m m er co t t ag es . T h an k y o u fo r t h e d ri n k s i n t h e e xpens ive night c lubs, the chea p ones , t h e b ad o n es , an d t h e t o u g h o n es . F or t e a ching m e how to smoke, sip, swea t, an d s wear. T h an k y o u fo r i t al l . A g re a t thanks I pr o mise to ba re .

the moo n

the virgin P H O T O S T O R Y B Y L A U R EN L U C K

F EAT U R I NG NEO N L O L I TA CORS ET D ES I GNER & S T Y L I S T - P O P A NT I Q U E

Ether ealism and the feel i n g o f v i si ti n g an o ther wor ld witho ut tak i n g a step o u tsi de o f yo u r f ro n t doo r , cotton can dy cl o u ds an d sen so ry i n du ci n g tunes play ing ever- so - l i g htl y i n the backg ro u n d, suns hine af ter a few days o f rai n y sky bl u es, these ar e just a few v i bes I ex p eri en ce w h en viewing Tes s John so n ’s co l l ag e art. H er u se o f color juxtapo sitio n an d sto ry- tel l i n g tru l y creates a my stical palette. I co u l d k eep g o i n g , bu t I’d r ather have you ex p eri en ce i t fo r yo u rsel f...

T E S S JOHNSON L OC ATI ON M EDI UM M AKI N G ART I N TERVI EWED B Y

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W H E R E A R E YO U RI GH T N OW? N E AR E S T W IN DOW?

WH AT D O YOU S EE OU TS ID E OF THE

I’m in my st udio, ly ing o n my bed. O utsi de o f m y bedro o m w i n dow I see t he mount a ins in the dis tance with a p l an e p assi n g by.

T E LL U S A L ITTL E BI T ABO UT YO URSELF WHEN YOU WER E A LITTLE GIR L, W H AT W E R E YOU L I KE AN D WH AT WERE YOU R D R EA MS ? I wa s a ve ry adventur o us and cur io u s l i ttl e g i rl . I was al ways p l ayi n g out doors a nd g etting into thing s I sho u l dn ’t; cl i m bi n g trees, ru n n i n g wi ld wit h my s ibling s , pr etending to be g reat ex p l o rers. Wh en I wasn ’t a dve nt uring thr oug h o ur backyar d I was u su al l y creati n g so m e typ e o f a rt . I love d to dr aw, paint, and cr af t – an yth i n g th at i n vo l ved m ak i n g t hi ngs wi t h m y hands. I also had an e n trep ren eu ri al i n sti n ct i n m e at a young a ge . I wo uld s et up a table in o u r f ro n t yard an d sel l l em o n ade, d e c ora t ive f lower sand pies , and eve n l adybu g s, ha!

H O W DO E S T H I S GI RL REL ATE TO TH E WOMA N/ A R TIS T YOU ’V E BECOME? L ooki ng b a ck now, my yo ung er s elf i s a tru e ref l ecti o n o f w h o I’ve b e c ome today. The thing s most dea r to m e sti l l are bei n g o u tdo o rs, goi ng on a dventur es , and cr eating art. N ow th at I ’m wo rki n g as an a rt i st a nd e ntr epr eneur I r eally see m y i n n er chi l d sh i n i n g th ro u g h.

P ICK O N E O F YO UR F AVO RI TE P I EC ES OR MOS T PER S ONA L, THAT YOU ’V E CR E AT E D, A N D GI VE US TH E ARTI STS LOOK INTO. I chose t he ‘ po ppy f ield dance’ collag e becau se I l oved creati n g i t an d t he fe e l ings it evo kes . This co llag e i s a dream p l ace fo r m e, I wan t to b e in i t . I i mag ine it as my love and I bei n g i n o u r ow n l i ttl e m ag i cal world. In t he proc ess of making this co llag e I f i rst fo u n d th e dan cers an d put t he m a mong blue tones to match th e m o o d. I real l y l i k ed the way t he nort he rn lig hts s ky loo ked with the dan cers. I wan ted to m ake t he m look l ike they wer e in a g lo be o f thei r ow n wo rl d, a dream l i ke pl a c e . It too k me a while to f ind th e p erfect backg ro u n d p i eces bu t whe n I l a i d eyes o n the or ang e pop p y f i el d an d m o u n tai n s I k n ew i t woul d be t he one to g o with the dancers. I g o t real l y ex ci ted w hen I p u t t he m toge t h er because it completed the p i ece an d was very v i su al l y a ppe a l ing for me. A place f r o m my d ream s.

