Global Vantage | Issue 15 | Spring 2021

GLOBALVANTAGE

expression issue 15 || spring 2021

EDITOR’S NOTE

By Sydney Wood

This past year has been unlike anything the world has experienced before. March of 2020, Covid-19 swooped in and entirely took over our lives, in many ways grinding the world to a halt; almost every facet of everyday life was altered or had to adapt to fit new norms, causing a fundamental shift in the way people operated.

Through these drastic changes, however, people also found new ways to express themselves. As an inherently creative species, we as humans saw beyond the explicit barriers that were placed before us, past the limitations that came with having to restrict our activities due to the viral spread.

Rather than letting ourselves fall into the trap of dullness and monotony, we have instead found new ways to connect through various mediums. The majority of the population has become acquainted with Zoom, taking advantage of the technology to both maintain and create relationships. Additionally, an unexpected silver lining of the increase in time spent at home was that people were offered the opportunity to view their lives with a fresh perspective, allowing them to focus on what was important to them without any of the typical noise of the outside world. For many, the flexibility that working from home granted them was a gift, creating time for the cultivation of new hobbies and interests – new forms of expression.

This innately human tendency to create and express is the driving theme behind this issue of Global Vantage Magazine. We aimed to capture the unique ways that people express themselves as well as what their expression means to them.

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TEAM Editorial Staff Editor-In-Chief: Sydney Wood (2021) Executive Editors: Mia Ogle (2021) , Alexis Shenkiryk (2021) Layout Director: Grace Piscitello (2021) Editors: Evan O’Lenard (2020), Harrison Tornino (2020) Business Staff Cheif Executive Officers: Wyatt Elsner (2021), Grace Piscitello (2021) Web Editor: Jenna Feryorni (2021) Social Media Director: Grace Smidt (2021) Staff: Harrison Bor ts (2021), Micheal Saunders (2021), Griffin Rich (2021)

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CONTENTS 12 Life After Rock

06

Dave Keuning continues to rock after The Killers.

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Marta Brevacqua

Advocacy Artist

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Ann Weber

expression issue15 || spring 2021

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21 From Paper to Pixels The Evolution of Pictures: From Documentaion to Self-Expression

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26 The Thought Between the Note

John Dolmayan

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31 Wild

Shelley Reed

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MARTA BEVACQUA

By Alexis Shenkiryk All photos in this article credit: martabevacquaphotography.com

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n a wor ld o ver flowing wi th aspiring artists, it takes a lot to stand out, let alone be successful. Being a photographer requires motivation despite constant rejection, the desire to create art that is novel and unique, and t he abili t y to m ake g lob a l connections to form a strong interna t ional ne t wor k. Addi t ionall y, perhaps the most crucial aspect of being a photographer is loving the entire art process, from experie ncing the first sp ar k of inspiration to releasing the finalized piece into the world. Leaving artwork completely vulnerable and susceptible to judgment requires a tremendous amount of passion and dedication.

However, the dif fic ul t t rials of being an artist never discouraged Marta Bevacqua, an up and coming Italian photographer based in Paris. She specializes in capturing “ wome n’s be au t y throug h p or traiture”, often editing minimally to conser ve the rawness of the photo. In order to make her photos interesting, she instead relies on unique pieces of clothing, anything from a ski mask to an extravagant

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ne ckla c e to int roduc e b oth color and texture into her photos. In addition to experimenting with makeup and hair, there is a l ways an e dg e to B e va c qua’s work; no pic ture is simple and straightfor ward. Whether it be an advertisement or a cover of a magazine, her photographs always h o l d a d e e p e r m e a n in g c o n veyed through specific choices made in order to induce an emotional response from the viewer, whether it be feelings of peacefulness or excitement. A common trait among all Bevacqua’s photos is the maintaining of the model’s natural features, especially throughout her intimate closeups. She purposefully edits her photos as little as possible and asserts that “Everything you see in the pic tures, it was alrea dy there. I just play a bit with colors and contrast but the images remain ver y natural.” By cutting down on editing, Bevacqua relies on natural beaut y to captivate the viewer.

Bevacqua, like many artists, draws inspiration for her work from all

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“Everything you see in the pictures, it was already there.”

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aspects of her life: “A particular location, a special model, books, music, movies, and other artist’s work,” she listed off, especially emphasizing The Starry Night by van Gogh as a piece of artwork which is a main focus of inspiration, complimenting its “dreaminess”. There is no single direct source of inspiration so every collection of photos is different, and her taste is constantly evolving.

Therefore when faced with the question of her favorite photoshoot, Bevacqua mentioned that if anything, it would be her most recent work, since it encapsulates her current inspiration and emotions, while also “remaining faithful to [her] original style and vision.”

