Candy Magazine February 2011 Troubled Soul Issue
Editors Aidan Kelly ////// email@example.com Cameron Ross ////// firstname.lastname@example.org Design / Creative Direction Aidan Kelly All artworks in this publication are owned solely by the artists themselves and are not to be used without the permission of the artist in question. If you would like to submit an idea for consideration and possible publication please contact us. Weâ€™re only a click away - Say Hello www.candycollective.com
This is the Troubled Soul Issue. It’s the start of a new year and we’re using this issue to shake off last year and to rid ourselves of the drudgery. And in doing so we are celebrating in the best way possible and that’s showing you some secrets we’ve been hiding for a while. So thats the premise, now the welcome! Yes welcome to Candy. Thank you for dropping by, it’s nice to see you. For quite some time now we’ve been absent from the PDF business. We were working most of last year on a couple of exhibits, finding out we were actually compulsive obsessives, there was that argument in Soho... and yet despite all those distractions we managed to add a considerable amount of content to our mother site featuring some of the finest creatives we ever did see, But sure look, we’re back and happy to be here. We hope you like the fine list of people we’ve featured here and if you have the time please send this on to someone you love and they might love it too. Of course all artwork was used with kind permission from the artists herein so do get in touch with them directly if you would like to work with them.
HELLO Surely that’s the whole point? See their great work and maybe they can help you get through the day a little easier. We think you should take time out, pour yourself a glass of something like our good friend Cody Hamilton did and read through some of the beauty we have on show here. If there is something you would like to share with us, y’know we’re always open to suggestions - just use the contact form on our site. www.candycollective.com As always, all the best from us here at CandyCollective. Aidan / Cameron and all the crew.
In this issue-///////////////////////////////////
Cody HamiltonBuddy Carr Skateboards / Antonio Carusone Charlotte X. C. SullivanAnton Westbom WefloStina Persson-Joby Hickey.. Heiko Muller-THSAna Teresa Fernandez-WERK / THISISPOPBABY-//////////
designist & CandyCollective present
‘The designist Top Five’
An inspired collection of ideas, designs, initiatives and products from all around the world neatly contained in one feature per issue. Here’s a taste of what’s to come Visit their excellent store or go online. - designist 68 South Great Georges Street Dublin 2 - 01 4758534 www.designist.ie
Looking at Hamiltons work, there is a gleam shining from the subject matter as if his world had been dipped in a glaze of bronze, or even gold. Koons might look on with a wry smile as a fellow artist has heightened this world with some protective cover that saves everything from sad dents. Hamiliton is all over the place with his work, extending over a multitude of subject matters that lean towards being commercial (maybe so he can pay the bills), but also a little weird in composition and theme. So it stalls you a second until you can work it out. Thats when youâ€™re hooked. You cannot seem to get away and we hazard a guess he likes it that way. Jump in the pool and see how the water is. www.codyhamilton.us/
Would you see that your work has a heightened sense of reality, more colourful almost surreal? Does this say something about you, your personality? I am unsure of how much my work says about my personality but I have been inspired significantly by the great surreal painters. Rene Magritte would be an obvious example. I am fascinated with the photography and retouching emerging from all across Europe. I like to think my work reflects my sources of inspiration and helps me stand out in the US. Would you agree there is a style to this kind of Photography as opposed to say Documentary etc, that you fit neatly into or did you feel pressure from directors at Mags to fit their briefs. Is this fair to say. I would say my photography is an acquired personal style. I have only come across a small number of editorial shoots that have requested a certain vision or color treatment that creates a specific impression. I really enjoy challenging myself by formulating my own concepts and producing them for use in my portfolio and promotional materials. The “RELICS” series is one illustration of an idea or concept coming to fruition. You seem blatantly honest about your process! How do you gain from sharing your work ethic with others?? Does this help you directly? I feel that we should all pass on our knowledge in some way or another. I have no problem, if approached correctly, with describing a process for achieving a specific result. I learned by someone sharing things with me. There are a handful of fellow photographers I talk technique with. We even screen share while we retouch to show cool new techniques and tricks we figure out. I do not take that information and attempt to copy it. I apply a form of what they reveal or simply add it to my bank of creativity and would expect the same from others. and that is what shows through. Everyone has a unique vision and that is what shows through.
