The Experience Magazine [Fall Issue 2014]

“So do not fear, for I am with you; do not be dismayed, for I am your God. I will strengthen you and help you; I will uphold you with my righteous right hand.� Isaiah 41:10

RIP Terrence Parker

ON THE COVER ZOE ALONSO

WWW.THEEXPERIENCEMAGAZINE.COM INSTAGRAM/@THEEXPERIENCEMAG TWITTER/@EXPMAG FACEBOOK/EXPERIENCESTONE

THE FALL 2014 ISSUE

FREEDOM

FREEDOM

WHERE

IS STILL A

DR EAM

POPNEOISM.COM

THE

EXPERIENCE MAGAZINE

Editor In Chief JASON STONE EXEC. EDITOR

SIMONETTE WHITE MANAGING EDITOR CHRISTINA BADROE

HEAD OF PHOTGRAPHY JONATHAN ALONSO

MARKETING DIRECTOR TEN SODEINDE

ASSISTANT EDITOR YESENIA ALONSO CONTRIBUTORS ANDY REMY

RILWAN AMEEN JOYCE DAVIES

THE WORL

LD IS YOURS

#10 FALL 2014 P: 10 | YOUR WORLD : VOL 2 P: 16 | Door Knockers to Feathers

P: 24 | BREEDING NOSVIES NYC

P: 32 | WHY FKA TWIGS IS A CUT ABOVE THE REST

P: 36 | SOCIAL SYNERGY P: 45 | TREND REPORT P: 50 | LOCKER ROOM REPORT

P: 52 | MESSAGE WITH PROPAGATION

YOUR WORLD: VOL II JASON STONE

MIKE BROWN RALLY | NYC

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“I’m not getting arrested tonight!” is what I told myself before prying my friend away from the oncoming police barricade. The scene is 42nd ST & 8th ave right across from the Port Authority just outside of Times Square. Its here, where I am apart of a peaceful protest held for Mike Brown. Brown, if you’ve been living under a rock, is the teen who was executed shot and killed by officer Darren Wilson in Ferguson, a small city in the Missouri. It was the case of yet another, unarmed young black male murdered in the United States. The sting of this story is reminiscent of the same sting I felt last July upon hearing the George Zimmerman verdict. It’s the same sick feeling I got the first time I ever had flan. I felt disgusted. Of course, this is just another miserable story of unnecessary excessive police force being used on minorities. I won’t stress myself for you guys to tell you the not so startling stats, you can research it yourself: minorities are more prone to being stopped by police than whites. We are more likely to be stopped and frisked, pulled over, and more. The sad part about this is, just a few weeks before the Mike Brown incident…. I was fuming over the execution murder of Eric Gardner at the hands (more like very illegal choke hold) by a NYPD officer.

I even had to hear how the move “was not a chokehold.” Yup! Make no mistake about it; if you’re a minority, you are a target. This is especially true if you’re a black male. However, something I heard on CNN from rapper Killer Mike was something extremely thought provoking. What happened in Ferguson, was not just a black tragedy, it was an American tragedy. He didn’t say those words exactly, what he said was “the rights of all Americans were violated and left to leak out on the pavement where Mike Brown laid for hours.”

We as Americans tolerate police brutality.

If we didn’t, do you think Ferguson police would have military weapons on them to deal with protesters? Brown will not be the last, this is a given. All this brings me to the night of the New York rally for Brown/Ferguson. It started at Union Square Park, where by the time I arrived, was full of the mourners. The protests going on were more silent sit-ins and some passionate speeches. The image I won’t forget was the little boy with his hands up and a sign saying “Don’t Shoot.” I wanted to really march though. I eventually made my way to Times Square where I caught up with the more vocal crowd. We marched through the streets, chanting, showing our frustration in a civilized, constructive manner. Meaning, nobody was hurt and nobody’s life was being threatened. There were police everywhere. I had never seen so many police officers, ever.

There were several instances were police and protesters came face to face. However nothing prepared us for what was to come.

The protest was making its way down to 42nd & 8th ave, a bunch of us were stopped at the corner of the street. Police blocked us from heading towards 9th ave. As I scanned my surroundings, I noticed I had my friend was further away in the crowd. I figured, its no big deal, I’ll come across her at some point. Suddenly I felt myself being pushed and squeezed in by the same people I came with. I noticed there was a police officer inciting the crowd and shoving us together while another one began to bring out a rope.

Didn’t take me long to see they were trying to rope us in and box us into the corner so we couldn’t leave. Once boxed in, there was no telling what could happen. We could have been sprayed with mace, arrested, etc.

I wasted no time; I located my friend and pulled her out of the crowd.

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MIKE BROWN RALLY | NYC THEEXPERIENCE MAGAZINE

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THE EXPERIENCE MAGAZINE We made it out just in time to see the police successfully rope in the protesters and sure enough, chaos ensued. What started as a peaceful protest turned into pandemonium with the whole world watching. By the end of the night, several arrest were made and I could have been one of them seemingly for just being there. The country (or some of us at least) awaits what will come next from this situation. And while we await Officer Wilson’s inevitable fate (unless somehow he manages to skate off) we will also wait for the next Mike Brown to happen. And when it does, will you finally say you’ve had enough? Or will this become another story swept under the rug of a country full of skeletons in its closet?

The choice is ultimately yours.

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Door Knockers to Feathers 16

INTERVIEW BY: YESENIA ALONSO PHOTOGRAPHY BY : Carlos Duran | Jay Maldonado Alexandra Henry | Christina Isabel Rivera 17

Maria “TOOFLY” Castillo, staying true, so much character and demeanor only a city like New York could create. She is an internationally successful graffiti artist that has expanded her creativity to all venues of art. Widely known for her vigorous depictions of beautifully designed women, Maria Castillo’s intense love for creation, independence, and ethnic exalt bleeds through each one of her pieces. TOOFLY spoke to The Experience of her journey as an artist, the maturity and growth she’s experienced living in the United States and Ecuador and all her charitable give-back to the young women of New York City.

