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ill painting. All my work is abou exploring what paintings exclusively can do that no other visual me .a else can. In the p s 've used paint to create the illusion of ligh and space an now, late y, with the mosh pit paintings, I'm turning up the volume, going baroque, working with the idea in mind at painting can be physically invasiv combative even. One day I hope to make paintings that can actually make you lose your balance.

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Much 0 his artistic output has be generated \Alith the use of contributed artt.. rts and -..:'.t... , i Is. He states that through this . rocess f -"('-" iI ..'. r, artist and viewer come c er o ehte '. His art is influenc d by the developme of cons.J erisn technology and cyberculture in society, vi ". I a istinctive focus on obsolete media.

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Since I began pai t ng, food has been showing up in my ork; st y ban na on a window ledge bu c of carrots fl a ting in mid air, empty pIa tes i ifying absence. M s of the time it's meaning ambiguou , enigmat路 c. In this current series I exp ore food as n yn Ai- nphor for the ways we distract 0 rselves from b i g prese t in our lives. Here it is symbolic of the t 路ngs hat w choose to turn to in order to gai n Illusory feeling of security, a tern ora respite fro an underlyi g se of ur own intrinsic n a iness.

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REOESIGNIINIG ANID RELAUNCHING INKED MAGAZINE IN 2007,

Todd WEINBERGER CREATIVE

director

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ROCK ANID ROll, HIARD FASHION ANIO OVERAll EDGE 10 lHE GLOSSY PAGES. WE lOOK A lOOK INSI HIS WORLD A [) OUNID HIS

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uS aboLd youtse/I" who ;S -rOJXJ) wEINBEI(GEI(?

I'm a crossbreed of a nice Jewish boy from the suburbs of Philly and a punk rock kid from South Street.

Currently the C-reo:6Ve d;rec-tor 0/' INK@) M4G4ZINE, tell uS aboLd your J'ourney and how you :Jot to where you are todo/. I got my BFA from Washington University in St. Louis then moved to Boulder, Colorado to freelance for bands, snowboard companies, whatever I had to do to make ends meet. After about four years of living in the Boulder bubble, I returned to the East Coast to pursue my career. I served as a senior art director at Gyro Worldwide, where I was responsible for national print campaigns, logo design and corporate branding for clients including Winston, Salem, Camel, Puma, Glenfiddich and Hendrick's Gin. Prior to that, I worked for the Bailey Group doing package design, corporate identities, and name generation for clients such as Marriot, Merck Pharmaceuticals, Maxell, Armadale Vodka, and Frangelico. Once a position opened up at Philadelphia Style Magazine I left advertising to explore the publishing world and was the creative director there for 6 years before moving to NYC to relaunch Inked Magazine in 2007.

what would you so/ the h1jhl1jht of'your e-areer has been So .f'ar? Relaunching Inked Magazine has been my greatest and most challenging achievement to date. It's an amazing publication and I work with a small, dedicated, kick-ass team. We have fun at the office everyday and somehow manage to get out 10 award winning issues a year.

was be;n:) ?art 01' a Ma.:Jz;ne a I;.f'e IOn:) dreaM o.f' yourS? I.f' not, what did you want to be when you":Jrew U?"? If you asked me 5 years ago what I would be doing now, the last thing I would think of would be the CD of a lifestyle magazine with a tattoo focus. Going from branding/packaging to advertising then publishing seemed like a natural evolution for my personality and skills. ~

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Wow wOLtld yoLt deSCr;be yoLtr ?erSona/ style? I have a unique personal style. It's modeled after Einstein's approach to everday apparel. I hated having to decide what to wear when I woke up everyday, so I decided to wear the same thing every single day. I own 21 identical black tshirts, 21 identical pairs of socks and underwear, and I have 2 paris of black Doc Martens. All of my sweaters are plain black Ralph Lauren sweaters and my hoodies are all solid black. It's very OCD, but it gets the job done and is very versatile. I can go horseback riding in Wyoming or eat at a Mario Batali restaurant in NYC and never feel out of place.

what a.dV;Ce can yoLt .:ive ?eo?le oLtt there who are str;V;n:J to be ?a.rt of' a. M~a2;ne? Publishing is hard work. If you're a graphic designer and looking to cash in, go with advertising. Working for a magazine is all about relating to your reader and not a client. If you think you can have my job right out of college, think again, it takes years of hard work to get to the top!

what doeS the word VOLLIME Mean to Y0Lt? Volume is how loud you can make something, how far you can push it and what you can achieve when the dial hits 10. 10

