NAU NUA MARCH 2011 ENGLISH EDITION by NAU NUA ART MAGAZINE

march 2011

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SUMMARY

FRONT COVER LISSY LARICCHIA. Creationism

HOM DAAN. MANHAY Looking for spaces 1

NAU AGENT RIBBONS. CHATEAU CRONE A cabaret garden

OLGA CHERTOVA. MATERNITY Capture the emotion

MARTHA COLBURN. MYTH LABS False beliefs

HIGH TONE. OUT BACK Without looking back

JULIETA TRIANGULAR. LA AMISTAD SILENTE Mirror pieces

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SUMMARY CLAIRE WELLES. WIFE MACHINE Duck love

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2 JOSÉ HIERRO All for nothing

ENVERS OLEG DOU Distressing perfection

ANNA FENINA Inner beauty

GEMMA GENAZZANO A goddess in every woman

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ESBÓS OLGA CHERTOVA Maternity

OLEG DOU Portraits

LISSY LARICCHIA Wondering

HOLLACE M. METZGER Photographs

BORN KAYLA MARIE CRAIG Personal pieces & purely fictional slices

NAU NUA March 2011 Issue number 5 Published by NAU NUA ART MAGAZINE DL B-42.495-2010 ISSN 2014-0002

Edited and written by Juan Carlos Romero Except for “Inner beauty” by Anastasia Stolyarova All contents used under license. All rights reserved to their legal owners and signatories for all the contents in this publication.

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LOOKING FOR SPACES Daan 5

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That picture you've been painting doesn't look a thing like you. Daan Stuyven alerts us of the dangers of building an image too far from ourselves in his song Icon. His last studio album Manhay (PIAS, 2009) contains this one and many other great songs which have a high success in his own country, Belgium, where DAAN is a leading figure in the music scene. He‟s now defending a live acoustic overview of his whole career that goes beyond a simple review. In fact, Simple (PIAS, 2010), is a rereading with novel arrangements and gives his now classic songs a brand new life because You were hungry for some learning and all they gave you was retrograding, as he sings in his Brand new truth. Nothing will ever be the same as it was, Exes opens Manhay in which DAAN exhibits a powerful pop song with a hymn air despite a very personal lyrics. Like a missile that ain't guided I was following my seed, like a horse that hasn't travelled I took hay for upper weed, I got excomunicated cause I couldn‟t play the creep. His love life turned into a vital flag but also a fierce self-criticism. DAAN‟s lyrics are always in black humor so nothing is as it seems, or maybe it is. Still, we face a huge pop monument which earns points performed live with its new perspective on the recent Simple. I can't give you all that I want but I can give everything I have, when looking for love in any wrong place just open yourself to simple days, a little affair for who you can care will make you change all your wicked ways. DAAN‟s Your eyes shows us his present, a new horizon, much calmer than remembering his past. But the weight of his great success in Belgium can also be a bad thing and so sings in Icon with Johnny Cash in mind as a clear reference. A great song where he says to himself The guy you know well that's just you and there is nothing you can do just a like a door you can't get thru when there is no one left to fool…Deeply accurate.

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Bad boy, bad girl acquires an intimate tone in a certain exorcism way. We're models without roles, we are the curtain just when it folds the party bashing moles. A bigger but also contradictory tenderness appears in The great retriever looking to the past mistakes and admitting that My blood was never cold. Manhay is an album that represents a higher quality step in the career of an eclectic artist even more with the recent Simple as a perfect complement which has been recorded along with the important collaboration of Isolde Lasoen playing various instruments such as vibraphone, drums, percussion, trumpet and many others, as well as providing her beautiful voice full of nuances. Performing live, DAAN and his band enhance the charm of a repertory that, once discovered, never leaves you.

Text by Juan Carlos Romero Photo 2 and 3 by Geraldine Jacques courtesy of Daan Musik Photo 1 and 4 by Vince Kmeron courtesy of www.kmeron.com

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A CABARET GARDEN Agent Ribbons 9

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You know I don‟t need anything right now „cause I‟m alright, I‟m alright, I‟m alright. Don‟t give anything but your love. Agent Ribbons play rough guitar sounds in order to open their last album Chateau crone (Antenna Farm Records, 2010). And one feels really good too listening to them performing live thanks to their energy and nerve, always a great experience. Agent Ribbons began as a duo formed by Natalie Gordon (voice and guitar) and Lauren Hess (drums and accordion), which was joined by Naomi Cherie (violin and cello) a year after. They are from Sacramento, USA, and since their early days attracted attention of audience and the media. Tours arrived quickly and their style grew around Natalie‟s personal voice and their music with a deeply psychedelic and circus character which has connected with the European cabaret tradition really soon. Their shows are powerful and theatrical, a great feast for the senses. Their first album, On time travel and romance (2009), is a sonorous marvel woven in beautiful vocals. The second one which I could enjoy performed live, Chateau crone (2010), goes much further. After the psychedelic I‟m alright, in Grey gardens the guitar still underlines the tune along with some violin arpeggios. It‟s like a walk around those grey gardens which take us to a peculiar imaginary world. Dada girlfriend gives us a precious calm, one of the best love songs I‟ve ever heard thanks to a fifties sonority surrounded by a lyrical surrealism that shows us love as a field for an inexhaustible discovering.