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YA: First I have to say your work is not like most graffiti seen around NY or anywhere else for that matter.

MC: Thank You:) YA: What would you say was your start in this amazing art form?

MC: I have been drawing since I was a kid.

Art has been my life since I can remember. In high school I started to take it seriously and consider my career to be based in art and design related work. Because I went to Fashion Industries HS, I had the opportunity to meet some graffiti writers who were paving the arts culture we know today as street art.

A worldwide movement I am proud to have been part of since 1992 simply by catching tags on walls and later developing my aerosol skills to paint large walls with strong women art.

YA: I’ve done my research, you’ve done a lot of community oriented projects. Can you elaborate on that?

MC: During High School there was special programs for youth in the arts that gave you the opportunity to exhibit artwork in various offices in midtown Manhattan. I was part of the ARTS CONNECTION organization then, and as I got older I kept working within my community with youth in the arts. I would get invited to speak about what I do as an artist and entrepreneur at various High Schools throughout the five boroughs. I went on to organize youth art workshops with various schools/organizations for a while and independently build with young people to invite them to paint murals to beautify neighborhoods. Today my team and I host a variety of community arts and culture events with our LADIES LOVE PROJECT as well as PROJECT GIRLZ that grew from the seeds planted in my first collective entitled; YOUNITY.

out 100% women but we have since put the fellas down as well. The event has grown from 10 vendors to 30+ vendors to music performances, and food vendors. We host one every spring and every fall in the Lower East Side. Our friends and family come out to support their local artisans as well as get inspired and have a good time. Many young people attend our events as well and we feel that it is important for them to see how things are made independently, to promote entrepreneurship as well as making things with your hands and imagination.

YA: You have been doing graffiti for a long time but do you feel as though your work has changed since you began till now?

MC: Yes. I started back in the early 90’s tagging up and drawing “around the way” girls, b-girls, and hip hop inspired imagery.

I have grown lots since then and my work has taken a turn, especially since I moved back to my country Ecuador three years ago.

I’m inspired by an array of new things today like nature, spirituality, and the roots of my people. I still very much love to paint strong women, only now they are “warrior” women. There is a lot more patterns in my work, markings of a different kind not just graffiti tags. She is also more at peace. Instead of door knocker gold hoops, they rock feather earrings or indigenous inspired jewelry. The energy is different and so the vibration of my work and delivery is different now.

YA: I find it fascinating that you travel back and forth between North and South America. First, how do you find time to work on your art and attend all these events?

MC: Because I now live in Ecuador officially 70% of the year I have plenty of time to paint, draw, think, read, organize, cook, and YA: Ladies Love Project allows the chance lots more. I have taken back my time, a prefor female artists, including you, to come cious gem that was lost for many years trying out and sell as well as show off some of to live up to the rising cost of living and the your work. Can you tell me about that? fast pace of city life. Now that I got my time MC: Ladies Love Project started back in back and I “woke up” from all the madness, 2010. It’s a small one-day Pop-Up Shop event life is bliss. I feel free, creative, and most of meant to bring together local NYC indeall in full gratitude. It fills me up with new pendent artists and designers to showcase ideas that I can take back to the amazing city and sell their handmade goods, artwork, that birthed my passions; where I can reach and promote their small business. It started hundreds of cultures and minds on that NY 20

THE EXPERIENCE MAGAZINE

YA: When you see fellow artists around how would you compare yourself to YA: What’s your style? Between your graf- them? Do you feel as though you don’t follow the style of art that is out now, fiti, jewelry, clothes and more you have would you even want to? this funky upbeat colorful edge.

MC: I admire various artist’s work and hold MC: Unsure. A few that have written about my work say it’s hard, fluid, graphic, colorful, them in high praise for what they do in techstrong, fierce, vibrant, fun, funky, fresh, dope, nique, ideas, etc; If I see something super amazing that inspires me to create, that is a fly, slick, native and filled with emotion. wonderful vibration to have. Art inspires art YA: Why women? And why center it on all and that is gold! I do not compare myself to them because they are on another level of your work?

MC: I feel like I carry a strong women energy. and have different ideas. There’s hundreds and thousands of styles and artists out there There’s something bigger than me wanting to express this idea in it’s many forms. I also today. There is no need to follow or copy anyone else when you love what you do and grew up with strong women in my family who are independent and loving. I celebrate how you do what you do. If you’re not in tune with who you are you will be a follower them with every piece I create. I have also noticed throughout my life that I gravitate to and will spend your time trying to fake it til work with women most of the time. I feel we you make it. To be a “true artist” is a gift. You either have it or you don’t. have so much strength and can do so much for the world especially in numbers. We’re YA: Has being such a busy artist left you dope, beautiful, and higher beings in my eyes because of so many reasons. I want to with any down time to just reflect on everything? portray that in my work and bring it out for MC: I’m busy when I need to be. I got my all to experience it in some shape, way, or time back and have plenty of it to dedicate form. to quiet days where I can reflect and be clear with my decisions and choices. Down time is the best. Not many value it and it’s super important for an artist.

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YA: Do you have any artists past or present that have inspired you?

MC: Many. I love El Mac’s work, Franz Kline, and many others.

YA: Your work has a very inspiring and positive vibe, has there ever been a moment where you just regret what you did and wish you could redo it?

MC: NOPE. No regrets. Every single choice I ever made, even the fucked up shit, I feel was right and in line with my beliefs.

YA: What other passions do you have?

MC: At the moment traveling to different countries in search of paradise. Designing homes and building them. Landscaping, gardening, and cooking. Life has a lot to offer when you have and make time.

YA: Lastly if you could just take a step back, leave the art scene for a bit and go on hiatus, would you?

MC: I’m already pretty much doing that. It’s the best thing I ever did!

