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Never Lazy Autumn 2013 --------

Breathe Creativity Elisa Bergmann Giorgia Fagà Krzysztof Frankiewicz Mariana Garcia Julie Gilgenmann Tom Gollins Adam Goodison Kazha Imura Karborn Samantha Keely Smith Ewa Kępys Atcha Kim Natasha Morris Pedro Podestá Monica Ramos David Ryle Phil Sharp Ioana Sopov Taisido Leigh Wells


E D I T O R S A B B I E

C O H E N

J E S S I E

Features Editor

C O H E N

Designer

eleven------autumn 2013

C O N T R I B U T O R S

Elisa BERGMANN G i o r g i a FAG À Krzysztof FRANKIEWICZ Mariana GARCIA Julie GILGENMANN To m G O L L I N S Adam GOODISON Kazha IMURA KARBORN S a m a n t h a K E E LY S M I T H Ewa KĘPYS Atcha KIM Natasha MORRIS Pedro PODESTá Monica RAMOS D a v i d RY L E Phil SHARP Ioana SOPOV TA I S I D O Leigh WELLS

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O N

T H E

C O V E R

Ewa Kępys

NEVERLAZYMAGAZINE@GMAIL.COM W W W. N E V E R L A Z Y. N E T • B L O G . N E V E R L A Z Y. N E T

THE AUTUMN 2013 ISSUE 3


Editor’s Letter

our readers, this issue also presents a delicate digital piece created for NeverLazy by Romanian illustrator Ioana Sopov (p.82),

Is it Autumn already? We’re sad to see the

and exclusively unveils mixed media artist

days of sun and sand slip away, yet it is with

Karborn’s intriguing workspace (p.12).

great pleasure that we’re welcoming a new

Lastly, those who appreciate art fused with

season with a curation of artists, whose

deep socio-political messages should turn

words and works give profound insight into

to our interview with Tamara Abdul Hadi

their bright visions and aspirations.

by arts writer Natasha Morris, whose

To express the move into Autumn, we’re

perspective on the Middle Eastern

introducing some new and simply stunning

photographer’s work is both refreshing

editorial stories – from Krzysztof Frankiew-

and eye-opening (p.6). Find an escape from

icz’s (p.174), to the darker and cooler edito-

the clouds and rain that loom ahead, by

rials of Ewa Kępys (p.102), Pedro Podestá

tucking into an issue overflowing with

(p.70) and Julie Gilgenmann (p.144), to a

warmth and personality.

curious piece by Giorgia Fagà (p.134) which deals with the concepts of evolution and growth. Because we’re never done spoiling

4 N E V E R L A Z Y M AG A Z I N E

• Abbie Cohen


06/ All Eyes On: 82/ Ioana Sopov The Eclectic Illustrator Tamara Abdul Hadi Words and interview by Natasha Morris 92/ Kazha Imura

154/ Taisido Empty Spaces

164/ Phil Sharp

Subjectivity and

“I find it incredibly hard

subconsciousness

to describe my own aesthetic.”

24/ Leigh Wells

102/ Lasting Spaces photographed

174/ Colourful Fiesta photographed

seeks out the truths and

by Ewa Kępys

by Krzysztof Frankiewicz

116/ Hungry for Humour: Monica Ramos

186/ Elisa Bergmann

12/ Karborn, redefining surrealism

ambiguities of our world

36/ Samantha Keely Smith Internal landscapes

Raw Impulses

124/ David Ryle “I don’t change my

46/ All the Surrounding Colour photographed

photographic personality.”

by Atcha Kim

photographed by

Nostalgia

134/ Dollboy Georgia Fagà

58/ The abstract lens of Tom Gollins 70/ The Secret photographed by

196/ Mariana Garcia Exploring 206/ Adam Goodison “I aim for a high-end

144/ In the Darkness

aesthetic.”

photographed by Julie Gilgenmann

Pedro Podestá

THE AUTUMN 2013 ISSUE 5


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From the series picture an arab man (2009)

ALL EYES ON

Tamara Abdul Hadi “Our generation is the first to truly vocalise a diverse representation of who we really are.” ---- Tamara Abdul Hadi Words and interview:

NATASHA MORRIS

THE AUTUMN 2013 ISSUE 7


From the series picture an arab man (2009)

From the series flying boys

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Picture an Arab Man celebrates the physicality of its sitters with a rather sweet sensitivity and impartial straightforwardness.

In the 2008 article The Humanity Game:

world of war and subjugation as personified

culture. “I believe that Arab men are under-

Art, Islam and the War on Terror, Jessica

in anthropologist Robin Morgan’s

represented,” Abdul Hadi concurs, “but not

Winegar lamented that ‘positive artistic

The Demon Lover: On the Sexuality of

in light of how much Arab women are repre-

representations’ of Arab men are ‘exception-

Terrorism propelled by a post-9/11 curiosity.

sented through the veil. I am attempting to

ally rare’. Throughout history to the modern

On whether there is a difference between

represent the uncovered in its own context,

day, the picture of an Arab man envisioned

the construction of the Arab male by both

not related to anything else.” Coverage of

by the iconographies of the Western world

international and domestic media, Abdul

the contemporary Middle Eastern art world

deploys a plethora of stereotypes: the seduc-

Hadi replies: “Yes and no. Arab media

sees the predicaments of Arab women

tive but savage Oriental, the moneyed sheik,

comes from Arabs themselves and is there-

represented more frequently than that of

the flag bearing protester to the violent

fore definitely a more diverse image of their

their male counterparts. Some of the most

terrorist. Each incarnation has combined to

own representation. But Arab media, if we

well known female artists that challenge

produce a hypermasculine, and ultimately

are speaking of news media, does the same

religious and gender stereotypes, such as

intangibly alien, picture of the Arab male.

thing as the West in projecting a particular

Lalla Essaydi and Shirin Neshat, deal with

In response to the one-dimensional image

image of a people. There is no way of

the female figure in singularity with a critical

of the Arab man perpetuated by and beyond

changing the direction of the box. We can

eye on her contemporary incarnations under

the world’s news media, the Iraqi photojour-

never place the blame on one side, it has to

the Western and male gaze. From ‘Unveiled’

nalist Tamara Abdul Hadi has sought an

be fair representation from both sides.” It is

to ‘Re-Orientalism’, exhibitions and the art

alternative. “I started realizing that I was

this dual conflict of representation from

market have often capitalised on the rich

documenting every day Arab men; the

Arab and international media and social

opportunities for wordplay stemming from

brother, the father, the grocer, the artist,

norms that led writer and human rights

themes tackled by these artists when present-

the businessman.” Abdul Hadi explains that

activist Mai Ghoussoub to describe the

ing Middle Eastern art to the world, playing

her subjects, from Flying Boys to Picture an

Middle Eastern man’s perception of their

on deconstructions of Orientalist imagery or

Arab man (2009), are all represented without own masculinity as ‘tortured’.

the conceal and reveal of the veil. “I have an

pretence: “my aim is to show the Arab man

issue with women being addressed majorly

as human first and foremost”.

At a screening of Kuwaiti director Meqdad

through the context of the veil,” says Abdul

Al Kout’s short film ‘Moustache’ in 2011,

Haidi. “The loose understanding of the Arab

There is a tendency in the Western media at

writer Sheyma Buali alerted the audience to

woman, I believe, is further engendered

least to view the region of the Middle East

the otherwise absence of focus on the anxie-

through this medium. We have to start

as an analogous, and male, whole – a man’s

ties and issues of Arab men in contemporary

diversifying our content.” >

THE AUTUMN 2013 ISSUE 9


Picture an Arab Man celebrates the physical- of marginalised communities and – as with ity of its sitters with a rather sweet sensitivity

Picture an Arab man – as she hands over

and impartial straightforwardness. The men

the camera remote to everyday Palestinians,

are semi-nude and the approach is minimal-

Abdul Hadi raises the question of autonomy

ist. The titular use of ‘Arab’ is encompassing

over one’s own image. There is a pervasive

rather than blanketing: the 38 sitters are

sense of the documentary with a focus on

reflective of the large geography but also

the honest recording of the everyday. The

its diversity, representing Egypt, Lebanon,

delicacy of the portrait series such as Picture

Iraq, Syria and beyond. Their poses are

an Arab man belies the scarred landscapes

often inward, contemplative, sometimes

captured in other projects: cemeteries that

smiling, with each image breaking through

are created to be the resting places of both

the archetype of hypermasculinity with an

people and warheads, to dilapidated

unexpected gentleness. Abdul Hadi says her

houses that show the footprint of war

goal is to “shed light on the injustices that

amongst communities.

have put them in their situation, but at the same time to represent them as humans and

Tamara Abdul Hadi’s photographs have

not one Monolithic voice and experience.

been published in The New York Times,

Struggle is universal.”

