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We Ent er Sacred Ground


A graphic tribute to the designers of tomorrow

FASHION SPIRIT IN BLOOM

Photography by


Garis & hahn Gallery presents:

ANDREA MARY

MARSHALL A Woman of Subst ance NY,US

Mary Garis and Sophie hahn, Directors at Garis & hahn Gallery, New York

garisandhahn.com

48

T he Beginning Of A Beaut if ul Fr iendship

Andrea Mary Marshall is an innovative and inspiring artist who is creating powerful works that speak to our contemporary culture, not only through the subject matter, but in the way she creates her art and utilizes her mediums. Andrea’s past bodies of work have been strong and colourful, both conceptually and aesthetically which have attracted us to her world. Despite the success in her earlier works, Andrea continues to grow and develop as an artist which is apparent in her latest series and is influenced by cultural icons; Elvis and the Japanese Geisha. There is a maturity in these new works that we were unfamiliar with. This latest series is so unique, seductive and current, that we truly believe she will be a great artist of our generation.


Gia Condo Untitled No. 1 Self-portrait as Mona Gloria, Vanna, Pananana (Flava Flav) 2012. Oil on poplar panel


MuuSE

presents:

HELLEN

VAN REES muuse.com

Gitte Jonsdatter, Director of Strategy and Co-founder at MuuSE

In Spring 2012 I was invited to a private press showing of the CSM MA graduate students. From the moment I saw Hellen’s pieces - voluptuous textile in controlled, geometric form, it was clear we were in the presence of a unique talent. The concept was fully realized - in a way that was brought to a logical, if extreme conclusion. Working with the idea and history of Chanel’s textures, Hellen wove seamless, sculptural versions, bringing the rectilinear forms into 3D by sculpting them into boxes that extrude from the dress’s form. Listening to her talk about her work, it became clear that this was not a passing fancy - but that Hellen was embarking on a design journey that was both thoughtful and thoughtprovoking, and creating a beautiful aesthetic that

Hellen on a capsule collection and the printed Hellen van Rees dress is already a MUUSE classic. Since then we’ve watched her develop and build on these core ideas, developing a language all her own. Hellen has successfully translated her own unique creations and techniques into ready-to-wear MUUSE Editions, which still represent her strong design vision.” 78

T he Beginning Of A Beaut if ul Fr iendship

A/W'13 SQUARE3 ANGLE: The Transformation. All images courtesy of Hellen van Rees

Hengelo, The Netherlands


102 Handpicked


BORJA

BONAFUENTE GONZALo mrletterman.es SPAIN


Interview by Jesc Bunyard

topaz leung & martin cheung co-founders and creative directors at

STUDIO TM

Why Do You Do What You Do? We started up Studio TM very naturally. We have known each other for about ten years, and we have worked together for a point that we thought of working it out in a more systematic way, and that’s why we formed Studio TM in 2010. Topaz leung: Martin and I are both founders and creative directors at Studio TM. I usually handle the commercial cases with certain production inputs – providing clients, art and creative direction, theme and mood board or proposals, pitching and such kind of things. Then I execute the photographic part and communicate with designers for postproduction of catalogues. Martin

122 W hy Do You Do W hat You Do?

takes the role of art education within Studio TM; this includes teaching in art institutes and corporate companies. He explores a lot within the possibilities of photography’s materiality, with many experimental forms of camera making, prototypes and workshops about technical photographic knowledge and histories of pinhole.


Martin cheung: Creativity is the best part of the job. Topaz leung: For me the best part of life. We work at home basically; things work out in a small scale but very quickly and directly. I don’t balance to work, to meet people, to own all twenty-four hours how I wish, in a very productive and Martin cheung: Reputation drives us forward. It is uncountable but very important to sustain our work. We are responsible for every single photograph we take and every project we do. So to me, the commissioned projects are not establish our reputation. I drive myself forward by not ruining any opportunities and try our best to do them well. We try not to limit ourselves to categorizing commercial or non commercial. We mix our aesthetic and knowledge into both, and we are open for any challenging projects including something we have never tried. For example, video shooting, installation, mixed medium art projects, etc. We usually use the simplest approach to execute an idea, and usually the inspirations from daily lives such as books and articles, movies, exhibitions... The fact that we don’t set boundaries to commercial or noncommercial works is a main part of how we set ourselves apart from the industry. Sometimes we even use very experimental materials to shoot a campaign, such as a toy camera/pinhole camera, or using course, we are not risking our client’s campaign, we have mostly

‘’

WE RESPOND TO CONTENT OR SUBJECT IN A SPONTANEOUS WAY

respond to the content or subject in a spontaneous way. We project a direct feeling towards the model and intend to use a minimal and analogue approach to execute it. STudiOTM.hK HONG KONG


152 No Borders No Boundar ies


T Alex dimension beyond that which is

known to man.

It is a dimension as vast as space

and as timeless as middle ground

between light and shadow, between science and

superstition, and

it lies between the pit of man’s fears and the summit

of his knowledge. This is the

dimension of

imagination, this

urvey London, UK alexturvey.com

is where I stand. It is an area

which we call the Twilight Zone.

In Live Action


188 No Borders No Boundar ies


Official SElEcTiOn

A new generation of bold film directors in the making LA, US

Brian McGuire London, UK

Terry Wayne in Prevertere by Brian McGuire

Michael Pearce London, UK

Rafael


£6.00 | 7.00€ ISSN 2046-5505

12 9 772046 550078


Rooms12 212  
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