The Luna Collective Issue 10 x Sage Adams

a note...

Welcome to our 10th issue - 10th! When I first started Luna in February of 2018

I literally had no idea where it would go, but I’m so proud of the direction it’s headed in to the say the least. At its core, the purpose of Luna is to highlight

cool people and foster a creative community, and I’m confident that’s what we continue to do. Since the beginning, the intention of Luna was always

to become more than just a magazine, and we continue to move in so many directions and I’m very appreciative of that. So thank you to all of our readers, old and new, for letting us grow.

I personally have been having a really hard time when it comes to creativity

and taking action lately. If I’m being completely honest, this issue was pretty difficult to make because of that. I’ve been in a weird head space lately and it’s hard to create when you’re not feeling like yourself and am burnt out. However making this issue and working with all the lovely people that created this issue

has served as a terrific reminder that everyone goes through ruts, and everyone will get through it.

So, as the year comes to a close really try to focus on yourself. It can be as

simple as staying in and doing those face masks, or as big as finally creating the space to work on that personal project you’ve been longing to do - or both. We throw around the phrase ‘self care’ like no other these days, but take the time

to figure out what that means for YOU. Assess yourself and assess you often as you’re constantly changing. Make a point to check in with yourself to figure out what really need to do to be your best self. I said it in the first issue and I’ll say it again -

Power Moves Only!

xox, Sophie

Some Tunes For You Steve Lacy - Playground

Ginger Root - B4

Jaden - Ninety

Monsune - OUTTA MY MIND

Harry Styles - Lights Up

STEPHAN & Current Blue - Daytrip

joan - ease your mind

Dizzy Fae - Lifestyle

Summer Walker - Fun Girl

Alfie Templeman - Who I Am

Boys Willows & Elais Park - Greyhound

Hoops - They Say

Tokyo Tea Room - Things Are Changing

BOYO - Habits

Vansire - Metamodernity

Dayglow - Hot Rod

Rex Orange County - Never Had The Balls

BENEE & Gus Dapperton - Supalonely

zack villere - Sore Throat

Monica Riskey - In Uh Breeze

Victor Internet - UNFAIR

Dijon - CRYBABY :*(

sam woods - not gonna lie...

Johnny Utah - 4Tounce

The Jay Vons - The Word

Omar Apollo, Dominic Fike - Hit Me Up

Michael Seyer - I Can’t Dance

Unknown Mortal Orchestra - Hunnybee

BAUM - Bad Kid Frank Ocean - DHL

Story by Shonali Bose | P hotos by Lani Parilla | Design by Olivia Boryczewski

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While sticking to the “culture” has become a more intrusive aspect in the music scene, creatives who stick to their roots are hard to find. Joan, the duo from Little

Rock, Arkansas, are one of those special artists who hold on to their DIY nature.

Despite only debuting in 2017, the band is making big strides in the industry while still holding on to the essence of their work.

Joan comprises of Alan Thomas (vocal/keys/guitar) and Steven Rutherford (drums).

Both grew up in Little Rock, a town that houses a small but solid music scene.

Thomas began writing in high school and began playing with friends, leading to him joining the ‘Canopy Climbers’, an electronic band inspired by The Postal Service.

Rutherford began playing music at 13 years old and joined indie band ‘Brothers and Company’ in high school. The two met through the scene during a transitional times

for both, as bandmates at the time were all finding new career paths, but Rutherford and Thomas knew their calling was music.

Thus the creation of Joan. Rutherford and Thomas both bring their idiosyncrasies to the band, which is what makes it work so cohesively. While Thomas brings his

melodic aspects to the band, Rutherford brings narrative - they have their own roles but usually meet in the middle and “switch lanes if needed”.

Though the duo’s musical backgrounds are strikingly different, creating music has been an extremely organic process for them. Both share a love for pop - they believe

it gives them a lot of freedom without entangling them in labels. Writing their first track was in many ways, effortless. When Rutherford and Thomas wrote their first

song, “Take Me On”, they knew they were moving in the right direction. Their intent

with their songs is to create music that invokes a specific feeling within their listeners as they find themselves drawn to songs that create specific emotions, so they hope their fans can find that in their music.

Unexpected but well deserved, Joan signed to a label early on in their career. They’re still cemented in their DIY roots and take charge on almost every aspect of their

work. When signing, they pushed very hard to ensure they were not hindering their freedom in any way. They still do everything, from writing to creative production,

because they know their style and enjoy all aspects of the creative process. Joan is thankful to have found such a balanced relationship, as their label helps them move forward in the industry without compromising their vision.

OANJOANJOANJOA

CALM, COOL AND COLLECTED BUT AUTHENTIC - JOAN KEEPS LEVELING UP WITHOUT EVER LOOKING BACK.

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Beyond just their label, Joan benefits from having an amazing support system around them who have often served as guides since the beginning of their career. Their team has believed in them every

step of the way and have always trusted in Joan’s

vision. They have also been able to form valuable relationships with Ryan Winnen from COIN and

Jake Goss from LANY, who have become friends

Joan know they can always go to for advice. Both

artists are in different points in their career, and viewing Joan as relatively new in the industry, Rutherford and Thomas find it helpful to hear from a variety of perspectives.

As if it was not clear from their start, the visual

aspect remains at the core of Joan’s creative identity. From the moment Joan was created,

Thomas and Rutherford ensured a visual aesthetic

could be deeply embedded into the band. Their nostalgic and emotive style references the beloved 80s “teen angst” vibe, with John Hughes’ films in particular. The band has always been drawn to

that emotive essence, honing in on it through the

use of film photos and an often simplistic design element. Their passion for their visuals has allowed it to always be genuine as they never try to produce a certain aesthetic - they just create what they like.

In addition to drawing fans in with their curated

and collected aesthetic, Joan uses their visual side to better connect with their fans and form a more

meaningful relationship. From the beginning the band knew they wanted their faces to be on all of their album artwork, allowing the listener to know who is actually singing their songs. This personal

connection helps foster their intention to really make their listener feel something and connect with their music as well.

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Joan’s commitment to both their brand and fans paid off very early on in their career, allowing them to tour with COIN and most recently flor. Their exposure to full, energetic crowds has lead Joan

to have an extremely positive relationship with the road and has even allowed them to tap into these new audiences.

Rutherford and Thomas were pleasantly surprised

during their latest tour, with flor, as it was the

first time people were coming to specifically see them. While they’ve always been lucky to play for audiences that have been receptive and open to

their music, hearing their fans sing along to their lyrics was beyond a crazy and validating feeling.

Despite being on the road a good amount of the year, Joan has continually given fans new music by releasing three singles this year, with “Ease Your Mind” as their latest. The artists prefer putting

out singles before projects and see it as a way to “introduce” the songs. Making note of the change

in which we consume music, Joan wants all their songs to stand on their own and to be able to

get full attention, rather than get lost in a longer project.

After taking some time to close the year with their

family, Joan will kick off their first headlining tour

in February. They’ve patiently waited for the right time and feel this is a step in the right direction given their current strides in the music scene. No matter how many moves Joan makes, their effort to remain humble and always express their gratitude

towards their team and families forever stays clear and at the core of the band.

