Formerly Known As Magazine - Issue Two by Formerly Known As Magazine

FORMERLY KNOWN AS MAGAZINE ISSUE TWO

2014 Formerly Known As. All material in this magazine may not be reproduced, transmitted, or distributed in any form without the written permission of Formerly Known As. Formerly Known As Magazine reserves the right to accept or reject any article or material and to edit this material prior to publication. The articles published reflect the opinions of their respective authors and do not necessarily represent the views of the publishers or editorial team. The rights of the artwork remain that of the artist.

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STAFF N ata l i e D e l l a V a l l e Emma Gaudio Julian Trompeter CHAHINEZ BENSARI CONSTANce cordier daisy de montjoye anneliese feininger austin graff thea spring milan tessler sylvana tishelman

COVER: Ashti Zayel / BACK: Charlotte Lindsey-Cook / TABLE OF CONTENTS: Gloria Yu

TABLE OF CONTENTS Alix Germain Dom Okah Emile Lavergne Fiorenzo Break Rowan Shalit Mila Vukosavljevic Arshile Egoyan Luke Orlando Lindsay Hawk Daisy de Montjoye Gloria Yu Charlotte Lindsey-Cook Kosisochukwu Nnebe CDUSK Ashti ZAYEL Yuki Kasaï-Paré Waxhead

5 7 11 13 15 19 21 25 29 33 35 39 41 45 49 53 57

Alix Germain 20, Paris

How much of your work (if any) is informed by your conception of the history of art? I have had the chance to study art history for five years now, so I sometimes enjoy making fun of famous artistic figures, like in the two collages you chose for this 2nd issue: One can recognize the Louvre’s Victoire de Samothrace bust in one, and both the Olympia and the naked woman of Manet’s Déjeuner sur l’herbe in another. In the second half of the 19th century, we saw painters emerge that sought to revolutionize ideas that are being explored in depth by the 20th century avant-gardes. What are the major themes in your work? How do you come up with them - do you brainstorm, experiment, or go straight into it? I never have a precise idea of what I am going to do. I really make choices as one goes along. It depends on what I am leafing through. ... I think it’s fun to notice our generation is making more and more moral works despite being the most immoral generation ever.

How would you describe your creative process? Actually I don’t really have a specific “process”. I wait for instinct: I can make nothing for two months and then finish two collages in a day. Generally I put myself in front of an empty table, take a pile of magazines and cut things that catch me at first sight for a few hours. I choose the “main character” and then everything starts from there.

DOM OKAH 21, London

Who/What has inspired your work? Are there any specific artists that have influenced your work? The different characters and people I meet are probably my biggest inspiration and influence. I often try to represent these personalities within my work. In terms of artists, at the moment I am a big fan of Nicolas Burrows’s collage work. I love his mix of rustic textures and sharp shapes. What are the major themes in your work? This really varies depending on which brief I might be working on, but I have noticed that most of my pieces hold some sort of narrative, whether this be fact or fantasy. I often am concerned with society and how individual experiences are projected into the wider world. What is special to you about the medium(s) that you work in? This is a tricky one! But I would probably say that the range and overlap of mediums is what I find most interesting in the process I use. Often, I will integrate both first hand painting and drawing textures with digital collage, using my textures to build up images. How much of your work (if any) is informed by your conception of the history ofart? If so, are there particular movements or periods that you are able to take a lot from? I often try to apply historic methods and techniques to my work, whilst still considering a contemporary audience. Alot of my pieces use old printing techniques which I will later on digitally modify.

How would you describe your creative process? I often work illustratively, using figures and personas to communicate and visualise a concept or idea. I try to match an appropriate aesthetic to whatever issue I am trying to address. What do you think of the millennial generation? Has its’ creative output been significant as a whole or for you as an artist? I think the millennial generation has indeed been a significant in terms of the advanced work which has been produced. I have particularly found the collaboration between art works and technology most inspiring. The production of interactive works is something which I would love to delve into more in the future. How has growing up in the internet age affected your creative output? How do you think the internet has changed art, both in creation and consumption? To be honest, I think it has aided and helped me to share my work a lot more. I can finish of a piece and get out out on the net in the same day – it’s great. Especially in terms of design, being able to get work out there quickly is important, whereas I can imagine if I was more of an artist, I would perhaps rather keep the authenticity of my work?

EMILE LAVERGNE 20, Montréal

How do your surroundings affect your art? Do you have anything that helps you create (substances, music, etc)? My surroundings play a huge part in what I create; I like to look up when I walk around and see parts of buildings that I hadn’t seen before or that don’t stick out very much. I try to replicate the feeling of discovery and satisfaction I get when I see something I hadn’t before in what I make. What are the major themes in your work? How do you come up with them -do you brainstorm, experiment, or go straight into it? I like to make the piece accentuate a part of an image that wouldn’t otherwise have stuck out, but I try to do so subtly. I usually jump right into it after seeing something that I could tweak or accentuate. Of course many of the things I start end up being shit so I scrap them but I rarely brainstorm.

How much of your work (if any) is informed by your conception of the history of art? If so, are there particular movements or periods that you are able to take a lot from? I don’t know much about the history of art but I used to go to art museums often when I was younger. I remember thinking that many of these paintings were banal in what they portrayed; “Oh look another old dude sitting” or “another street with people wearing top hats, how quaint”. That’s what drew me to contemporary art, and I don’t even know if I’m using that term correctly. I like the art that changed things, I respect art that tries to communicate something different and that is visually engaging. However, when I look at the things I make, they’re using images of banal areas as well yet presenting them in a new way. In that sense I guess you could say that I’m inspired by idea of trying something new but I like still lifes as well. Maybe this is all bullshit, who knows?

