Dekit magazine Issue # 6 SWAY

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6: WINTER 201 5

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At every turn in life, we find ourselves yielding to our needs, our desires, emotions and hardwired habits. Actions and reactions are the prized outcomes to forces of influence. Since there is something for everyone, no one is above the power of persuasion. In this issue, we explore the work of CREATORS with muses that strike, onus opinions and fateful life lessons. With the intent that viewers become participants compelled to react, with action, in agreement or disdain, CREATORS aim to sway. In order to hold sway by way of subject matter, circumstance, or choice of medium it is inevitable for one to be profound. Many dynamic forces, such as: religion, politics, technology, beauty, and science will propel this era, as they have every era before, and all to follow. However, without a mind to engage, what is there? Moving the world and its inhabitants through time and space are the forces that hold SWAY.

We ask in this winter issue: What holds sway? dekit |



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table of contents

radiate racy BERNHARD LANG 46 A Striking Aerial View of Earth

MANOJ JADHAV 40 The Grace of Gypsy


AES+F 54

Collective of Allegory Undefined Imagination

Sinterklaas & Black Pete 74

Faith: Etheral & Abstract

JANUS JUREK 67 Generative Human


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Cardboard Message

Woman’s Spring & Halos



Tell us @dekitdekit



Submerged in Freedom

Dear reader,


Addiction a series

JOCELYN ANG 1 4 Depression's Hold

dek music:



editor, creative director, founder Stephanie Harris editorial interns Clare Schubert Samantha Flores contributors AES+F Group Bart van Leeuwen Ben Quesnel Bernhard Lang Janus Jurek Jennifer Hansen Jocelyn Ang Manoj Jadhav Matt Porteous and Googsi Nicolette Howell Tabata Resende William Farges Dekit Magazine is published by Dekit,LLC. Š201 5 All rights Reserved. Reproduction in whole or in part is prohibited. Unless otherwise noted, artist retain copyright to their work. The publisher will be pleased to correct any mistakes in our next issue. Cover Janus Jurek dekit |




30x30 Mixed Media ŠJennifer Hansen

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This series was inspired by Psalm 9 in the Bible. Each painting illustrated those descriptive words by the symbolic use of the wings and abstracted use of media. To communicate hope amidst the chaos surrounding the figure, I chose warm golden colors to permeate from underneath the darker, cooler colors. I know that in viewing my paintings alone, the specific message of hope in Christ wouldn't be apparent. So, I've made it a point to share my concept, thoughts, and direction in my pieces through my artist statements if one would like to In your artist statement, you refer to isolation know more about my work and inspiration. sing her past experiences for inspiration, Jennifer Hansen’s work is emotionally vivid and heart wrenching. Looking at her photos, one cannot help but feel the pain and suffering of her figures. Her pieces are ethereal and dreamlike, pointing us in the direction of more promising times. We are left wondering: how do we escape our dreaming state, or should we simply stay there?

and destruction as dominant themes within your pieces. Are we all likely to succumb to their These pieces, while somewhat somber and gray, powers and how does your work emulate the are contrasted with hints of bright color and emergence of these feelings? light. How does this contrast further the message your pieces convey? Yes. I think there are times where we have given into these feelings. In my paintings, I compose figures in a void, empty space or a desolate environment to communicate the idea of isolation. I also manipulate the mediums I work with to create a disintegrating effect to show the figures dissolving into dust and nothingness. My color palette tends to be monochromatic to help push across these feelings.

Your series titled, “A Song in the Night,” reflects an individual’s struggle with surrender and hope for survival amidst the worst conditions. What source of hope do these pieces draw from and how do you hope to communicate this hope to viewers seeking reprieve?

The use of warm colors against the cooler grays are to subtly reveal the presence of God amidst the darkness. That there is hope to look forward to and the figure isn't utterly consumed in darkness.

Your work pays homage to the shadows from within, our turbulent pasts or thoughts that trap and ensnare us. What does it mean to be a victim of human depravity and destructive desire? My viewpoint is not that we are victims of human depravity, but that depravity is part of the consequence of sin. In terms of destructive desire, I believe it comes when we are consumed by our emotions, when one becomes mastered by it. I think dekit |


radiate | Jennifer Hansen | Vallejo, CA

I THINK THAT MY WORK INVOLVES A CERTAIN LEVEL OF CONFRONTATION ,[. . .] I LIKE TO CAPTURE MY FIGURES IN THAT PARTICULAR MOMENT. that there is a progression to reach that point. Turning to substance abuse or other possible things that can help cope or distract many times becomes harmful. We can hurt ourselves and others by trying to relieve or numb the pain of what we may be experiencing.

No they have not conceded to a life of suffering, rather I wish to capture these figures in the raw moments where grief or suffering is all consuming. There is hope! The bright hints of color visualize redemption and that suffering for them won't last forever.

Carl Jung, Swiss psychiatrist, researched the many inner workings of the human psyche. He examined the “shadow” (the undeveloped or hidden side of our psyche). Rather than repress it we should acknowledge its presence, so we do not become consumed by its overwhelming effects. Does your work support the confrontation of our “dark side”?

Your pieces in, “Solus Christus” speak to the feeling of being broken, fragmented and shattered. Regardless of the cause, how should we begin to piece together our lives once again? Shattered

48x36 Mixed Media

I think that my work involves a certain level of confrontation, [. . .] I like to capture my figures in that particular moment. The figure is pictured bowed down, covering the face weeping while geometry creates shards throughout the composition to represent brokenness. I'm not too familiar with all the details of Jung's theory. But, from what I do know, he suggests that by confronting, accepting, learning to live with this dark side and respect it, in turn helps us to grow, mature, become whole, etc. Lust, power, selfishness, and greed, are just some emotions that Jung would call animalistic and if not confronted can be consumed by its effects. For the Christian, it is not enough to simply acknowledge its existence, but to turn away from it and not make any provision for it.

Many of your paintings express great grief or suffering by their subjects. Do you think they have conceded to a life of suffering, or is there some place they can seek solace?

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©Jennifer Hansen

Arise 11 x1 4

Mixed Media

ŠJennifer Hansen

radiate | Jennifer Hansen | Vallejo, CA

Untitled Sketch 20x20 Graphite

ŠJennifer Hansen

What has helped you through difficult life, but is lasting. times? Though heartbreaking in its message, the Before I came to know Jesus [. . .], I didn't have use of light colors, mix of geometry and any hope that I could ever be made whole textures pleases the eye. Can beauty be again. I felt that I would be broken and found in any given moment, even the direst depressed forever and there wasn't anything I, times? or anyone else can really do to fully put myself back together again. The way that I would cope with it would be distracting myself with relationships, shopping, and being immersed in my work. At that time in my life, I was still a student at the Academy of Art and had a retail job, so I worked full time and also went to school full time. These were great things that helped me take my mind off of my current state, but at the end of the day I was still broken. I soon came to know [. . .] Psalm 1 47:3, which was the passage that shaped the series, 'Solus Christus'. It says, "He heals the brokenhearted and binds up their wounds." This is not just something that distracts you from the pains of 1 2 | WINTER| 201 5

Yes! I definitely believe beauty can be found everywhere even in the direst of times. I think of these certain alpine plants and flowers that still bloom even under the most extreme and harshest conditions. Amidst facing severe wind, snow, ice, high altitude and exposure to sun they thrive. They are hidden in little nooks and crevices; so beauty can be found even in the smallest, unlikely places. For more information about Jennifer Hansen visit,


© Jocelyn Ang

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orn in Singapore, Jocelyn Ang is an artist that is fascinated and inspired through the intricacies of human thought and emotion. Her photos are a translation of her own depression produced into images. The absence of gravity from her photos create a sense of her lack of control in her emotions and her beautiful vulnerability.

by Samantha Flores

an irony of such? I don’t think depression is or will ever be a beautiful thing to me, because I’ve seen how ugly it is. It made me loathe myself so much I wished I never existed. In my photos, I wanted to express a sense of helplessness where I lose control over my own body and mind. You might be right in saying I wanted to be ‘free’, away from my own emotions and thoughts that were chaining me down.

