| PRINT CLUB LONDON POP-UP |
[Dec. 18th, 2009|08:42 pm] |
Via Dazeddigital.com
Set up in 2007 by Fred Higginson, Rose Stallard and Kate Newbold, The Print Club London has been reviving screenprinting by providing a laid-back, affordable environment, which enables designers and illustrators to go from laptop to inky hands. As well as running their studio empire, they curate one of the UK’s biggest screenprinting poster shows each year, working with and selling affordable prints by some of the UK’s most prolific illustrators, designers and street artists. This Christmas they are opening a pop-up shop at 214 Brick Lane, a one-stop destination for Christmas shopping, with limited edition, signed, silk screenprints by the likes of Joe Wilson, Hennie Haworth, Rose Stallard, The Ministry of Love and Tinsel Edwards starting at £35.
TPC's director Kate Newbold-Higginson has joined forces with Cure Studio's James Hurst, selecting from the wealth of illustrators that pass through TPC doors to set up new illustration agency HigginsonHurst. Two of the artists they are taking under their wing are Damien Frost and Paul Bommer , who talked us through the world of illustration today.
Dazed Digital: You both have a very distinctive aesthetic – is this something that's developed gradually over time, or have you always drawn in one specific style?
Damien Frost: I've always been a big fan of old master and renaissance painting and I guess my illustrations have followed on from my painting, which is figurative and relatively traditional. With each new project, I always try and loosen things up a bit but nature over nurture seems to always win and I end up coming back to what I feel more comfortable with.
Paul Bommer: When I first started working professionally, I was creating very digital and vector-based images, but ultimately found it stifling, cold and limiting. My first love is drawing and always has been – I adore the energy and immediacy of the characters and line-work fresh from the pen tip. Starting my blog (http://paulbommer.blogspot.com) a few years ago really helped free up the way I work, and it continues to do so. This last year or so, I've been focusing a lot on screen-printing as well, and that's had a huge impact on my work.
DD: What are your favourite materials to work with?
DF: I love painting in oils, but my illustration work tends to be a mismatch of pencil, pen and computer. I usually have several drafts with different materials taking greater prominence. Usually, it's the computer that wins.
PB:
I love to work using a variety of media, depending on what's to hand and the mark and feel I'm after. The graphic pens I use the most are Staedtler pigment liners and Edding 1800 profipens. I tend to work directly into my notebook and then scan into Photoshop to further work up or use as screen print stencils. Generally, I try to keep the digital input to a minimum - I prefer the simplicity of the image itself to do the talking without too much 'garnish'.
DD: Where do you find inspiration?
DF: Walking or riding my bike around the streets. There's always so much to look at, both physically and emotionally. I'm originally from coastal Australia and it used to be that while surfing I'd always go over projects in my head. I guess riding my bike around the London streets kind of fills that void.
PB: I find inspiration everywhere, in the work of other artists past and present and in the world all around me – from illuminated Medieval manuscripts, folk art, pub signs and 18th century woodcuts to the work of Edwards Lear and Bawden, and Czech book and poster design of the 60s and 70s.
DD: Who are your favourite illustrators at the moment?
DF: I love Marcel Dzama's work, and the comic artist Chris Ware. Some younger illustrators I really like are Staffan-Larsson and Karolin Schnoor whose work always bring a smile to my face.
PB: There is a wealth of great image-makers out there. A few of my favourite illustrators at the moment are the Canadian Guillaume Pelletier, Köln-based Michael Zander, Marco Wagner, the superb John Broadley, and Robert Rubbish & the Le Gun crowd.
DD: What would your dream commission or collaboration be?
DF: Working with or for, or just seeing how Michel Gondry works would be simply amazing! There would be a list longer than my arm of the bands I'd love to collaborate with... It sounds terrible, but I think my dream commission would be just to have the money to work on my own little projects. I've always got several on the boil, but never the time nor money to get them done satisfactorily. Illustrating a children's book would also be a lot of fun!
PB: I love to collaborate with any clients who value imaginative graphics and design, are willing to take a few risks. My ideal commission would be one where I'm given free rein to flesh out a past and/or a fictional world, and give it colour and form. I would love to do posters for theatre, film and opera productions, as well as illustrate the works of the likes of Henry Fielding, Thackery, James Joyce, Charles Dickens or the lives of characters like Ben Franklin, Samuel Pepys or Dr Johnson.
