keeping creative individuals together
A N D K R B S O F A B R I C-A K D U E T C N L A O E Y B K AH D Y E B A C O A J H D JFGVBJKJNOJJDBCXMNXKAJ SJDBHVMANDKRBS 2014 OFN S K D U E T C N LA O E Y B K AH D Y E B ACOAJHDJFGVBJKJNOJJDBC K A B D S D MARCH J K H V M A N D K R B S O F N S K D U E T C N LA O E Y B K AH D Y E B A C O A J H D F #6 5 V B J K J NOJJDBCXMNXKAJSJDBHVM
F ABR CA
EDITOR'SLETTER Welcome again! I have chosen fifteen artists with the simple assignment to show / create something which represents IMAGINATION. All work that appears in this Fabric-a issue are real personal expressions from the heart. Hope you enjoy this unique collection of fantastic work! See you soon in Fabric-a SPECIAL ISSUE in a couple of weeks! Stay creative. Enjoy!
EDYTA MICHALSKA editor in chief
Could you look inside your mind Your purest self, unconfined, You’d be moved by what you see, Friends, lovers, family. And there’d be nirvana, full Of sights and sounds of harmony And you can’t help but feel that pull Into the inner world, where you’re free.
On the cover Model: Marta Smektała Photographer : Wojciech Konopiński Place: Sweet Surrender Coffee Shop/ Poznań, Poland Cover design: Kasia Piechota Fabric-a Logo Design Alma Mei Wilson
words Alma Mei Wilson Art and Design Intern firstname.lastname@example.org
‘IMAGINATION’ 20 6
50 106 72
h c t a w ones to
THE IMAGINATION OF MICHAEL I. ROBBIE Interview by Andrea Horne
Michael I. Robbie is a graduate of the elite London Design University. He currently works as a freelance artist and multidisciplinary designer in the Northeast of England. He is fortunate to have worked in art, architecture, graphics, fashion, illustration, interiors, furniture, and product design. He was recently published in Australia’s Sneaky Magazine with the cover and four double spreads. He has endless enthusiasm for fashion and loves to merge the most disparate of things into truly innovative and intriguing work. food for the main event, the creative process itself. I hope I reflect the things my eyes have clapped on; only I’d rather allow my own (and that of any team or subject matter I might be working with) visual and You must have quite the vivid intellectual sensibilities rule the imagination to create the pictures final result. that you do. Where do you get your inspiration? Emulation is important, it better I find mostly from a process of helps us understand more advanced exploration and experimentation. and sophisticated practitioners in I get myself in the right frame of whichever respective field, but I’d mind, and ‘get on with it’, or at least, rather it merely informs my work that’s how it seems to happen best. rather than drives my creativity. I find it’s more about me removing the distractions as best as I can, and How do you define the word ‘art’? find your own path, ‘by walking it’ Well, to avoid the usual learnrather than thinking too much or ed responses, I suppose to me, art talking about it. best exists in those moments when something happens unexpectedly, Certainly, I keep aware of what’s and we are consumed by it. The going on as best as I can, I’m sure element of surprise, magic, intrigue, I miss little. I’m in no doubt I’m play, that happens every once in a impacted by those things I come into while. Art is ‘one of those words’, contact with, but it is mostly snack means a lot of things to a lot of
people, and they often have their own distinct views on it. I endeavor not to define it, as any definition will change as I grow and learn, it seems frivolous and unhelpful to define it. I’m not good with defining myself, I have many consistent threads, which are certainly coherent, but they’re just subject to change over time through experience. Though I am inclined to believe that art is life, and life is art. There seems like there’s a finality in trying to define art as there would be life, though we’ll no doubt endlessly try to, I’m not convinced it’s a virtuous vocation. I guess I’m saying, I know it when I see it, and I am grateful, as a nightmare of endlessly painting the same canvas so to speak, simply wouldn’t do! You are a graduate of London Design University. Tell us about your university days.
Well, it seems a long time ago now, and in time I have developed fond memories, no doubt it was more than challenging at the time, but it has certainly left itâ€™s legacy with me. It gave me a castle in my mind, which Iâ€™ve been endeavoring to furnish as best as I can ever since.
It was the first time Iâ€™d been in a place with so many free thinking individuals. All different, yet somehow, with at least that single trait in common, it was exhilarating. It was terrifying at first, only lessened by the realization we were all terrified!