What’s in your camera bag? Is there a notebook in there too for sketches? Can you tell us how you work to realise an idea? In my camera bag there is a Canon 5d mark II, my trusty 50mm (I love this focal length and use it for almost everything), light meter, memory cards, usb for tethering, some filters, batteries...haha is this too detailed? I also have either my iPad (for checking files) or Macbook Pro (shooting tethered). I also have an app on the iPad where I can design lighting diagrams and save, which is pretty nice! To realize an idea, I start with the concept, plan the lighting, shoot, and retouch. I like to keep it simple and flexible. Whats next for you and next year..are you looking forward always? I am working hard to promote my work and expand to a broader market. Along with that, I am always creating more personal work because it is a great place for growth and experimentation without much risk. I might also try my hand at some motion work to begin the new year. Pretty excited to see how that turns out.
Images from the top down
Cow Pull On the Bike - Fixie Balloons in sky - Suburbia Magnavox d8443 - 1982 from Relics Cody Hamiliton Portrait Rubiks Cube 1980 X Marks the Spot client: XPRESD Austin Kite Festival Breakin’ One Tennis / Basketball / Nike Breakin’ two
Buddy Carr Skateboards-
It’s not surprising when two eras of creativity decide to team up and develop outstanding artwork. In fact, it’s almost obvious that these two found each other. Exceptionally so, considering the distance between these two. Clean graphic design that has it’s roots in Swizerland and Germany, with a tinge of Brockmann and functional street signage laced with the edginess of New York City and you have Carusone. But travel westwards to the hot beaches of California, the never ending romance of those summers spent rolling on boards or a little bit loved up in the heat and you have the beginnings of a paperback on Buddy Carr’s life story. Skateboards meet pure graphic design. The start of a clean cut revolt and the end of those psychedelic tranced out looks of yesteryear. Bring on the new age of reason. Skate well. Skate stylish. www.buddycarrskateboards.com/ http://yearofthesheep.com/
Images from the top down The 66 - Buddy Carr Signature model Shaped by Buddy Carr Hello T Shirt - Design Antonio Carusone which arrives in a beautiful box mailer Barre De Chocolat collection. Velocita dual hub wheel design The L’Esigenza Della Velocita Longboard detail and full view The 39 Longboard - Limited Edition of 100 with Paris Trucks 70mm 78 Durometer Urethane Wheels Hello 7 Ply Maple Veneer Deck with Concave and Single Kick (28” x 7.875”) Each deck is hand made in Southern California and arrives to you fully assembled and ready to ride.
CandyCollective, Buddy Carr & Antonio Carusone. It does seem like a clash of worlds with the two of you working together - how did you guys find each other? How did the first conversation go? BC -I had been wanting to produce a line of signature skateboards and accessories for some time. I had spent 20 years doing it for other brands, starting them and getting them going and watching several of them do quite well, but I had always wanted to produce a range of products with my own name and one that I had 100% control over. Sink or Swim - it was all going to be on my shoulders. I had the idea in my mind of what I wanted the brand to look and feel like. One day, doing research online, I stumbled upon the Aisle One web site. I liked what I saw and sent an email to the site asking if they knew of anyone who may want to produce a skateboard graphic. Turns out Antonio (the creator of Aisle One) was a skater himself and was stoked on the idea, and that is how the relationship started with me being on the West Coast and he on the East. Separated by 3000 miles, but connected via skateboards and clean design. Considering traditional board designs of the past, this is really a project that’s very futuristic and clean. Buddy, was there a certain amount of trust in Antonios ideas? Antonio, is this a graphic designers dream, to design Decks? BC - Antonio is an expert at what he does, he has my trust 100%. I have the vision and the idea, I toss it off to Antonio and he basically has free reign to come up with the design. It is awesome to work with such a talented person, knowing that the final project, bearing both names, will be something we are proud of. AC- It is a designer’s dream, especially for one who grew up skateboarding. I remember drawing Jim Phillips’ Screaming Hand when I was in elementary school and since then I’ve dreamt of designing skateboard graphics. For the last few years, I’ve been trying to get some skateboard work, but I didn’t know anyone in the industry, so when Buddy contacted me I jumped on the opportunity. It’s been a dream project.