As for Bevacqua’s journey to becoming a photographer, she started in high school “browsing websites, looking at beautiful imagery, and thinking [she] could try creating some.” What started as an after-school hobby eventually evolved into a passion and a successful career, where she shoots for world-renowned magazines like Vogue, MarieClaire, and Glamour Spain, where she recently shot the cover for their January issue.

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Today, Bevacqua is pushing beyond the boundaries of photography and delving into the world of film and music videos, where she is able to “construct a real atmosphere”. Whether it be a professional shoot or just posting content of her travels for her almost half-a-million followers, she continues to create art with models from a variety of backgrounds. When asked the definition of expression, Bevacqua asserted that there was not one pinpoint explanation, but instead several significant meanings behind the word: “Expression of something you want to say with pictures, but also expression of the eyes, expression of the model, expression of myself as a photographer. Expression can be so many things.”

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LIFE AFTER ROCK Dave Keuning Continues to Rock After The Killers

By Harrison Borts

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ave Keuning is the for mer founder, le a d guitar player, and songwr i t er for a p o p ul ar rock band, The Killers.

Ever since he was a teenager, he used music as a tool for expression, a practice that he continues to do in his care er. Most of his career was spent with the killers, but he is now taking a break from the band to pursue solo endeavors. He did not participate in their last tour because “It was an all or nothing thing.” As of now, his future is all undecided.

Despite his break from touring, Keunig wanted to continue to write and play music, and embarked on a solo project aptly titled Keuing.

He began to record an album titled Pris mis m w hich was bor n from ideas he had prior to and througho u t his c are er.

He re c orde d Prismism from his home studio, played most of the instruments, and was the le a d voc alist. He describes his current solo career as “starting over from scratch.”

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He chose to just make music and see what happened. He plans on continuing to make music, and has no intention of stopping anytime soon, be c ause “it’s fun”.

He explained that until you are able to record and finish a song, it’s just an idea that you play by yourself. Once a song is finally recorded, the music is there for others to find it and listen to.

When aske d about the current music scene, Keunig expressed that he enjoys a lot of different genres of music, but is having a hard time connecting with some of the new moder n pop being produc e d today. “There is an in e v i t a b l e c h a n g e h a p p e n in g within the music industr y, and there is no stopping it because of evolution and the internet.” He reminisce d about a time when fans actually had to go out and purchase a record. Records sold more, and he believes that people appreciated them more. Keunig recalled mowing lawns as a kid, saving up all his earnings, and

going to a record store to sift through them. He would carefully pick out three or four records because that was all he was going to have for the next week or so. Then he would listen to the albums from front to back, every sing song, not just the hits, over and over again. Keunig would do this week after week until he had earned enough money to go out and buy some new records. Sometimes he picked the wrong album, and it wasn’t very good, but those were the risks he took. Now you can purchase just one song, and even test the rest of the album if you want, but you don’t have to purchase the entire album. “There is an entire generation of people listening to music a very different way, one song from one band, and one song from another artist - it’s very hard to get anyone’s attention to listen to anything anymore.”

Keunig is enjoying the flexibility of working for himself on his own schedule. He intends to continue to put out music under his solo project, and will likely work with others as well. He loves working and recording from his home studio, so that he is able to spend time with his family and create at the same time. Working with The Killers again is also not out of the question.

HARRISON BORTS INTERVIEWING KEUNIG, 2020

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ADVOCACY ARTIST Interview with Kenda Francis

By Harrison Torino

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enda Francis, local San Diegan, creates insightful ar t that not only shocks viewers with its over whelming vibrancy, but also makes impactful strides towards wildlife conservation. What began as a hobby in high school evol ve d into an inte nse p assion in college where Francis obtained an art degree at San Diego State University. Today, she continues to cultivate her craft while specializing in large-scale graffiti murals and breathtaking wildlife photography.

“My favorite aspect of being an artist is the freedom to perceive and feel”, remarks Francis. Like many artists, Francis is exposed to inspiration on a daily basis from a myriad of sources, from the nuanced to the extraordinary. “I see, hear and feel beauty everywhere, not only in the amazing animals I depict, but in simple things such as textures and patterns, the scents of plants, laughter of a stranger, or even a cast shadow.”

From my inter view with Francis, brimming with fer vor, it is clear that she holistically values the process of art-making, from the initial

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THE BLVD MURAL BY KENDA FRANCIS

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MOON MEDITATION BY KENDA

brainstorm to the finalize d masterpie ce.