Greetings from Brutalism

Untitled (Touching #2)

FIORENZO BREAK 18, MontrĂŠal

Untitled (Touching #1)

Untitled (Touching #3)

What are the major themes in your work? How do you come up with them - do you brainstorm, experiment, or go straight into it? All my painting, pastel, and drawing work is inspired directly from my states of mind and emotions. Usually I just go straight into it and create a piece in one go with minor edits later so that the piece stays true to direction and isn’t confused by my ever-changing psyche. How has growing up in the internet age affected your creative output? How do you think the internet has changed art, both in creation and consumption? I just think being genuine in your work is key because there’s so much art out there that no one’s gonna believe in it unless you do. It’s made so accessible but also cheapened it’s emotional value. There’s an essay in John Berger’s Ways of Seeing that talks about how reproduction of a piece change the meaning and value of it. For me I think it’s great that there’s so much more art accessible to be seen, however I think there’s nothing more powerful than seeing a piece of art in person. I had the privilege of seeing three Anselm Keifer paintings in person, and despite having seen them before online. and in books, the impact they had on me was tremendous.

my goal is to pass on/share or inspire an inexpressible, enigmatic, ambiguous emotion in the viewer. the work i create is emotional rather than intellectual in order to connect to the subconcious and thus hopefully create true human connection.

ROWAN SHALIT 19, Brooklyn

Why are you making art? This is always my favorite question to answer, even when it’s not asked. This semester I am in three art classes. Something that has really upset me and provoked me to think about the deeper idea of my work is the fact that the end goal of all of the work in most of my classes is for my art to look pretty in a gallery. Honestly, that idea completely repulses me. I am not making art for people to drag and bribe their kids to come see. I’m sure my ideas on art are very controversial for artists who like playing it safe. But for me, art defines culture as well as pushes society forward. If my work doesn’t reflect society in some way or push boundaries that will be recognized, then I have failed as an artist. This is a big concept to think about and I know it’s hard to wrap my mind around sometimes, but we are only on this planet for a microscopic period of time. This thought is always on the back of my mind. What can I do to differentiate myself from the billions of other people on this planet, what can I do that will leave a mark on society for future generations to look back on? What will I do to benefit society, change the way that people think? This is the sole idea that pushes me to be better, to outdo myself and to be different. I know I have just started in my career and I have a long ways to go, but I truly believe that art should provoke the viewer, inspire the viewer or start some sort of movement. And I can tell you that my art may touch upon some of those ideas but in no way completes any of those goals. And that’s why I’m making art. As long as that end goal is still in my future, I’m not done yet, so I just keep making stuff.

How would you describe your creative process? I usually start from photos that I take. From there, I visualize the piece much bigger and much more graphic. Even some of my other series stem from my photographs and photography has always been the root of my visual expression. With this 2D series, I translated the subjects of my photos into flat line drawings on a huge piece of paper. From there, it’s all about What is special to you about the lines and patterns, which goes back medium(s) that you work in? to my days of doodling. My creative For some reason, I have always process throughout all of my work preferred to work in pen. There is is how to translate real life onto the something about beautiful about the page but somehow making it more unforgiving nature of this medium interesting to the viewer and more and simply the inability to erase thought provoking. forces me to problem solve in ways that I would be able to edit myself What do you think of the millennial in if I was working in pencil. One generation? Has its’ creative output of the other draws to pen for me is been significant as a whole or for you the simply the contrast of black on as an artist? white. I have always had an interest Social media has had a huge in photography and I am currently a influence on everything I create. We film major, so this graphic pen style are living in the most digital era yet relates to that a lot. to date and the graphic nature of What are the major themes in your work? How do you come up with them? I always use a person and the subject/focal point of my work. I think that makes it a stronger piece. I usually start from there, with someone I know so that that person can inspire the rest of the piece. I usually just go with any ideas that come to mind, I am also a firm believer that anything that’s not working out on the page can be fixed. Who/What has inspired your work? My parents both work in the arts and that has been a huge influence on me throughout my entire life. Having grown up in Brooklyn, I am also constantly surrounded by peers whose work is always changing the game and always forcing me to step up and try to outdo theirs—which is pretty impossible to do. It is really the people around me and the environment I grew up in that has inspired all of my work.

my art really speaks to that. Besides these drawings, I am really focused on photography and film. Go back 40 years and people who wanted to make movies for fun or for experimentation couldn’t. Film was too expensive and it wasn’t like anyone had a Smartphone at their fingertips. This generation has provided the tools, through Photoshop, iPhones, digital cameras and other editing software, the ability to experiment and create in a way that humans as an entire race have never experienced before. This alone has certainly affected the way that I create because I get an unlimited amount of tries to get something something right.

How has growing up in the internet age affected your creative output? How do you think the internet has changed art, both in creation and consumption? The internet has hugely impacted art, both in terms of the process work and the viewing experience. I think it’s mostly positive. People who can’t afford to fly to Paris can still see the Mona Lisa. Of course there were art books before, but it’s just all become a lot more accessible. There’s a colossal mass of photos circulating the internet, and the possibilities for inspiration are endless. However, more and more artists are straying from conventions in art making, and it would be a shame for classical techniques to be lost. The internet is very helpful, but it becomes problematic when used as a crutch. What is special to you about the medium(s) that you work in? These pieces are both acrylic paint. I find that acrylic paint is often the more practical choice - oil is more of a luxury. For the type of style I’m going for and the scale being so large, oil is really difficult. Acrylic is great because it’s so fast drying and allows me to apply really thick layers. There’s also a sort of bleakness to the colours that I find adds interest to the skin tone. Acrylic is actually really underrated- you can get good quality acrylics with excellent pigments that create a rich surface.

How would you describe your creative process? I most enjoy painting from life, but it’s not always possible. When I don’t have a model I’ll paint from photos- which can actually be a conceptual aid. Some people like to make studies and plans for the artwork but I prefer not to. I find when I overthink the process I lose interest, so I just start painting and see where it goes. I like to work off a chosen concept or emotion, so I might mentally cut and paste body parts and pieces of photos. I find it more exciting than just an exact replica of a photo. When I start painting, I’ll usually make a small amount of skin tone. I don’t like to include too many conventional tones, so I’ll mix in a lot of blues and greens. I’m not too interested in creating the ideal skin tone- not for this kind of work. I find it much more true to the expression.

Mila Vukosavljevic is an art student and painter in Toronto. She is currently in her third year of Painting and Drawing studies at OCAD U. Her work is influenced by artists Egon Schiele and Gustav Klimt, specifically the eroticism of the female nude. She works with a variety of mediums, most recently experimenting with wood and acrylic washes in order to create an undisturbed rawness and lull. The use of line and the softness of her palette mimic the grain of the wood. Mila had her first experience in curation when she worked for the Norman Felix Gallery in Toronto in 2013. She also organized “Artists for Boston”, a charitable art auction with all proceeds going towards the victims of the Boston bombings and, most recently, as the leading artist in the “Building Hope” charity for Balkan flood relief, she was responsible for contacting Toronto artists and collecting art work donations.

