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Gideon Ansell / Yu Lu / André Homan / Anne Bruguière Peyroux / Alexis Janicot / Natasha / Seb* / Wanda Kujacz / Leila Garfield / Amaryllis Joskowicz / Brian J. Krummel / Rondibilis / Laurence Guenoun / Aurélia Bonnal / Leo Dorfner

ISSUe 040309









Gideon Ansell - Photographer INTeRVIeW of Yu Lu - Illustrator André Homan - Photographer INTeRVIeW of Anne Bruguière Peyroux - Architect

Alexis Janicot - Photographer INTeRVIeW of Natasha du groupe OH LA LA ! - Singer Seb* - Photographer INTeRVIeW of Wanda Kujacz - Illustrator Leila Garfield - Photographer INTeRVIeW of Amaryllis Joskowicz - Personal Image Consultant and Well-Being Adviser

Brian J. Krummel - Photographer INTeRVIeW of Rondibilis - Illustrator Laurence Guenoun - Photographer INTeRVIeW of Aurélia Bonnal - Lyric writer Leo Dorfner - Painter



Gideon Ansell - Photographer INTeRVIeW of Yu Lu - Illustrator

G I D e O N A N S e L L

COLORS COULD YOU pRESENT US YOUR pHOTOGRApHIC WORLD? The images i create are fragments of our collective memory … of the joy, pain, ruin, discontent, fear, and hope we all carry with us. I construct these composites using elements at once familiar and dreamlike to arrive at a state that feels half-glimpsed, half-remembered. beauty and desire are a common thread in my work; as is the keenly felt longing for emotional connection, though that is often unrequited. I work in this medium because i need a place to explain and expand on how i experience life … as an often overwhelming wave of sensory input, dissonance and harmony, thrash and purity, beauty and banality … dismembered, remembered and spun into an ever changing pastiche. I cross and blur those artificial boundaries we build between waking and dreaming, thought and emotion, sensuality and intellect. I hope to touch a chord in the viewer where they feel perhaps this is a vision that they dimly recall as well. WHERE DO YOU FIND YOUR INSpIRATION? i look to three areas for inspirational input into my work : the first are the « poverty row » and noir films of the 1940s. These films, often done on slim to no budget by european directors like ulmer and tourneur used at the time new techniques of shadow and texture to heighten suspense and emotional impact. Often key scenes were told with light, pattern and obscurity alone. I strive for that sort of un-obvious story telling in my work. The second is the decay of the post-industrial wasteland. Deterioration colludes with and eats away at human endeavors to create natural art that i find irresistibly beautiful, sad, and perfect for layering and texture. lastly, by training i am a musician, so often the poetry, music and lyrics of many songs i love is part of the sub-text of my pictures. A pROjECT YOU WOULD LIkE TO WORk ON? I love theatrics and drama and mixed arts that build upon each other. If i could invent a dream project it would be to create the visual backdrop for a stage piece. In the past i’ve done music for dance companies but have never worked on the visual side. I think it would be fantastic to collaborate with a choreographer or director to imbue a piece with a deep, rich, and sensual atmosphere through overlaid projections of photos and textures.


INTeRVIeW HOW DID YOU START CREATING CARTOONS? I started drawing cartoons in 1997. I wanted to be a painter and then I got to work in an animation company. It is there that I realized creating cartoons would be more interesting. And cartoons are now the reason why I wake up in the morning in high spirits. DO YOU HAVE A pREFERRED WAY TO WORk? Yes : by hand. This is my favourite method even if at the moment all the stuff I am creating is coloured with a computer. All my other illustration work is done by hand. I studied fine art and classical painting and for me it is a way to let go of the nostalgia I feel about painting. I am planning on creating a cartoon entirely hand-drawn. WHAT ARE YOUR INSpIRATIONS ? I like to express my thoughts on Chinese culture and traditions. They do not criticize the past or embrace the present, but bring about a new way to see it. I am also inspired by ancient eastern philosophies and by Buddhism. YOU TEACH DRAWING. FOR YOU THIS IS ABOUT… Mutual enrichment. WHAT ARE YOUR pROjECTS ? At the moment, I am preparing my exhibition at Salon Artparis at the Grand Palais, from the 18th to the 23th March 2009, with my agent Mrs Jing Jin Oswald and with the help of the Gallery Slomka. Then I am going to think about future projects which are going to be more “ oriental ”, with fantastical backgrounds. I would like to paint my reflections on eastern philosophies and about life and the universe. I hope you will enjoy reading them.