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Born to sing sad songs represents another highlight also as a declaration of principles. Musically it‟s a really simple song but performed live gains strength thanks to its theatrical lyrics. Natalie‟s voice sounds really charm and take us by the hand in a grey world but with a rainbow in sight. A more personal song is the masturbation chant called Your hands, my hands in which they play pleasantly with each other and the other with the rest ones and vice versa or the opposite but never against it. Playful violins and voices and a distorted guitar that invite us to the sex game as a way to explore ourselves and the others, the passion seed, the motor of life. Wallpaper is a delight in an epic tone. Its sound is more dramatic but it never forgets there‟s always light beyond and inside us. It‟s one of my favourites from a band I guess will always surprise us because every performance is a new creation itself. They sing You‟ll never know and my mind flies to an unknown world, a castle in the sky but with feet on the passion‟s ground, the only possible vital reality.

Text by Juan Carlos Romero Photos courtesy of Antenna Farm Records

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CAPTURE THE EMOTION Olga Chertova 13

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Olga Chertova is already a remarkably photographer who has been awarded II Prize by the Russian Epson Photo Competition in its last edition. Her artistic experience has been developed in many fields. She has experience as a theatre actress, teacher of graphics, a graphic designer, web designer, owner of design studio, fashion photographer and curator of art projects. She‟s currently focusing her activity in the artistic creation as a painter and photographer and taking part in exhibitions. Our present issue introduces her photographic series called Maternity in which he tries to capture the male emotion having a male hypothetic pregnancy as a framework. The paradox is really interesting from the beginning. One could think if a man could experiment a pregnancy his body would be adapted to that circumstance, so he would be like a woman and that paradox would have no sense. But it‟s really fascinating that question just looking to Olga Chertova‟s photographs in which there‟s a powerful black and white giving them an intimate atmosphere, almost as a withdrawal. It‟s interesting the portrait of a pregnant man looking deeply female. Hysterics is the first piece in that series. It shows the man‟s first reaction to the news of his own pregnancy. “He doesn't know what to do with that...Maybe it's a reason to change his life. Pregnancy is metaphoric. It may be a new way, new experience, new changes of his life and he is afraid of them.” In front of an unknown experience everything begins to shake. And reactions succeeded each other from crying to pain. Crying and Eater are deeply expressive and desperate because he knows is completely alone in front of everything and everybody. When colour appears is in a subtle way, just to show us his body‟s tone, raw and anxious. “After knowing that a person have a spectrum of different emotions - tears and being nervous (title Crying), anger to himself and to that situation (title Eater). In Russian we call it "self-eating", but I don't know is it good word in English... After anger that man tries to calm himself (title Self sedation) and he believes in a good future (title Hope) finally we saw a last photograph- a pregnant man thinking about his baby (title Maternity)”. It‟s a really shocking work because it makes us wonder about the social roles and face up to the fact that existence is always an individual experience so we live always alone despite our attempts of hiding that loneliness behind companies and conventions. Olga Chertova‟s photography invites us to discover ourselves beyond all those conventions.

Text by Juan Carlos Romero Photo and painting by Olga Chertova Maternity exhibition in Esbós section

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FALSE BELIEFS Martha Colburn 16

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To discover her in the last L‟Alternativa Festival de Cinema Independent de Barcelona 2010 was really stimulating for all the cinema lovers. Martha Colburn‟s fascinating Triumph of the wild (2010) was awarded exaequo as the best short film. It‟s an intense animation collage about American history in which a landscape full of beasts is the frame of human life drawing a source of contradictions between prey and hunter, civilized and wild, horror and idealism, each one as faces of the same reality. Martha Colburn was born in Gettysburg and she studied at the College of Art. After that, she studied at the Amsterdam‟s Rijksakademie and she began to explore the creative possibilities of 8 and 16 mm filming in combination with existent material in order to recreate it and complement it around collages with a strong aesthetics and a deep content always resulting in a vibrating rhythm and handmade air films.