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Tooflynyc.com/life/ Instagram.com/toofly_NYC

“I feel we (women) have so much strength and can do so much for the world especially in numbers. We’re dope, beautiful, and higher beings in my eyes because of so many reasons. I want to portray that in my work and bring it out for all to experience it in some shape, way, or form.”

INTERVIEW - MARIA 'TOO FLY'

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FALL 2014

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Breeding NosVies NYC 24

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RALPHY

VIES

INTERVIEW BY JASON STONE PHOTOGRAPHY BY YESENIA ALONSO 25

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Ralph Vies is a fashion entrepreneur from the Bronx, New York ready to entice the fashion industry with his designs for NosVies NYC. He’s always been a big dreamer with a great support system that influenced his ‘go hard or go home’ attitude - his mother. Growing up in New York City is always a challenge for anyone wanting to make a name for themselves. Ralph Vies was able to do as such, and plenty more. His success and drive is a derivative of SUNY Brockport, mixed with our generation’s fandom for Dipset. NosVies speaks to New Yorkers and will soon have a voice in other parts of the country. With amazing platforms such as Raw Artists, Ralphy has taken the opportunities put in his forefront and blossomed with every hand he shook and every person he met. There is no obstacle Ralphy won’t be able to tackle. He is ready for NosVies to cultivate and has an extremely passionate path ahead of him.

JS: First off, it’s a pleasure to be conducting this interview! Your grind is extremely motivating especially to me. Its good to see a young brother hustling and making moves.

JS: We both are apart of “Raw Artists” and participated in one of their shows this past March. It was an incredible event for us upcoming artists especially those representing New York. What opportunities has Raw brought you? Especially, since you’ve taken advantage of it on multiple occasions.

RV: I would like to start off by saying Raw is one of the best things that ever happened to me being an independent designer.

Being a raw artist has given me multiple opportunities to showcase my work in New York City twice and in Toronto Canada. Raw has helped me overcome one of my fears of talking in front of a camera. I was able to meet many ambitious individuals at these showcases and was able to learn from each person. Without Raw, this interview between the Experience Magazine and I would not have been possible, so I’m truly thankful and appreciative of the opportunities Raw has given me.

JS: Tell me about your mom and how she’s been the foundation of NosVies.

RV: My mother is the hardest worker I know and I believe I get my work ethic from her.

Growing up, I watched my mother wake up at 6 every morning, Monday through Friday, and leave the house by 7 just to provide for me and my brothers and sisters. My mother always told me whenever I did something to make sure I gave a 110% and put my life into it. Nos Vies means “our lives” in French and that ethic was instilled in me at a very young age, which then transpired to my work.

JS: Was art always something you wanted to do?

RV: Although art wasn’t something I always wanted to do growing up, I had a passion for it and was apart of my high school’s art club.

I always wanted to become a professional basketball player. I thought someday I would be playing in the NBA or overseas. As I got older, my hoop dreams started fading away and I then had dreams of one day becoming a nurse. As for fashion, it was something I considered apart of me, especially being from New York City, I was always exposed to 27

from New York City, I was always exposed to fashion.

JS: Growing up in New York City, you’re thrown into a world rich in culture, in essentially every borough. As you grew up in the Bronx, what was the scene like fashion wise and how did it stand out, in comparison to a place like Harlem?

RV: The Bronx was an amazing place to grow up in when it came to fashion. The Bronx did not have much of an identity when it came to fashion but what made the Bronx unique was the mixture of the 5 boroughs combined in one to create “the Bronx” style.

Being that the Bronx had a combination of a Harlem style mixed with Brooklyn and a bit of Queens to create an outfit; and to me, the Bronx always stood out.

JS: Speaking of Harlem, I read your tweet “when you make it you owe Dipset.” I know how it feels to want to give back to certain artists that inspired you the most 28

you the most but what has the Dipset movement done for you and your work?

RV: I grew up listening to Dipset and wanting to be just like Cam’ron simply because Cam’ron had such a fearless approach to everything and his fearless approach reflected in music and even the way he dressed.

Cam’ron and Dipset were individuals just being themselves and did a great job expressing who they were. Growing up in the Bronx we all had to overcome certain obstacles, and knowing someone you idolized went through the same obstacles makes each situation you go through in life much easier to cope with. The Dipset Movement made me gain and understand how to have a fearless approach towards anything I did and helped me express myself.

JS: You’re a SUNY guy like myself; do you feel that going away to SUNY Brockport made an impact on you and how you go about your brand?

THE EXPERIENCE MAGAZINE “My mother is the hardest worker I know and I believe I get my work ethic from her. Growing up, I watched my mother wake up at 6 every morning, Monday through Friday, and leave the house by 7 just to provide for me and my brothers and sisters. My mother always told me whenever I did something to make sure I gave a 110% and put my life into it.”

RV: SUNY Brockport had a major impact on NosVies NYC. During my sophomore year at SUNY Brockport OSAD (Organization of Student with African Descent) gave me an opportunity to showcase my work for the first time. After my first fashion show I received great feedback on my clothing. SUNY Brockport is the reason why I knew NosVies NYC was something I wanted to do for the rest of my life. I went to college with a dream of one day becoming a nurse and during that process I figured out that nursing wasn’t where my heart was. It was fashion in which my heart belonged.

JS: What does “Slim Wolf” mean to you?

RV: Slim Wolf is one of my favorite designs.

The meaning behind Slim Wolf & inspiration comes from my cousin who passed away the summer of 2013. Stephen, also know as Slim, was someone who believed in my clothing line and actually pushed me at times when I didn’t believe in myself. Stephen would, wear Nos Vies to a point where at times, I

would get tired of seeing him wearing some of the clothing pieces. When he passed away I felt it was only right to create a shirt that captured inspiration and motivation all in one.

JS: You have a piece called “Don’t Ever” that highlights some of your favorite artists. Who are some of those artists?

RV: Don’t Ever was a combination of Michael Angelo, Picasso, and my brother G. JS: What was that piece Keri Hilson was wearing? That design was really dope!

Was that an exclusive? How did that come about?

