Open Color Magazine - Touch Issue by OPEN COLOR

Th e TO U CH I s s u e

YANNIS DAVY GUIBINGA ROB WOODCOX / AMBER COWAN / B.Akerlund / Ashley Longshore Alondra excene / Patty CarRoll / Sabiyha Prince / 1

THE touch ISSUE

From the editor

Dear Readers, We began this issue of Open Color Magazine before chaos overtook 2020. What started as another edition of our Sensory Series has become a time capsule of artists’journeys throughout the most turbulent times in modern history. The Touch Issue theme also took on an entirely new meaning as within a matter of days, human contact outside of one’s own household became a threat to survival. We reflected deeply on the meaning of connection and the power of art to create it. The interviews in this issue span from February to December of 2020. As everyone reading this experienced, the year quickly became one filled with anxiety, chaos, and dread as we watched the world around us morph into something unrecognizable. A pandemic that rapidly spread across all continents stopped society in its tracks and proved to be an imminent threat to millions of lives. We lost so many, so painfully, due to COVID-19, and this issue is dedicated to their memory. We saw millions take to the streets in defense of civil liberties and social justice. We saw the Capitol of our country overrun by terrorists bearing our flag. We saw the fastest development of a vaccine in human history, the most consequential presidential election of our time, the loss of the legendary and incomparable Ruth Bader Ginsberg, horrific natural disasters that displaced millions already under siege from the virus, healthcare and other essential workers show more clearly than ever before that they are the backbone of our country, and so much more. But we also saw something else. From the ashes of the most trying year in a generation emerged a newfound reverence or art as the essence of human expression. The Internet became our thread of connection to the outside world, and we saw it used as never before to spread as much creativity as possible—to nourish the hope that so many of us felt was fading. We saw virtual exhibitions and live painting via social media, writer workshops and interviews, photography that allowed us to escape elsewhere if only in our minds, musicians streaming from-home concerts and releasing new albums created during quarantine, and so much more. We proved to ourselves that no matter the obstacles, no matter the depths of suffering, human beings will find a way to connect with one another and lift each other out of a stark reality and into a world of inspiration and beauty. The role that art has played in the conservation of human connection under the most trying of times is a landmark in the history of society. This issue of Open Color Magazine highlights artists who have been lighthouses in the darkest of night; who have sent their work out into the world and as such have given of themselves so deeply when so many of us needed it the most. We thank them for allowing us to share their stories, and we thank our readers for celebrating them with us. With gratitude, Kate Zaliznock

weareopencolor.com | @open.color

Features Opening Sequence

YANNIS davy guibinga

rob woodcox

B.Aukerlund 58 patty carroll

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AMber Cowan

Betty and Veronica

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Life on Ice

alondra excene Ashley Longshare sabiyha prnce

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Contributors Kate Zaliznok FOUNDER & EDITOR IN CHIEF

Kate has explored numerous creative communities from a multitude of angles. As a writer, editor, publicist, event director, art consultant, and brand manager, her uniquely diverse abilities have all been grounded in a central focus on supporting the arts. Open Color is the culmination of over a decade’s experience in these fields, and its events, exhibitions, and magazine serve to connect creative communities around the world.

weareopencolor.com | @kate.zaliznock

Gabriella Lovazzano FASHION EDITOR

Gabby is a vibrant and colorful creative force. The Bay Area native’s experiences as an art director, stylist, designer and cosmetologist all work in tandem as she builds a rainbow universe that’s warm and welcome to all. She sees the world for its possibilities more than its limitations. Her dopeness runs deep, having cut her teeth in grade school modifying clothes. As co-owner of Ejects Collection, she continues to create her own cool as she repurposes outdated mediums into retro-future accessories. An avid fan of the electronic scene, she surrounds herself with DJs, producers and other musical minds, drawing inspiration from the neon hum of urban nightlife scenes. Anything can spark an idea, be it a plush toy, technicolor candy, off-the-path junk shops, or the unbridled beauty nature. Lovazzano now splits her time between San Francisco and Los Angeles in a state of constant creation and discovery. Always cooler than cool, her style and approach can only be described as ice cold.

gabriellalovazzano.com | @gabriellajlovazzano

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ADAM MEOW CREATIVE DIRECTOR & GR APHIC DESIGNER

Adam is a renaissance man through to his core. An artist whose prowess for all things creative is rivaled only by his imagination. He is not only a designer, art director, and digital artist, but also a highly skilled photographer, accomplished painter, and DJ/music producer. You can try to catch him as he slides between the San Francisco Bay Area and Los Angeles. He is always working to expand his talents to new frontiers while consistently pushing the boundaries of conceptual aesthetics. Adam’s artistic wizardry and indepth knowledge have made him an invaluable asset to countless projects and an endless source of inspiration. A spellcaster with his impeccable style, he is a proven tastemaker. In his lifelong pursuit of the arts, Adam has always believed in the shared community that is inherent in the arts and music. He fully invests himself in any project he undertakes and the amount of love and energy that is mixed in is palpable. All-around good human being to know, Meow is the one all the cats are talking about.

