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Collective Magazine

ABOUT Spring 2016

Archive Collective Magazine is a multidisciplinary independent publication nurturing a collaborative approach to the arts.

Cover Image: George Griefy| p.14



Agustin M. Rejon | Alison Postma 
 George Griefy | Blake Kathryn 
 Jamie Knowlton | Sasha Tivetsky 
 Michelle Groskopf | Ioanna Chronopoulou 
 Alba Giertz | Natalia Shlyakhovaya 
 Matina Nikolaidou | Cara Harman 
 Valentin Fougeray | Adrienne Darnell 
 Camille Rouzaud | Nicolo Canova 
 Natalie Mavrota | Bella Provan 
 Bethany Lambrou | Celeste Ortiz 
 Mariana Rocha | Jane Rainey | Talia Smith 
 Clara Bradley | Pin Han Lim |
 Orfeas Sampatakakis 
 Mac Lawrence | Samantha Sealy 
 Cailean Couldridge | Carlo Massarutto 
 Jackie Rios | Ricardo Vázquez


Issue n6



Spring 2016

 For our sixth issue, we decided to take our editorial approach in a new direction.


31 participants in an array of artistic fields from photography to illustration and design, were asked to respond to a singular theme: Origins. We were interested in unravelling the idea of “sources:” starting points, genesis, roots, emergence, conception. What associations do these words evoke for different people? What memories do they trigger? Rather than curating a selection, each entry was included in the final publication. We were curious to see how the different interpretations would interact within a shared space, and whether new discourses would emerge from their juxtaposition. The responses were, as we had expected, extremely varied. But stringing them all together was a certain nostalgia, a longing to reconnect with the freshness of dawn. To move forward, let’s go back to the beginning.


Issue VI




Spring 2016


Agustin M. Rejon




Agustin M. Rejon 
 London-based illustrator |

Both images are meant to represent symbolic depictions of an inception moment in time. The first illustration, “At Last, Some Fire”, takes the viewer through an exploration journey around an ancient civilization that never existed. The second one, “All Of This Is Temporary”, uses geometrical shapes to communicate growth, movement and the patterned beauty of Creation.

Spring 2016

 POSTMA Artist based in Toronto



This project began … with an image of plowed snow at the edge of a parking lot – its cliffs, valleys, boulders and pebbles imitating grand historic landscape photographs. 
 Then, the texture of fresh drywall compound mimicking the snow’s imitation of terrain. A low resolution file from a phone camera translates into a bitmap image for largeformat printing. The edges of the print come together like tectonic plates, bringing the image up into the mountains and ridges of poorly rendered digital topography. Rephotographed, the landscape regains authenticity.



George Griefy


“Simplicity is the origin of true elegance” Simply staged photographs, heavily influenced by minimalism with a consistent colour palette.


George Griefy (George Zapadiotis)
 Photographer/Artist based in London.





Spring 2016


Designer and Illustrator 
 based in Los Angeles, CA

Origins “Many a would-be discover, failing in his efforts, has felt regret at having been born at a time when everything has already been accomplished and nothing is left to be done… In reality it is just the opposite.” 
 -Nikola Tesla

Each passing moment offers a blank canvas, a beginning to an end. Examining the past and embracing the present refreshes the perspective of what is possible. The birth of our system, humanity, the future - all begin with a simple action, building to never-ending complexities. As individuals we contribute within these unfolded developments; whether we choose to do so consciously or unconsciously is a personal choice.


Jamie Knowlton Film Photographer based in Portland, OR Origins of Form 35mm shot on a Canon Somewhere on the PNW coast.


Human form rises out of salt of the ocean, the smoke of the sky. I wanted to express my acknowledgment of this meeting. I view the creation of our lives as a very particular form of small miracle, with rhythm and predestined constructed patterns. However, within this biological milieu there also exists fluidity, opportunities for chance. Life finds balance between the concrete and complete open expansion. The resting place between, the origin of life, is a great point of interest for me as an artist. The liminal space, with its tension and chaos, has the potentiality to produces unimaginable things. It is here that these photographed figures and objects dwell, between action and non-action. We are all constantly nestled within vessels or pouring into the world.


“The liminal space, with its tension and chaos, has the potentiality to produce unimaginable things.�

23 23

Sasha Tivetsky 
 Photographer based in LA


She sits, a queen in her castle. Her and her telephone. Sitting watching seconds 
 move on a clock. Everything has a place. The bed where my grandfather was but now isn’t. Gold things, beautiful things, memories. She sleeps under it all.