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KYLE LUX Story By Sloan Pecchia | P hotos By Lewis Caldwell | Design By Tina Tran

“I feel like our generation is super into not caring - like it’s cool and people try so hard to be nonchalant. It’s weird to care now? But like bro, you’re wack if you don’t care.”

Being a part of a generation where not caring is deemed to be cool, Kyle Lux is going against the grain. As a student in USC’s Thornton School of Music’s Popular Music

Program, Lux has very little time to allocate at all, yet alone to an extensive, outside

creative project. Yet somehow he has been able to release three singles and a seven song EP, No Roof Access, in less than a year.

Having gone to an arts high school in South Carolina, this isn’t Lux’s first time being

surrounded by creatives. With that being said, he still feels as though the music scene in South Carolina wasn’t as strong as the one that he’s currently a part of in Los

Angeles. He attributes that to the energy being different, motivating people to take their artistry more seriously to actually make their careers happen.

When deciding on going to music school, Lux wasn’t sure how it would benefit him, considering success in the music industry often isn’t attributed to a degree. However,

he found that it has really helped reassure him within his artistry, “At first I wasn’t sure where it would go because going to music school doesn’t really guarantee anything.

I’ve learned a lot about musicianship here but artistry comes from within. Putting out my first single and it doing well encouraged me that I was doing something right.”

Watching his peers grow has only made him want to be a better performer so that he can connect with his audience that much more.

Though he’s found that music school has helped his development, it also takes up the

majority of his time, making it hard to work on outside projects. He said that this past semester he didn’t have much of a social life because when he wasn’t in class he was

working on his EP, “It’s not something that I’m mad about though. This is something I chose to do and I feel like it’ll pay off. What I’m doing now won’t go to waste and has a lot of value for my future.” Lux is right. Having only just released his debut single, “Rollin’ Stone”, in March, it has already amassed nearly one million streams.

The collaborators that he has found at USC have also

been instrumental in both forming and executing his creative vision. He has been working with the creative

studio Ourros, founded and comprised by fellow USC students. Coincidentally, Lux met one of the members

of the studio through mutuals friends of a different company. Now, they work hand in hand on his visuals and creative development. Throughout this process

Lux discovered he really enjoys the aesthetic imagery

that comes with artistry, as it’s a way of being creative within a different medium; he even says that the day

he shot the “Say It’s Fine” music video with Ourros

was one of his favorite days of the summer. He now keeps visuals in mind when writing to try to envision

what album artwork or music videos may look like, “Songs are like little movies, so being able to bring

a visual aspect to fruition is a really cool experience.”

While No Roof Access is Lux’s debut EP, this isn’t the

first time he’s released music. In high school he put out music, but it has since been taken down because it wasn’t music that he believed in. His friends had

encouraged him to put it out and it’s actually how his manager discovered him, but his feelings towards

releasing music has changed, “The songs didn’t do very well and at the time I was caught up in that stuff

[streaming numbers] and I took it down. After that I said I wasn’t going to release music unless I really

believed in it and wanted to put it out - and that I

wouldn’t care if other people liked it or listened or if it did well or whatever. As long as I believed in it then

that’s what matters. And so far that’s been working pretty well for me.” While he is definitely aware of

his streaming numbers it is no longer his sole focus.

He believes that if you work hard and focus on being as good as you can possibly be then the success will come.

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Lux sees No Roof Access as a chapter of his life thematically. Lux shared that much of his music

revolves around him feeling like he’s never really been in love, “A lot of my music before centered around never being in love and not having experienced that and trying to convince myself at times that I was in

love when I really wasn’t.” In his debut single “Rollin Stone” Lux sings, “I don’t know if I’m flying / Could be falling / Crawling, lying / I won’t leave you / I can’t see where I’m going / Never know when / I’m alone, I’m

finding me.” This progression explains what it’s like

to be far from home and experiencing growing pains all the while not trusting your relationship with love.

This theme carries the EP as well as the varied sonic

elements that keeps the listener engaged throughout

all sevens songs. Drawing from Solange, Frank Ocean and Tyler the Creator for inspiration, he categorizes himself within alternative R&B. While some songs have a heavier R&B influence, others have electronic elements woven in, “It explores so many different

elements and I think that’ll be good for the future.

It’ll open a lot of doors and allow me to take whatever paths I want to.”

Now that Lux’ EP is out, he’s looking towards the next chapter: an album. He’s not entirely sure what it’ll be

about yet, but he’s taking the time to self-reflect and accept that not having all the answers is ok. He tends to find himself writing about his experience with having not ever been in love, but as each project is a

chapter, No Roof Access will close that one. Juggling school, live performances, and writing new music

Lux’s plate is full, but it seems as though he wouldn’t want it any other way.

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Photos By Alex Lang 17

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BAUM

Story By Isabella Vega | P hotos By Brittany Bravo | Design By Sophie Gragg NONCHALANT THOUGH ATTENTIVE, AND POISED YET CAREFREE - BAUM HAS TAPPED IN HER AUTHENTICITY. The New York hailing singer/songwriter, who is currently working on her second musical

anthology, is building a foundation her foundation as an artist, seamlessly blending her authenticity with her persona.

BAUM’s musical fascination began in her childhood as a simple way for her to find her

voice. “I think that for me [music is] my way of getting things out that I was uncomfortable saying,’’ she explains. “I always thought ‘this is my thing.’ I just wanted to do it for my whole life. I didn’t know what that meant.”

That firm belief in herself and music propelled her career forward, leading her to study music at the University of Southern California in Los Angeles. After a brief stint in the Pop

Program, she looks back at the experience an opportunity to learn about the only thing she’s known for sure.“[Music] was the only thing I actually cared about, that I wanted to

dedicate my life to doing it and I wanted to get better. There’s so much that I didn’t know that I needed to know.”

Though only really a teenager at the start of her career, BAUM found herself in the constant cycle of feeling behind in the fast paced industry. While artists like Lorde were rising to the top at such a young age, BAUM recognizes the toxic mindset it began difficult to escape.

She explains the timeless, sexist paradox that was behind her mindset of feeling this way: “It is such a thing, especially in entertainment and for women. You constantly think you’re behind the ball in terms of how old you are, which is so fucked up, but I felt that way at 16. It’s the same thing of equating success to the one blowup thing to the one thing that

happened when you were young. It comes directly from the idea that women are in their prime when they’re young.”

This very primal frustration and systemic injustices that have become frequent became

the focus of her first EP, Ungodly, featuring the body-positive anthem “This Body”; which

seems to encapsulate every issue pertaining to body image in an authentic manner that so many big pop machines seem to miss.

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BAUM treats her listeners with the respect they deserve: she doesn’t talk down, she talks to you.

She writes what she feels and hopes you vibe with it, because every human experience is cosmically universal. Her previous works focused on her anger towards societal norms and social issues, which was

a way for her anger to be channeled. “I wrote a lot about [the sexism] issue when I was younger, when I was realizing it, seeing the world through that lens

and being more aware of that. I was younger and felt so much about it.”

Her current work, however, focuses on herself.

Though all of her work has been a very authentic

stream of consciousness, BAUM explains that she wanted to show her growth through some “heavy

shit” on this project. “Life happens. I’ve had a lot happen, so it’s been a time of growing up in the past

few years. I’m more easily able to be myself, more honest in my music.”