Amongst the photographers who made it to the final of’s monthly challenges entitled “Panorama”, Plateform is inviting Sébastien Tisserant, Benoît Gaumet and Pascal Robinet.

© Benoit Gaumet «Route sur l’Aubrac» is a site about photographic expression. It enables amateur photographers to express themselves on given themes. every week, the captain of the site sets up a photographic challenge. Members participate by entering a maximum of 5 photos. These photos are then submitted to the critique, evaluation and commentaries of peer from the community. These exchange of views allow members to progress and share a common passion: photography. tries to show, via these challenges or via forums or interviews, that amateur photographers have talent too. The page dedicated to virtual exhibitions presents the best photographers from the site.



André Homan - Photographer INTeRVIeW of Anne Bruguière Peyroux - Architect


HÔTeL COULD YOU ExpLAIN US YOUR pHOTOGRApHIC AppROACH? I’m a “finder”: Rather than go on a search with a preconceived idea what to photograph, I jump on a bus or train and get off in places I have never been before. I welcome chance encounters with everyday life while roaming the fields and streets. Just as well, I happen to see something right in my own home that could have been there for years—a houseplant, the shower drain, the microwave oven... Mundane objects suddenly turn extraordinary. That’s the moment I reach for my camera.This experience is prior to any verbal thoughts. I guess what I’m trying to capture is the “thingness of things”, before language would enter the picture in its various guises of connotations, judgments and ideologies. Without this mental baggage of habits and conventions, you are able to see things as it were for the first time. Aesthetic pleasure is one of the rewards you might receive. More importantly, I hope the viewer will, just as I originally did, feel stimulated by the photographs to contemplate how and why our world looks the way it does. Art is not about answers. If art is used as means to provide easy answers, it degrades into propaganda or kitsch. Photography has become my mode of optimism, I would say. It invites you to question your views... COULD YOU TELL US MORE ABOUT THE « HOTEL kITTY » SERIES? “ Hotel Kitty ” is a good example of how I happen to find my subjects. I had visited the hotel twice before, since I knew the granddaughter of the woman who owned the hotel. Because of old age and a nasty accident one day on the hotel stairs, the woman had to give up managing the daily affairs, never to return. Within two months Hotel Kitty was liquidated. In that period before the final closure, now two years ago, I had a few opportunities to take photographs there. I witnessed the transformation of the place from an art nouveau mansion, with interior decoration from every single 20th Century popular style, into a basic carcass. Due to the circumstances then, I never came to take a portrait of the owner of Hotel Kitty. Actually, I believe it’s better this way. In the end, I was, and still am, fascinated by human-made spaces and the objects therein. DO YOU IMAGINE THE pLACES YOU SHOOT DECORATED IN ANOTHER WAY? What struck me in Hotel Kitty, besides the ratatouille of design styles, was the abundance of floral motives in wallpapers, bed covers, kitchenware, dresses, vases, carpets, and furniture. I wonder if this phenomenon is a legacy of our natural origins, deeply embedded in our subconsciousness, yet always surfacing in our material cultures. As a self-applied rule I do not arrange the scenes I have chosen to photograph—I take things and places as they are. So, no fantasizing about alternative decorations on my part. Though I’m not a regular poet, perhaps I may regard myself as a poetic visual anthropologist? I prefer to use the light available, be it daylight or any artificial lighting that’s already part of the location. Only in rare cases I resort to a simple flashlight. I strive for a quality of light in my images where the world seems to reveal itself quietly.