This is my grandmother, the wife of a Russian Orthodox priest. 
 I’m gay and she hates it. We have a difficult relationship.
 (Portraits of my Grandmother, 35mm shot on a Yashica T4)

Michelle Groskopf

Street Photographer based in Los Angeles @dailystreet


"I grew up in the suburbs of Toronto surrounded by shopping carts and old ladies in headscarves. “ That’s all I knew for the longest time. Housing developments, strip malls, backyards and Jewish summer camp. It was comforting, one of those good childhoods and I loved it. As I got older I caught the notion of other things, other places I wanted to see. I fled straight for the city, and then kept going till I managed to get as far away I could. At some point I started taking photos. Photos of shopping carts and old ladies in headscarves, people wandering around strip malls. It didn’t matter what city I was in, I’d find them, these people that seemed so familiar to me. I’d get so close to them with my camera they would be forced to talk to me. They’d ask me why and I would tell them that I thought they were beautiful.”



Ioanna CHRONOPOULOU Photographer born and based in Athens , Greece


DI The images in my ongoing project “Dichotomy” are rooted in their literal meaning. A division into two parts. A subdivision into halves or pairs . A division into two mutually exclusive or contradictory groups. It’s this logical rationale that informs the pictures of the series “Dichotomy”, each set relative to the other yet wholly independent. A series of relationships we are asked to explore, form. A subjective view of ordinary life, places and objects that are imbued with their own history. A story about Athens , but also a story for every city that is built by society and is left to fend.




All images are produced with 35mm film.
 The series Dichotomy will be presented at 
 The Pulse Gallery in Athens in June 2016.


“A subjective view of ordinary life, places and objects that are imbued with their own history.�


Alba GIERTZ Photographer based in Stockholm

I've gone through every drawer, every corner in my flat, every moving box in the attic. I've been sweating and swearing over the disorder. Until I found them, mixed with my old toys, teddybears and colourful broke bracelets. The first contact sheets and b/w photocopies I ever made, hundreds of them.



Let’s go back 20 years in time, before drugs, depressions, eating disorders and anxiety. Before we grew into the small four walled hell with a trapped mind lost in limitations. It’s was 1996, my parents just built a darkroom for me under the stairs and had given me my first SLR. I had the coolest, most liberal parents that always encouraged us to do whatever we wanted. I was a fat kid with megalomania, I acted as a brutal director and photographer. So I locked the door to my room, did my prettier friends makeup and dressed them up in my extreme wardrobe. We were 9 years old. This is last trace of that almost inaccessible memory, when the only things that ruled us was a twisted beauty standard and an exuberant creative energy."


Natalia Shlyakhovaya Film photographer based in Moscow/ Russia.






I was born on the edge of a forest. I often ran away from my parents into the woods. When I was four I ran through the woods and met on my way the Ederlezi song, wind, Adygeya sun, velvet people, flowering fern, barefooted, sunscorched grass, gravel, dunes, quicksand, willows, outskirts, scorched ears of wheat, sedge and reeds, sand pits, me stealing kisses under lantern, dusty roads, wasteland, broken knees, cotton dress, dreams to protect all wild, drafts, anxious chords, crackling cigarettes, thistle, punk, murky music, dark, natural and industrial noise – the time to learn and discover, and now I’m here.


Spring 2016

Graphic designer living in Athens

Matina Nikolaidou

The Tale of the Strawberry A king went to his garden and discovered that his trees, bushes and flowers were dying. The Oak told him that it was dying because it could not be as tall as the Pine. Turning to the Pine, he found it fallen because it could not give grapes as the Vine. And the Vine was dying because it could not blossom as the Rose. The Rose cried, because it could not be as tall and solid as the Oak. Then he found a plant, a Strawberry, blossoming and fresher than ever. The king asked it: -How do you grow so healthy in the mist of this withered and somber garden?
 —I do not know. Perhaps it’s because I always supposed that when you planted me, you wanted strawberries. If you would have wanted an Oak or a Rose, you had planted them. So I said to myself: 
 "I will try to be Strawberry the best way I can." Jorge Bucay



Cara Harman

When I sleep

And as the moth to the light And the light to the flame I go to it Because all things flow back to the sea

There is the sea

A quiet storm always brewing Humming a familiar song to my ears Its hands caressing my shores Whispering wind swept lullabies for eternity

When I wake There is the sea An endless wave always unfolding Nursing my dreams back to reality Its toes tickling my toes Whispering salty, sweet nothings for eternity And like a child I am anew And anew I am reborn As I emerge from it Because all things come from the sea, Because all things come from the sea


 Photographer based in Los Angeles

Valentin Fougeray
 Photographer based in Paris

A child at first, I grew up in the fields dreaming of the city. 
 Tall grass and trees were my only playground. 
 While i absorbed my neighbour’s pictures 
 That concrete culture never left me. 
 I stayed a child, but i left the fields
 To play in the city with an omniscient eye, 
 Colouring the greyness with a naive view, 
 Wandering through the unknown to live my wishes. There i found shapes questioning the core, 
 Awakening a shy horizon.
 I grew up in the fields, but the city where i am
 Woke for a while the child I was at first.