Af ter mulling over a concept, each piece begins with a sketch and color plan. Planning out the exact layout of bright colors, a trademark of Francis’ work, is essential before beginning, ensuring the right mood for the piece will be conveyed. Once the subject, action, and statement are finalized, Francis moves on to forging a stencil. “I project an image onto a flat surface like the side of a wall onto a large sheet of clear plastic. I trace out blacks, whites, darks, medium and light values of the subject with a sharpie pen…With animals that have spots like jaguars, this can take several hours per layer.”

Stencil completed, it takes layer after layer to mend the background and the animal stencil together, creating a cohesive composition.

The final touches are put on the piece: “stray brush strokes, drips, or splatters, drawing with an acr ylic pen, and applying even

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more stencil fades.” The last stretch is often the most daunting for Francis, requiring an innate intuition until the right balance is achieved. In order to come out “victorious”, Francis remarks that the key is unwavering confidence throughout the entirety of the process, which often spans several months.

“Once finished, this new piece is often my favorite.”

Francis’ constant pursuit of personal fulf il lme n t t hro u g h c re a t ing ar t c oinc ide s seamlessly with her conservation efforts. A lifelong animal lover, Francis remarks “I love animals beyond measure, and with my art, I am able to fight for them, represent them, and advocate for them with my personal gifts.” By depicting wildlife in virtually all her art, Francis calls on the audience of her art to not only “face the supreme beauty of animals”, but to also recognize “the struggles they endure to survive today.” Balance is a

central tenet for Francis. Although she prioritizes evoking compassion from the viewers of her art, Francis is also sure to assert that her animals are in no way defeated. “They are defiant, strong, and powerful.” The duality is present in every artwork she creates. While integrating elements of attention-grabbing street art, Francis hopes her viewers “learn about amazing, sometimes hardly known animals and consider their own connection with the non-human living world”.

that transcend the level of the factual, stirring movement within the viewers… expanding not only understanding of issues, but compassion and the desire to make a difference.”

Beyond stimulating minds and starting salient conversations, Francis donates a portion of her earnings from her art and even artwork itself to various preservation organizations, such as the Kenya Wildlife Ser vice and San Diego Humane Society. “I couldn’t live with myself if I photographed animals in the wild, painted them for exhibitions and did nothing to benefit them.”

Photos courtesy of Kenda Francis

“With every work, I am fighting for the rights of animals.”

You can view Francis’s art and photography at her website, kendafrancis.com

When asked to comment on the significance of expression, Francis’ response was ardent and poignant: “I have no doubt that expression can be and is used to make positive changes in the world. Artists are able to create works that evoke powerful emotions…

STOMPING IN LA BY KENDA FRANCIS

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ANN WEBER

By Mia Ogle

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uring the turmoil of the l a t e 1 96 0 s, A n n We b e r discovered the medium of clay. With roots in the very conservative “Norman Rockewell” midwest, she longed to be a part of a movement that would change the world. She wanted to “work with [her] hands, have a meaningful life, return to the land, protest the war in Vietnam, and join women’s and consciousness-raising groups.”

Weber and her husband became potters, and relocated to Ithaca, New York. They rented a storefront, built a kiln in the backyard, buil t a showroom from old barn wo od, hung o u t a shing l e, and started a business all at the age of twenty-one. A permutation of their business, People’s Potter y, still exists today. “Living in a yurt t hro u g h t wo up s t a t e Ne w Yor k winters, buying land with friends, building a hous e from s cra tc h , becoming an accomplished produc tion potter, and running the business” gave her the confidence that anything was possible.

Ten years later, Weber relocated t o N e w Yo r k C i t y, w h e r e s h e continue d to design and crea te w he e l - t hrown p orc e l ain t abl e ware. She sold to “specialty shops and high-end department stores such as Barneys and Bendels,” and

had the opportunity to work with more sophisticated clients. Her work was often featured in the New York Times, design magazines, and national publications.

Two developments in the 1980s pushe d Weber out of New York.

First, Potter y Barn opened in the mid-1980s, and consumers became more interested in mass-produced design items than handmade pott e r y. S e c o n d, t h e d e m a n d s o f “ desig ning, producing, mar ke t ing, shipping, billing, and running a business” single handedly became overwhelming. In 1985, she moved west a t the a d vic e of a for mer Greenwich House Pottery instructor, who advised her to “go to grad school and go to the West Coast where clay is considered another art form.”

Weber did just that. She landed at the California College of Arts and Crafts, where she was inspired by the “de dica tion, discipline, and passion” of sculptor and teacher Viola Frey. Frey, an internationally respected ceramicist known for her giant sculptures, taught Weber how to develop her personal vocabulary and “become an artist.”