A N N e B R U G U I È R e P e Y R O U X

INTeRVIeW WHAT IS YOUR ACADEMIC BACkGROUND? Afetr having passed an art Baccalaureat and spent a year in art workshops, I started studying architecture in Paris. I spent seven years in various architecture firms started my own business as an architect for years ago. I met Christian Lacroix il 2004 while working on a project for the l’hôtel du Petit Moulin and have been working with him a few times since. WHAT MADE YOU CHOSE THIS jOB AND WHY SpECIALIzING IN HOTELS? My collaboration with Vincent Bastie ( Hôtel Murano, Hôtel du Petit Moulin, le Five… ), laid the bases for this type of activity, along with a deeper knowledge of the technical constraints and regulations pertaining to this category of buildings and has since drawn me to specialize in this sector, mainly in Paris. Renovating a hotel in Paris means collaborating with “invisible” architects, bringing their expertise with structural work, strengthening and freeing spaces and volumes. There is also a more “ visible ” part to the job, which is about interior decoration, a part which might be more “ feminine ” in its approach. WHAT qUALITIES SHOULD AN INTERIOR DECORATION HAVE? To bring a precise answer to a question that is not necessarily so. To establish a relationship based on trust which will enable to surprise. To identify both the financial and financial limits of the client and to respect them as far as possible, while still trying to keep to the initial project and making them realize that they need to expand the vision they have of what their hotel should be. To always remember the functionality, life and durability of objects. To build a place where one can live, to put together ideas and concepts, to actually make things means to pay attention to detail and to make sure that the function remains beautiful and that the volume has an aesthetic value. To work with surfaces, establishing a rapport between materials and creating luminous experiences. To know when to stop so that the original idea doesn’t lose its simplicity. To be self confident and carry on marveling at the world. IN COLLABORATION WITH CHRISTIAN LACROIx Hôtel du Petit Moulin en 2004 ( Paris IIIème ) Hôtel Bellechasse en 2007 ( Paris VIIème ) Suite Elle Décoration, Cité de l’Architecture, 2008 ( Paris Trocadéro ) Ongoing project : high rise « Haute Couture » ( Dubaï – E.A.U. ) Various projects with hotels in Paris, 2009-2010

© BP

© BP

© Sebastien Tisserant « Eilean Donan Castle » © Pascal Robinet « Fenêtres »



Alexis Janicot - Photographer Natasha du groupe OH LA LA ! - Singer

A L e X I S J A N I C O T

IRReVeReNCe HOW DID THE CONCEpT OF THIS SERIES EMERGE ? I don’t quite remember actually. It wasn’t something I intended. I slowly got conscious of what I was doing but I can’t recall why I had started it at all. Maybe it was because of the stuff that I kept on running into here and there. And now it makes me think of a lot of things like Death from above 1979’s artwork, Blacksad comics or the likes. I’m neither the only one nor the first one to work on such ideas. Now it’s simply for the fun of it if i’m continuing this series. This buildup makes fun. YOU pLAY WITH SOME kIND OF URBAN jUNGLE ... Indeed. This is exactly it. I like this mixing, the humanized animal - half a man, half a beast - with some sci-fi around. This is mostly where my art is, in some kind of old-fashioned scenery. I’ve always liked the graphic outcome of mixing an animal and a man. The Minotaur must have been hell of a creature at its time ! DO YOU HAVE A GLOOMY VISION OF HUMANITY ? I don’t think so ... well, it depends ... I’m trying to be less of a jerk than my neighbour and I’ll do for a start. All in all, I’m quite the optimist actually, even nowadays. Otherwise I can be quite gloomy sometimes, yes. I do like doom and gloom (in photography, music and also movies) but my art can also be soppy or wild sometimes, which is something I’m also comfortable with.