An education can certainly be as restrictive as it is liberating. People can hide behind it at times, and at other times we can be glad to leave and go out to play a while. Either way, I am certainly grateful for it.
In time we all found our place, and seemingly all our skill-sets were all, yet distinctly different, complimentary. It was melting pot of ideas and a hot bed of open mindedness, brilliant people, and
brilliant ideas. The greatest gift it gave me was the beginnings of an ability to take a problem, explore it, deconstruct it, and create an elegant solution. It taught me a lot about how others think, and put a lot of ideas into context, a framework or foundation on which to build. The beauty of the place was to allow us all create without to many of the real-world constraints to stop us before we were ready. It really gave me the opportunity to begin to be able to take off my own shoes, in order
to put on someone else’s and walk themselves along your path. around in them. There is an inevitable momentum What is the best piece of advice inherent in your academic life, can you give a young designer terms/exams/hand-in dates etc. today? they build a sense of urgency. In Well I wouldn’t presume to give life, circumstances can require advice, all our paths are well... ours that you’re patient, strength comes to decide. But I guess, don’t be from inside, not allowing anyone or discouraged by rejection, lack of anything to distract you sufficiently opportunity, lack of funds, lack of from your achieving your goals. apparent support, what ever your follow your dreams regardless of If you happen to have dreams the ‘seemingly’ insurmountable already, then great, but for those obstacles that no doubt will present who don’t, (probably most of us)
and probably who’s parents and lecturers feel the greatest difficulty to help... There is something to remember, ‘stop worrying about it’, begin to ‘recognise when you’re procrastinating’ and learn to ‘think less’ and ‘do more’! Some of us have to actually do things, if for no other reason than to find out we actually don’t like them. Rest assured, there will always be aspects we do like, and thus begins a picture of what we do like emerges.
Unfortunately life doesn’t always mirror university, life brings so many other factors that impact on you, positive ‘and’ negative. What you may have loved consistently at university can become something very different in practice. In the fullness of time, the experience of actually doing things informs us of where we will find happiness. Do you have any mentors or role models? In my early life, I didn’t really have a single role model in a parent or sibling, teacher or sports coach; I wasn’t one for having posters on my walls of idols or aspirations particularly. I tended to cherry-pick, what I was aware of, was that there is elements of all things and people we’d hope to aspire to. In all that surrounds us we can find our inspiration, should we be open minded enough to notice. I suppose those who’ve overcome adversity and maintained their ability to function despite the odds are those who I look up to most. Whether that be a school teacher who taught me through poetry how to derive beauty from the most simple of things, to the coach who instilled in me the ability to focus completely and ‘play up and play the game’ regardless of circumstances. I have taken so much from so many. I’m ever in the search for the next to inspire me and cast light on my path. You have worked in art, architecture, illustration, interiors, fashion, and furniture. Which one is your favorite and why? It’s the creative process I love, regardless of any predefined notion of any particular discipline. I suppose in Art and fashion if pressed I see the greatest speed and freedom of expression. Yet these days I wonder whether Fashion, Film, Advertising and Computer Games offer the ultimate creative experience I would hope to find in my every day. Unfortunately to date, I have not had the opportunity to work within these spaces, but I would dearly love to. Having experienced many other disciplines to varying degrees, I would love to experience these, I am confident like my choice of Product & Furniture Design at Kingston University; they often encompass all the rest. They require knowledge of art, architecture and design in no small part. They require an intimate understanding of many things, and therefore they offer the greatest potential longevity as I see it. They offer the party to my creative mind-palace. What piece of work are you most proud of? Usually the next one, hard to say, for me, ‘being about the process’ is about moving forward, though I can still appreciate my previous
work, they seem to pale in some way to me, as they should, if I’m improving all the time that is. I must confess though, I take a mild interest in reminding myself of what I was thinking about at the time and what had motivated me in the direction the piece took. My artwork on Instagram is almost like diary notes of my life, outside of work at least. Although to be fair, my day job, has given me more opportunity to do charity work than I have ever before. I have come to believe at times I can’t help myself; I can always help someone else. I have, and it has certainly helped me in many unexpected ways. I would highly recommend anyone to try it. If I’m honest, the work I’ve been most proud of has been for good causes, a job I did for an old school mate, creating simple architectural visuals that were seminal in winning lottery funding for a children’s community project. It was in one of the most deprived areas of Sunderland, in the Northeast of England. In the current climate, having even a small part in securing the funding to safeguard the project for the next three years was humbling. Were I to be maybe a little selfish in answering the question, my recent collaboration with Daniel Valverde and his team out in the US has brought me my most recent sense of pride, the very talented and generous photographer offered me the opportunity to work with ‘his photography’ in a piece he has as good as given me free reign to develop as I have seen fit. I mean, his graciousness and encouragement has been overwhelming. It required I worked every spare moment I had as is usual at the moment, but I am really pleased with the result!