RV: The design Keri Hilson was wearing was called “Love & The City” and no, the design wasn’t exclusive. The “Love & The City” design came out in my first season, “Bonjour”.

The concept behind that was capturing a moment in my life in which I thought I was in love when in all actuality, I was not.

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JS: What is the creative process behind your art and your prints?

RV: When it comes to the creative process behind my work, I just let my mind wander and just draw exactly how I’m feeling. All my work for NosVies has a meaning, a story, or something I’ve experienced in life.

JS: I believe we represent a new wave of artists in the New York scene, along with Chris Colon & Kerry Campbell to name a few. Even though you guys are my peers and I follow you all, I also look at you guys like competition. Obviously not in a villainous kind of way, but in a sense to make sure I’m always pushing myself to greater things. I see us all at the forefront one day because I know where I want to be in the next 5 years. What about you?

RV: In the next 5 years I want to still be creating unique and exclusive pieces. I want to at least have a store in NYC and be in the works of opening a store in Los Angeles. I want to target all the big cities with my brand, not only because they are big cities, but because they are also considered the Mecca of fashion. I also wanted to branch off into a Men’s suit and tie line as well called Manson. I have very big dreams and expectations for NosVies NYC. 31

Why FKA Twigs is a Cut Above the Rest Article By DJ Ten

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Before the nonsense you now see on the internet, before this circus show, FKA Twigs was not known by many. In fact, only people loyal to the experimental sound of lo-fi textures and the revival of the neo trip-hop scene would know of FKA’s presence. Most liked it that way, including me. But now this vampire guy has got his clenches on her, we will all see her in the tabloids for the wrong reasons. What am I talking about you ask?

Well….let me just put it to you like this. Don’t pay any mind to all of the pictures circulating around the internet of her and Robert Patterson. FKA Twigs is a musical genius who deserves exposure for her music, not for a “Twilight” relationship. For now, let’s focus on her debut album “LP1” and why this lady deserves a Grammy nomination if not multiple nominations for this album.

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Firstly, FKA Twigs has a sound that is unparalleled, taking prominent elements from both opera and darkwave textures to create a balanced and blissful aura. Yes, she produces most if not all of these tracks herself, substituting the Arca productions. The icing on the cake for LP1 is FKA’s melancholic vocals that transcend every song to a next level of trippy!

Everything FKA touches seemingly turns into a magical record. There is not one song that you will not be intrigued by when listening to her album. Your ears will thank you once you enter FKA’s world of enigmatic serenity.

Secondly, FKA represents the evolution of music for today’s generation of listeners.

Rather than being pigeon-holed into genres, FKA just makes music from the soul. These are sounds that depict canvases of raw emotional plight as well as pulsating elation. FKA’s sound truly embodies her lyrical content; there is no question about that. Smart and functional music is the future. Why does it matter if you are labelled with a genre you ask? Well, it matters in the sense that once labeled; people will expect a certain sound and packaged deal from you. There is no room for experimenting without excruciating judgment. Think about it, before people knew how FKA looked, she was described as an English female with no boundaries in sound, a creative goddess.

Then all of a sudden, once people saw she was black and of Jamaican descent, she was immediately labelled as the new R&B queen, the Aaliyah of our time. Smh. Not Cool! Labels are destructive to the creative process of music.

Thirdly, FKA Twigs rebels against the musical confinements of our time, fighting to keep music mysterious and exciting for the listener to analyze and interpret. Production that ignores structure to enhance the sonics of a record is her specialty. There is nothing better than listening to an album and not knowing what you may hear. We need more albums like this I say!

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In truth, there are many other artists do the same thing and hate being labelled, but ask yourself, “Are they bringing anything new to the table for the evolution of music”? Are they amongst the XXYYXX’s and the Sampha’s? Because a new wave of visionary musicians are about to take the world by storm and FKA is one of the forefront females in that line-up. The rest of today’s trash musicians will be left behind as these guys sweep them up!

FKA Twigs LP1 is worth a listen. Give it a try if you want to expand your mind. If not, then FKA Twigs won’t be for you.

twitter.com/FKAtwigs f-k-a-twigs.tumblr.com/

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Social Synergy 36

MATTHEW BURROWS Interview by Simonette white PHOTOGRAPHY by YESNIA ALONSO

Matthew Denton Burrows uses the power of creativity to connect the world through his artwork. Although art is a subjective form of expression, the connectivity demonstrated by Burrows has made one feel closer to humanity. He is a complex visionary that outpours his passions through intense research and social insight in order to grasp the right messages to convey on his canvas. A true artist and narrator, born and raised in New York City, has taken his artwork to the next level of consciousness. Burrows has shared his beautifully outspoken pieces through the outlets of his own published book to the Grantland Quarterly for ESPN to the Playboy Fall College Issue of 2012. His work is astonishing, to say the least, and has an acute way of keeping his audience’s attention while drawing in more fans with intricacy and questions. The light aggression of that gravitational pull to continue the maze of perplexion in his work, simply leads to the revelation of undiscovered thoughts in his pieces. As soon as you enter his site, it takes no convincing to see that Burrows has the magic touch.

SOCIAL SYNERGY SW: What can one find entering the world of Matthew Denton Burrows?

MB: I think the first thing one will find entering my visual world is a complex and limitless sea of content, color, and subject matter.

There is a great deal of focused observation that goes into my work and the idea is that once people accept the complexity of subject matter and color, they will begin to see what I think of as organized chaos, which to me is how I see the world itself. People will be confronted with an open-ended narrative in my work that allows each viewer to have their own unique experience of visual exploration. Art should be a conversation between artist and viewer. I speak my mind through my work on many different social issues, and seek to provoke the viewer to first enjoy the visual pleasure, complexity, and connectivity, but then to delve deeper into the meaning of the subject matter and why everything is connected.

SW: How did it feel at the time to be the pioneer of a one man show at your school as a freshman?

MB: Having a one man show as an undergraduate student was a real honor for me.