INTeRVIeW TELL US ABOUT YOUR CAREER ... Music came into my life by accident. At first I predestined myself to dance, I have studied it for 4 years at the Martha Graham School of Contemporay Dance in New York before coming back to France in 2000 in order to audition for many compagnies throughout Europe. In that time, which was January 2002, I’ve met Michael Garçon, who played the piano back then in AS Dragon, with his band he tried me out because they were looking for a stage presence rather than an actual singer to take the front place. Alchemy operated instantly and we gave concerts over and over immediately followed by the recording of the first album 3 months later. That happened really fast and I hardly had time to think it over. They trusted me to write lyrics which was something I never did before. AS Dragon already had an aura when I joined the band, thanks to Bertrand Burgalat, president of the tricatel label and the tour with Michel Houellebecq, then I got a little bit of that aura. The band really imposed itself through concerts which was often wild, but tensions within the group tore us apart after the second album so I decided to leave in early 2007 and start solo. I met Benjami Lebeau - former singer of The Film currently called The Shoes - and we started to compose. That’s the project I stand for today. In spring 2008, I formed a new band known today as OH LA LA! and we gave concerts in Paris and Rennes (Bars en Trans) and we’re looking for -or not- some label. Things are quite complicated today and the music industry is in full mutation, so you have to adjust. Performing on stage remains the most effective way to impose. WHAT IS MUSIC FOR YOU? It always took a great place in my life, that’s one of the reason it led me to dance. I’m not of the talkative type, music and dance were my ways of expression and even if I never played an instrument during my chilhood, it’s a language I always understood. Music expresses what words cannot always express, besides even in music a silence is written. WHAT IS THE STAGE FOR YOU? Since I was a little child I always wanted to be on stage, home I climbed on tables to fool around, it’s a part of me. I’m not that confident, rather shy, whereas on stage I go wild out of my bondaries. I want people who went to the concert leave with an urge to have sex, to feel it in the air. NOW YOU FEEL LIkE ...? For the time being I wish to give concerts as many as possible, and recording the album as fast as we can, I really can’t wait to see how it’s going to be. Being done with that already. I want to hit the road, leave Paris and to feed on something else. WHAT ABOUT TOMORROW? Anticipation was never my thing. Besides I really don’t want to know what tomorrow will be like.

Š Laurence Guenoun



Seb* - Photographer INTeRVIeW of Wanda Kujacz - Illustrator

S e B *

UN AIR De VACANCeS WHY THAT COLLECTION OF pICTURES? I’m from the region of Somme, in France, and I’m used to going to Somme’s bay since I’m a kid. It’s the only place I know that hasn’t changed in more than 30 years. Just a few new buildings, some land settlement; but as I look at it, the only thing I feel is a certain nostalgia of the past which survives thanks to the timelessness of the place itself. I was spending holidays in Somme’s bay when I decided to express this feeling of interrupted time. Some might think that I voluntarily emptied my frame by asking people not to pass by, but I did not. And I shot this collection in the middle of the summer, between the end of July and the beginning of August. Finally I have a collection that really represents Somme’s bay’s spirit and atmosphere. At least I hope so! HOW DO YOU WORk WITH LANDSCApES? I generally shoot very few landscapes. Or maybe only urban ones. I always try to express this feeling of isolation and sometimes oppression. In my urban landscapes, I try to isolate a human presence by making the incongruity of the situation stronger. ( set-72057594120778614/ ). I also play on graphic, uncluttered and almost abstract compositions, but we’ll talk about it later. My approach is identical in my « real » landscapes. ( in/set-72157594524283756/ ). NEED SpACES? CRAVING FOR AN ELSEWHERE? I really need spaces, such as the Far West which I find really fascinating, beyond the old western and road-movie stereotype. But my favorite topic is I also love incongruous situations : Finally, I also work on my own way of setting the frame, especially at work :


