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! What is Archive Collective?

The Archive Collective is an online platform that promotes the emerging talents of a global creative community. We have a soft spot for art with substance: photography, visual art, writing, music, or film that has a strong conceptual or processual foundation.

This Month’s Contributors

Amy Lee Woodward | Lotus Bleu | Giovanna Petrocchi | Morgan Lappin| Yu Cheng Yen| Carson Gilliland | Deborah Van Der Vliet | Jessica Ashley Unknown | Daina Eičaitė | Bartholot | Neon Mamacita | Matthew Kay | BORA | Museum Boijmans Van Beuningen JULY 2015


Issue III




JULY ‘15


Daina Eicaite Glitch

Jessica A Unknown Film Photography

1| 2| 3| 4| 5| 6| 7| 8| 9| 10

Carson Gilliland 

Yu Cheng Yen Something About Life

DEB Images

BD Graft Collages

Lotus Bleu Darker Tomorrow

Amy Lee Woodward Honest

Giovanna Petrocchi Zones of Proximity

Frans Dijmeijer A Life in Weaving

Morgan Lappin Collages

Baignade Studio Minerals

Annie Shepard Easy Rider

Matthew Kay Pie Chart Poems

Bartholot Photography

| 11 | 12 | 13 | 14 | 15 !

TEXTURE is an exploration of:



1. the visual and especially tactile quality of surfaces: rough texture. 2. the characteristic structure of the interwoven or intertwined strands. 3. the characteristic physical structure given to a material, an object, etc., by the size, shape, arrangement, and proportions of its parts: soil of a sandy texture; a cake with a heavy texture. 4. an essential or characteristic quality; essence. 5. the characteristic visual and tactile quality of the surface of a work of art resulting from the way in which the materials are used. the imitation of the tactile quality of represented objects. 6. the quality given, as to a musical or literary work, by the combination or interrelation of parts or elements. 7. a rough or grainy surface quality.




Carson Gilliland executes his camera-phone photography by capturing the greatest amount of detail with-out relying on heavy post-production. While his past work has dealt with long exposures and the industrial landscape, working within the confines of the camera phone has opened up an opportunity to explore creative outlets otherwise unnoticed in his previous bodies of work. His process is all about

experimentation and maintaining a free flow. Carson draw heavily from Asian geometric patterns and the use of color theory. The mirrors enforce these principles and to add greater depth to the imagery without pulling attention from the backdrops. By working on a small scale, 22in x 28in, he attains greater control over the elements and is able to introduce/subtract objects with relative ease and consideration.



Carson Gilliland is a freelance photographer based out of Sarasota, FL. // 7


Something About Life Cheng Yen Yu

Cheng Yen Yu’s photography evokes the absolute stillness in the landscapes around him. Ranging from seemingly abandoned urban streetcorners to desolate mountain ridges, a sense of emptiness pervades his images with a disquieting effect. Statues and phone booths alike seem frozen in time, forgotten by the world and fossilized by their documentation on a roll of film. While most are drawn to the youthfulness of summer or the monochrome ghostliness of winter, Cheng Yen’s photographic intrigue focuses on the


liminal period in-between: the drooping branches, the wind-swept streets, the creeping process of decay. His close attention to the texture of his spatial surroundings is also remarkable; the beauty of this series lies to a large extent in the intricate patterns created by warped Autumn branches, and the jagged compositions that emerge from natural elements. There is a certain sadness looming in the air, and yet the scene is calm and beautiful.


In these snapshots, Something About Life is captured.



Yu Cheng Yen is a young Taiwanese photographer. View more of his work here:


Darker Tomorrow Lotus Bleu is a french photographer and music producer who builds multidisciplinary compositions through the juxtaposition of sound and image. His work is intended to be both watched and listened to simultaneously, combining the two senses into a congruous and ephemeral experience. In his “Darker Tomorrow� series, the artist builds upon the concept of connections that exist between various memories and reality, creating links between the elements surrounding us, the feelings of life. In this process, photographs become organic matter, like clay.


Lotus Bleu grew up in Nice, south of France and studied Art History and Philosophy at the Aix-Marseille University (2008-2011).

the strict opinion that art is meant to be consumed. Photography is art, therefore it doesn’t do any good to keep it locked up on a hard drive.”