adammeow.com | @adamsoltau

Lindsey Fay GR APHIC DESIGNER

Lindsey Fay is a designer based in Northern California with a keen sense for cultural phenomenon. She is an interdisciplinary professional with over 15 years in the design industry. Born and raised in Massachusetts, Lindsey holds a BFA in Interior Design from Suffolk University. She began working in design firms at age 20, working on large scale retail projects, nightclubs, corporate offices in Boston, San Diego, and San Francisco. From Autocad to Adobe, Lindsey’s aesthetic is an inviting, feminie but futuristic, geometry-forward style. Lindsey’s breadth of inspiration explores colors and patterns from her extensive travels in Asia, Indonesia, Jamaica, Costa Rica, Europe, Latin and South America. She loves traveling, snowboarding, sneaker collections, and live music.

lindseyfaydesign.studio | @lindzefay

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Alondra EXCENE W O R D S

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ALONDRA IS A LOS ANGELES-BASED F R EEL A NCE MAKEUP AND SPECIAL EFFECTS ARTIST. NOT EVERYONE KNOWS WHAT THEY WANT TO DO WHILE IN HIGH SCHOOL OR EVEN AFTER BUT AFTER INTERVIEWING ALONDRA IT IS CLEAR THAT SHE HAD PLANS FOR HERSELF EARLY ON—AS EARLY AS FRESHMAN YEAR. AFTER GRADUATION IT WAS THIS DRIVE AND DESIRE THAT MADE HER ENROLL IN MAKEUP SCHOOL AND LAUNCH HER CAREER. WHILE FOCUSING MAINLY ON FILM AND TV SHE DISCOVERED HER LOVE FOR HIGH FASHION AND MUSIC VIDEOS. I HAVE WORKED WITH HER I CAN TELL YOU I KNOW A TRUE ARTIST WHEN I SEE IT. SHE NOT ONLY PUTS HER ALL INTO HER WORK; SHE CAN MOLD YOUR CONCEPT WITH HER SKILLS AND CREATE SOMETHING BEYOND EXPECTATION. I HIGHLY ADVISE SEEKING THIS ONE OUT! EXPLORE HER PORTFOLIO AND PERSONALITY THROUGH HER IG @ALONDRAEXCENE.

www.alondraexcene.com | www.instagram.com/alondraexcene

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"One day I had the realization that someone gets PAID to put fake blood on people!"

Let’s start with how and when you realized that you wanted to have a career as a professional makeup artist? I was a freshman in high school. I already had a love for makeup and makeup effects. My best friend’s Mom, Michele, used to do my hair and makeup for dances and that’s when I really saw the power of transformation makeup has. I was a punk tomboy that smeared black eyeliner all over my eyes, and she would turn me into this beautiful young woman. Discovering Jennifer Corona’s Myspace was also a huge influence on me. I’d never heard the term “freelance makeup artist” until then. I loved the way she made the models creepy yet so beautiful. I was instantly fascinated by her and her work. Now Jenn is a friend and someone I’ve worked with multiple times over my career.

What is your favorite style of makeup? I really love incorporating prosthetics into beauty makeups, so I guess I love the avant-garde. I don’t mind when things aren’t perfect, or beautiful. I like doing weird makeups. My favorite photo series that I’ve done was the Animal/Human Hybrid series I did with Danin Jaquay. It was very Bojack Horsemanesque and the animals were in human situations such as the Walrus who works a desk job and has a dolphin for a boss. We got it published in Paper Magazine which felt really good!

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What attracted you to special FX makeup? In high school, I hung out with my boyfriend and his friends. We would get stoned and watch movies, a lot of them were horror. One day I had the realization that someone get’s PAID to put fake blood on people! That’s all it took really. We’d watch Rob Zombie movies and they’d say “someday you’re going to work with Rob Zombie” and I’d say shut up, no way…well guess who ended up doing a Rob Zombie music video a few years ago?! That was such a huge bucket list moment for me. As an artist where do you find inspiration? Growing up I was heavily inspired by Tim Burton movies, and as I got older I realized that meant I was a fan of Ve Neil’s makeup work since she did all my favorite Burton movies (such as Beetlejuice). Nowadays I’m really inspired by art. I have so many Pinterest boards filled with drawings that I want to re-create with makeup.