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Myth labs (2008) was showed at the same festival in the 2009 edition. “This is a film about fear, paranoia, faith and loss of faith and salvation. „Myth labs‟ takes place in the American frontier and wilderness. Similarly to Meth addicts in rural America, for the Puritans the wilderness represented a place of their damnation and their ultimate resurrection synonymously. Through blending these two times in American history, I attempt to illuminate the idea that the lure of this drug for contemporary rural inhabitants is rooted in our earliest consciousness-forming experiences as settlers in a state of spiritual and physical emergency. Overly fervent faith and addiction alike, can change one from mere mortal to Superman to scarecrow. Just as a „wolf in sheeps clothing‟ these two vices (or devices) of salvation can have devastating consequences.” Religion as the sheep‟s skill that hides the wolf inside us, faith as an excuse for destroying the other in the fight for power and imposing superstitions and dogmas as a rule of control. Visually her films are always rich in nuances, colours and textures. As a handmade work, it‟s experienced as less artificial than the actual digital animation that dominates the market always looking for an excessively cold perfection. In Martha Colburn‟s films one can perceive her creative pulse beat and a convulse soul full of questions that surface in frenetic rhythms and all the music she uses as a soundtrack. In her works art breaths, trembles with emotion, doubts, lives. Text by Juan Carlos Romero Stills by Martha Colburn

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WITHOUT LOOKING BACK High Tone 20

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Passage of time is inexorable and the major part of the rhythms arrived from the inexhaustible net goes by with time too. Many of them will unjustly go unnoticed and many others will touch the sky maybe with no merit. The dub movement seems to be here to stay forever and is living a grace moment in which a lot of talents and some blasphemies appear every day. In the middle of that tumult, the French band High Tone is already a long-distance horse and winner one. Their latest album, Out back (Jarring Effects, 2010), portrays their ambition in a double format. High Tone is such a big magnitude reference in the French musical scene that one can hear their influence almost without trying. As proof of this, we have their numerous collaborations with colleagues in time and space. They began in the second half of the nineties as a part of the range of the rich French dub scene and then they shared a leader role with Le Peuple de l'Herbe, another classic band. Now, almost fifteen years later, they don‟t stand by, they are challenging us. Out back comes with being the assumption of double-siding the same coin, which is not easy. Indeed, everything has its own cross in this life but it‟s hard to find it in a group that has its own handwriting in the continued encouragement. Is there nothing new under the sun? Ambition does not mean quality, it is true, but Out back has quality in abundance. This tapestry of industrial and electronic darkness traps us in an almost hypnotic way. They are actually two albums rather than a double one. So, rather than Out back we should talk about Dub axiom and No border, two complementary works deeply characteristic of the signatories, dub finely seasoned with the new age of dubstep. Finally, it‟s a hard and dark work. Spank opens the first album, Dub axiom, in an Arab tone‟s voice that quickly attacks with a sound in an industrial tone and rhythm. An underlying and in crescendo rhythm marks some vocal loops intertwined. Yes, for many people, that‟s a perfect reflection of the present days. Impeccable and relentless, then they take us to the colorful but icy stream that starts Dirty urban beat, almost immediately vanished into the darkness of a dismal pace, paused only to certain echoes vocals and some melodic reflection.

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From this initial metallurgical industry, we fall into the electronic age curiously under the title Dub what, perhaps because the whistles which are intermittently heard wrapping up their first deeply melodic line. That song has apparently some reggae light, but soon we discover an almost lysergic loop feeling. More sluggish in the rate is the track Liqor, more clearly alluding to the origins of dub reggae. The sun makes its way across all those sounds wrapping the album's first words clothed in a good recurring melody. Taking an alcohol bath again, their dub origins are definitely manifested in Liqordub, asking for an energetic feedback. Their best achieved tune comes with a baroque basement in Rub-a-dub-anthem, melodically rhythmic. Fly to the moon takes us back to the daily darkness and leave us ready for the second part with a Boogie dub production in which they play and recreate all they‟ve already showed. The second part, No border, gets very dark. The guitar that serves us their Space Rodeo distresses us as a Kenneth Anger film, and High Tone quickly show themselves strong in the word and rhythm. The atmosphere becomes a dream sequence in Bastard, but it's a wonderful chiaroscuro. Then, eastern dyes and accelerated rhythms just pausing to dream in the back way home. And we follow their particular path of silk caressing sound fabrics of the most evocative. Propal is simply inspiring and serves as a disconcerting prelude to the mighty Uncontrolable flesh, although its carnal reference seems to me too remote due to its electronic sounds. Clearly, it doesn‟t fit, and less when it talks about chaos from a scorecard. But it is undeniable its suggestive sound. Ollie Bible seems less exciting, without ruling out that this was the initial intention. And we got the 7th assault with a really exultant High Tone, displaying all their charms. It‟s simply vigorous. In the end, they serve their Altered states and we are far, far away from our daily life experience that is finally all we have. Come back with more, please. Text by Juan Carlos Romero Photos by JiF courtesy of High Tone

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MIRROR PIECES Julieta Triangular 23