Buddy, you do mention that in the concept of the 39 that it was inspired by earlier Surf Boards. How do you feel about connecting with the past? Have a younger generation reacted well to the new designs? Antonio, how do you use this inspiration to create new work? BC - I try not to dwell in the past like a lot of skate brands do. The history is important yes, but I focus more on the now, to try and help shape the future. As far as connecting with younger generations, I think our brand appeals to skaters who like the fresh look and feel of the brand we create, regardless of age. Most brands target a certain age group and produce product for that specific age but we are creating products for a certain type of people, not a certain age. Pehaps a new approach in the marketing of skateboards, but seems natural to me. I want to produce products that I would buy, wear and use. AC - I’m very much influenced by design from the 50s and 60s, so all of my work is inspired by the past. I try to take some key elements from classic design styles and blend them with some modern elements, hopefully creating something that is timeless. Buddy, is it important to see changes in the mechanics of skateboards for the future like the Velocita, with it’s unique truck system? Do you feel responsible for making these changes, for the better, with these designs. BC - So much of what we see today was done in the past but is so old that to most people it’s new. Drop through trucks, drop decks, off-set axles all were done in the 70s, but what we’ve done is improved upon these basic ideas in manufacturing, function and overall design. It goes back to looking at the past, not simply trying to reproduce it, but to improve upon it for a better product today.
Where do you guys see the project going from here? Will there be more boards and teeâ€™s in the future - the empire getting bigger? BC - I actually have goals set as far as 10 years out. Iâ€™m huge on goal setting and knowing what you want and what direction you are headed. Each day requires that I keep on that path, redirecting when needed and getting back up when I stumble. As the future unfolds and our brand expands, you will see the addition of more soft goods, hard goods and range of accessories. Iâ€™ve got a vision, more energy than most and one of the best graphic designers working with me, even if he is 3000 miles away. AC - There are definitely more skateboards, tees and other accessories planned for the near future but one of my main goals is to help Buddy take the brand beyond just skateboards and really make it into a lifestyle brand. -
Charlotte .X.C Sullivan To be calm, to be settled and ready. Flatten out an already clean sheet of beautiful white, A4 paper. Beside it a brand new pencil, sharp and pointed to the window. Here come the ideas...wait for it. Walking past her window you can catch a glimpse, but don’t let her see you. You might distract her. She’s thinking about the next one, thinking about the world and everything inside it. Stunning are the simple things, those ideas you slap yourself for - the pureness of having a show in someones house. The 8mm film strip of bracelet that is so personal and sound. Or ‘Nothing Drawing’, an idea of class where a permanent marker was drawn in a continuous line until it ran out. The lines length was 2,470 feet. Our eyes are wider than before. We needed simply to know much more. www.hybridfloaters.com/
When did you start ‘seeing’? Was it a simple thing early on, or more complicated than that? Was there work involved? I learned to “see” on the Fourth of July about 10 years ago. I was taking photographs (black and white, Ilford 400 speed film) of a Shriner’s parade happening in downtown Boston. Something “clicked” that day (pun intended) in terms of seeing for me. But of course many years before that I practiced “seeing”, by frequently taking everything out of my mother’s top dresser drawer (jewelry and trinkets) and arranging it in some kind of orderly way. I would do the same thing with pots and pans, blocks, anything I could find in the backyard... I’m thinking notebooks would possibly play a big part in your process? Are you flooded with ideas? Are you thankful for pen and paper or have you gone digital? Yes, you’re right about the notebooks, and yes, I’m flooded with ideas. I used to save a lot of packaging, scraps, letters, etc, but then that really started to pile up and I struggled to know which bit of inspiration was worth exploring. Now I use notebooks mainly for writing. So yes, I am thankful for pen and paper. I also have what I consider to be a “non-digital-hard- drive”, which is just a chipboard box containing a couple hundred blank index cards. Anytime I have an idea, I write it on a card and put it back in the box. Would Curiosity, Anger, Frustration, Boredom play a part in finding out answers to questions in your work? Yes, that entire list! Where do you see yourself in 20 years time? Can you predict that? I don’t think you can predict everything, but I do have a vision for where I’d like to be. I’m interested in running my own arts organisation. My ideal workspace would either be at the organisation I start up (so I could be around other people during the day) or within walking distance to the house I’m living in (I’d like to not be living in a big city). If my allergies disappear, I’d like to have a cat. I think my boyfriend and I will still be together. He’s the best.