0 6 A R TIS T FEAT UR E + T ESS J OH N SON

Y O U R WO RK I S VERY ETHER EA L, A ND GIV ES OFF A V IBE OF S T ORY- TEL L I N G. WH AT I S GOING THR OU GH YOU R MIND WHEN YOU A R E CR EATI N G A N EW P I EC E? So many thing s g o thr o ug h m y m i n d w h i l e I’m creati n g a n ew p i ece. I’m alway s thinking of dif feren t scen ari o s an d dream l i ke sp aces to create, to sur r o und a cer tai n su bj ect o r o bj ect. M y i deas are al so con s tantly chang ing s ince co l l ag i n g i s a very sp o n tan eo u s p ro cess. On e idea can tur n into som eth i n g to tal l y di f feren t w hi ch m ak es i t re ally f un for me.

W HAT I S I T TH AT YO U L OVE MOS T A BOU T CR EATING THE A R T YOU D O? W HAT ABOUT TH E L EAST? On e o f my f avo r ite thing s abo u t co l l ag i n g i s the p ro cess. I l ove hunting for tr easur es, thr if ti n g , an d co l l ecti n g kn i ck - kn ack s. Co l l ag i n g e mbo dies all o f those thin g s an d that’s w hy I l ove i t. I h ave stacks of vintag e National Geog rap h i c m ag az i n es i n m y stu di o th at I se ar ch thr oug h co ns tantly w h en m ak i n g co l l ag es. I’l l h ave an i dea o f something to lo o k fo r and w i l l search u n ti l I f i n d j u st the ri g ht i m ag e o r until s o mething better catc hes m y eye. T h ere w i l l be m o m en ts w h ere I find s o mething that f its perfectl y w i th w h at I’m wo rki n g o n an d I g et re ally excited. It’s the thr ill o f th e search that i n tri g u es m e. A t times it can become f ru strati n g w hen I can ’t f i n d th e ri g ht imag e or o bject fo r the co l l ag e I’m wo rki n g o n . Wh en th at hap p en s, I usually put it of f to the side an d wo rk o n o ther p i eces u n ti l I stu m bl e upon an imag e that wo r ks . I ’m al ways co l l ecti n g cl i p p i n g s I f i n d w h i l e se ar ching thr o ug h mag a z i n es an d k eep th em i n categ o ri z ed e nvelopes to be us ed in f ut u re co l l ag e wo rk s.

H O W DO YOU HOP E THE VI EW ER TO EX PER IENCE YOU R WOR K ? WHAT TYPE O F EM O TI O N S O R RESP O N SE A R E YOU MEA NING TO BR ING OU T IN THEM? I want my wo r k to br ing a sen se o f wo n der an d adven tu re to the v iewer. I hope they s ee som ethi n g they have n ever th o u g ht o f befo re or can’t co mpr ehend. M o st o f m y wo rk revo l ves aro u n d n atu re an d the over whelming beauty of it. I ’m m o st i n sp i red by n atu re. T h e feel i n g t hat is har d to explain when su rro u n ded by i t, i s w hat I’m tru l y tryi n g to con vey in my collag e wor k.

TESS- J OH N SON .C OM

W HAT ARE YO U C URREN TLY W OR K ING ON? WHAT’S TO COME? I’m alway s wor king on new co l l ag es. When I’m n o t co l l ag i n g I have sever al o ther s ide pr ojects I l i k e do i n g j u st fo r m y en j oym en t; sew i n g clothes, jewelr y making , em bro i dery, weav i n g , p ai n ti n g . I’m starti n g to exper iment with expandi n g m y co l l ag e wo rk i n to di f feren t m edi u m s such as clo thing and accesso ri es, as wel l as so m e o ther f u n i deas. I’m ver y excited for what’s to co m e!

L A ST BREATH , WH ATS YOUR TOMB S TONE GOING TO S AY TO THE WOR LD ? Go to the mo untains .