“I am an Artist and Music Producer, I consider myself a conceptual artist: Everything starts with an idea, and the idea determines the execution. I’m under

His artwork varies in medium, alternating from photography to installation, sculpture and painting and often focusing on socio-political themes .






HONEST" Sometimes it takes just a beam of light, or the shadow cast by a philodendron, to turn the ordinary into magic.






Giovanna Petrocchi ZONES OF PROXIMITY

“Zones of Proximity hints at a distant paradisiacal terrain. With subtle abstractions and glowing colours, I allude to alternate worlds in which nature plays a prominent part. These scenes are at once familiar and foreign. They are a reaction and response to places I have either seen depicted, or imagined. Both imagination and memory feed into creating these evocative moments. I like to think of each collage as a small scene, as a moment in this invented scenario that convey my idea of the perfect landscape. These images are somehow the result of my urge to find the ideal aesthetic that I struggle to identify in our ordinary experiences. I also consider this collection of landscapes as an excuse to investigate and define our associations to “place” and experience. In my case collage functions as a transitional tool, allowing through the act of inclusion and exclusion of fragments, a formation of a space outside of reality. In subverting the lines between real and imagined, my aim is to question the visibility of the landscape we inhabit and create an opening for new narratives to form. Imaginary places become spaces that allow an individual interpretation of experience, one that is both visual and instinctive. It is relevant to stress that these landscapes are untouched and consequently exempt of human experience. They illustrate that the representation of nature no longer depends exclusively on the direct experience of reality, but on the interpretation of previous images, on representations that already exist (paintings, drawings and illustrations that I collected). Besides, by the simple act of looking at this images they automatically become experience and find a place in our mental imagery, they become memories even though neither the viewer nor the author physically visited these places.”





Giovanna Petrocchi’s artistic purpose is to stimulate the viewers’ imagination through the camouflage of the photograph, which she often blends with other art forms. While investigating the history of art and visual reproduction, Giovanna aims to emphasize the aesthetic quality of the image as well as its seductiveness. She is interested in the imagined and the unsaid, the poetic

and the unseen. The use of collage enables her to create surreal assemblages that contradict our understanding of what elements or images may be brought together. By juxtaposing realities and creating unexpected associations, the work becomes a collection of fragments, allowing the viewer to invent and construct their own stories.





Frans Dijkmeijer opens the windows of his rustic textile studio-home in Toulouse, overlooking an overgrown garden peppered with wild flowers, stone sculptures and goldfish ponds. At 75 years of age he is a frail man, but with a remarkable look of curiosity in his eyes and a voice that bubbles with enthusiasm as he speaks of his artistry. He wanders through his work-space, pointing out objects of aesthetic interest, running his fingers over the intricate patterns on his test swatches, and toying with the rickety wooden looms on which he produces his designs. The studio we are offered a peek into is home to a potpourri of patterns, materials, and curiosities; a true emblem of the artist that lived within it.


Over the many years of his career as a textile designer, Frans Frans Dijkmeijer (Helmond 1936 – Toulouse 2011) continuously broke the boundaries of normative weaving techniques, creating styles, textures and colour schemes that were unique and provocative for his time. His patient dedication to his technical craft and his fascination with doing more than was traditionally thought possible with a loom led him to tirelessly research and explore the different yarns, weaves, structures and fabrics at his disposition. Over time, Dijkmeijer became a key figure in the European weaving industry, producing timeless pieces for the De Ploeg weaving mill, the Danish textile manifacturer Kvadrat, and a range of international furniture brands. His contribution to the textile industry earned him the prestigious Profile Prize in 2000.

This video was produced in anticipation of his exhibition planned for autumn 2011 in Museum Boijmans Van Beuningen, ‘Intervention #19 Frans Dijkmeijer – A Life in Weaving.’ Tragically, Dijkmeijer passed away only 10 days after the filming of the studio visit. The exhibition was postponed until 2012, and honours his life and career in a retrospective showcase. Dijkmeijer speaks about the history of different textile aesthetics, his personal sources of inspiration, and his inexhaustible passion for the weaving technique. What is fascinating is his attention to detail; through his explanation of textile design it becomes clear how small variations in hue, composition and texture can make a world of difference to the final product.