MILA VUKOSAVLJEVIC 20, Toronto

ARSHILE EGOYAN 21, Toronto

How would you describe your creative process? I think a consistent creative process requires both more experience and discipline than I can pretend to have. I write sporadically, when an undeveloped idea needs fleshing out, or else when I’m living through something I need to create some distance from in order to better understand and analyze. Writing helps me do both. Who/What has inspired your work? Are there any specific artists that have influenced your work? At this point, much of what I read is likely to influence my work. I’m at an experimental stage where I feel that my writing is still relatively stylistically undefined, so I can afford to play with styles that inspire me. In terms of authors I admire - Dostoevsky, Tolstoy, Philip Roth, Henry Miller, Murakami, George Bernard Shaw... The list is endless, and there’s still so much I haven’t read. Why are you making art? Writing lets me explore without boundaries. It gives me a way to reach into myself and feel the pieces I’m composed of. While the process itself is inherently a very cerebral, solitary experience, the act of sharing it reconnects me with the world. Ultimately, I make art because I feel it’s the only thing worth doing. What is special to you about the medium(s) that you work in? I think the biggest advantage a writer has over other artists is the ability to explore very specific ideas in great detail, without the fear that what’s being proposed might be completely misunderstood or lost in the act. Words have been the primary way we as humans have interacted for millennia. While the thoughts they are used to express can be abstract, words themselves are meant to be exactly the opposite. Thus, if a writer can successfully string together a series of specific words with specific meanings, an altogether new idea can be communicated and understood by those to whom the idea is foreign but the words are familiar. An abstract painter could evoke a specific feeling through the use of colours and shapes, but there is no guarantee that the feeling felt will be what the artist intended, or even that people will feel the same way looking at it. How do you see yourself or your generation as a whole redefining the boundaries of both popular and underground culture through art? I think it’s the role of any generation to continue pushing boundaries in exciting ways. What I’ve felt our generation has done specifically in this regard is demand immediacy. For better or for worse, we want “new”, and we want it now. Ironically, demanding immediacy means that a lot of what gets to us is unoriginal or formulaic. Interesting artistic innovations take time to develop, and artists shouldn’t feel afraid of taking that time. How do your surroundings affect your art? Do you have anything that helps you create (substances, music, etc)? My surroundings definitely affect what I write about and how I write it. The element of spontaneity in a metropolitan city keeps me inspired. Seeing strange things happen to strange people, being forced to respond to urgent circumstances, all of it tests me as a person and forces me to ask questions. I love music, but find it impacts my mood and in what direction my writing goes. I tend to write in silence or else with the sound of a fan on. Substance wise, I write most desperately when I’m hung-over. How much of your work (if any) is informed by your conception of the history of art? If so, are there particular movements or periods that you are able to take a lot from? I wish I could answer this question in a more informed way. The writers I love wrote their best works in response to the historic and artistic happenings around them. At this point, I still have too much to discover to identify what period or movement specifically has really had a profound and consistent impact on me. I’m fascinated with the existential dialogue explored in 19th century Russian literature. What are the major themes in your work? How do you come up with them - do you brainstorm, experiment, or go straight into it? I think my most recurring theme in my writing is finding identity in abstraction. We try so hard to understand who we are and what makes us unique, and yet here we are, all asking the same messy questions and made up of the same messy stuff. If there’s a specific thought bothering me or a conversation I’d like to have with myself, I tend to decide in advance the form it’ll take (dialogue vs. monologue). Usually though, I just scratch an itch on impulse.

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It’s a good day to be alive. I want to throw up, but feel empty, and have nothing to rid myself of but this emptiness. I sit on the porch of my parent’s house, a home bought and paid for by hard work and organization. I offer neither to this fine establishment, and use it noncommittally. I take it for granted, the whole thing - my parents, their residence, their money, their time and care. I consume more than I produce, and the result is an empty shell that chases obscurity into tomorrow and the day after. Across from me, a field away, a girl sits on a bench. She looks at her fingers, absorbed by their capacity for movement. It’s a good day to be alive. The sun is out, the shadows their darkest. She doesn’t feel the same way. She must be waiting for someone, but in my mind she waits for something. She waits for life to happen, to pass, to proceed. She waits for what comes next. Is it me she’s waiting for? Am I the event? The pressure is too much. I go inside. Inside is no better than outside. The beauty of the day is inescapable, it leaks in through the windows. I want none of it. The math doesn’t add up. Today should not be beautiful. Of course, there is no reason for it to be anything but what it is. Logically, today should be precisely what it is and notably what it isn’t. Still, it seems incorrect. Today, I think, it should’ve rained, but there was a misstep in the processing of some galactic equation. We’ve been given a beautiful day, but it’s wasted on me. I wasn’t ready for it. Seconds pass, minutes pass, but hours do not. I feel I am stagnating, rotting away in a solitary moment. This morning, my father expressed concern. This afternoon, I too have grown concerned. Is there a direction? Do I want a direction? I do and I don’t. I want the stability direction provides, but hate looking at the road it’s built on. I hate seeing the pavement trail off into the future, unchanging, uninteresting. So make it interesting! I will, I have to, but nonetheless the notion that life needs to be made colorful and is not inherently so bothers me. The girl hasn’t moved. We lock eyes, and imagine who the other is. Yesterday, I asked a wonderful creature if she’d marry me at thirty. She said she would. Initially I was content, but grew progressively more disdainful. I couldn’t marry the girl who’d marry me. Spending an eternity with a woman capable of making such poor choices would mean burying myself in a hole dug by my own hands. I’d flirt with every temptation, every shade of black, and she’d tell me to be more bold. Well, no, I suppose she wouldn’t. She’d keep quiet. But to me, her silence would speak volumes. Her silence would taunt me, challenge me to walk closer to the proverbial cliff. Two nights ago I met two girls on a roof. With one, I felt immediately comfortable, like she already knew everything there was to know about me. I felt as though there was nothing to hide, no secrets to keep. I’ll likely never see her again, and so I find myself asking what purpose the encounter served. It’s a good day to be alive, but any day is a good day to be alive. Go to bed, you ridiculous man.