PHOTOGRAPHY ELLE CHEN FEATURING CARLY WALSHAK

I’ LL BE YOU R SAVING GRACE

FATE WAIT S

FATE

Cur r ently I have been se p arati n g m y wo rk i n to two categ o ri es. Ther e ar e my “ g ir l” pain ti n g s an d m y “ dad” p ai n ti n g s. M y “ g i rl ” p ainting s touch on them es o f so ci al co m m en tary, p aro dy an d satir e, s pecif ically co nc ern i n g wo m en w i th i n m y race an d ag e gr oup; and the applicatio n o f fem i n i st theo ry to co n tem p o rary iss ues in and o utside of the art wo rl d. I u se the term fem i n i sm as a to pic r ather than a them e. Al tho u g h m y wo rk addresses feminism, I wo uld r ather n o t categ o ri z e i t to l i ve u p to so m e typ e of ideal in which it is exp ected to do m o re than i n ten ded. I w i sh to addr ess feminism, it’s f ai l u res, acco m p l i sh m en ts, an d h ow i t’s p hilo sophies have af fected an d been af fected by th e em erg i n g gener atio n o f wo men an d Am eri ca. S o m e o f the sp eci f i c to p i cs m y painting s speak abo u t are i ssu es co n cern i n g g ro u p s su ch as sor or ities , o r namentati o n o f the fem al e bo dy, as wel l as art histo r ical par ody involvin g yo u n g wo m en i n western art. I explo r e the per s o nal ju sti f i cati o n o f n arrati ve p ai n ti n g as a leg itimate pr actice thr o u g h m y “ dad” p ai n ti n g s. T h e o bj ecti ve o f these painting s ar e no t o n l y to tel l a p erso n al n arrati ve, bu t to tur n thes e my ths into histo ry p ai n ti n g s, p erm an en t do cu m en tati o n of thing s that may o r may n o t h ave actu al l y o ccu rred i n real l i fe. This dr aws s imilar ities to the way hi sto ri cal even ts an d cu l tu ral alleg o r y ar e acknowled g ed i n art h i sto ry. As o f ri g ht n ow, repr es entational nar r ative p ai n ti n g i s p retty l am e, acco rdi n g to some o f my lof t s quattin g p eers. S o m eti m es I wo n der i f these p ainting s wer e half way bo rn o u t o f desp eratel y tryi n g to p rove n ar r ative painting s need to ex i st i n co n tem p o rary art.

J E S S I C A E L L I S L O C ATI ON M EDI UM M AKI N G ART

B R OOK LYN, NY OILS 7 YEA R S

I N TERVI EWED BY & PHOTOGR A PHED BY EL L E C H EN

ARTIS T

FEATURE

H O W WO UL D YO U DESC RI BE YOU R WOR K ? I wo uld class if y my wor k as so ci al sati re th at referen ces reo ccu rri n g themes within the history o f p ai n ti n g . M y wo rk o f ten dep i cts th e f i g u re in a manner is t to mo deratel y rep resen tati o n al fo rm .

WH AT P OI N T I N YO UR L I F E D ID YOU D ECID E TO TA K E THE A R TIS TIC PATH? WAS I T AN I N N ATE P ASSION, OR A MONU MENTA L MOMENT IN YOU R LIFE TH AT L EAD YO U DO WN THIS PATH? I think ther e was alway s a n eed to create thro u g h o u t m y en ti re l i fe, however it was no t until m y sen i o r year i n hi g h sch o o l that I started to r ealize my need for vi su al ex p ressi o n . It was so m eth i n g that was mis sing fo r mo st o f my l i fe. I wen t o n to be a stu di o m aj o r i n co l l eg e and now I could no t imagi n e n o t m ak i n g wo rk . If I am n o t i n the stu di o fo r a while, I feel it. I devel o p an x i ety i f I am n o t wo rki n g o n a p ro j ect.

H O W DI D YO U C OM E TO DEV ELOP YOU R S TYLE? M y sty le is co ns tantly ch an g i n g an d m atu ri n g . T h e f i rst p erso n to teach me to paint was a class i cal p ai n ter, so o ri g i n al l y I was tau g ht l i ke a r epr esentatio nal f ig ur e p ai n ter. I sti l l have so m u ch l ove an d resp ect fo r this pr o cess and I thi n k i t i s sti l l v i si bl e i n m y wo rk, h owever, over the year s I became inter ested i n a w i de vari ety o f p ai n ters w ho ’s wo rk has inf luenced my painti n g s as wel l .