BAUM is self-described as creating “Dark Nostalgic Pop”, but is no stranger to creating simply whatever she likes. This label still applies to her new work, even though it is definitely more personal-focused than

existential. “My music now is so different than what is

used to be, sonically, but it still fits into that category.

I used to care about it being a big production, big pop sound.” This idea is prevalent in her past words, where sweeping musical scores would accompany

her voice, which was stretched a bit higher. “Now I care about capturing a very emotional vocals with

writing that speaks for itself. The production is a little weirder, more stripped down.”

Knowing that having a platform is part of her job as

an arist but can be exhausting, BAUM tries to use her music and voice to speak to experiences often

underrepresented. While she has no problem voicing

her experience as a queer artist, the label both thrills her and makes her cringe. She is incredibly proud of

her queerness, and that aspect of her personality is something that she regularly celebrates.

“My job is to be myself as openly, comfortably, and

confidently as possible to other people.” However, what makes her recoil is the idea of that label

superseding her talent. “I think it’s wonderful that people celebrate queerness in the arts. It’s awesome,

but it feels like people will sometimes be pigeon holed when people define you by your sexuality. It also

feels like a nuance: not homophobia but capitalizing on diversity..I think the whole thing is that I want to

be treated the same why as other people. A crazy concept! I just want the same physical safety as others and have the same rights and treated with the same respect! I definitely am grateful for those things, I

think it’s important to shed light on queerness, but

it also does bother me sometimes, when that’s the first line.”

She clarifies that her queerness is something to be

celebrated, and hopes her followers will feel the same: “Being queer is amazing, so I do want to talk about it. It’s important because if I was a kid, there’s not that much representation right now, even though

it is getting better. There’s just not enough content, and people want that content. I craved it as a kid. It’s not in the same level as straight content. It’s good to talk about it and show that it’s normal.”

On the cusp of a new decade, and BAUM is already in the self-reflecting state of mind. As 2020 approaches, the artist is looking forward to working out the

kinks and figuring out the logistics within her new

project. Though her new project’s message is more intrapersonal, she hopes that listeners are still able

to take away something. “I hope people listen to the nuances of the lyrics. Having that one small line that makes you go “Oh, my god!’ I just want people to

feel that connection. Feeling that connection through

music is the biggest and most meaningful way of powerful connection. It provides a space to feel what we feel.”

In an era where stagnancy is praised, BAUM appeals

to the growth of soul that’s ready to occur within each of us, motivating us to be our most present authentic

selves while holding on to all of the people we’ve been inside of us.

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KANYA IWANA Interview + Design By Sophie Gragg | P hotos By Kanya Iwana

WITH THE INTENT TO FIND A SPOT IN YOUR MIND AND HEART -

Kanya Iwana‘s art succeeds effortlessly. Creating a foundation in photography, directing and creative directing, Iwana has evolved into an entrepreneur finding her hands in a plethora of fields. Her hard working and dedicated mentality has been in her since the beginning, and has only fueled her through her career. At a young age, Iwana created a proposal for her mom that allowed her to leave her home country of Indonesia to journey to the United States for education, where she received her a bachelor of fine arts in theatre. The artist has carefully crafted a signature, sultry feel and look to her works while always capturing the unique personality of her subject every single time. Working with everyone from Vogue to Playboy to Nike, she has built a strong personal brand allowing the client to know they will be impressed with Iwana‘s passion and vision with every project.

Iwana has also developed KI Studio, a multidisciplinary creative house based in Los Angeles and New York City. A powerhouse of an artist and business woman, Iwana paves a strong path for the creatives that just want to do it all.

LUNA: You’ve been able to work with a lot of incredible people including some high profile individuals, what has been the biggest lesson you’ve learned when it comes to collaborating with others?

IWANA: I think the lesson is ever-changing. You store a list in your head and keep adding to it, but the first one that pops up to mind is: be respectful, be kind, and

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skillful artists there, but who you are and what you bring into the room definitely helps determine why you keep getting called back. You never know what people in the room are going through in their life, so make the next 8-12 hours of your life easier by keeping a positive energy.

LUNA: What ultimately lead to you creating your own photography and video production house, ki studio?

Was that always the goal?

IWANA: It’s going to be a pretty wordy answer, so buckle down.

I wouldn’t call myself an outsider, ‘cause that feels a little odd to me, but I have always been kind of on the outside. In college I studied Musical Theatre, and out of hundreds, maybe thousands of musical productions, there’s maaaayyyybeeee three where I “fit” the typecast. And that’s like.. pushing it. So in school, I’d just create my own stage productions of all original music, original composition, staging, etc.

Coincidentally, the people in my shows have a similar situation with me. I think that’s when I first understood tribalism. It went on for several productions, until I graduated.

The first two years out of college is always weird and isolating, so I lost that sense of community and was so desperate to have my own. I was acting at the time, auditioning almost every day, and lucky enough got maybe 1 or 2 TV spots a year. I felt further isolated, and worse than that, I felt like I had no control over my career.

Photo By Chauntice Green

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When I went back to school to do a film program, I started shifting my energy towards creating my own materials again, this time visually. So I picked up the camera, learned how to film, edit, and started taking on freelance projects with very little experience. I had a mentor who is a writer/director who I really looked up to and loved picking his brain. I was lucky to be able to shadow him for a week for his major feature.

I learned so much, it’s crazy. But the biggest thing I learned from that -- view number 1 -- is to be kind. I knew I wanted to do what he did, and since then I’ve just kept going and took on more projects, having my good friends who have similar ambitions work alongside me. Fast forward a year later, as we grow and have momentum, I noticed it’s time to make it official and have a teeny-weeny production house. It is composed of my tribe, and that’s the proudest thing I can ever say in my career. We look after one another. We’re our support system. No envy, just love, working together towards our gigantic goals.

I don’t know if I answered the question, to be honest. Just kinda went on a rant.

LUNA: Your work definitely has a warm, cinematic and almost sultry feel to it, how did you find your style and embed it into your work?

IWANA: Thank you! I love sultry. I’ve always been a movie geek, and I love cinematography. Before the fancy cameras and the commercial work, I was just playing around with Lightroom and Photoshop until you feel that “click” in your heart -- where you say, “Yup. That’s it.” And it’s often inspired by the cinematography of whatever movie I was watching that week or month, that also clicked and stuck with me.

When you get it it’s the best heartburn in the world.

LUNA: Do you find it more difficult or more fun to be interested in such an array of artistic areas?

IWANA: Both. I want to do so many things. I’m nowhere near where I want to be right now, but the challenge is to be patient. It’s so hard, especially when you just want to achieve everything NOW, but I’ve really learned that I’m at my own time -- but whenever the universe is ready for me, I’ve stayed ready.

LUNA: What advice do you have for young women, and those in particular that feel underrepresented in this industry, when it comes to making their way in the arts and entertainment industry?

IWANA: Learn your contracts. You have to know your rights and be aware of what you’re giving up, Don’t be afraid to ask for help in this department.

LUNA: Is there something you want people to take away from your work?