Are you happy about your work being online as a best example of your outputis it enough? Have you thought about other ways like books and objects? No, it’s definitely not enough! The first reason being, I don’t know how to program or write code. So, I’m extremely limited in the way in which my work can be shown (though I am satisfied with Indexhibit, and could take the time to design my own site if I had the patience). I also don’t think my website has been helpful in cultivating community or conversation locally to me. People significantly interested in talking about or using my work over the past few years have been located in the Netherlands, England, Italy, Canada, Ireland (you!) and Los Angeles USA. I am of course happy to make these international (and cross-country) connections, but also feel it is important for my work to have a life on a local scale. I think work like HOUSE SHOW happened so that I (along with my fellow curators) could begin exploring ways to cultivate artistic community - not just on the internet, but in the neighborhood! In answer to your books and objects question, yes, I have thought about those mediums - and in fact am beginning to work on designing a book for my Espresseography project.
Images from the top down
Film Strip Bracelet Dollar Thoughts - Proof & Rain House Show Project: Curated by Sarah Blackwell, Mike Childress, and myself Artwork credits for the interior shots ali.jpg Name: Ali Osborn Title: Not Yet phil.jpg Phil Lawrence Animal Realm blackwell.jpg Sarah Blackwell Birds in the House john.jpg John Slepian mementos (“Grace”) cover.jpg Photograph: A.J. Sullivan Design: me Kleenex Boxes 1-4 Images from ‘Nothing Drawing’ This_is_how_You We the People.
With all sorts of blocks and colours surrounded by lines and icons that look deceivingly like symbols in a Japanese kids story book, the pure and easy world of Anton Westbom Weflo is possibly darker than it’s letting on to be. Like the crests in asian flags, which tell of great, momentous years, battles and history. Or those markers on the sides of great ships, and gigantic planes that fly everyone around. Maybe they’re freaked out characters in a new cartoon series about a secret world? Something for kids and weird elderly people? Hang on, we’ll ask. www.antonweflo.com/
When did you start drawing? Did your work completely transform when you discovered digital? I’ve always had quite a creative mind growing up, but it wasn’t until a couple of years ago that I consciously started to put my energy into drawing. When I discovered this totally new world it really sucked me in, it was something very special. My work did transform as I discovered the tools that the digital realm offers. A big portion of the time I spend illustrating goes into sketching, drawing and painting outside of the computer. But since clean and upfront imagery is what I like to create, the end result is often digital. What are your main themes in your personal work and can you effect commissioned work with your own personal style? My personal work can be anything manifested through my thoughts into an image. It’s often something spontaneous that I feel strongly for, which I then develop further. There is no special theme I like to work around, rather there are elements which are recurring basically because I relate to them. The commissioned work I’ve gotten so far has been in relation to what I’ve produced personally. There have been directions and briefs, but the initial contact has often been made because of my personal work and style. Who has influenced you in the world of illustration or in other art forms and why? I’ve been doing martial arts during the majority of my teenage years, and this has had a big influence on my ethics and views regarding illustration. I still have friends practicing, and I’m hugely inspired by their discipline and hunger. This feeling is what I strive for and apply to my own discipline. In illustration, I’m often inspired by people with a minimalistic and clean approach. I like weird things and people with new perspectives.
