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photography Karen Elizabeth Evans styling Quentin Fears cover artwork Cecile Dyer

models: Andreas @ Envy Models , Pauline @ Fenton Moon NYC, Theresa @ Major NYC as “Welcome to the Red Lodge� make up Ren Nobuko hair styling Alexandra Andrade for the cover paisley shirt and jacket Tallia Orange and leather pants Jay Kos on this page for him total look Etro and horned pin Heidi Gardner, shoes Jean Michel Cazabat, for the girls total look Bcbg and shoes Jean Michel Cazabat story shot with Mamiya RZ67 on Kodak Portra 160 film 3


a magazine/celebration of analog phot









Director Jacopo Manfren

Art Director Leah Tsimberov

Fashion Editor NYC Quentin Fears Fashion Editor LA Shelli Moore

Public Relation Quentin Fears, Leah Tsimberov

Illustrations Cecile Dyer, Danielle Boykin, Tonia Riccardi, Mark Snurr Graphic Willam Addeo, Marilena Nuzzo Writers Jacopo Manfren, Stefano Ferrari, Isaac Winters, Rob Bellamy, Jack Stryker, Jay Tavarez Contributors Garry Belinsky, Karen Evans, Quentin Fears, Alyssa Chriencik, Ilaria D’Atri, Alessandra Conti, Magdalena Wosinska, Marissa Peden, Giuseppe Reggiani, Nue Studio, Naomi Zinns, Siul Martinez, Giampaolo Parodi, Cristina Vittoria Marazzi,Ruben Kristiansen, Jay Tavarez, Racquel HonorÊ, Erin Wilson, Hannah Melde, Brian B Olson Special Thanx to Chad of Avalon and Renee Esebag

Visionarios Magazine has been registered at the Civil Court of Milan in the 27 of july 2012 with number 291





photography Garry Belinsky artwork Cecile Dyer pictures shot with Hasselblad 503cw on Ilford HP5 film




“Somnolent” by Hannah Melde


TU ERES LA ESTRELLA ESTELLA WARREN photography and text Jacopo Manfren @ MS Mng styling Shelli Moore @ MS Mng

It’s a black and white story, with some touches of rosee and clouds of spray color here and there, the one we’re telling today. We are in the studio of Louis Carreon, losangeleno street painter, hosting all of us for the photoshoot in the heart of West Hollywood, while his paintings (and himself also a little) make the frames of Estella. It seems a circus to me where Estella is the acrobat, the trapez artist, the girl of the knives… she doesn’t fear to run on the rope and smiling to us and to the thousant faces on the canvas… she is beautiful and shines like a star. Estella Warren belongs to the last generation of the top models, the more minimal one of the end of the 90’s, but when she was young she wasn’t consciuos about that: she starts a career in the synchronized swimming, that means reharsals every day (“the russian girls… so strong and invincible”), water and smiles (“to say the truth I didn’t want to smile during the show and I was always looking for a different expression, I don’t know why and I only imagined to be a different animal every time) and school in the morning ; little, really little social life.


ombre strapless gown Junko Yoshioka, shoes Jimmy Choo


bra La Perla, silver chain strap s


The change happens when, during a visit in New York, the fashion photographer Ellen Von Unwerth notices her pics in a model agency and she already wants her for her next Italian Vogue shoot; she can’t stay in New York because the day after she has the reharsal but she decides to take the last flight and make the shooting. Estella didn’t know anything about magazines and fashion, she was only concentrated on her swimming career, but everything happens day by day: big campaignes, big designers and big photographers want her. Irving Penn (“I still remember that big close up of my face with living birds” ), Patrick Demarchelier (“ a lot of times” ), Peter Lindbergh (“he’s so simple, he just takes few pictures and he always knows what he wants”) and Jean Paul Goode (“Egoiste , Egoiste!”) are some of the artists she worked with and Italian Vogue, American Vogue, Victoria’s Secrets and many other magazines and clothing companies to name a few. (ESTELLA) Everything was happening really fast! Of course I enjoyned and I had a lot of fun, but when I think about that times, I even remember that I felt a little bit lonely in New York and I was definitely really young; I have always been the youngest one! From my swimming pool team to my fashion career…

silver harness Anaikka

(Visionarios) What do you think about the photographers of today and the photographers you worked with when you were modeling? Big difference? I guess so; first of all just really few of them still use the analog photography (that I love). I don’t want to say it’s better or worst but I notice a big difference in the way of shooting: digital photographers are always distracted y the image that suddendly appears in the camera and they tend to look more at that than watching and observing the reality of what they are shooting. I think it’s a pity. Personally I never want to see how the shooting is going on: I only want to have the direction from the photographer and no more, I do my job like he does.