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Amistad silente is the brand new work by Julieta Triangular as a promotional clip for the Denver song El corazón de Andrés. She defines her work as “experimentos cromáticos en pentagramas musicales” but all those experiments go much further. Her films are a deep inner experience and make all us feel as the main character of her last film, poets looking for our own identity. Which is our identity? Does it really exist? Perhaps it‟s just a rash to think we all have an identity just because we all are aware of our individual existence. Maybe that research is a futile one or maybe that identity is created in the course of it. As the Spanish poet Antonio Machado once wrote “caminante no hay camino, se hace camino al andar”. And the road drawn by Julieta Triangular is really fascinating and full of poetry. Every video she creates has a visual audacity that turns every slot in a poem. Every colour is a wonder. Her Amistad silente was born as a consequence of one of her own poems. “Como suele suceder en mis trabajos la idea surge de un poema utilizando la palabra como base, la imagen se compone a partir de la pregunta ¿qué pasará cuando el poeta invada la luna? El poeta de la historia es un ser que ha perdido la inspiración, ya no tiene sobre que escribir, por lo que busca hacerse daño, reventarse la boca intentando alcanzar las estrellas, quiere reconstruir su vida, su poema”. A reconstruction trip in which Julieta creates new universes complemented with old NASA‟s documentaries reworked in a colourful way. The original poem shows us a creativity hungry poet who decides to invade the moon looking for a source of inspiration. But he hurts himself in order to find poetry in pain. “Caminando sobre calles de espejos que como en Alejandra Pizarnik le permiten ver su reflejo de animal herido, se da cuenta que debe ser más persistente en su cacería y si desea calmar sus ansias de depredador, debe ir por el único ser que falta por ser devorado, su propio corazón”. It‟s self-destruction as the only possible door in front of the impotence of being beyond ourselves without knowing who we really are. That project has been made by Julieta Triangular in the Colectivo Ladradores de Ojos along with the Colectivo Lepidópteros. The song El corazón de Andrés by Denver is the perfect vehicle for that poetic trip of impotence in the fight for the own image when, reflected in the daily mirror, it leaves us nothing more than a jail that we are not able to recognize. It‟s a real spiritual chromatic.

Text by Juan Carlos Romero Slots by Julieta Triangular

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DUCK LOVE Claire Welles 26

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Every duck needs an elephant is one of the tracks of the Claire Welles brand new album Wife Machine (2010). When I read that title I was deeply fascinated by her creativity but I must admit that fascination grew to incredible limits when I listened to the whole album. And I wanted more and more while I was discovering a wonderful album, a piece of real creativity which makes all those apostles that believe nothing new is possible look ridiculous. Wife Machine is a total expansion of our senses. The album starts with Milk teeth in which sounds a playful keyboard in an irresistible tune while Claire sings I don‟t know what is happening to me. But I knew perfectly what was happening to me because my admiration for a composer from Liverpool who is able to create a whole world full of honesty in every note she sings. Quickly, a song in a Carl Perkins style prevents us from relaxing. It‟s Bicycle Shed and makes our bodies dance to the end when Claire whispers Thank you! A kind of anarchy arrives with Lost moments, a wonderful piece that take us to the best psychedelic sounds and the early works of Frank Zappa & The Mothers of Invention. A reiterative rhythm and a piano tune surround her voice in a trip that reminds us our own lost moments, getting finally lost in a sonorous chaos black hole. We arrive to Christmas lights with a sound really far from any brightness. Deep guitars, drums in echo and some moments in a waltz rhythm while she screams I don‟t play the game. Neither do I.

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Sea waves whisper Every duck needs an elephant which is deeply true. A minimalist and dashing instrumentation along with Claireâ&#x20AC;&#x;s voice whispering between ducks and elephants in order to undress our ridiculous ordinary life. She bangs the guitar strings in Walking home, a bittersweet chant because home, sweet home is an irreparable trap sometimes.

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When an Alpine cow appears in that sonorous landscape her voice sounds in an ironic sweetness. Acoustics sounds in contrast with spoken tracks such as Delicate tension. It sounds like being in a crowded bar while she regrets to be in a pretty home place where anyone wants to see my face. Losing my milk teeth I don't know what's happening to me I'm only 6 years old...Losing my milk teeth everything was fine until the other day til I ate that take-away. I'm in the top juniors now I feel so old already at the top of the class gonna retire soon I think...Losing my milk teeth, my mother says it'll pass and I'll get some money from the tooth fairy. From Milk teeth to Wife machine, an instrumental piece, except for the last seconds, that reminds the sound of a clean machine and is also the title track of the album, it all represents a big proof of Claire Welles creativity, a mirror in which just a few people will want to look because its deep honesty. Itâ&#x20AC;&#x;s a wonderful discovering for open-minded smiles.

Text by Juan Carlos Romero Photos by Claire Welles

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ALL FOR NOTHING José Hierro 30

NAU NUA “Después de todo, todo ha sido nada, a pesar de que un día lo fue todo. Después de nada, o después de todo supe que todo no era más que nada.”

NUA “After all, everything has been nothing even though one day it was all. After nothing, or after all I knew everything wasn‟t more than nothing”.