A LIFE TO LIVE

AN IMPOSSIBLE JOB I make a living anticipating the impossible. The pay isn’t six figures, but the thought that at any moment it could be is worth infinitely more. I get up at an hour that suits me to do what I decide needs doing at a pace I feel the task demands. Every second spent is spent in suspense, and I find myself constantly lying in wait of the inevitable. The inevitable impossible. It’s a job that comes naturally, and in that sense I’m blessed to have come across it. I wrote the listing myself, conducted the interview on my own, and found that my credentials made me nothing less than ideal for the job. “What a candidate!”, I found myself thinking, “He’ll be expensive, but worth every penny.” The pennies, of course, aren’t mine to pay, only mine to receive. The job is easy enough. The sole task is to anticipate the impossible, and try ones best to induce it at each and every opportunity. What I can’t afford is to become intellectually lazy, or become too comfortable, or get stuck in any given place - be it spatial or spiritual - for too long a period. The moment I stop tempting the odds, I must be sure to have myself fired. As the head of human resources and the sole employee of the agency, I need execute both jobs with utter precision so as to maintain the integrity of my line of work. Otherwise I’d be a vagrant. I am a vagrant you say? What an accusation! And so what if I am? Didn’t you know? The vagrancy business is more than it seems. It’s competitive work this anticipating the impossible. We all do it inherently, some better than others. Some get bored of it, and try their hand at creating their own realities. A purist though, a purist does no such thing. A purist gets a particular thrill from the hope, no, from the certainty, that one day the impossible will happen. No need for distractions. No need for a salary, a home, a car or a family - just the knowledge that things will change, and as they do, the impossible becomes more and more of a possibility. Go up, go down, it doesn’t matter. When it comes, it will come absolutely. It will envelop everything as is, so that no matter what you’ve built, not a thing will be able to protect you from it. If, God forbid, the day comes where I need have myself fired, I suppose I’ll resort to finding a career. It won’t matter which, I’m bound to hate them all. Perhaps I’ll cheat. Perhaps it will be impossible for me to cease anticipating the impossible, and I’ll do it secretly during my free time. It’s certainly a hard job to quit once you’ve begun, and the prospect that at any moment I might not be deemed capable of it is a horrifying thought that I shall not for a moment entertain. You! You miserable man in the terrific suit! Spare some change? Please do… I’d hate to one day have to be in your shoes.

LUKE ORLANDO

20, San Diego /Los Angeles Who/What has inspired your work? Are there any specific artists that have influenced your work? So many people and experiences inspire everything that I’ve done, but for this project I would say the biggest inspirations were Matt Crump (visual artist) and BRTHR (directing duo). Matt started the #candyminimal movement on instagram, which is pretty much what it sounds like: an artistic movement focused on minimalism and surreal neon/candy-colors replacing the colors we would normally find in our surroundings. BRTHR was hella inspiring because they’ve really honed in on their ability to use colors and composition to create a visually gritty tension in their more recent music videos. Whenever I thought of what I wanted for this project, I asked myself “how would BRTHR fuck with this theme? Where would they go with these pictures?” I also think BRTHR was highly influential for me just because they’re my age and they’re making shit that’s getting international recognition. Why are you making art? Art is a way for me to learn more about myself, and to communicate with people on both a larger scale and more intimate way, whether it’s for visual entertainment or a statement on one topic or another. I’ve always made art in some way, shape, or form. I think I just have a desire to see ideas come to fruition, so I’m always working on creating something. I want to make films because nothing has ever stimulated a catharsis like some of my favorite films have. I want to be able to make people feel that same way with my art. I also want to play around with the idea of seeing... the same situations through different perspectives...

...– kind of like the whole “things aren’t what they seem” vibe but more along the lines of not always knowing what to expect. It’s weird, this series was recently showcased at a café, and I would sometimes go there just to eavesdrop on people and see what they had to say about my art. My favorite reaction was from this one girl who said “I really, really like it. Like, the colors and composition and everything is great. Definitely into the aesthetic – but for some reason, looking at it makes me feel really depressed”. I’m not sure what image she was referring to exactly, but I totally get how some of these images might depress someone. They’re kind of dark, but I’m not trying to make anyone sad with my art. I view this whole series as pretty child-like, with a pinch of weirdness added. Because a lot of the image processing consisted of re-coloring pictures I took, the whole creation process was basically like playing around in a kid’s coloring book, always coloring in-between the lines of whack-ass images.

...so I found myself hanging out with my parents a lot. For about a month, I would stay up super late after drinking a bunch of wine with my dad and I would just make random shit in photoshop. Eventually I made one installment in this series, and it was clear pretty early on that I wanted to stick with this theme for a while. A month later, I had moved to LA and was in a completely different environment – living with a bunch of international students who all had a desire to make art in oneway or another. So the series grew quite a bit while I was there. Yeah, now that I think about it, I definitely think one reason I stuck with the neon color palette was because I spent so many nights wandering around LA with my new friends. I had my camera on me the whole time, so I was always taking pictures or filming all the shit we got up to. I’d say that all those experiences caused the night-vibes of LA to seep into my work. Then I came back to Montreal for school and finished the series with a couple pics I took at tam-tams. I figHow do your surroundings affect ured there would be no better way your art to end my series on candy-colored My environment plays a huge role surrealism than by showcasing a pic in determining how I create. Living of kids running around with fake between Montreal and California, swords and shields. I’ve found a huge creative shift occur when I’m in one place versus the other. California’s always beautiful, and I’m always having brand new experiences while I’m over there since it’s very new to me. It’s a huge fucking place, I’m always exploring and finding the weirdest shit. In Montreal, it’s colder and harsher – which I love. It’s straight-up over here. I don’t really discover as many things, but instead see things transform over time, which is pretty cool. I started this project when I first moved to San Diego with my parents and was simply just bored as fuck. I didn’t really know anybody...

“I think everyone has a side they’re not really comfortable with. What interests me is the extent to which they’ll go to hide it.”

“There’s so much more stuff out there to draw inspiration from. Whether it’s on tumblr, pinterest, instagram or whatever, it’s so easy to surround yourself with a seemingly endless stream of fresh and dope ideas. So many of my ideas stem from random pictures, videos, or stories I see on the internet. The internet definitely influences the direction of my style and what I want to be working on.”