Adrienne Darnell 

Experimental Film Photographer in New York

Find me at the beginning, at the start. At the moment I decided to stop trying, and start being. Living. Loving. Embracing the deep sea and sleep. Real life begins here. These photos are a selection from a series that made me realize I'd found my voice as an artist and as a photographer.



Kaitlyn Jo Smith 56

My Sycamore During the summer of 2015 they began tearing down Sycamore. What I mean by this is that they began tearing down my Sycamore, the backdrop of my childhood. My fathers’ Sycamore is long gone, and my grandmother's was torn down before even that. I realized that I had been neglecting to photograph the very place I hold dearest to my heart. This tiny village is my home; the place I had claimed was ‘Heaven on Earth’ while eating watermelon around the age of three. Like most of my artistic endeavours, I knew that if I didn’t photograph the remaining bits of Sycamore still connected to my childhood, nobody else would.

Film photographer based in Columbus, Ohio

Above: I’m in the NRA and I Vote 35mm film 

Right: Somewhere Along 134 35mm film Following page: Wyandot County Rod and Gun Club 35mm film.




Camille Rouzaud
 Photographer, New York.





Spring 2016

“They move, they grow, still looking for what defines them.” The drum takes a leg from the classical orchestra, an arm from Jazz and a lot of green, blue and sunshine yellow and red. From Africa but not African, from Europe but not Anglo. They’ve always been there but what was there before is no more. And now, and for quite a while, they’ve been here… it seems like they’ve always been here. They found their own color and their own voice. They move, they grow, still looking for what defines them. Where are they? Where they come from? “

“… by the first quarter of the XIX century, a new breed, fresh from the melting pot, was starting to find, or rather to look for, definition out of the abstract emotion of belonging nowhere else but to the land they were born, and certainly not being part of the forces that governed over them. People who play the African drum and the women dance like the Flamenco flower with the mobility of the Arawak. Change of hands, a new same ol’ or worse. School now in some foreign language, some unknown wars.

- M.M.


63 63

Nicolò CANOVA 
 Artist based in Turin

“Why am I here and not somewhere else?” I look around surrounded by everything I've created and I suddenly realize: “if I lose my

destinies so different?” I wonder but I’m not what Mother Nature wanted me 

history I lose my power” and suddenly I imagined myself as a man without roots, but even though I

to be and I grow and walk through my own path

tried to deny these roots they wormed down in

generate and get generated.

the ground until I couldn’t run away anymore like comets do when they follow their same orbits or

among everybody else's routes in which we

What an astounding chain.

the moon when it was a renegade fragment of

And at the end we were stuck, breathless, and

the sun like a solar flare that was born from a

that's when we began to call each other

hellish furnace only to become a frozen body


suspended among the planets and so “are our

“Do we have a choice?” oil and concrete on paper 30 x 40 cm 65

“The creation of the universe”, oil on canvas board 25 x 25 cm


“When the clouds fall down, they follow the trail of rain�, oil and concrete on paper 35 x 50 cm

Graphic designer based in Athens

Natalie Mavrota

Chaos, Gaia, Eros In the sound of the word origins, folklore always comes to my mind. Every culture has its own story for the beginning of the world. As a child I was fascinated with the Greek origin myth. In Hesiod’s Theogony everything started with three entities; Chaos, Gaia and Eros.



For me Chaos- that according to the poem gave birth to Night and Day, brought time to this world. Gaia was a great mother, the creator of the gods and the environment that surrounds humans. And lastly Eros, a power of unity and attraction that creates unbreakable bonds. With my illustrations I try to depict these three entities and therefore the origins of the world.