Lehigh University did not have a large art program or community, but it was a strong program in my opinion, with great professors that allowed me the mental and educational freedom to explore the artwork I wanted to make. Allowing me to represent the program to the rest of the academic community was very gratifying. I think the department’s trust gave me a lot of confidence and trust in myself that allowed my work to evolve successfully from that moment on.

SW: Your work is so extremely intricate, how do you even begin the process of making one and remain focused enough to complete it?

MB: I guess you could say that the intricacy of my work is my specialty. It is the work’s signature element. The challenge with each work is not to overwhelm by its complexity in a negative way. I don’t want the viewer to feel it’s too much to consume. Instead, I want the viewer to feel the need to explore, dissect, and understand. I discovered early on 37

like “New York will eat you if you let it,” while perhaps overthat attempting to create such dense works used and sometimes perceived requires massive focus, but it also can’t be as cheesy, are completely true. done without risk and spontaneity. I never Growing up here provides one plan an entire piece before I start. I never with a grit that I believe serves even plan half of it. I do a lot of research on a topic, or a series of topics, that I want to in- people very well in life. Howtertwine. Then, I collect an abundance of ref- ever, this city can sometimes lack compassion and empathy erence and visual inspiration. Next, I simply and I think I am always striving start with one visual that really excites me.

Something that the rest of the piece can feed for a balance of grit and compassion. When I was sixteen I off. It is important to note that most of these works take two to three months minimum, so drove across America for the how I stay focused is a good question. I nev- first time and have done so four more times on four differer work on two at the same time. Its always ent latitudes. These adventures one piece until it’s done. The key to staying have brought me to almost focused is remembering that art is not sepevery state in this country. They arate from life. When I leave the studio I am were the greatest experiencstill scanning my immediate environment as well as the world, thanks to TV and the Inter- es of my life and the contrast enhanced my understanding of net, for inspiration. The world never fails to this city tremendously, as well deliver. as America. I think contrast is essential to understanding anySW: Explain the Social Synergy series. thing and if there is one major What were you trying to express with concept those trips made me this? understand it is that New York MB: Social Synergy has been the title of a City might as well be its own series of work that has been ongoing since country.

I graduated from my Masters program. The “social” aspect of the series comes from all “The “social” aspect of of the research I do before deciding upon the subject matter and social commentary the series comes from of each piece. The “synergy” part is a bit all of the research I do more abstract. So the idea is that the topics before deciding upon I choose to research result in interesting imthe subject matter and agery, that when connected together, create something greater. Many social issues come social commentary of together to make a statement beyond each each piece. The “synindividual topic.

SW: Growing up in Manhattan, how did that environment influence you in life and in art?

MB: I think there has been no greater influence to me as a human being and as an artist than Manhattan and New York City as a whole. As someone who feeds off of diversity, complexity, and juxtaposition, this city is a visual dream. There is also such a diversity of art to be seen in this city and such a high caliber of work that is always pushing practicing artists to be better. To me, Manhattan is essentially an urban organic organism. It is never in a state of rest in terms of its energy and physical state. All those sayings 38

ergy” part is a bit more abstract. So the idea is that the topics I choose to research result in interesting imagery, that when connected together, create something greater. Many social issues come together to make a statement beyond each individual topic.”

THE EXPERIENCE MAGAZINE

SW: Growing up in Manhattan, how did that environment influence you in life and in art?

MB: I think there has been no greater influence to me as a human being and as an artist than Manhattan and New York City as a whole. As someone who feeds off of diversity, complexity, and juxtaposition, this city is a visual dream. There is also such a diversity of art to be seen in this city and such a high caliber of work that is always pushing practicing artists to be better. To me, Manhattan is essentially an urban organic organism. It is never in a state of rest in terms of its energy and physical state. All those sayings like “New York will eat you if you let it,� while perhaps overused and sometimes perceived as cheesy, are completely true. Growing up here provides one with a grit that I believe serves people very well in life. However, this city can sometimes lack compassion and empathy and I think I am always striving for a balance of grit and compassion. When I was sixteen I drove across America for the first time and have done so four more times

on four different latitudes. These adventures have brought me to almost every state in this country. They were the greatest experiences of my life and the contrast enhanced my understanding of this city tremendously, as well as America. I think contrast is essential to understanding anything and if there is one major concept those trips made me understand it is that New York City might as well be its own country.

SW: What inspired the foot fetish piece?

MB: The foot fetish piece was a lot of fun. It was for an illustration competition that Playboy Magazine held with my Masters program at The School Of Visual Arts. We were presented with a work of fiction that was the winner of a countrywide writing competition. The story was about an alcoholic who ends up at a very unusual and unorthodox rehabilitation clinic where they essentially allow each addict full access to their drug of choice. The idea is that they reach a point where they almost die or come to the conclusion that they have had enough. When an 39

addict overdoses, their addict companion, using a bizarre electrical machine with a giant wheel, revives them. The protagonist also has a foot fetish and he focuses that fetish on his addict companion, a girl with pill addictions. The complete strangeness of this story was immediately appealing to me, as most strange things are, and I must say the piece came together quite fast and was a pleasure to create. It was featured in Playboy’s Fall College Issue in 2012.

required to make a book as our first major project. Illustrating images to go along with words was not my interest so I decided to take the title of the Masters program (Illustration As Visual Essay) as literally as possible and create an open-ended narrative of visuals and no words. The work in this book, drawn by hand, and colored digitally, was intended to evoke a foreboding sense of urban environments. Certainly Manhattan should be credited as an inspiration, as well as some dystopian science fiction movies SW: Which is your favorite piece of work I was into at the time. But on a simpler aryou’ve ever done? tistic level, I have always been attracted to MB: It is hard to say which is my favorite drawing derelict objects and structures and piece. They all have a place in time and a people that inhabit them. However, self-pubpersonal connection, each of which is differlishing was a great experience. Perhaps not ent. If I have to chose one I think it would be a economical one, but it taught me a lot “Fifty-Four Forty Or Fight!” That work is in the about books, how they are made, how they “Social Synergy” section of Fine Art on my are sold, and in the end, brought my work to website. This work is my favorite because it the eyes of more people, which is always the has the strongest personal connection to me. goal.