You are the subject of your photo series, is In your introduction to your project you state depression something so powerful that you that you have to constantly fight against cannot remove yourself from it? depression and all of the negativity the mind generates. Has this project helped you continue Depression, to me, is a state that we end up in, to fight? involuntarily. In some sense, it could compare to an addiction; in both cases we cannot help but remain trapped in a cycle. When I was suffering from depression, I felt this huge inertia stopping me from changing things for the better. I would spend days on end just staying in bed, knowing it does nothing to help my condition, but do it anyway. Depression contradicts logic and I guess that’s partly the reason why it is hard for outsiders to understand why people suffering from depression act the way they do, seemingly not wanting to improve their conditions. The truth is, we can’t. Depression is crippling like that.

I think there’s a constant power struggle and reversal going on within; sometimes, the negative emotions and thoughts reign and other times, I succeed in overcoming them. I don’t think I really have a sense of power, because I always fear that these depressing thoughts will return. At the point of time of creating this work, it was actually a relapse from an earlier depressive episode a few years earlier. It made me realize how vulnerable I was. Looking at it on the brighter side, it was easier for me the second time round; this project might have given me an outlet to express my thoughts so I could move on from them and by the end of the The idea of having sway can also be a beautiful project, I felt like I was back in control again.

and graceful act. In some of the photos in your project you appear to be very graceful and In all of your portraits, you are isolated. Is this almost ‘free’ in a sense. Can depression be a isolation a result of the overwhelming emotions beautiful thing or does your work aim to depict of your depression? dekit |


© Jocelyn Ang

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Š Jocelyn Ang

dekit |


rap | Jocelyn Ang | Singapore

The first time I encountered a depressive episode, I isolated myself from everybody. I stayed away from school for a month and I moved to my aunt’s house because I couldn’t stand being with people I was close to (and also because my mother was suffering from a depressive episode at the same time). I guess this influenced my decision to portray an isolated figure in my works. It was slightly different when I was creating this series; I was still going to school, going out with my friends, I seemed fine in the day but when I was alone in my room at night, the negative thoughts just got really loud and drowned out everything else. It was a side I wanted to hide from everyone else, who always saw me as a cheerful person.

You said that this was a side that you “wanted to hide from everyone else”. Was there any kind of hesitation in keeping your face visible in one of the photos in your project?

like for me; it was always around and I constantly felt alone and trapped in my own emotions.

You mentioned that your mother was also suffering from a depressive episode at the same time you were experiencing your first. Does her mood tend to affect your own? Being the only child in the family, my parents have a high expectation of me. My mother first fell into depression when I was 1 2 and I did badly for an important examination. I guess that had a great impact on me and I was constantly pressured to do well at school after that. When I was intent on pursuing an education in art, my mother was (and still is) against it. Even up till today, we still quarrel from time to time about my desire to continue photography. I am very easily affected by people's moods, especially my parents’ because they are the most important people in my life. I am constantly torn between wanting to do what I want and wanting to give my parents a good life and it’s a struggle I’m still trying to come to terms with.

Incidentally, the photo with my face visible was the first one I shot for the series. It was taken without the idea of this project in mind. However, when I saw the photo, I was surprised by how aptly it Someone can be swayed by an idea but can also expressed my feelings. I guess it sort of “exposed” be swayed by a person. If you could influence me. someone with a similar overwhelming feeling,

In your photos you are never in the same place and always seem to be in the middle of doing something, such as taking a shower and walking down the street. Why did you choose to highlight these certain places and actions?

what would you hope your work says to them?

I hope that my work will be able to resonate with them and tell them that, hey, there are others out there that feel the way you do. So don’t give up, because you have the power to change things for the better, even if your mind tells you otherwise.

I didn’t want to restrict myself to a single location. I walked around with my camera, thinking up compositions as I went along. As for the choice of For more information about Jocelyn Ang visit, locations, I always chose somewhere mundane but empty, slightly metaphorical to how depression was

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© Jocelyn Ang

© Jocelyn Ang

dekit |


Š Nicolette Kay Howell

"Bleaching" Obessions Series Photography

A series of Obsessions Nicolette Kay Howell


By Samantha Flores

aving experienced her own personal addiction, Nicolette Howell explores that overpowering influence in her photos. She allows a glimpse into how far anyone can go to gain a single moment that will disappear as soon as it arrives. Her glossy editing style takes away from any kind of glorifying and shows her audience what it truly looks like to be an addict.

In your project ‘Obsessions,’ all of your subjects are alone. What does this say about the power addiction holds over individuals and the fact that they give up everything except their addictions?

momentarily gives a person. Alcohol, for example, can take the edge off depending upon the person. So in the end, I believe that the allure of a potential addiction is only as weak or as strong as the person’s need to have a particular outcome due to the addiction.

None of your subjects seem to be enjoying themselves or their addiction. Are their addictions so overwhelming that they have to indulge in them even though it does not bring them any happiness?

I believe that when an addiction becomes a prevalent aspect of one’s life, it becomes mundane and routine. It no longer feels like a choice; instead, it feels second nature. It’s a like muscle memory of sorts. Personally, at that point, I don’t think The addictions I focused on in ‘Obsessions’ are happiness is a key factor anymore. primarily ones that individuals typically do alone. The power that an addiction holds over someone’s One of the most striking images in your life is quite spectacular and horrifying at the same project is the photo where a woman is time. Addiction can sometimes take over a person’s bleaching her skin. This is not typically basic instinct to survive. And sadly, if an addiction is showcased in addiction or obsessionstrong enough, an individual can lose people who related projects. Why did you choose this were once very close and important to him/her subject? because he/she chose the addiction over the people. There is this shallow, absurd belief that the lighter one’s skin appears, the more attractive he/she Your photographs walk us into private yet would be. It does not stop there though. Having familiar spaces; it appears after addictions lighter skin is not just limited to being more have become a strong influence and seemly attractive; instead, lighter skin can also be seen as a before they become too damaging to the gateway to better opportunities and in essence a individuals. What is the allure of a potential better life. Do I agree with these beliefs? Absolutely addiction? not! But the fact of the matter is that these beliefs had to have stemmed from somewhere. Because of Usually a potential addiction occurs due to what it this, I believe the subject of bleaching one’s skin dekit |


rap | Nicolette Kay Howell | Savanah,GA

...I BELIEVE THE SUBJECT OF BLEACHING ONE ’ S SKIN SHOULD BE PORTRAYED AND DISCUSSED MORE ... should be portrayed and discussed more In this issue, there are many projects that especially since it is common in my community. make an impact, and are presented

gracefully, adding to their significance. Your Have you had any personal experience with photos are not very stylized or ‘glamorous.’ addiction? Such as dealing with someone Is this intentional? you have known or even yourself? Would it be weird to say that I had an addiction with running? It seems odd or trivial when I think about it, but it is the truth. It started off as just a stress reliever during college. After I got my first “runner’s high,” I was hooked and went running a minimum of 6 miles a day. Instead of choosing to go for a run, it became a necessity. It was about escaping reality. Every time my foot hit the pavement, I was in complete control of my life. There were not any doubts, hesitations, or second guesses. That feeling of control and certainty kept me afloat during the chaos of my life. It was not until I threw out my back in an accident that I physically had to stop. During that time, I reflected and truly thought about why I needed to run. I started to work on those problems and after a few months, that need was not there anymore. It became a choice again.

The photography in this series has a dark tinge to them. It’s almost as if the high contrast has been applied with the same intention of airbrushed photos in magazines but instead reveals details as opposed to hiding them. How does this perception of trying to hard relate to addicts?