Vida is the last poem of his book Cuaderno de Nueva York (1998) and the beautiful pain of someone who is arriving to his last days facing up to the only truth of our existence: all and nothing are two faces of the same coin. We cannot avoid the time passage so live take us to crash brutally against our own lies, that is, to pretend we are something else than simple life expressions. Life flows on within us without us, as George Harrison once sang. José Hierro was born in Madrid in 1922 but his family soon moved to Cantabria when he was just two years old. There he studied for a technical degree which was interrupted by the Spanish Civil War from 1936 to 1939. His first poems were published in the republican side against fascism for which he was jailed when the war was over and General Franco achieved the power. He was accused of being involved in an organisation for helping the political prisoners, one of them his own father. After some years in prison, his poetry achieved an extraordinary maturity, something really unusual in a poet so young. He published Tierra sin nosotros and Alegría (1947). “Llegué por el dolor a la alegría. Supe por el dolor que el alma existe. Por el dolor, allá en mi reino triste, un misterioso sol amanecía”. The war years took him to work underground and finally to the prison, but all those experiences marked his spirit in an even more lively way. His poems are always full of intensity in a minimalist and clear style for which he received the Adonáis Prize in 1947. After that recognition, he published more books and was honoured with more important prizes. Some years living in Valencia collaborating as a pictorial critic in radio programs and magazines, he finally moved to Madrid. He returned to his poetical work with Con las piedras, con el viento (1950) and Quinta del 42 (1953), and his poems had a deeper social critic but not in the realistic style that dominated the Spanish literature at that time which had a grey tone avoiding any conflict with the obscure violence of the Franco‟s dictatorship. So, that realism was always an obliged subtle portrait. But Hierro walked different ways and drew his own traces with the same strength he showed through his face, hard but full of tenderness. And that walk finished where it began, in Madrid in December 2002, and the ones who found a warm coat in his Cuaderno de Nueva York (1998) became orphans because in life all is nothing more than an echo born inside ourselves.

Text by Juan Carlos Romero Poems by José Hierro Photo by Alberto Schommer courtesy of Museo de Bellas Artes de Bilbao

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DISTRESSING PERFECTION Oleg Dou 32

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Looking at Oleg Dou photographic works a strangle feeling invades you because an artificial and forced perfection that contains a deep inner pain. Probably, they are a portrait of our daily scars because the social roles which are impossible to achieve. Oleg Dou is a young Russian artist that expresses his fascination for classical painting portraits and a personal hate for having one‟s photograph taken. His work is really amazing because his portraits make us face up to the false image we‟re building about ourselves. Series as Toystory, Tears or Nuns, have developed a personal creation that has a lot in common with all of us. It‟s the imperfect perfection. Are we all mannequins? There are a lot of situations in our life where we don't have a choice or don't know that we have. In that case I can answer “yes” for this question What does reality mean to you? It is something that connects me with other people. I feel a kind of coldness with the unreal perfection shown in your work which is really painful and distressing. Could you explain us something about your techniques? I'm inspired with the paintings from very old time where you can see perfection and something weird at the same time. It is very interesting for me to “play this game” with the viewers. I always do something very attractive and disturbing in one work. All your photographs are portraits always looking to the camera. What do you search in all those looks? I used to be afraid of the camera when I was a child. I tried to smile, but the result was awful. I never liked my photographs because my eye's always showed I was unhappy. And I had a passion to find this kind of portraits everywhere from our family album to books of classical paintings. Now I'm trying to create such a things. Your series called Toystory shows us child portraits in an albino look but wearing some red accessories that represent a shocking contrast. Do you feel childhood as a distressing period? In some ways yes. I hated different celebrations, costumes, clowns and so on. Tears is the most touching of your works because the women‟s faces crying but in a cold expression. Is there no way out of social restrictions? I wouldn't be so strict. But of course we are all limited by this social behaviour rules and stereotypes.

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Paper and paints is more surreal because faces are painted or papered. Is it necessary to disguise ourselves? It is necessary in some situations. For example it won't be good if you have bad mood at the party and spoil it, it would be better if you will smile or just won't come. But of course it is very important to be natural and not to pretend in the most life situations. Nuns seems to be inspired by different religious iconographies, isnâ&#x20AC;&#x;t it? Yes it is. Also I should say that I saw old photographs of nuns from the XIX century in the museum. And that pushed me.