The work is about a dear friend, who I grew up with, named Steven Golieb. He left ManSW: I know the issue with athletes getting hattan when we were in middle school and hurt during physical contact sports has bounced around quite a bit. We reconnectbeen an ongoing debate. How did you ed when he saw my artwork several years get involved with making an illustration ago and told me that he was in the process for the NFL? of creating a town in eastern Oregon from MB: The illustration I made about concusscratch on the site of an abandoned limesions in the NFL was for ESPN and their stone factory. Simply astonished by this, I journal Grantland Quarterly, which is run by asked him if I could come out and visit the Bill Simmons. I highly recommend it if you site, reconnect with him, and in the end, cre- like sports. This opportunity came about ate a large work about this massive endeavor when I met one of Bill Simmons assistants he had undertaken. It ended up being an while traveling in Israel a few years ago. She amazing trip. We stayed in a town of 400 liked my work, and got me the gig. I love this people near the site. Steven explained all of illustration because while it is still clearly my the ideological influences behind his vision work in terms of the drawing style, the other of what is essentially a redefining of America elements such as the color palate, and the on the scale of a small town. Sustainability, repetition in the background were both new community, barter, art, politics, all being infor me and certainly pushed my abilities. Decluded and redefined. We spent days on the spite the fact that it was about a very serious site exploring the structures and contemplat- issue affecting all contact sports, especially ing the philosophy of his ambitious project. the NFL, I had a blast drawing a brain comIn the end, I had an experience I will never ing out of a football helmet. I think that’s one forget. I got one of my true best friends back, of those moments when you pinch yourself and had the material to make a significant and say its pretty cool someone paid me to work of art filled with interesting social com- do that. mentary and visuals.

10) SW: Who would be your ideal artist to SW: How did “Just A Glimpse” come collaborate with? about? How’d you feel to self-publish?

MB: I think it would be a lot of fun to collaboMB: The book, Just A Glimpse, came about rate with an artist whose work is more abwhile I was getting my Masters. Since it was stract and doesn’t feature people and clean an illustration-focused department, we were black lines like mine. I think the contrast of 40

INTERVIEW - MATTHEW BURROWS one of my characters with some clean, bold, and colorful abstraction would result in an interesting visual marriage. In terms of a specific artist, that is hard to say. I did a large mural in between two pieces by Hellbent and always wished we had connected them in some way.

SW: You recently did a piece for the Northside Festival in Williamsburg, you mentioned they allotted you 5 hrs to work, what is that pressure like? Did you feel pressure at all to come up with your best work in only 5 hours?

MB: The mural I did at the Northside Festival was a great experience. It was the largest piece I have had to create in the shortest amount of time. I think the pressure of it was beneficial because it did not allow for a lot of contemplation but instead for more risk and spontaneity, two things that can sometimes lead to bad work but also to breakthroughs and new techniques. The image I created was from my imagination using a bunch of colors I bought last minute. It was a much different experience from my intense research and detailed, time-consuming work on paper. It is always important as an artist to have new experiences like that because they always cross over and affect the way you are comfortable working.

SW: What’s the next move for Matthew Denton Burrows?

MB: My next move is a big one. I have my first solo show in New York coming up. It is November 7th at Greenpoint Gallery. I would encourage anyone interested in my work to come because seeing my work in person is the true experience. The Internet just doesn’t do original art justice in my opinion. It is also a very unusual gallery space and there will be a full bar and live music, which is always a plus.

Check out Matthew Denton Burrow’s amazing artwork live at his new solo show on November 7th at the Greenpoint Gallery! You can’t go wrong with a full bar and live music!

Also stay updated and purchase signed pieces at www.dentonburrows.com For inquiries regarding commissions and studio visits, contact him dentonburrows@gmail.com Don’t forget to follow him on IG: @ dentonburrows

SW: I’ve noticed a common theme within your murals, you connect all your subjects? Why is that?

MB: I connect all my subjects in all my work.

First and foremost, I think that is the key to the element of complexity I strive for, but it is also an intellectual tactic and the way I drive the open-ended narrative of each work. I encourage people to follow the connections between subjects and objects, because they are the key to the commentary behind the work. On a simpler level I think everything is connected because to me the world is more connected than it has ever been and that connectivity is only increasing exponentially.

That is the key ingredient in the giant experiment that is our world today.

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Contact katarinac525@gmail.com for info

FALL 2014

JOYCE DAVIES Seasons Greeting, or am I too early?! Hey when Fall hits all I think about is Coats and Christmas, my two favorite C words. If you personally know me you know I love and adore coats/jackets. I adore all types from crops to floor length. I also have been wondering should I start investing in leather and exactly what are the latest boot style, cut and colors you should know about this season.

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What Coat Are You? If you’re edgy you definitely want to rock this motorcycle jacket trend. This is great for wearing now and further into the winter. For my ladies all you have to do is pair it with a long faux fur vest. It’s chic, edgy and warm all at the same time. For my men keep it old school rock a cool hoodie underneath, giving you an extra warmth while still looking cool.

*Top to Bottom : Women (H&M) Mens ( Balmain) *L to R: Women (Faith Connexion) Mens (Balmain) – Photo Credit: ShopStyle.com

For the sophisticated doll, a long tailor coat will be perfect. Keeping it cute and classy all winter long. For the dapered man a coat that is a perfect fit and breathable is the best way to go, try going up a size to give yourself, and your muscle more room to breathe. Traditionally people would rock black but this season camel and nude is the new winter coat color trending.

*Top to Bottom: Women & Men (H&M) *L to R: Men (Brooks Brothers) Women (Donna Karan) – Photo Credit: ShopStyle.com

TREND REPORT - JOYCE DAVIES Investing in leather???