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an attempt to “eliminate the cumbersome process of clay and make monumental forms that were light weight” because it was too difficult to carry clay up the stairs to her studio. That pragmatic decision has led to her signature pieces, largescale abstract sculptures that suggest human and other lifelike forms.

Weber still works with cardboard today. She star ts with an idea, of ten something she has seen. For example, while residing in Rome she was inspired by a Bernini sculpture where “intricate and absurdly dramatic drapery of the fabric suggests something abstract and sublime.” She went back to her studio, laid out a large piece of cardboard, and sketched out a section of a section of Bernini’s sculpture. Then, using boxes collected from dumpsters in her neighborhood, she cut strips of cardboard and built a three dimensional form using a handheld stapler. Finally, she painted the surface of the sculpture with clear polyurethane. Weber’s ultimate interest lies in “expanding the possibilities of making beauty from a common and mundane material.”

Weber works in the studio fi ve days a we ek, from 4pm to 7pm. She describes the process of creating a sculpture as “ver y laborious and excruciatingly boring at times.” She likes to keep herself amused by talking on the phone to other artists or listening to audiobooks. Although the process of making work in the studio is incredibly important, she also emphasizes the significance of “shepherding her work to a broader audience,” or, the business of art. She usually spends 2-3 hours every day on the computer or in her office (her dining room table) “responding to requests for inter views, shows, [and] donations, [as well as] updating [her] mailing list, writing grants,

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sending out announcements.”

Now, Weber has experienced a stunning amount of professional success in a field that has traditionall y not be en ver y welcome to women, particularly when she was starting out. She has held residencies a t the Holualoa Founda tion for Arts and Culture, the American Academy in Rome, the de Young Museum in San Francisco, and Lux Art Institute right here in San Diego’s North County. Her solo shows have included the Long Beach Museum of Art, the Evansville Museum, the Boise Art Museum, and the Craft and Folk Art Museum in Los Angeles. She has received an award from the Americans for the Arts and Oberpfälzer Künstlerhaus in Germany, and feels ver y fortunate to have had her sculpture selected by the American Embassy in Swaziland (AK A Mbabane Eswatini). She especially enjoyed the opening of her solo exhibition at the Evansville museum because it was in her hometown of Evansville, Indiana, and she gave a talk with her father to an audience of 80 people, most of whom she knew.

They discussed her “life as an artist and how it was hard for [her] parents to accept aspects of [her] life that were different from theirs.”

Weber describes one of her greatest accomplishments as being able to support herself as an artist. She says, “an artist must be resourceful, take risks in order to support oneself, live in industrial buildings sometimes with illegal plumbing and writing, get by on little money and make a lot of sacrifices for one’s art.” But, she acknowledges, “it has been worth it.” She believes that life is not about what one accumulates, but rather the process of finding meaning and purpose.

FROM PAPER TO PIXELS The Evolution of Pictures: from Documentation to Self-Expression

By Sydney Wood and Grace Smidt

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artier Bresson, arguably the father of film, explored his passion through candid moments in the world he lived in. He aimed to capture events that were “ephemeral and spontaneous, where the image represents the essence of the event itself” (PetaPixel). He is absolutely one of my main artistic inspirations.

Because of his work, I was motivated to shoot more film and explore shooting purely analog. This was a major shift from the digital cameras I knew so well. Digital cameras allow the user to have literal creative control over the image they capture because of their functionality and easy-to-navigate user interface – a major upside to the modernization of digital technology.

Conversely, while they may not be as advanced or offer as many features, analog cameras force the user to slow down and truly get comfortable both operating the camera and experimenting with different lighting. Analog cameras come with the unspoken criteria that the user must be present and observant while operating the device in order to obtain the desired composition, framing, and lighting. This concept is further promoted by the fact that there is a limited amount of film in the camera, encouraging productive and deliberate use of the material. Upon being introduced to the classic, analog camera, I became much more in touch with the composition of my images and settled into what I perceive as a more organic, authentic approach to photography.

When I go out to shoot, I don’t necessarily go into it with a structured plan. I may have some idea of a mood I want to convey or a particular prop I know I want to include in the photos, such as a scarf or some rose petals. I like to involve dynamic elements in my photos to complement the dynamic aspects of nature. For instance, on blustery days, I may have my model employ a malleable scarf or cloth in order to highlight the vibrancy of the wind. Another aspect I like to include in my photos is blur.

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Bumping down the shutter speed of my camera creates this blur, allowing me to convey the movement of my subject.

Additionall y, shooting with my analog camera brings the component of grain to my photos, automatically augmenting the inherent hazy quality of the images.