The Wall Street Journal and The Guardian amongst others. On whether there is any

“I feel that our generation is the first to truly

crossover between her personal and

vocalise a diverse representation of who we

professional work, Abdul Hadi says “they

really are,” explains Abdul Hadi. Her port-

have definitely intersected at some points,

folio reverberates with an honest naturalism.

while others are completely separate. I ap-

Self Portraits from Inside Palestine (Ramal-

proach both projects the same way through

lah, 2011) tackles the underrepresentation

the lens.” • natasha morris

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From the series Flying Boys

------“My aim is to show the Arab man as human first and foremost.”

THE AUTUMN 2013 ISSUE 11


KARBORN REDEFINING SURREALISM

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------“I didn’t develop Karborn,

it developed me.” THE AUTUMN 2013 ISSUE 13


Many will have fantasized over the detailed

How would you describe your creative style?

and dynamic mixed media work of John Leigh, better known in the visual arts

Mother’s dreams. Machine’s execution.

sphere by the curious name of Karborn.

Dedicated to beauty and concept.

The London-based artist combines complex digital processes with organic elements,

How formal is your training?

to create mind-blowing pieces in which beauty and disorder interact with his

[I] learnt it all before I was sixteen, when

understanding of reality and the world.

I left school for good. Ha.

We spoke to the man himself, whose simple and choppy answers to our questions are

Your work always appears to be quite intri-

as mystifying as they are a spotless reflection

cate and detailed. Could you tell us about

of his individuality. We provide an exclusive

the creative process you usually follow?

look at the artist’s studio space and intricate work process – the kind of insight that, if

Mostly blood-letting of fashion-models

anything, will leave you inspired and eager

for ritual… Seventy-thousand pounds worth

to dig deeper into his creative universe.

of equipment – scanners, photography cameras, records, computers, paints, silk

Tell us a bit about yourself: Who is Karborn? scarves, projectors, slides, books, magazines, How did you develop this identity and how

gold, herbs/potions. Two years in thought,

did your interest in the visual arts begin?

two minutes to assemble. Thirty to forty iterations and prolific output, from which

I didn’t develop Karborn. It developed me.

only the cream is picked.

Latent DNA strands, these tiny threads hold my understanding of the world together.

Who and what are your main inspirations?

[This] gives me a framework of perception and a true lens to see through…

Lost and found pieces of film, gifs, your silhouette, my gold, that neckline, their >

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------“I’m not a digital artist, I’m not an illustrator.

I’m an artist. The-long-hard-road.”

photography: Arta Kane

THE AUTUMN 2013 ISSUE 19


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swagger, her smile when the arm of the tree

Living beyond survival… but ask me when I’m

momentarily obscures her face, Klimt, Viola,

dead.

Man Ray. The so-called realities we have unimaginatively constructed and burdened

A word of wisdom to share with us?

this world with, the wonderful ideas I see all around me.

Art is made in a fight. Not in your mother’s arms.

What are the biggest challenges you have

Do it today. Tomorrow it may be illegal.

faced so far?

This is the language of the Earth. The language of the beasts.

Perception and pigeonholing. I’m not a

Big dreams, good music and expensive taste.

digital artist, I’m not an illustrator. I’m an

Ideas over two years, made in two minutes.

artist. The-long-hard-road. We got the future on tape. Never wait. What would you most like to explore as an

But be endlessly patient.

artist, within the world of visual arts?

Concrete, bulletproof, invisible. Never liked Freud... Only listened to Jung.le.

The beauty of process, the link between love and factory. Automation and free strokes.

Remember nature?

Work with music, film and fine art. Each

In a time of intense violence and ugliness,

dedicated, and simultaneously in harmony.

beauty becomes a revolutionary force.

Nudes are okay too.

Pleasure from illusion. Happiness from reality.

What accomplishments are you most

You’re never going to die, you’re going to

proud of?

make it if you try. They’re going to love you. Eternity is a mere moment… just long enough for a joke. •

THE AUTUMN 2013 ISSUE 21


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Leigh Wells, Deception (11.10.05), 2011, collage, graphite and mixed media on paper, 30� x 22�

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Through her elegant sculptures and collagedrawings, American visual artist Leigh Wells seeks out the truths and ambiguities of our world.

Heavily inspired by religious and psychologi- me an interest in the nature of faith and cal themes, Leigh creates abstract mixed-me- what we can or cannot know for certain. dia art with a three-dimensional appearance that one cannot help but feel intrigued by.

Through my work, I continue this dialogue

Her work makes use of soft hues and bold

with perception and cognition, asking what

textures and establishes an interesting

we are able to know about ourselves and

contrast between geometrical shapes and

others, the physical world, and the nature

organic elements, to communicate messages

of reality. Theoretical physics, religion,

that exude a certain intelligence and mystery. history, and human psychology are all She shares her new work with our readers,

inspirations in their attempts to address

and tells of her influences, artistic goals

these issues. Ambiguity and mystery are

and upcoming projects in an exclusive

important components of my work.

and inspiring interview. Whether it originates from personal Tell us a bit about yourself and your

narrative or in formal process, I approach

background...

my work as an open-ended investigation of truth, reality and the unknowable.

I am a native of the San Francisco Bay Area and have spent most of my adult life here,

When and how did you discover an interest

with a stretch in New York a while back.

in visual art?

Despite being raised in a liberal area, my

I was encouraged to be creative from a

upbringing was quite religious. Watching

young age, and eventually had to choose

the conflict between the strongly held

between academics and creative study.

dogmas of my religious community and

I did the opposite of what some others

the real questions of the larger world gave

might have done, cultivating a creative >

THE AUTUMN 2013 ISSUE 25


Leigh Wells, Untitled (11.02.18), 2011, collage, graphite and mixed media on paper, 12.75� x 9.5�

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THE AUTUMN 2013 ISSUE 27


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Leigh Wells, Deception (11.10.08), 2011, collage, graphite and mixed media on paper, 30” x 22”

THE AUTUMN 2013 ISSUE 29


livelihood whilst keeping more intellectual

well-written phrase, a randomly heard pair

from it, I bring about the possibility of

pursuits as hobbies. Hmmm.

of words. Work by other contemporary

communication, because it continues to have

artists plays a role, too, so I try to take in

its own story, in addition to the story of the

How would you describe your creative

as much visual and verbal information about

transformation which it has undergone.�

identity and how has it developed over

art as I can. Then there is coffee, which is

the years?

a vital ingredient.

Tell us a bit about the creative process behind your collage and mixed media work.

I have worked for the last eighteen years as

The first time I saw the work of California

a commercial illustrator, creating images

artist Matt Lipps, it struck me for the first

that are easily accessible and communicate

time that collage, sculpture and photography often starting with found images or elements

specific ideas. That has probably kept me

could compliment each other as processes to

from previous work, stripping them of their

away from an approach in my art practice

create a single piece of art. He also made me

original context through editing, cutting and

to art that moves me, which is usually not

think more openly about experimenting with

combining. Adding drawn line work

strictly representational or narrative. A few

the scale of my source materials.

or painted geometric shapes and colours

I construct mixed media collage-drawings

increases the spatial and narrative ambiguity

years ago, I was able to make my noncommercial work a priority and have been

I am drawn to the work of Gabriel Orozco,

in my compositions. The resulting hybrids

trying to balance the two for a while now.

Arturo Herrera, Francis AlĂżs, Christian

embody the shifting, ungraspable nature

Marclay because of their engagement

of reality by combining dissimilar or

Who or what would you say influences

with processes that employ materials that

contrasting qualities: organic/geometric,

your work?

have their own histories already. Orozco

hard/soft, and dimensional/linear. Attempts

I tend to be oddly and strongly inspired

describes this engagement with an object

to reconcile or interpret them reveal the

by titles of books, poetry and artwork, a

when he says: “by creating a new object

mechanisms by which we try to >

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Leigh Wells, Untitled (11.02.11), 2011, collage, graphite and mixed media on paper, 12.75” x 9.5”

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Leigh Wells, Untitled (11.02.16), 2011, collage, graphite and mixed media on paper, 12.75” x 9.5”

THE AUTUMN 2013 ISSUE 33


Leigh Wells, Deception (11.10.07), 2011, collage, graphite and mixed media on paper, 30� x 22�

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understand and define what we see

techniques, exploring the use of colour

and experience.

and trying again to inject more drawing into the mix.

How do you adapt your aesthetic to threedimensional sculptural work, and what

Whilst preparing pieces for a few small

challenges do you face in this regard?

group exhibitions, I have hopes of expanding the audience of my work. I have only been

My collages often read as renderings of

showing there for a short while, but I am

invented three-dimensional objects or

excited to have a continuing relationship

spaces; conversely, when I make my sculp-

with a great gallery in San Francisco – the

tural constructions, I feel as if I’m translating

Gregory Lind Gallery. The only other places

the formal qualities and sensibilities of

I have shown at are Portland, Oregon and

my two-dimensional work into another

my old home of New York. Would love to

dimension. The sculpture is a very recent

have a gallery there, especially. We’ll see!

addition that started a couple of years ago, and I approach the sculpture in the same

A word of wisdom to share with us?

way I do my collage, starting with found objects and trying to combine them in a way

It seems like many creative people deal with

that achieves a visual spark for me. I work

the angst of getting themselves to be free and

on them spontaneously, improvising with

prolific in their process, afraid of disappoint-

readily available materials like found wood,

ing themselves by making work that’s not

fabric, and paint. Because of the relative

up to their expectations. I am the same way.

newness of this process, it tends to feel freer.