I can’t wait to see the life they will have, we shall see! Your Instagram names are Maestronome and Maestrology. What is the origin of these names? Well, a username is about as good as a definition for confounding me. I needed something while maybe wide reaching to the point of ambiguous, in other ways was planted in another. Of course Maestro, is a master of an art; a conductor of an orchestra for example. Early on in life, (as well as beginning posting things up on Instagram), I have done many things, and no doubt will do many more as it is in my nature. When asked on my art and design foundation what I am passionate about? What became clear was that I want to get better at things; or ‘master’ things if you will, though those things are often a byproduct. It isn’t about winning or ego for me like it appears is for so many these days, but about succeeding in creating or achieving what you wouldn’t dare think possible, and taking the people along side you with you wherever possible. Meastrology is just a quick-reference stream of what I have posted more exhaustively (certainly in the early days) on my ‘Maestron-o-me’ (correct pronunciation derived originally from ‘astronomy, maestro and me’) stream. In some ways it is a creative exploration, beyond a more specific brief, finding a new job, being paid, having fun, finding an escape or a new path. It was always likely in my mind of consolidating my past ideas, in the form of a new one I love and have
a passion for. It very much become this, now I’m a lot clearer where I want to go and what I want to do. I can only think were I to have the outlet to spend all my time working creatively, rather than just the precious moments I can squeaze in, the sky is the limit. What tells a story in a photo? I’m inclined to believe the photos we have seen before. I feel they inform our view of images we see in the future; how you read images, and most importantly for me, how you conceive them. I know with my ‘Meastrology’ Project, through play and experimentation in no small part, it is the images that I have seen in the past, and had an infinity with, that would have me develop a work in a particular direction. Most importantly, are those that have me rest at a certain point and feel a readiness to move on to a new piece.
though at the moment at least, time consuming. If you could pick any artist to work with for a day, who would it be? Though there are many greatest artists that have intrigued me from the past and present, were I given the privilege in life tomorrow to work with great artists, they would have to be either filmmakers, games designers or fashion designers, or advertising professionals. I am captivated with the creative outputs in these areas so much I’d happily up-sticks, and travel to any part of the world to explore, learn, and create the work that will either improve lives or define a time for people to look back on with a smile and no small amount of excitement. Is talent something you are born with or can it be taught? Again, one of those words, used in retrospect, throughout the discourse of creative endeavors, another definition or label I don’t hold much store by, I think you can teach someone to emulate all the things we would look to define as a talent certainly, but, can you make someone a true artist? The capacity to generate those happy accidents, those moments of awe when a work before you takes a life of it’s own? When a work becomes more than the some of it’s parts and begins to become something more?