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What are your top 5 artists that you admire? Dick Smith, Rick Baker, Ve Neil, those are my legendary icons of makeup (and honestly there’s even more). Then I really love Nelly Recchia and Alex Box. Alex Box is so incredibly inspiring. She is the Queen of avant-garde makeup. Where do you want your profession to go? I’ve always dreamed of being a musician’s personal artist and going on tour! I’ve heard the tour life is not nearly as glamorous as it looks, but I don’t care. To be able to work with one artist and create their iconic looks is an absolute dream. I also love live music and it’s a huge part of my life, so to be a part of someone’s live music experience is so cool! I already work raves and live events, so I feel like my time to tour is coming, haha.

With such a colorful portfolio we must know, what are some of your favorite highlights from your career? Working with Rob Zombie, getting published in Paper Magazine. I was nominated for a Best Makeup award at an indie film festival (did NOT win), was flown to Thailand to co-dept head a horror movie in 2018 (Zombie Tidal Wave). That was such an amazing and challenging experience (we were doing prosthetics in 90 degree, 90% humidity weather). I got to work on the first Sharknado movie. It was the first thing I worked on that was seen by people, and my first red carpet screening! Last year right before COVID, I flew to Mexico and worked EDC. I know I’m missing a lot. I’ve had a lot of really amazing experiences thanks to my career.

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The entertainment and beauty industry is constantly changing; how have you adapted to keep it working for you? When I started school in ’09, I didn’t even have a smart phone. Instagram didn’t exist, and if it did, it was still only available to iPhones. Youtube was new, and the only big makeup artists were Kandi Johnson, Queen of Blending, and Michelle Pham. I mean I’m sure there were others, but you get the idea. So unfortunately, we weren’t taught the power of social media, because we didn’t know yet. Self-application artists didn’t really have the respect they do now (and still lots of pros look down on it and all influencer culture). I never got into makeup to be a star or a celeb myself, so having to adapt to the social media game has been rough. I fought it at first, but it’s so inevitable. I wish I didn’t have to play the social media game, but here we are, haha. It’s an additional full-time job on top of a full-time career. A challenge for most creatives is getting our name out there and landing jobs that are ideal for us. What platforms are you using to promote your work and to ensure you’re being viewed by your target audience? In the past, I would go to networking events and use Craigslist, Mandy, Model Mayhem, etc.. At this point, a lot of my work comes from referrals and returning clients. Having a circle of friends who root for you and pass you along work is vital in this industry. I use social media pretty heavily to promote and share my work. I have a website. I respond to posts on Facebook, and sometimes I straight up drop into people’s DMs for work.experiences thanks to my career.

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I don’t like to spend too much time talking about challenges but I also feel like opening up about them can help other creatives that might be in a similar situation. In addition to self-promotion, what are some challenges coming up in the industry? Getting into the industry at 18 was a blessing and a curse. I’m glad I started my career so young, but that also means I was making dumb mistakes that young people do, but it affected my career. I’ve definitely burned bridges and fucked up a few times. Working on big film sets can sometimes be hard because there’s a hierarchy. Your department head may not want you to be too friendly to the cast, or the producers, or else they’ll think you’re trying to take their job. The set etiquette is very intense and not everyone you assist is going to help you out if you fuck up. The social media game has also been a little challenging. We are all expected to be the celeb or the star now. We have to hustle to get likes, even though those don’t pay our bills. But companies and clients want to see your follower count before hiring you, regardless of your portfolio, and that gets really exhausting. If you could work on or with anyone in the world who would it be and what would it be? Who is your ideal client? Let’s manifest this for you! Right now my dream clients are musician Ashnikko and Dan Levy. Ashnikko is literally on my vision boards, I think we’d create some really fun looks together. Dan Levy because he’s seriously so incredibly talented and such a positive ray of sunshine for people. I’d love to work with him and experience his genius. My ideal would be to work with a musician or a band that really loves collaboration between their makeup artist. Someone who trusts me but also gives me ideas. I see Lady Gaga’s relationship with Sarah Tanno-Stewart and I go “THAT! I want THAT!”