Print Club Pop-Up Shop open Saturday 19 and Sunday 20 December from 11am to 6pm at 214 Brick Lane, London E2
New prints from Si Scott, Anthony Peters, Paul Bommer, Emily Forgot, Celyn Brazer, Hennie Haworth, Malika Favre, Luke Whittaker and more. |
|
|
| Next to Patriots, Celtics are road greaters |
[Dec. 18th, 2009|08:32 pm] |
From Boston.com
by Christopher L. Gasper
Once again it's time for the Patriots to pack their bags for a road game. The real baggage they will take with them to Buffalo for Sunday's game against the Bills is their lack of a real road win this season.
As all Patriots fans -- well, almost all Patriots fans (more on that later) -- know by now the team is officially 1-5 on the road this season. Even that one win has an asterisk -- or maybe that funky British pound sign -- next to it since it came in what was a neutral site game in London against the Tampa Bay Buccaneers. We could debate whether this counts as an actual road win or not all day. Full disclosure, I've changed my tune on this.
It certainly was a long road trip, that's for sure. But the fact remains that the Patriots' are 0-5 in road games that don't involve passports or pence and they don't have any more of those on the schedule.
The Patriots clearly need a little help when it comes to reversing their fortunes away from Foxborough. So let's go to the Boston professional sports team that has been right at home away from it -- the Celtics. While the Patriots have found the road rough, the Celtics, who are 20-4 overall, have been visiting victors, posting a 12-1 road record, the best in the NBA.
Doc Rivers's team's lone road loss came against the Indiana Pacers in Conseco Fieldhouse, a game that was played the night before and a few blocks away from the Patriots' self-immolation inside Lucas Oil Stadium. Since then, the Celtics, winners of 11 straight heading into tonight's home tilt with the Philadelphia 76ers, have won eight in a row on the road.
Rivers and Patriots coach Bill Belichick have a mutual admiration society. Rivers has borrowed Belichick's famous "Do you job" line and Belichick and many of his players have been visible at Celtics playoff games the last few years.
Does Doc have any advice for Belichick on how to wrangle a road win?
"No, I'm taking advice from Bill if I can get it. I don't think he needs any from me," said Rivers, following yesterday's Celtics practice. "They'll figure it out. The only time you need to win one is when the playoffs start, so that's the good news."
Yes, it is, but the bad news is that the Patriots won't make the playoffs if they don't score a road win in the good old US of A.
Patriots quarterback Tom Brady, who has also been known to take in a Celtics game with the missus, has already said that the Patriots can't afford to lose to the Bills and expect to make the playoffs.
A second postseason without the Patriots would be a major downer for Celtics shooting guard Ray Allen, a Patriots fan since his days at the University of Connecticut. Allen said he wasn't aware that his favorite football team was winless in real road games this season.
When advised of the situation, he took umbrage with the idea that the win over the Buccaneers in Wembley Stadium doesn't count.
"That's still on the road, though," said Allen, truly sounding like a Patriots fan.
So, as a Patriots fan is Allen worried about the Patriots road woes? He said no, citing the quality of opponent the Patriots have faced (the Jets, Broncos, Colts, Saints and Dolphins all have winning records and the Colts and Saints are undefeated) and his belief that they're still one of the best teams in football.
So far the Patriots are getting a lot of moral support here from the Green, but not a lot of help. C'mon guys you got to have something to help your New England sports neighbors.
How about letting them take your team plane to Buffalo? You won't need it until Christmas Eve, when you go to Orlando for a Christmas Day game against the Magic. That will mark the start of a four-game road trip that will literally have you going from coast to coast with games against the Los Angeles Clippers, Golden State Warriors and Phoenix Suns.
"All those guys couldn't fit on our team plane. They couldn't fit on our team plane," said Allen with a grin.
How about sartorial suggestions? Forget about the "Pat Patriot" throwbacks, which the team wore the first time they played Buffalo at Gillette. Those uniforms have proved unlucky in road losses to Denver and Miami.
"Green is pretty lucky. We should just throw some green their way, put on some green jerseys," said Allen. "Put some green somewhere on their jerseys. Somebody wear some green socks. Everybody wear some green shoes or get a clover on their jersey."
The Patriots have had some, er, problems with their mascot lately; maybe the Celtics can lend them Lucky for a spell.
"We're keeping Lucky, that's for darn sure," said Rivers. "He's a good one."
All kidding aside, the Patriots have to do something to find a way to win on the road. They're already guaranteed of posting their first losing record on the road and worst road record since 2000, Belichick's first season as coach. They went 2-6 away from Foxborough that season.
With a win in Buffalo and in the season finale at Houston, the Patriots could finish 3-5 on the road, counting their trip to London as a road win, and the history of teams with losing road records winning the Super Bowl is not good. The only team this decade to win a Super Bowl without a winning road record is the Colts, who went 4-4 on the road in 2006.