I regularly revisit previous works, if sometimes only to bring them up in Photoshop to see if they are actually any bigger than my thumbnail by the time various apps are done changing the size and resolution of them. This area of control I am beginning to regain now I am getting to work with bigger crisper images courtesy of my collaborators in Oz and the US through Photoshop. This has not been without problems, of processing power, software and interface. I am finding this challenging certainly, I’m not sure, but I would rather think but up-scaling my work is giving yes, so as not to discourage anyone me great rewards and new potential, who might not try for fear of not
being good enough, what ever that what enriches, or basically, ‘what means anyway. So many who have works’ given the outcome you want. started later in life have become seminal in forming our worldview. With regards to imagery, it’s mostly about colour and texture and shapes A psychologist might say it is our and lines and light and dark and socialisation that informs everything forms and effects. Where do you that we are and become in life. stop I guess is the next question? I would say yes, but I’d rather wonder My answer to that, has been in if our brains are merely different my previous answers, like I said, shapes, some mathematics-shaped, I think it’s informed from my some art-shaped, some business- previous works, and what I haave shaped. picked up along the way. I suppose my fascination in Art, film and An ambiguous concept I know, but photography lies in the never-ending how much do we really know about balance and portrayal of all these all those synapses in our brains, elements, and their impact on us all I know is, doing creative things both emotionally and intellectually. consistently has mine light up like a Christmas tree, and that’s how, I hope that if the end result has my mostly from my experience’s of head lit up, it is likely to have the things I had to do out of necessity, heads of others lit up too when I I know I must seek the life that will strike the right imagery for them. keep those lights ever twinkling. Instagram’s ‘liking phenomena’ is an excellent barometer for this; I Without giving away all of your love to have such rapid feedback to secrets, how do you create these my creations. graphic images? Well I guess initially it’s like a painting, thoughts and ideas and imagery and the myriad of ways that I can manipulate those things are like my palette. Using that mind palace again, I take a base image (or a few) and outline the composition, draft it out, and then it’s a process of merging other images, as they are, or manipulated in there own way, or how might be advantageous to the underlying When I was at school, it troubled layers. As you can imagine, as with me greatly in my quiet moments paints and pigments, you develop an whether my art was to be created increasingly intimate understanding in a hole in isolation purely for my of what compliments, what detracts, own gratification, or purposefully
designed to exist in a gallery for commercial reasons. As with many things I’ve come up against in life, generally, when I can’t figure whether something I one thing or another, it is generally a combination of the things I’m trying to distinguish. Who’d have thought it, with Instagram, I’ve realised, my creativity is in a worldwide hole, everyone is invited, and there’s an amazing party going on! How do you want to be remembered? I more concerned with how I exist in peoples minds now, I can do something about that. People are a good mirror to hold up at your self sometimes. I’d hope a caring and loving person with integrity to match. He did more than he could ever have conceived possible and took as many people as possible along with him as far as he could. What is the easiest way for readers to contact you? At email; email@example.com I love to hear from them and do my very best to steal a moment to reply, by hiding behind a sofa or otherwise, I am grateful that someone would read my ramblings, and in some way connect with me or my work in some way and care to join me on my journey, or invite me to join them on theirs! It’s been a daunting request for me to answer many of these questions. It has been terrifying, cathartic and intensely enjoyable to be graciously given the opportunity!
I rarely afford myself the time to meditate on such matters. I really must work on this; and touch back with you in the future at some point. Thank you all at Fabric-A Magazine, a brilliant concept and fabulous outlet for creative souls in the challenging times we face!
Michael I. Robbie
Carmelita I e z z i w w w . c a r m e l i t a i e z z i . c o m
armelita Iezzi is a fine art photographer and professional webdesigner from Italy. Interested in art from an early age, started photography with film and darkroom. She loved always to experiment creativity with different types of film and paper, she got a degree as a Photographer and Graphic Designer on Fine Arts School. Specialized in conceptual and creative photography both in black and white and color. In her work prefer the use of natural
light and strong contrast, she tries to convey a quiet stillness of emotion with a connection to her natural surroundings, creates a reality found only in her imagination but so unbelievably human, between darkness and light and a mystery of life, for represent the thin line that separates the real world from the dream, her works can be described as imaginative, surrealistic and dreamlike. Her photographs Have gained awards and many have been published in magazines and books.
Gemma Richmond Make up Artist
London IMATS 2011 International Make-Up Artist competition Award winner, Midlands Make-Up Artist of the Season, College Lecturer and featured Make-Up Artist on Channel 4 ‘Superscrimpers’ TV programme.
Make-Up Artist who strives for perfection and pays attention to the smallest of details, with a passion and enthusiasm for make-up. Her work is featured in ‘Make-Up Artist Magazine’ #89, VTCT Magazine & other publications. She has also worked with well known actors & celebrities from the Theatre, TV & Film industry. Trained in all aspects of make-up from Fashion, Film, Airbrush, Theatre, Prosthetics/Special Effects to Bridal.
Photography: Simeon Thaw Model: Davida Wilkins
To achieve a polished look she combines her artistic background with her extensive make-up knowledge. Her work portrays her artistic ability and flair. Having had experience in photographic, theatre, film and music videos, she loves to bring enthusiasm, ideas and understanding to cater for any clientele. *Registered Member of the Guild of Professional Beauty Therapists(M.G.P.B.T) *Associate Member of the Institute For Learning (AIFL)*NASMAH member.