STEADY AS SHE GOES (SHE ALREADY CAME) 29

LINDSAY HAWK 21, Richmond, VA

How would you describe your creative process? Sometimes I get an idea in the middle of the night, I sketch or write down everything I can, and then I try to do the thing when I wake up. I learn the most about my art either during or after the making process. Who/What has inspired your work? Are there any specific artists that have influenced your work? The list is long. It’s always growing. (That’s why I go to art school.) Editing it down feels weird. Why are you making art? I have to make art. It’s my contribution to the universe. If I didn’t create, I’d go a little crazy. I would feel empty and guilty. What is special to you about the medium(s) that you work in? I try to work with as many different materials as possible. Specifically I enjoy working with time-based media, charcoal, bodies, and wood. It’s just important to me that I know how a lot of things work so I am not limiting myself. What do you think of the millennial generation? Has its’ creative output been significant as a whole or for you as an artist? This is a really exciting time to be living and creating. So many things are changing. People seem to be more globally aware of the human condition. I’m so optimistic about the future and our generation. How do you see yourself or your generation as a whole redefining the boundaries of both popular and underground culture through art? There is this new resurgence in zines and underground art culture. I love it. I think people are questioning the whole notion of “the white cube” and using art as a tool for change and new ideas. How do your surroundings affect your art? Do you have anything that helps you create (substances, music, etc)? I have a lot of sex, smoke a lot of weed, and I surround myself with driven and creative minds. I always try to make every day more productive than the last. What are the major themes in your work? How do you come up with them - do you brainstorm, experiment, or go straight into it? Lately I’ve been doing a lot more body art. Sometimes it’s idealized, and sometimes it’s gross. I have the most fun when I just go straight into it.

How much of your work (if any) is informed by your conception of the history of art? If so, are there particular movements or periods that you are able to take a lot from? I’m inspired by a lot of performance art from the seventies that was about testing the limits of the body, making feminist statements, questioning norms. I’m thinking specifically of Hannah Wilke. I’m also interested in the ideas of Arts & Crafts Movement, right before Modernism, that fueled the notion of the importance of the artist’s hand rather than mass-produced or machine-made art. How has growing up in the internet age affected your creative output? How do you think the internet has changed art, both in creation and consumption? Everything is so instant, so available. It’s distracting. I’m a fan of instant gratification, but I’m more aware of human interaction and being mentally and physically present. There is also a totally different technological language, both object-based and verbal, that artists can use now in their work.

Lindsay is currently studying Sculpture + Extended Media, Biology, and Gender, Sexuality & Women’s Studies at Virginia Commonwealth University. Her work focuses on the body, social issues, and sexuality. She is interested in community engagement and seeks to connect with other creative people to make change happen.

12 x 5 x 23 in. / foam, silicone, PVC, condoms, gold paint /

How would you describe your creative process? Messy. It depends on what I’m working on. For a painting, I usually need to start from a (general) theme, idea or image, and I gradually build on from that. I tend to get pretty “expressive” with paint, as I love experimenting with different media, especially ink! So I need something to get the creative spark going and after that I really just mess around with paint. It takes me a while to finish a painting as I often need a break from it, I can’t get too sucked into to it or I ruin it. I like to turn it upside down, or add bits of white or pink if I start getting stuck. Or I just hide it for a while and wait for new ideas to come in. For a collage, I go through all the stuff I’ve picked up on the side - like all postcards, pamphlets, posters, printed images and other various material I collect on an ongoing basis as inspiration – I cut them up and lay them out. It’s almost like a puzzle: what fits best with what...

...I try and find images that complement each other, or some that have inherent similarities despite having absolutely nothing to do with each other. I recently found two black and white photographs, one of Kiki de Montparnasse (Man Ray’s model) and one of Michael Jordan. The photos are from such different eras, but they are exactly the same format and composition, it’s so cool. How has growing up in the internet age affected your creative output? How do you think the internet has changed art, both in creation and consumption? With the Internet, you’re not obliged to go through the art (and art historical) institution to be an artist, or even just to produce images of any kind. With all the softwares and apps, social media and all that stuff, we produce so many images every day - it’s crazy. This whole proliferation of images has definitely affected my work. It makes it so easy to take something completely out of its original context, either to give it a new message or just for aesthetic reasons. I think that’s definitely something inherent to our generation. I mean, it started with Dada collage, and Andy Warhol developed this decontextualisation further, but we’ve taken it to a whole new level.

How much of your work (if any) is informed by your conception of the history of art? If so, are there particular movements or periods that you are able to take a lot from? Most of it really. When I was in high school, we were supposed to do all this research before doing a painting, but our art teacher could not care less and would let us paint what we wanted and then give us the names of artists that our work reminded him of. So we’d look them up and learn so much! But he’d always give us such different artists, like sometimes he’d get you to look up Jacques Louis David, who’s an 18th century neo-classicist, or Mondrian and the De Stijl movement that’s way more modern. Recently though with all the methodology I’ve been learning in art history classes, I’ve notice I’ve been thinking about literature and critical theory and philosophy a lot more in my work. Like the other day, I really started getting into Freud’s concept of the ‘uncanny’ while working on a painting…. I kinda shocked myself! And Macbeth too, I’ve been getting back into Shakespeare lately.

DAISY DE MONTJOYE 21, MontrĂŠal

mixed media on paper

GLORIA YU

23, Hong Kong / NYC

How do you see yourself or your generation as a whole redefining the boundaries of both popular and underground culture through art? I think there are definitely looser boundaries. Perhaps some times it is due to collaborations with the former wanting to identify with a cooler branding and the former needing a platform to show their work. As long as both parties are happy with the relationship and both fairly from it, I see no harm in that. Also, part of the element of underground culture is the exclusiveness of it. I think what is special, and what I am proud of about our generation is it greatly champions the idea of acceptance and inclusiveness, and whether you think this is a good or bad thing this sometimes leads to more exposing and explaining of underground culture. This makes certain ones more accessible, but less ‘underground’.

What are the major themes in your work? How do you come up with them - do you brainstorm, experiment, or go straight into it? Power relationships, empowerment and the nomad experience. I come up with them by living fully. I get up, I read, I get distracted. I read again, I laugh, I research, I doodle, I experiment, I cry a little, I do it all again. Somehow something comes out of all that. How would you describe your creative process? Obsessive, compulsive. What is special to you about the medium(s) that you work in? Currently I make a lot of crowns – I am obsessed with the dynamics of power relationship in social and political contexts, and fascinated with the idea of crowns as a symbol of power.