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Ashley LONGSHORE W O R D S

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WHEN WE HOPPED ON THE PHONE WITH TALK-OF-THE-TOWN ARTIST ASHLEY LONGSHORE, THE COUNTRY WAS JUST BEGINNING TO ENTER INTO THE LONG-HAUL PHASE OF QUARANTINE. THE ALABAMA NATIVE (NOW BASED IN NEW ORLEANS) IS KNOWN FOR HER BANG-POW POP ART PAINTINGS, AND SHE WAS ALREADY IN THE PROCESS OF GIVING BACK TO HER COMMUNITY THROUGH HER ARTWORK BY PARTNERING WITH VITAL NON-PROFITS. LONGSHORE’S WORK IS INTERNATIONALLY COLLECTED, AND HAS BEEN CELEBRATED IN IMMERSIVE WONDERLANDS SUCH AS HER TAKEOVER OF BERGDORF GOODMAN’S CAFÉ AND AN EXHIBIT AT DIANE VON FURSTENBERG’S FLAGSHIP STORE OF 37 COMMISSIONED PAINTINGS OF ICONIC WOMEN. TO VISIT HER NEW ORLEANS GALLERY AND STUDIO IS TO GET A GLIMPSE INTO HER MAGICAL, MYSTICAL, HYSTERICAL WORLD, AND SITS PROUDLY AT THE TOP OF OUR MUST-SEE LIST. WE GOT THE CHANCE TO TALK TO LONGSHORE ABOUT CREATIVITY, ACTIVISM, WORKING WITH GALLERIES, AND PERHAPS MOST IMPORTANTLY, SMILING.

ashleylongshoreart.myshopify.com | www.instagram.com/ashleylongshoreart/

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So, first question. It’s apparent that creativity is ingrained in your nature and that the success that you have today is a result of years of dedication and hard work, so what do you consider to be the first major step in starting a professional career as an artist? The most…the 100% most Damn, that didn’t work out. That’s important thing that you must okay. I’m going to reach out to have in order to make it is to four more people.” It is that inner have an extremely, extremely voice of, that like the little engine strong sense of optimism within that could. “I’ve got this. I can do yourself. “I’ve got this. I’m gonna it.” Because here’s the thing. You do great. I tried as best as I could. will most definitely be rejected.

You will most definitely have people that do not understand what you’re doing. You will most definitely, you know, have to find out who your audience is, who you’re marketing to. The most important thing that you can have is that voice that goes “I got this. I’m gonna be okay. I’m gonna wake up. I’m gonna send some emails.” Or, “I’m just gonna be

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creative today. I’m gonna paint. I’m gonna do something for me.” You must have that, or, when the world does come at you – which it will – you’ll have someone to call. You’ve got to go into battle with your armor on. You can’t just go out to any business world thinking it’s all going to be sunshine and rainbows and fucking unicorn farts. It’s not. You are gonna get

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“The most important thing that you can have is that voice that goes “I got this.” gutted, gored, fucking kicked in the genitals, friggin’ be told that you’ll never make it. You’re gonna have people try to fuck you out of money. All of that is going to happen. I’m just gonna keep it real here.

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Please do. This is why I wanted you on here so badly. The most important thing I totally agree with you on is that without that can-do attitude, you won’t get anything done. You have to have an authentic, optimistic inner voice. So, the other thing I wanted to ask you about is – and full disclosure, I went to the University of Alabama, so I have a little bit of experience living in the South – do you see yourself as a representative of Southern culture, particularly one that defies the stereotypes? I see myself as a full-blooded American woman who happened to have been raised in the South, and because of my Southern upbringing, my superpowers are my manners. Even though I could drop an f-bomb at any moment, I promise you I am gracious, enthusiastic, I’ll always say “thank you,” you know. I may shut the door and say “fuck you” when I walk out, but I promise you this, you know, me being raised in the South is a bonus. I’m a full-blooded American woman. I love that. So, you give back in a lot of ways. I’ve seen your work with students and things like that…just so cool. But I wanted to make sure that we touch on what you’re currently doing, which is raising and donating funds to combat this crisis that we’re in right now. Can

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you tell us what you’re doing and the organizations you’re working with? Yes, so obviously the Food Bank. It’s so crucial right now because, you know, look. I’ve never experienced hunger, you know. I don’t know if you have. But all I know is, is that when you have a belly full of food, you can think and regroup and process. All of these kids, you know, who were let out of public schools, some of them, you know, their breakfast and lunch that they have those were the only meals that they for sure were going to have that day. The food banks are attempting to fill every food request that they’re getting. So that’s kids, seniors, and most assuredly all of these health care workers who have got themselves, who are working so long, all these hours. It just seems very normal for me to… after the first week of quarantine, when I was able to catch my breath again and realize that life wasn’t over, and I was like okay, we have amazing collectors. I have incredible engagement. Let’s put ourselves out there and see what happens. And, you know, so we’re $53,000 in donations in two weeks. Between Second Harvest Food Bank and Project Lazarus, which is this amazing facility in New Orleans that houses homeless people with HIV and AIDS, who you can imagine are so incredibly susceptible to COVID, other