WH AT ARE SOM E EXP ERI ENCES THAT INFLU ENCE YOU R WOR K ? I s tick to s ubject matter i n w h i ch I’m m o st k n ow l edg eabl e. On e o f m y ear liest painting s used warf are as i t’s su bj ect m atter. It was real l y embar r ass ing . I have never been to war. I wo u l d n ever m ak e a p ai n ti n g I know nothing about ag a i n . I feel l i ke do i n g th i s m ak es th e arti st l o o k dis ho nest and almo st always co m es acro ss as cl i ch e o r tran sp aren t. I am an exper t at being m e; a 2 5 year o l d m i ddl e cl ass w hi te Am eri can female. I use what I know to i n f l u en ce m y wo rk. I do no t want my wo r k to be l abel ed as fem i n i st wo rk. To al i g n your wor k to any is t mak es yo u o bl i g ated to al i g n w i th an y an d al l pr inciples of said g r o u p . R ather than u n derg o th i s k i n d o f categ o r ization and ultim atel y creati ve o p p ressi o n , I wo u l d rath er m ak e my pr ocess a feminist acti o n as a co n tri bu ti o n . I co n si der m aki n g wo r k thr oug h the lens of a fem al e to be a fem i n i st acti o n becau se it adds an under r epresen ted fem al e p ersp ecti ve to th e m al e do minated ar t wor ld. I’ m i n sp i red by w h at I k n ow an d m y n eed to bri n g what info r matio n I have p ro cessed as an i n di v i du al i n to a p u bl i c aren a.

0 6 A R TIS T FEAT UR E + J ESSIC A EL L IS

MEMORIAL OF THE MONTHLY GENOCIDE : OIL, GOLD LEAF AND BLOOD ON PANEL

Y O UR WORK I S VERY N AR R ATIV E IN NATU R E WITH A D EFINITE S O CI AL C O M M EN TARY I N VO LVEMENT. WHAT A R E YOU TR YING TO MA K E YOU R A U D I EN C E UN DERSTAN D? WHY D O YOU FIND IT IMPOR TA NT? Ever s ince I made my f ir st p ai n ti n g , m y co n ten t h as revo l ved aro u n d t hemes of s o cial co mmentary. B efo re I beg an p ai n ti n g , I harassed ne ar ly ever yo ne ar ound m e to l i sten to m y ag en da o f the week , wh ether it be the cr imes o f bo ttl ed water m an u f actu rers o r dan g ers of viny l s iding . I have always h ad a su rp l u s o f o p i n i o n s an d a n eed to be hear d but never the p ro p er o u tl et o f rel ease. I thi n k m aki n g wor k abo ut is sues that ar e i m p o rtan t to yo u i s a better co n tri bu ti o n to society than pas sive ag g r essi ve du p l i cate F acebo o k statu ses. L a tely, my wo r k has r evo lve d aro u n d i ssu es I f ace di rectl y as a yo u n g fe male. It is impo r tant to m e becau se I feel l i k e the p ersp ecti ves o f women ar e vital contr ibutio n s to th e co l l ecti ve co n versati o n i n an d outs ide the ar t wor ld.

W HAT I S TH E F EEL I N G YO U HOPE YOU R A U D IENCE COMES AWAY WITH W HEN TH EY EXP ERI EN C E YOU R WOR K ? To me it is extr emely importan t they u n derstan d th e sati ri cal n atu re in which I illustr ate my tho u g h ts. If that el em en t i s n o t u n dersto o d, my entir e po int is basicall y o bso l ete an d I l o o k l i k e a sl u t sh am i n g j e r kof f. I make my wor k fo r a sp eci f i c p u rp o se, to i l l u strate a f i n i te idea. M y wo r k is co mpleted w h en i t l eaves the stu di o . T h ere i s n o t much r o o m for the audience to draw thei r ow n co n cl u si o n s w i th o u t th e point beco ming ir r elevant. S o m e wo rk n eeds th e v i ewer’s p arti ci p ati o n for co mpletio n, mine is jus t n o t th at k i n d o f wo rk at th e m o m en t.