But I try to remember that I just have to show up and slog through the rough patches

What plans do you have in store for yourself?

and get through some long, disappointing hours to finally get at the “sweet spots”.

Exploration between projects is happening

Totally worth it! •

right now: I am starting with familiar

THE AUTUMN 2013 ISSUE 35


Progeny, 48” x 78”, oil, enamel & shellac on canvas, 2013

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Samantha Keely Smith Internal landscapes New York-based fine artist Samantha Keely Smith paints expressive emotional and psychological landscapes ridden with power, hostility and beauty. Yet there is also a certain fragility to the abstract scenes she creates, as they appear to evoke unstable, tormented feelings as well as echo the symbolic destruction of the human soul. We spoke to the artist who shares her experience of the industry so far, her move from figurative to abstract painting, and her ultimate desire to make a connection with the viewer through her magnetic work. How would you describe your artistic style? I would say it’s abstract, but other people often refer to it as semi-abstract landscape. Tell us a bit about your educational background and experience as an artist... I went to art school and got my BFA degree in Painting from Mason Gross School of the Arts at Rutgers University. I’m not sure that I learned all that much about painting when I was in school, though. I learned the basics from an artist I studied with briefly when I was 17, and after that it felt like it was a matter of doing a lot of painting, experimenting and learning from my mistakes. I was always working from these images in my head which weren’t very concrete, so it’s been 20-something years of chasing what I see in my mind and developing the necessary technical skill to capture that. I’m getting closer all the time, >

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Enfold, 58” x 72”, oil, enamel & shellac on canvas, 2013

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but I feel like I constantly need to change

the world who feel a connection with my

scapes, if you will. The tidal pull and power

tactics slightly, as if I’m pursuing something

work, and some of these people become

of the ocean makes sense to me in terms of

that doesn’t want to be caught. But I enjoy

collectors who then champion my work

expressing these things, and I think that is

the challenge because it keeps things

and introduce my paintings to new people,

why some of the work has a feel of water

interesting for me.

which makes me think that my work is

about it. My work speaks of things that are

resonating with these people on a deep level.

timeless, and I think that for most of us the

My experience as an artist has been a

ocean represents something timeless.

rather unusual one. I didn’t expect, or

I realize that to make a living as an artist

even try, to show in galleries when I first

in this way, without a gallery, is a very

I think my work sometimes gets compared

graduated from Art School, because I

unusual situation, and I feel grateful that

to artists like Turner and Church, because

believed I needed years of work to get to

I have been able to do that. I feel that

at a certain point their work was speaking

a place where my work was saying anything

making a connection with the viewer is the

in almost purely emotional terms and

close to what I wanted it to. My first experi-

final stage of my artwork, and without that

approached semi-abstraction. I work in

ence showing with a gallery came almost

it is incomplete, so my ultimate goal is to

a way that has much in common with

ten years after I graduated from University.

have my work shown in museums so that

nineteenth century landscape painting on

as many people can connect with it as

both a technical and visual level, but this is

I’m currently selling my own work, as I have

possible. I’m sure I will eventually find

not a conscious choice on my part. I work

found it very hard to find a gallery that is

the right galleries to move forward with

in colours that I feel best reflect the images

the right fit for my work. I’ve been lucky to

towards this goal.

that come to me, and the emotions that

have shown with wonderful galleries with

those images stir up.

great reputations in the past, but ultimately

Much of your recent works seems inspired

I felt these situations were not right for my

by oceanic landscapes. Could you tell us

I always wanted to express things that were

work. I have been selling my work directly

more about this?

not dependent on any boundaries of place,

to collectors on my own for years. It’s been

language, time, etc., and I hope that my

wonderful to have direct contact with people

My images are not at all real places or even

work speaks to the essence of our desires and

who love my work because of my website;

inspired by real places. They are emotional

fears as human beings. My work really needs

I have people writing to me from all over

and psychological places. Internal land-

to be seen in person to be fully appreciated. >

THE AUTUMN 2013 ISSUE 39


Time and attention from the viewer are

of some sort of landscape or place, but it

required. I’ve been told by my collectors

has nothing to do with real places. They

that the more time they spend living with

are emotional and psychological places,

the paintings the more they see in them.

as I said earlier.

I’m glad that the online images of my work manage to convey some of the presence of

Working figuratively when I first started

the paintings, but they are a poor substitute

painting, and for many years after that,

for the real thing.

really helped me learn to be a better painter technically. I learned so much about colour

How would you say your approach to

and form that has been vitally important to

painting has evolved over the years?

the way I work now. Working in abstraction is much more difficult for me than figurative

I used to do figurative work, although it was

work was. When I had a concrete image to

always somewhat dreamlike and not very

work from, even if it was just an image of a

realistic. That continued until about 1999,

person from a dream, I knew whether I was

when the paintings gradually became more

getting there. Abstraction for me is dealing

abstract. The earlier work was mostly based

in a world of mysterious ever-changing

on recurring dreams I’d had since I was very

things, where there are no rules to follow,

young, and at the time the paintings helped

or to break. It’s exciting and frustrating and

me figure out what the dreams meant. Once

never, ever boring. I have a head full of these

that happened I felt free to move on to

images, clamouring to get out, and I just

paintings that attempted to capture an inner

hope that I will have enough time in my life

world based mainly on emotion, and how

to get most of that onto canvas.

that world intersected or sometimes collided with my reality. For this it made sense for

Painting for me is a necessity. I have no other

the work to be more abstract. The work I’m

outlet for these images and emotions, and

doing at the moment definitely has a feeling

I’m pretty sure I’d be a basket case without >

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Alibi, 58” x 72”, oil, enamel & shellac on canvas, 2013

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Kindred, 50� x 78�, oil, enamel & shellac on canvas, 2011

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Shift, 60” x 72”, oil, enamel & shellac on canvas, 2012

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it. It is also a joyous thing that I look forward What challenges have you faced as a creative

Are you preparing any upcoming exhibitions

to doing every day.

individual?

or projects?

Tell us about your use of colour and texture

Finding a way to make a living and also

I’m working on a series of smaller paintings.

to convey particular concepts or stories...

finding the necessary time to do my painting

My instinct is always to work even larger

was a huge struggle for many years. I worked than I already do, so this is a new and My paintings evolve in an organic way. The

in restaurants and nightclubs and painted on

exciting challenge for me. I am also planning

first layer is a jumping off point: what I start

my days off, trying to fit in as many hours in

to make a beautiful large-format book of my

with often disappears completely by the

the studio as I could. Working in restaurants

recent work this Autumn, that will be

end of the painting. The images I’m trying

also meant that for all those years I missed all available for sale.

to convey are so fleeting that I can never be

the art openings and any chance to socialize

totally sure of what I’ve seen, like something

with artists and make connections, which

you see out of the corner of your eye. It’s an

was disappointing.

A word of wisdom to share with us? Never, ever give up no matter how many

often difficult process, and the paintings take a long time to finish because of this – usually

Basically, when I’m not painting for more

times you get knocked down. That sounds

one and a half to two months each, with me

than a couple of days I start to feel strange,

cliché, but it’s so important for artists to

painting about 60 hours a week. I only know

and the more time I’m away from it the

have the strength to do this. I’ve got a stack

a painting is finished when I can see there is

worse I feel. Now I paint all the time - which

of rejection letters that numbers in the hun-

nothing “off” about it, and it feels like what

still feels like not enough time - and support

dreds from the years when sending out slides

I saw in that first glimpse.

myself through selling my work, but that

was the thing to do. It never made me doubt

means that I have to keep finding a balance

myself as an artist. I always believed the

I never really consciously think about colour

between being true to myself as an artist

galleries were the ones missing out by

or texture because I am just chasing that

whilst also being a salesperson of my work,

passing up on my work. Developing a

image in my mind. I think I was much

which is not at all in my nature. But making

strong sense of self-worth seems to be

more conscious of those things when I was

a living as an artist and painting full-time is

a requirement for an artist. You have to

working figuratively because there was

the only option for me if I want to remain

believe in yourself and your work before

a framework to work within - but with

sane, so I am sure I will find a way to keep

anyone else will, especially since we artists

what I am doing now, it’s wide open.

doing that.

are already our own worst critics. •

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Dress Zara, bag and shoes Aldo

all the surrounding colour 4 6 N E V E R L A Z Y M AG A Z I N E


p h oto gra p hy Atc h a K i m • m o d el E m i ly Tay lo r Ha i n e hair & ma k e - u p J a n e D u b b e r l e y • S tyling L i n da L i n

g

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Pants and bikini top H&M, bracelets Expression

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Pants and bikini top H&M, bracelets Expression

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Whether through her personal projects or

camera.

her fashion shoots, 24-year-old Atcha Kim

Technically, how did you go about achieving the relaxed atmosphere present throughout

presents herself as a dedicated photographer

When and how did you discover an interest

with a flair for contemporary stylings and an

in fashion photography?

this story? I think one of the most important things in

undeniable ability to convey innocence and youthfulness. Appearing in NeverLazy

As a 17-year-old girly girl, I spent my days

a successful photoshoot is the team. I had

Magazine is Atcha’s latest fashion story ‘All

flipping through fashion magazines. One

such an amazing group of people helping

the Surrounding Colour’, which highlights

day, my sister suggested that I go to a

each other purely because of their passion

her signature artistic style and has us longing location with her and take photos of her. She and not for anything else, which made [the for a return of the summer season. Atcha

was really good at posing, too, and from that

shoot] not only easier but also better.

shares the concept behind the shoot, and

day on I realized that fashion photography

Everyone was relaxed and not afraid of

reveals when she felt her first spark for

was what I wanted to do.

doing anything wrong, because we all were willing to help each other and solve whatever

fashion photography. What scenario did you aim to portray

problems we might have had. Also, our

Tell us a bit about yourself and your

through this editorial story? What were your

model is an innocent young girl with plenty

background...

main inspirations and influences?

of confidence, so we were basically just having fun and it shows in our work.