How did you become an actress? One of my first job was with the director Luc Besson for the advertising of Chanel N 5 and when I met him again, some years later, he saw me deeply changed and tired, maybe of all the fashion system and that I should have tried to do cinema cause I was really good in his opinion; the idea came from him and so I moved to Los Angeles. “The Planet of the Apes” followed… how did you manage to work with all the talented people who were involved with the movie? Tim Burton first but even Helena Bonahm Carter, Mark Whalbergh… 19

Yes “The Planet of the Apes” was huge… I was just going on looking to the other ones, but everyone has been so kind with me! I think I succeeded doing that only because I was young (as usual) and I wasn’t realizing the big entity of the entire thing… if I had been older and had the mind to think about what was happening I’m sure I would have totally freaked out! What about Louis and his paintings? The great idea of shooting in his studio I have to admit has been yours. I have met Louis sometime ago, I was at Cecconi’s and I had just bought my camera ( a super cute digital one with the aspect of an old leica) and I was desperately searching some new inspirations; when I get bored I become dangerous… I need to keep myself busy and my mind working in several ways: from meeting new interesting friends, to having new experiences or studying the work of other people. I decided to starting taking pictures and so I bought this camera. That evening at Cecconi’s was really crowded and I noticed him standing all alone in the middle of all the people, with a leather jacket, I remember his handsome face at the same time sweet. We started talking and he told me he was a painter, so I went to see his work and I felt in love, I start taking pictures of every painting and we even became close friends… I feel so good with him and I think his personality is the masculine equivalnt of mine! So you are a really creative mind! I need to be creative or I get lost and I experiment many mediums; I am realy found of photography, I start taking portraits of my friends, but I also love to paint – but really different style from Louis – and writing. I have been writing a sort of journals from several times about my experiences, my life and even my relationship with men!


A last question… future projects? On a side I will go on surely with my artistic research, while in the other side, after filming a movie with Alec Baldwin where I portraiyed a really dramatic role, I have been offered two movies with Gary Oldman and Nicholas Cage… but I learned from experience that until I am on the set I won’t believe it’s happening!!

a-symmetrical zipper gown Gaurav Gupta necklace Sazingg shoes Fornarina throne-chair Sovaking Baroque



paper dress by Louis Carreon and Shelli Moore earrings Sazingg foundation and make up Street Saint Cosmetics


printed strapless gown Val Stefani, cuff Desla Couture

make up Donald Simrock @ Margaret Maldonado hair Nick Manelos @ Magnet LA photography assistant Tanner Le Moine from Elite Fashion Academy stylist assistant Ivan Yosafat make up assistant Miho Suzuki all paintings and the wall by Louis Carreon story shot with Zenza Bronica ETR and Nikon F801 on Kodak Portra 160 film

jacket Gemelli, shirt Versace, tie Ted Baker, pants THVM 26

THE IVORY TOWER TAYLOR HANDLEY photography Jacopo Manfren @ MS mng styling Alyssa Chriencik



jacket vintage, shirt Ted Baker, tie Bloomingdales

outfit Shades Of Grey By Micah Cohen, shirt Michael Kors, scarf Gemelli


jacket Versace, shirt Robert Graham, bow tie Ben Sherman, pants THVM 30

grooming Bobby Eliot using Street Saint Cosmetics photography assistant Kate Alexandra location HQ Avalon Studios special thanx to CHAD and Elite LA story shot with Zenza Bronica ETR and Nikon F0801 on Kodak Portra 160 film 31

“Ultrastructure #3” by Bryan B Olson


VERTIGO photography Ilaria D’Atri stylist Alessandra Conti

hat Maison Martin Margiela, grey leather coat Marni 35

vintage necklace Jean Paul Gaultier sweater, skirt Rick Owens, shoes Marni


dark green dress Azzedine Alaia archive


red silk blouse Tata-Naka, coat Jil Sander, tigh Wolford, black leather shoes Givenchy


hat Masion Martin Margiela, angora jumper stylist’s own, white silk dress Tata-Naka, shoes Marni, necklace stylist’s own.


