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frrresh visual arts magazine • issue 12


, art lovers! we welcome you to our annual issue no. 12! Yes, it’s been a year since we started the magazine and thanks to You readers and Your kind words we are well fueled to keep on going! With each page You’ve turned You supported all those talented artists and us as well! In the past year we had various artists from all around the world who shared their amazing work and words with us and we want to thank them again for inspiring us all. This issue you’re about to read is no different- you will embark on a beautiful and creative journey and we wish you all the best on your endeavor! For the very end of this text we would like to say one word to all of You - HVALA (which means thank you in Croatian) <3

Artists featured in this issue:

The Dulk Mike Driver Virginia Mori Karol Banach Celina de Guzman Alejandrina Herrera Nuala O’Donovan Devon Smith James Blackwell Roman Klonek

Dulk is a hungry and insatiable all terrain illustrator. Urban art, illustration and graphic design are his fields, his twisted imagination does the rest. He has shown his work in England, Germany, Holland, France, Italy and Belgium, where he has recently won a ma jor international award. His style is an explosive combination of influences like Caravaggioâ&#x20AC;&#x2122;s tenebrism or the obsessive detail brushwork of Flemish painting, all mixed with a bizarre, burlesque and affectionate touch that makes it compact, direct and very honest. Antonio enjoys creating characters and stories based on his own dreams and everyday events, mixing fact and fiction, with a touch of pop surrealism. Heâ&#x20AC;&#x2122;s one of the leading figures of the spanish illustration scene.

Mike Driver Mike is a London based Illustrator and maker who is currently in his second year at Kingston University. He is interested in Books, Prints and Toys and likes to think that his knack for shiny items influences his own work which is a mixture of both analogue and digital practices. Mike loves colour and enjoys the challenge of using colour in print.

Virginia Mori

Virginia Mori was born in Cattolica in 1981. She lives and works in Pesaro. She graduates in Illustration and Animation at the National Art Institute of Urbino, improving her artistic imaginery and starting the realization of traditional animation shortcuts. The techniques she uses the most in her works are black biro pen on paper and pencil on paper.

Karol Banach Just a boy with some pencils and crayons. Iâ&#x20AC;&#x2122;m on the third year of Graphics Design at Nicolaus Copernicus University in Torun. I love to draw.

Celina de Guzman

Celina de Guzman, otherwise known as â&#x20AC;&#x153;celdeeâ&#x20AC;?, is a 23-year old illustratress from Manila, Philippines. Apart

from her artistic roles, she is vegetarian, in love with goldfish, and a midnight baker of softbatch cookies.

Alejandrina Herrera Born in 1986, Monterrey, Mexico. I like creating beautiful scenes on the basis of drawing, collage and watercolor.

Iâ&#x20AC;&#x2122;m always looking for new ways to form, to diversify and present my work. I have exhibited my work in Monterrey, Dallas, Houston and NYC.

Nuala O’D

Title of work: ‘Teasel, Wall Piece - Sequence • Date: May 2013 Material: High Fired, (1280 centigrade), unglaze 40H x 20cmD (2)—30W x 30H x 16cmD & 17W x 20H x 11cmD, (two parts) • (3)—34W x 31H x 14D. (4)18W ovan 2012


ed porcelain • Technique: Hand-built. Multiple firings • Dimensions: (1)—23W x 23H x 13cmD. (2)—36W x W x 18H x 10D • (Approximate overall length = 2.1metres) • Photographer: Janice O’Connell. © Nuala O’Don-

Title of work: ‘Teasel - Time’ • Retail Price: 4600Euros • Date: May 2013 • Material: High Fired, (1280 centigra tographer: Janice O’Connell. © Nuala O’Donovan 2012

rade), unglazed porcelain • Technique: Hand-built, Multiple firings • Dimensions: 62L x 38W x 32cmH • Pho-

Title of work: ‘Teasel – Double Curve’ • Retail Price: 2800Euros • Date: May 2013 • Material: High Fired, (1280 Photographer: Janice O’Connell © Nuala O’Donovan 2012

0 centigrade), unglazed porcelain • Technique: Hand-built. Multiple firings • Dimensions: 37L x 28W x 26cmH •

Title of work: ‘Radiolaria, Grid Subtracted 2 & 3’ • Dimensions: “Grid Subtracted 2”: 32Ø x 25cmH • ‘Radiola porcelain • Technique: Hand-built. Multiple firings • Photographer: Janice O’Connell. © Nuala O’Donovan 20

aria, Grid Subtracted 3’. 42Ø x 28cmH • Date: May 2013 • Material: High Fired, (1280 centigrade), unglazed 013.

Title of work: ‘Radiolaria, Multidirectional’ • Date: May 2013 • Material: High Fired, (1280 centigrade), stained porcelain • Technique: Hand-built. Multiple firings • Dimensions: 40Lx 24W x 40cmH • Photographer: Janice O’Connell. © Nuala O’Donovan 2013.