Photography: Ellen Rogers Model: Kersti
Hair & Make-Up: Gemma Richmond Photography: Ellen Rogers Model: Kersti
Make-Up: Gemma Richmond Hair: Scott Williamson Photography: Raluca Diana Model: Jas Duggal
Hair & Make-Up: Gemma Richmond Photography: Simeon Thaw
Hair & Make-Up: Gemma Richmond Photography: Simeon Thaw Model: Ross Haggerty
w w w. g e m m a r i c h m o n d . v p w e b. c o. u k 33
Miguel Ivorra Based on geometry, a line can connect any two different end points. Philosophically, an imaginary line can connect concepts and devices, regardless of time, space and nature of the objects. Miguel Ivorra’s artwork lies under this invisible line influence. Simple and common materials are detached from their conventional role or every day use, and displayed together in an unorthodox way. What it looks like a poetic image is in fact an intense conversation between the objects, which act like the poles of this imaginary line. As a consequence, their individual significances interact with each other, exploring parallel and new expanding meanings, while energy and tension is created between them. This inner interaction gives an air of independence to the piece; the chemical reaction created between the poles generates thousands of interpretations. That is Miguel Ivorra’s art – involving installations, photography, media and performance - aims to confront the viewer on that invisible line, and interact through an unconscious and intellectual approach.
“Untitled” Installation 2011
Last but not least, the artwork concerns marginalized social roles and identities, and involves subjects regarding death, religion and sexuality. Thus, topics are intentionally distorted and polarized through a cynical perception provoked by the world’s prejudice.
Hello , very excited to be featuring you in Fabric-a Magazine . How long have you been an artist? And why did you become one?
stores and car boot markets, since they are my number one providers for art recourses . What inspires you?
but in the end you learn a lot from that. I would like to collaborate with any person willing to do so. I’m very open if anyone has ideas I’m here to try them out.
Life and death, the tension For me art is a way of between two extreme points. What do you considerto be yours communication, of expressing You can’t define something if the greatest challenge so far? myself, of saying things that I you don’t examine its limits. can’t easily put into words. Keep being an artist, hahaha! It has been like that since I remember myself. What do you love I used to draw and the most, and paint much before what do you hate? I learnt to read and write. I love simple things, like the What’s been your summertime, or favourite part in having a good your career? laugh with friends. There are certainly There are ups and things that are not downs moments in easy, but I’m trying my career. not to put myself Every new idea is in the position of always exciting. hating anything. I really enjoy the I try to keep the process of making, perspective in but the greatest the things that moment is when are worth; it feels the piece is finished much healthier. and it’s ready to leave the studio If you were and be part of the to choose a real world. When dream person to the idea takes collaborate on a form and becomes project witch who visible, it begins its own journey. If you were able to collaborate would it be and why? with anyone you can think of, Do you have any other passion? who would it be? Grayson Perry. There was a talk at my first year at university, Yes, but they are somehow I do often collaborate with my he was very encouraging, linked to art. approachable, very honest, fun, friend and artist Mario Varas. I particularly enjoy visiting It is very interesting to get a and he’s also very talented. galleries and museums to keep second opinion and accept a I would like to be surrounded by myself updated, but I’m also different way of thinking. people like him. very obsessed with second hand I believe it’s a bit of a challenge,
Is there anything you would like to do but still haven’t done yet??? This could be another endless list of things. Focusing on my career, I have participated in many collective exhibitions, but haven’t done a solo show in London yet. What are you working on right now? And most exciting plan for 2014? There are many interesting things going on this month. I will be showing some work at The Bank Space of London Metropolitan Central House (59-63 Whitechapel High St, London E1 7PF) from the 13th until the 28th. It is organized by ten students in their first year of “Curating the Contemporary”, in association with the Whitechapel Gallery. I’m taking part as well in the exhibition “Place in Between” at Espacio Gallery, from the 27th till the 1st of April. I’m very proud of being part of the Guerilla Galleries artists’ team and The Transition Collective from 2011 but having my artwork published on Fabric-a magazine it is certainly the most exciting thing ;-) Tell us a bit more about your submission for Fabric-a …. how did you make it? I saw an advert about Fabric-a Magazine looking for contributors. I sent an email with some information about my artwork and I got a quick and friendly response; it was very easy. Thank you! And the best wishes for the nearest future!
philip c francis
aka phil the fish
Originally he was a commercial photographic artist (transparency retoucher) but had to explore his creative nature and left advertising after some years. Although the following was done digitally, this was the sort of work which he used to do for all the top advertising agencies during the seventies and eighties.