gown in grey silk stylist’s own

model Caroline Jarvas make up artist Maddalena Brando photography assistant Giulia Frigieri stylist assistan Francesca Cisani 40



night (only) in the

city of angels photography Magdalena Wosinska styling Marissa Peden



him: jeans Levis, shirt Polo her: suit Raquel Allegra


her: thrifted jacket, Golden Goose boots, Evil Twin bustier him: shirt Bugle Boys, pants OP, jacket Levis



him: Vans Shoes, Kill City shorts, thrifted vest her: Escada jacket, We Are Handsome swimsuit, Levis shorts

models Andreas @ Envy LA, Elle @ Pinkerton models make up Caroline Ramos hair Bobby Eliot story shot with various Kodak disposable cameras 49


A GREAT ESCAPE photography Giuseppe Reggiani & Jacopo Manfren styling Nue Studio


dress Missoni

foundation and make up Street Saint Cosmetics


dress Alberta Ferretti shoes Fornarina


total look Diesel

model Genevieve @ Q Models LA make up Mary Anne Seifert hair Erika Barquinero from Elite Fashion Academy locations (and special thanks) Govinda


s y u G photography Siul Martinez styling Naomi Zinns


Nick, USA @ Envy Models LA Levi’s denim vest and shorts, vintage flannel shirt

Diane, USA @ Pinkerton Models LA BDG jumper stylist ‘s own jewelry


Uliana, Russia @ Pinkerton Models LA Truly Madly Deeply t-shirt, MinkPink vest

Andreas, Denmark @ Envy Models LA Lazy Oaf shirt


Robert, USA @ LA Models Zara shirt


Malea, Hawaii @ Pinkerton Models LA Staring At Stars dress, flower crown Headband

make up Doneisha Benton using Street Saint Cosmetics hair Erika Barquinero and Doneisha Benton from Elite Fashion Academy story shot with Mamiya RZ 6x4,5 on Kodak TriX 400 film 61

shoe Alberto Biani crafts Il Faggio by Del Curto Lucia ring




photography Giampaolo Parodi styling and propping Cristina Vittoria Marazzi



crafts Il Faggio by Del Curto Lucia, jewels Villa San Giorgio by Sabrina Bosemberg, “The little devil” sculpure by Luca Salvadalena


shoe and scarf Alberto Biani, bow Leitmotiv, “La Zoccola” sculpture by Luca Salvadalena

photo assistant Daniele Re style assistant Alessandra Giusto story shot with Nikon F3 camera on Kodak Gold 200 film


photography Jacopo Manfren

Diesel Fuel for Life

Egoiste Chanel

Giorgio Beverly Hills


Diesel Fuel for Life


models Andreas @ Envy Models LA, Marco @ I Love Models Milano, William Copsey story shot with Nikon F801 on Kodak Plus X 125 film






photography Ruben Kristiansen make up artistry Ida Aida Almaas




muse Jeanette @ Team Models hair Thomas Mørk @ Loud Hair styling Nicolas Perez story shot with Mamiya 645 camera on Portra 800 film 73

“Field Trip” by Hannah Melde

Watching waiting


- photography Erin Wilson



Disappearing act


Most prison walls are invisible


Salton Sea Cafè


A loss for word






Trailor Doll


We are free to think

Photos shot with Kowa Six and Pentacon Six cameras on Ilford HP5 Plus, Fujicolor Pro 400H, Fujicolor Pro 160NS, Fuji Provia 100F and Kodak Tri X 400 films 85


