DONTPOSTME #10 (SELECTED/BLACK'N'WHITE ISSUE)

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si ereht gnihton tpecxe tra ni wen

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there is nothing new in art except

TALENT Anton Chekhov

#10

DONTPOSTME - A MAGAZINE ABOUT THE LATEST TRENDS OF CONTEMPORARY ART. IN OUR MAGAZINES, YOU CAN FIND WIDELY PUBLISHED ARTWORKS AND INTERVIEWS WITH FAMOUS ARTISTS FROM OVER THE WORLD. .............................................................................................................................

EDITORS-IN-CHIEF, ART-DIRECTORS: AZAMAT AKHMADBAEV & ZULYA KUMUKOVA EDITOR: ALIMA KUMUKOVA .............................................................................................................................

DESIGNED IN SAINT PETERSBURG, RUSSIA PRINT: PEECHO, ROKIN 75, 1012 KL AMSTERDAM, THE NETHERLANDS ON A COVER: DUNKEL 6 (2010), CONRAD JON GODLY TYPOGRAPHY FONTS: NEVIS BY TEN DESIGNED BY TWENTY AND NEUE HELVETICA® FONT FAMILY DESIGNED BY LINOTYPE DESIGN STUDIO IN 2012 MAX MIEDINGER .............................................................................................................................

NO PART OF THIS MAGAZINE CAN BE USED WITHOUT PRIOR WRITTEN PERMISSION OF “DONTPOSTME” ANY CONTENT OF THIS PUBLICATION (ILLUSTRATIONS, PHOTOS & OTHER TYPES OF MATERIALS) COPYRIGHTED BY RESPECTIVE OWNERS .............................................................................................................................

18+ #10 | SELECTED/BLACK’N’WHITE .............................................................................................................................

VK.COM/DONTPOSTME | ISSUU.COM/DONTPOSTME 2015

CONTENTS

Jurgen Heckel Voider Sun

Giulia Bersani Jonathan Saiz

Adriana Bogdanova Miwa Ogasawara

Evan Roth Conrad Jon Godly

Maritza de la Vega Jennifer Nehrbass

TREELOGIE

JURGEN HECKEL IS A PHOTOGRAPHER AND SOUND ARTIST UNDER THE MONIKER "SOGAR" BORN IN NUREMBERG IN 1970, HAS BEEN LIVING IN PARIS FOR 14 YEARS, AND IS NOW LOCATED IN MUNICH.

8-9

JURGEN HECKEL

VOIDER SUN, 2012

10-13

“

I’M VOIDER SUN, AND MY CHINESE NAME IS SUN SHIQI. SHIQI MEANS 17, THAT'S MY BRITHDAY. I WAS BORN IN 17 JUNE 1989.

I WAS DROPPED OUT OF SCHOOL WHEN I WAS SOPHOMORE. I’M A CONTRACTED ILLUSTRATOR OF SHANGHAI ZUI WORLD CULTURE.

VOIDER SUN

LITTLE BOY, 2012

FINE ARTS & PHOTOGRAPHY

VOIDER SUN, 2012

BERSANI

..... ..... ..... ..... ..... ..... .....

....... ....... ....... ....... ....... ....... .......

DREAMERS & LOVERS

16-23 A TWENTY-YEAR OLD GIULIA BERSANI IS CONSIDERED TO BE ONE OF THE MOST TALENTED AND INTERESTING ITALIAN PHOTOGRAPHERS. HER ORIGINAL PHOTOGRAPHS, TELLING ABOUT VERSATILE LIVES OF THE YOUTH, HAVE ATTRACTED NOT ONLY OUR ATTENTION. WITHIN THE LAST YEAR HER WORKS HAVE BEEN PUBLISHED IN VARIOUS INTERNET – MAGAZINES DEVOTED TO CONTEMPORARY ART, AND THERE WERE ALSO MANY RAPTUROUS REVIEWS LEFT ON THE SUBJECT OF HER WORKS.

DPM: TO START WITH, GIULIA, HOW DID YOU BECOME A PHOTOGRAPHER? WHEN DID YOU UNDERSTAND THAT PHOTOGRAPHY IS AN INTEGRAL PART OF YOUR LIFE AND YOU ARE COMPLETELY WRAPPED UP IN IT? GIULIA: TO BE HONEST, I STILL DON’T KNOW IF I COULD BE CALLED “A PHOTOGRAPHER”, EVEN IF YES, I WISH I COULD LIVE WITH PHOTOGRAPHY IN FUTURE, AS A JOB AND AS A PASSION AT THE SAME TIME. I REALIZED THAT PHOTOGRAPHY IS A PART OF MY LIFE AND I LOVE IT WHEN, ONE YEAR AND HALF AGO, I HAD NO TIME FOR IT. I ATTENDED A SCHOOL OF FASHION DESIGN AND IT TOOK ME ALL THE TIME I HAD. I WAS GOING CRAZY, AND THAT WAS NOT WHAT I WANTED TO DO IN MY LIFE, SO I FINALLY DECIDED TO STOP IT AND CHOSE A LIGHTER UNIVERSITY, SO THAT I WOULD HAVE HAD THE TIME FOR STARTING AND CONCENTRATING ON PHOTOGRAPHY, AND I SUDDENLY FELT IN LOVE WITH IT. DPM: GIULIA, HOW DID YOU FIND YOUR PERSONAL, ORIGINAL STYLE IN PHOTOGRAPHY? AND WHO DO YOU PHOTOGRAPH THE MOST? GIULIA: I FOUND MY WAY TO TAKE PHOTOS JUST WITH A LOT OF ATTEMPTS, AND LETTING MYSELF FREE TO FOLLOW MY INSTINCT. WHEN I DO SOMETHING THAT I REALLY DON’T LIKE, EVEN IF IT IS LIKED BY PEOPLE, I CAN’T ACCEPT IT; IT IS REALLY HARD FOR ME TO ACCEPT COMPROMISES. SO I JUST STARTED SHOOTING REGULARLY A LOT OF FILMS, AND NOTICING WITH TIME WHAT I LIKED AND WHAT I DIDN’T LIKE, AND I STARTED PUSHING MYSELF ON THE WAY OF MY PERSONAL TASTE. I’M REALLY ATTRACTED BY THE HUMAN BEING AND BY NATURE, SO MY SUBJECTS USUALLY ARE A MIX BETWEEN THOSE; HUMANS (ESPECIALLY GIRLS) IN NATURAL ATTITUDES, SOMETIMES SURROUNDED BY NATURAL LOCATIONS. DPM: WHERE DO YOU PREFER TO WORK: IN A STUDIO OR OUTDOORS? GIULIA: I HAVE TO ADMIT I NEVER TRIED THE STUDIO FOR MY PERSONAL WORK; MAYBE IT COULD BE INTERESTING, AND SOON OR LATER I WOULD LIKE TO TRY IT. WHATEVER, I USUALLY SHOOT OUTSIDE (OR INSIDE, IN A ROOM, WITH ALL THE OBJECTS AND WITH NATURAL LIGHT) JUST BECAUSE IT IS EASIER FOR ME, AND I REALLY DON’T LIKE ARTIFICIAL LIGHT. AS I TOLD YOU I’M REALLY FASCINATED BY NATURE, AND THAT INCLUDES THE IMPERFECT NATURAL LIGHTING AND THE IMPERFECT NATURAL PLACES. AND I THINK THE STERILITY OF THE STUDIO WOULD MAKE PHOTOS LESS TASTY.