The editing style for this concept was intentional. I carefully tried to stay away from editing the photographs in a way that would portray them as ‘beautiful.’ I wanted to make sure that the editing style would not make it seem as if I was glorifying these addictions because that was not the case. Instead I just wanted to portray them for what they are. Glitz and glam were not necessary for this project because I believe that sometimes seeing something raw and for what it is can have more of a punch to the viewer.

To be swayed is to be influenced by an idea, movement, or person for better or worse. What is something that has swayed you? People continue to sway me on a daily basis. I do not mean that in a negative way either (laughs). I want to experience as much as I can during my lifetime because, what’s the point of living if you keep yourself in a bubble? Deep and insightful conversations with different people allow me to see things in a different light, to be less ignorant. Because no single person knows everything there is to life, right? It is up to me to reach out and learn as much as I can from others. I want to absorb as much as humanly possible so that when I leave this world, I know that I truly lived.

Whether it is trying too hard to escape reality, to escape stress, or even just desperately trying to gain some resemblance of control in one’s life, it is that perception or thought process that starts and For more information about Nicolette Kay Howell continues the cycle of addiction. visit,

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Š Nicolette Kay Howell

"Makeup Addiction" Obessions Series Photography



America's Cardboard Reflection

en Quesnel, wants to talk about an issue, so often neglected or ignored, yet predominant all throughout the United States. His pieces, mounted on cardboard, bridge the gap between two different social classes. Instead of separating the two, he attempts to bring them together, using low cost materials as a backdrop for his work, and posting some images outdoors, for all people to enjoy and see. He reflects on the consumerist culture that drives American spending, critiquing its unavoidable presence in our daily lives. He urges us all to reexamine what it means to “need,” and the gravity of the word, versus the more appropriate term “want.” Quesnel speaks up for those who actually do have a great “need,” for basic necessities that often go unappreciated.

By Clare Schubert

What is the root of such a marginal disparity between classes in the States? Whose responsibility is it to tackle these issues and demand justice? I like to think that everyone can give a little, and it is everyone’s responsibility to look out for one another. It cannot just be the “one percent” expected to give and contribute, because they have the most. Some may be able to donate money, and others may be able to bestow their time, skill, labor or even a friendly gesture. I don’t want my artwork to suggest that I am separating the economic classes even more. If anything, I would prefer that my art helps make connections. Hopefully it initiates conversation and encourages people to contribute to the dialogue or make efforts of their own to bond and help others in need.

You speak of a parallel existence between the economically rich and poor; why do you choose Who is your target audience? Do you think that to illustrate this with your work? your work can create a more introspective view for those who buy or view it? My art is often a reflection of the place that I am in and how I experience it. I started the “Cardboard Sign” series shortly after I moved to Southern Connecticut to teach art in the public school system. There, I really began to witness the economic divide that is so prevalent and widely discussed during the political debates. It was this experience that made me realize how vastly different people’s lifestyles are. Some of my students’ families were struggling to keep their heat on in the winter, while others were living in mega mansions. I never witnessed this in Broad Brook, Connecticut, where I grew up. It was unfamiliar to me, I was shocked, and it is one of the reasons why I wanted to explore it further within my art and research.

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My audience is my community. My art is often a reflection of the place that I am a part of. It is from things that I know and am confronted with on a daily basis--it’s a conversation that I know and want to contribute to. I consider my “Cardboard Series,’” to be more about engagement and less about its commercial value. As much as I enjoy going to galleries and art museums, the majority of the attendees seem to consist of the more economically privileged groups.

What do you want your pieces to say to those who are so often left out of the “glamorous lifestyle” of fashion and consumerism?

Š Ben Quesnel


dekit |

rap | Ben Quesnel | Stamford,CT

E CONOMIC OPPORTUNITY AND FREEDOM FOR ALL HAS NEVER BEEN OUR COUNTRY’ S CORE VALUES -- THAT’ S SILLY. How does your work aim to comment or critique the values and prioritization of American pop Your oil paintings are made on pieces of culture and it’s preferences? cardboard. How does this link to struggling Americans strengthen your message? When I think of pop culture I think of American Everyone matters.

It raises awareness. There is a juxtaposition factor at play. Putting oil paintings on cardboard might be more powerful than the actual imagery. There are a lot of layers to these pieces; some of the smaller artworks are actually made from cardboard signs that I have purchased from people living on the street within our community.

In many ways, your pieces speak to the superficiality often associated with consumerist habits in the United States. Do you think our notion of culture is misguided and focuses only on the positive aspects of society? We do live in a materialistic society where luxuries and objects often replace human relations and compassion. Designer sunglasses and opulent gourmet foods become much less important when you consider the lifestyles some are living in, especially those who reside on the street.

spending and consumption, which is in fact an important layer to our country’s stability right now. I don’t think it’s bad that people are spending money-our country needs that. However, it is unfortunate that the money isn’t more evenly distributed and there is such an economic divide created by capitalism.

In a country boasting of economic opportunity and freedom for all, extreme poverty and economic disparities prevails. Do you think we have faltered from the core of our country’s values? Economic opportunity and freedom for all has never been our country’s core values--that’s silly. Less than 1 00 years ago women did not have the right to vote. Same sex marriage was finally legalized in the United States and racism and discrimination are still huge concerns. However, change usually begins with a conversation and transpires with action. Recently, a non-profit in my community, Inspirica, reached out and asked if I would collaborate on a project with them. It is their mission to, “break the cycle of homelessness by helping people achieveand maintain permanent housing and stability in their lives.” Art can be about social practice, and there are many artists and organized groups where action is their artistic focus, and it is inspiring.

I think that our culture can easily be distracted by the ‘positive’ aspects of our society. However, the negative aspects are very visible for us to see and recognize if we choose to do so. One can take action or one can ignore these big issues our community is faced with. Yes, the pieces I make do heavily critique a consumerist society, but it is not meant to insult or separate economic classes. It’s a reminder to give back and acknowledge that we are all here together, and we can give a gift that is For more information about Ben Quesnel visit, hopefully transmitted somewhere else as it continues to be passed on. It's something to think about as we enter the holiday season.

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Š Ben Quesnel

dekit |


Š Matt Porteous


att Porteous is not a typical photographer. He is a storyteller, adventurer, freediver, and constantly found outside of his comfort zone. With Googsi as his creative director and freediving instructor, Matt Porteous has created a project that is as beautiful as it is dangerous. Being a master of his element and surroundings, he takes away the fear of being completely submerged under water and allows his models to feel confident and limitless in his photos.

The quality present in a thing or person that gives intense pleasure or deep satisfaction to the mind is born through raw passion, or it is carefully curated by those who have a personality in which high spiritual qualities are manifest. Beauty by definition demands attention. Below the surface you can magnify that experience.

Some women in these photos appear to be dancing and others give the illusion of falling or standing effortlessly still. How do their movements express the power of beauty, In your project "Freedom of Silence" you state freedom, and silence coming together in one that your 'preferred world' is water. Why does unstoppable force? water appeal to you more than any other place? Water is as dangerous as it is beautiful. Having both grown up in the heart of an ocean culture with a lifetime of dedication and mistakes, we have learnt that the ocean and water in general has an energy and a threat that demands respect. To work and play below the surface, you must understand the medium and your limitations within it. It is the fine balance between beauty and danger that illuminates the inner and outer silence.

As stated on your website, you wanted to create something 'purely beautiful' with 'no distractions.' Does creating something incredibly beautiful to look at give it a more powerful presence and stronger message to an audience?