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All your series are about child and women. Are they the main social victims? Actually I don't do man portrait because it doesn't look proper way. But I'm definitely agree with you. Whatâ&#x20AC;&#x;s your freedom concept? It is to live my own life. Interview by Juan Carlos Romero Photo by Oleg Dou

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INNER BEAUTY Anna Fenina 36

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Anya is amazing girl. She is 23 now and by this time she had already recorded some reels for her songs, moved to Saint-Petersburg from a province and got married. Then after 2,5 years of marriage she became a young widow but her spirit was not overcome. Always cheerful and joyous Anya leads a School of Guarding Handicraft where together with her friends she inspires an interest to Russian traditions and Slavic culture and teaches handicraft. Besides Anya was the first in Russia who picked up and spread a wonderful idea of Indian mandalas called Ojos de Dios (Eng. - The Divine Eye). She travels through immense Russia telling the story of mandalas and showing how wisdom of centuries and heart purity are interlaced with one another in a colourful braiding. Tell us please about your reckless adolescence! :) What was your life like before you left for SaintPetersburg? What gesture of yours do you reckon to be the craziest in your life? I was born and grown up in Yoshkar-Ola, it‟s 800 km to the East from Moscow. This town is small but I did my best to find anything interesting for my development. I took part in all the competitions and conferences, was engaged in historical reconstruction of past events, sang in band and practiced playing musical instruments, traveled hitch-hike through the whole Russia… The most insane was to travel alone. I contrived to cover 30000 km in common – from the polar circle to the South. Now I can hardly imagine to dare it :) Who taught you Ojos de Dios braiding? I got acquainted with an amazing woman. It was one of such events that can be appreciated as value only after some time passed. Unfortunately a lot from that meeting was deleted from memory and I also didn‟t try to memorize in details. Her name was Ayna, she was very beautiful woman with black shiny hair. She visited Russia with her husband and son. Ayna told me that her granny - pureblooded Indian – taught her a wonderful craftsmanship of making Ojos de Dios. This skill Ayna confided to me. I was 12 or 13 then, we communicated mainly on English. Later I combined given knowledge with my thoughts and created a program of Ojos de Dios braiding that I teach everyone who requires. I know mandala is not just sticks with brightful braiding on them. What does it mean for you? For me Indian mandala is an opportunity to correct my life path – by making handicraft in harmony with thoughts. Also it helps me find answers from subconsciousness, inflates with power of nature and instills confidence of my own strength in me. Handicraft always reveal feminine energy in women, it makes us speak with the whole world on a special language that can‟t be understood with logic. Indian mandalas are palettes with colours that I use to make my life and space around me bright. How does mandala creation process occur? Sometimes the process is predictable and serene – I decide to braid, prepare everything for it, then dive into process of creation and - here you are! - the mandala is done! But sometimes it‟s like an

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obsession. Once I was going in a subway transporting documents to a bank for some business… Suddenly I felt I had to make a mandala! It seemed to me something was happening and I could exert influence on it by my braiding. I got off the train, took clews from my bag (I always carry a couple of them), plucked sticks and began making a mandala sitting on a bench. People around me wondered what happened but I didn‟t care. I put thoughts in order, opened my heart and tried to fill my work with love. I was unaware of whom I was braiding for but I felt gratification after my work was done. Do you feel relation to Indians? May be you were Indian in a previous life? I think so. Even when I hadn‟t thought of reincarnation yet – in my childhood – I fringed my shirts and trousers, made beadwork and adored leather trappings. My favourite shoes have always been moccasins. Well I like Indians and their way of life very much! But I realize no matter what was in past it‟s no good to cycle in it. My inner voice says to me: “You have your present life here in Russia, live it and make it wonderful!” May I ask you about event of October, 2009? (Anna‟s husband died in a car crash.) What helped you continue living full life? That October… I wasn‟t ready to accept all what happened then. In 2007 I met Dima, he was the most wonderful man in the world – wise and patient. We learned to create a fairy-like family together… We followed the success step by step. 2,5 years we lived as a family and 1,5 years of them we were married. The day before his 29th birthday Dima crashed in his car. The first thing I forbade myself to think about is “what would happen if…” and of course I banned all thoughts about my fault. These things can destroy everything good inside me and I have already had everything ruined around me. I wished to keep safe at least myself. Eventually I found myself with some trunks, credit at bank and without money. For some time I gave way to despair. But it turned out that so many people around me were ready to support me in my trouble. With many of them I hadn‟t been acquainted by that time and until now I have no idea how they found me. They helped in many ways – gave advice, attention, resources… They even organized charity to support me in a difficult financial situation. I wouldn‟t manage to get over without such a prop. Sometime after I caught a wisdom of all that has happened. It took a month. (You may be astonished but for those who faced such a trouble time passes in another way.) I understood that I have to share my thoughts that soul is immortal and that it‟s not necessary to forget love – it is both “here” and “there”. I became to make notes in my online journal and found out how many women in Russia lost their beloved. I started to support and inspire them and one day I felt myself necessary for anyone again. It was the first difficult phase that I left behind.