We are not sure if leather is going away any time soon. Since last fall, thru summer now back around again everyone from August Aliana to Kim & Kanye has been rocking leather hands down. Leather has now become a staple piece that should be incorporated in everyone’s wardrobe.

For women I recommend a leather pencil skirt. It is the right amount of sexy yet classy.

You can pair it with a pussy bow blouse for work and/or a black lace top for after hours. This piece is worth the investment because it works for any style.

*L to R: Alexander McQueen, Hugo Boss *Top to Bottom: H&M, Alexander Wang - Photo Credit: ShopStyle.com

For our male specimen we believe a little leather goes a long way. Since our men our so masculine, they just need a little taste of the edgy trend. Whether is just the shoulders of a sweatshirt or sleeves on a simply t-shirt. This simple yet edgy look is everything!

*L to R: Rick Owens, Neil Barrett *Top to Bottom: H&M, River Island *Photo Credit: ShopStyle.com

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Warmer Walks Knee highs are the way to go this season. They go great with miniskirts and long coats, sweater dresses and dark jeans. They are the “it” item every winter in my book. For the shorties like me I say invest in a cute ankle boot, its stylish but doesn’t take away from our height like the knee highs.

*Top to Bottom: Steve Madden, Sam Edelman *L to R: Rag & Bone, BCBGeneration - *Photo Credit: ShopStyle.com

For are partners we suggest construction boots not made in suede. Water and suede don’t mix so we say add leather in the mix and invest in darker colors. As well as changing it up this season with some high tops, to give an extra flavor to this cold weather.

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*L to R (Clockwise): Balmain, Alexander McQueen, Givenchy, Mr Porter – Photo Credit: ShopStyle. com

Just funky enough to make your mother nervous

therooksband.com

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RILWAN AMEEN

LOCKER ROOM REPORT Growing up watching the New York Yankees throughout their dynastic post-season runs of the mid 1990’s-early 2000’s and run of 17 playoff appearances in the last 20 years, there has been one constant manning the Shortstop position: No. 2 Take a moment to reflect on this statement – The Yankees counting this year, will have only missed the MLB postseason THREE times in TWO decades! The last member of the famed Yankees ‘Core Four’ (Jorge Posada, Andy Pettitte, Mariano Rivera and now Jeter) is heading into retirement. Yes the captain, #2, Derek Jeter is retiring following the conclusion of the Yankees season in Boston. As a native of the Bronx, I’d never thought I see the day where this would take place as reality. Spoiled with five championships (1996, 1998. 1999, 2000 and 2009) through Jeter’s tenure, his presence gave the Yankees a true face of the franchise through the Years following Don Mattingly’s retirement.

Announcing his retirement in February, pre-dated the official ‘Derek Jeter’ retirement tour and marked the end of a hall-of-fame career after 20 seasons in Major League Baseball. For the second straight season the Yankees and the entire league would bid adieu to a living legend – the Sandman in 13’ and the Captain in 14’. At a record of 81-77 the Yankees are eliminated from postseason contention, but fans have not been deterred from seeing Jeter’s last games with ticket prices soaring to an average of $400 for the final home game at Yankee Stadium against the Orioles on September 25, and final road game against the Red Sox on September 28.

There’s even been a ‘Re2pect’ commercial made by Jordan Brand dedicated in his honor, where several notable celebrities make cameo appearance to salute the Yankees Shortstop including Carmelo Anthony, Billy Crystal and Michael Jordan himself among others. Not to mention a Jeter themed Air Jordan pack, which retailed for $160 and now values at approximately at $500.

His stats at the age of 40, very pedestrian from his peak career numbers – this season: .253 batting average, 4 homeruns and 45 runs batted in with a .301 on base percentage and .309 slugging percentage. All numbers dramatically down from career numbers of .310 batting average, 260 homeruns and 1307 rbis and counting along with a .377 on base percentage and .440 slugging percentage. There’s so many memories apart from thinking of the Jeter of present. The ‘bleacher creatures’ fans favorite and beaming star of Yankee lore from Kalamazoo who made his debut in pinstripes on May 29, 1995. His ability to turn a 4-6-3 double play, the way he leapt into the stands in game 5 of the ALDS against Oakland and emerging a bloody mess, or the manner in which he made the game saving play quickly getting the ball to Jorge Posada to tag Jeremy Giambi out at home plate in Oakland or hitting the homeruns for his 3,000th hit and in the 2001 World Series against the Diamondbacks which earned him the moniker ‘Mr. November’.

Ultimately what often gets overlooked on Jeter’s career is in an era where steroids dominated the play and conversation, he put up numbers that are truly hall of fame worthy. He was a two-way player on both ends hitting .340 in his prime as a leadoff hitter while maintaining his play as a Gold Glover at his position. Factoring in longevity and health into a successful career, staying healthy and helping your team every day is part of the game and Jeter excelled in the category. Of all-time great Yankees, you would have to rank Jeter slightly behind Babe Ruth, Mickey Mantle, Joe DiMaggio and Lou Gehrig. Beyond that, you’d be hardpressed to argue putting anyone definitively ahead of Jeter in those ranks. We’ll miss you Captain. Sail off happily into retirement and behalf of New Yorkers thanks for your constant presence and establishment of winning tradition over the past 20 years facebook.com/rilwan.ameen.3

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Messages With Propagation RONALD DRAPER Interview by JASON STONE PHOTOGRAPHY by YESNIA ALONSO

As long as they know his art, no one needs to know Ronald Draper? Wrong! The Experience had the greatest opportunity to sit down with this creative visionary.

True to his art in every way, Ronald Draper intends to share his intensities, his thoughts, and nuances with the world, one art piece at a time. An intellect with much to offer has given creativity another meaning. This artist is an inspiration to us all, not only allowing his audience to enjoy the art, but filling our brains with motivational and influential quotes by our most renowned faces of history. He is a champion in self-worth and fulfillment; a continuous reminder to be our greatest selves. Ronald Draper is teaching our future generation and captivating our current.