GIULIA BERSANI

DREAMERS & LOVERS

FINE ARTS & PHOTOGRAPHY

GIULIA BERSANI

DREAMERS & LOVERS

DPM: WHAT TYPES OF CAMERA AND LENSES DO YOU USE WHILE SHOOTING? GIULIA: ANY KIND. I STILL USE ONLY ANALOGUE CAMERAS FOR MY PERSONAL WORK. I STARTED WITH A ZENIT (AND IT STILL REMAINS MY FAVORITE ONE), THAN I TRIED A PRAKTICA, A FUJICA, A CANON AND SOME PLASTIC TOYS. I’VE NEVER SEEN THE CAMERA I HAVE AS A LIMIT. I DON’T THINK THERE ARE SOME CAMERAS BETTER THAN OTHERS, THEY ARE JUST DIFFERENT. EACH ONE HAS HIS SECRETS; THE IMPORTANT IS TO FIRST TRY IT, AND TO UNDERSTAND WHAT SHE CAN GIVE TO YOU. TALKING ABOUT LENSES, I USUALLY USE 50 MM ONES, JUST BECAUSE I’M ACCUSTOMED TO THEM, AND THEY LET ME KEEP THE DISTANCE I PREFER BETWEEN ME AND THE SUBJECT. NOT TOO NEAR BUT NOT TO FAR, SO THAT I CAN BE JUST A FRIENDLY SILENT OBSERVER. DPM: AND NOW I’D LIKE TO ASK YOU SEVERAL QUESTIONS ABOUT YOUR LATEST PROJECTS. COULD YOU PLEASE DESCRIBE THE WAY YOU’VE CREATE THEM? GIULIA: I THINK THIS IS A REALLY FERTILE PERIOD FOR ME. I JUST FINISHED MY EXAMS, AND NOW FOR A PAIR OF MONTHS I WILL SHOOT MORE THAN EVER. ANYWAY, I THINK IT IS STILL DIFFICULT TO ME TO BE PATIENT AND TO WORK AT A PROJECT FOR SEVERAL MONTHS. NOW I’M TRYING TO DO IT FOR THE FIRST TIME WITH A PROJECT ABOUT LOVERS, BUT UNTIL THIS MOMENT I JUST DID SOME SINGLE SHOOTINGS TRYING TO BE AS COHERENT AS POSSIBLE, AND TO ORGANIZE EACH ONE BEFORE GETTING INTO IT. DPM: GIULIA, WHAT, IN YOUR OPINION, AWAITS PHOTOGRAPHY IN THE NEAREST FUTURE? GIULIA: THIS QUESTION IS REALLY DIFFICULT. AND THE ANSWER IS THAT I’VE NEVER THOUGHT AT IT, AND I DON’T WANT TO THINK AT IT NOW. I HAVE A TRANSVERSAL PERCEPTION OF LIFE; I LOOK AT A LOT OF PHOTOS FROM THE PRESENT OR ANY KIND OF PAST AND I JUST ENJOY THEM AND REMEMBER A PART OF THEM; IT IS DIFFICULT FOR ME TO REMEMBER THE CONTEST IN WHICH THEY HAVE BEEN SHOOT. I HAVE TO ADMIT I DON’T REALLY LIKE HISTORY. DPM: IS THERE ANYONE WHO HAS ASTONISHED YOU IN ART LATELY? WHO IS IT, IF THE ANSWER IS YES? GIULIA: A GIRL, WHO ALWAYS ASTONISHES ME THE MOST, EVEN THOUGH SHE’S JUST 18 YEARS OLD, IS OLIVIA BEE. I LOVE HER CAPACITY TO KEEPING HER PHOTOS FRESH EVEN IF SHE’S GETTING INTO COMMERCIAL. DPM: AND THE LAST QUESTION IS OUR TRADITIONAL ONE: ARE YOU LOOKING FORWARD TO VISITING RUSSIA? GIULIA: OH, THIS IS MY FAVORITE QUESTION! OF COURSE, I AM, ESPECIALLY IF SOMEONE IS READY TO INVITE ME AND HOST ME (:

FINE ARTS & PHOTOGRAPHY

GIULIA BERSANI

SAIZ

ALKAHEST

FLYING OR FALLING, 2012

26-33 SURREALISTIC WORKS FROM THE SERIES ‘ALKAHEST’, CREATED BY JONATHAN SAIZ, HAS BEEN EXCITING PEOPLE’S CONSCIOUSNESS FOR THE LAST TWO YEARS, NOT ONLY IN THE INTERNET, BUT ALSO WITHIN THE FRAMEWORK OF VARIOUS EXHIBITIONS, BEING HELD BOTH IN THE NEW AND OLD WORLDS. IN HIS CRYSTALLIZED PAINTINGS JONATHAN TRIED TO SHOW TO THE VIEWER THE MANY-SIDED WORLD, IN WHICH THERE ALWAYS LIVED, LIVE AND WILL CONTINUE TO LIVE PEOPLE WITHIN SEVERAL DECADES, DESTROYING AND CREATING EVERYTHING ON THEIR WAY.