“Ultrastructure #4” by Bryan B Olson

HALF CENTURY AND MORE LUIGI SALVIOLI text Stefano Ferrari Luigi Salvioli was born in a small town near Florence. His father comes from Piemonte, he was a soldier “reading Steinbeck and all the american authors”. He spends his childhood in Tuscany. Then, at the age of 20, he becomes a soldier also in Turin. “At this time there was an incredible cultural excitement: there was the Living Theatre, I still have some pictures with Jack Kerouac and Fernanda Pivano… the beat generation and all the writers of the american avant garde arrived in town…” Fascinated by that wind of cultural change he leaves the Army and goes to Florence, where he gets involved in the movements of 1968 and what happens to him a few times, later is one of the many facts of life: in those days in Florence the Made in Italy Fashion was born: “All the fashion designers were coming to Pitti to present their collections, between them there was a really young Giorgio Armani, I ended up posing for the pictures for his advertising.” His pictures were published in some american magazines and with the little money he earned, he decides to leave for Turkey; “yeah at that time these were the destinations… Turkey, Srilanka, Tangeri; until my father called me suddendly, - come back, everyone here from Italy and France is looking for you!” Luigi becomes a highly requested model: “ I wasn’t really sure, I didn’t know anything of fashion and magazines and I wasn’t really into it, but I had a certain elegance , a little bit 30’s style, with a good body shape from my family; if I look at the pictures of the Army I was already a model in the attitude but I hadn’t realized it.” Meanwhile the Made in Italy moves to Milan and the affairs grow: “The companies started to book the designers and to invest money… everyone was loooking at our product; the italian fashion was more elaborated and innovative, from Armani to Versace and Valentino”. Milan becomes the capitol of fashion advertising, where all the companies shoot their pictures: “So the fashion photography was born.



on the top a young Luigi posing for a cover, below italian singer / icon Milva, by Giampaolo Barbieri

In the beginning, the only important photographer, taking inspiration from Richard Avedon, was Giampaolo Barbieri, but after him many others followed; the models as well became famous if they were working in Italy, the US didn’t have that importance of today, Italy was the center of the world.” Salvioli, a successful model, decides to move forward “I have to turn the page sometimes”, he says smiling. He gets called into New York City by the famous Ford Model Agency and he starts working with designers and photographers looking for new images and new faces to break into the fashion industry.

In the opening and in this double page italian actress / bombshell Monica Bellucci photographed by Giampaolo Barbieri.


“I was thinking that the communication had to change in someway – I am a communicator in reality – and I took into the fashion advertising several actresses such as Isabella Rossellini and Francesca Neri; I was looking for some people with a strong artistic personality, such as Matthew Barney, I was the one who pushed him first”. He even starts to suggest photographic projects and gallery expositions with upcoming photographers . It’s with the arrival of the 90’s that the Made in Italy starts to fall down: the american magazines of the Conde Nast Edition rise up and start producing their fashion advertising and influencing the language of communication; “Italy starts loosing power in images in the magazine as well. If in American Vogue you could see the american style, that didn’t happen in the Italian edition: the Italian image was influenced too much and lost its personality”. It was in these days that Luigi starts working with those talents outside of the american Conde Nast that have few visibility: he worked a lot with Giampaolo Barbieri, Fallai and Parisotto followed, until new young photographers such as Dragan; he moves forward in cinema, in the social scene, and he always looks for new ways of communicating. This is Luigi Salvioli today. After an hour of talking we take a break for a cigarette. “Today, I’m not thinking of shooting a campaign with a top model and a great photographer, the studio, the white background... it is not so interesting anymore, it’s antistorical. I’m looking for a new style, more contemporary that could show how this generation is changing. With the communication of today there are many social stories… even if you don’t show them you have the ability in some way to suggest them”. But what does he think about the new digital era in photography? “On one side it has created genius photographers, from the other side, digital photography has destroyed the classic concept of pictures we were used to”. Many photographers think that as the worst… “The classic photographer has a crisis in the same way the painter was with the upcoming photography in the mid 1800. Today digital photography is available to everyone and it’s a consumistic good; everyone can use it, the best ones makes shows and expositions, the risk of course is that everyone thinks to be the best and so the real ones are lost in a sea of trash”. We ask the last question… what about future projects? “I have just finished an exposition about the italian designer Enrico Coveri. Fallai at Bardini Museum will follow, together with a movie with Clara Calamai and a book called Sfashion”. We ask if he’s a Scorpio “How do you know???” We read it on facebook! “I made a lot of messes on facebook” So what does the Horoscope have for the future? “Are you the same sign?” Yes “Good things! The year has been great until now!!” 92

italian actress Francesca Neri for Salvini Jewels by Giampaolo Barbieri


“Propensity” by Hanna Melde


KEVIN SLOAN text by Jacopo Manfren

Kevin Sloan lives in Colorado. He welcomes us into his studio ( a complex of studios with other artists) on a cold afternoon of early spring. We are talking about his space; full of personal objects, stuff for painting and books. He appreciates this new experience: “I have always had my studio in a depandance of the house and I hadn’t imagined I would have wanted so much to share the space with others… you can exchange ideas, point of view, visions... it’s really active!” Kevin, let’ s start from the beginning, and have you introduce yourself, your education, your cultural background and your first painting experiences. I was born in a little town in Iowa, totally in the middle of nothing and I grew up in a sort of “middle class” enviropment; my family was not really interested in any kind of artistic research, it was totally another world to them.