IWANA: I can’t set that expectation for myself - I have no control of that. The only thing I can do is create something that I can take away, that’s honest, thoughtful; and hopefully as humans do, they can somehow relate. But again, if they can’t, that’s okay.

LUNA: How do you want the creative scene to evolve?

IWANA: I want to take it off social media and go back to a brick-and-mortar type environment. Have more panels, talks, community nights. I miss that. Now that we’ve all met and made friends through social media, let’s take off from the internet for an hour or two and get together in the most pure, non-sceny way.

LUNA: What intentions do you have for the rest of the year?

IWANA: To be a more present parent and wife amidst all of my projects.

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SAGE SAGE SAGE Interview by Sophie Gragg | P hotos By Myai Anthony| Designed By Khristine Le

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THEY’RE WISE BUT STILL LEARNING, GROWING BUT GROUNDED. At a young age, Sage Adams knew the only way

‘skins’ but I really genuinely always felt like school

it their everything. After taking a leap and leaving

put through to test the boundaries. I also saw it as

for them to make strides in their career was to give

university to pursue her creative endeavors full time, Adams’ hard work and determination paid off.

The creative has developed a versatile and unique

portfolio, ranging from artist SZA’s visual director for the album Ctrl, to a founding member of Art

Hoe Collective, a platform rooted in showcasing the

works

of

underrepresented

artists.

From

photography to painting, Adams truly brings a

unique flavor and approach to all of their pursuits, with the intent to “make worlds not content”. Their

desire to uplift both friends and other marginalized artists has remained at the core of Adams’ journey

through the creative world, resulting in them making the effort to be self aware and use their voice when

they can. As Adams develops as both an individual

somewhere to go to get things done rather than

somewhere to get school stuff done. So, I was always on Tumblr and always creating so for me when I

was dropping out of school and realizing I could not meaningfully participate with the schedule and doing my own thing with my art stuff, I just had to realize that maybe now wasn’t the time for me to be a student and that I could be a student anytime in my

life. I don’t think it was the best time for me to be in

school. I do think school is a good place to go and use incredible resources and figure life out.

LUNA: The way your career was moving at that point probably required a lot of you/

and artist, they continue to transcend boundaries

SAGE: I mean I don’t even know if it was really even

with each project they pursue. They continue to build

wanted to drop out because I didn’t think anyone

and consistently bring their everything to the table a strong foundation for themselves and artists alike and this is only the beginning.

LUNA: What the transition was like from being

a student to photographer, creative director and everything you’re doing now?

SAGE: I think for me I was never really a student and I know that sounds kinda weird or very

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was kinda like this weird experiment I was being

moving anywhere at that point, it was really just I

was going to take me seriously as an artist until I showed that I really wanted to do if full time. So I

just decided to do it full time and was like “Fuck it”.

This was before I knew I had a job or anything, but I moved out and I was living in Philly with some of my friends in this old crazy ass abandoned house. Then I got my job and it came together.

LUNA: So for you it was more about doing what you

I was just lucky to go to a high school that had hella

not being able to balance it all?

all that shit at my school. It was really easy to ask a bunch

needed to do to move your career forward rather than

SAGE: Yeah. I don’t think I approach work like work all

the time either - I think for me it’s a lot more experiential.

People ask me to collaborate and that’s mostly when I

thrive and when the best stuff comes out, I consider myself freelance when people ask me. That’s what’s really cool because I can shape my own schedule and get

art projects done as well as do my commission projects and also relax and have a good mental standing.

of questions and figure it out how all this stuff works. So when I went into college and didn’t have any instructions I knew how to do a lot of the stuff. I knew how to make an under painting and set up a canvas which is already a

huge technical step forward for me and it was accessible.

Then I’d go and find online resources that showed me short cuts and DIY things. I was really fortunate in that

aspect, I think doing your own kind of research is always important when working with a new medium.

LUNA: Mental stability - what a crazy concept right?

I think school can be a huge aid if you can use it in the

SAGE: Yeah it’s a new concept for me.

and use the studios at the school and use their resources

LUNA: Did you go into school with the intention to stay or did you always know you were going to leave early?

SAGE: I went to school thinking I was going to graduate and it was really important to me that I graduated, it

right way. Some of my friends in Art Hoe are in school and that’s dope, but the college I went to didn’t have that

- because it was a HBCU it didn’t have those resources that pushed me in terms of freedom. Like I couldn’t do a

normal political science major and also take art courses which really.. blew my mind.

just didn’t really turn out that way. I don’t know if being

LUNA: It sounds like you weren’t pushed at all.

because I wanted to show my professors all these cool

SAGE: I mean this was all very new four years ago, it

them think when in reality that would get me a D because

conceptualize. I didn’t think I was going to do art - no

creative and being in school are super conducive just

things I could do and say weird stuff in papers and make it’s not what they wanted.

LUNA: If it’s not the assignment it doesn’t matter.

SAGE: Yeah and it’s like I could turn in something online

that I was writing, get paid for it and get credit for it and have it published versus turning something in to school

and being told you failed or missed the point. This is

the same essay? So at what point do I start rewarding myself for my hard work, my actual hard work like my

was hard for my mom, mentors, and school staff to

one thought I was going to be doing art. My major was

Political Science and African American studies. No one

expected me to have professional interest in art, I always did sports. Those expectations can take away the fun of

it and the freedom of it, that’s why it was so freeing to me, no one wanted me to be Picasso. Everything feels

like someone else told you to do it. So when you find that thing that you love and everyone is like ? What? You just go with it.

brain work, versus what other people think I’m supposed

LUNA: If you had the opportunity to go back and go to

LUNA: What type of role do you think education can

ADAMS: I still wouldn’t have gone to art school because

to be doing.

play for a creative like yourself?

SAGE: I think you need the scaffold and you need to know how to organize your studio - stuff like that, but it can be learned outside of school.

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materials. I went to a really privileged high school so I had

an art school, would you?

I wouldn’t have met my best friends. I guess I’d go now

just to see what it’s like and to learn more things. I would use the fuck out of the resources. I think about that all

the time - yeah you’re paying an F ton, but you get to use

the resources, you get to live on campus, access a studio

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and all that stuff. If I were to ever stop freelancing

it and trace it back to me in terms of a feeling, like a

some years in art school and figure out.

aesthetic or a or lighting or composition, because

and try to decide to do something, I’d probably take

LUNA: With freelancing, you’re always doing a million different things at once. How are you channeling your

energy into each of these projects without getting burnt out?

ADAMS: For me, I don’t feel like I’m doing a lot ever,

which is one of those things that is a huge part of

things I try to be aware of. For me, I’m not doing anything and I love it. At the same time, I also do have to realize I am doing a lot. I think it’s more like I’m trying to find projects that really matter to me

right now and ones that are going to allow me to do painting as a medium. That’s my first love - painting.

I try and screen the stuff through my email and just take what makes sense.

I think the Nike project was a cool first step for me in

terms of painting because I got to have my designs in a product that’s nationwide. My watercolors are in

it which is the first thing I ever got into with painting so that was really cool. Now I want to do some more

genuine emotion, rather than just focusing on certain if you capture the right emotion all of those other things come with it. So I had some of my paintings in

the Nike campaign because we got to also creative direct it and shoot it.