H O W M UC H TI M E DO YO U US U A LLY S PEND ON A PA INTING? WHAT GOES T H R O UGH YOUR M I N D WH EN IN YOU R S TU D IO WOR K ING ON A PIECE? T h e aver ag e time I spend o n a p ai n ti n g i s abo u t two m o n ths, dep en di n g on how many ho ur s I can co m m i t to the stu di o at the ti m e. S o m ethi n g I have been mo r e car efu l abo u t i s hav i n g everyth i n g p l an n ed a c cor ding ly. It can be temp ti n g to ski p al l the p l an n i n g an d draf ti n g a nd s tar t apply ing paint to a can vas, bu t I u su al l y reg ret i t immediately. W hen I am mid- p ai n ti n g I beco m e a l i ttl e m an i c, I sp en d a fa ir amo unt of time star ing at m y wo rk, th i n k i n g abo u t h ow m u ch I hate it . By the end o f the paintin g , m y stu di o i s a p o st- ap o cal yp ti c ru i n o f coffee cups , photo r efer en ces, art hi sto ry bo o ks, ci g arette bu tts an d t ur pentine dr enched r ag s . B y the ti m e I say, “ screw i t, I’m f i n i shed” , I’m abo ut 45% co ntent with th e p ai n ti n g bu t al ready co n cern ed w i th my next pr o ject instead.

JESSIC A - EL L IS.C OM

I TH I N K I T IS A MA ZING THAT YOU HAV E THE PATIENCE TO W OR K W I T H O I L P AI N T. IN TOD AY’S A R T WOR LD THER E IS S O MU CH MINIM AL I S M ; I T ’S AL L ABOU T Q U ICK CU TS . THE A R T OF TR A D ITIONA L PA INTING I N A S ENS E SEEM S TO B E D WIND LING. WHAT D OES IT FEEL LIK E BEING AN AR T I S T I N TH I S F AST PA CED S OCIETY? I think it i s real l y i m p o rtan t to m ake wo rk acco rdi n g to w h o you a r e as a hum an . I am n o t a m i n i m al i st i n an y secto r o f m y l i fe , c e r t a i n l y not when i t co m es to ex p ressi n g m y th o u g hts an d o p i n i on s . I t r y to make h o n est wo rk . S u re, i t wo u l d be co o l to be a su p e r t r e n d y “ Br o o kly n M i n i m al i st” co l o r f i el d f art p ai n ter, g et i n to a s u p e r pr etentio u s g rad p ro g ram , wear a beret, an d dri n k ag ed w h i s k ey i n my studio i n G reen p o i n t, bu t that’s n o t w h o I am as a p ai n t e r. I t h i n k its r eally cru ci al to be g en u i n e abo u t yo u r wo rk i n al l m ed i u m s . If you follow what i s f ash i o n abl e at th e ti m e, yo u r wo rk w i l l beco m e ou t d a t e d the s eco n d the Whi tn ey B i en n i al p i cks i ts n ex t g ro u p o f ar t i s t s ou t of a hat. Rep resen tati o n al n arrati ve p ai n ti n g i s abo u t as co ol a s C h a d K r oeg er weari n g a fedo ra an d f l are j ean s at the m o m en t. I t w i l l c om e back as it h as, ti m e an d ti m e ag ai n . I j u st n eed to m ak e w h a t I n e e d to make an d h o p e i t co i n ci des w i th Jerry S al t’s i den ti ty cri s i s . Tot a l l y jo king abo u t m i n i m al i st wo rk, by the way, I co m p l ete l y r e s p e c t minimalis m an d fo rm al i st th eo ry, i t h o l ds a val u abl e p la c e i n t h e pr o g r ess i o n o f western art i n the p ast cen tu ry.

C H OO SE ONE OF YOU R FAVOR ITE PA INTINGS , A ND D ES C R I B E T HE EM O TI O N AL FEELING B EHIND IT. I would say m y f avo ri te p ai n ti n g so f ar i s m y n ewest p ai n t i n g , “T h e Head o f G eo rg B asel i tz As An Of feri n g To T he Fem al e P a i n t e r ”. The idea behi n d th e p ai n ti n g i s so m eth i n g I’ve wan ted to e x e c u t e for year s , h owever i t was n o t u n ti l recen tl y th at i t f u l l y for m e d i n to f r uition. T h e i dea started w i th a co m m en t by N eo E x p r e s s i on i s t painter , G ero g B asel i tz , basi cal l y cl ai m i n g th at fem al e p a i n t e r s d o not poss ess th e abi l i ty to m ake a val u abl e co n tri bu ti o n to p a i n t i n g . When I f irst read th i s I kn ew I wan ted to fo rm a reacti o n to t h i s . O n c e I came up w i th the i dea to m ake i t an o f feri n g to m y fel l ow pa i n t e r , I fe l t r elieved th at I co u l d f i n al l y p ai n t thi s i n the way I fel t m o st a p p r op r i a t e .