“A modern family”

From a young age I have always been fascinated by drawing and crafts and in high school I became totally obsessed by art; I was lucky to have met really supportive teachers that in someway encouraged me to develop my passion and create a sort of “primordial” style of painting. I experimented with many crafts, among them the ceramic decoration had a really important space. 96

So we can say your education was purely academical Yes, I would say that, and after high school it became clear to me that I wanted to pursue this career and to go on with University. The experimentation I did in my high school period (I even tried abstract) really helped me to discover what I like most. 97

“The Preserve”

What do you use for your painting? I mostly paint with acrylic; it’ s easier and more comfortable for me! It dries faster, it doesn’t smell and I admit I love the feeling, even if I was educated with oil, which is considered of a higher level. And about your inspirations? We can see several different periods in your painting; I would say the italian painters from the 1700 (Tiepolo in primis?), the flemish stil lives of the 1500, but of course a strong component of surrealism and symbolism…

I usually look at the past in general (especially for the technique and for the descriptive realism ) and I am really interested in the period that goes from the 1600 to 1800 in an american contest. I love the italian and spanish painting, I love Zuberan, I love the painting of landscape, especially in that period, when the country was still new and to be discovered. I feel a strong sense of romanticism and drama in those colors and lines. Two great artist I really admire in fact come from that era and they are John James Audubon and Martin Johnson Heade… they were not only painters but even travellers, adventurours. They wanted to know more, to see the world, they documented the New World of the South America. In my work there is a great component of exoticism and marvel but seen with the eyes of a long time ago. And my work is even a homage to these artists. Let’s talk about the subjects: we often see animals, objects, flowers and fruits used in a symbolic way… there are quotes to the time in objects (clocks, clessidre), the animals sometimes are crown, sometimes are objects, and we see often a surrealistic union between animals and objects… I decided to use animals as human beings, but not only that. There are many things in the world outside our collective daily ideas, because they are exotic, far or wild; one purpose of my painting is to make them closer to our mind. I usually start my painting from the idea I have in the title: I have a vague image of the painting and a more clear title from where I develop the work and I think it comes from my love for the writing. 98

“The Holyday”

The time pieces and all the references to time are usually used to describe the Time going that it’s a really strong theme in the day we are living today. We are obsessesed by the time passing by and in my painting there is a strong stasis, maybe in opposition to that. I like the idea of a free interpretation of my work; it has happened several times that people gave their personal opinion to that… most of the time it’s wrong but I don’t mind! 99

“The Bourden of Formality”, in the opposite page “The Donation”

The time pieces and all the references to time are usually used to describe the Time going that it’s a really strong theme in the day we are living today. We are obsessesed by the time passing by and in my painting there is a strong stasis, maybe in opposition to that. I like the idea of a free interpretation of my work; it has happened several times that people gave their personal opinion to that… most of the time it’s wrong but I don’t mind! Another really recurrent aspect of your painting is the theme of the ceremony or the parade… is there a religious aspect in this? Yes in part it’s remembering my catholic education that features so many rituals and performance; and this is another way to represent the time passing by and to describe at the same moment that something really extraordinary is going to to happen, something really rare and unusual, an event, and the processioni is the best way to describe it. It’s really religious but without the dogma, it’s almost pagan; the nature and paganism are really alive. And there is a powerful stasis in all the movements of the “actors”… It’s enhancing the extraordinariety of the upcoming event. Even the landscape is useful to this: most of the time the scenes are settled in the sunrise or in the sunset, a magic moment that finish quickly but with a huge evocative and dramatic feeling. Talking about the landscape, what about the paintings inside the other paintings we often see? It’s connected to my idea of “life as a theatre” , and with my painting I want to do the same, to create a theatre. So what’s behind the curtains? I try and I want to reveal something but never the whole reality! It’s better to not understand everything and keep the innocent glaze of a child… now the world is obessesed to know everything, with my painting I want to create questions more than answers, I love the open ending, I want to be timeless. 100