What would your dream job be? I don’t really have an idea of ‘the dream job’, but open briefs in general are always interesting since they allow you to push yourself whilst making creative input for others. I’d love to work with bigger clients, a large scale project for a clothing company would be super fun for example. What are you working next that we should we watch out for? I’m currently working on some editorial illustrations, a piece for a forthcoming book and I’m also in the process of releasing a zine.
Yes, you would be completely mistaken, like all the others in the world whoâ€™ve never been to Scandinavia, Stockholm, Lund or the many other beautifully named centres, that cold and snow are the predominate states of their afternoon, and itâ€™s just not true. Sunshine can also be a predominate factor in these stunning places, and beautifully so. Perssonâ€™s work is also sunshine, in a somewhat fatigued image driven world. Her work shines out of those handmade papers, blank once, but now glorious and full. Inks dominate the page and serve with skill, only to frame those once empty states and create a vision that remains fixed in the memory, turning a fashion piece into an afternoon of beautiful siren dreams, stolen whilst having a nap. www.stinapersson.com/
Sometimes we see these works more like impressionistic paintings of flowers, traditional and beautiful If you agree, what influenced your style? The 70â€™s aesthetics, vintage posters, strong women, organic shapes in nature, flea markets, 50â€™s ceramics, Art Nouveau, old movies, color and paint, my mother and my family are the main things that influence me. You must love Fashion? Would you be totally inspired by design of Cloth, Shapes of women, and maybe even Chocolate? I love clothes. But there is so much of it in the world already. I prefer vintage. It feels better, is of better quality and you will never end up in the same dress as someone else at a party. I am inspired strong female characters. Not by cloth unless it is patterned. And chocolate is not for my mind but something my body craves daily. You have a close working relationship with Elle amongst others, for other aspiring illustrators, how do you think you can succeed in this world of magazines and still be individual with your work? I have been working for Elle Korea for a year and that has been great. Magazines, especially European ones are great clients and let you do quite artistic things actually. Itâ€™s with advertising, and money that goes with it, that you start infringe on your style and your individuality. What made you break away from purely painted works and start using Photographs? A small Mexican magazine called Codigo asked me to work on top of photographs. Those pieces generated more work. And I would love to do more of it, but take it to the next level. What ever that may be. Do you see your work drifting away from traditional prints and becoming more like Skate Decks and Diaries? what challenges are you looking for in the future? I hope make more original artwork as well as try to see if I could do wallpaper, see my work printed on plates, bed linen etc.
Selected Images from Stina Perssons collection From the top down left to right
Art! This Is My Veil Dripping Concetta Catwalk Buttercups Umbrella Striped Leisure Watching [MON] Honey 150 Bubbles Applied Flower Pattern Tangerine Hazey Jane
Sometimes I feel like throwing my hands up in the air, I know I can count on you.
Joby Hickey Dublin based Hickey has been painting and ranting and raving about painting for years. He fits the quintessential artistic type that hails from Ireland. He has a roguish look about him and looks as though he’s constantly painting with remnants of oil on his shoulder, knee and hands. But lately he’s been cheating on his mistress. He’s been having it off with the landlady on the top floor - photography. In a hand-made effort to re-direct his mind, his influence and overall sanity, it looks like he’s de-constructing everything he knows about the sense of an image. Breaking it down to form what looks as if it’s a system of memories, captured by the slightest blink of an eye. Searching his work you’ll get the previous message and how it’s changed so quickly and drastically. But nevertheless challenging, testing great work that still bears the mark of his soul.
Images from the top down
Palestinian Father & Boys Canal Summer Jim Sheridan Pidgeon Towers Plane Summer Eiffel Face 4 Demo November Plunkets Suzie Park ColaCoka
After years of painting what made you think about the move over to photography?
What did you want these new works to say compared to earlier works?
I’d had a standard camera from before, but I remember taking a pinhole image of my school at age 9 and thought how it was magical the way it worked, and loved photography from then on after. I also grew up with history of photography books with Cartier-Bresson and Stieglitz and more and living with my father Patrick Hickey, who made me paint a lot, not to mention endless sketching. So I think it was a case that I’ve worked with photography and painting hand in hand. I was in the camera department after art college for film in the mid/late 90’s, where I had to change film Mags in changing bags, keep film stock organised for the lighting of the moment and focus pull. This was exiting, always on my mind, and really influenced me.. Is it true you’ve made your own camera? How?