DPM: TO START WITH, HOW DID YOU BECOME AN ARTIST? WAS IT DIFFICULT FOR YOU OR NOT? AND HOW WOULD YOU DESCRIBE YOUR STUDY IN PARSONS SCHOOL OF DESIGN AND IN MARYLAND INSTITUTE COLLEGE OF ART? JONATHAN: I STARTED MAKING ARTWORK WHEN I WAS VERY YOUNG BUT I DIDN'T THINK IT WAS POSSIBLE TO BECOME A "REAL" ARTIST UNTIL I WENT TO PARSON'S SCHOOL OF DESIGN IN PARIS AND NEW YORK AND THE MARYLAND INSTITUTE COLLEGE OF ART. I DIDN'T ENJOY OR APPRECIATE MY EXPERIENCE OF STUDYING AT THOSE SCHOOLS, THEIR STRUCTURE WAS TOO RIGID, AND SO I ENDED MY STUDIES PREMATURELY AND MOVED TO BERLIN TO BEGIN MY CAREER AS AN ARTIST. IT WAS DIFFICULT FOR THE FIRST 6 YEARS, BUT NOW, ALL OF THE SACRIFICES I MADE AND RISKS I TOOK ARE STARTING TO PAY OFF AS I GET LARGER AND MORE INSPIRING COMMISSIONS AND EXHIBITION OPPORTUNITIES. DPM: COULD YOU PLEASE TELL ME HOW YOU FOUND YOUR PERSONAL AND ORIGINAL STYLE IN ART? WHEN DID YOU UNDERSTAND THAT IT WAS POSSIBLE FOR YOU TO CREATE YOUR OWN STYLE? JONATHAN: I WAS LIVING IN PARIS IN 2011 AND FEELING VERY INSPIRED BY THE SPARKLE AND SHINE OF THAT CITY. WHILE I WAS RE-DESIGNING MY WEBSITE, WWW.JONATHANSAIZ.COM, I WAS NOTICING THAT ALL OF MY PAST WORK HAD A FEW DISTINCT SIMILARITIES WITH EACH OTHER BUT THERE WAS NO DISTINCT "CRYSTALLIZED" STYLE. SO I MADE A LIST OF ALL OF THE TECHNIQUES AND STYLES I LOVED AND BLENDED THEM TO FORM THE STYLE OF WORK THAT ALKAHEST REPRESENTS - STRONG GEOMETRIC SHAPES, CUBIC PATTERNS, CLASSICAL IMAGERY AND REFERENCES TO OUR INTERNET MEDIA CULTURE. ALKAHEST IS A PERSONAL DISTILLATION OF EVERYTHING I LOVE, INCLUDING THE SHINY SPARKLES OF PARIS, AND ONCE I MADE A FEW PIECES I REALIZED IT WAS THE FIRST TIME THAT I REALLY FELT I HAD DISCOVERED MY UNIQUE STYLE. DPM: JONATHAN, COULD YOU PLEASE NAME THE MOST IMPORTANT MILESTONES OF YOUR JOB (F.E. EXHIBITIONS, GALLERIES AND ETC.)?

JONATHAN: TWO BIG CAREER MILESTONES FOR ME WERE WHEN MY WORK WAS IN A GROUP SHOW, "LOVE LINES" BY ROBISCHON GALLERY, CURATED NEXT TO THE WORK OF KIKI SMITH, WU FAN AND TRACY EMIN IN 2010 AND ALSO WHEN THE CANDY & CANDY LONDON DESIGN FIRM USED TWO OF MY BIG PAINTINGS IN ONE OF THEIR BEAUTIFUL NEW DEVELOPMENTS IN LONDON IN 2013. THOSE TWO EXPERIENCES GAVE ME AN INCREDIBLE AMOUNT OF CONFIDENCE AND MOMENTUM TOWARDS BIGGER THINGS IN MY CAREER. MY NEXT BIG MILESTONE WILL BE AN UPCOMING SOLO EXHIBITION WITH ALPHA GALLERY IN LONDON!

JONATHAN SAIZ

ALKAHEST

CENTRIPETAL FORCE AND THE EVENING, 2012

ALKAHEST

DAYBREAK OR REVERSAL, 2011

ALKAHEST

NEXT LAYOUT: PULLING BACK AND TIPPING FORWARD, 2012

DPM: AND COULD YOU EXPLAIN HOW YOU CREATE YOUR PROJECTS? WHERE DO YOU PREFER TO PAINT? WHAT KINDS OF TOOLS DO YOU USE IN THE PROCESS OF CREATION YOUR ARTWORKS? JONATHAN: I USUALLY WORK ON A LOT OF PAINTINGS AND DIFFERENT PROJECTS AT THE SAME TIME. THEY BUILD OFF OF EACH OTHER- LAYERS OF IMAGES AND IDEAS, PAINTED WITH OIL PAINT FROM IMAGES I FIND ON MY COMPUTER. FOR THIS ALKAHEST SERIES I MOVED TO THE SMALL GREEK ISLAND OF MYKONOS FOR 8 MONTHS TO FOCUS ON DEVELOPING THIS WORK WITHOUT ANY DISTRACTIONS. IT WAS JUST ME, HUGE CANVASES IN MY STUDIO, MY OIL PAINTS, THE SEA AND THE INTERNET. DPM: WHAT DO YOU WANT TO CONVEY TO YOUR AUDIENCE? HOW DID YOU FIND THE MAIN THEME FOR THE ‘ALKAHEST’ PROJECT? JONATHAN: WE ARE IN SUCH A CHAOTIC AND DYNAMIC AGE OF INFORMATION OVERLOAD - I HOPE MY PAINTINGS REMIND THE VIEWER THAT UNDERNEATH ALL OF THE MIXED MESSAGES WE GET THAT THERE IS A UNIVERSAL CONNECTION TO EVERYTHING. FOR "ALKAHEST" I WAS SEARCHING FOR A WAY TO DISSOLVE ALL TYPES OF DIFFERENT CONCEPTS AND OVERLAPPING POSSIBILITIES INTO SOMETHING SOLID AND PURE. THAT IS WHERE THE "ALKAHEST" THEME CAME FROM- MY RESEARCH INTO THE MEDIEVAL PRACTICE OF ALCHEMY- THE QUEST TO COMBINE ELEMENTS INTO SOMETHING NEW. I ALSO WOULD HOPE THAT MY PAINTINGS INSPIRE WITH THEIR SIMPLE DIAMOND-LIKE SPARKLE! DPM: IS THERE ANYTHING THAT ATTRACTS AND INSPIRES YOU IN LIFE? WHAT IS IT, IF YES? JONATHAN: WHEN I AM TRAVELING I COLLECT A LOT OF PICTURES AND USE THEM LATER IN MY WORK. EACH DIFFERENT LOCATION HAS A UNIQUE ENERGY THAT I CAN EXPLORE WITH A LAYER OF A PAINTING… AND I ALSO COLLECT MINERAL CRYSTALS AND GEMS THAT I STUDY TO INSPIRE NEW SHAPES IN MY WORK. DPM: COULD YOU NAME A PERSON WHO HAS ASTONISHED YOU IN ART LATELY? JONATHAN: SEEING THE WORK OF TAKASHI MURAKAMI INSTALLED IN THE PALACE OF VERSAILLES IN FRANCE WAS INCREDIBLE AND INSPIRING. HIS WORK MAKES ME LAUGH AND SEEING IT IN SUCH A FORMAL PLACE WAS AWKWARD AND PERFECT. DPM: AND THE LAST QUESTION I’D LIKE YOU TO ANSWER IS OUR TRADITIONAL ONE: JONATHAN, ARE YOU LOOKING FORWARD TO VISITING RUSSIA? AND WHAT GALLERIES OR MUSEUMS WOULD YOU VISIT IN MOSCOW OR SAINT PETERSBURG? JONATHAN: I AM REALLY LOOKING FORWARD TO VISITING RUSSIA- I HAVEN'T BEEN YET AND I'M SURE ONE OF MY PAINTINGS WILL ARRIVE IN RUSSIA BEFORE I GET TO! WHEN I DO COME I'D LOVE TO VISIT OR EXHIBIT MY WORK IN THE GARAGE CENTER FOR CONTEMPORARY CULTURE IN MOSCOW OR THE MARINA GISICH GALLERY IN ST. PETERSBURG.