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A lifetime between classic and modern, who are the musicians that influenced you the most on your artistic journey? More than influence, I'll talk about who inspired me the most. .. First and foremost, Joe Zawinul, universal musician, pianist that started with classical (precisely a duo with another great aristocrat, Friedrich GuIda), than moved to be-bop (in the meantime he became the pianist of Canonball Adderley) eventually giving life to legend

ary group 'Weather Report' and to his only language. Glenn Gould is a great visionary of the piano: the first to make the decision to abandon concert halls in order to dedicate himself exclusively to studying. They are two great personalities, inimitable. If they have taught me anything, it certainly has to be to not dwell on the things I know how to do well, but to always push myself further, into unknown territory.

Between a concert hall and a club, is there much difference in the atmosphere and the audience? Tell us what excites you about these two places. These two places are absolutely complimentary. In a concert hall, there is absolute silence that distinguishes a listening audience - in a club,

I try to give life to moments of intense and real listening, and of silence. The bet hasn't been won yet, but I have already noticed some surprising reactions, especially at the "Sonar" music festival in Barcelona, where when I launched an improvised proto-Baroque, it spread itself into a sort of electricity only after a few notes.

Analog and Digital, an indispensable conjunction to express something today

or two ways to interpret music that can live separately? It is a discussion that, all in all, I don't care about

much ... Digital technology is infact as instrumental as the (acustic) piano, it is an instrument. Today, in 2012, I have a lot of will to use all different instruments that help me create music: harpsichord, piano, synthesizer, computer and sequencer - and not necessarily in this order! Technology cannot be and should not be an end all in all. Music is a universal language and at the same time abstract - we use instruments to make musica. My music can be defined as a mix between piano and electronic. Infact, I happen to play the (acustic) piano in classical concerts and than the keyboard in a techno gig (electronic) ... Maybe I'm a chameleon?

The piano is an instrument that represents perfection and beauty from the practice of style, what connection do you have to aesthetics? Maybe that is an old, dusty image of the piano, because the piano has always been the instrument of the future! It contains a technology unlike some other instruments; the piano in the beginning was scary to most composers - it had a heavy sound, too complicated. But it was the sound of the future! In less than 100 years, it became a fetish instrument for most composers. From that moment on, it took a short time to arrive to the invention of the synthesizer. "The exercise of style: consists in fighting this anachronistic image of the "romantic instrument". However, I relocate in the dance clubs, for example like I did with Carl Craig in Ibiza; a winged piano at We Love ... Space - a UFO the has landed in the middle of the dancefloor! Aesthetics is a value that tranforms and forcefully adapts itself to the epic and society in which we live in.

Volume is a project consisting of contemporary research. Across the combinations of your performance you represent greatly contemporary attitude. So what is modernism to you? Modernism, another concept used or abused, maybe I would position myself more in the postmodernism sector. Classic music can seem like a gift from the past, it is ashame, because it would be, in this situation, exactly the opposite of "modern" - Mozart never composed classical music! Mozart, like Bach, like all composers, created contemporary music. My relationship with modernism consists of staying in touch with the world, politics, people that are around me, and at the same time working in my bubble. Like John Cage said, " music does not serve to us nothing if not to keep us awake and live our lives!"

Amongst the various countries you live and work, where do you feel the most energy? Barcelona is my base, there in fact is where I have my studio and piano. Barcelona is a unique, beautiful and useful city. New York will always be in my heart - it is where I passed my most important and formative years, I get very nostalgic whenever I go back.Tokyo is an incredible city, the people give out an incomparabile energy. But the greatest audience is in Italy! I recently played 3 nights there, my last one on New Year's Eve in Terracina (Latina). I have never seen such a great crowd with their hands up in the air, not even in Ibiza. I would love to live in Rome for some time - after all isn't it the most beautiful city in the world?

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~~IIJSII:." What relationship do you have with cinema? Would you like to create a song for a movie? Cinema is a superb art, union of all artistic expression. I have written a few film songs of small independent movies, documentaries. If I had less concerts I would do more. Like a French composer once told me: A beautiful song cannot save an ugly movie, but an ugly song can defietly destroy a good movie.

In what do you feel Italian? Without a doubt, food. A single day does not exist without a good Italian espresso, pasta and Parmigiano Reggiano. One exception: when I am in Japan ...

What does the word VOLUME mean to you? VOLUME = organization/measure of how big something is.