I make sculptural pieces from unglazed porcelain clay. My hope is that my work communicates a sense of energy and life through a combination of the use of abstracted pattern and geometry from natural forms. The starting points for my work are drawings of patterns from plants, shells and seeds. In order that the form of the finished work is consistent with the source material, I use a set of constraints based on a combination of regular and irregular geometric principles found in natural forms. I am interested in the history of the use of geometry in the aesthetics of classical Western art, in particular classical symmetry, (the creation of harmonious form by the use of a repeated proportion). Regular geometry has been used in Western art and architecture from the Ancient Egyptian and Greek Civilisations through to Le Corbusiers use of the â&#x20AC;&#x2DC;Modularâ&#x20AC;&#x2122; in the Twentieth Century. The characteristics of irregular geometry relate more to the traditional Eastern aesthetic and itsâ&#x20AC;&#x2122; acceptance of the beauty of the imperfect and transitory in nature. I find the narratives suggested by imperfections and irregularities within patterns fascinating. The use of the characteristics of irregular forms, (regular irregularity, self-similarity, response to random events), allows the imperfections to exist in the finished piece which record a history of events that occurred during the making of the work.

Title of work: ‘Grid Coral Hybrid • Date: May 2013 • Material: High Fired, (1260 centigrade), unglazed porcelain • Technique: Hand-built. Multiple firings • Dimensions: 18cmØ x 22cmH • Photographer: Janice O’Connell. © Nuala O’Donovan

The characteristic of self-similarity creates a space for suggested future possibilities to the outcome of a resolved form. I feel that this quality includes the viewer in the creative process by allowing their experience to influence their perception of the outcome of future forms. I am interested in the contrasts and similarities between traditional Western/Christian aesthetics, which sought to portray beauty through perfection and classical geometry, and Eastern/ Buddhist aesthetics of beauty, which celebrates the imperfection and relates to the Twentieth Century definition of irregular geometry in nature. I feel that the common area recognised by both of these traditions lies between classical symmetry in regular geometry and the characteristic of self-similarity in irregular geometry, that is; the beauty of harmonious form created by the repetition of proportion. Just as the patterns in a natural form refer to the past as well as offering indications to it’s future, I hope that these historical and contemporary references to aesthetics in my work also form part of its’ narrative. I feel that my work is enriched by the artistic traditions of the past, which offer a strong foundation for experimentation with future possibilities in my studio practice and research. I hope in the future to research and experiment more with the principle of ‘dynamic symmetry’. This was a term used by early twentieth century designers to describe the geometric principles used in the design of contemporary pattern. These principles were based on the geometry of Classical Greek art and architecture, which they believed to be truer to the geometry and proportions found in nature. Their theory was that the application of these principles to abstracted patterns communicated the dynamism of the living form. I am interested to see how a more rigorous application of these geometric principles would affect the outcomes of my studio work and the viewers’ perception of it.

Title of work: ‘Radiolaria, Grid - Golden Centre’ • Material: High-Fired, unglazed & stained porcelain • Dimensions: 26W x 26D x 36cmH • Photographer: Sylvain Deleu. © Nuala O’Donovan 2011 • Description: The Radiolaria series of forms are based on drawings published by Ernst Haeckel in his book ‘Art Forms in Nature’, at the beginning of the 20th century. Haeckel described over 4000 species of Radiolarians, (unicellular organisms), collected from the ocean bed on the deep sea English Challenger expedition. This series is based on the regular grid-like structure of the Radiolaria, Phaedodaria, in which its’ structure becomes more complex towards the center. In this piece, I have used stained yellow porcelain elements in the structure of the sculptural pieces to create an intensification of the pattern, and to draw the viewers’ gaze towards the center of the form. The proportion referred to as the ‘Golden Section’ are repeated in all the measurements of this piece. All of the elements of the pattern are made individually and are purposely irregular. They are assembled when dry and the form is fired a number of times.

Title of work: ‘Coral, Open Structure’ • Material: High-Fired, unglazed & stained porcelain • Dimensions: 55 x 32 x 32cmH • Photographer: Sylvain Deleu. © Nuala O’Donovan 2012

Background: The â&#x20AC;&#x2DC;Coralâ&#x20AC;&#x2122; series is based on the patterns and irregular forms of corals. It begins with a six-sided star shape used to create a surface. In earlier work layers of these elements are assemble to become the structure. This work develops a s tructure based on the pattern of the smaller elements but increasing the scale of the pattern and elements so that the mixing of scale rather than pattern creates the variation in the work. The surface is the structure. The surface pattern is minimized in this work in order to

imply an almost skeletal form.