ALKAHEST

ONWARD AND WANTING, 2012

OGASAWARA

SHADOW & LIGHT

HAND, 2012

36-47 DISSOLVING THE DARKNESS INTO LIGHT (OR VICE VERSA).

A TEXT BY KENJIRO HOSAKA.

MIWA OGASAWARA PAINTS LIGHT. THERE IS BOTH SUNLIGHT SPILLING THROUGH TREES AND HARD LIGHT THAT PASSES THROUGH THE GLASS OF WINDOWS. THERE IS BOTH SOFT BRIGHTNESS THAT PASSES THROUGH TRANSLUCENT CURTAINS AND FLUORESCENT LIGHT. HOWEVER, OF COURSE, EVEN DISCUSSING SUCH VARIOUS TYPES OF LIGHT IS INSUFFICIENT TO DESCRIBE HER WORK. IT CANNOT BE OVERLOOKED. THERE IS ALWAYS BLACK, SHADOWS AND DARKNESS PAINTED CROWDING IN. SO THE FIRST SENTENCE MUST BE REPHRASED AS FOLLOWS TO BE CORRECT: OGASAWARA PAINTS LIGHT AND DARKNESS. BUT IT IS NOT AS SIMPLE AS THAT. YOU HAVE TO ASK YOURSELF THIS: ARE DARKNESS AND LIGHT REALLY SEPARATE ENTITIES? RECALL THAT HARUKI MURAKAMI WROTE THE FOLLOWING IN HIS NOVEL "1Q84". "WHERE THERE IS LIGHT, THERE MUST BE SHADOW; WHERE THERE IS SHADOW THERE MUST BE LIGHT. THERE IS NO SHADOW WITHOUT LIGHT, NO LIGHT WITHOUT SHADOW. " IF WE ACCEPT WHAT MURAKAMI POINTED OUT, THEN THE FIRST SENTENCE WAS CORRECT AFTER ALL (AT LEAST I, BEING BORN AND RAISED IN JAPAN, FIND THIS A VERY NATURAL OPINION). THAT IS TO SAY, PAINTING LIGHT MEANS PAINTING DARKNESS AND SHADOW. BUT WE MUST NOT BE SATISFIED BY THIS AFFIRMATION. BECAUSE OGASAWARA'S PAINTINGS ARE NOT SIMPLY PAINTINGS OF THE RELATIONSHIP BETWEEN LIGHT, OBJECTS, AND SHADOW. WHAT DO I MEAN BY THIS? JUMPING AHEAD TO THE CONCLUSION, SHE SEARCHES FOR LIGHT IN THE DARKNESS. OR (PERHAPS THE OTHER WAY AROUND) THERE IS LIGHT DISSOLVED INTO THE DARKNESS. LIKE A MOONLIT NIGHT, DARK AND LIGHT CAN BE SENSED AT THE SAME TIME. THESE PAINTINGS AIM TO DEPICT A TIME AND SPACE WHERE THIS DICHOTOMY FAILS. SUCH ARE MIWA OGASAWARA'S PAINTINGS. FOR EXAMPLE, GESICHT 8/FACE 8 (2012). THE GENDER OF THE PERSON DEPICTED IS INDISTINGUISHABLE (WE CAN SEE THAT THE AIM IS THE FAILURE OF DICHOTOMY). WE CANNOT SEE THE PERSON'S GAZE. THE DIRECTION OF THE GAZE IS SHROUDED IN DARKNESS, BUT WE KNOW THAT THE PERSON IS LOOKING AT SOMETHING OUTSIDE OF THE PICTURE (ALTHOUGH THERE MAY NOT BE ANYTHING AT ALL, ONLY DARKNESS). HOWEVER, IT IS UNNATURAL TO SEE ONLY A FACE LIKE THIS IN THE FIRST PLACE. EVEN IF WE DO NOT KNOW WHERE THE LIGHT IS COMING FROM, WE KNOW IT IS COMING FROM SOMEWHERE, SO IT IS ODD THAT THE SHOULDERS DISAPPEAR INTO THE DARKNESS.

MIWA OGASAWARA

SHADOW & LIGHT

BEINE, 2009

SHADOW & LIGHT

SHATTIG, 2007

SHADOW & LIGHT

MIWA OGASAWARA

OR MAYBE NOT SO. I AM ODD TO THINK SUCH A THING. THE LIGHT SOURCE DOES NOT MATTER AT ALL. IF THERE IS A WORLD WHERE LIGHT IS DISSOLVED INTO DARKNESS, IT MAY APPEAR LIKE THIS. YES, PRECISELY, JUST AS THIS PERSON IS STARING AT WHAT CANNOT BE SEEN, SO TOO SHOULD WE LOOK AT THIS PAINTING. IF YOU BELIEVE THAT LIGHT WAS CREATED OUT OF DARKNESS, YOU WILL BE ABLE TO SEE THIS PICTURE. OR LOOK TO MIT SCHATTEN/WITH SHADOW (2011). THERE ARE TWO PEOPLE, EACH WITH (MIT) THEIR SHADOWS, BUT THE WORLD DEPICTED HERE IS NOT SO SURE THAT WE CAN DECLARE SO. BECAUSE THERE ARE TWO UPRIGHT FIGURES. THE ONE IN FRONT IS DARK AND THE ONE IN BACK IS INDISTINCT. BUT WE CANNOT SUPPRESS THE DESIRE TO SEE ONE OF THEM AS THE OTHER’S SHADOW. IT DOES NOT MATTER THAT THEY HAVE DIFFERENT POSES. IT IS POSSIBLE, AFTER ALL, THAT TWO DIFFERENT TIMES ARE PAINTED TOGETHER IN THE SAME SPACE. THE FIGURE THAT HAS THE STRONGEST PRESENCE IS THE ONE THAT LOOKS MOST LIKE A SHADOW AFTER ALL...

BUT HOW WAS LIGHT BORN INTO THIS WORLD? SOME SENSIBLE PEOPLE WOULD SAY THAT LOGOS GAVE BIRTH TO LIGHT FROM THE DARKNESS (GOD SAID, “LET THERE BE LIGHT,” AND THERE WAS LIGHT.) BUT IS THAT REALLY TRUE? WHY DID LOGOS GIVE BIRTH TO "LIGHT"?

WHY ISN'T IT THAT IN THE BEGINNING THERE WAS LIGHT, AND GOD SAID "LET THERE BE DARKNESS"? DID NOT LOGOS CREATE DARKNESS? THIS IS ULTIMATELY A YEARNING FOR CLARITY. (IN OTHER WORDS, THERE IS AMBIGUITY THAT CANNOT BE HELPED.) IT IS LOGIC BORN OF HUMAN YEARNING: NOTHING MORE THAN ORDERING AND SYSTEMATIZING.... IN REALITY, IN THE BEGINNING THERE WAS LIGHT MIXED WITH DARKNESS, AND LIGHT WAS SIMPLY SEPARATED OUT BY A WORD....