I think it’s important that I don’t encourage this

younger generation of artists to do too much, like

to post too much. There’s this weird superiority complex around working to the bone and showing everything which is something I don’t really believe

in. I definitely believe in teaching and being open, but not just posting to show that I’m doing something?

Not sure if that makes sense. I come from a family of first generation immigrants and I don’t think they worked as hard as they did for me to work that hard

and in any way devalue myself. Like I don’t post

prices or my rates publicly because then, it’s fixed,

there’s no room to negotiated I think that working hard is really fucking important and beautiful but I’m not gonna glorify working hard for no reason or not working smart.

oil stuff.

LUNA: You don’t need to suffer.

It’s weird because all of my friends were graduating

ADAMS: Exactly. You don’t need to team up with

graduating and really getting shit done” and I was

and you have a steady income and you are financially

from school this year and I just felt like “Damn they’re so hyped for them but I didn’t feel like I graduated. I

made this shoe and this felt like it was the next step into my own art.

LUNA: Since you’re working with so many different

mediums, are you finding a way to bring these elements together with projects? Or do you prefer to keep them separate?

ADAMS: I’m always trying to bring things together

because my whole thing right now is to make worlds

not content, so I want people to see something and them know it’s in my universe and be able to connect

giant conglomerates if you’re already making money

stable. But if you’re someone who is full time freelance, black or brown, of marginalized experience, some people have to take those opportunities to be

able to do their own art. So I want to always keep

that in the narrative. I don’t want people to think it should be just “work, work, work” mashed with wow

you work with big companies you suck. That’s such bullshit - that would drive anyone crazy. You don’t have to be suffering to be doing well, and there are

intersections of identity here! Race, class, access, education, all of that plays out on Instagram and in the art world.

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LUNA: That being said, how are you finding a balance

LUNA: Working with friends is becoming a lot more

and projects that you need to pay the bills?

them.

between picking projects you are passionate about

ADAMS: It’s a huge balance. There’s also a certain

ADAMS: Exactly. It’s important too. Also, if I’m in

companies that contribute to global warming, but I

or on a mood board or in a lookbook, next year they

responsibility to it - yes I have modeled for clothing also have to look at the entire other side to it. I went into malls and never saw pictures that looked like

me or my friends. Also for a lot of my friends that are young, brown, queer people - they’re making a

living surviving on their own in these big cities and

benefiting from pollution. And then in my personal practice I don’t buy new clothes, all of my stuff I’ve

there board as a model who has modeled for them, can just pick someone who looks like me so someone

else could be getting that opportunity that doesn’t even know the creative director. That’s fire and I love

it. I really hope to continue to be able to do that.

Instead of gatekeeping these opportunities, sharing them.

had since I was little or is secondhand/ gifted. And

I try to do the same and hire not well known models

whole weird cycle. If I’m getting a lot of money I

that collaborative experience and work with people

that’s something I’m super open about. So it’s this have to give clarity with it. Like address the fact that it’s happening and what I am going to do to take

personal responsibility. I try and to do that because I

for my stuff. Not even to open the door just to have I really like. If I really know them and I know they’re gonna do well then why wouldn’t we shoot?

feel weird otherwise.

LUNA: How are you able to not only use your

LUNA: You’re very self aware with these things.

but also take that step further and get that audience

ADAMS: I mean! It’s important to be. Even if it’s

platform to talk about what you care about and value, to actually take action regarding what you say?

the most minimum, which I don’t want to do the

ADAMS: You bribe them! You literally bribe them.

think that’s important to be aware that it’s happening

organization for an entry.” You get creative and play

minimum, but if that’s the most minimum I can do I and that I am in some way a participant.

LUNA: It’s not like you’re picking up every project too. I’m sure you do your research and know who you’re working with.

ADAMS: I have to really like the team and people

doing it. I usually work with my friends. For the Macy’s

You say “I’m giving this hoodie away donate to this the game to engage these people in something they may not otherwise be engaged in. Even if they don’t give a flying fuck it doesn’t matter because that extra dollar got someone something.

LUNA: The reality is it’s the money that makes a difference with a lot of these causes.

campaign my friend Luke shot it and for Pacsun my

ADAMS: That’s the facts. So it’s finding the smaller

big stuff I’ve done has been like that because I have

and that I can really see and engage with. I think

friend Bobby was the creative director. A lot of the

a lot of cool friends, who are white, doing things and deciding to like cast black models. That’s really

cool and beautiful of them to do. And I’d hope other would see the success of these projects and know that hiring a black model is not a risk but a reward.

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common. People are trying to bring their friends with

organizations that aren’t the whole ass ACLU Pawsitive Change LA and Border Kindness LA are my two organizations that I follow on Instagram and

consistently support. I mean obviously the ACLU but Those are hella interesting to me and I can feel really involved in. I’m able to build a sense of community with those people.

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LUNA: Are there any other organizations besides those that you liked working with?

SAGE: I guess the big one I did was the Girl Up campaign with the UN. That’s literally the fucking United Nations though. I really want to do a photo project with Pawsitive Change LA. My friend was telling me that I should go to animal shelters and take pictures of animals to be adopted because they have bad pictures so no one adopts them. So I’ve been thinking about doing that.

LUNA: That’s something that actually is important to you too.

ADAMS: Yes I love dogs and it’s something that is organic to me. It’s something that makes sense and betters my community. All these things are connected.

LUNA: On the flip side of social media, since it’s part of your career, how do you navigate Instagram as a whole?

ADAMS: I try to just make organic worlds.

Real things that I like and that matter to me.

No white rooms full of nothing and lyrics as captions, I don’t do that.

LUNA: Are you a fan of Instagram?

fucked up privacy laws. That stuff actually does pertain to us and we have this tendency to think it’s this technological nerd jargon when it’s not.

It’s super important and we should probably pay attention to it. Let’s just say I take a picture of some of my art on my phone and haven’t published anywhere else but Instagram - Do I don’t own it anymore? Where do my metrics go?

LUNA: People really don’t think about that as much as they should.

ADAMS: It’s important to remember stuff like that and to be safe in the cyber security aspects of it. I don’t know why I’m super into cyber security right now. It’s important for me for people to be able to maintain their intellectual property and privacy.

When I think of my Instagram that’s what I’m scared of. Everyone is scared of like ass pics but I want my content to be my content and I want people to want to see it. I don’t want it randomly thrown in their face because it depreciates my art because they didn’t want to see it.

LUNA: Or if they’re following you they should always see it.

ADAMS: The interesting thing is when I first was on Instagram and Art Hoe was really popular and I was doing hella interviews, I was in love with Instagram. But now, it kinda freaks me out just because they wouldn’t verify me for three years which is super annoying. I hate when people complain about dumb shit like that but I just thought it was ridiculous. I know that there are a lot of other black creatives and brown artists who are literally shadowbanned and they never show up on my feed. So that aspect of it, the controlled aspect of it, is kinda scary and weird. The algorithmic aspect is terrifying but I just try to be aware that I’m in robot realm and that’s what I’m dealing with.

ADAMS: They should see it!

Also I just try to keep up with legislation that will keep us from having restricted Internet or

ADAMS: I used to ask that question to my friends four years ago when we were on Instagram

LUNA: I remember when Yahoo first bought Tumblr back in the day some content started getting censored.