ART M AY B E A MA J OR PA R T IN YOU R LIFE, BU T WE A LL N EED OT H ER ASP EC TS IN OU R LIV ES TO K EEP U S S A NE. WHAT A R E OTHER T H I NGS Y OU EN JOY DOING? Althoug h I feel g u i l ty do i n g an ythi n g fo r p l easu re u n l ess I ac c om p l i s h e d a sizable am o u n t o f wo rk , th ere are o u tsi de stu di o ex p er i e n c e s t h a t ar e an im p o rtan t co n tri bu ti o n to m y wo rk. I am ex trem el y for t u n a t e to have a g r o u p o f fel l ow creati ves w ho I sp en d a l o t o f ti m e w i t h . I of t e n der ive insp i rati o n f ro m o ther m edi u m s o th er th an p ai n tin g t h r ou g h being ar o u n d th ese p eo p l e. M u si c i s a h u g e recreati o n al e l e m e n t of life. I enjoy g o i n g to l o cal art an d m u si c sh ow s, an d p arti ci p a t i n g i n t h e social eve n ts su rro u n di n g these sh ow s.

L ET’S SAY IT IS YOU R LA S T B R EATH, WHAT WILL YOU R TOMBS T ONE S AY ? Suck my ass S al l i em ae, Yo u wo n ’t wo n t g et an o th er di m e f r om m e . . .

TO C HU R CH TA K E M E

PHOTOGRAPHY KAITLIN DUNN FEATURING KATTY DRIGGERS AARON BABCOCK

I AM LEARNING HOW TO LOVE MYSELF WHEN ID RATHER SOMEONE ELSE DO IT FOR ME 06152015

Fi ne A rti st Yangyan g P a n b eg an h er jou rn ey i n t o the depths o f creat i on 2 5 yea rs a g o, b u t ma d e t h e co nsci o us deci si o n t o d ev ot e h ersel f t o h er w ork , fu l l ti me, i n 2007. Yang ya n g rec ei v ed h er B a c h el or of A rt s i n ‘ 98 at the S i chu a n F i n e A rt I n st i t u t e i n C h on g q i n g Chi na, fo l l o wed by h er Ma st er of F i n e A rt i n 2 0 0 2 . Sh e cho se to remai n as a n i n st ru c t or u n t i l 2 0 0 6 w h en sh e to o k a l eap i nto i m mi g rat i n g t o C a n ad a. T h i s i s w h en h er l i fe changed. “Creati ng art i s by n o mea n s a su re t h i n g for me a s I’ve studi ed and wo rk ed i n SFA I so ma n y yea rs. W h en I suddenl y m o ved to C a n a d a, a c omp l et el y n ew w orl d o pened fo r m e. I th en k n ew c reat i n g art w a s t h e on l y path fo r m e.” I stum bl ed acro ss Ya n g ya n g ’ s p ort fol i o a n d i mmed i at el y becam e enraptured i n h er p l ay w i t h c ol or a n d i n t ri c at e brush stro kes. I kne w t h ere w a s a st ory t o t el l a n d I needed to hear i t.

YANG YA N G PA N L OC ATI ON CA NA D A M EDI UM OIL | A CR YLIC | MIX MED IA M AKI N G AR T 26 YEA R S I N TERVI EWED B Y

ARTIS T

S HEENA S NYD ER

FEATURE

GOOD DAY ESCAPE

ECHO VALLEY

THE

THOUGHT

WH AT I N SP I RES YOU R PIECES ? The beauty of n atu re, the seaso n chan g es, the l an dscap e, th e g a r d e n , the lig ht, etc.