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Almost 1,5 years have passed since that time. I haven‟t overcome all asperities yet especially those concerned with financial situation. But I believe everything will be all right if I keep faith in myself and follow my inner voice. You said Dima had changed you… and even after his death he helps you to alter. How does it happen? Dima is love and patience incarnate. I‟d only read in books about such a love until I met him. I‟ve learned from him how to forget about my ego (especially when it concerns to my relatives), dismiss resentment and get up if I fell down. When I face some choice I ask Dima “How do you think I should act?” – and answer comes like slight impulse. It appears in heart and always turns out to be true. My husband is close to me still but not in such way as before. I learn to maintain a new tie with my relative soul. In your online diary you write miracles always happen with you. Could you impart them to us? Not long ago it warmed up outside and there turned out to be many icicles hanging on roofs – they are a real disaster of my city. I was on my way back to my studio when suddenly heard someone‟s speaking from my pocket! When I took out the mobile phone I could hardly believe my eyes – the phone dialed Dima‟s number itself and I heard a voice of robot “The mobile phone you are calling is switched off…”. I was standing for two seconds in perplexity thinking of strangeness of this situa-

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tion when suddenly a huge ice lump broke into pieces in a step from me. I remained whole excluding a small injure by a sharp piece of ice and some snow on my clothes! My friends noticed I came back in a mysterious mood – thoughtful with a smile on my face. When I told them a story of my wonderful life-saving they said it was a miracle :) And I think so. It‟s so good to have a magician husband! :) What do you believe in? In spite of miracles :) I believe in God, also believe that before incarnation our souls choose life lessons in case to become wiser and more cordial. And that we create present life by our thoughts and actions. I have a strong faith that happy family is not a myth but a hard work connected with love and patience. I believe life on nature far from civilization is really a good idea. I accept that all talents are available for everyone to develop. I believe in a collective intention power. And I feel that our planet is on the threshold of amazing event. Do you believe in Mayan prophesy for 2012? How should people change to make the year 2012 be the beginning, not the end? I think wise Mayan wouldn‟t fabricate information about 2012. This date will be significant in a certain way. But everyone has one‟s own preparation. The most important is to remit fears and begin living as the New Age Human. We should develop our virtues, look attentively at our character and transmute demerits into merits. Also it‟s important to put in right order our thoughts and actions, maintain relations with natives. If you believe that nature disasters are inevitable and you are scared of that, well, prepare yourself to life on nature without electricity: familiarize with healthgiving plants and natural detergents, learn ways of house building… We have no time to reflect on what will or won‟t happen. We should use present time properly to improve our life. If everyone acts that way the world crisis is off. Are mandalas useful for us to guard from stress? Mandala is one of the most wonderful and grace ways of interaction between the soul and world. If you accept mandala as an aid it will make your inner work lighter and in addition beautify the walls in your house :)

Interview by Anastasia Stolyarova © Anastasia Stolyarova Photos by Anna Ferina

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A GODDESS IN EVERY WOMAN Gemma Genazzano 43

Her debut album Si me quieres/If you love me (2010) combines soul rhythms with a voice full of sensuality as a way to live intensely. Born in Barcelona, Gemma Genazzano is the Italian actor Oswaldo Genazzano‟s daughter and she has the Mediterranean aroma so a deep earthly soul floating in a sea rhythm. After her piano studies at Conservatori del Liceu de Barcelona, thanks to a grant she moved to Boston in order to study at the Berklee College of Music. Step by step she‟s been creating a personal music born in her passion for discovering her lovers and herself. You are living between New York and Barcelona. How important is New York as a creative place for Latin musicians? NY is a magical place full of opportunities but it is also very lonely and hard. It really doesn‟t matter if you are Latin or not, I believe that for any creative person, the more inspiring the environment is, the better. NY is very eclectic culturally, you see it all here!

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Why did you choose Latin jazz as your musical expression? Latin/Soul would be more exact…I think of my music as sultry music... I love blending jazzy melodies over soulful grooves and funky and hypnotic rhythms. I like singing in Spanish and in English so I can create a new sound. Marlon Saunders has a very important role in your project. Tell me about your collaboration. I met Marlon while I was studying at Berklee in Boston, and then reconnected with him again when I moved to NY. He is the producer of my CD and he has been a very important person in the development of my career as well as a very good friend. He's also a very creative person and an incredible singer...just check out his website www.marlonsanders.com. Sensuality is the center of gravity in all your lyrics but also your voice is deeply sensual itself. As we can read in your official website “relax with a glass of wine, light a candle, get cozy with that special someone and let Gemma Genazzano sweep you away into a world where romance is always in the song”. Are you in love with seduction? Seduction is an important part of a fun, exciting, mysterious way of approaching love in life. Take me away is the second track of the album in which you talk about a no ending night. Do you feel sensuality as a way out from ordinary life or a way for discovering? Maybe a little bit of both... Is the night a kind of paradise where everything is possible? Absolutely. Dance Interlude is a slow piece in which your voice is whispering sensual feelings as a prelude for a kiss. Is sex our best dance? No, seduction is our best dance. Si me quieres is probably one of the most frequent sentences in a relationship. Is our love depends on the sentiments of our beloved? The whole sentence says “Si me quieres…Dimelo” meaning "If you love me ...Let me know". But definitely not, there shouldn't be any expectation or dependency in our relationships. Love is the higher expression of life. When we turn love into expectations we only get disappointment. When we need something from the other, we are just looking for what we are missing in ourselves. Love simply is, let it be and enjoy it. Receive love and give it without trying to control it... Secretos starts in a groovy style but suddenly becomes a slow tune with a mysterious air. Is seduction full of lies? Secretos talks about how you can lose yourself in your love for someone else. This song tells the story of a woman so crazy about a man that even though she knows that he‟s lying to her she doesn‟t want to know the truth.