 Provan Artist / Photographer
 Portland, Maine

Photographs have no definition, their origins unclear, that is, until you look at them. A bullet in a wall, a girl on a fence, a bird on a ledge. With the vast amount of possibilities that led to each of these scenarios, these images create stories. A bullet in a wall, a girl on a fence, a bird on a ledge. We live in a time where everything is documented and little is left unknown. While you pursue meaning, I seek secrecy. These photographs act as evidence of secrets and proof of an existence. What I choose to show you is at once the beginning, the middle, and but never the end. By illuminating these spaces, I have created something unattainable. While images isolate time and place, we are often blind to the whole picture. The bullet, the girl, the bird. There are interminable ways for the photographs to be read. It is up to you to define the rest.





Fine Art Photographer 
 based in the Northwest of England !75

“domestic origin� Bethany Lambrou explores the domestic uncanny and the origin of her own anxieties; she uses hints of strange light to alter the psychological tone of the domestic space. It is the heightened colours and cinematic approach that render these spaces unfamiliar. The richly coloured images create a subtle supernatural feel and give the banal spaces an other-worldly appearance, however on closer inspection their mundane and domestic origin becomes clear. Lambrou uses the objects with in a house to project all kinds of narratives and meanings, forged by memory and imagination, possibly violent or sordid scenarios that create a thrilling and uneasy response. Her simple execution of light shows us that our homes can undeniably become theatrical places where anxiety and beauty can co-mingle.



 Ortiz the origin:
 where we 
 came from
 the nature, 
 our true nature
 the origin is
 they want us to 
 forget about it
 cuz in the origin 
 must be some
 kind of answer,
 a knowledge 
 about who we are, 

Celeste Ortiz
 photographer from San Antonio, Chile

Visual Artist based in Portugal

Mariana ROCHA


“you never did anything wrong”


Your death was the origin, Your death was the origin of a storm.
 But you never did anything wrong I'm lying here in your room And all I wanted was to 
 get back to see you, touch you.
 Smell your food and hug you
 But all the people I touch die
 You never did anything wrong Whenever I think of you I repeat You never did anything wrong. Yesterday I dreamt of you I woke up when you tighten your chest against mine.
 Yesterday I dreamed of you and
 just today i wear anything but our pink robe. Lying in our bed I think of everything you taught us. Lying in our bed i know that someday I’ll be you. As my mom is just like you today. I stand here alone with all your plastic flowers. There is another world. Well, there must be.

Jane Rainey Painter based in Dublin.

My paintings often describe events, with the beginning, the end and the transgressive or progressive middle, often folding in on each other. The works are always in a state of flux, living somewhere in-between representation and abstraction, depicting things that are of this world but also not of this world. Tangible things you can almost touch collide with unrecognisable abstract marks that are very much involved and about the act of painting. The worlds are suspended in time, with no sense of gravity, living within a liminal space, a world that is only made possible through the language of paint.

Making and Unmaking, Oil on Canvas, 
 90 x 120cm, 2016.

They Didn’t See It Coming, Oil on canvas, 
 110 x 140 cm, 2016 Image

Lost Beneath the Pastel Sky, Oil on Canvas, 90 x 120 cm, 2016.

Talia Smith

Film photographer from New Zealand, based in Sydney, Australia





This place was once a quarry. I was once a young girl. There are leftover rocks and overgrown trees. I carved my name into the cement of the shiny new floor of the garage we built on our property. Climbing over rocks and up banks I try to imagine what used to happen here. I used to hide in the trees at the bottom of our property where it was quiet and cold, sometimes I would worry that no-one would ever find me if I stayed in there. Things have been extracted from the earth here, the land showing the scars of our man made machines. I sat inside watching my Dad dig a hole in the backyard. My cat was to be buried in this hole, I couldn’t watch when he was eventually put into the ground. There are no more machines but the land still weeps. As we drove away from the house I had lived in for 19 years, I felt uncertain of what the future held. The birds cry overhead, the sun starts to dip low, a chill is in the air. I am older and far away from my first home. I still wonder to this day what happened to the old swing-set, the notches in the doorframe where me and my brother had our heights measured, the door that always squeaked and the stairs I grazed my knee on.


Spring 2016

Clara Bradley 

Visual artist, writer, curator working primarily with textiles based in Melbourne, Australia.


Anthrophobia, 2016.
 Digital collage, found/archived 35mm shot by artists’ late mother.


 Singaporean based in London

Pin Han Lim

This was part of the process of my mother designing and sewing a gown for me. I needed a frock for a themed event in two days’ time, and Mommy earnestly committed to the arduous endeavour. The gown is not just cloth, thread, and chalk marks; it embodies a mother’s unconditional love. It holds a memory of home, and serves as a reminder that we are abandoning a beautiful skill, or as one from the past would say, duty. Aren’t we constantly straying away from traditions? Too often, we want to be alike, yet distinguishable. We just don’t know it yet; we will some day come one round longing to be where we began.