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JS: A lot of your work focuses around a particular quote that weaves itself into the subject. What is your creative process like?

RD: Each and every one of my pieces focuses around a quote of some sort. The first step among many, is to figure out what the quote is. Once that is taken care of, the rest is actually much easier. When the perfect quote is found, everything else becomes a bit clearer.

From there it’s just a matter of color, size, materials, and as of recent…shape.

JS: How satisfied, would you say, is the client?

RD: I have yet to work with a client that has not been 100% satisfied with my work.

The vast majority of my business is referral-based, so I rely on my past clients to suggest my name to a friend and/or come back for more. A happy client creates more happy clients.

JS: I feel as if your work is speaking to the audience, which I think is critical for any piece of art. You’ve done a ton of different pieces from your Basquiat “I am not a Black Artist, I am an Artist” to something as minimalistic as a heart shaped wooden cut out with words from Shakespeare inscribed into it. How do you feel about a piece once you’ve completed it?

RD: That’s a very interesting question. My views have changed leaps and bounds from the first pieces that I made. I used to be so stuck on my work, that I found it hard to let go of it. Things are different now, considering much of my work is custom made for clients. I don’t have that problem anymore and haven’t had it for a looooong time. If you commission me to create work, then that work is literally made for you and only you. How I feel about it is directly tied to how much this piece relates to the owner. People mistake my work for things that the client wants to see, when it is actually my client’s story told through my vision. For every person that thinks my work speaks to them, understand that there is a much deeper conversation going on with the owner.

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JS: Speaking of Basquiat, he is my favorite artist; I loved that piece you made. Can you go into detail about the particular quote you had used for that piece?

RD: “I am not a Black Artist, I am an Artist.”: When it comes to anything that we (Black folk) do, there is always that “Black tag” to it. You don’t call Rembrandt a “White Artist”, so why are we always Black this? and African American that? Why can’t we just be Artists?

I am an Artist, who happens to be black, but don’t put us all in a bucket as if we all do the same thing.

JS: Where did you get your start in the arts? Off camera you also had mentioned an early career in Wall Street, what happened?

RD: My start in the arts came far before Wall Street. It came from being raised by a very creative Mother. She must have seen something that I didn’t, because she has been pushing me for years (literally decades), and it all decided to finally make sense. I have always been into art, I went to The High School

NOPE

of Art and Design and after I graduated in 2004, I didn’t want to look at art again. But after a few years of studying and working in the law field, I realized that this wasn’t for me.

It took a fairly traumatic experience to get me back to my artistic roots, but that might have been the push that I needed. It all started as therapy for me, and I somehow turned it into a career.

JS: Anyone can see that your work is extremely rich in culture. It’s dynamic, educational, and ambitious. How much of that has to do with just being a part of the fabric that is a tight Harlem community?

And how much of that is just about being in New York?

RD: Another good question. New York, and Harlem to be specific, is definitely known for it’s boldness, which definitely shows in my artistic style. One of my major artistic influences is Malcolm X. I know that sounds weird, but understand where my work comes from.

It’s meant to build, it’s meant to motivate, and it’s meant to enlighten. Similar to what

he was doing, but my soapbox looks a bit different. I speak through my art. A photographer, and a good friend of mine once said: “You can choose to not listen to someone, you can refuse to pick up a book, but you can’t ignore a good piece of art.”

JS: Speaking of educational, I heard you teach. Explain how you run your art classes. What do you want your students to walk away with at the end of the school year?

RD: My art classes are not what many are used to. When you think art class, you think painting, drawing, etc. With me you get all of that, but with a twist. I teach children how to hear the voice of their creativity. Anyone can teach anyone how to paint, but teaching someone how to tap into their creative vision can change their life. I teach all facets of art: from how to create, to marketing yourself, and understanding the dynamics of the financial side of the business. I want my students to be walk away with that creative voice in their heads a little louder than it was before.

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THE EXPERIENCE MAGAZINE “Where my work comes from. It’s meant to build, it’s meant to motivate, and it’s meant to enlighten. . I speak through my art. A photographer, and a good friend of mine once said: “You can choose to not listen to someone, you can refuse to pick up a book, but you can’t ignore a good piece of art.”

JS: Who are some of your favorite artists and how have they inspired you? How have they made their way into your artistic vision?

RD: I have tons of favorites, as far as technique and skill, but few stand out as far as vision is concerned. Keith Haring will always stand out to me because of what he did with his work. Of course, his work was amazing, but what he did to raise money and awareness for causes is something that many aren’t capable of doing. I want to be that next artistic visionary. I see and understand how art affects people, and I want to use it to change the world…when I say that, I mean it with every bone in my body.

JS: I was geeking out over all the spray cans, wooden boards, glass and all the other things you use to create your work.

How did you end up getting into using all different types of mediums?

RD: I wish I had a fancy answer for this, but I don’t. I was stuck in the house during a storm and that’s what I happened to have in the house. I didn’t intend on making art, I just knew I was going to make SOMETHING. From then on, I realized how fun it is to not be stuck to one medium.

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JS: In just being here at your gallery, or even on your instagram and seeing all different kinds of work from you; you are constantly evolving. Where is it you see yourself in 5 years?

RD : In 5 years I have no idea where my art will be. Probably in more living rooms and bedrooms. But to be honest, who knows? I’m just going to keep working on changing the world and see where my art takes me.

JS: Readers will absolutely notice your face is blocked off - pixelated; however I chose to keep your face hidden. More importantly, they’ll wonder what is with the spray mask?

RD: The spray mask is the tool I use 95% of the time. Working with all the chemicals that I do, you want to keep one of those handy. If and when you see it on my face in pictures, it’s so people understand that it’s never about me…it’s about the art. I don’t care if people never know what I look like, as long as they know my art.

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ronalddraperart.com

instagram.com/ronalddraper_art

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vandellphotography.com