INTeRVIeW COULD YOU ExpOSE US YOUR GRApHIC WORLD? I’m afraid I won’t be able to because it’s quite evasive even for me. I’ m not controlling much even nothing at all actually. I act like people fond of good food: I enter a kitchen where stand avalaible for me many coloured, tasty and delicious lovely ingredients, and I help myself. A little bit of this, a little bit of that, a pinch of salt, a lot of that. I am in the purest form of hedonism which one day lead me to create very soft pastel image, and the other a black and white one. I don’t think and build, it goes in every directions, in my very directions. WHY DID YOU CHOOSE THAT? I didn’t... I have the impression it’s the other way around, the images chose me. Before making these images I made papier maché sculptures, some smalls and some human size. And before making sculptures I made movies... Now I’m making jewels with around that images. it just fell upon me like a new blank page. I need these blank pages to start new stories, I like to start things, to take myself by the hand and lead me to... NEW pROjECTS? I no longer have any project for 2009! I was ordered by a multimedia library a great fresco in relief with many different matter all over a wall as well as several papier maché masks for decoration of another wall, but this prject has been postponed in 2010 ... I’m currently making a serie of jewels for which I mix fabrics, paper, pearls with my images in small size under cameos. It all appears like little romantic stories, very colourful flights. I’m making jewelry like I compose my images: a little bit of pink, a little bit of velvet here, taffeta there, blue here and gold ... My fondness for food feeds my inspiration.



Leila Garfield - Photographer INTeRVIeW of Amaryllis Joskowicz - Personal Image Consultant and Well-Being Adviser

L e I L A G A R F I e L D

BE YOURSELF HOW THIS SERIE IS BORN? This serie is born in Berlin, at the fine arts school in 2005. My friends back then were spanishs, autrians, germans, italians, israelis ... We spoke every language we knew to try understand each other : english, german, spanish, french ... i wanted to show what happens without speech, let the body speak for itself. each person had 10 minutes, in the same place : a common corridor. The only instruction was: «be yourself and move». I made a reel of 36 poses by person and when it was full, that’s was the end of the shooting. SELF IMAGE REpRESENTS ... Something quite blurry according to me. I’m interested in the individual rather than its image. YOUR pERCEpTION OF OTHERS THROUGH pHOTOGRApHS? I take pictures of people, faces. That’s my favorite topic. I have a quite simple relationship with people. When I take a good look at someone, I always want to take his or her picture.


INTeRVIeW WHAT MADE YOU THINk YOU COULD BE A STYLE GURU? In a certain way, I guess I’ve always been a stylist. I used to go to dancing classes when I was younger and would create my own costumes and help my friends choose theirs. In high school, for social events, my friends would also ask me for help with their make-up, hair and clothes. Later I worked as a fashion press agent, in image production and for a fashion company. I enjoyed my job a lot but it didn’t feel as fulfilling as it could be, both professionally and personally. Aside from that, I also started a course in alternative medicine and life coaching. I finally took the plunge and started working as a coach with individuals. This was a difficult choice to make but the urge to use my skills and share them with people brought me a lot of happiness. A MAkEOVER IS ... To me, it’s to realize who we really are and to see all the virtues we keep inside. My job consists in making people feel good, both physically and mentally. The idea is that because of this new mental balance and wellbeing, life will become easier and better. With my help, people might find a new boyfriend, a new job, they might make important decisions and change their life. A makeover means finding the right make-up that will show you to your advantage, the haircut that will match your personality, the clothes that will make you feel better and also personal tips for a healthier lifestyle; for some people, it’s a path towards wellbeing, towards rewarding human encounters with gifted professionals. SELF-IMAGE NOWADAYS ... We are constantly living under the weight of all the images brought to us by society, through media : the cult of a society which is , after all, very rigid and narrow-minded. Peer pressure is high and I very often notice that the people I meet have a very low self-image and feel low at many levels. The young actress trying to define who she is, the 50-year-old woman who doesn’t want to get older, the man who would like to affirm its place in the workplace … the image we project plays an important role in our social relationships. My job is to do my best to unite reality and appearances. There’s no such thing as beauty, just as there is no such thing as the one and only truth. What is important is self confidence and what comes from it. TO FEEL GOOD MEANS ... To feel good, I think, means to be happy with what we are and what we represent. It means to live harmoniously and to be able to react to whatever life throws at us in a positive manner. WHAT ARE YOUR pROjECTS? It is to develop my practice in Paris and elsewhere and to work more often within a company structure to offer training. I also want to carry on promote the work of creative artists to my clients, carry on enjoying what I do, especially working with my photographers friends. I’d love to have my own show room too and I hope I can always make the people who come to me happy . + 33 (0) 61234 2143