About the Museum Boijmans Van Beuningen
 ! Museum Boijmans Van Beuningen is one of the oldest museums in the Netherlands. It houses a unique collection of paintings, sculptures and everyday objects. Its collection of prints and drawings is one of the best in the world. The museum also organises a diverse programme of spectacular temporary exhibitions throughout the year, showcasing both classics from the times of Bruegel, Monet, Van Gogh and Dali as well as contemporary visual artists such as Eliasson and Cattelan.


Morgan Lappin. Morgan Lappin, collage artist and founder of the Brooklyn Collage Collective, constructs urban textures through the combination of fragmented imagery. By jumbling together parts of machinery, clocks, satellites, buildings and sci-fi symbolism, a complex mechanism is created which mirrors the tangled complexity of a modern day city. The creative process at hand is, in a way, a form of surrealist architecture- urban planning with a pair of scissors and a limitless imagination. The end result is not only visually intriguing- the eye is invited to wander through the labyrinths of objects and structuresbut also symbolic of the chaotic hyper-urban climate. The “wonders� of modernity- x-ray scanners, skyscrapers, synthesizers, conveyer belts and so forth are humorously juxtaposed to the catastrophic fantasies conjured by the tropes of science fiction- spaceships bulldozing skylines, aliens beaming lasers down onto New York City. The texture of the urban organism that Morgan fabricates is magnificent, intricate, artificial, and vaguely aware of its own potential for destruction.






“Every since I was a wee lad i fantasized about making my own cities. I had a lot of dreams where I redesigned and combined cities with other locations i’ve been to in real life. My parents got me my first set of blocks and I started to recreate what I saw in my dreams, of course i made sure they where protected by my trusty army of He-Man characters. Years passed and the dreams continued but I outgrew my blocks (not my toys though). Eventually in 2007 I found my new passion, collage. It started as a way to create designs for a t-shirt printing company I started with a friend, but soon turned into something bigger. I became a collector of building clips, precutting hundreds of them.. in both black and white and in color.. from older forms of architecture to the present. I began to create cities again with the clips I’ve collected and one by one the cities became bigger and bigger. Living in Brooklyn is a perfect location for me… its the perfect landscape to inspire me in dreams and as I work on my own cities. I love having the ability to combine different styles of architecture from the past, the present, and the future… and I can arrange them as I please. I’m now working on a ultra secret project which will be my biggest city yet, and already dreaming about the next. In 2013 I started the Brooklyn Collage Collective which has been showing locally and have already shown in Australia, the UK, and we have our sites set to hit as many locations around the world as possible (” See more of Morgan’s work here or here.



These selected works are from Liora Basse’s photographic series, Minerals. We were fascinated with her close attention to the tactile quality of the objects she portrays. Under microscopic scrutiny they become disconnected from their original forms, creating unique compositions that are partly organic and partly orchestrated through a creative process. “I’ve always had a fascination for the glint created by the light on water. These effects , always different but

always sublime, led me to integrate a texture research in my work. It’s about capturing those moments that last a fraction of a second and to freeze them over time. I’ve integrated this aspect through minerals and materials reminding me these reflections.” -Liora Basse, Designer

! ! !


Liora Basse was born in 1989. She studied at Gobelins’ school in Paris She’s currently based in Hossegor in the South West of France.


Easy Rider: 
 Learning From Las Vegas N E O N // M A M A C I T A

“A man went looking for America… and couldn’t find it anywhere.” 1969 tagline for Easy Rider


These images are meant to represent what the Easy Rider’s heroes would have encountered on their journey: a trip through time, space, neon, and sin. n Easy Rider, Peter Fonda and Dennis Hopper are a couple of aimless rebels on a journey from Los Angeles to New Orleans riding high on a pair of choppers and a bag of grass. Dressed to the nines in hippie Americana, they begin their ride to the soundtrack of Born to be Wild and finish to the tune of Don’t Bogart that Joint. Along the way, the American Southwest stretches out in every direction. The American West is a loaded topic. It used to symbolize Manifest Destiny, the fateful obligation of American settlers to continue their westward expansion while bringing freedom along the way. Now it largely represents suburban sprawl and contentious water disputes. But when our Easy Rider heroes set out, freedom just meant an open desert highway.