Orfeas Sampatakakis Film photographer from Athens Greece Images shot with a Nikon on Ilford Pan100 35mm film.


“There is no evolution, 
 nor revolution.” There is no old and modern. Besides, what would that mean? It all spins around the same idea. The problem of creation. And it is the singularities of those behind it, that creates the story, and the history. And this history emerges spirally, not evolutionary. And once in a while in this spiral some unexplained bright stars are popping out. Phenomena that surpass us. Goya, Van Gogh, Rembrandt, Caravaggio, Michelangelo. Fellini, Godard, Tarkowsky, Bergman. Cartier-Bresson, Kertesz, Evans, Frank, Winogrand, Arbus. The unknown painter of the prehistoric caves. And so many more. And it is in those bright spots that we all look to, and for those we keep doing what we're doing, because those are the origins of creation.



Photographer/ Artist Based in Melbourne, Australia.

Mac Lawrence


To the ordinary man. To a common hero, an ubiquitous character, walking in countless thousands on the streets. In invoking here at the outset of my narratives the absent figure who provides both their beginning and their necessity, I inquire into the desire whose impossible object he represents. What are we asking this oracle whose voice is almost indistinguishable from the rumble of history to license us, to authorize us to say, when we dedicate to him the writing that one formerly offered in praise of the gods or the inspiring muses? - Michel de Certeau.


Image: Mac Lawrence

Samantha Sealy Experimental film photographer from Connecticut,USA

The last time I can really remember being happy, I was 12. In the previous week I had gone on a field trip to Barn Island, CT with my classmates to take pictures for a calendar. During the trip I was embarrassed because I was one of the only students who didn’t have a digital camera. But afterwards when we held what I didn’t know at the time, was essentially a middle school critique. Everyone praised my work and I felt like I finally did something right. Like I had value. I’ve been trying to find that feeling again ever since.




Spring 2016

Merchants of Venice Cailean Couldridge is a film photographer based in London.

Cailean Couldridge !104

Merchants of Venice
 As an urban space, Venice is like no other geographical landscape. The origins of the city can be read as much in the layout and history of its canals as it can be in its architecture. From the establishment of Venice in the fourth century, the canals have been the lifeblood of the city. Today the canals still serve as the predominant source of the city’s prosperous commerce and tourist trades. Inherent to Venetian culture, Gondoliers play a pivotal role in the island’s attraction as one of the most popular tourist destinations in the world, and all gondoliers belong to a highly exclusive Guild which began almost a thousand years ago. As street photography primarily, this depiction of a gondolier does not situate them outside the context of their original place or time, but to convey them within their modern surroundings. Still, there is a timeless quality to the image, owing to the subject matter and visual characteristics such as costume and setting. The modern but timeless aesthetic is a seeming paradox which is captured appropriately through the medium of photographic film. The nature of film, with its traditional process and vibrant colours, suitably lends itself to the depiction of such current but timeless images.


Documentary photographer based between Milan and Como Lake, Italy

Carlo Massarutto

Daedalus vs. Icarus Normal vs. abnormal. 
 This project makes reference to the Icarus myth, where Daedalus, the “normal” one, builds a pair of wings to escape from the labyrinth, and where Icarus, the “abnormal” one, tries to fly higher than anyone had ever done.
 This image is part of a documentary project on mental illness. I asked many victims of schizophrenia or other mental pathologies, to describe the “origins” of their conditions.
 I then attempted to translate their responses into visual form. 107


Jackie Rios Artist photographer / Based in Buenos Aires, Argentina


I think of origins
 as emptiness. 
 I enter that empty space full of energy, full of feelings. That gap between all that exists is what I'm looking to photograph: the void between the elements and spaces.


Graphic artist, based in Mexico city naturalvalues

Natural values

Ricardo โ€จ Vรกzquez



Eight forty six marks JosÊ comments it is a needs to go get Jacint grandma’s house, we his pocket, Carlos tak lets grandpa fire burn, across the plains trac path splashed with th lantern. Upon receivin everything is timeless ordinary and become is seen, everything is new. At the crack of dawn w instant, that it was on gods. -September 2015

the dashboard clock, almost night and he to, his son, from left Wirikuta. From kes out a lighter and he walks away cing an irregular he light of his ng the hikuri s, we stop being children, everything tasted, everything is

we knew it was an nly us and not the



Spring 2016 issue origins  
Spring 2016 issue origins