Gloria Yu’s work deals with extreme elements and the tensions and balances between them. The physical product, often with relation to the body, always acts as a tool with the intention to empower or protect. Her work is inspired by reality, yet is also an escape from it. 35

How has growing up in the internet age affected your creative output? How do you think the internet has changed art, both in creation and consumption? I grew up starting to make art in the internet age. Consumption wise it has made me more lazy, because you see a show going on 10 blocks away on Instagram and sometimes at the back of your head you pretend you have actually physically ‘seen’ the show. But I try to get rid of that little devil and make myself go. I think it has definitely changed the way people create things too. In the past uniqueness seems more ‘prevalent’ because even if someone does create similar elsewhere – they are half a world away, you wouldn’t have seen it, and you wouldn’t be influenced by it. But now we consume so much visual information online it’s hard to deny these things would influence ...our work in one way or another. Even if you choose to ‘forget’ them – you’ve seen it! But in a way, maybe this forces us to look at other things, get inspiration from things outside the realm of visual, sound, whatever medium you’re using and talk to people, hike, I don’t know --- live a little. Maybe for the individual hungry to create something truly honest, it forces them to get up, get out of the house, and live a little more.

Spool of cotton thread

Leather, cotton, aluminum wire, birch branches

Exterior - porcelain; Interior - wood, buckram

B I N G O

CHARLOTTE LINDSEY-COOK 20, London

How would you describe your creative process? For me, making is a physical process, purely human, a hand-ons material event, and achieved quickly. Leading up to that moment of making I read, and observe the world. I am always making work, so it is hard to say where the process stops and where it starts. It is what I’m thinking about at that time, and what I have been thinking about leading up until I make the work. The work is the physical realisation of that; images and objects that manifest as a result of the process. Who/What has inspired your work? Are there any specific artists that have influenced your work? I am inspired by Francis Bacon’s interviews with David Sylvester, and I keep going back to them, I frequently dip in to them for ideas and reminders of how I approach art. For example, the idea that art is just a series of accidents, and that we are just deciding which ones to keep, when making a piece. What is special to you about the medium(s) that you work in? I enjoy working with materials that are not traditional art materials. This started as an economical decision, for example expanding foam is cheaper to use than clay, but then it became an aesthetic that I enjoy. I like mixing pure abstract forms, shapes and colours with photo-real, mechanically produced imagery. How do your surroundings affect your art? Do you have anything that helps you create (substances, music, etc)? I’m trying to read more. At the moment I’m looking at The Philosophy of Andy Warhol, Brave New World, Chroma by Derek Jarman and Preliminary Materials for a Theory of the Young Girl by Tiqqun. Having a studio space in central London is such a luxury, I spend nearly all my time here.

How much of your work (if any) is informed by your conception of the history of art? If so, are there particular movements or periods that you are able to take a lot from? At the moment I’m am reading on minimalism, some surrealism, and a lot of the YBA movement. Generally I am more keen on contemporary individual artists rather than movements, such as Karla Black, Franz West and Phyllida Barlow. There’s an exhibition on at the moment of American artist Ryan Trecartin’s work at the Zabludowicz in Camden that is well worth seeing, much of his work can be seen on Vimeo. What do you think of the millennial generation? Has its’ creative output been significant as a whole or for you as an artist? luxe, poison, magic, desire, machiavellian, subterranean, luck, velvet, chaos, holy-grail, dust, bitter, saccharine, cobalt, miasma. What are the major themes in your work? Ideas surrounding mess, poetics, chance and colour inform my work. My works reflect these concepts in a purposefully naive style. I approach sculptures the same way as I would approach collages; they work themselves out through the making.

The work embraces a deliberately loose aesthetic, recently with a focus on the aesthetic contrast of raw abstract shapes and colours with a photo real or mechanically produced element. Ideas surrounding and in between excess and minimalism, the perfect and low-fi, the seductive and banal. Colours, shapes, materials are all fragments, and different ways these fragments can be pieced together can bring up different scenarios. The human unconscious can bring together different elements from all different places to create one absolute piece.

KOSISOCHUKWU NNEBE 21, Montréal

Unmirrored ; Oil pastels and acrylic

COLOURED CONVERSATIONS

Why are you making art? Growing up in Gatineau, Quebec, there was no space to talk about race. Instead everything was internalized, and rather than knowing that what I was experiencing was the result of systemic oppression, I blamed myself. It’s only after my first year of university that I began to explore my blackness, and how it had shaped my interactions with the world around me. Art became the main vehicule for this exploration, as I attempted to answer the question: “what does it mean to be a black woman?”. In July 2013, I created Coloured Conversations, an online project aimed at exploring race through art. The project began out of a need to create a space wherein the process through which one becomes racialized and gendered could be explored, critiqued and redefined. More importantly, I believe in the power of black art as a way to facilitate a process of self-determination. How would you describe your creative process? What are the major themes in your work?How do you come up with them - do you brainstorm, experiment, or go straight into it? It depends on what I’m working on. When I’m just sketching or drawing for the sake of drawing, my creative process can be summed up in a couple words: soundcloud, beer, sketchbook and pencil. However, for my complicated pieces, such as my “M(other)nity” project, the creative process is much different. It is by far my most conceptual piece and really attempts to explore the identity of the “modern black woman”. It took about 2 months of reflection, questioning and impromptu discussions with friends and family to come up with a way to visually depict the complexity of the modern black woman. I also tried to combine my passion for art with my passion for research --I researched the subject thoroughly and wrote an essay that was subsequently published online. All in all, the process for this piece was extremely dynamic as well as challenging. Needless to say, I loved it. The creative process was extremely interactive and very much in line with the spirit of Coloured Conversations. In creating a piece, I truly want to question ideas about identity and representation, in a way that speaks not only to me, but also to those around me.

What do you think of the millennial generation? Has its’ creative output been significant as a whole or for you as an artist? For me the millennial generation is characterized by a certain narcissism and general feeling of being lost, but also a willingness to explore and to create. As a part of that generation, my work is painted with the same brush strokes: my self-portraits are a response to the rise of the “selfie”; the concepts I explore in my work stem from a unabiding feeling of “floating”, of being neither here or there; and without answers, or a sense of guidance, I resolve myself to re-create and re-fashion myself.