The physical beauty of a woman predominantly lies in the way she holds herself. When she is alone, untouched, and perfectly preserved in water, she cannot be spoilt by a brash reaction provoked by her beauty. She is free to be herself no distractions. Freedom and silence are states of mind that are instilled by reintroducing the models to the underwater environment through the eyes and discipline of free diving. Fear and misunderstanding are quickly dispelled through education. Therefore, any apprehension is replaced by excitement and confidence as the models learn to harness the medium to exhibit their natural skill set; albeit as a swimmer, model, or professional dancer. For the woman to express beauty, freedom, and silence they must first experience and feel the emotion first hand. This is why we don't introduce lights or dekit |


© Matt Porteous

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Š Matt Porteous


dekit |

radiate | Matt Porteous+Googsi | United Kingdom cameras on set until the models have been shown basic freediving familiarization and techniques that ensure they are relaxed, confident, and feel at home in the water.

use gold and black as the lead theme. We felt gold gave us an ageless storytelling advantage; where you could place some of the woman in a time far beyond our present horizon. 'Lady and the Dragon' is a prime example.

Does isolating the women in these photos give them a more significant impact versus having all When an idea or a person ‘sways’ you it does so of them together in a collective photo? by having a powerful message but also by being graceful in its delivery of that message. How do To exhibit the combined essence of 'freedom, you see your project having that effect on an silence, and beauty' in this project, we saw the audience? importance in simplifying the images. To often understand and experience art, the audience searches for the source of an emotion through the isolated perspective of the subject. In "The Freedom of Silence," we wanted to strip back any possible layers of complexity and heighten the connection between the audience and the art in order to simplify the experience.

We always try to not overcomplicate our projects. The beauty of being one of the artists in a world created by a combined imagination and skill-set, is the challenge of seeing and explaining the essence of the project simply. It’s an addictive and fun-filled journey that helps us grow as individuals and as a team because it promotes constructive communication. We hope that a fracture of the love In your photos, the water is completely black and emotion we pour in gets caught in the fabric of and almost overwhelming. However, the our work; capturing the viewer long enough to get subjects stand out in vibrant colors which give lost in that moment of stillness.

them this sense of power and the idea of them essentially fighting back the darkness wanting When something sways another person it does to overwhelm them. How do you see this certain so because of its powerful message and allure. perspective influencing someone’s life? What are the elements, or traits, that a person or project has to have to sway you? To us, standing alone against a dominating, unstoppable force, like water, promotes conscious living. Our aim in 'Freedom of Silence' is for the viewer to recognize the calculated control and confidence that the woman exude in their stance within the all encompassing grasp of water. If we have achieved influencing someone’s life through our work, we hope that it is a positive experience.

If you truly love what you do, people will love that you love it; if nothing else!

In our books, it’s passion, communication, courage, and fun. Make sure you are having lots of fun! Otherwise what’s the point? Passion is the driving force behind self-education. Communicate what you want to achieve clearly and simply. If you can’t then How do you communicate a specific message you don't understand it yet; so keep going. Have the when an individual might interpret colors courage to roam past your known borders and differently? Does this change the powerful effect collaborate.

that beauty and silence create when brought together?

For more information about Matt Porteous visit,

That is an interesting question. Although we dipped for Googsi visit, into a broad spectrum of colors on this project, and we got really excited by having hundreds of multicolored balloons on set, we chose to primarily

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Š Matt Porteous



WHAT'S CHANGED ? by Clare Schuburt



nine, my mom signed me up to ballet classes and I learned valuable lessons for life; I saw my body as believe that all my past experiences and an instrument of art, something to be treated well choices, including all who I have met, and not felt ashamed of. have shaped who I am now, so I always encourage myself to widen my point of Sadly, this is not a reality for most women in Brazil. view by creating new experiences, On average, fifteen women are murdered every day seeing new places, and getting out of my simply for being women, in ten years, the Femicide comfort zone as often as possible. In my against black woman went up to fifty four percent artwork, I deconstruct some of my stories, more and in Sao Paulo, a woman is assaulted every feelings and fears to expose myself to the world fifteen seconds. That is a horrible symptom of that is restated as: theatrical, idealistic, and gender inequality, sexist and misogynistic culture dark. I feel that this is a reflection of our society where men are taught to not feel empathy for the nowadays. As an explorer, I enjoy trying other gender. Now, we've been through a movement different traditional mediums, mixing or creating the media called Women's Spring, with thousands of textures, while most of the time finalizing my women protesting on the streets and through social work with new mediums. As a perfectionist, I media around Brazil. care a lot about finishing.

When do you think women were first associated For centuries women have been depicted in art, with the “Virgin Mary” icon, and why has this through the eyes of men or others who decide tradition continued in art for centuries? how to stylize them. Does your work call women to reclaim and show dominion over their own Female figures in art are a personification of bodies? abstract ideals. The “Virgin Mary” icon arose from Absolutely. I was born and raised in São Paulo, Brazil and my family is composed of ninety percent women. I was raised in an environment with women full of strong opinions and personalities. I think I was a feminist before knowing what this word meant, and I never thought of not being able to do something because I am a woman. When I was

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the cult of fertility goddesses in Egypt, and the Great Mother from 5th century Asia Minor; the icon was a central worship in many religions. She is the link from God to human nature and provides the archetype of Christian womanhood, representing faithfulness, devotion, humility and purity. Some researchers believe these ideals were created to

Š 201 5 Tabata Resende


dekit |

ŠTabata Resende

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THE MEDIA IS STILL IDEALIZING AND OBJECTIFYING WOMEN ' S BODY AS BEFORE BY RENAISSANCE ARTISTS , AND SADLY MEN ARE STILL DIVIDING WOMEN IN TWO CATEGORIES : M ADONNA OR E VE . ensure, in a patriarchal society, the woman would be virgin and faithful, so men would be assured paternity, as a mate guarding strategy we can see through the centuries, guaranteeing no genetic extinction

you have the power to comment on these previous depictions of muses. What would you like to challenge about these classical representations? The women in art are depicted as a male

Why do you think she has been such a idealization, not by who they really are, not by their predominant figure? history, their passion or vision about the world. Think She represents the values of a patriarchal social structure, an intercessor between God’s son and the people who worship him. Above all, she's a mother who suffered for her son's death. Mixing it with the fact that Christian art was used to spread and teach Christian mythology and values, the Mary icon became part of our culture.

about it: how many artists in the history of art can you remember? When we talk about the Renaissance, for example, we immediately think about Durer, Michelangelo, da Vinci, Raphael, but how about Sofonisba Anguissola? She's recognized for her self-portraits and her family portraits, many of them showing moments of intimacy and leisure with her sisters. We need more visionary women represented in art.

Do you think this interpretation of women is it still appropriate in today’s world, now that we Your work contains a lot of elements from are entering an age that rejects “slut shaming” Classical and Renaissance traditions, the and the objectification of women? idealized female features and inclusion of Christian imagery. How are your contemporary Yes, Virgin Mary is commonly viewed as the female subjects responding to the themes of opposite of another icon: Eve. Eve is a classical art? representation of women’s sexuality and seduction, being prone to temptation and motivated by their thoughts. Sadly, both women are part of a culture of categorizing woman in only two archetypes that continued till nowadays: Madonna or whore.

The media is still idealizing and objectifying women's body as before by Renaissance artists, and sadly men are still dividing women in two categories: Madonna or Eve, so I thought those elements were still connected with a contemporary Your work reinterprets the classical ‘virgin’ or female. In my work I wanted to represent the self ‘mourning’ woman. Now, as a woman in the arts, awakening of the contemporary woman. During the dekit |


rap | Tabata Resende | Sao Pablo, Brazil

©Tabata Resende

©Tabata Resende

Counter-Reformation, most of the Virgin Mary representations were created with eyes looking downwards in a submissive gesture, so from this I decided to represent those idealistic women having visions of what a gender inequality in society can do, and mourning while feeling incapable of help because they don't have a voice.

not being represented or heard for who they really are.