ADAMS: Censorship is real. That’s when everyone left the fandom blogs - I was a One Direction blog. I’m wary of platforms and always looking for a concrete thing instead of an Instagram thing if that makes sense. I prefer concrete things to Instagram things.

LUNA: If social media was deleted, it’s like who would you be?

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When I think of my Instagram that’s what I’m scared

that’s cool and that’s on “Euphoria” and I love that

content to be my content and I want people to want

at that time, we were kinda weird and no one thought

of. Everyone is scared of like ass pics but I want my

to see it. I don’t want it randomly thrown in their face

because it depreciates my art because they didn’t want to see it.

LUNA: Or if they’re following you they should always

it was cool. We were kinda looking at Tumblr like “dang I just want to be in an all white room wearing a

two piece from American Apparel with straight hair.”

There was still that kind of envy.

see it.

So now, it’s funny that being weird or quirky and

ADAMS: They should see it!

anyone is saying they wanna be cool so badly, the

LUNA: I remember when Yahoo first bought Tumblr

back in the day some content started getting censored.

ADAMS: Censorship is real. That’s when everyone

left the fandom blogs - I was a One Direction blog.

I’m wary of platforms and always looking for a

wearing thrifted clothes is in. Being yourself is in. If

coolest you can be is wholely yourself and people will just fuck with it. It sounds so corny and wack but if I could just tell people anything, it’d be that.

LUNA: What role can consumers play a role in better

fostering a creative community that’s a safe space and more diverse.

concrete thing instead of an Instagram thing if that

ADAMS: We need more patrons of the arts. I’ve

things.

SZA and my general art community that have always

makes sense. I prefer concrete things to Instagram

LUNA: If social media was deleted, it’s like who would you be?

ADAMS: I used to ask that question to my friends four years ago when we were on Instagram asking “Is

this a job?” and we thought no way because if they

delete it like Vine then we’re all fucked, so we gotta go get jobs!

LUNA: For someone that doesn’t seem themselves as represented, social media can enable them to see

people like them, but there’s not always that physical aspect. For someone that isn’t living in a city or might

been really fortunate to have people in my life like bought my art and always wanted to see more of it.

Also to the people who buy my pieces off Instagram!

You are much appreciated.

LUNA: You put yourself out there and they reciprocated that.

ADAMS: Exactly. In order for me to find my people

and people that appreciated the stuff I made, I had to make a shit ton of it and put it in everything. So now I’m back in the stage of making a shit ton of

stuff again because I want to expand my creative community and meet more people.

not feel as represented, what advice do you have for

LUNA: I’ve seen you mention the importance of

ADAMS: Lean into the things you really like instead

about not only what that means to you but what your

them to try and get pass that?

of trying to lean into what you think you should look

like or be like. For me, I had friends, but I was goofy

manifestation in your life, can you talk a bit more practice is like as well?

and I wasn’t cool. It wasn’t like I knew all the cool

ADAMS: I think right now I’m in an interesting

was obsessed and was on Tumblr on the time. Now

manifest it. So I’m in the lull stage. You can’t just ask

things and music - I listened to One Direction and

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because for me and a lot of people who were online

stage because I’m trying to see what I want before I

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the world for anything. You have to be pretty specific or it all comes back fucked up and weird. So you have

to really marinade on it so that’s what I’ve been trying

that stage or “scene”?

to do. It’s a weird space to be in because as an artist

ADAMS: I don’t want them to get out of the scene,

with stuff constantly, at least in the age of Instagram,

that there is a scene and build something that lasts

everyone is always expecting me to be coming out

and I’m just not at that point right now. That’s a first

for me too - now wanting to share everything I do

with everyone. I’m not making my art for Instagram.

I’m not making it for a four by four post.

LUNA: Moving forward, how do you see Art Hoe Collective evolving?

ADAMS: Art Hoe kinda took on the idea we all grew up. I think it’s important to know you’re allowed to

grow up and do different things. Because we created this family and network for ourselves so that we can

rather I want them to take advantage of the fact

forever. I think that’s ideal. Make something out of

this that’s fucking dope. Make a store - I don’t know!

Make something that lasts forever because we don’t

know if Instagram and the like is forever. You should make something that lasts forever and makes a

difference, and while people are listening. People don’t listen to you all of your life. A lot of people have a pretty short gap for that.

LUNA: The concept of five seconds of fame has changed.

operate in, I think it’s more of a family. That’s how I

ADAMS: I think it’s shorter just because people’s

feels like a family. We’re not necessarily functioning

is looking for fame per se is not sustainable. It’s

feel about it right now rather than a collective, but it as an art collective in the sense that we only threw

one show this year. I think that’s okay! We’re getting older and exploring other things and now Gabby is a frickin supermodel and not just sinking.

I think that’s really cool. I think we infantilize activist

kids and try to keep them in this forever young,

attention spans are shorter. Also, anyone that

inherently not sustainable, which is why it won’t work.

You don’t even need to worry about those people because they’ll do their own thing.

LUNA: Are there any artists in particular right now

that you’re drawn to and wish had a bigger platform?

always 14, fighting for the universe, never allowed to

ADAMS: Rahm, Oscar yo Hou, Brittany Scott

LUNA: Why is that?

LUNA: Is there anything you want people to know

grow up or mature space. I think it’s weird.

ADAMS: It’s easier to sympathize with a kid telling

about you as both an individual and artist?

you that you’re wrong rather than an adult saying

ADAMS: I want people to know that I’m serious

lot of times when they’re looking to book Art Hoe,

people do shit to be cute and I feel that. I understand

you’re wrong. So I try not to play into that. I think a

they’re looking for that. So I have to bring something different to the table and I think we all do a really good job of that. There’s a huge range of what an artist looks like and that’s what is cool.

LUNA: It’s the same deal with the “DIY” scene.

ADAMS: It’s completely pink washed.

LUNA: Yeah it should be used as a starting ground

about painting. I think that’s important just because

that and sometimes I’m painting to be cute because it’s cute in the moment. I’ll be smoking some weed

painting like that’s a vibe. But, I fucking love painting and I love art. This is something I’ll be doing hopefully for the rest of my life. I want people to know that.

Also - freelance work is hard but it’s cool.

LUNA: What are you wanting the end of the year and the new year to bring you?

but then you need to move forward.

ADAMS: I want it to bring me some inspiration. I

ADAMS: For me, it’s like how do you keep making

some grace. Inspiration and grace.

this at a bigger scale with the more resources you have everytime.

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LUNA: How would you encourage kids to get out of

want it to bring me some grace. I would appreciate

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DREAMS

Photo By Emeline Daveau / Paris

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Cara Taylor / Costa Rica

Christian Campbell / Elkhart

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Le Quyen Nguyen / Berlin

For me, dreams are an overlay of thoughts that override each other without our control.

Emily Machan / Calgary

Joe GurulĂŠ / Los Angeles

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“I read once that we often dream of the people we was to be closer to. When I see her in my dreams, she is never still. Always one step ahead - inviting me forward, pulling me back, keeping me at a distance. She holds the upper hand, and I am reduced down to a shy and timid child hovering at the end of a pool, too scared of the depths of the water to step in. Why must I dream so much of someone who tortures me?”