Title of work: ‘Coral, Dynamic Form’ • Material: High-Fired, unglazed porcelain • Technique: Hand-built. Multiple firings • Dimensions: 38 x 34x 30cmH • Photographer: Sylvain Deleu. © Nuala O’Donovan 2012 Background: The ‘Coral’ series is based on the patterns and irregular forms of corals. It begins with a six-sided star shape used to create a surface. In earlier work layers of these elements are assemble to become the structure. This work develops a structure based on the pattern of the smaller elements which form its’ structure and surface. The pattern is increased in scale to form the internal structure and glimpses of the interior can be glimpsed through the surface. The mixing of scale rather than pattern creates the variation in the work. The surface is the structure.

Title of work: ‘Cluster’ • Material: High-Fired, unglazed & stained porcelain • Dimensions: 34 x 32 x 28 cmH • Photographer: Sylvain Deleu. © Nuala O’Donovan 2011 • Background: This piece is based on the patterns created by clustered Barnacles. They attach in groups to larger structures such as rocks and the undersides of boats. The shells vary in size and so the history and potential growth can be seen in what appears to be one form. This piece experiments with groups of similar forms in which the scale and density is varied to suggest a transience in the configuration of the overall group and potential growth of the form. The interior structure is easily visible through the piece and through the opening in the form.


Title of work: ‘Coral Amorphous’ • Date: May 2013 • Material: High Fired, (1260 centigrade), ungla

azed porcelain â&#x20AC;˘ Technique: Hand-built. Multiple firings â&#x20AC;˘ Dimensions:32W x 30DH x 32cmH



Devon stays up too late, drinks too much coffee, and draws a lot. She has a B.F.A with a major in painting, and is currently an apprentice tattoo artist.

James Blackwell James Blackwellâ&#x20AC;&#x2122;s artwork centres on themes of nature, silence, structure and meditation. Utilizing natural materials gathered from the Australian bushland and other resources, he reconfigures the materials into grid-like formations often in a 3 dimensional manner with the use of textured and handmade papers as a support. The overall effect produces intimate assemblages offering a contemplative space to reveal an aspect of tranquility and stillness...

...In addition to conveying calmness, the work implies the passage of time. The objects intricate detail and evident focus on process reveal a steady hand and time spent engaging with the material. The ephemeral nature of the artistâ&#x20AC;&#x2122;s material also invokes our own sense of transience or impermanence, bringing to our attention the degenerative nature of our own physicality. Despite this sombre thought, there is also a playful aspect to the artworks; gum leaves become written text, tufts of fragile stalk fluff balance precariously on tightropes of grass tree stems...

...“Part of the joy in creating these works is seeing what can become of the easily discarded or ignored.” Bushwalking in the Blue Mountains has become part of the artists lifestyle “I like to think of the valley floor as my art supply store!” James Blackwell is represented by Lost Bear Gallery

Roman Klonek

I grew up with a lot of Russian and Polish cartoon culture. The earliest and probably also the biggest influence was the collection of Super 8 cartoon movies from my father. Just to mention 2 examples: “Lolek and Bolek” (the most popular cartoon couple in Poland ) and “Nu pogady” (Thats like a Russian counterpart to Tom and Jerry but instead of a mouse and a cat here we have a wolf and a rabbit ). In the 90’s I studied Graphic Arts in Duesseldorf and in the second to the last semester there was a course offered called: Woodcut printing with Volker Altrichter. That sounded interesting to me, so I signed in. After the first serial of printings it was already clear to me that I found my medium...

Here I saw a good possibility to make a little more of a drawing, namely by transforming it into a woodcut printing. My docent remarked my excitement and he was so kind to provide me a scholarship for the following semester break. That was 13 years ago now. In the meantime I got my own printing studio and the end of this enthusiasm is not in sight.I do woodcut printings, to be more precise, I do them with my favorite technique, the â&#x20AC;&#x153;lost cutâ&#x20AC;?. That means you can print all colors with only one plate.The advantage is that you dont need to carve a plate for a every color. The disadvantage is, that when your print is done, you canâ&#x20AC;&#x2122;t add another one. After printing a certain number with the first color, the number of prints is set. In woodcut I like the ostensibly appearing of anachronism.

Like from an old story. Its not right contemporary. Thatâ&#x20AC;&#x2122;s likely because the medium by itself is not right contemporary. You have to imagine in the old days of woodcut printing it was a common method to reproduce images and types and all the little mistakes, coming along with the imperfection of the wood, has been knowingly accepted. So one can say in the old days they did woodcut printing in spite of the mistakes and today you do it because of the mistakes. And actually these mistakes are responsible for an extra charm. They are also something like a guarantee of authenticity. Because every single one has its own little faults, and therefore its always an individual, a unique.

Photos and text: Courtesy of each author Editors: Rafael Milčić and Pekmezmed Contact:


Issue 12 of Frrresh, the online visual arts magazine

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