Using these techniques, I am able to create a more natural, almost ethereal feel in my photos because I am capturing the essence of an action instead of just a single instant.

I generally gravitate towards open spaces when I shoot be c ause I find tha t the absence of people both makes the model more comfor table and minimizes distractions for me. It allows us to focus more on the specifics of the composition instead of being worried about external factors influencing the shot. I like having the sky as my background because it makes for intriguing yet simple design and emphasizes the model inste a d of the background. Shooting with an analog camera also adds to the shot as the grainy filter presents a calmer feel. .

I also use the sky to my advantage when I tr y to illustrate a certain mood in my photos; this could mean having a cloudy sky as my background for a more somber tone or having the sun provide a halo around my model for a more ethereal effect. I mainly employ the use of natural light because I like the aesthetic. Using my analog camera, any harsh natural light is automatically softened into a pleasant glow that augments the whimsical nature of my photos. This is also helpful as I try to keep any editing to a minimum and natural light conveniently requires little to no editing.

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I may also glean inspiration from Instagram or other media platforms. I follow many photographers and sometimes a certain image or style that I see will spark an idea for a concept I would not have otherwise considered. I never copy anyone’s photos, because what’s the point of duplicating someone else’s creation? But sometimes I will take bits and pieces from their photos and integrate them into my own. I follow young mostly female photographers and seeing my passion manifested as a career for them motivates me to further my own art, potentially even to pursue it professionally.

I choose to shoot analog because it allows for a much more authentic photography experience.

The minimalist nature of the camera, without the aid of auto-focus technology or a designated portrait mode, makes me much more in touch with the natural components that influence my subject.

Shooting with an analog camera is an experience in and of itself, as the simplicity and the hazy filter creates an almost nostalgic mood that is rarely found in modern life. It is a break from the stress and the frenzy of everyday goings-on. Combining contemporary subjects and composition with the retro romance of film, I am able to craft a look into the future of photography through the lens of its past.

Photos courtesy of Tony Smidt

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THE THOUGHT BETWEEN THE NOTE

By Evan O’Leonard

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e all express ourselves in some way, w he t her i t ’s t he ar t we m ake, the clothes we we ar, or t he m usic we c re a te.

Such expression can sometimes turn into a hobby, which has the potential to evolve into a fulfilling/ dynamic career. For professional EDM (Electronic Dance Music) artists Duumu, Haywyre, San Holo, Protostar, and Glacier, this is the case. Surrounde d by and interested in music their entire lives, the ir p assion inspire d the m to delve deeper/further explore into the world of EDM. All four began their journey with Monstercat, a Candian based company that supports EDM artists across the globe.

However, Haywyre bravely decided to forge his own path in 2017, leaving Monstercat and left to make a name of his own. San Holo left the year later and joined another music company, Bitbird. Duumu, Protostar, and Glacier, however, have stuck with/remained members of Monstercat to this day. I had the honor to inter view them to se e how they got into music and how they are able to express

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themsel ves through the music they create.

Though each artist’s work pres e n t s a uniqu e s t y l e, D uum u , Haywyre, San Holo, and Protostar all dabble with different genres of music and inc orpora te how t he y fe e l in t he mome n t in t o their music. When I asked Duumu to se e how he expresses himself in the music he created, he said, “I’ve experimented with a plethora of genres from jazz and ambient to rock and experimental sound design stuff. My Charlie project is a good place to look if you’re wanting to get a taste for my non-EDM focused music,” and, “the way I express myself through music varies from track to track.

Sometimes it’s as blatant as writing a sad chord progression when I’m sad or romantic lyrics when I’m feeling romantic. Other times it can be more subtle.”

A f ter in ter viewing D uum u , I went to Haywyre to see what he includes to embed emotion in his music, he said, “I will often also have a specific emotion I want to

convey in the track as well. It’s like scoring your own experience more or less. I’m just most accurately reflecting what it is that I want to convey in a musical sense,” and, “You can see ver y distinct and different eras in my writing styles and even among one of my EPs that I released recently, you will see a variety of stuff from piano instrumentals to Hip Hop instrumentals to ambient to house to glitch hop to disco, etc.” One answer that resonated with me was another way he expresses himself from the instruments he uses. “The keytar is super fun to use because of its mobility factor. Being able to move while performing is not something I have ever been used to, and the freedom to take an instrument and go in front of the crowd with it is so much more personal than standing in the same spot the entire time. It’s more exciting for me and people because when they see me live, it’s more engaging to see an act that you’re watching come up right in front of you.”