© BP



Brian J. Krummel - Photographer INTeRVIeW of Rondibilis - Illustrator

B R I A N J . K R U M M e L

SOMeWHeRe THIS SERIE IS MADE WITH A pINHOLE CAMERA ... COULD YOU ExpLAIN US THIS CHOICE? The pinhole camera simplifies photography. There is no light meter or focusing. There is only an exposure and a fair amount of guess work. When I shoot with a pinhole camera I feel very creative and I anticipate seeing the image which is always a surprise. Creating my own camera is also a very satisfying experience. These images were created with either a modified Holga toy camera or a Diana+ toy camera that have been converted into a pinhole camera. By removing the lens assembly on the Holga, I can fit my own pinhole into the front of the camera. I have used a variety of black and white 120 film for each of these images. Most of the selected images were created in the same year and share the same style to them which is characterized by over exposure, light leaks, and flares. YOU ARE CApABLE OF CHANGING STYLES AND TECHNIqUES IN YOUR pHOTOGRApHY ... I am constantly trying out new techniques, cameras, and materials. each type of camera presents a new challenge or opportunity and pinhole photography is no exception. I also experiment with printing methods and alternative processes which are a good compliment to pinhole images. DO YOU HAVE CURRENT pROjETS? I am currently writing and self-publishing a pinhole photography how-to book. It is titled Pinhole Possibilities and will be available in June 2009. I exhibit work occassionaly and have a gallery showing in July 2009 in Pittsburgh, PA which is my hometown. For more information about me or my work, please visit


INTeRVIeW HOW WOULD YOU qUALIFY YOUR COMpOSITIONS? Rather my de-compositions ... Of attractors for the most achieved ones. But I must say decomposition without any negative connotation. YOU pLUNGE ANYONE WHO LOOkS IN A MASS OF DETAILS ... No, it’s the hatching technic which is quite soft cuts and obviously needs a lot of lines. But what is shown is rarely made of 5 objects or subjects. WHERE DO YOU GET YOUR INSpIRATION? At source. Where is that? In the craving for making autonomous, poetic worlds, in reliance. My pen is like an aircraft, a submarine to explore this self-contained world. WHAT MESSAGES DO YOU pASS ON IN YOUR DRAWINGS? It’s simple : none! I have visions, I draw it so I can get rid of it and move on something else. I cannot be producer and consummer at the same time, if I analyse, I break all the mechanic of the charm, this bubble of dream burst - so I let eveything to image decoders, sorry. THE « CHRONICALS OF THE pApER pLANE » ARE A TRIp ... A leaflet of travel agency.

Gyslain Yarhi Tel :+33 6 60 91 34 46



Laurence Guenoun - Photographer INTeRVIeW of AurĂŠlia Bonnal - Lyric writer

L A U R e N C e G U e N O U N

G(RRRRR)IRLS ABOUT THIS SERIES girls, women, attitudes, looks, noise and black&white aiming at something within rock, sexy and a bit of teasing. All are very feminine in their own very specific way. This is what I like about this idea. ABOUT THE COMpOSITION This is something new out of oldies... I looked into a thousand of my pictures and picked out those who struck me. I chose close-ups so that the focus goes right to the face and nothing else. Some of the chicks wear clothes while others are half naked ... but you have to guess what’s underneath just through their eyes! ABOUT WOMEN I draw a lot of inspiration from them. I like to make them look beautiful ... Well I’m trying to.


INTeRVIeW YOUR CAREER ... Letters, words, current trend of our days: to associate with authors, get out, share, write ... WRITING IS FOR YOU ... Vital. Write to share, to play, for the thrill, to give something to see and hear. Write like you breathe. WHAT’S A WOMAN FOR YOU? Women, humans among individuals. The ones in this serie of rock poems are a glamor phenomenon, part of the beautiful and the absurd, urban, in love, alive and a bit lost. THE IMAGE AND THE WRITING ARE ... A unity. Art and litterature are a unity. Lyrics sings along the melodies, poems are to see. Sometimes lyrics comment images, and text are sometimes illustrated. YOUR pROjECTS? Song lyrics, folk, pop and rock. An exhibition with episodes, fragments of texts illustrated by photographs and probably new songs. A collection of french poems and there’s always my blog: musical chronics, news, multimedia episodes.