©Tabata Resende

Throughout Early Christian and Byzantine art, gold was used to accentuate the holiness of religious or authoritative figures, connecting them to God and emphasizing their piety and importance. How does the use of halos in your During the height of the Renaissance, women pieces contribute to your message? were placed in a reclining nude position, often to emulate the goddess Venus, who served as The halo in my artwork shows they are not ordinary an emblem for sexuality and desire. Now in a women; they are an ideal of perfection, blind, pure more tolerant, contemporary age, are you using and devoted. your artwork to reject these classical themes? What fears surrounding women in art are your Those Renaissance women were artists’ and males’ trying to deconstruct with your work? ideal of beauty, they were symmetrical with perfect proportions, rarely based off real models and often their faces were repeated (which clearly shows the objectification of the women's body). As you can see nowadays this "tradition" still continues. In the media, model’s pictures are often retouched and we women, most of the time, try to achieve to an unrealistic beauty. In my artwork, I try to reject this depiction of women, mixing the Renaissance elements with a contemporary woman mourning for

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Fear of not to be represented or heard. In the biggest galleries around the world we find more female nudes being represented than the female artists. Where all those women who fill up art classes? For more information about Tabata Resende visit,


Manoj Jadhav

Of Grace and Gypsy By Samantha Flores


ased in Mumbai, fashion photographer Manoj Jadhav is a master of analog and black and white film. He blurs his images purposefully to capture the hidden moments lost in a traditional still frame. People, and day-to-day life, inspires him to create photography that illustrates what truly manipulates and influences us. His photos evoke a small vulnerability and touch a wild spirit inside his subjects that might otherwise have been lost.

spent with the person in some sense. I like that. It’s more than just one frozen frame It also creates a kind of fluid emotion and makes you vulnerable to so much more than just what you see. It immerses the viewer with the subject and creates a beautiful dialog.

I have always been fascinated with the sense of movement and blurs in my imagery. Even though it’s a still frame, a lot has happened in that frame. I think these blurs give you a sense of being real and alive. It creates a certain mystery about her. Almost like Gypsies originate from North India and are she is in a dream.

known as a group of nomadic people that never stay in one place for long. Is there a certain In your portraits, the woman’s face, shoulders, appeal in the idea of capturing a woman on film and neck are adorned with jewelry while the rest that may not be around for long? of her remains quite bare. Does keeping her body free of anything, and therefore making her Inspiration for this shoot came from a similar more vulnerable, make her more beautiful than if nomadic lifestyle- someone living a free life and she was dressed in diamonds and fabric? always on the move. The girl in these pictures is not a real nomad or gypsy but I saw a kind of parallel between her real life and gypsies; a free spirited person who is always on the move living a life of an urban nomad, [and] being happy doing many things as she enjoys her youth.

The blurred images in some photos give a great sense of movement and also a haunting presence to your portraits. As if when this woman leaves, as is her nature to being a gypsy, the memory of her will continue to stay with the viewer. What was your intention by creating these blurred lines? Blurred images capture much more than just one single frozen moment. It’s a collection of many moments. I feel it documents / records the time

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All of these images are styled by me and are purely done instinctively depending on what I thought at the moment. There is nothing pre-planned in terms of looks or style, but also keeping in mind a life of a gypsy on the move. Keeping her body free of attachments and mobile. I also wanted the viewer to appreciate her beautiful body in a certain raw way. She is comfortable and proud of her bareness; it doesn’t need anything else to cover her up. Her face, neck, shoulders, and hands are adorned with jewelry and flowers.

When someone thinks of royalty they think of palaces, expensive dresses, and exquisite jewelry. How does the conventional idea of being a “princess” change when a woman is

Alex Bland's Black Lady Liberty A Cross Examination of Her History Interview by Stephanie Harris Photography by Alex Bland

Š 201 5 Manoj Jadhav

Model: Sabibi Damachoua Make up: Pace Chen Stylist: Lana Burton Model: Paloma Monnappa Jewellery: AnaRae dekit | 41

© 201 5 Manoj Jadhav

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radiate | Manoj Jadhav | Mumbi, India

I THINK THIS GAZE IN HER COMES FROM HER INNER GRACE /HAPPINESS . almost completely naked? Even though conventionally we relate this word with a beautiful young royal beauty, the word "Princess" is used here as a state of mind. It’s an emotion and feeling of being powerful and beautiful being almost bare.

On your twitter there are short excerpts that accompany a few photos that give it a deeper meaning. In the last photo of this project, she has the least amount of jewelry, her hair is down, and appears wet. She also appears somewhat guarded against the camera. What excerpt would accompany this photo and how would it develop the photo even more?

I believe every person is royalty and every girl is a My short excerpts that accompany my pictures I post are my instant reactions to what [I] feel when I princess. look at that image. These emotions are not part of It’s important we accept ourselves the way we are, the story when I created these images. These are love ourselves, and celebrate our being in all its fresh new feelings and expressions. Born again, just before I post them. glory.

The definition of “sway” is a, “controlling force or influence.” It is something that moves a person with its power and also with its grace and beauty. How do you see these elements in your portraits of the ‘Gypsy Princess? '

As I continue through these visual stories, each of these excerpts becomes part of another project later on. Some thoughts transcend in to a new idea and I shoot another new story. It’s an eternal visual journey of my feelings and emotions with people I Sway to me in these images is freedom. It’s a connect with and get swayed by. celebration of oneself. Loving yourself while being stated earlier, the idea of sway is a free, feeling safe, confident, and proud. What better As controlling force that moves a person with it’s way to empower oneself than to live a free spirited beauty, grace, and power. With this idea in mind, life. what holds sway for you? What is it about a

person, subject, or project that completely In the photos where she is looking directly into moves you while still being absolutely beautiful? the camera, the power of her gaze is very intense. Does this power come from her face Sway to me is an inspiration from an unknown surrounded by beautiful things? Or does this person or a source. A feeling to create something power come from her inner grace?

pure from deep down within. It always moves me I think this gaze in her comes from her inner when I come across someone for the first time and it grace/happiness. It comes from the feeling of letting instantly inspires me to create something. It’s magical. her be undisturbed and unjudged.

It’s a power from within of inner joy and For more information about Manoj Jadhav visit, freedom. 44 | WINTER| 201 5

Š 201 5 Manoj Jadhav

Model: Paloma Monnappa Jewellery: AnaRae

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Bernhard Lang

A Striking Aerial View of Earth


By Clare Schubert

erman based photographer Bernhard Lang uses his photography to capture striking photos from above. His mission: to view the world from an aerial view, and shed light on the destructive tendencies humans have inflicted upon Earth. Lang brings his work to new heights, capturing desolate and barren lands heavily impacted by the continual depletion of resources. Lang’s aerial views allow the public to see a new perspective, and observe the effects of industrialization and agriculture at a larger scale. While nations have a long ways to go before solving the globe’s environmental issues, Lang uses his art to spark a conversation, and to bring awareness to a contemporary issue for all citizens.

The aerial views provide a different perspective and add new dimensions to what we take and continue to expect from the Earth. What were you feeling when you first saw this? How has your perspective changed since?

Š 201 5 Bernhard Lang

During my first scheduled flights with usual passenger jets I had noticed that in the areas where we live the human impact is nearly all encompassing. For example, if you fly over densely populated Germany, where I live, nearly each square meter has been formed by humans, even the forests. Seeing this, I became aware that the Earth is overpopulated in many areas.

Humans have existed for hundreds of thousands of years, yet have caused more destruction to the planet than any prior species. From your point of view, is any of this reversible? The exploitation of natural resources like coal or oil won't be reversible, of course. The storage of atomic waste is also very problematic for future generations. Other impacts will be dekit |


radiate | Bernhard Lang | Germany reversible. I mean, for example, that farming fields do recover if they are just left by themselves and not cultivated anymore. Restoration of some other places like mines or industrial places is possible and already being done. Your work shows industrialization and urbanization from aerial views only. Why do you think people at ground view are somewhat oblivious to the magnitude of these sprawling establishments? One reason why I shoot from the Aerial View is to have an overview and the distance to see things different out of this non day-to-day perspective. Another interesting aspect for me is the antagonism between, on one hand, the transformation (or destruction) of the original nature and the ‘pleasant order’ on the other. For example, the structures and patterns which you can find in aerial images of coal or colorful phosphate mines have a beauty which sometimes reminds me of abstract paintings.