How much of your work (if any) is informed by your conception of the history of art? If so, are there particular movements or periods that you are able to take a lot from? To be honest, I wasn’t always a fan of art history. In the same way, I wasn’t always interested in being an artist. I think some of this had to do with the belief, when I was younger, that it was something reserved for white people. In high school, art was understood within the framework of “l’art pour l’art”, that is to say art for art’s sake. I drew because I liked it, and because I drew nicely, but that wasn’t enough to make me want to become an artist. But as I discovered and explored functional art, I became more and more interested in art and art history. The evolution and diversity of black aesthetics fascinates me. From the New Negro movement, to Post-Black art –black artists have been challenging artistic norms, and creating work that challenges the status quote. Discovering blackness, other-ness within the overwhelming whiteness of the art world is what pushed me to become an artist. How do your surroundings affect your art? Do you have anything that helps you create (substances, music, etc)? I always need to have music when I paint. Sometimes it ends up being counterproductive and I end up getting carried away and dancing more than actually painting. But music always helps to stimulate creativity. I especially love to listen to my brother’s mixes (The aloof hipster). Apart from that, I often drink beer while painting. It helps loosen up the brushstrokes. What is special to you about the medium(s) that you work in? My three main mediums are oil pastels, watercolors and acrylic paint. When I use oil pastels, I like to play with colors, textures and minimalist backgrounds. In contrast, when I use watercolors I like to play with patterns and explore fashion illustration, a realm I feel is just as racist as the fashion industry itself. Recently, I started working with plexiglass, utilizing the transparency in order to create layered paintings. When I first got the idea to work with plexiglass, I had absolutely no idea what I was doing. The entire process was truly trial-and-error. The final result turned out to be a total surprise; the mediums I had used to paint on the clear sheets created shadows on the walls when light was cast. In areas where the paint was opaque, the result was dark spots representing faces, hands, etc., whereas where it was more translucent, the patterns I had drawn for the clothing were reflected onto the walls in bright colours. All in all, it made me 100 times more excited to continue working with plexiglass.

“I am inspired by individuals who use their art – be it to make a point, to convey a message, to resist. There is so much power to art, and realizing that has been my biggest source of inspiration – knowing that art can be therapeutic, liberating, and even political.” M(OTHER)NITY ; layered paintings on plexiglass

Untitled I ; Oil pastels

CDUSK 20, Toronto

How would you describe your creative process? My process involves a smoke and a drink/ idk know what im doing till its done/ is really a bunch of squiggles until it kinda looks like something// I don’t draw everyday as I should so wen I stop for weeks and go back into it is always something different. Who/What has inspired your work? Are there any specific artists that have influenced your work? Jet grind radio on dreamcast / is so dope I recommend / I would wanna draw their characters and make my own/ they were doing graff in the game but I didn’t even try too much letters I was into the electric skater kids that jus boomed music everywhere dodging cops / the graphics of the world they wer in are more interesting than what they put on the wall I can go off on this game forever everythings good about it / still have humming the bassline on my ipod now. Why are you making art? Don’t know how to do anything els im awkward and don’t talk properly/ cant cook but will draw food for sum food// when I end up on the streets ima make a bling bling lookin feed me sign. What is special to you about the medium(s) that you work in? Try to use it all usualy use pigma micron pens for everything / recently got into photoshop more wich is cheaper than paints and way experimental so that strange show up// but il go from my tiny pens to big fat caps and sprinkle some water color innit. How do your surroundings affect your art? Do you have anything that helps you create (substances, music, etc)? Going from the county to the city prol did something// cant even say drugs helped me but it might of. How much of your work (if any) is informed by your conception of the history of art? If so, are there particular movements or periods that you are able to take a lot from? Picasso and van gogh are a major influence to me they knew nuff about the conception of art /great guys// they was doin them and gota respect that. How has growing up in the internet age affected your creative output? How do you think the internet has changed art, both in creation and consumption? Sharing is the coolest thing u can do/ nowadays can overshare that lame shit u did that ur mom said was good and it becomes the dope everyone wants// is the best. What are the major themes in your work? How do you come up with them - do you brainstorm, experiment, or go straight into it? Happy accidents/ im really into turtles being one myself // I like to make stuff u don’t have to think too hard about it all has a message of whatever with space and nature.

Teenage mutant ninja turtle

ASHTI ZAYEL 21, Sherbrooke

Who/What has inspired your work? Are there any specific artists that have influenced your work? This is a recurrent thought. The ones that inspire me the most are people I just happen to meet, very often strangers I will never see again with whom I share a few words. The ironic part is that they’ll never know it’s about/for them. A few of my current favorite artists are Ellen Rogers, Jon Estwards and Tania Shcheglova. Why are you making art? I spent an hour trying to answer that question. To leave something behind, like a suicide note that extends over the years. For who? I don’t know. How would you describe your creative process? In a word: fog. 90% of the time I don’t know what I’m doing. I hold my camera like it’s a friend, I find objects, I put them all together, I call it a great outfit. And then, the picture makes itself. Afterwards, I connect the pieces together. I put a name on it, I attach a feeling, and somehow it becomes something.

Think of your art as your baby. It is small and unprotected. Everyday, you wake up knowing it is out in the world. As you are drinking your coffee, you wonder where is your child and what they are doing, if they are hungry or if they are cold, if someone is mean to them. You are responsible for every horrible and for every wonderful thing that is happening to them. Now, if your art is a work of emotions, would you be fine with letting it out of your door so it can be on someone’s window, search bar, blog, shirt, etc? To answer the question: I find the whole thing to be bittersweet. As much as I am grateful for the occasion to put myself out there, and I do think it’s incredible how many people you can connect with, I often can’t wait until the day I will be ready to delete myself off of everything that is internet related.

What are the major themes in your work? How do you come up with them - do you brainstorm, experiment, or go straight into it? The concept of home has always been in the back of my head. For as long as I remember, even as a kid, I had this longing. The desire to go back home wherever that was. I felt like something or someone was missing. I spent half my childhood as a refugee, moving across countries, sleeping in cars and small rooms. And this is what I am trying to express in the most important aspect of my work, the chaotic history of my ancestors, in the ways that I am capable of, with the knowledge and the experiences that I have. A lot of the pictures I take are documentation, reminders, notes.