I am a Thai photographer currently living

I came up with the story for this editorial

in Vancouver, Canada. My father is an

because I was inspired by the colourful and

What would you say was the most memora-

established local artist. He does mostly

sunny summer in Vancouver. For no

ble aspect about shooting this story?

sculpting, and he has taught me how to draw reason, thought I needed 800+ colourful and paint since I was four years old. I started

paper cranes for this shoot, so it took me

developing my passion for art at a young age

over one month to prepare and gather a team thing about this shoot was that we were

but nothing ever intrigued me more than

for this set. I feel that this editorial portrays

all strangers who got together to create

photography. Growing up in a small town in

how you should end a summer and get ready

this editorial and made it turn out to meet

the Thai countryside, the most fun I had was

for a cold, rainy fall and winter.

everyone’s expectations, even though

going around capturing moments with my

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I would say that the most memorable

we faced a problem: the initial makeup >


Shorts Kimchi Blue, hat Elina

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Dress Zara, bag and shoes Aldo

------“This editorial portrays how you should end a summer.�

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Shorts Kimchi Blue, hat Elina

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artist didn’t show up. Luckily we [the team]

Are you working on any projects? What

were all girls, so we chipped in our makeup.

concepts are you curious to explore through

Everything worked out fine in the end.

your upcoming work?

What does this story tell us about your

Yes, I am always working on projects. I have

own individuality and personality as a

been shooting at least once per week and

photographer?

spend most of my time editing my images. I am curious to try something no one has

I think this specific editorial shows that I still ever done yet, but I am still working on have the young, 17-year-old girly girl in me

trying to find out what that is.

somewhere, and that my work is not always necessarily serious and mature.

A word of wisdom to share with us?

Tell us about a dream or goal you have as an

I always advise people who are interested

artist...

in getting into photography that they don’t need expensive gear to start; all they need

I’m not dreaming about becoming a famous

is true passion and talent. If you practice

photographer or anything, or even of

enough and feel like you won’t give up on

doing it professionally... I only know that

it easily, then you can go ahead and buy all

I love doing it and that I want to get a job

the equipment you need. That way you won’t

somewhere, that makes me really rich so

waste your time and money, only to realize

I can achieve everything I want to do for

photography is not your thing. Practice

my photography: getting a gigantic studio

makes you better! •

and awesome props, or travel to the best locations.

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Top Lucca Couture, shorts Kimchi Blue, shoes Aldo

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------“My work is not always necessarily serious and mature.”

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Better known in the arts world by his pseudonym Monq’, visual artist and photographer Tom Gollins is the freshest example of new and rising talent one should keep an eye on. With a new digital portfolio of grainy, heavily saturated landscape and portrait photographs, Tom presents himself as one bursting with energy, youthfulness and curiosity for the world which surrounds him. Guided by his talent and fuelled by his determination, Tom has evidently set himself up to continuously stun, surprise and engage his viewers. We wondered about the artist’s influences and ideal workspace, as he shares with us some news of his newfound success within the visual arts sphere.

Who is Tom Gollins? Tell us about yourself and about how you found an interest in the creative arts... I am an artist/photographer based in Sydney, Australia. I’m currently completing a Bachelor of Design in Architecture. I’m also a model represented by London MGT Group. Between all of these things I don’t have much spare time, so when it becomes available I tend to cherish it. I’ve always had a strong interest for the creative arts. I’m inspired by the aesthetics of an individual’s work and the inherent meaning that is associated with it. I decided to take my own creative path quite recently and haven’t looked back since. How would you describe your work? What themes or concepts do you most enjoy working around? I don’t think that there is one set word to describe my work. My work is highly influenced by the way I’m feeling on the day of composition. A fair bit of my work contains multiple layers, which aims to present themes such as the duality of an organism’s persona or even conflict. >

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The abstract lens of

TOM GOLLINS

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------“My work is highly influenced by the way I’m feeling on the day of composition.”

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Other facets of my work don’t involve much manipulation at all, as I feel the raw image evokes its own natural beauty and character. All in all, I try to leave my work up for interpretation. A bit of mystery never hurt anybody. Who or what inspires and influences you? I’m inspired by a whole bunch of people ranging from Salvador Dali, to Frank Ocean, to Zaha Hadid. They all influence me in their own specific ways. I’m a very self-driven person, so I don’t need huge amounts of inspiration for motivation. Tell us about your ideal workspace and how you would overcome creative blocks. I don’t really have any demands in relation to an ideal workspace. As long as the space is accompanied by some fine wine, limited distractions and a thought-provoking view, I’m happy. Creative blocks are something I come across on a daily basis. I find the best way to overcome them is to take some time away from the space in which I’m working and head out to a gallery or exhibition nearby. What artistic achievement(s) are you most proud of? I’ve only had my portfolio online now for a couple of months, so everything is rather fresh. However, I did receive a call the other day informing me that a particular Museum of Modern Art was interested in containing my work. Fingers crossed that it all runs according to plan. >

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------“I try to leave my work up for interpretation. A bit of mystery never hurt anybody.”

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How valuable would you say social networking is to you, as a creative individual? I’ve never been a big fan of social media, to be honest. I find it turns a lot of good people into attention-seeking junkies. However, without sites such as Tumblr it would make it very difficult for me to present my work to the world. Social networking has many positives associated with it and for that I’m grateful, but I have very little respect for individuals who tend to abuse it. I’m a firm believer that your work should speak for itself, no matter how popular the composer may be. Are you working on any current or upcoming projects? I am, I am. I have a few projects that I’m currently working on, these projects being both current and upcoming. It’s all very exciting and I’m looking forward to presenting them to everybody. I’m keeping my cards close to my chest as to what these projects are about and who they involve. Everyone loves a fresh surprise, so I’ll roll with that. •

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Dress Emanuel Ungaro, small finger ring Maria Francesca Pepe, rings Stylist’s own

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T

he

S

ecret

p h oto gra p hy p ed r o p o de s t á • stylist J o y S i n a n i a n hair s t e v e n l a u dat • ma k eu p c a r o l i n e f e n o u i l

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Photographer Pedro Podestá bases

of whom he can thus convey the most

his editorial stories on his daily encounters

genuine portrayals: “[because they are] going

and experiences, which is what lends them

through a phase of life that I’ve just left, I feel

a pure and compellingly authentic aura.

very related to them but at the same time

“Most of the inspirations for my projects

detached from them, which makes my point

come from situations, thoughts, and feelings

of view quite simple and unbiased”.

lived in everyday life experiences. At the

Interestingly, female subjects have gained

moment creating a personage is very

equal amounts of Pedro’s attention, as he

important and significant in my work,

claims “[they] tell me stories and give me

[and] I am most interested in people in their

the space to experience their private realities

real state of mind,” he says. “You can see no

up close”.

external forces pressing their characters to change or to adapt.”

Staying true to his photographic approach, Pedro joined forces with stylist Joy Sinanian,

Inspired by the research of Sartre and

makeup artist Caroline Fenouil and

Heidegger as well as by the works of

hairstylist Steven Laudat to shoot

photographer Jeff Wall, Pedro seeks to

‘The Secret’ – a hypnotizing portrayal of

represent his subjects and their emotions in

a young woman, whose narrative is set

their most genuine state. It’s for this reason

within a lush architectural setting and is

that he appreciates photographing young

ridden with a poetic mixture of glamour

adults, to whom he feels he can relate and

and loneliness. • AC

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Dress Emanuel Ungaro, small finger ring Maria Francesca Pepe, rings Stylist’s own

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------“At the moment creating a personage is very important and significant in my work.�

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Dress Elie Saab

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Dress Zuhair Murad, pin Emanuel Ungaro

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Dress Elie Saab, bag Emanuel Ungaro, earrings Topshop, stockings Falke, shoes Christian Louboutin

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Dress Emanuel Ungaro, small finger ring Maria Francesca Pepe, rings Stylist’s own

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------“Most of the inspirations for my projects come from situations, thoughts, and feelings lived in everyday life experiences.”