Through the revelation of these exploited landscapes (usually unseen by the general public), the Earth speaks for itself. Why do you think it's important to share this part of the story? Because things are usually unseen out of this elevated perspective by the general public, I am trying to make the human impact visible. I think it is important to have knowledge about how Earth looks, and to have an awareness and responsibility for Earth and nature. But I do not want to preach or “raise the moral forefinger.” The development and knowledge of humans is unique as far as we know. There has been and still is a lot of damage done to nature which we really should get rid of. But I do not think it would be helpful to take steps backwards. Industry, research, and technological progress are all important and necessary to solve future problems.

Your photos reveal the striking truth about the depletion and intensive overuse of Earth’s resources. What do you hope will follow after people view your work?

I hope to support and gain knowledge about how the 48 | WINTER| 201 5

Š 201 5 Bernhard Lang

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Š 201 5 Bernhard Lang

Š 201 5 Bernhard Lang

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radiate | Bernhard Lang | Germany parts of Earth look like, and to form an awareness and responsibility for nature and the environment.

Your images are wide and vast, making these occurrences seem catastrophic and unstoppable. Do you believe in this “Doom’s Day”? No, I do not believe in a “Doom's Day.” I think there is still time left to change things, and to create a better relationship with nature. I think it's more helpful to be optimistic and not to be too focused on a Doom’s Day scenario. In my Portfolio I do not only have images showing destruction and the negative human impact. My series of Beach Resorts at the Adriatic coastline in Italy show on one hand the negative aspects of mass tourism, but are at the same time colorful, ironic and positively celebrating the joy of life.

Do you think politicians are working fast enough to produce solutions, or do world leaders ignore these problems, until they become more threatening and unavoidable? I think the responsible persons are not working fast enough on these issues, and that these problems are often ignored as long as they are not really visible. Making financial profit is most of the time more important than anything else. I am also not sure if politicians are still the most important decision makers, compared to economic leaders.

Where is the future of energy, water use and agriculture heading? In terms of energy, water use and agriculture there are a lot of problems in our overpopulated world, which must be seriously considered by the people responsible. I am not an expert on these questions, and I am afraid I do not know the solutions. I am just trying to draw attention to these issues through my work.

For more information about Bernhard Lang visit, 52 | WINTER| 201 5

Š 201 5 Bernhard Lang

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Š 2015 AES+F /Artists Rights Society (ARS), New York

Last Riot 2, Panorama #2 2006, digital collage


racy | AES+F | Russia


hat if we lived in an alternate universe, radically different from our own--where gender ceases to exist and each individual fights to survive? With their HD installations, AES+F group brings to reality a new kind of fantasy world, depicted in a series of videos that bring together photography and digital techniques. The group presents us with another type of human existence, leaving us to ponder the future ahead for mankind. Their work examines the forces within society and the clash of cultures, nations, individuals. Bringing together historic art canons of the past, they develop new artificial environments filled with conflict and warfare among its citizens. Having been in more than 1 00 exhibitions worldwide, this group is making an impact on the art world, nudging others to introspectively explore current society. One can’t help but think: what is the future of man’s existence?

Let’s talk about the Liminal Space Trilogy, in

the first part, Last Riot, we see an alternate world, filled with artificial environments and fantasy. Is this virtual world something you see becoming a reality in the future, will humans eventually lose all biological distinctions and thus cease to exist? AES+F: There are already known drugs capable of successfully “correcting,” in the human genome, “bad” parts responsible for the development of Alzheimer’s. Today’s reality already allows us to avoid illness, aging, and external imperfections.

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Health, extending one’s life, changing one’s sex or gender – are already achievable in the wealthy part of the world. However, differences between people will remain (for example, between the rich and poor) until people cease to exist.

Furthermore this installation depicts young children engaging in the riots. What is the impact of their presence in this virtual world? Are they key players in the “fight against all?” AES+F: Yes, they are.

In The Feast of Trimalchio you recall features of antiquity, with the reclining poses and classical architecture, yet put in a contemporary twist. Why do you think these ideologies of ancient art should be reinterpreted with a modern perspective? AES+F: In this project, we interpret stereotypes through comparing the Western world with the Roman Empire at the time of decline. For example, the fears of the West regarding China’s rise as a dominant civilization, not only in its economy, but also in consciousness. That is why we, in The Feast of Trimalchio, create allusions not only to Pompeian frescoes, the Victorian colonial style, but also to different examples of Chinese art, from historical to contemporary kitsch.

Rather than angels being waited on by humans, they instead serve the masters who are a mix of all ages and ethnic backgrounds. Do you believe the true knowledge comes from those who have

Last Riot 2, The Cathedral 2007, digital collage

Š 2015 AES+F /Artists Rights Society (ARS), New York

The Feast of Trimalchio, Allegory #8 (War of the Worlds) 201 0, digital collage

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Š 2015 AES+F /Artists Rights Society (ARS), New York

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© 2015 AES+F /Artists Rights Society (ARS), New York

a multi-ethnic perspective and understanding?

examples like these.

AES+F: The truth comes not from ethnic, but from cultural hybrids. We imagine an ethnic African, Buddhist, a specialist in ancient philosophy, who is living in Russia, for example.

Allegoria Sacra depicts an instance where

everyone is concerned with their own personal affairs, rather than the community as a whole. Would you say this is an accurate description of the daily interactions between colleagues, family The servants are described as “participants,” members, classmates, and peers today? they willingly work to bring wealth, luxury and gluttony. Does this type of relationship exist AES+F: The airport in Allegoria Sacra is a metaphor somewhere in today’s society? Who is it for contemporary society, where everyone is near, between and what will be the consequences of but at the same time alienated from one another. such a relationship? Would you describe the current state of the AES+F: We show scenes of an idyllic hotel world as a sort of Purgatory, in which people are paradise, alternating with symbolic catastrophes, still waiting to board their flight and reach a final specifically to emphasize the fragility of that world, destination? Is this to say that humanity has a the instability of that balance between master and long ways to go in terms of resolving conflict? servants. This world can at any moment become hell, where this hotel gets captured by terrorists; like AES+F: We think that as soon as humanity resolves when a waiter at a Sharm-el-Sheikh hotel grows a any global problem, another problem follows beard and becomes a terrorist himself – we know of instead--somehow very similar to the previous one.

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Allegoria Sacra, Panorama #1 201 2, digital collage


Do you take inspiration from the Baroque period, in which artists included elements of architecture, sculpture and design? If so, which elements do you want to reintroduce into contemporary artworks for the 21 st century audience?

myths of human life are reflected in questions of gender, age, family, war and peace, life and death.

AES+F: Baroque art and Mannerism are contemporary in their hyper-visuality and expressiveness. The 21 st Century viewers, regardless of their cultural level, easily comprehend those images, because they are ready for them – movies, television, mass media, and the Internet constantly surround them.

AES+F: The painting of Giovanni Bellini, Allegoria Sacra, that depicts Purgatory (with characters taken from very different contexts), inspired us to create an eponymous project. In it, we form a metaphor for Purgatory that depicts a contemporary airport-hub, where, quite ordinarily, people of different ethnic backgrounds and social statuses are awaiting their flights – Western tourists and refugees from the Middle East, Chinese businessmen and construction workers, homosexual couples with children and large Muslim families. Never before in history have different societies (or civilizations) come so close to one another as they are now. This is a completely new world without borders and the problems of such an existence have not been solved.

