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
C O H E N
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
2 N E V E R L A Z Y M AG A Z I N E
T H E
C O V E R
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
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
“I find it incredibly hard
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
124/ David Ryle “I don’t change my
46/ All the Surrounding Colour photographed
by Atcha Kim
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
photographed by Julie Gilgenmann
THE AUTUMN 2013 ISSUE 5
6 N E V E R L A Z Y M AG A Z I N E
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:
THE AUTUMN 2013 ISSUE 7
From the series picture an arab man (2009)
From the series flying boys
8 N E V E R L A Z Y M AG A Z I N E
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
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
1 0 N E V E R L A Z Y M AG A Z I N E
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
1 2 N E V E R L A Z Y M AG A Z I N E
------“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,
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.
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
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
2 2 N E V E R L A Z Y M AG A Z I N E
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Leigh Wells, Deception (11.10.05), 2011, collage, graphite and mixed media on paper, 30â€? x 22â€?
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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
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, 12.75â€? x 9.5â€?
2 6 N E V E R L A Z Y M AG A Z I N E
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.â€?
identity and how has it developed over
art as I can. Then there is coffee, which is
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,
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: â€œby creating a new object
mechanisms by which we try to >
3 0 N E V E R L A Z Y M AG A Z I N E
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”
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Leigh Wells, Deception (11.10.07), 2011, collage, graphite and mixed media on paper, 30â€? x 22â€?
3 4 N E V E R L A Z Y M AG A Z I N E
understand and define what we see
techniques, exploring the use of colour
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, >
THE AUTUMN 2013 ISSUE 37
Enfold, 58” x 72”, oil, enamel & shellac on canvas, 2013
3 8 N E V E R L A Z Y M AG A Z I N E
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, 50â€? x 78â€?, 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.
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
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.
are already our own worst critics. •
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Dress Zara, bag and shoes Aldo
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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
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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
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
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
------â€œThis editorial portrays how you should end a summer.â€?
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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
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
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
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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 Stylistâ€™s own
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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
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 Stylistâ€™s own
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------â€œAt the moment creating a personage is very important and significant in my work.â€?
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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 Stylistâ€™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 Stylistâ€™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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------â€œ[I have learned from art] not to be afraid to experiment and grow.â€?
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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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------â€œThe act of scratching is childish and very primitive (...) and I recognize this as an act which can present our instinct.â€?
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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
Spa 1 0 2 N E V E R L A Z Y M AG A Z I N E
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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
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
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
her artistic style.
watercolours and pencils, and patch things together in the computer. I’ve been working
Tell us a bit about yourself and your artistic
on painting directly on the page without
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
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
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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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 â€“ 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.â€?
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Tell us about yourself and your artistic
I obviously have to think about lighting,
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
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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
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 â€˘ 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 Stylistâ€™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
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
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
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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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
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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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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:
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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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
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
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
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
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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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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 firstname.lastname@example.org
Steven Laudat, hair
Special thanks to Miho Odaka (Artist http://www.marianagarcia.com
Sarah Delannoy, styling
Jasmine Deporta, hellweiss Alyona Kuzmina, naiznanku
Samantha Keely Smith
Liaison) for interview translation.
http://www.stevelaudat.com Joy Sinanian, styling http://www.joysinanian.net
Julie Gilgenmann www.julie-gilgenmann.com email@example.com Teddy Mathieu, assistant http://teddy-mth.com
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Natasha Morris Thank you to Tamara Abdul Hadi Images copyright Tamara Abdul Hadi
and from series ‘Flying boys’ and ‘Picture an Arab man’.
Monica Ramos http://www.monramos.com http://monicatramos.tumblr.com firstname.lastname@example.org
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THE AUTUMN 2013 ISSUE 217
Join us on Facebook: http://www.facebook.com/neverlazy NeverLazy is an online visual arts & fashion magazine showcasing the works of emergin...