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Dress Paule Ka Black Carpet, bag Emanuel Ungaro, small finger ring Maria Francesca Pepe, rings Stylist’s Own, earrings Guy Laroche Vintage

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Earrings Topshop, dress Elie Saab

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The Eclectic Illustrator Ioana Sopov

Romanian illustrator and graphic designer

Photoshop and digital art as a teenager up

Ioana Sopov characterizes her creative

until this day: “I graduated from Ion Mincu

style as “eclectic” and claims it to be “con-

University of Architecture in 2012 but

stantly changing” - traits that, if anything,

realised from my second year of college that

underline the 24-year-old’s strength and

what I wanted to pursue - not only as a

versatility in a fast-moving industry. No

hobby - was illustration. I started working as

matter what she draws, Ioana’s colourful,

a freelance illustrator and am continuing to do.”

fun and eye-catching art never fails to reel one in and deliver a clear message to the

Ioana’s portfolio echoes her current inspira-

viewer – a definite reason why, we would

tions – some of which include the “glory” of

think, she has already garnered the attention

nature, the writings of C. G. Jung, and the

of a respectable number of international

works of visual artists Matthew Woodson,

brands and creative agencies.

Jeff Simpson and Simon Prades. It is also a portfolio that, through its eclectic nature,

Having pursued math, architecture and even

appears incredibly lively and perfectly

music studies, Ioana has a rather varied

embodies Ioana’s philosophy: “[I have

educational background showcasing her

learned from art] to not be afraid to

ambition to branch out and expand her

experiment and grow, [to] always try to

skills. Yet it is illustration that truly stuck

learn new stuff and new techniques, and

with her, from the moment she discovered

[to] always keep an open mind.” >

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------“[I have learned from art] not to be afraid to experiment and grow.�

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------“Much of my work revolves around the concepts of femininity, duality and nature.”

We are excited to introduce an exclusive illustration created by Ioana for the eleventh issue of NeverLazy Magazine. As we ask her about the concept and motivations behind this piece, Ioana provides a thoughtful explanation: “This illustration started out as a sketch doodled in the middle of a serious creative block. Part of its atmosphere is related to the feeling of utter frustration that I was facing at the time. Much of my work revolves around the concepts of femininity, duality and nature, that to me seem constantly intertwined. I like to mix symbols of these concepts into abstract or decorative compositions that can be interpreted in a lot of ways. The body of the snake, the woman and the rose losing its petals are all symbols that play on certain associations we make.” •

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kazha imura Subjectivity and subconsciousness Japanese artist Kazha Imura fills her photographs with an alluring, albeit slightly disturbing sense of mystery. Through their simple yet dark features, her self-portraits convey a vulnerable and contemplative aura with awe-inspiring ease, as much as they represent a “deviation from subjectivity and a descent into subconsciousness”. They play with the viewer’s intrusive role as much as they do with one’s mind, yet a strange sort of warmth also emanates from them – reflecting, one would think, Kazha’s attraction to the words once spoken by Japanese chess player Shoichi Sakurai: “[the] warm heart is almighty”. >

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A series of Kazha’s photographs features meticulous pin scratchings, etched by the photographer herself in a way that strikes up raw emotions, adds a surreal edge to her work, and charges the latter with intrusive symbolisms: “Originally, I used this technique to draw doodles onto photos which would be discarded,” she shares. “Compared to adding ink and colours using brushes, pencils and pens, the act of scratching is childish and very primitive – just like children drawing on the sand with their fingers as if they were leaving their mark – and I recognize this as an act which can present our subconscious, our physical memory, and our instinct.” >

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------“The act of scratching is childish and very primitive (...) and I recognize this as an act which can present our instinct.�

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------“I have learned that our perception [of the world] is very unreliable.”

Kazha is wholly involved in her craft and perceives herself as a mediator rather than an artist, given her role of linking the viewer to the historical values of a given setting. There is a sense that because of such dedication, she has gained a wise understanding of photography as well as a unique way of envisioning our world through it: “I have learned that our perception [of the world] is very unreliable,” she tells us. “We can never share one absolute and common reality, no matter how we strive to perceive the world by using all our senses. I can say that a world based on our different recognitions is very unreliable, and I think one of the powers of photography is that it can question this unreliability and also try to get over it.” • AC

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Lasting p h oto gra p hy E wa K ę p y s • m o d el W e r o n i ka S t r z y ż e w s k a • d esigns b y A g n i e s z ka O s i pa an d M a ł g o r z ata C h a r a • assistant A da m R o m a n o w s k i

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------“In a way this editorial is like a tribute to all the beautiful places that are still left unspoiled by humans.”

Rising talent Ewa Kępys is set to silence the world of fashion photography with her new gripping story ‘Lasting Spaces’, exclusive to NeverLazy Magazine. With its smouldering black and white palette, its deep contrasts and its use of an absolutely gorgeous and powerful landscape setting, this editorial holds a dark yet sensual appeal that can very easily leave one speechless. Breaking the tension that underlies this editorial piece, the young photographer opens herself up to us in a way that reveals her modest and contemplative personality. >

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------“I just can’t function without taking photos.”

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First and foremost, tell us about yourself and

Ray and music in general, Ibero-American

your experience so far as a photographer...

literature (especially Isabel Allende) and HBO series. And Italian cuisine.

I don’t really like nor can talk about myself, and surely not in a way that makes sense.

I can add that I started with... let’s call it

Still, I will try. I was born and grew up in

artistic, conceptual photography – that’s

Kraków, a city I don’t really like because it

what I did for my diploma project at school.

is far away from the sea and there is no place

However, for the last couple of months

I enjoy more than the coastal beaches.

I’ve been dealing with fashion photography,

I graduated from the Cracow School of Art

partly because of my boyfriend who does

and Fashion Design, majoring in Photogra-

it professionally and partly due to being

phy. It was great fun for me as I had access

friends with many stylists and designers.

to a darkroom, where some exceptional stuff

The editorial presented in this issue is

came to life. I definitely have to organize my

probably the third or fourth I’ve done.

own darkroom one day; developing photos on your own is absolutely magical. A couple

Speaking of this editorial story, what is the

months later I found myself a little bored

concept behind it? What inspired you?

with photography and enrolled in an acting school. Luckily for me, I just can’t function

In a way this editorial is like a tribute to

without taking photos and I quickly went

all the beautiful places that are still left

back to it, dropping acting. And so I do it,

unspoiled by humans. I think that

and the more I do, the more ideas come to

without any doubt, the location played

my mind and the more inspired I get. Apart

the main role in it. It’s the only place like

from all that, I have three cats, I like Fever

that in Poland and probably one of >

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------“My biggest ambition as an artist is to never run out of ideas and inspiration.”

the most beautiful I’ve ever seen. Imagine

out to be a great assistant. As soon as we

For me to never run out of ideas and inspira-

yourself standing on an enormous dune;

arrived, we picked up our model and headed

tion as well as the willingness to work.

what surrounds you is as follows: an endless

out for the dunes (naturally, more obstacles

grey sea, wetlands with disfigured surreal

came up while getting there, but I won’t

Who from within the art sphere do you most

trees, a lake and endless dune fields.

go into details). When we finally arrived at

look up to?

It’s sunset and there is no-one around, not

our destination, the view made it all worth

a single soul. Breathtaking. You want to

the effort. The etude was shot in the evening

I absolutely adore the works of Sarah Moon,

preserve places like that, capture them at

so I had some time for my photos. The bone-

Peter Lindebergh, Lasse Hoile. In Poland,

least on a roll of film; you want to remember

chilling wind was a huge impediment –

there are many talented people like Szymon

them because there are so few of them left.

poor Weronika [Strzyzewska, model] was

Brodziak, Wiktor Franko or Iga Drobisz.

This series will not let me forget.

trembling, but she was very brave and

For me, the ultimate genius was Zdzisław

posed perfectly.

Beksinski.

Whether technically or conceptually, what

What projects are you currently working on?

What are the biggest challenges you faced when shooting this story?

have you learned from this shoot? By the time you read this, I will probably

There were quite a few of them! As I’ve already mentioned I live in the south of

How to use a Canon! I am a Nikon girl but

already be in China. I’m going there for two

Poland, far away from the sea. I went [to

I’d forgotten my favourite 35mm lens. Since

months, hoping to bring back an insane

the sea] in the off-season and had to take six

Adam [Romanowski, assistant] had one with amount of photos.

buses, with a bagful of clothes and stuff for

his Canon, I had to undergo a speedy

stylization by my side. The main purpose

training and managed to work with [the

for the trip was to shoot an etude in which

camera] during the whole photoshoot. I leave that to people who are more

I starred – the editorial was somehow a by-product of that. Therefore, I was there with a director, a friend of mine who turned

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A word of wisdom to share with us?