You delve deep into the history of art and recall many classical cultural canons. Is there something in particular about the ancient world that you find still relevant today?

AES+F: We do not separate culture into old and ancient art or in the paintings of like in a video game) the basic

Sky Child In Digitalcontemporary. Media Courtesy Pbjpeg old ofmasters (just

You put together groups of people, who may not be expected to associate with one another. What sorts of boundaries are you trying to cross?

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racy | AES+F | Russia Your stills and video installations bridge the history of human strife, warfare, violence and human interactions to our global community today. Should we study the past to resolve our current battles regarding war and cultural tension? AES+F: Sure, it will be useful.

In your project, “Défilé” you contrast fashion (something temporal and finite), with death (something inevitable and impending). How do your images engage viewers to a more inviting conversation with death, something we cannot escape and must eventually face? AES+F: In the “Défilé” project we wanted the viewer to recognize a fashion shoot at first glance and only after that, at second glance, see that all of our models are dead. Generally, we think that the idea of the “second glance” appears in all of our works – a “sweet” shell or a “beautiful” surface hides many different, “bitter” and “grotesque” meanings. © 2015 AES+F /Artists Rights Society (ARS), New York

For more information about AES+F visit,

ADéfilé, #5,

2000-2007, digital collage, light-box

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William Farges

Undefined Imagination By Samantha Flores


illiam Farges is a French artist who pushes the limits of photography to create another world fueled by his own poetic imagination. He changes the typical representation of the human body and captures its pure essence and soul in the process.

hard, or wired. So as you say in one word: unknownU

Taking parts of the body out of context and making them unrecognizable forces them to exist in a different space and dissociated either as an object or a creature. How might this translate to the way we live in the world today? The white line typically signals the end of a Are you challenging the viewer to find their photograph yet your white line is in the middle. relation to ‘it?' How much significance is placed on this border? I can’t answer to this, because in my work, or my For me this border signifies, or attests, that the images are not cropped or not retouched. For me it’s like a game, a puzzle of part of the body, so the line is really important for me. I think I didn’t want to skip it because images work with it. So I think it’s interesting that spectator’s brains make the final image in mentally assembling the part of a “dyptique.”

process of creation, I try to let speak my imagination without limit or concept or idea on the world. But for me it’s an advantage because I let speak my emotions so of course my sensations, my way of life in the world, influences me but it’s not consciously.

By mirroring sections of the human body and turning them into themselves, do you see these parts of the body in your project as fighting themselves? Are they trying to become Your project makes the body seem unknown something more than what they were born as? and mysterious. Does an unknown subject hold more beauty than a subject that is known to I guess why don’t you try to ask them? You ask me if everyone? what you see in my picture is right. If you felt it, that is true. That exists so I don’t think that you have one It’s funny I always ask [myself] this question, “Do I good way to understand my picture. I never saw that have to show the face?” I think I’m a photographer in my picture, but I really compliment you for seeing who works with the line of body and the body-like that because it’s really beautiful. material; not like individuality, a person or identity. I prefer to show another beauty, a strange one, or The body parts that you have transformed all

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© William Farges

© William

© William Farges

radiate | William Farges | Fance

© William Farges

have a feel of movement to them. It is as if they are trying to escape themselves and the picture or hide within themselves. How might people’s projections onto your work strengthen its meaning? Does it confirm or validate its purpose? Yeah it’s true. They are trying to escape from her condition to exist. If you want to understand what they feel just buy “Lorsque j'étais une œuvre d'art” by Eric-Emmanuel Schmitt. It’s a French novel where the principal character decided to become a piece of art alive. It’s really close to my work and very strong.

that created grace finally. It’s Zen and sweet but ambiguity. It’s at the same time hard, sad, and poetry.

For something to have sway it has to be powerful, or dominant, while being enticing. What is something that holds sway for you?

Yeah of course it’s really important for me. I try to do my best without money or production so if I hope to live with my art one day I have to be powerful. I had to search something new, and the more important I have to continue. Artist’s Life is not easy especially when you grow up in Paleyrac; a little village of one hundred citizens lost in Dordogne in France. It’s really difficult to meet someone as a gallerist who When something sways another person, it does gives you your chance even if you know that you are so by being graceful. Do you see the grace in full of poetry. So I’m looking for my chance.

your photos coming from its effortless symmetry or its constructed ambiguity?

For more information about William Fargas Ok yeah I’m always looking about grace, but I don’t visit, catch her really often. In this project I try to do simple, and© William maybeFarges it’s the minimalism of the scene

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Š William Farges

Š William Farges

Š Janus Jurek




By Clare Schubert

olish Artist, Janusz Jurek uses new technology to reconfigure and design the human form. He draws with thousands of small lines to create delicate and intricate images. His use of black and white speaks to the simplicity of the human form, yet counters it with the complex utilization and formation of his lines. The intricacy and sheer detail in his work delivers a powerful result.

dimensional space. The technique is sophisticated, which is why I wanted the subject to be simple. The human body has always been the most popular subject in drawing, so my choice was quite obvious. Generative art is about motion, the human body is about motion; even motionless it has a complicated nervous system and blood vessels, which work all the time like wires, but as far as the human body is concerned, its structure is fragile and strong at the same time. And that is amazing.

Janusz wants to re-imagine the human figure, to present it in a new, modern way, allowing movement and motion to dominate the page; he wants to portray the fragility and strength of the human bodythe rest is up for interpretation.

How does technology, interwoven in our daily lives, hinder or aid human life?

Your portraits seem to be made of twisted and bent wires. Generally, we would not associate something so tough and sturdy, such as metal, with the human form. Is there a fragility to technology that mimics the human experience? At work I do a lot of 3D Design, which is very difficult, but interesting and consuming at the same time. I used to spend my free time learning new techniques to make things look more and more real. It came to me that I could do something completely opposite, I could use my 3D skills for simple, pure art purposes. I returned to drawing and I had this crazy idea in my mind to create a way of connecting drawing and sculpting. When you draw the only thing you need is a sheet of paper and good pencil. But what if paper was not enough? What if the pencil left traces in the air? So I created my virtual environment and entered the lines in a three

I see technology as very helpful and I am fascinated in the pace of technological progression. Maybe I will work on printing my pieces in 3D so they could be real sculptures, I don’t know yet. Just a few years ago I wouldn’t have had such a possibility. The truth is that the process of creation in Generative arts is so wonderful; I hope there are still incredible possibilities ahead. I agree with those who say that Generative art (thanks to new technologies) opens a new chapter in the history of art. And we are part of that chapter.

Does the use of black and white force viewers to look at the detail and intricacy of your work? I hope it does. Again it is about the simplicity connected with the subject. The line is the most basic of art tools. You know that each fingerprint that identifies a person consists of lines. So the most important for me is the form; using lines I can play with the form itself. It changes all the time. Now I try to avoid portraying faces because it bears contents dekit |


© Janus Jurek

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Š Janus Jurek


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radiate | Janusz Jurek | Poland

or meaning in other words.


Some of your other works contain much more abstract and unnatural forms, leaving some to search for familiarity. What is the allure of the uncomfortable, the odd and the unsettling?

What made my characters were forces of nature like wind and gravity created in my virtual 3D environment. My job was to decide which moment to capture. I felt like a photographer who knew that his picture, in each quantum of a second, would be As I told you, playing with pure form is very exciting. different. Allusion and indirection are the essences of art. They create space for imagination and In some of your drawings, we see one part of the interpretation. That is the difference between art and human body isolated while the rest trails off. Do craft or design. you believe there is more to the human body

than its whole entirety? Should we be looking at An overall theme of transformation seems to the body as made up of individual parts, rather dominate your work. Do you want to challenge than one entity? human perception with your illustrations? Everyone sees something different in my works according to experience, age, memories, even health. One physiotherapist wanted my works on their web site because of the emergent nature of human form from non-form. When you teach people how to coordinate their perceptual systems, to activate mind-body capacity and help people experience their body in unexpected ways, the interpretation comes itself. Another person compared my lines to lights and roadways on maps.