NOW NOTICE HERE: IT MUST NOT BE PUT INTO WORDS. WORDS FLATLY DIVIDE THE DARKNESS AND LIGHT. THEN, ISN'T IT THE PROBLEM, THAT OUR SPIRITS GOT THE SOME KIND OF REASSURANCE BY PRODUCING THIS DICHOTOMY? HERE, WE SHOULD RECALL THAT LACAN POINTED OUT THE FOLLOWING ABOUT THE ESTABLISHING OF DICHOTOMIES. ACCORDING TO LACAN, “I COULD ENUMERATE MORE OPPOSITIONS THAT DON'T EMERGE OUT OF THE REAL WORLD BUT GIVE IT ITS FRAMEWORK, ITS AXES, ITS STRUCTURE, THAT ORGANIZE IT, THAT BRING IT ABOUT THAT THERE IS IN EFFECT A REALITY FOR MAN, AND THAT HE CAN FIND HIS BEARINGS THEREIN.”(1) REGARD LIGHT AND DARKNESS AS A HARMONIOUS UNION. OGASAWARA'S PAINTINGS ARE, PROBABLY FOR THIS PURPOSE, MADE TO INQUIRE INTO THE POSSIBILITY OF THE CREATION OF SOMETHING BEFORE WORDS. SURELY, THIS IS A TIME AND SPACE THAT WE KNOW, REGARDLESS OF COUNTRY OR CULTURE (OR ELSE DREAMING OF SUCH TIMES AND SPACES IS ESSENTIALLY IMPORTANT FOR ART). RYUICHI TAMURA (1923-1998), A POET WHO REPRESENTS JAPAN, WROTE IN "THE WAY HOME"(2) :

I SHOULDN'T HAVE LEARNED A LANGUAGE A WORLD WITHOUT WORDS IF I LIVED IN A WORLD WHERE MEANING DOES NOT BECOME MEANING HOW GOOD IT WOULD BE ...

THE TEARS THAT ARE IN YOUR TENDER EYES THE PAIN THAT IS FALLING FROM THE TONGUE OF YOUR SILENCE IF THERE WERE NO WORDS IN OUR WORLD I WOULD MERELY STARE AT IT AND LEAVE "SIMPLY LOOK AT IT." LOOK AT IT SINCERELY, WITHOUT PUTTING IT INTO WORDS. TO DO SO WOULD CREATE AN ESTABLISHED PAINTING. I THINK THIS IS THE SPIRIT THAT SUPPORTS THE BASIS OF OGASAWARA'S CREATION. AND OF COURSE, THEY ARE FULL OF SO-CALLED “EMOTIONS”, THAT EXIST BEFORE LINGUISTIC LABELS SUCH AS “JOY,” “ANGER,” “PATHOS,” AND “HUMOR.” THERE YOU WILL FEEL THE PASSING OF A STRANGE MOMENT WHERE LIGHT AND DARKNESS COEXIST.

1. JACQUES LACAN, THE PSYCHOSES, THE SEMINAR OF JACQUES LACAN, EDITED BY JACQUES-ALAIN MILLER, TRANSLATED BY RUSSELL GRIGG, ROUTLEDGE, 1993, P.199.

2. RYUICHI TAMURA, THE FOUR THOUSAND DAYS AND NIGHTS, PUBLISHER: TOKYO SOGEN-SHA, TOKYO, 1956, TRANSLATED BY SAMUEL GROLMES AND TSUMURA YUMIKO, 2000

COPYRIGHT AND COURTESY BY "MIWA OGASAWARA" AND "GALLERY VERA MUNRO"

SHADOW & LIGHT

GESICHT 8, 2012

SHADOW & LIGHT

MEMORIES, 2012

SHADOW & LIGHT

MIT SCHATTEN, 2011

SHADOW & LIGHT

VAGUE, 2011

SHADOW & LIGHT

VESSEL, 2014 NEXT LAYOUT: SPACE, 2009

BOGDANOVA

NOCTURNES & WHITE CUBE

50-55

DPM: COULD YOU PLEASE WRITE ONE PARAGRAPH STATEMENT ABOUT YOURSELF AND YOUR ART. ADRIANA: I AM A SLOVAK ARTIST LIVING IN AMSTERDAM WHERE I GRADUATED FROM GERRIT RIETVELD ACADEMY. MY WORK CONSISTS LARGELY OF COLLAGES AND PHOTOGRAPHS OF NATURAL FORMS LIKE ANIMALS, STONES AND PLANTS. HEREBY I CONCENTRATE ON CONNECTIONS BETWEEN GEOMETRY AND NATURAL FORMS BUT ALSO ON THE RELATION BETWEEN NATURAL FORMS AND COLOR. BY FOCUSING ON THESE RELATIONSHIPS I CREATE CONCEPTUAL AND ABSTRACT NOTIONS. DPM: HOW CAN YOU DESCRIBE THE PROCESS AND CONCEPT BEHIND THESE SERIES – ‘NOCTURNES’ AND ‘WHITE CUBE’? WHAT MATERIALS DID YOU USE? ADRIANA: ONE EVENING I WAS SITTING AND WATCHING THE PLANTS IN MY ROOM AND BECAUSE THERE WAS HARDLY ANY LIGHT, THESE PLANTS STARTED TO LOOK DIFFERENT AND MYSTERIOUS. THEY BECAME INSPIRING TO ME AS I WAS BECOMING MORE AND MORE AWARE OF THEIR CHANGING APPEARANCE. MY WORK IS OFTEN ABOUT CHANGING APPEARANCE OF NATURAL PHENOMENA IN ORDER TO REVEAL OTHER LAYERS OF REALITY. THAT'S WHY I STARTED TO TAKE PHOTOGRAPHS OF THESE PLANTS ALMOST IN THE DARK. IN "WHITE CUBE" THE SAME FASCINATION PLAYS A ROLE BUT HERE I USED A LOT OF LIGHT SO THAT THE SCULPTURES ALMOST DISAPPEARED AGAINST THE WHITE BACKGROUND. IN THIS WAY THESE STATUES STARTED TO REVEAL ANOTHER DIMENSION OF THEIR EXISTENCE. DPM: IS THERE ANYTHING ABOUT YOUR ARTISTIC PROCESS THAT YOU THINK IS UNUSUAL OR UNIQUE? ADRIANA: WITH MY WORK I STIMULATE THE VIEWER TO CONSIDER ALTERNATIVE POINTS OF VIEW OTHER THAN THE OBVIOUS STEREOTYPES. THE VIEWER SHOULD NOT BE SATISFIED WITH FINDING ONE CENTER OF ATTENTION BUT SHOULD KEEP ON LOOKING WHAT ELSE MIGHT BE IMPORTANT OR TELL SOMETHING. EVENTUALLY THE VIEWER BECOMES THE FINAL RELATION IN MY WORK, TURNING THE IMAGES INTO LIVING INSTALLATIONS. DPM: THE MAIN THEME OF THIS ISSUE IS "BLACK AND WHITE IN ART"- BLACK AND WHITE IN PHOTOGRAPHY, IN CINEMATOGRAPHY AND IN PAINTING... COULD YOU EXPLAIN YOUR PERSONAL ATTITUDE TO IT AND COULD YOU CHARACTERIZE THIS MOVEMENT IN ART IN YOUR OWN WORDS? ADRIANA: FIRST OF ALL, I WORK MOSTLY IN COLOR. BUT FOR THESE TWO SERIES IT WAS NECESSARY TO PRESENT THEM IN BLACK AND WHITE. IN "WHITE CUBE" I USED A LOT OF LIGHT AND IN "NOCTURNES" THERE IS HARDLY ANY LIGHT. IN BOTH TYPES OF LUMINESCENCE COLOR ALMOST DISAPPEARS AND BECAUSE OF THAT BECOMES IRRELEVANT AND IT BECAME NECESSARY TO REMOVE IT ALTOGETHER.