H OW DO YO U F EEL ON A LES S THA N INS PIR ED D AY? WH Y DO YO U C ONTINU E TO CR EATE? O n a day I g et stu ck o n an u n f i n i sh ed p i ece, I p u sh i t away an d t r y to avo id thinkin g abo u t i t to o m u ch . In stead o f beco m i n g u p set , I d o something els e; l i sten to m u si c, g o h i ki n g , travel , an d so o n . I do t h i n g s that help me to rel ax . Wh en I co m e back to the u n f i n i shed p i ece , t h e blo ck usually leaves an d the i dea co m es o u t. I l i ke the p ro cess a n d feel s o excited w h en g o o d wo rk f i n al l y del i vers. T hi s feel i n g al o n e i s why I co ntinue to create.

H OW DO YO U SE E YOU R S ELF A S A PER S ON V ER S U S A N A R TIS T? A ND , H OW DO YO U ENV IS ION YOU R S ELF TO B E TR A NS LATED A S A N A R TIST ? As a per s o n liv i n g i n th i s l ovel y wo rl d, I am a m o ther to two g i r l s , a g ar dener , a t ravel er, a fo o d- eater, an art- m ak er, a l over o f b ook s , music and mov i es. I n ever th i n k o f m ysel f bei n g sep arated f r om a per s o n to an ar ti st, tho u g h . Creati n g art i s as n atu ral an d i m p o rt a n t i n my life as eatin g fo o d every day.

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IF Y OU WERE TO VI EW YO UR P I ECE FR OM A N OU TS ID E PER S PECTIV E, WHAT W O U LD YOU H O P E TO SEE? I would hope the painting lea ds th e v i ewer i n an i n teresti n g di recti o n . For me, painting s have a li fe o f thei r ow n . It i s g o o d to see the differ ent r espo ns es f r om the v i ewers, f ro m th ei r ow n p ersp ecti ve, which in tur n is an inspir atio n to m e as wel l .

W H E N C REATI N G YO UR WO RK, WHAT D O YOU S EE? I se e color s , fo r ms, mar ks, dr i p s, an d th e di al o g u e between them .

W H E N BEGI N N I N G A P RO JEC T, WHAT IS YOU R THOU GHT PR OCES S ? My wo r k is wildly var ied. So m e are th e creati o n o f i m p rov i sati o n , products entir ely der iving f r om i m ag i n ati o n ; m y ow n p ai n ti n g l an g u ag e. Iâ&#x20AC;&#x2122;ve alway s been f as cinated by co l o rs, tex tu re, m ovem en t an d the e ffe ct of layer ing . I cr eate ch ao s an d th en bri n g o rder to i t. I g o back a nd for th between checking the bal an ce an d the rhythm . M y tho u g h ts form a dialo g ue and between thi s, I f i n d w hat I am tryi n g to say. Som e of my wor k has sour ce i m ag es; w hether i t be a p i ctu re I to o k while tr aveling or f r o m a mov i e. Last year I travel ed to m y h o m etow n Chong qing , C hina, collabor a ti n g w i th N ew Yo rk based p ho to g rap her Na vid Bar aty o n a pr oject for A p p l e. B asi cal l y, I created so m e p ai n ti n g s from the photo g r aphy, and p ri n ted o n can vas. T h i s co l l abo rati o n inspir ed me to do my Gr een H o u se seri es o n ce I g o t back to To ro n to . I used imag es g leaned f r o m i n tern et as so u rce m ateri al , an d th en t ra nsfo r med these r efer ences i n to sem i - abstract fo rm s, retai n i n g a hint o f the o r ig inal co ntext an d si g n i f i can ce by ex p eri m en ti n g w i th a c ry lic, spr ay paints , and o il.

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W HAT I S YO UR AREA O F C REATION LIK E? WHAT IS THE V IBE LIK E? I am lucky to have a fo r est beh i n d the stu di o , w h i ch al l ow s m e to re m ain ver y close to natur e. T he bi rds, f l owers, trees are su rro u n di n g me in s ummer time. It’s f asc i n ati n g to see the n atu ral co l o rs ch an g i n g in four s eas o ns . It is beautif u l , an d a so rt o f i so l ated p l ace th at al l ow s me to fo cus o n my wo r k.