A NEO NOIR - James Foley In this underrated gem, Jason Patric stars as Kevin “Kid” Collins, an enigmatic former boxer turned vagrant, who travels the U.S. highways aimless and alone. His journey takes him to a small, unwelcoming town where he meets a mysterious widow (Rachel Ward) who offers him work and a place to stay on her property. Through his connection to her, Kevin is introduced to Garrett “Uncle Bud” Stoker, a former detective who shows a strange interest in the retired athlete. It is later discovered that Collins, being nicknamed Collie by Fay (Ward), is actually an escapee from a mental institution. Despite this, they move forward with a plan to kidnap, and hold the child of a wealthy family for a high priced ransom. The ensuing turmoil acts as a catalyst, and Kevin finds himself staring down a road wrought with deceit, distrust, and forbidden romance. This is a film that is well worth viewing. The cinematography is perfection; every angle wonderfully captures the intensity demanded by the gripping storyline, and compliments the depth that would be expected from a stylistic noire.


I applaud Jason Patric for his portrayal of the character Kevin Collins; he stole the movie. His acting shined brightly through the entirety of the motion picture without a moment of doubt that he was, “Kid� Collins. Overall, I recommend this movie to a broad audience, as it not only has the elements of a noire, but also outstanding elements of a character piece. This movie is an adaptation of the novel by the same name, written by Jim Thompson (The Killer Inside Me, Savage Night), and is brought to life by director, James Foley (Perfect Stranger, House of Cards), and screenwriter, Robert Redlin (Bare Knuckles). Isaac Winters


A DANCE IN THE DESERT - Ron Senkowski “A Table For One” is a movie that taps into a persons thoughts of psychosis, curiousity and paranoia. The movie begins by the viewer meeting the protagonist Ruth: she is a stay at home wife who believes her husband is cheating on her while he goes to work as a traveling salesman. His work schedule has him leaving for at least three to four times a week which leaves Ruths mind to wander and feed more into her psychosis. Ruths paranoia manifest itself in such a drastic way that she has built life threating traps around the house for her husband. Whether it be a haywire toaster or orange juice with bleach as one of the ingredients safety is a big issue in Ruth’s house. As Ruth’s husband travels to work we see that Ruths suspicions are in fact a reality as her husband not only is cheating on her,but is living a double life with a intirely different family. He in fact also has another office job rather than a traveling salesman.


Ruth’s suspicions come to a climax once she finds a gun that her husband has hide away from her. She can no longer go on without doing anything to take control of the situation and her life. Ruth feels that she needs that affection as a woman and that her husband is using her and she decideds that she will find that affection somewhere else. Mentally brokendown by her paranoia Ruth decides to seduce her new neighbor that is married and to gain more attenction from him she decides to also try and seduce the mailman which leads to a problem within itself once that situation becomes out of hand. Ruth confronts the neighbor once she realizes that the neighbors wife is no longer at the house; he lets her know that they decided to take break from there marriage, which Ruth sees as an opening and ask him out on a date. As the story unfolds this love triangle becomes more than a lovers quarel and transforms into a life ending as well as life altering situation. Rob Bellamy


A BEYOND-DARK COMEDY - Robert Lee King The “choral” style of a Greek tragedy, a campy and politically correct black humor piece with a little touch of “Four weddings and a funeral” … here we have the last interesting work of Robert Lee King, a Los Angeles director, author of the cult hit “Psycho Beach Party”. We see again the classic features the director has displayed in his movies: the cinema (or better the soap opera and the 50’s adv this time) entering and mixing into real life, the blonde protagonist (Beth Broderick, a beautiful stunning Sabrina of the past, not young anymore, but always great, especially in a nude scene), the retrò style, the suggestive material, and Los Angeles as usual the frame of the movie; but this time its not the Malibu beaches and the surfers, but some mansions of Beverly Hills and the disquieting Valley.


Alyssa is an ex soap opera diva, that unhappily accepts the role of a cheating wife of a rich businessman. She decides, with the “disposable” lover of the day, to kill her husband to get the money of the heir… but this is only the first of wrong murders that will lead to the visits of nocturnal phantasms, vengeful daughters, admirers to hook like a fish, smiling earrings and policemen that are so stupid it’s impossible! It is all around a chaotic dance of extras filling the stage with colors and noise and at the end a party or a funeral will turn the tears into smiles or the opposite! Jack Strykers



“Clair De Lune” by Bryan B Olson








“Delicious Land” by Bryan B Olson




Issue 2

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