ADRIANA BOGDANOVA

NOCTURNES & WHITE CUBE

FINE ARTS & PHOTOGRAPHY

ADRIANA BOGDANOVA

ROTH

MULTI-TOUCH PAINTING

CASUAL COMPUTING NO. 1, 2014 (CANDY CRUSH) PHOTO BY ROBIN REEVE, COURTESY CARROLL / FLETCHER GALLERY

58-65

EVAN ROTH IS AN AMERICAN ARTIST AND RESEARCHER BASED IN PARIS WHO APPLIES A HACKER PHILOSOPHY TO AN ART PRACTICE WHICH VISUALIZES CULTURE THROUGH UNINTENDED USES OF TECHNOLOGIES. CREATING PRINTS, SCULPTURES, VIDEOS AND WEBSITES, HIS WORK EXPLORES THE RELATIONSHIP BETWEEN MISUSE AND EMPOWERMENT.

SEVERAL OF ROTH’S WORK ARE IN THE PERMANENT COLLECTION OF THE MUSEUM OF MODERN ART NYC, AND HAS ALSO BEEN EXHIBITED AT VARIOUS INSTITUTIONS, INCLUDING THE CENTRE POMPIDOU, THE KUNSTHALLE WIE, THE TATE AND THE FRONT PAGE OF YOUTUBE. HE HAS RECEIVED NUMEROUS AWARDS, INCLUDING THE GOLDEN NICA FROM PRIX ARS ELECTRONICA, RHIZOME/THE NEW MUSEUM.

EVAN IS A CO-FOUNDER OF THE GRAFFITI RESEARCH LAB. AND THE FREE ART & TECHNOLOGY LAB (F.A.T.)

EVAN ROTH

MULTI-TOUCH PAINTING

SLIDE TO UNLOCK, 2013

PHOTO BY VINCIANE VERGUETHEN

EVAN ROTH

FINE ARTS & PHOTOGRAPHY

MULTI-TOUCH PAINTING

NEXT, NEXT, NEXT, 2014 PHOTO BY VINCIANE VERGUETHEN

EVAN ROTH

NEXT LAYOUT: SLIDE TO UNLOCK, 2014 PHOTO COURTESY OF WESLEYAN UNIVERSITY

JON GODLY

CONRAD JON GODLY

O.T.III, 2011 (MACRO)

68-77

DPM: TO START WITH, CONRAD, TELL US SOME WORDS ABOUT YOURSELF. WHAT GOT YOU INTERESTED IN ART? DID YOU TAKE ANY CLASSES? WHY DID YOU CHOOSE MOUNTAINS AS THE MAIN THEME FOR YOUR ART? CONRAD: I AM 52 YEARS OLD. I STUDIED PAINTING FOR 6 YEARS AT A YOUNG AGE BUT SWITCHED INTO PHOTOGRAPHY FOR 18 YEARS, WORKING WORLDWIDE FOR INTERNATIONAL MAGAZINES. PAINTING WAS STILL IN THE BACK OF MY HEAD...AND I KNEW I WILL TURN BACK TO MY ROOTS ONE DAY. TEN YEARS AGO I TURNED BACK TO MY BIRTHPLACE IN THE MOUNTAINS AFTER LIVING ABROAD FOR MANY YEARS. BEING SURROUNDED

BY ALL THESE POWERFUL MOUNTAINS, I DID FEEL FROM THE VERY FIRST MOMENT ON THAT THIS IS MY THEME FOR MY PAINTINGS! THE POWER AND BEAUTY OF NATURE IS UNIQUE AND I WANTED TO CAPTURE THIS IN MY WORK. MY PAINTINGS ARE A "HOMAGE" TO THE NATURE. DPM: HOW DO YOU UNDERSTAND THE NOTION OF ART? CAN YOU GIVE YOUR OWN DEFINITION TO IT? CONRAD: I THINK THAT ART SHOULD HAVE A MESSAGE AND THAT ART SHOULD BE ABLE TO REACH THE PEOPLE, NOT ONLY ART EXPERTS. I THINK THAT ART SHOULD CREATE EMOTIONS AND IF ART CAN TOUCH PEOPLE DEEPLY, IT'S GOOD ART. ART SHOULD MAKE PEOPLE THINK OF MANY THINGS INCLUDING THEMSELVES. DPM: WHAT DO YOU USUALLY FEEL AFTER FINISHING A NEW PAINTING? CONRAD: AFTER FINISHING A PAINTING IT'S ALWAYS A VERY SATISFYING FEELING...IT'S LIKE GIVING BIRTH...AND OFTEN I ASK MYSELF WHO PAINTED THIS. WAS IT ME? I FEEL MYSELF ONLY AS AN INSTRUMENT OF SOMETHING MUCH "HIGHER".

DPM: IS THERE ANY PERSON OR ARTIST WHO HAS INFLUENCED YOU THE MOST? IF YES, WHO IS IT? I GUESS VINCENT VAN GOGH IS THE PAINTER WHO INFLUENCED ME THE MOST. I ADORE THIS INCREDIBLE ARTIST IMMENSE!