Phoebe Faye / Brisbane

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Kristina Maria / OsnabrĂźck 59

Priscilla Mastrodomenico

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Kyra ten Brink / Rotterdam

Yaemi Matias / Miami

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IN MY MIND THERE IS A ROSE GARDEN AND THE SUN IS SHINING AND YOU ARE THERE and we are happy...

This is what i think about when the rain clouds form in my headwhen my thoughts loom like June gloom when the sun’s rays aren’t enough to clear the sky to lift the sadness

My dreams- my only sanctuary We don’t want beautiful things, just a beautiful life the reality i am going to build for myself is what gets me through the storm.

I close my eyes and there’s sage, mint & thyme growing in the backyard We clip the herbs from the roots and use them in the kitchen while we cook you pour wine and we dance under the lights we’ve hung from the sunshade This is my bliss. and the beautiful thing about this life, is that really we can have anythingif we just try if we just go after what we want if we just believe Yes, in my mind there is a rose garden with herbs and heliotropic flowers following the sun that we clip at the stems and arrange in a vase for the kitchen and maybe it’s a bad thing that i have high hopes, and maybe I’m breaking my own heart by dreaming my life away but i’d rather be standing with my feet on the ground and my eyes towards the stars than sitting pretty on a cloud, only looking down

- Erica Gerger / Temecula

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“the dream was happiness” ripped out of your arms and back to reality. at times, i am wistful in the waking world. blinking tears away in the most mundane of moments. longing for something—i’m not sure what. perhaps a time, a feeling, a moment that we shared. a voice. a laugh. i wish I could have stayed longer in that moment with you. but our world only exists in flashes. desire behind closed eyes.

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-Leia Galla / Louisville

From the look in the stranger’s eye I could tell he was satisfied He loved the choice of style And the way it was utilized.

From the look in the stranger’s eye I could tell she was mortified She turned away and whined Saying it needed to be rectified.

From the look in the stranger’s eye I wanted to see my work glorified I expected the response to be more gratifying But in the end I felt less qualified From the look of my own eye My work became unrecognizable I don’t even know why I thought it was desirable

-Bryan Dewitts / Ongata Rongai

Tess Elizabeth / Los Angeles

Taylor Martinez / Santa Ana

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Sweet Suezy / Cowtown

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Alex Mehiel / New York City

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Jonathan Leicht / Harrisburg

Dreams The sun and moon, two halves of the same coin, one face at one side.

The stars in the night, woven together tightly, Each stitch another fiber in The blanket that wraps me tightly.

The hammock that cradles my soul to sleep.

Constellations just patterns, Each a note in that cosmic lullaby, That eases the mind of endless ache less wandering.

The glint in their facades are The jewels held in my eyes, Covered my flaps of skin That demand to be shut, to show us the red interior.

We must exist for ourselves For the subconscious as well as the present moment.

What are we Without the sun and moon in each of us The night and star blanket but the veins in our arms Stitching our skin together Holding together ourselves.

The spectacular whole.

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-Isabella Vega / Miami

ZoĂŠ Kraft / Los Angeles 74

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DIZZY FAE

Story By Melissa Miller | P hotos By Kaitlyn Renee | Design By Nikoli Partiyeli A Lively Beauty with an Intuitive Nature — Dizzy Fae’s Talents are Innumerous.

Dizzy Fae’s angelic voice and dreamlike, dance incentivizing music projects the feeling of a “soundtrack to an unforgettable day”. Her

versatile music incorporating genres such as R&B, hip hop, jazz, and

indie adds to the unique flare to her music that resonates with all listeners. Dizzy’s notable classical training has heavily influenced her as an artist just as “everything takes a role at some point in the music she makes”. She is intentional and authentic in her creative process as an

artist through incorporating the raw elements of life in its present state.

Dizzy is an open minded, fluid spirit, that really grasps her discoveries and translates them into her music.

There is no place more like home to Dizzy than her deeply rooted

foundation in Minnesota. Although, Dizzy relishes her frequent travels, flying back to Minnesota enriches her appreciation of the place she calls

home. Dizzy has worked with and toured with incredible artists such as Lizzo, Jorja Smith & Toro Y Moi. In collaboration with artists, Dizzy values the importance of genuine appreciation and encouragement

for artists’ progression and their journey as a creative. Respectfully so, every artists’ journey is different, therefore, it is essential to understand the means of individualism in their musical endeavors.

Dizzy’s creative process behind writing her music depends on her state of mind in which she is “in tune with her conscious” thus “observing

where it gravitates”. Dizzy’s mindfulness and self awareness attributes

to her lyrics through the incorporation of the present. Whether it’s a prevalent emotion or a current circumstance in life, Dizzy ties in these aspects into the writing process of her music. As a 21 year old artist, she demonstrates a drive and wisdom far beyond her age. Dizzy is

an intuitive woman who “moves towards what she feels” and listens to her gut instincts. This innate gift has led her into so many creative avenues with music and to do so in a way that resonates as true to her.

Dizzy pursues her passions with music wholeheartedly, at a full force of energy.

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Dizzy’s iconic looks with her exquisite taste in style and her alternating hairstyles adds to her originality and individualism. She notes, “My

whole life, I’ve reflected on how there’s no one quite like me, and as

I’ve gotten older, I’ve used that as motivation”. Dizzy embraces and

expresses individualism as a layered identity that gleams various lights.

Some of her biggest inspirations include Tim Burton and Missy Elliot because they are both “artists who really bring you into their world”, and Dizzy most definitely has that same effect on people. In arts that

are not musically orientated, such as her videos and album art, Dizzy

enhances another lens of her creativity through building aesthetically pleasing pieces that evolve with the art and progression of her music.

The industry commonly represents Dizzy as a “queer black artist”,

which is a label that she accepts because it is who she is, however, the

depths of her lie far beyond her sexual orientation and race. What really defines her is the art that she produces and the talent that she exhibits.

Dizzy explains, “I’m always approaching my most authentic self through

the art and I believe that has volume”. She believes that labeling is a faster way of advertising, but it only shows a slice of her true identity.

Due to the rise of social media, Dizzy believes that there is a wider

array of access and outlets to discover music and various sounds. “The thing about the internet is that it’s endless and when it comes to music,

well music is timeless”. These two aspects intertwined is what allows music to be heard virtually anywhere. Being able to discover and listen

to music whenever we want is something to deeply appreciate. Dizzy also asserts that “the rise of social media would be a good album title

for the mixtape made of this entire era”.Furthermore, Dizzy believes that social media is whatever we, as individuals, make of it. She chooses

to moderate a balance with being active on social media and being present and engaged in real life. Dizzy also values social media because it is a tool for discovering people, posts, and other inspiring outlets.

Dizzy had an eventful year as she just finished a tour with Biig Piig and has special plans for DIZZYLAND, an event she curated in October with

Sudan Archives, Junglepussy, Tei Shi, Shy Boi and Suzi Analog. She desires to continue writing more music, performing more shows, and “dancing like no one‘s watching”. Most importantly, Dizzy aspires to

grow as an artist for the rest of this year and into the new year. She is energized and engaged in fulfilling her next goals more readily than

ever. Her confident and ambitious nature is unstoppable, and it’ll be a pleasure to see what comes next.