During San Holo’s album 1 tour, I was able to ask how he articulates himself in his music. “I love pushing boundaries in terms of sound. I hate repeating myself and want to do something new on every song I make.

I also love expressing my emotions and feelings through lyrics,” he replied. One of his songs, “Lead Me Back,” is considered to be one of his most personal songs to date. When asked why this one song was so much more personal than his other, he responded, “The lyrics are ver y personal and it was also the first song that I fully wrote on acoustic guitar before recording and arranging /producing the song.

Normally I start out on my laptop and then add guitar, but this time it was the other way around.”

my instincts and let the music guide me to w here it wants to be. ” 2020 be ing Protostar’s seventh year with Monstercat, I asked what sets him apart from other artists. “The fact I’ve completely switched my mainstay genre from glitch hop over to dnb (drum and bass) is one. Having so much experience in one genre and switching to another definitely helps me have a different perspective on the genre and sound a bit more unique in some aspects!”

I was also able to catch a call with Glacier af ter his l a te st EP c ame o u t , Te mple Inward. I found myself listening to the EP over and over again and needed to figure out what went into creating it. “When I was writing the songs, I was inspired by Breath of the Wild because playing through it made me like the awesome journey it had, so I wanted to capture some sort of feeling of going somewhere and influencing you just by what you’re doing,” Glacier said, “I definitely wanted to have an organic feel, like you’re in the middle of the forest.”

Asking him the same question I presented to Protostar about how he differs from other artists, he replied, “I’ve had a few other artists tell me that I should stick to a genre that way I can market my music or people can play it live, but for me, I’d rather just have the song, turn it into what it turns into and be happy with it.”

Whether it’s hip hop or dnb, each of these artists let their thoughts and emotions flow through the music, even if it’s just being in the moment.

After listening to Protostar’s newest song, “Where I Belong,” I was curious as to how he expresses himself in each musical piece. “I don’t really have too much of an ‘emotional’ connection with my writing as some songwriters that sing may have,” he firmly stated. “For me, it’s more about just being in the moment and flowing with where the song wants to go. I try to trust

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AN INTERVIEW WITH JOHN DOLMAYAN

By Griffin Rich and Michael Saunders

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ne of our editors, Griffin Rich, ha d the o p p or tunit y to spe ak to a fame d drummer from the b and System of a D own, John Dolmayan. During this interview, Dolmayan discussed various aspects of fame and musical accomplishment, as well as how ar tistic expression can be a self-fulfilling endeavor.

Dolmayan’s first exposure to drumming was seeing his dad play when he was around three years old. He has only ever had a couple of formal music lessons and did not attend music school; his method of education has always been practicing as often as he can.

He says his music taste is “like everyone else, but a little more diverse.” Bands including The Beatles, The Who, Led Zeppelin, Rush, The Police, and Black Sabbath served as his main inspiration, mixed in with a little jazz that his father introduced him to. Keith Moon from The Who was the drummer who gave him the most inspiration: “He played drums dynamically like

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a solo instrument. It was unlike anyone else.”

Dolmayan replaced the original drummer of System of a Down when the band and his were sharing studio time. System needed a replacement so Dolmayan stepped in, and the rest is history.

Working within a band has taught Dolmayan the importance of writing music with other band members and “effectively expressing talent to other people.” He believes that working as a band is rewarding because it provides opportunities to push other band members and expose them to new things. However, he believes it is more freeing to work as a solo artist because other band members’ abilities are sometimes limiting. Working with producers is also stifling: “I personally express myself more aggressively with more fills, but producers want guitars and vocals, so…”

Dolyman believes that the creation of ar t s h o ul d b e di c t a t e d b y p e rs o n a l v isi o ns,

desires, and goals: “When pursuing the happiness of others… it’s impossible to achieve.

Just make something you’re happy with, your best work.” He believes that artists should not compare themselves to others, and “do it for [themselves].”

Even though Dolyman advocates for creating for the purpose of personal enjoyment, he has still found many opportunities to use his music for the benefit of others, like when System of a Down performed a free show in Armenia for the 100 year commemoration of the Armenian Geonocide. “As an armenian, it was a humbling experience. For the first time in history, the US admitted that it would no longer deny that the geonocide took place, and a cknowle dg e and respe c t its occurrence.” Dolmayan and his band were honored to use their art as a power for good to support a cause that was important to them.

“There are many levels to artistry.

There’s room for most contrived pop acts, room for garage bands, and everything in between. When creating, your goal should be to make yourself happy. That way, you never lose.”