The wires or strands that make up your bodies seem to bend and sway in every which direction. What about this can you relate to humans, who often change their mind, behaviors, ideologies? I like this interpretation a lot, even if I mostly see the motion in my works. People say they are dynamic, and that’s how I feel about them. But motion means change as well. Even in motion or change, I finally give my works more integrated forms.

I see the human body as one extremely complicated entity and I think that the way it works is one of the greatest wonders of nature. I also see humans as perfect and imperfect, and at the same time, beautiful and defective, strong and fragile.

Why are you trying to reform parts of the human body? Do you think we are unable to accept more than the “normal” ideal? Such terms like the “normal ideal” for any kind of artist excludes creativity. People who experiment with form don’t intend to picture things as they really are. They want to transform or reform because it triggers imagination. Look at what Picasso did. He saw everything in geometric forms, even people. For me it is very inspiring. We can find ideal bodies in every magazine. I want to do something different, show the human body with a new approach, but in the way that I see, and I see a human consisting of lines.

In your “Clothing Sculpture” series, your For more information about Janusz Jurek visit, subjects appear to be quite restrained and bound. What forces constrict and control your

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nknown to many, the modern day celebration of Christmas has evolved and changed from many older traditions. One in particular, is still celebrated annually in the Netherlands and focuses on the character ‘Sinterklaas.’ Dutch illustrator, Bart van Leeuwen produces images surrounding the tradition and customs that have become increasingly controversial in recent years. The artist shared his knowledge of the holiday and gives some insight to the opposer’s views. Additionally, his other works feature cartoons of many political figures and caricatures, in attempts to lighten the mood and change the perceptions we have regarding our political leaders.

Children that have been bad will be put in a bag and taken back to Spain. When Sinterklaas arrives in Holland, approximately a month before his birthday, there is a big parade where he rides on his white horse. Children line up along the sides of the streets and get candy from Black Pete. The big, national parade is held in a different town each year.

So let’s first talk about your work surrounding the traditions of Sinterklaas. First off could you please explain a little bit about the tradition, as many people are not aware of the event?

To those who are not acquainted with it’s story, it may come as a shock, first looking at the photos and parades. Why do you think this tradition continues to exist, in the 21 st century?

The tradition of Sinterklaas is celebrated every year on December 5th [. . .], Sinterklaas is assisted by an army of black characters, namely Black Pete. Each is dressed in a colorful page costume, has a hat with a feather on his head and big earrings and red lips. With his army [ . . .] he roams the country. By the time the children wake up the next morning they Model: of StyleMeister willNazya findAyaz their shoes filled with presents. Photographer: DDOTCARTER

Probably this tradition still exists because it is anchored in Dutch culture. Therefore it’s seen and felt as part of the Dutch identity. It is a feast more popular than Christmas. Sinterklaas is originally a bishop, St. Nicholas; he always speaks with a bit of irony and sarcasm. For me, it was the combination of fear and excitement around the feast of Sinterklaas that made the month of December so

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Many families conspire with the neighbors on “Pakjesavond” (the evening of December 5th). The neighbors will then dress as Sinterklaas and Black Pete making children believe that Sinterklaas has really arrived at their address. So it’s a bit of a masquerade. It’s funny to know that even the media plays along with the belief that Sinterklaas really exists.

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racy | Bart van Leeuwen | Amsterdam


P ETE HAS NOTHING TO DO WITH RACISM exciting and unforgettable.

goal by overreacting. Traditions change. That’s partially a matter of time. The protest must not Are there people in opposition to the dress and become the goal in and of itself.

characterization of these figures? Or is it seen as something funny and silly for the community While to the public, this event is meant to be to enjoy? cheerful and comical, as a way to celebrate their heritage, to others it could come off as Until recently nobody really spoke out against the inappropriate and offensive. Does the gaiety of character of Black Pete. If I remember correctly this make people oblivious to its negative there were some critical voices heard back in the connotations? 80’s. After Suriname’s independence in 1 975, many Surinamese decided to come to Holland. Since then I don’t think so. From a foreigner’s point of view it I think the discussion has flared up at times. might seem inappropriate. But the only thing they see is Black Pete. The vast majority of the kids here In 2011 , an artist named Quinsy Gario started an art don’t associate Black Pete with blackface. Although project called “Black Pete is Racism.” Since then the opinions differ, Black Pete has nothing to do with discussion about the tradition of Sinterklaas, and in racism. But from a black person’s point of view it is particular Black Pete, has been picked up understandable that one might raise an eyebrow or worldwide. Social media gave the discussion a big two when confronted with the image of Black Pete. podium. Unfortunately the feast was completely teared from its context. Is there a community in the Netherlands, that

has actively opposed this tradition, or is it What are some challenges that opposers of this something not spoken about? beloved holiday tradition face, because it is such an integral part of Dutch tradition? Since the aforementioned Quinsy Gario started his

artistic project, the debate about the feast of Sinterklaas has flared. Nowadays there is a small minority of activists that protest every year when Sinterklaas arrives in Holland. It is funny to mention that because of all the bad publicity recently, the Dutch people started making a link between Black Pete and black people.

I think the biggest challenge for the opposers is to convince the Dutch people that racism isn’t something from the past, that whole tribes are still being excluded from society just based on their color and/or race. Many Dutch people are unaware of the role that the Dutch have played in the the history of slavery (with its colonial past). So it is a matter of creating more empathy among the Dutch What will the effects be, should a more serious people, based on awareness of the past. Another examination of ‘Sinterklaas’ and ‘Zwarte Piet’ challenge is a personal challenge of not missing the arise?

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WE GET CARRIED AWAY TOO MUCH BY THE MEDIA. I NSTEAD OF THE CONTENT, WE RELY ON EMPTY SLOGANS . Well, the effects are already visible. Black Pete has been “stripped.” His big red lips and golden earrings have been removed, and his wooly hair. The black color of his face has been replaced with a lighter color or even no color at all. But for the time being the effects are only visible in the big cities. There are absolutely no moralistic motifs involved if you ask me. This year the UN Committee on the Elimination of Racial Discrimination decided that the Dutch government should actively work to change the features of Black Pete which reflect negative stereotypes. It remains to be seen if that will happen.

course sometimes it is unavoidable to fall back into absurdity. As long as the image puts a true smile on my face I know it’s okay.

The props, the settings, the positions of your caricatures give a lighter quality to the representations of these people. Do you think we need to redirect our perceptions of these people, do we place them on a sort of pedestal?

Yes. Especially politicians, who are nothing more than little puppets in a big theater. We get carried away too much by the media. Instead of the content, we rely on empty slogans. But I think we need to You also illustrate and comment on many redirect our perceptions of all people we know. We political figures. Does your Dutch nationality, are all human. We are all full of prejudices.

enable you to more critically critique and satirize our political figures? Some of your cartoons contain elements of the absurd, what sort of conceptions or That’s an interesting question. I think I can, as a misconceptions surrounding these figures are foreigner, have a more objective view on your you trying to break down? political figures. But only in a broader sense. To really understand the culture and the people of another country reading about its history and following the news isn’t enough. To really understand the feast of Sinterklaas you have to be part of the Dutch culture.

Absurdity can only be fought with absurdity. Some problems can only be highlighted with a comparative degree. Doing so I try to hold up a mirror to people. Too often do we ascribe certain properties to people who do not deserve them. The only thing that helps is full on confrontation.

How do you balance the comedy within your pieces with the issues you want to highlight? For more information about Bart van Leeuwen I try not to take a personal position. Roughly said: the heavier the subject, the stronger the comedy. Because I make caricatures of the people involved, it is important not to exaggerate the message. Of


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