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KYLE RICHER Interview By Sophie Gragg | P hotos + Design By Kyle Richer

FINDING BEAUTY IN THE MUNDANE - Kyle Richer’s particular eye allows him to create unique art with the unexpected resources. The artist’s ability to bring together an array of elements to form cohesive yet out of the box pieces brings the viewer in closer immediately at first glance. Richer uses his art to both spark conversation and bring his experience as a queer artist into the narrative as well. He keeps his experimental and open attitude at the core of his work and plans to continue to explore all the creative world has to offer.

LUNA: How do you think growing up in Rhode Island impacted you as an artist if at all?

RICHER: Growing up in Rhode Island for me was constantly a reminder that there was always something greater to experience. Not only because it’s literally the smallest state, but because I knew I was living so close to pretty prominent creative community in Providence. I’m also relatively close to New York, and even closer to Boston.

Growing up outside of a city and in a small town for me meant that I had to go a little further to find inspiration and be inspired. I think that is why I’m always trying my best to just soak up every second of every new experience I have because I know that it isn’t always like that, and sometimes you’re back home waiting for the next time that opportunity comes up.

LUNA: Can you talk a little bit more as to when/how you started exploring different mediums to create the art you make today?

RICHER: It all boils down to my deep interest with what I often describe as the “overlooked” or the “mundane”, but also the very real fact that this world is full of junk.

I’m so intrigued by different paper ephemera and old photographs that it’s gotten to the point where I have friends who will find bright colored papers or other trash on the ground, pick it up for me and give it to me when they see me and tell me that it “made me think of them.”

I get hung up in the history of where things have been before I came across them, or the people that are in these old photographs that I find and collect. There’s something really nostalgic in it for me and I hope for the people that view the collage work I make.

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LUNA: Why is it important for you to use your art to express a message?

RICHER: Art with a message or a motive always helps to start a conversation. I think the dream and hope is that it brings people together to talk, and share with each other. If I can facilitate conversation of any kind between people that means I’ve done something. It is also equally as important for me to sometimes make work that really doesn’t have a specific meaning or a message but was made for the pure fact that I just love to make things.

LUNA: What are some narratives you like to tell and explore through your work?

RICHER: I like to make work that dives a little deeper into the things we see or experience on a daily basis but don’t thing twice about. Whether that’s different collage materials like a shopping list, a fruit sticker, or a family photo from the 70’s. I like the idea of making something from things that others deemed as undesirable. I guess it boils down to a narrative of the discarded, that at times weaves in my own queer experience when applicable!

LUNA: Is there anything you want people to take away from your art? A particular feeling?

RICHER: I want people to be excited by what I’m making.

Most times it’s nothing new because it’s literally the kind of trash most people walk by on the street and ignore, but because I’m attempting to reimagine it in a way that exists in my own world where everything has some sort of value.

Also just a nostalgic feeling for these collected items as well.

LUNA: Broad question so take it how you like - what’s next for ya?

RICHER: What’s next for me is to just keep experimenting, in every sense of the word. Keep trying new things, keep exploring new places, keep meeting new people, and keep allowing it to influence the things I make.

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Asiya Way By Michael DeCristo | Shot On Dubble Sunstroke & Dubble Jelly Film.

Outfits provided by O’dolly Dearest.

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DANA MARTIN JAZZALINE WARE ASHANTI CARMON CLAIRE LEGATO MUHLAYSIA BOOKER MICHELLE ‘TAMIKA’ WASHINGTON PARIS CAMERON CHYNAL LINDSEY CHANEL SCURLOCK ZOE SPEARS BROOKLYN LINDSEY DENALI BERRIES STUCKEY TRACY SINGLE BUBBA WALKER BUBB KIKI FANTROY JORDAN COFER PEBBLES LADIME ‘DIME’ DOE BAILEY REEVES BEE LOVE SLATER JAMAGIO JAMAR BERRYMAN ITALI MARLOWE BRIANA ‘BB’ HILL JOHANA ‘JOA’ MEDINA LAYLEEN POLANCO

SO FAR IN 2019, THE HUMAN RIGHTS CAMPAIGN HAS TRACKED THE VIOLENT AND SUSPICIOUS DEATHS OF AT LEAST 24 TRANSGENDER AND GENDER NON-CONFORMING PEOPLE. THE AMERICAN MEDICAL ASSOCIATION HAS DECLARED THIS WAVE OF VIOLENCE AN ‘EPIDEMIC.’ IN THE US, SEXUAL ORIENTATION IS THE THIRD HIGHEST MOTIVATOR FOR HATE CRIMES, BEHIND RACE AND RELIGION. LGB-IDENTIFIED PEOPLE HAVE A 1 IN 5 CHANCE OF FACING A HATE CRIME DURING THEIR LIFETIME. THAT NUMBER JUMPS TO 1 IN 4 FOR TRANSGENDER INDIVIDUALS*. DESPITE THIS, 42 STATES STILL LEGALLY ALLOW FOR THE ‘GAY/TRANS PANIC’ DEFENSE TO BE USED IN HOMICIDE CASES, ARGUING THAT ONE’S SEXUAL OR GENDER IDENTITY TRIGGERED VIOLENT RETALIATION, EITHER VIA INSANITY, PROVOCATION, OR SELF-DEFENSE. IF YOU LIVE OUTSIDE OF THE STATES OF CALIFORNIA, ILLINOIS, RHODE ISLAND, NEVADA CONNECTICUT, MAINE, HAWAII, OR NEW YORK, CONTACT YOUR REPRESENTATIVE AND TELL THEM YOU BELIEVE EQUAL PROTECTIONS UNDER THE LAW EXTEND TO LGBTQ+ VICTIMS OF HATE CRIMES. IF YOU LIVE IN WASHINGTON, MINNESOTA, PENNSYLVANIA, NEW MEXICO, TEXAS, MINNESO NEW JERSEY, MASSACHUSETTS, AND D.C., CONTACT YOUR REPRESENTATIVE AND TELL THEM YOU SUPPORT LEGISLATION CURRENTLY IN COMMITTEE TO BAN THE GAY/TRANS PANIC DEFENSE. JOIN US AT @PANSY.ACTION *STATISTICS VIA THE AMERICAN BAR ASSOCIATION

Photo By Nikoli Partiyeli

LUNA THE

COLLECTIVE

The Luna Collective is a platform for the creative community spotlighting a variety of young artists. This film only magazine highlights talented individuals we come across as well as the work of our readers. The magazine is only one part of The Luna Collective so join us to see what else we get up to.

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THIS ISSUE’S TEAM

Founder & Editor In Chief: Sophie Gragg Graphic Designers: Mitchell Allison, Olivia Boryczewski, Khristine Le, Nikoli Partiyeli & Tina Tran Photographers: Myai Anthony, Brittany Bravo, Michael DeCristo, Lewis Caldwell, Alex Lang, Lani Parrilla & Kaitlyn Renee Writers: Shonali Bose, Melissa Miller, Sloan Pecchia & Isabella Vega

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THE LUNA COLLECTIVE â„¢ 2019