Rich and Dolmayan ended the inter view by discussing the overall topic of the issue: expression. This is what Dolmayan had to say about artistic expression:

Photos courtesy of John Dolmayan

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WILD

By Sydney Wood

T

ony Newlin, wildlife photographer and mountain man, has been nature’s number one fan for as long as he can remember. T hroug hou t his life, he devoured books about the wilderness and the seemingly my thical creatures that live within it. Wanting to experience the wonders of the wild for himself, Newlin dre ame d of the day when he could come face to face with his greatest idols – those being grizzly bears, northern elk, mule deer, and the like.

After visiting Montana as a 5th grader and seeing a grizzly with his own eyes, Newlin knew he wanted a career that would allow him to immerse himself in nature. His high school years involved re g ul ar l y wa k in g u p b e fore s u n r is e to spot moose and deer, and he took every opportunity he had to escape his urban environment in favor of returning to wilderness. Upon wandering into a nature photography gallery in Jackson, Wyoming, run by Tom Mangelsen in the summer of 1996, the gears in Newlin’s head began to turn, sparking the notion that he could turn his love of the outdoors into a proper career.

Fast forward to the present day, Newlin has two galleries displaying his photography: one in Telluride, Colorado, and another in B e a ver C re ek , Colora do.

Gi ven that Colorado is a nexus of mountain ranges, national parks, and backcountry, it is the ideal location for a

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gallery displaying the beauty of nature in its raw and compelling form. The catch is, shocking ly, Newlin is not the only photographer who thinks this. Colorado is, in fact, a hot spot for nature enthusiasts and wildlife photography. To set himself apart from the masses, Newlin hones in on three main elements in his photos: composition, animal behavior, and authenticity. To compose a photo, he inserts himself in a particular natural setting, often one which is largely unexplored, and from there, works to discover a unique perspective. He finds a spe n t re e s p ar t ic ul ar l y a t t ra c t i v e.

Newlin says his main goal is to bring his customers the feeling of being inside the sc e ne in his photograph, ra ther than merely appreciating the piece as art. “Walking in aspen groves is an amazing experience. Conveying that feeling through an image is challenging, but so far, I’ve been able to translate that sensation through my art.” Another of Newlin’s priorities is capturing raw animal behavior; in other words, he wants to observe the animals naturally, taking maximum care to avoid corrupting the animals’ conduct with his presence. The final component of Newlin’s photos is authenticity. In the age of rapidly changing technology and digital advancement, many nature photographers are editing their images. This editing can come in the form of augmenting certain colors, increasing contrast to create a more striking scene, or photoshopping parts in or out of the photo. Newlin finds that

using these methods produces a final image that does not reflect the original scene. Having adopted a somewhat ecocentric dogma, Newlin avoids digitally altering his photos in order to create the most authentic and naturally impressive yield. He wants the picture on the wall to reflect what he remembers viewing and composing in the field.

When aske d about the nex t steps in his career, Newlin offered a humbling response. “Wild places are fleeting and human impact on the earth is slamming.

I ne e d to do more to chang e this. ” Instead of thinking about the future in the context of how he could advance himself and succeed on a personal level, Newlin stated that his overarching goal is to use his galleries as a platform to promote wilderness conser vation. In this sense, each photograph that Newlin captures is part of a greater project. He aims to spread the beauty and majesty of nature with his audience and garner motivation to respect and preserve the wilderness.

A p a s sio n for n a ture a n d a l l of i t s nuances is what attracts Tony Newlin to photography. The opportunity to share the subject of his fascination with others shapes his ideal. If more people are able to appreciate the beauty of nature, we can keep our robust and dynamic environment alive. It is our responsibility to sustain the land that has always supported us. Tony put it eloquently when he said, “I want to work on emphasizing what a precious gift we have in the wilderness and help ensure it remains for my daughter, her generation and those that follow.”

Photos courtesy of Tony Newlin GLOBAL VANTAGE - 31

SHELLEY REED

By Mia Ogle

A

s a contemporary artist, S helle y Re e d spe c ial izes in using histor y as a p o in t o f d e p a r t u r e and takes an openended approach to the concept of expression: she seeks to crea te ar t tha t is somewha t up to the interpretation of the viewer.