Since producing his own output, he has expanded from purely a visual base to various formats with writing now taking up most of his spare-time. Mainly this has manifested in producing a blog called â€˜The Multiverseâ€™ which deals with alternative news and comment. Since the beginning of the year he has been covering the massive revolution that is going on behind the scenes in the world of science. This revolution is going to be what amounts to the complete overturning of the conventional view of how our reality works and what amounts to being a second Copernican Revolution. 40
Because of this and he has now in conjunction with a senior lecturer from the University of South Wales turned this new understanding of science into a two and a half hour talk (with YouTube clips to illustrate what he has to say) on the road and which the layman who has a basic understanding of cosmology and physics can easily understand. To see more his visual stuff please see www.phish-art.blogspot.co.uk
S k a i s t e D o c k u t e Armed with my Nikon D-90 and my extensive Photoshop skills I gained from Aberystwyth and Birmingham City Universities, I set out into the world with an aim to capture the pure essence of my subject in a way that cannot be captured through any other medium. I believe photography is more about the photographer than it is about the equipment and I value working closely with my clients. Based in the West Midlands, I specialise in fashion, personal and lifestyle photography and I have successfully branched out into event, wedding and party photography in the last few months.
The â€˜Imaginationâ€™ selection I have made consists of 7 pictures, showing human emotions and different state of mind.
Model Kaniz Gatt
Model Indre Jakaityte
Model Joseph Marson
Model Joseph Marson
Model Kaniz Gatt
Model Liz Sifford MUA:Ayesha Khan
Models Egle Cibulskyte & Joseph Marson
SASK I A Saskia`s jewellery - upcycling edition Hanna Pigla, Saskia www. saskiaworksofart.blogspot.com Packshots: Commercial Photography by Chromatic Studio Photos with a model: photographer Wojciech Konopiński model Marta Smektała place Sweet Surrender Coffee Shop/ Poznań, Poland
This is not an extraordinary story. I have been enchanted by the handcraft for a pretty long time. It took me a while to decide to step forward and express myself. 50
e v i s u xe cl
very own line of
Thatâ€™s why I create my according to my rules. You may ask: what makes my products unique and special?
I create it for special people. The answer is cristal clear:
Sculpture My artist bio isn’t fastinating. I had no formal artistic training: I studied journalism in Warsaw University and got a Diploma in journalism and press photography.
U R S Z U L A
Z W A R D O Ń
However my heart was always in painting and sculpting, creating work in my free time – but I never saw this becoming a business, something I would make my living from. I had been involved with TVN and Onet as a graphic designer and photograph editor, but the busy nature of the job soon drove me to take a year out, to explore Spain - and upon my return, I felt like a whole new woman: I wanted to work with what I knew was my true passion – art. My prime focus is on the human body, something which has always fascinated me. While I don’t aim to mirror nature exactly as it is, it always inspires my work. I tend to start my pieces using a life model, and start off mimicking the reality I know, which over time develops into something new, something more visually interesting.
I never make plans, or pre-sketches. I am spontaneous and go after something for an „artistic inner drive”. It isn’t ideology, it is pure creativity which brings me satisfaction.
I work with clay which is heated in a kiln. This is exactly same way that ceramics are made, so I can say that my pieces of work are technically more ceramic design than traditional sculpture.
I would love to add that all my works I treat in a way of a prototype… for my future art…which would be made in a huge size within a city landscape: that is my dream!
between good and evil Photography: Norbert Pietraszek www.pietraszek.co.uk
White dress designer : Charlotte Appleby Styling: Lenie Boya Make up: Sarah Stevens, Barbara Belmonte Hair: Maria Rio Models: Ailsa Naumann & Becky Golder 65
scraper Photographer Polin Kuprin MUA Alina Miloslavskaya, Aleksandra Fryzlewicz Models Kae Kae Qi, Yinsey, Symmy, Elizabeth, Diana Stylist Meagan Concessio, Tamima Karim El Narsh Assistant Natasha Mary Yonan
pMaria h o t o g rMillan a p h e r www.mariamillan.com
Photographer: Maria Millan Model: Bruja Howe PHOTOGRAPHY: MARIA MILLAN Stylist: Nymph & Flora MODEL: BRUJA HOWE Williamson Make up and Hair: Rachel
STYLIST: NYMPH & FLORA MAKE UP AND HAIR: RACHEL
Model: Bruja Howe Stylist: Nymph & Flora Make up and Hair: Rachel Williamson
modern day titan
This series is a reinterpretation of the ballad “Le Belle Dame Sans Merci” (French: “The Beautiful Lady Without Mercy” ) a ballad written by the English poet John Keats. The difference is the main character is a boy replacing a girl.