What is your biggest ambition as an artist?

competent than I am. •


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Hungry for Humour: Monica Ramos There’s a pinch of quirkiness, a dash of

am trying to make my way in the world now.

sweetness and a sizeable spoonful of humour in each illustration created by

time travel. How would you qualify your artistic style? What messages do you most enjoy conveying

Brooklyn-based visual artist Monica Ramos, whose colourful representations of food

TV shows about weird phenomena and

Idyllic, soft, round and... sexy?

and how do you expect your viewers to react to your work?

and sex are fun and, at times, oddly yet playfully disturbing. Using watercolour in

Tell us about the creative process you

much of her work, the 23-year-old creative

normally follow...

I try to promote a healthy body image and an appreciation for life. I’m a pretty happy

has put together a wild and entertaining portfolio that keenly highlights her carefree

I usually make many little sketches in a

person and hope others can share my

approach to life, and that everyone would

notebook or on random pieces of paper.

wonder for the world.

be quick to sink their teeth into. We spoke

Sometimes I just write down phrases.

to Monica in an interview that indicates her

Then, I work off of the best ones. I feel like

Who would you most love to collaborate

personality is as buoyant and unique as

I’m always figuring things out. I use mostly

with?

her artistic style.

watercolours and pencils, and patch things together in the computer. I’ve been working

Little Dragon!

Tell us a bit about yourself and your artistic

on painting directly on the page without

background...

an initial [drawing], to keep lines looser;

What creative plans do you have in store for

it’s hard, because I get nervous and have

yourself?

I am 5’2”, a middle child, right-handed and

to redo the same piece over and over. I am going to learn how to do ceramics!

named after a tennis player. My dad had a Keith Haring shirt growing up, but I

How do you establish a theme or concept

Put up another group show, I hope. Make

didn’t know who he was at the time. The

for your illustrations? Who or what typically

new products. Build a sandcastle. Care

girls in my high school always thought

inspires you?

less and do more.

I tried to major in business in college.

I try to follow my gut. I guess I am pretty

A word of wisdom to share with us?

It didn’t work out. I graduated from Parsons

primal, doing a lot of work on food and

the New School for Design last year and

sexuality. I also love science fiction type

I would be an artist, so to spite everyone

Trust yourself. Then treat yourself. •

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“I don’t chang

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David Ryle

From his inventive series of steam portraits to his calming landscape photographs, photographer David Ryle shows he is one to rise up to meet new challenges and develop his creative mindset. At the age of 34, David is already backed by a number of astounding photographic projects that allow us to understand his strong identity – that of a sensible artist with a keen eye and an uncanny ability to deliver softness, emotion and an unmistakable timeless charm in any photograph he shoots. We take a minute to dive deeper into the world of David Ryle, as he shares with us his technical approach to photography as well as an anecdote or two from his career so far. >

ge my photographic personality.�

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Tell us about yourself and your artistic

I obviously have to think about lighting,

identity...

but I don’t change my photographic personality. If I’m being commissioned

I graduated from Reading Art College with

I need to be aware of the clients’ needs too,

a degree in Photography in 2001. I assisted

but hopefully they’ve picked me for my

a variety of photographers and in 2006

certain style or visual vernacular.

I started my own photographic practice. I try to mix working on personal projects

When photographing landscapes, what do

and doing commissions. Although I shoot

you typically look for in a setting?

people, places and objects, I try to keep the look and feel consistent.

I think I’m often drawn to open, wide spaces, but I like to be flexible with my personal

For you, how does shooting landscapes

work so that I can adjust to the surround-

differ from shooting people or objects?

ings. Also, when I shoot I really do want to challenge my own approach, so if I’m

It really varies from shoot to shoot. Often

comfortable with wide, open spaces then

if I’m shooting people within a landscape,

I think I should move to enclosed spaces

there isn’t any change of approach at all.

to push and change the way I think...

If I’m shooting people in a studio then

sometimes! >

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What have you most enjoyed about your

I couldn’t enjoy the moment due to being

career so far?

extremely nervous that we’d crash.

I’ve enjoyed travelling to different countries,

What would an ideal photoshoot be like

and meeting new people. I did an interesting

to you?

project recently with Four Seasons. I travelled to Thailand and photographed

To be on the International Space Station,

some landscapes and took portraits, but also

taking landscapes and portraits.

got taught about birdwatching! This isn’t something I ever thought I’d be interested

What projects are you working on this year?

in but actually, especially in that context, it was fascinating.

I’m working on a collaboration with a couple of artists: they’re making a suit and I’m going

Could you tell us of a memorable moment

to photograph it on location. It’s hopefully

you’ve experienced as a photographer?

going to look beautiful and a bit crazy!

Shooting my Desert Studies project was

A word of wisdom to share with us?

quite memorable: we went up in a small plane above the Mojave Desert, which

“The only true wisdom is in knowing you

was bouncing around due to really windy

know nothing.” -Socrates •

conditions. The views were amazing but

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Coat Jil Sander, shirt Marc by Marc Jacobs, tie Vintage

Dollboy Story of a boy turning into a man

p h oto gra p hy g i o r g i a fa g a • styling s t e fa n o f e pa set c o o r d inati o n c l a u d i a g a m b a c c i a n i m o d el a n d r ea a n to n e l l i

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Shirt Calvin Klein Collection, waistcoat Marco Fontanelli, glasses Vintage

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Shirt Gianni Versace, slacks A.N.G.E.L.O. Vintage, shoes Creeper

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Shirt Guess, trousers D&G, trench Sisley, sandals Stylist’s own

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It’s a rather strange world we live in and nothing shows that better than ‘Dollboy’, an editorial piece that explores themes of human growth and order through an array of unusual visual metaphors. Photographed by GIorgia Fagà and styled by Stefano Fepa, ‘Dollboy’ pertains to the realm of the fashionably bizarre and stands out through its sensitive look at the evolution from boy to man, presented here as a highly regulated process. Aided by an oddly adequate barbershop setting, ‘Dollboy’ evokes the idea of cutting one’s hair – a simple action that, according to this story, masks an underlying and uncertain pursuit for discipline, perfection and control. ‘Dollboy’ is a thought-provoking piece that combines the class and originality of high fashion with some eye-opening morals. • AC

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Shirt Moschino, tie/braces structure Aitor Throup, pants Gianni Versace, shoes Cesare Paciotti

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Coat Jil Sander, shirt Marc by Marc Jacobs, tie Vintage

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Coat Jil Sander, shirt Marc by Marc Jacobs, tie Vintage

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Dress Lea Peckre, shoes Ilja, bracelet Natalia Brilli

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in the darkness p h oto gra p hy j u l i e g i lg e n m a n n • assistant t edd y m at h i e u • m o d el g u l n a r a at metr o p o litan m o d els hair f r a n c k n e m o z • ma k eu p i r a n e a r t i s t styling s a r a h de l a n n o y

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Cape Pauline Mosconi, top Augustin Teboul, pants and shoes Ilja

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Dress Nathan Tordjman

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As French photographer Julie

cold and sensual, and remains tasteful as it

tell the story of your life through a single

Gilgenmann paints a portrait of

quietly flirts with dark, often erotic themes:

photograph. In this industry, in order for

herself, the physical appearance she

“[I enjoy working around the concepts of]

one’s existence to make its mark, it must be

describes brims with the same strength of

suffering, which we keep for ourselves;

narrated like an adventure. What’s rational

character and confidence that one will find

death, which we fear; tattoos, which we

becomes monotonous. Failure has no place

in her fascinating photographs: “[I’m] a girl

cannot explain; sex, which we want to hide.

here. Creativity is experience. Having an eye

who walks the streets of Paris, wearing high

I express what we want to forget all the time.”

for something is what makes you stand out.”

all over my body, with a Beagle by my side

Julie’s work, although at times passionately

Julie’s new project ‘In the Darkness’ is

and a Nikon around my neck. Defying all

obscure and oddly disturbing, always reveals

exclusive to NeverLazy Magazine and

stereotypes, I live through Art.”

the photographer’s bursting imagination

provides an exciting glimpse of the artist’s

and exudes a strong, clear-cut sense of her

world. Speaking of the concept behind it,

Inspired by Helmut Newton and David

vision. It also exemplifies the philosophy

Julie says: “This shoot comes from my gut,

Sims, 22-year-old Julie creates fashion,

by which Julie firmly stands: “To be a

from the very depths of my spirit. It’s a part

beauty and still life photographs defined

photographer, it isn’t enough to know how

of me that I have wanted to unveil to the

by their high-fashion appeal. Her work is

to take a snapshot; you must know how to

public.” • AC

heels and red lipstick and sporting tattoos

------“Defying all stereotypes, I live through Art.”

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Dress Celine Meteil, shoes Ilja

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Pullover Nathan Tordjman

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------“In this industry, in order for one’s existence to make its mark, it must be narrated like an adventure.”