CONRAD JON GODLY

CONRAD JON GODLY

O.T.V, 2011

DPM: IF YOU WERE TO CHOOSE BETWEEN THE PAINTINGS BY GERHARD RICHER AND

BY NICOLAS ROERICH, WHICH WOULD YOU PREFER AND WHY? CONRAD: I LOVE BOTH PAINTERS BUT GERHARD RICHTER IS A PAINTER THAT I ADORE ALSO VERY MUCH, ESPECIALLY HIS ABSTRACT PAINTINGS. RICHTER INVENTED A COMPLETE NEW TECHNIQUE WITH HIS ABSTRACT PAINTINGS, ALSO WITH HIS FUZZY PHOTOREALISTIC PAINTINGS. I LIKE HIS SIMPLE COMPOSITIONS AND THE POWER OF HIS COLORS. HE STILL TRIES NEW THINGS, EXPLORING THE NEW... AND THAT'S WONDERFUL FOR AN ARTIST OF HIS AGE AND FAME. DPM: WHAT MUSIC DO YOU PREFER TO LISTEN DURING PAINTING? CONRAD: WHILE I AM PAINTING I DON'T LISTEN TO ANY MUSIC, I WORK IN SILENCE, I ONLY HEAR THE RIVER NEXT TO MY STUDIO. MY WORK IS VERY MUCH BASED ON CONCENTRATION, IT'S ALMOST LIKE MEDITATION AND FOR THIS I NEED THE SILENCE. DPM: AND, FINALLY, I’D LIKE TO ASK YOU TO SPEAK A LITTLE BIT ABOUT "BLACK AND WHITE" IN ART. WHAT DO YOU THINK ABOUT THESE COLORS IN ART? CONRAD: BLACK AND WHITE IS THE BASE FOR EVERYTHING, NOT ONLY IN ART. IT'S MORE THAN JUST A COLOR. LIGHT/SHADOW GOOD/BAD DARK/BRIGHT LOUD/SILENT FAST/SLOW HIGH/LOW ...

ON THIS BASE YOU CAN CREATE ALMOST EVERYTHING...AND THE INTERPRETATION IS A WIDE FIELD.

CONRAD JON GODLY

NEXT LAYOUT: DUNKEL 17, 2011

CONRAD JON GODLY

O.T.III, 2011

CONRAD JON GODLY

DUNKEL 6, 2010 NEXT LAYOUT: DUNKEL 25, 2011

DE LA VEGA

MARITZA DE LA VEGA

POLAROID PHOTOGRAPHY

80-87 NEW-YORK BASED PHOTOGRAPHER MARITZA DE LA VEGA IS FAMOUS FOR HER BEAUTIFUL POLAROID SHOTS. LIMITING TRADITIONAL TOOLS FOR ARTIST LIKE CAMERA, SET OF LENSES AND AN UNSCHOOLED TALENT, MARITZA CREATES UNIQUE PHOTOGRAPHS PERMEATED WITH A SPIRIT OF NYC, A BEAUTY OF NATURE AND, OF COURSE, COLORFUL TIME OF YOUTH.

DPM: TO START WITH, MARITZA, HOW DID YOU BECOME A PHOTOGRAPHER? AND WHAT TYPES OF CAMERA DO YOU USUALLY USE? MARITZA: I BECAME INTERESTED IN PHOTOGRAPHY IN MY EARLY 20S WHEN MY FRIEND ASKED ME TO TAKE A CLASS ON DARKROOM TECHNIQUES WITH HER. I'VE BEEN HOOKED EVER SINCE. I DON'T HAVE MUCH TIME FOR THE DARKROOM ANYMORE, BUT I STILL LOVE FILM AND USE IT ALMOST EXCLUSIVELY. FOR THIS SERIES I USED A POLAROID 440 LAND CAMERA AND A KEYSTONE 60 SECOND EVERFLASH CAMERA. I LOVE USING EXPIRED FILM, ESPECIALLY THE POLAROID PACK FILMS LIKE 669 AND ID-UV. DPM: WHAT DO YOU WANT TO ACHIEVE IN PHOTOGRAPHY AND WHAT ARE THE MAIN GOALS OF YOUR PROJECTS? MARITZA: I WANT TO BRING ANOTHER-WORLDLINESS TO EVERYDAY PLACES AND THINGS; TO STRETCH REALITY WITHOUT DAMAGING IT. OTHERWISE, I DON'T SET GOALS OR PROJECTS. I PICK UP A CAMERA AND FOLLOW THE PICTURES WHEREVER THEY LEAD ME. DPM: COULD YOU PLEASE NAME THE MOST IMPORTANT MILESTONES OF YOUR CAREER AS A PHOTOGRAPHER (F.E. EXHIBITIONS IN GALLERIES AND ETC.)?

MARITZA: I HAVE NOT EXPERIENCED TOO MANY MILESTONES YET. I'VE BEEN FEATURED ON A FEW BLOGS. I DON'T THINK TOO MUCH ABOUT THIS KIND OF THING. I JUST ENJOY MAKING PICTURES. DPM: OH, I SEE. AND COULD YOU DESCRIBE THE WAY YOU CREATE YOUR PHOTO PROJECTS? WHERE DO YOU PREFER TO PHOTOGRAPH? MARITZA: MY PROCESS IS PRE-DOMINANTLY INTUITIVE. ONCE I HAVE A VAGUE IDEA ABOUT WHO OR WHAT I WANT TO SHOOT I SELECT A FEW CAMERAS AND START SHOOTING. SOMETIMES THE PICTURES ARE BETTER THAN I ENVISIONED, BUT USUALLY THEY ARE NOT. HOWEVER, THEY ARE ALMOST NEVER WHAT I EXPECTED. I STUDY AND USE THE LESSER PHOTOS TO LEAD ME TO THE BETTER-THAN-EXPECTED ONES. MY FAVORITE SUBJECT IS NATURE. I SPEND A LOT OF TIME OUTDOORS AND WITH MY FAMILY SO THOSE ARE THE SUBJECTS I PHOTOGRAPH MOST OFTEN. DPM: MARITZA, IS THERE ANYTHING THAT ATTRACTS AND MAYBE INSPIRES YOU IN CONTEMPORARY ART? MARITZA: I MUST ADMIT TO BEING A BIT IGNORANT OF THE ART WORLD IN GENERAL AND CONTEMPORARY ART IN PARTICULAR. I AM LARGELY SELF-TAUGHT AND DID NOT RECEIVE AN EDUCATION IN ART. I HAVE EDUCATED MYSELF IN PHOTOGRAPHIC HISTORY AND FIND MUCH INSPIRATION FROM PHOTOGRAPHERS OF OLD AND TODAY. I LOVE THE WORK OF PHOTOGRAPHERS LIKE ROBERT FRANK, WILLIAM GEDNEY, STEPHEN SHORE, PHILIP-LORCA DICORCIA, JOEL MEYEROWITZ AND SALLY MANN. DPM: AND THE LAST QUESTION IS ABOUT YOUR PLANS ON FUTURE: ARE YOU LOOKING FORWARD TO VISITING RUSSIA? MARITZA: I WOULD LOVE TO VISIT RUSSIA SOMEDAY! WORK AND FAMILY OBLIGATIONS PREVENT ME FROM DOING SO NOW, BUT MAYBE ONE DAY...