They don’t forget me While I don’t give a shit They remember me At silly moments At the butcher’s Facing pink meat Trash memories without comments I used to be a cynical bitch Don’t get too close Don’t try that critical wish Don’t rewind till the rise Wet Friday hot Saturday Crashing into crowded dark I walked my lonely way Bumping leaving my mark I used them just to see How too far I could get Suffering no mercy Suffering no regret Long-legged comet of youth Too hot too high too fast Commitments in my mouth Are for the very last No pity on strangers Broken furry animals Oldies old-fashioned dangers My life is summer and their falls


My face in the mirror It’s a lipstick instant Tracking fatal error Pleasant to keep distant Maybe I drank too much Red wine for my red lips You see there is no rush L’ll show you my pink tits I walked to the ladies Well assured in my boots Of leather my oldies The sixties are my roots L’m laughing at myself A little and I glance At my rare ears of elf Sure I’m ready to dance My eyes in the mirror Staring at their own green What’s real on the dancefloor My reflexion on screen


Almost running the streets Famous stones and concrete Almost private my sheets My new fame to secrete So I won’t cross the park To keep the shiny shiny I won’t dirty the dark Pure black under my knee My boots of leather shiny Almost floating and sweet Happy, young and complete Glowing of whom I meet Hot with my lover’s heat I can hear every bark But keep the shiny shiny They can’t bite they can’t mark even dark is sunny Pure and clean beauty shiny Monuments at my feet I’ve nothing to delete The city stands so neat Capital for elite I can glow in the dark I keep the shiny shiny enjoy spark after spark How delight is horny Light my fire you shiny


It’s such a lazy job Smiling behind horses Waving my hand in glove My hat hiding a sob A crazy job my love Being your muse of course Funny me with my songs Lucky me with my love Silly me and useless I’m detached or clueless Can’t pretend I belong To a better above The dandy part of me Is still crying sometimes Looking hard for its place Staying out of the race Horses running for me I follow with my rimes The drums of my heartbeats exposure of my soul They are not the real life So I won’t be your wife Cause you deserve the best My inner and true call Pictured on a paper Or rolled in your canvas I’m bare soul for your ink Undress me in deep pink My shiny hair upper And this way to my ass

Watercolours ŠLeo Dorfner


While falling, dizziness Blond diver white stockings A slow-motioned Venus Falling for dark likings Dizzy Venus Authors on the shelves Shocked and sticked and passed by Try to help themselves The living heat nearby Old lullaby every heavy heartbeat Completes circles clockwise Radiates her secrete Insanity full-size Irradiant heat She’s crying an ocean Blond diver white stockings emotion in motion Breathe animals’ smockings Drink the potion And through the looking glass She’ll be her own mirror And her beauty alas Will drown her by terror Scary wonder

Louise Imagine

Have participated to this issue : Carine Lautier : Chief editor Laurence Guenoun : Artistic Director Candice Nguyen : Communication Julie Tadduni : Sub - editor Nathalie Bataille : Graphic designer Mathieu Drouet : Web Master Marie Coulangeon : Contributor eric Battistelli : Contributor Vanessa Coquelle : Translation Vincent Benhartt : Translation Christophe Dillinger : Translation Vinciane Verguethen : Translation Felicity Constant : Translation Ann Marie Simard : Translation Louise Imagine : Cover’s photo Thank-you notes : Sophie L. Cuvé Sébastien Abric : Antony Barroux : Jean-Christophe Dichant : Stéphane Cholet : Plateformag Copiright 2008 Tous droits réservés © Toutes les images, photos diffussées sur Plateformag appartiennent à leurs auteurs respectifs.

Issue 4  

Plateformag Issue 4 US

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