Their journey took place when America was being flattened. In 1969 more Americans had cars than ever before and the geography of the country was catching up. The 1956 Interstate Highway Act meant cities were now built for cars rather than people. Fast food restaurants and motels popped up along highways, and these nondescript buildings relied on brightly lit signs to attract the motor vehicles whizzing by. McDonald’s told customers to “Look for the Golden Arches”. In 1972, the architectural theorist Robert Venturi visited the Las Vegas to study how the American landscape was changing. He published the seminal Learning from Las Vegas: The Forgotten Symbolism of Architectural Form that essentially defined modernist architectural critisism. In his excellent essay on the history of Neon lights in Hong Kong, Keith Tam summarizes

Venturi’s findings, saying, “When buildings are indistinctive and human activities are hidden from view, bigger and more exaggerated signs are needed in order to attract people’s attention and to strengthen the ‘sense of place’, especially when experienced from a moving vehicle, as in the case of Las Vegas in the 1970s.” These signs represented the new architecture of communication and iconography of consumption epitomized by the Las Vegas strip. But Vegas is not just signs. It’s the city with the tagline “What happens Vegas, stays in Vegas” where the implication is that you are doing something either immoral, illegal, or both. In developing this piece, I sought to capture the sense of anywhere-ness with iconography of sex that embodies Las Vegas. So throw on some tunes, rev up that engine, and take an Easy Ride.

Annie Shepard is Neon Mamacita - a dose of Carmen Miranda, Bunny Yaeger, and an armchair anthropologist. Best taken with a stiff-Old Fashioned. Annie is a content strategist and photographer, working through the noise to develop creative work that stands out. She lives in New York City, which is both her inspiration and backdrop. After graduating from Wesleyan University, Annie worked in the fashion industry at 52 Showroom and DKNY before moving into content strategy and branding with Alldayeveryday and Ideon Inc. Her photography explores the intersection between art and fashion, with a focus on social issues. She loves beautiful things, but the world isn’t always a beautiful place. Her work explores the ideal and the real by juxtaposing images and text.


Pie Chart Poems MAT THEW KAY


Matthew Kay's humorous pie- chart poems approach poetry in an unusual and novel way: by embedding it in a quantitative format that is typically alien to the emotional and visceral world of literature. And to a wonderful effect! When memories meet mathematics, the snippets of text adopt an entirely new layer of textural dimension- that of proportion. The temporally indicative clockwise reading of the sentences, the allocation of large chunks of the diagram to certain phrases, recollections and words, while others occupy merely a sliver; visually enforces the personal significance they bear in respect to the rest of the composition. We can't help but think of a statistician, suddenly overcome by a wave of nostalgia or passion, carefully recording his feelings into a analytically precise model created to endure the erosive distortions of memory over time.

Glitch // Domestic Nudity


We caught up with Lithuanian fashion designer and artist Daina EiÄ?aitÄ—, to find out more about her creative process, her Glitch / Domestic Nudity series, and her sources of inspiration.

Where do you seek inspiration?


My ideas usually come from observing the environment. I was brought up in a place where the connection between a person and nature is important. With my growth I realised that technology is a huge part of my life as well and it affects me a lot. And it does so in

negative and positive ways. These are two main issues that I believe in. It is exciting to watch how they both intertwine with each other and how they become important to other people as well. This is an ultimate theme that has been pushed through art and culture. Music and movements around it influence my work as well.

Would you consider yourself an artist, a graphic designer or a fashion designer?


Originally, I am a fashion designer though I would describe myself as an artist. Don’t they say that our generation is doing everything and nothing specific at the same time? I consider myself an artist because my process starts with understanding what kind of issue I want to address through the chosen project. It takes a lot of research around art, culture, politics,

history, fashion to make myself understand the theme as much as I can in order to explain it to the public. After that I evidence the research through key images. It’s just like mapping my own thoughts and ideas. In a second stage I take up on photography or digital imagery manipulation to create original images for my designs. When I make garments I am interested in destruction and construction, creating silhouettes and textures that relate to this initial theme.

What creative projects do you have lined up for the near future?


At the moment I am gathering the research for my final collection. I will continue to work around nature and technology. The theme of survival and well being in the world of technology is particularly stimulating. There is a new art and music festival called „Newman“ which will be happening in Lithuania that talks about similar issues. It should be a great platform to explore. Also, I will be collaborating with a photographer to curate a magazine and make and installation in the near future.