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Dress Lea Peckre, necklace Natalia Brilli, shoes Ilja

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Neckpiece Defined Moment

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Taisido Empty Spaces

To charm the viewer and offer one a means

Taisido’s use of light which, in many of the

As it seems, it is in fact the softness of the

of escape from the everyday – such is what

artist’s photographs, is a quiet yet powerful

colour palettes found in Taisido’s work

many photographs strive to accomplish,

source of emotion and comfort. Aside from

that brings out the latter’s spiritual quality

and such is a trait that Taisido’s distinctive

the places and people that make up the

and highlights her subjects beautifully.

photographs possess. 23-year-old Tais

subjects of her work, Taisido cites light

Chantal Sirole from Tenerife

as one of her biggest influences, as she

While Taisido admits “the human being

establishes a pensive mood within her still

has found in it an irresistible subtlety and

is unique and special and capturing its

life, landscape and fashion photographs,

delicateness: “it creates a special atmosphere, essence is a real challenge”, we believe this

offering stories inspired by deep, rich

and that is what I want to capture and

is an aim she is calmly yet surely on her way

settings: “[I’m inspired by] the woods, the

transmit to people.”

to perfecting – through both her sponta-

lakes and empty rooms. Also empty spaces

neous analog photographs and her more

in general and big environments - they

Like light, colour is another key factor in

remind me that I’m alone, but in a way that

Taisido’s photographic practice. As she

gives me a feeling of being in peace.”

shares, “I mostly use colour film, and with

We invite you to fall deeply in love with a

it I’m trying to show moments as they really

selection of work from this artist’s quiet and

are. I avoid retouching as much as I can.”

truly unique portfolio. • AC

What one would find most admirable is

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thought-out digital projects.


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------“[I’m inspired by] empty spaces in general and big environments - they remind me that I’m alone, but in a way that gives me a feeling of being in peace.”

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------“Light creates a special atmosphere, and that is what I want to capture and transmit to people.”

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PHIL SHARP “I find it incredibly hard to describe my own aesthetic.”


By taking a simple glimpse at Phil Sharp’s

Tell us a bit about yourself and your creative

aesthetic, and how are these informed by

work, one would see that it is the depth of

background...

your current environment?

them that initially reel one in. It appears to

I work as a portrait photographer predomi-

Although it’s not particularly complex,

be the photographer’s speciality, in fact, to

nately in the advertising, music and editorial

I find it incredibly hard to describe my own

present his subjects in so genuine a light that

fields. I have also worked as director/

aesthetic. I’ve heard others describe it as

the viewer would automatically feel connect-

director of photography on music videos

bold, sharp, colourful and simple. I really

ed to them. We spoke to the London-based

and TV adverts. I studied photography at

don’t know where it fits or why it works

professional about his portfolio of personal

HND level, but I really learned photography when it does. I’ve always lived in towns

and commercial work, and discovered his

by assisting and practising [it].

emotion, spirit and character captured in

surrounded by ‘modern’ architecture - if I’m

affinity for architectural landscapes as well as his ambitions and future plans.

and cities and grew up in Milton Keynes,

How would you describe your work and

shooting outside the studio, architecture >

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------“Know that you know nothing.”

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often plays a pretty big part in my portraits.

I’m really still trying to figure out my

There’s no one thing I’d like to photograph,

I feel it’s part of my job as a photographer

personal work. Essentially, I think there’s

but plenty of people [instead]. Most of them

to explore the city and discover its visual

more weird and interesting stuff already

are just wandering around the city right

potential.

existing than I could ever think of, so why

now. I just have to pick up my camera and

not photograph the real world? I’m pretty

go ask them...

What procedure do you follow when

obsessed with people’s faces, and photography

shooting portraits, as opposed to

is the perfect tool for documenting them. I

What have you learned from your

architecture?

approach my commercial work in the same

photographic career so far?

way: I still try to document a person and My non-portrait photography often acts

make someone feel something by looking

That it’s not what you know, but who you

as research for later work. I’ll often return

at a 2D image.

know. And to aim higher.

a portrait backdrop. When shooting

What has been your most memorable shoot

What projects are currently in store for you?

portraits, being able to build a rapport with

to this day?

to a specific building or site and use it as

Continuing with street portraits, localised

the subject is often important, although if a subject is bored, pissed-off or doesn’t want

My most memorable shoot to date was

around specific areas and reflecting my

to be photographed then I’m quite happy

probably being flown out to Nashville for

interest in psychogeography. I also need to

to shoot them that way. I don’t necessarily

a 15 minute shoot with Patti Smith. I was

re-edit a series of pictures I made last year

always want my subject to relax.

feeling the pressure, knowing she’s been

of Honduran Mahogany loggers in the

shot by the world’s best photographers

Central American rainforest.

What do you enjoy exploring through

and having no room for error. A word of wisdom to share with us?

your personal work, in contrast to your commercial projects?

What is the one thing you would love to photograph?

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Know that you know nothing.


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Colourful

p h oto gra p hy k r z y s z to f f r a n k i ew i c z m o d el pa u l a at vie w management styling & p o st- p r o d u c ti o n a l ek s a n d r a r o z n i ata M A K E U P m a lg o r z ata l i wa c z

Fiesta

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------Colourful Fiesta is inspired by the fiery image of Mexican painter Frida Kahlo.

Krzysztof Frankiewicz teamed up with stylist Aleksandra Rozniata and makeup artist Malgorzata Liwacz, and lures our readers into the heart of Spain’s Park Güell with another of his fantastic editorial pieces: inspired by the fiery image of Mexican painter Frida Kahlo, ‘Colourful Fiesta’ bursts with confidence and breathes life into this issue. Thanks to its rich mediterranean setting, its radiant floral theme and a deliciously saturated colour palette, this collection of innocent yet powerful images is a true feast to one’s eyes and will help keep the summer heat alive throughout the months to come. • AC

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Elisa Bergmann

Being experimental is evidently in her blood,

dogs. Yet, she also stresses the influence that

as a mood or impulse is what guides her in

people in her everyday surroundings have

her multidisciplinary approach to art and

on her: “Most of my friends are active in the

design: 22-year-old Elisa Bergmann

creative area, therefore it is not far-fetched

from South Tyrol, Italy, knows where she

that we work together. This encourages us

stands within the visual arts sphere and

to push ourselves to the limits.” She in fact

proves it through an eclectic and original

bought a ticket to Saint Petersburg for an

body of work. As she dabbles in fashion

exchange semester at the University of Tech-

and graphic design as well as in performance

nology and Design; on top of bringing a new

and installation art practices, Elisa is set on

perspective to her work, the trip enabled the

making her mark in many creative fields and

artist to meet with a fresh pool of creatives:

Raw Impulses

is not about to slow her pace. “I hope to keep “I created my first collection [in Russia]. doing this with a free spirit,” she tells us.

It opened up my possibilities and enriched my creative production, and I got to know

Because she grew up on a farm in Northern

a lot of talented people with whom I still

Italy, Elisa is strongly tied to her roots and

enjoy collaborating.” Her desire for new

draws inspiration from her proximity to

encounters and experiences hasn’t stopped

nature. “I like to document my environment,

there: “I wish to continue travelling and

that’s what I do on a daily basis on my blog,”

meeting people with whom new dialogues

she says. “I practically live in the forest and

arise and synergies emerge,” she adds.

spend a lot of time there to work on my inner balance – that’s way more important for my

Her university experience was a tremen-

creativity than looking out for trends.”

dously invaluable one, as studying graphic and product design in Bolzano developed

Elisa looks up to the likes of Donna Huanca, her awareness to the multifaceted nature of Etudes Studio, Ill-Studio, Mate Moro,

design and taught her to combine her skills

MARQUES ‘ ALMEIDA and Synchro-

in practice: >

RIGHT: hellweiss, in collaboration with photographer jasmine deporta, http://www.jasminedeporta.com

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THIS PAGE, left: naiznanku, IN COLLABORATION WITH PHOTOGRAPHER ALYONA KUZMINA, http://alyonakuzmina.tumblr.com

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“This definitely has been a major influence on the person I am today,” she shares. “At University we get to know an interdisciplinary approach to product and graphic design, and that’s why I don’t like separating design disciplines. The fields of design are interdependent; our generation has to accept and understand the various design disciplines as part of a large whole.” Elisa’s latest project ‘untitled MA-1’ is a curious performing arts collaboration with Nadja Pugneth and Nora Pider. It takes unique materials out of their original context, using movement and interaction to form new meanings and present fashion as an intricate means for communication. • AC

Find Elisa’s project ‘untitled MA-1’ at: http://untitledma1.tumblr.com

------“I like to document my environment, that’s what I do on a daily basis on my blog.”

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THIS PAGE, right: burka, IN COLLABORATION WITH PHOTOGAPHER & VIDEO MAKER JULIA tatarchenko, http://tatarchenko.com

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------“I practically live in the forest and spend a lot of time there to work on my inner balance .”