She creates “a landscape a viewer c an almost enter, one which is populated by ‘actors’ engaged in sometimes mysterious activities, some of whom are looking directly at the viewer.... and the viewer can take it from there.” Through impleme nting the te chnique of realism, she is able to make her art easily accessible to the viewer; however, she also uses a largely monochromatic palette, therefore suggesting the presence of some t ype of oddit y in the se eming ly realistic world that she has created and prompting the viewer to formulate their own understanding of her piece. After graduating from art school, Re e d move d to L ondon and became immersed in a world of m use ums and ar t histor y. She

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quickly discovered how some work that was done hundreds of years ago still felt relevant and important. Thus, she “decided to break the art school rule of having to be original and started to ‘appropriate,’ or steal, images.” Although ap pro pria t ion ar t ( thoug h not called that until the 1900s) has existed for centuries in the form of satire or satirical self-reflection, Reed is not attempting to cre a te sa tire or a bla tant critique. She se eks to c omment on how art histor y reflects our social evolution (or lack thereof) through collaging bits of art histor y together to create her own unique images; al though she is interested in the meaning these historical images originally had, she primarily explores how they can be reinterpreted today. Her filing cabinets are filled with reference images, as she has spent ye ars s c o ur ing ar t b o o k s an d museums. She says, “My work is a mash-up of these images; art histor y shaken and pieced back t o g e t h e r t o a d dre s s h o w o ur animal natures have or haven’t changed, and what that signifies for our collective future.” Her

paintings tend to depict animals as a metaphor for human nature, a subject she enjoys exploring, “often in narratives where they’re vain, silly, or potentially dangerous.”

Reed begins with an image that she finds particularly compelling and creates a collage from it (“Old fashioned! Cutting up xeroxes and using scissors and tape!” she says). She then loosely transfers that image onto a large scale canvas and begins to paint. Although she has deliberately outlined her piece before she begins to paint, her perspective is constantly shifting and her vision is constantly evolving as she paints. Reed believes that decent art is not solely dependent on inspiration but is primarily supported by hard work. She is typically in the studio six days a week. This is where she feels happiest; however, like the majority of other artists, she’s had to obtain other jobs throughout her artistic journey. She says, “For young artists, I would emphasize that your work won’t progress unless you’re engaged with it, but that it’s also important to have a life.”

When asked about her favorite aspect of her job, Reed responded, “That I can make art. How lucky are we to be able to do that?” She makes art for herself; she is not trying to make an important statement or add to the conversation (“I’m afraid that’s kind of make-believe,” she states). Art is being surrounded by visual richness, and always working towards something more powerful. Reed asserts that most of her time in the studio is spent doing tedious busy work, but that if and when the painting comes together, it is incredibly rewarding. But only for a moment! “Of course,” Reed says, “a satisfying moment should be finishing a particularly challenging work, but my satisfaction with that usually lasts for a few days and then I’m left hoping my next piece will be better.”

Photo courtesy of Shelley Reed GLOBAL VANTAGE - 33

THE LAST WORD When discussing possible themes for this issue of the magazine, the editorial staff considered one central question – what makes something human?

This quer y is the subject of vast debate in both the scientific and the philosophical communities. Trying to formulate the most inclusive and comprehensive answer, we settled upon the following: a human is capable of the expression of abstract ideas and complex thought.

Our musings transcend mere logic and practical maneuvers. We indulge in art and emotion, music and recreation. Through our ability to express ourselves, we not only share our ideas and perspectives but inform others about how we settle on any given conclusion. Because of this, we are able to share part of ourselves through our creations.

Artistic expression can leave a profound and lasting impact on the creator, viewer, and community as a whole. Expression creates and shapes humanity.

By Wyatt Elsner

Photo Credit: Tony Smidt GLOBAL VANTAGE - 34

GLOBALVANTAGE Global Vantage is an institution that seeks to spread stories across cultural and physical borders in order to raise awareness of global issues. We are a small group of devoted students that are constantly working to refine and better the magazine. We are split into two sub groups with different goals. The first focuses on the advertising of the magazine and manages our financial situation. The second group is mainly tasked with the gathering and editing of articles and creating the magazine we publish.

We are partnered with Kibera Girls Soccer Academy in Kibera, Kenya and KGSA regularly contributes articles to the Global Vantage Magazine. Students are encouraged to reach out to their community and their colleagues to get a wide variety of pieces. We focus on the diversity of our stories and the creation of a magazine that is worth reading.

To learn more about Global Vantage Magazine and how to donate please visit globalvantagemagazine.com Follow us on Instagram and Facebook @globalvantage To learn more about KGSA please visit kgsafoundation.org

Colophon Issue Fifteen of Global Vantage was created using Adobe InDesign on an Apple MacBook Pro computer. Cover photo taken by Tony Smidt. All fonts included are Apecru Pro Regular, Bold or Bold Italic. Logo font is CODE bold and italic.All 36 pages of this magazine are printed on 70# paper, gloss finish, saddle stitch, full color. 250 copies have been produced at the cost of $862 plus tax.

The magazine template was downloaded from InDesignSkills.com and is titled “Photography Magazine Template”. For layout edits and credits please reference the staff list on page three.

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