I was interested in showing modern day in a similar way the photographs of the 1800’s relayed the past and examine how we perceive the then and the now. Cars, billboards, some buildings and clothes seemed to be the main difference, but though much had changed visually, the human face looks timeless. I would love to go back in time 130 years with a modern mega-pixel camera and photograph it. I think that would make a lot of sense. Where to next and what are you ultimately looking to do in the future?
Yes. I thought that pinhole cameras, due to the aperture, sometimes made out of matchboxes or shoe boxes, Pringle tubes or anything light proof, were fairly limited in regards to capturing a moving object. So I got a lens off an old Minolta projector from the 50’s and did the focal measurements to get a wide f.stop 4. aperture fixed focus which is quite clumsy but full of light. So I went from f.260 to 4.5 which was a huge change. Even though these works are photographic, were you still looking for work that was more painterly or artistic? Yes I was. I think it’s hard to take pictures with perfect cameras, film or digital. I found the images I was taking were a bit clinical, sort of like a new hospital, which didn’t give me much in the world of painting. I get lots of ideas from the old silent films by D.W.Griffith, F.W Murnau, Flaherty etc. All their shots are fantastic and very enduring.
I liked painting in a semi-realist style, imitating the effect of a lens, the field of focus, the lens flares and perspective, and this fed my new photographs. And in turn the photographs are now influencing my new paintings. Soon the two will be indecipherable, I hope. I have a 30 year old pixel movie camera that records moving images and sound on old Walkman/cassette tapes. and I’m looking forward to working with that in the new year. Also, I am trying to make a camera for my film stock that will record at least 10 frames per second. It’s hard to say where it will go because a lot of this comes together organically on top of the planning. I am trying to produce a show in Berlin where the works will be 7 feet in size on Japanese paper, so there is a lot of work ahead to do as always.
The town tonight won’t get much sleep as the prettiest of the local girls, a Chanteuse, weds the Helmut dope son in the middle of the town, covered in the church bell sound and streams of coloured paper. The happy dancing in rings and rings goes around and round, with all the memories gone of a long cold war. Grease on their fingers and face from the warm meal, drifting away that one and only sad old song. I won’t be there. I fell asleep in the woods again, outside town a mile or so off the beaten track, out to the mountains aged. The wind brings those sound on sounds. The animals wander over to smell my dozing sleep, The deer with haunches high and tree-like antlers is breathing and curious, walks over then backs away, startled. He’s never seen anything like it before. Through the trees, snaps and breaks of branches bowing under weights, birds from paradise lost, swift and tweet. The howl and wind wrap again on the slow men’s windows, their insides warm and away nightmares ease, in and out of the double covers, through the clouds and over the moon above. I can hear them sway, groan bellies rumble on. I won’t be alone either. In the distance, I see a huge man on the brow of the hill. His gun rings out and kills his fill. They don’t talk to him. A hermit hunter. But I was close. Once he staring over, I nodded to say I saw, but leaving well enough alone. The Winchester goes off again and a deer haunch falls, dragged and gutted, hung for the winter food. I am terribly cold under the long arm of a tree, nowhere really to go - drunk like I always am and resembling my fathers knife ways. He was a lone swiller too, always sleeping in holes. Or somedays luck the brassy bosoms of night-women, his wife, my mother passed on from the war-torn rage. He let go off it all and slumbered down. I was always sad and worried, I’d always look for him in his places passing each other he never knew me really. When I find him I pretend. I say ‘Old Man’ instead of who I am.