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flus and that sort of thing. And this particular group is mostly LGBTQ but they accept anyone. They bring in dogs for therapy, they do these telehealth sessions, they do photography lessons (not so much right now because of COVID). But it is an incredible institution for people who do matter to our society. I’m doing another release, and I’m donating $15,000 to the women’s shelter here, which are women who’ve been abused, they’re basically homeless. They come in and start their lives. Again, it’s group living, they need lots of supplies to be extremely sanitized, more so than ever. There’s kids in there, they need games, they need food. They’re trying to do schooling for the kids. They’re trying to get the women job interviews and that sort of thing. So, I definitely want to help them out. I mean, look, this community has been very good to me, and I don’t want to just sit here and not know that I’m not doing my part to, number one, sustain my team so that there are no layoffs, and, number two, give back to the community that’s allowed me to grow. That shit’s important. That’s so beautiful. And then, of course, I have never given away anything. I don’t do prints or anything like that and so I just thought, my God, all

these parents are trapped with their kids. So, I’m going to release color pages. We released twelve different designs right now, eight of them are amazing power women so I thought wow, great history lessons, and then four presidents. And then, of course, I did five other ones with Miley Cyrus. So, that was fun. I’m curious. You’ve always strongly encouraged artists to self-manage, self-promote, sell their work rather than partner with a gallery. What is your advice to artists who, as you do of course come across, kind of have the outlook of “I just want to be in the studio producing. I have no interest in the business side.” Listen, listen. The way that I do business is not the only way to do business. It’s the way that’s worked for me. I just knew in the beginning that anybody taking 50% from me felt like a dry-ass fuck. I didn’t like it. I always got my check feeling like, damn, are you kidding me? Like, I made that. That’s my spirit. There’s a middle man. It’s too much of a commission. I want you to think about what the retail strategies are for people. When you buy a chair at an interior design store, you know what? They marked it up 50%. It’s a manufactured fucking chair. And for some reason, somebody along the way thought putting those same percentages

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on original art work created by people who have an expiration date, that it should be the same. And I just find it to be, I don’t know, a disgusting image. That being said, maybe you don’t give a damn. Success is only rated on what makes you feel good. Are you hitting your goals? I mean, I remember when my own success strategy was being able to pay my rent. And that meant me making $800 a month. And I felt like I was rich as hell. That being said, if you are an artist that just wants to work with galleries, I suggest that you go into it business-minded, because that gallery works for you. I would be very creative with them, and I would give them goals that they need to hit. That makes sense. It’s a really great way to look at it. Well, I would also go in and say “You believe in me so much that you want to take my inventory. Are there any pieces in this collection that you right now feel so certain that you can sell that you would go ahead and write me a check for 50% for them?” Make them put their money where their mouth is. Otherwise, you could end up with somebody that has taken all of your inventory, with some little asshole mother fucker in black horn-rimmed glasses, rolling their eyes at people walking into the gallery, that’s not doing the work to sell your shit. On the

other side, there are some incredible, incredible galleries out there that go above and beyond. They take their artists to shows, they get their name out there, they get them press. They give them a studio to fucking paint in. I mean, you gotta find somebody that you learn from that is really caring about you and your fucking livelihood, you know?

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and to choose different charitable organizations that I could help out along the way. So I released all these beautiful butterfly cutouts. And then I’ve got diamonds, champagne bottles, and these great riffs, and some beautiful, like, Audrey silhouette cutouts. So, I’m doing that, and then I’m working on small versions of all of my DVF portraits that I did. I’ve got over 100 smalls that are all… it’s like a retrospective collection of all kinds of pieces that I’ve done throughout my last ten years of my career. I’ve got Audrey, so I’m deep in all that right now. And you know what? I had some asshole send me an email. Said you’re so basic, that these are mass-produced, overpriced, I could do these in a day. I thought to myself, you know, I don’t need to fucking do this. I literally do this to offer original artwork to people who are just starting to collect. I have collectors that have loved the smalls, and they put them on their bookshelves. It’s a great opportunity to buy a wedding gift, an anniversary gift, a birthday gift.

I fully agree. I wanted to ask you, too, what you’re currently working on in the studio? Well, right now I’m doing a smalls release, you know, so I’ve been working on those. I was going to do one big giant release, but I just decided because of our crazy times that I would do more of a slow rollout

That’s the only way most people would have access to your work right now. Yeah, and it’s like, alright. I also thought wow, it’s a way to get original fucking merchandise and limited-editions and when those are gone, they’re gone.