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So, could you Show me who you are? My songs are about love, romance and passion because I feel it is a way to celebrate who I am. I think it is important for a woman to feel free to express her inner beauty because... I believe thereâ&#x20AC;&#x;s a goddess inside every woman waiting to be discovered...but if you want to be in touch or know more about my project please visit me at my official website and facebook. Or just listening to her songs always surrounded by magnificent New Yorker jazz musicians and a sensual voice which arrived to New York from Barcelona in order to take us away. Interview by Juan Carlos Romero Photos by Eddi Collins

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OLGA CHERTOVA Maternity 46

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OLEG DOU Portraits 52

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LISSY LARICCHIA Wondering 61

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HOLLACE M. METZGER Photographs 68

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KAYLA MARIE CRAIG Personal pieces & purely fictional slices 78

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“I remember the last time I saw my dad. The pain in his eyes, the whiskey on his breath, and the lack of hesitation in his stride as he walked right out of my life.” “Why are we always overlooking the obvious? Do we always have to learn from our mistakes? Can‟t we just drop the reins and run? Jumping when we reach the edge, depending on a leap of faith. Trusting our intuition, instinct, and soul the sense of wonder that fuels us. We have to be ourselves and not worry about what others think.” “I refuse to become a number that you just add to your list of one night stands.” “Music speaks to me the way you never could. Maybe you should actually try and listen.” “Does the weight of your hand bring you pleasure? Does the pooling of my blood hiding under my bluing skin make you feel like a man? When I‟m dead, what will you do then?” “You may think „Oh my…‟ but this is only one of the many scars you have left for me to hide…Why do you insist on bringing me pain, on branding me with your hateful marks? One of these days I‟ll have the strength to leave a mark on you, that you‟ll never even dream of being able to hide.” “Kiss me or kill me either way my memory will haunt you forever.” “A lust to perform, a heart of music, and a passion for dance, you‟ve defined me, now you have to choose, love me or leave me…If you want me, you have to take all of me. Not just the pretty face, family money, and thick top. But my passion for life and love for the arts.” “To be honest...I‟d buy almost anything right now, just to believe in something.” “I want it back. I wish that my skin were tighter that underneath it was just bone no more unwanted padding. That my ribs were sharply defined below my breasts, and that the bones of my hips could peak out over my waistband.” “My screaming warnings don‟t help if you don‟t bother listening.” “I tried so hard to be what you wanted and look where if got me. You promised to make me one of „you‟ if I did what you said. But you just laughed in my face and pushed me away.” “You don‟t know who I really am, I‟m not sure I‟ve completely figured it out either but I‟m not about to let you decide.” “Beauty unfolds on the wings of time and you watch your own face change before your eyes.” “Let‟s just go and get lost, you and me, alone where no one can find us. We can share our darkest secrets and then make some of our own. No one will ever have to know. We will stay out as late as ever, completely intertwined while our tangled bodies bathe in the autumn moonlight.” “I would give you my heart but all I have is this cupcake. Please forgive me, Love.” “I‟m a woman in a room full of girl, yet only a girl in a world full of women.”

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“Loving you is like trying to bake a cake without all of the ingredients. Still sweet but there‟s not enough there to hold it all together.” "Broken Glass and shattered dreams, what happened to it being you and me?"

Text and photos by Kayla Marie Craig

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REFERENCES Lissy Laricchia http://www.lissyelle.com Daan http://www.daan.be Agent Ribbons http://agentribbons.bandcamp.com Olga Chertova http://www.chertova.com Martha Colburn http://www.marthacolburn.com High Tone http://www.hightone.org Julieta Triangular http://triangularjulieta.blogspot.com Claire Welles http://clairewelles.bandcamp.com Fundaci贸n Jos茅 Hierro http://www.cpoesiajosehierro.org Oleg Dou http://www.douart.ru Anna Fenina http://annafenina.ru Gemma Genazzano http://www.gemmagenazzano.com Hollace M. Metzger http://www.hollacemetzger.com Kayla Marie Craig http://www.goodreads.com/user/show/3720808-kayla-marie-craig

NAU NUA MARCH 2011 EDITION NUMBER 5 PUBLISHED BY NAU NUA ART MAGAZINE http://naunua.blogspot.com CONTACT naunua@live.com

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