E X PL AI N A N ORM AL DAY I N THE LIFE OF YA NGYA NG, S A NS CR EATION. W HAT I S A USUAL TUESDAY LIK E, FOR YOU ? I usually wake up at 7am an d sen d th e ki ds to sch o o l at 8 am . T h en with a cup of tea, I feel the creati ve day i s beg i n n i n g . I ten d to wo rk within shor t blo cks o f time; p ai n ti n g 5 to 6 ho u rs p er day i n tersp ersed with r eading , mus ic, r es ear ch i n g , em ai l i n g , an d so o n .

AR E EI TH ER O F YO UR DAUGHTER S INVOLV ED IN A R T? Bo th o f my daug hter s love art. T h ey are am az i n g m ark - m ak ers. I remember the f amo us quote by Pi casso : “ E very ch i l d i s an arti st. T he problem is how to r emain a n arti st o n ce we g row u p ” . I p rov i de l o ts o f a rt s upplies at home fo r them to ch o o se w hen ever th ey wan t to create. I sometimes f ind my time in the even i n g , wo rki n g w i th ki ds o n a bi g g er pa p er using mar ker s, color e d p en ci l s, water based p ai n ts. Al l th ree o f us ver y much enjoy making art to g eth er.

W HERE DO YO U SEE YO UR WOR K CONTINU ING, OR EVOLV ING? T h e r ich po tential o f pain t i tsel f i s very m u ch a p ro tag o n i st o f m y wor k at this po int but I n ever cease to ex p l o re n ew th i n g s. I l ove e xper imenting with var io us p ai n ts an d m ateri al s as wel l . M y n ew bo dy of wo r k is totally dif fer ent f ro m th e p rev i o u s p i eces.

IN C L O SI N G, WH AT’S YO UR TOMB S TONE GOING TO S AY TO THE WOR LD ? Love this co lor f ul wor ld.

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PHOTOGRAPHY KAITLIN DUNN FEATURING ELLE & SHEALEEN PUCKETT OF “POEMA” POEMAMUSIC.COM

Made i n Mexi co wi th a l ot of h ea rt b y Norma L op ez Mora. I do no t l i ke to put t h e b ra n d i n t o a sp ec i fi c c a t eg ory, and o ver the years I h a v e d on e ev eryt h i n g from c l ot h es, sho es, i nteri o r desi g n , arc h i t ec t u re a n d fu rn i t u re d esi g n . The i nspi rati o n fo r E L P RI MER C U ENT O i s ev eryw h ere. T h e materi al s are al ways d i fferen t , w h i c h I l i k e t o b u y on my travel s thus maki ng u n i q u e p i ec es, an d sma l l ru n s. My pl ans fo r the fut u re are t o rema i n free. T o c on t i n u e do i ng what I l i ke an d d esi g n i n g i n an y fi el d . F or t h e mo ment, the near fu t u re, I p l a n t o b ri n g a smal l l i n e of macrame fo r i nteri o r d ec ora t i on .

E L PR I M E R CU E N T O ARTIST: NORMA LOPEZ MORA M E D I U M : H A N D M A D E C R E AT I O N S FIND ON FACEBOOK: EL PRIMER CUENTO PHOTOGRAPHED BY JANINE STENGEL MODEL JESSICA KOERNER CREDITS PULLOVER CESAR GOMEZ: NEBUR Y ASIUL

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TAKE ME TO CHURCH Kaitlin Dunn - KaitlinJeanPhotography.com Featuring - Katty Driggers & Aaron Babcock ARTIST FEATURE - YANG YANG PAN YangYangPan.com POEMA Kaitlin Dunn - KaitlinJeanPhotography.com Featuring - Elle & Shealeen Puckett - PoemaMusic.com ARTIST FEATURE - EL PRIMER CUENTO Photography - Janine Stengel - StewisMedia.com Featuring - Jessica Koerner Facebook.com/ElPrimerCuento JUST IN CASE YOU FORGET Taide Kennedy - WhereTumbleweedsGrow.com Sheena Snyder - Sheena-Snyder.com

THE MOON & THE VIRGIN Lauren Luck - OrgansinSleep.com Featuring - Neon Lolita Corset Designer & Stylist - Pop Antique - PopAntique.com ARTIST FEATURE - TESS JOHNSON Tess-Johnson.com Iâ&#x20AC;&#x2122;LL BE YOUR SAVING GRACE Elle Chen - Etsy.com/shop/CreepyGals Featuring - Carly Walshak ARTIST FEATURE - JESSICA ELLIS Jessica-Ellis.com

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