Images from the top down
The Disbelievers Bear Studie Lost in Switzerland ot Redbird Eartha Minh The Knife Hofer Study Winged Doom Peaceful Sunset Fox with Purple tongue Deer Hunter The Last Goodbye ot Tower Bird Home alone 2010
Where would I be without YOU. END OF STORY
Look at the artwork of the world, maybe there’s a kid in Israel not sure about his lot, carving stone. Or a sound emanates from Afghanistan that replicates the sound of Belfast in the seventies. But if we’re in the business of reaction, then we’re in the business of modern day art. Look at these walls covered in scrawls that are like messages quickly sent and blasted into an already overloaded mess of din. In there somewhere there’s a beep coming from Berlin. Kurt Russell strode around the wastelands of Manhattan in the quite awful ‘Escape from New York’, but unknown to him he was possibly the bearer of prematurely bad news. He was unwittingly the star of Hollywood’s start on the modern take of the end of the world. A signal that all was lost, Elvis was really dead, a new chapter in Nihilism had begun for those sad masses. And so began the effort to increase the sale of leather trousers. The Girl in ‘Chock Full O’Nuts’ in this forgettable flick says, “You’re a cop!” Snake Plissken, the leading biker boaster replies with fire, “I’m an asshole..” Strewn across the walls of a world this cynical are signs things are actually past the point of no return - dead are lain out to dry in the heat by day and scavenger Vamps by night. A mockery is made by this man and his signs, old favorites, singing icons, beauties on B52’s, Porno queens and fucked up cartoon dogs. Mice are all over flat spaces, open spaces amid the ‘End is nigh’ graffiti using paper and wood taken from heaps of detritus in the city he leaves a mark, it’s all gone - YOU did this - I am the truth. Endless words of warning that you just can’t be bothered with. Rumour says that he was employed by them - the ruling class, broke rank when the message was watered down to cover up in the short term what has us here. One man called THS, hell driven on telling the dirty truth. It’s over. You’re finished. www.ths.nu/
Fernandez Wondering where the saying â€˜Hard as Nailsâ€™ came from? It might be a little harsh in description, but it is striking that Fernandezâ€™s work at first impresses you as pretty, colourful with hints of femininity washing over the flatness with a sensual look to it. But underneath and on the pages of notes there are strong, dark messages.
Troublesome thoughts get worked out until they are memories and considered sorted. She helps others too, with simple ideas of colour, removes the greys and shines with bright rays of yellow gold, greens, blues and primarys. It has taken a while but change has happened for the better. http://anateresafernandez.com
Images from the top down
ABLUTION Left to Swoon (Performance documentation) Untitled (Performance documentation) Siren’s Shadow (Performance documentation) Ablution is a series of paintings that derive from performances that submerges the body into specific sites, addressing rituals of cleansing and maintenance, focusing on gender, labor, sexuality and race. PRESSING MATTERS selection of Untitled (Performance documentation) As a young girl in Mexico, I learned at an early age about the double standard imposed on women and their sexuality. “Los hombres quieren a una dama en la mesa, y a una puta en la cama” (“Men want a lady at the table, and a whore in the bed”) ECDISIS Ecdysis: Ec·dy·ses, n.; pl. (Biol.) The act of shedding, or casting off, an outer cuticular layer, as in the case of serpents, lobsters, etc. Untitled BROKEN GLASS SHARDS, RESIN, HOT GLUE TELARAÑA “Bête comme un peintre (“dumb as a painter”) Untitled & DOCUMENTATION OF JENNIFER LOCKE’S “GLUE” PERFORMANCE
This may seem obvious, but are these works deeply personal, possibly due to experience? Or are they more storytelling on behalf of someone else? I think the possibility of thinking they are obviously personal is due to the familiarity to these spaces, all of which are different people’s apartments. The interaction with these domestic objects or settings gives a sense of intimacy, or some sense of contemplation within a repetitive act, which most often sparks a sense of self-narrative. But it also lends itself to feeling recognizable to the audience. Because they are performances, the actions are very personal on one hand. But, it’s me channeling other women’s stories. My mother, my aunts, the women I knew along with bits and pieces of stories I have been told. I get to retell them in those actions, or interactions. Would it have been too obvious to make moving film footage of these ideas? Do you think that the work is more powerful because they are still paintings?