MARITZA DE LA VEGA

MARITZA DE LA VEGA

FINE ARTS & PHOTOGRAPHY

MARITZA DE LA VEGA

POLAROID PHOTOGRAPHY

MARITZA DE LA VEGA

FINE ARTS & PHOTOGRAPHY

MARITZA DE LA VEGA

POLAROID PHOTOGRAPHY

NEHRBASS

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o o o oo o oooo o o o oooo o oo o oo o oooooo ooo

PAINTINGS

THE INTERNATIONALIST, 2012

90-97 SURREALISTIC PAINTINGS, CREATED BY JENNIFER NEHRBASS, BORDER BETWEEN THE PRESENT AND THE PAST. IN FACT, THEY ARE THE REFLECTION OF THE REALITY WE LIVE IN. LOOKING AS THE COLLAGE OF MEMORIES, THEY OPEN UP THE NON-STANDARD MAGIC OF FORBIDDEN DESIRES AND FEELINGS OF THE VIEWER. THEY CONFUSE THE VIEWER’S ATTENTION AND DON’T LEAVE HIS MIND EVEN WHEN HIS EYES ARE NOT ATTACHED TO THEM ANYMORE.

DPM: TO START WITH, HOW DID YOU BECOME AN ARTIST? WAS IT DIFFICULT FOR YOU? JENNIFER: I THINK ONE IS BORN WITH THE CREATIVE FOCUS. SOMETIMES IT TAKES YEAR TO MANIFEST THAT CREATIVITY. I SPENT YEARS DESIGNING FOR RALPH LAUREN BEFORE I DECIDED TO PURSUE PAINTING. IT WAS A DIFFICULT TRANSITION TO LEAVE A HIGH PAYING JOB TO THE UNCERTAINTY OF THE LIFE AS A PAINTER. DPM: HOW DID YOU COME TO YOUR PERSONAL AND ORIGINAL STYLE IN ART? JENNIFER: MY PAINTINGS ARE MIX OF STYLES WHICH SPEAK TO THE LANGUAGE OF PAINT. THE PHOTOREALISTIC ASPECT OCCURS PRIMARILY WITH THE FIGURES IN THE PAINTING. I CHOOSE TO HAVE THEM PAINTED THIS WAY TO REPRESENT THE PHYSICALITY OF BEING ALIVE. WE CAN PINCH OUR SKIN AND KNOW WE ARE PHYSICALLY HERE. THE PHYSICAL ASPECT TO LIFE IS TANGIBLE. TO CONTRADICT THE TANGIBLE I PLACE FIGURES WITHIN ABSTRACT AREAS THAT REFER TO THE THOUGHTS DESIRES, DREAMS AND PERCEPTIONS OF LIFE. THE VIEWING OF MY WORK IS MEANT TO BE A PUSH AND PULL EXERCISE BETWEEN THESE DIFFERING PAINTING STYLES. DPM: JENNIFER, COULD YOU PLEASE NAME THE MOST IMPORTANT MILESTONES OF YOUR JOB (F.E. EXHIBITIONS, GALLERIES AND ETC.)?

JENNIFER: WITH BRUNNHOFER GALLERY I HAD A SOLO SHOW AT PULSE MIAMI LAST DECEMBER. DPM: AND COULD YOU COMMENT ON THE WAY YOU CREATE YOUR PROJECTS? WHERE DO YOU USUALLY PAINT? JENNIFER: I WORK FROM COLLAGE. I TAKE PHOTOS OF THE PEOPLE I WILL USE IN MY PAINTINGS AND CREATE THE BASIS FOR MY PAINTING THROUGH THE PHOTOSHOP AND COLLAGE. LATELY I AM USING THE COMPUTER LESS AND CUT AND PASTE MORE TO CREATE THE LAYOUTS FOR MY PAINTINGS. I HAVE A STUDIO NEXT TO MY HOUSE WHICH ALLOWS ME TO WORK THROUGHOUT THE DAY, WHICH IS HELPFUL WHEN YOU HAVE CHILDREN. DPM: WHAT DO YOU WANT TO SHOW TO YOUR AUDIENCE? AND HOW DO YOU FIND THE THEME FOR EVERY ARTWORK? JENNIFER: I WOULD LIKE TO SHOW VIEWERS THAT LIFE IS A DRAMA AND WERE ARE JUST MERE ACTORS. SOMETIMES ITS INTERNAL SOMETIMES IT’S COMMUNAL. DPM: IS THERE ANYTHING THAT ATTRACTS AND MAYBE INSPIRES YOU IN LIFE? WHAT IS IT, IF YES? JENNIFER: THE MOUNTAIN RANGES IN COLORADO ARE ALWAYS INSPIRING AS WELL AS SEEING AN AMAZING OPERA SET AT THE METROPOLITAN OPERA IN NEW YORK.

JENNIFER NEHRBASS

JENNIFER NEHRBASS

QUEEN OF CALIFORNIA, 2012

PAINTINGS

LAST RUN OF THE COLORADO, 2012

JENNIFER NEHRBASS

FINE ARTS & PHOTOGRAPHY

DPM: COULD YOU NAME A PERSON WHO INSPIRES AND ASTONISHES YOU IN ART THE MOST? JENNIFER: A RECENT TRIP TO MIAMI WHERE I SAW ZHU JINSHI POWER AND COUNTRY (权力与江 山), 2007-2010 (OIL ON CANVAS TRIPTYCH, EACH: 331 X 197 IN. (840 X 500 CM) DPM: WHAT KIND OF MUSIC DO YOU LIKE TO LISTEN DURING PAINTING? JENNIFER: I HAVE BEEN LISTENING TO "THE NATIONAL" AND "EXPLOSIONS IN THE SKY" BUT THIS CHANGES FREQUENTLY. PANDORA MAKES THE MIX MORE INTERESTING. DPM: AND OUR TRADITIONAL QUESTION: JENNIFER, ARE YOU LOOKING FORWARD TO VISITING RUSSIA? AND WHAT GALLERY OR MUSEUM WOULD YOU VISIT IN MOSCOW OR SAINT PETERSBURG IF THERE ARE ANY? JENNIFER: I WOULD LOVE TO TRAVEL TO RUSSIA, ESPECIALLY ST. PETERSBURG AND OF COURSE MOSCOW. A COMPREHENSIVE TRIP WOULD INCLUDE HERMITAGE AND THE PALACES THROUGHOUT ST. PETERSBURG, BUT AREAS OF MOSCOW LIKE THE GARAGE CONTEMPORARY ARTS CENTER VENUE AND WINZAVOD GALLERY.

PAINTINGS

DELILAH Y DELILAH, 2012 NEXT LAYOUT: ONE THOUSAND SOFIAS, 2007 (ROTATE)

LINKS 98

Jurgen Heckel - http://www.behance.net/sogar_heckel, http://www.monohr.com/ Voider Sun - http://voider.tumblr.com/ Giulia Bersani - http://giuliabersani.com/ Jonathan Saiz - http://www.jonathansaiz.com/

Miwa Ogasawara - http://www.miwaogasawara.de/ Adriana Bogdanova - http://www.adrianabogdanova.com/ Evan Roth - http://www.evan-roth.com/work/ Conrad Jon Godly - http://www.conradjgodly.com/ Maritza de la Vega - http://www.flickr.com/photos/zazazed/ Jennifer Nehrbass - http://www.jennifernehrbass.com/