Model Sebastian Cwilag Photography William To Photography
O, what can ail thee, knight at arms, Alone and palely loitering; The sedge has withered from the lake, And no birds sing. O, what can ail thee, knight at arms, So haggard and so woe-begone? The squirrel’s granary is full, And the harvest’s done. I see a lily on thy brow With anguish moist and fever-dew, And on thy cheeks a fading rose Fast withereth too. I met a lady in the meads, Full beautiful - a faery’s child, Her hair was long, her foot was light, And her eyes were wild. I made a garland for her head, And bracelets too, and fragrant zone, She looked at me as she did love, And made sweet moan.
I set her on my pacing steed And nothing else saw all day long; For sideways would she lean, and sing A faery’s song. She found me roots of relish sweet, And honey wild and manna dew; And sure in language strange she said I love thee true. She took me to her elfin grot, And there she gazed and sighed full sore: And there I shut her wild, wild eyes With kisses four. And there she lulled me asleep, And there I dreamed, ah woe betide, The latest dream I ever dreamed On the cold hill side. I saw pale kings and princes too, Pale warriors, death-pale were they all: They cry’d - “La belle Dame sans Merci Hath thee in thrall!” I saw their starved lips in the gloam With horrid warning gaped wide, And I awoke, and found me here On the cold hill side. And this is why I sojourn here Alone and palely loitering, Though the sedge is withered from the lake, And no birds sing.
H annah A damas z ek www.hannahchloe.com Hannah Adamaszek injects some new talent and energy in to the street art scene with her female portraits which bring a painterly style often found in contemporary art to the street art scene. Earthy tones and harmonious contours have earned Admaszek's works a place on many an outside space, from the unique Brandalism project to StreetFest and UpFest. her unique canvases offer a calm feminine approach and emotionally-charged contribution to an art scene predominantly saturated by many male artist. 100
"I think a lot of urban art can be visually sharp â€“ Iâ€™m not sure if thisisduetothemaleprevalenceorpartofitsmakeupbutmy work definitely brings in a softer female touch with emotion being brought into a sometimes a more aggressive world." 103
Hannah's portraits capture the sense of being, if only for a moment, where the beauty and timelessness of the world come into sharp focus. The women she paints are subtle yet strong, bold yet delicate; balancing these contradictions provide the individuality to each of her pieces.
Hannah took part in project Brandalism taking over 35 billboards across 5 cites in the UK. Mentioned in publication such as The Independent, dw.de and Twistedsifter. She has travelled to exhibit in Austria, Belgium and Australia exhibiting her work. In 2013 she had her first Solo Show in London, with more shows in Barcelona and Munich later this year.
A shot o f b l a c k’ ‘
Photography Maria Anna Zubowicz www.cosmofoto.pl
MODEL : Katarzyna Chmielarz
MODELS : Katarzyna Chmielarz & Karolina Jackowska
MODEL : Karolina Jackowska
MODEL : Katarzyna Chmielarz
MODEL : Daria Kaczmarek
MODEL : Daria Kaczmarek
MODEL : Julia Żok
THE TEAM : EDYTA MICHALSKA firstname.lastname@example.org KASIA PIECHOTA email@example.com IZABELA WOSZEK firstname.lastname@example.org ADVERTISING email@example.com special thanks to ALMA MEI WILSON our INTERN for all work! firstname.lastname@example.org
all rights reserved. No parts of this magazine can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system without express written permission from the publisher. Fabric-a takes no responsibility for claims made in advertisements featured in this magazine. The views and opinions expressed by contributors to this magazine may not necessarily represent the views of Fabric-a. Fabric-a can take no responsibility for unsolicited material. Information has been obtained from sources believed to be reliable, but it accuracy and completeness, and the options based thereon are not guaranteed.
Published on Mar 2, 2014
Happy to share Fabric-a No6 Imagination issue with you! Our special edition available in a couple of weeks ... looking forward to seeing you...