How would you describe your creative process? Infinite layering of different ashy white stuff. Who/What has inspired your work? Are there any specific artists that have influenced your work? Walls in construction sites and walls that are covered with posters that have been ripped off are what inspire me the most. Old and new Japanese porn magazines and advertisements are also a source of inspiration. How much of your work (if any) is informed by your conception of the history of art? If so, are there particular movements or periods that you are able to take a lot from? I feel that it’s important to be cultured concerning the art world and I try to constantly absorb as much as I can, but not necessarily by theories in art. I try to translate my vision as directly as I can without being stuck in an ideal surrounding the history and theories of art. I never studied art and never will, because I think that being uninformed is actually my greatest asset, as I don’t think about following or falling into a certain category while creating. I try to keep creating as an introspective time for myself.

What is special to you about the medium(s) that you work in? I get most of my materials from hardware stores to get more organic-seeming textures and all sorts of scrapers(but honestly its just because it’s cheaper). I also use books and pieces of paper that I find off the streets, so if you see a girl picking up random stuff in alleys it’s probably me. What do you think of the millennial generation? Has its’ creative output been significant as a whole or for you as an artist? I feel like because our generation is constantly bombarded by diverse and presumptuous information of all sorts we’re a lot more open minded and able to be more relativist and objective towards the diversity of differences. I think that this is reflected in our attitude towards art, as we are getting more and more acceptant towards daring subjects, and are fearless in creation.Being constantly surrounded by all these diverse influences definitely has a part to play towards what I feel like creating.

Why are you making art? To avoid my responsibilities What are the major themes in your work? How do you come up with them - do you brainstorm, experiment, or go straight into it? I try to transmit the emotion I’m feeling or impressions I had at a certain moment in the most abstract but concrete way. The same way our mental states are results of layers and layers of emotions, I like to build up layers of different textures. When I feel bad, I try to think of all kinds of things to conceal these emotions to try and make things better. The layers of whites are kind of the representation of my thoughts that attempts to make everything disappear, feel new and make everything seem ok. Some of my work often revolves around the representation of women in different cultures and epochs.

The Presence of THE Unsaid

YUKI KASAI-PARÉ 20, Montreal

How has growing up in the internet age affected your creative output? How do you think the internet has changed art, both in creation and consumption? The Internet has allowed me to connect with more artists and more people, and has also connected me with more opportunities. But it’s a double-edged sword. Some people don’t produce enough work – its key for there to be a healthy balance of natural productivity before using (or abusing) the internet for fame and glory. I’m not doing it for the likes. What is special to you about the medium(s) that you work in? The photos are special because they act as a gateway to a new world. I’m always trying to create a world, or new worlds, with my work. Why are you making art? (why are you making this particular series)? I am trying to give these old photos new life by taking inspiration from their choices of clothing, style, and posture and bringing them into the present. All of the people in the old photos are dead, these photos are remnants of them or maybe even all that’s left of them. What I paint over their faces reflects their style and posture, their overall aura and brings them into the present, into a new world.

WAXHEAD FA M I LY P H OTO S

For my art, I want people to make up their own minds in terms of the meaning. Instead of forcing meaning down their throats alongside the image, I leave a certain freedom in the viewer’s interpretation of what they see and take from my work. I think decrepit alleys are the best form of free art. The best art is done free and over the cover of night while still managing to be aesthetically pleasing. There isn’t the entrapping’s of the art world, its just a funny little painting on a metal door.

ART OR FA RT ? ART TRIES TO IMITATE THE FEELSOMETYPEOFWAY AS ROUND BOOTY. - cDUSK

SMART

- Alix Germain

FART? - Dom Okah DEPENDS ON THE TIME OF DAY. - Gloria Yu FART FART FART. ART IS FART. OTHERWISE I WOULD HAVE STAYED IN ART SCHOOL. ACTUALLY THATS A LIE, ART HISTORY IS MORE FARTY. - Daisy de Montjoye

FARTTZZZ - Rowan Shalit

NO COMMENT...WHO MADE THAT NOISE? - Charlotte Lindsey-Cook

ART - Kosisochukwu Nnebe

AH, LIFE’S MOST IMPORTANT QUESTION. ART TENDS TO SMELL LESS. SOMETIMES IT SMELLS MUCH WOSE. I’M UNQUALIFIED TO ANSWER. - Arshile Egoyan

QUEEF - Lindsay Hawk

IF ITS GENUINE EXPRESSION THEN IT’S ART. THERE’S A LOT OF FART THOUGH. - Fiorenzo Break

ART ALWAYS - Waxhead

SAME. THEY BOTH COME OUT WHETHER I LIKE IT OR NOT. - Yuki Kasï-Paré #ART - Luke Orlando

FART - Emile Lavergne

LOL I DON’T KNOW - ART - Mila Vukosavljevic FARTING IS AN ART BY ITSELF. ALSO, BOOTY. - Ashti Zayel

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ARTIST CONTACT INFO a l i x g e r m a i n - c o p y p a s t e n a t i o n . t u m b l r. c o m | a l i x g e r m a i n . p r o @ g m a i l . c o m dom okah - domokah.com e m i l e l a v e r g n e - d a t p i ff . c o m / e m i l e / d o w n l o a d m y m i x t a p e f i o r e n z o b r e a k - f i o r e n z o b r e a k a r t . t u m b l r. c o m rowan shalit - rowanzz.com mila vukosavljevic - behance.net/milavukosavljevic a r s h i l e e g o y a n - f i f t h c o r n e r. c a | f a c e b o o k . c o m / f i f t h c o r n e r a r t i c l e s luke orlando - lukeorlando.com | @luke_or_lando (instagram + twitter) lindsay hawk - lindsayhawk.com d a i s y d e m o n t j o y e - d a i s y. d e m o n t j o y e @ g m a i l . c o m gloria yu - yunotme.com | @gloriayuonline (instagram) charlotte lindsey-cook - charlottelindseycook.com kosisochukwu nnebe - colouredconversations.com c d u s k - c d u s k . t u m b l r. c o m ashti zayel - ashtizayel.com yuki kasai-parĂŠ - yuki1994224@gmail.com w a x h e a d - d r a w e n d l e s s l y @ g m a i l . c o m | e t s y. c o m / s h o p / w a x h e a d s h o p | @ w a x h e a d a r t ( i g )