Tell us a bit about the works in your Domestic Nudity and Glitch series. Were you trying to convey a specific message?


Through Domestic Nudity I tried to look at mundane indoor environment and find a new angle on it. It was highly influenced by Archival Aesthetics: Environment and Object. It was called nudity because I was talking about the most intimate actions you do at home such as brushing your teeth or brushing your hair. You become yourself when no one is watching, you become nude. Furthermore, I wanted to make my designs look virtual because more and more things that we do in the house are made through technology and it will become even more likethat. We loose the sense of what is real and what is virtual. Even though the mundane things we do are the key actions stuck to our consciousness we still can loose the distinction between them actually happening. We are spacing out, well, I am. Glitch and Error was more fashion related. My fashion practice usually is about corrupting the shape and searching for the harmony in chaos. Glitch movement has the perfect manifesto for that kind of idea, which I pushed with integrating it in classical tailored fashion through shape and silhouette, avoiding using the digital patterns in the garments.


How would you describe your vibe as an artist?


My creative vibe... even if some people don’t think it is... I believe it’s still quite witty whilst being vivid and serious. I have a particular taste in aesthetics, which drives my creative vibe."

Daina is a Lithuanian born fashion design student, artist studying in England and currently working between Vilnius, London and Norwich. Her work is based on observations on environment and it’s relations between society and her self.




Jessica Ashley Unknown


The first three images in this series are from a collaboration between Jessica Ashley Unknown and Tanya from @achieving_balance (model) and Adelaide from @zingara_blooms (stylist and florist). These photographs were all shot on film with either a Pentax Spotmatic or a Lomo LC-A+. To add a layer of texture, Jessica coated a

blank negative with watercolour paint and scanned the two negatives (the image negative and the blank negative) on top of one another.


 The aim was to recreate a painterly effect in her photography, giving the images a strong dream-like quality.

Currently residing in Sydney, Jessica Ashley Unknown is an American-born film-based photography artist bringing her strange imagination to life through a plastic or vintage lens. Using film manipulation, multiple exposures, film scanning techniques and now mixing other medium with my photos, she am able to create images that allow you to enter her daydreams, bring on feelings of nostalgia and prompting you believe that there is more to this world than what we see. She is inspired by all things ethereal, unusual, imaginary and odd.


// 121


The train runs to Amsterdam. Right in front of me is a young woman seated. She’s going home. Her bag full. A thick book on her lap. She reads. She looks outside. Smiling at a girl who asks her name. “Debora. Deb”, she says. “Deb” repeats the girl and hops to her seat.


Deb can be characterised as an artist who views the world with an open mind. She is eager to learn, see, do, amaze and admire and is constantly inspired by the world around her. By creating sophisticated forms of art in which the maker’s hand constantly remains visible, Deb constructs surprising images that challenge the viewer to think about his environment, life and ultimately his existence. Deb doesn’t like to limit herself with artificial boundaries. She gets excited about a number of different media and is an artist that happens to do a whole lot of things. A product for Deb begins with a concept, she is then able to look for the perfect medium that can transfer the right feeling. From this medium she creates a product that carries the proper load for her. Her latest works are mainly graphically oriented, but —as is evident by her portfolio— she made a lot of video-oriented works as well during her study at the University of the Arts Utrecht.


‘Deb, Deb, Deb, Deb, Deb, Deb, Deb, Deb’, the girl repeats.


Deb is a visual artist and illustrator based in Amsterdam. She creates thought-provoking collages that will inspire people to question their surroundings and ultimately, their existence.





Collages BD Graft’s images are visual games played between shapes, colours, arrangement, and proportions. . BD Graft studies English literature but prefers making art. He lives in Amsterdam and likes music, dogs, and Hefeklöße. //



Bartholot is a visual artist exploring possibilities of appearance and reality, artificiality and identity. His approach to photography is sculptural and graphic with a focus on colour and texture.


Bartholot studied history of art and graphic design before getting hooked on digital photography. During the artistic process he enjoys getting involved in the concept, prop design and styling







Archive Collective July 2015  


Archive Collective July 2015