How important is photography for you in your process? Was the Greatmore Studios work completely photographic based or will there be further paintings from that amazing experience? I was asked to give a talk about photography 2 years ago. And I was so stunned to consider myself as one. It is a medium I am very green in. Yet I do not own a sketchbook. Napkins and bar coasters make for more interesting drawing note takers. For visual notes I always carry a camera with me. And it has become my journal, my sketchbook. Because it was never the finished product, but a tool to get my images, I never took myself seriously as a photographer. Not until South Africa. When one of the kids invited me into their home to use their sink to wash out the brushes from the public piece, I noticed they had no photographs on their walls or counters. By then, we trusted each other, and knew our interactions came from a sincere place.
Obvious again? You like that word.... don’t you? If anything I like to play with very obvious scenarios and completely change the context. To question what we do consider as “obvious”. The paintings are documentations. Even though the sense of magic realism is present, these are actions that took place in a space and time. By keeping them as paintings, I don’t provide that answer...did they really happen or not? They are non-fiction, and thus pushing against the mass history of “women in paintings” within the realm of fiction or model for others. As for the moving image, I find painting for me is just that. Like in documentary films, one gets to edit footage, add sound, strengthen one color, crop. In painting when I spend 3-6 months on one painting, I consider the sounds, the body’s heat or coldness, temperature in that space. I try to remember the feeling of the stilettos sharply stabbing the sand at the beach. I try to create it as to where it almost feels like it’s in movement, it’s breathing. I do find the paintings to be something entirely different from the photo. The photo is still a biographical documentation. Through the process of painting I get to tell what I felt going through that action and thus make it autobiographical.
So I offered to take photos of all the community members within their homes and create 8”x10” prints to give to them. It was more of a thank you project, more so than me starting a thesis on the social conditions within one of the more violent ghettoes in Capetown. Their generosity gave me a confidence to take myself more seriously with this medium. Which answers your question. Yes the process was very elaborate and the project ends at the photograph in this case. I will confess, I was sweating the entire time, I was so nervous. For my paintings photography is imperative. It snaps the image in motion within a specific time and place. It is proof that I created a non-fiction performance. And photography is incredible, it can freeze everything in this incredibly wonderful place, droplets in mid air, a body falling...paintings can reactivate that frozen moment.
Do you think you can help people with your work? That I can help? I am not curing cancer. But what I do try to do is raise awareness of how it is we are programmed to see things. Things make sense in a specific context, but out of it, we do not know how to think. Let me give you an example. A broom isn’t dirty when placed on the floor, but when placed on a pillow it becomes dirty. We have social stigmas as such. If anything I try and help push the idea that women are in ownership of their sensuality and strength. We nearly forgot to ask, “How are you” - What’s next for you? I am great, but a little bit sick after doing a series of performances and filming underwater at night swimming in freezing water. But I am very excited to be setting up for a show in February in SF with all video installations. Moving images! Documentations of underwater performances, and also drawings from photographs of a performance that will be animated to create a video. Lot’s more to come... it is all new territory for me, and it is keeping me on my toes and also up at night. :)
“When you said you could meet at 5.30 I thought you meant ‘5.30’not 6 Fucking 14”
Selected Images by Peter Fingleton and Aidan Kelly
Chip feeders & Bank tellers at WERK in the Peacock : Fanci Smanci and Anne Fetamine That beautiful boy Mr C Gull singing Britney Spears “Everytime (I try to fly I fall)” VEDA Girls in Irish dancing costumes? That’s Pop Céile Niall Sweeney O’ PonyBox he has YOKES HEIDI KONNT Blathnaid McGee smoking outside at THISISPOPBABY tent EP Shirley Temple - Bar thinking about last night. Philly McMahon and Jenny Jennings / they are the dreamers.
What are you getting me for Valentines Day? designist 68 South Great Georges Street Dublin 2 - 01 4758534 www.designist.ie
Thank you. Watch out for the next Issue start of March 2011 // ALTStyle -ISSUE /////Featuring Una Burke / Fannie Schiavoni / DESIGNIST /The Wilson Brothers / PENGUIN / Rojer Ghiraldhi....and LOADS others Donâ€™t be a stranger WWW.CANDYCOLLECTIVE.COM
it’s over You’re finished.