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mariana garcia

exploring nostalgia When Mariana Garcia obtained her

such aspects within her work, as she tells us

degree in graphic design, she discovered

about her desire to continue “taking pictures

a passion for photography and turned her

while travelling”.

attention towards fashion shoots, portraiture and reportage photography. At 27, Mariana

It comes as no surprise, then, that Mariana

trains her versatility and curiosity by

also enjoys approaching a photographic

exploring more disciplines, yet she never

project with a thoughtful concept in mind:

loses sight of her visual identity: her work

“I adore creating moods of nostalgia,

is always filled with buckets of attitude and

something from the ‘good old days’, or even

an irresistibly crisp, sharp feel. This, we

a movie scene,” she says. “I get inspired by

feel, echoes her confidence, her strong sense

every single thing that happens around me as

of self, and her constant goal of trying “to

well as movies, an incredible song, beautiful

achieve an aesthetic sense” in her photos.

girls, travelling, blogs and magazines, and of course the life stage in which I am.”

What sets Mariana apart is that, as her own portfolio indicates, she is a true child of the

Mariana co-runs Porcelaine Project, a studio

world: a traveller at heart with a curiosity for

founded in 2010 by herself and her friend

food and plants, Mariana often incorporates

and partner, photographer Cecy Young.

rich settings into her work, bringing fashion

Her latest project, P Magazine, is an aesthetic

and portrait photography that much closer

object-book designed as a collector´s edition;

to the boldness of a strong architectural

it is edited and curated by herself, Cecy Young,

backdrop and to the beauty of nature. She

and design studio Face. • AC

in fact expresses a deep interest in combining

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------“I adore creating moods of nostalgia, something from the ‘good old days’.”

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“I aim for a high-end aesthetic.”

ADAM GOODISON When 28-year-old fashion photographer

I come from a fairly inexperienced background

Adam Goodison moved on from

with no formal training or studying in

assisting Nick Knight to undertake his first

photography. I have no comparison against

commissioned shoot, he was greeted by the

what may or may not be taught in a formal

self-doubt and concern known to haunt all

environment but I’ve always felt that you

young creatives. Now, Adam has grown

can teach anybody how to use a camera,

more accepting of the challenges that

yet you can’t teach somebody to be a

fashion photography presents, and he

photographer: these two things are very

explores compelling concepts through a

separate to me. After having made a few

range of vibrant and diverse photographic

short films at university, I originally came

projects. Our enlightening interview with

to London in a disillusioned, hedonist

the artist unveils his thought processes as

mindset, wanting to walk into being a

well as the secrets behind his quirky yet

director or something – but I quickly learned

high-end approach to fashion photography.

film was a very rigid, almost military industry which completely turned me off; photography seemed to offer some release from this

Tell us a bit about yourself; who is Adam

whilst basing itself on very similar principles.

Goodison? I learned all I know about how to create an I am a London-based conceptual fashion

image through working with various

photographer, working across different me-

photographers, before taking a full-time

diums like collage, video, illustration

position with Nick Knight. Since moving

and 3D.

on from assisting and first discovering fashion photography, I would say I’ve

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Tell us about your background, your

grown to appreciate how difficult it is to

experience and how you have grown since

create an image, a coherent story that

you first discovered fashion photography.

communicates something that may not >


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------“My visual identity is somewhere between very graphic and quite innocent.”

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be something everybody is able to read,

convey through it?

but [that everybody] can at least appreciate comes from somewhere.

I aim for a high-end aesthetic – that’s all part of my structured and graphic approach. The

Your portfolio is quite eclectic. How would

final image has to look well-executed, not

you describe your visual identity and how

sloppy or rushed. Whether or not an image is

would you say each shoot represents you?

supposed to look gritty or off the cusp, it still has to look polished. I’d say I’m always

My visual identity is somewhere between

conscious about how the final images are

very graphic and quite innocent. There’s

going to look.

not really any tension in my work – nothing uncomfortable or disconcerting. As

I think my work comes across as slightly

mentioned above, I think my intention is to

quirky or playful because I’m not in any illu-

communicate an idea and work with people

sion about trying to create something that

that can push that idea further and bring

[my work] isn’t. I don’t intend my work to be

their own interpretation of it to the shoot.

taken that seriously and I don’t take myself that seriously, either. I generally don’t want

I’d say that each shoot simply represents the

or expect people to think that there is any

seed of an idea and the process taken to try

reality in taking photographs – it’s all an illu-

to achieve that. However, I’m quite aware

sion and a way to show people how you view

that visual identities can be quite transient:

things. We have a habit of bringing our own

perhaps next year there may be more emotion,

narratives or back stories to images, but how

pain, fear or love in my work; it’s partly

much or how little is partly down to the type

circumstantial and the subconscious

of work the photographer presents. To me,

definitely has an overarching effect on

it feels contrived to have a fashion story that

everything.

invites too much of an interpretation on the narrative. Hence, by creating work that has

Your work is polished yet at times also

quirk to it or is slightly tongue-in-cheek, I’m

possesses a sort of quirky charm. Could you

hopefully allowing people to appreciate >

tell us more about this and what you aim to

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the aesthetic, the graphics, the composition

seemed like the most daunting prospect.

and the idea, rather than the story.

How am I going to make this work? What if this doesn’t look right? All those concerns

What have you most enjoyed applying

I’d never thought about before. Handling

to fashion photography and why?

this and realising I could do it has probably been the most enriching experience so far.

I have most enjoyed applying coding and 3D elements to my work. It just opens up

What projects are you working on now?

different avenues and different ways of looking and approaching work, especially

Right now I’m just finishing off a few shoots

when it comes to post-production.

for September publications, so once these are done I’ll probably just shoot some

What achievements are you proud of?

portraits and enjoy the down time until September comes around.

I’m kind of just proud of getting this far, of not giving up, of trying new things

A word of wisdom to share with us?

and of working with exciting people. It’s hard to think of something without it What has been your most enriching

sounding cheesy. You’ll always be riddled

experience so far as a photographer?

with self-doubt and criticism, and that will never go away. Think of it as a positive

I’d say the most enriching experience was

thing: it’s only because you want to do better

probably doing my first commissioned

and you can. If everything feels perfect after

shoot. Having always been one helping the

you’ve put the camera down, then I’d start to

photographer, when it came round to it it

worry. •

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------“I’m kind of just proud of getting this far, of not giving up, of trying new things and of working with exciting people.”

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Credits

Gulnara at Metropolitan, model http://www.metropolitanmodels.com Irane Artist, makeup artist

Elisa Bergmann http://cargocollective.com/elisabergmann http://fridabergmann.tumblr.com

Franck Nemoz, hair http://francknemoz.com

http://alyonakuzmina.tumblr.com Julia Tatarchenko, burka http://tatarchenko.com

Krzysztof Frankiewicz http://www.kfrankiewicz.com krzysztof.frankiewicz@gmail.com

Mariana Garcia

http://www.facebook.com/ewakepysphotography

Tom Gollins

Atcha Kim

http://snillogmot.tumblr.com snillogmot@gmail.com

http://www.atchakim.com

Adam Goodison

Pedro Podesta

http://www.adamgoodison.net

http://www.pedropodesta.com

adamgoodisonphoto@gmail.com

http://www.abamgt.com.br

Kazha Imura

Steven Laudat, hair

Special thanks to Miho Odaka (Artist http://www.marianagarcia.com

Ewa Kepys

Sarah Delannoy, styling

Jasmine Deporta, hellweiss Alyona Kuzmina, naiznanku

http://samanthakeelysmith.com

http://irandokhtl.free.fr/wordpress

http://sarahdelannoy.4ormat.com

http://www.jasminedeporta.com

Samantha Keely Smith

Liaison) for interview translation.

http://www.stevelaudat.com Joy Sinanian, styling http://www.joysinanian.net

http://www.pmagazine.co http://www.porcelaineproject.com

http://www2.ocn.ne.jp/~kazha

mariana@marianagarcia.org

http://imurakazha.tumblr.com imurakazha@gmail.com

Julie Gilgenmann www.julie-gilgenmann.com contact@julie-gilgenmann.com Teddy Mathieu, assistant http://teddy-mth.com

2 1 6 N E V E R L A Z Y M AG A Z I N E

Natasha Morris Thank you to Tamara Abdul Hadi Images copyright Tamara Abdul Hadi

Karborn

and from series ‘Flying boys’ and ‘Picture an Arab man’.

http://cargocollective.com/karborn j@karborn.com

http://www.tamarabdulhadi.com


Monica Ramos http://www.monramos.com http://monicatramos.tumblr.com hello@monramos.com

Disclaimer All content published in NeverLazy Magazine and/or appearing on NeverLazy Magazine’s digital platforms (website, blog, social networks) is unless stated otherwise, copyright Š 2011-2013 NeverLazy Magazine, the Editors and respective Contributors and collaborating individuals. Any adaptation, reproduction,

David Ryle

direct-linking and/or selling of content found in NeverLazy Magazine and/or NeverLazy Magazine platforms is strictly forbidden.

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by both the Editors and respective Contributors and collaborating individuals.

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Ioana Sopov

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THE AUTUMN 2013 ISSUE 217



NeverLazy - Issue 11 - Autumn 2013