“We need a road win because if we want to get where we want to get we’re going to need a win on the road,” said running back Kevin Faulk.
Faulk is right. The Patriots either need to find a way to win away or in January they'll be ceding the Boston sports stage to a team that can, the Celtics. |
|
|
| EPHEMERAL ART AND THE CULT OF CELEBRITY |
[Dec. 18th, 2009|03:19 pm] |
Via Dazeddigital.com
With ephemeral art hitting the headlines because of Turner Prize-winner Richard Wright's bold anti-art market statement, we bring you a debate from Crunch 09: The Art Festival at Hay, an event that is something of an art world anomaly. Where else could artists like Richard Wentworth share a platform with maverick author Julian Spalding – a man who over the course of the weekend branded Damien Hirst, Tracey Emin and Joseph Beuys “worse than junk" – and stalwart art critic and BBC personality Godfrey Barker learn how to deface public property with graffiti artist Felix Braun?
For those that missed out on last month's art extravaganza, this edited version of the Ephemeral Art And The Cult of Celebrity debate, in which Saatchi Gallery curator Patricia Ellis was joined by film-maker Ben Lewis and legendary art commentators Anthony Haden-Guest and Godfrey Barker should prove enlightening...
Richard Noble: Is there such a thing as a cult of celebrity in the contemporary art world and does this somehow compromise the aesthetic and ethical integrity of contemporary art?
Patricia Ellis: I think Britain’s unique when it comes to art and celebrity. I can’t think of any other country where contemporary art in the media has such a high profile. Damien Hirst and Tracey Emin are often described as famous, but for me, Michael Jackson is famous, Nicole Kidman is famous. I feel quite confident that Damien Hirst could walk down the meat aisle in Tesco without getting mobbed.
They are recognisable, however, and that is interesting. In Britain, any butcher or cabbie can name a living British artist. This isn’t the case elsewhere. This is a good initial starting point for a public education programme.
And artists are using this celebrity in a really intelligent way. Damien Hirst uses the media as a medium. It’s like a sculpting tool for him. It’s become an integral part of his practice.
Anthony Haden-Guest: The question was: is there a cult of celebrity in the art world? There’s a cult of celebrity in the world, period. It’s natural that the artists would deal with it. Bad artists deal with it badly. Good artists deal with it well. Some get destroyed by it. Arguably Dali was destroyed by his own celebrity, by becoming a persona.
Jeff Koons’s Michael Jackson With Bubbles is a kind of investigation of celebrity, the power of celebrity, the force of celebrity. I think Richard Prince has been one of the most consistent artists in his treatment of celebrity. He’s very interested in media culture.
Francesco Vezzoli is another example. He first came to international recognition with his film Trailer for Gore Vidal’s Caligula in which he cast a lot of his famous friends, including Courtney Love. His new piece premiered recently in Los Angeles and featured the Boshoi ballet and Lady Gaga. Vezzoli uses celebrity, it’s what his work is mostly about, but he’s not like an Andy Warhol – he doesn’t adore celebrity. How can one live in this world and not be interested in this culture? Not all artists are, but many investigate it and God bless them, someone’s got to.
Godfrey Barker: The personality cult has been around for a long time. The real question here is whether the personality of the artist is going to last longer in the 21st century than the artworks they leave behind them?Ben Lewis: One of the really interesting things about our culture is that we think celebrity is a kind of value. If someone’s famous, they’re good, particularly if they’re an artist. That’s a very solipsistic aspect of the art world - if an artist has reached a wide audience, they’re marvellous because art never reaches a wide audience, so any artist who does has done a fantastic job and we should really admire them, and not criticise them because they’ve achieved this wonderful goal of celebrity.
Celebrity is a death sentence. When you start making art about your own celebrity, it very quickly becomes art about the vacuousness of your world. We shouldn’t applaud artists who embrace celebrity; we should look on them with horror and disgust. Tate’s Pop Life exhibition should have been called Pop Death, because it’s a collection of all of the worst art that’s been made over the last ten years.
GB: Britain is the international capital of celebrity artists. We may not have that many but we’ve got more than anyone else has!
AHG: Well this is partly because of Charles Saatchi. Art has become a major event; it’s sucked in the energy from many other areas of culture.
PE: These artists are almost like cultural ambassadors. I disagree with Ben in that all of the artists whom we consider ‘celebrities’ are first and foremost known for their artwork. It’s not like they just got lucky and wound up on TV or in the Saatchi Gallery, or hiring Jay Jopling as their gallerist. They earned their stripes – they have degrees, they’re there because they’re very good at their job.
BL: That’s farcical! They’re not there because they’re doing their job; they’re there because rich collectors bought their artwork and turned it into a big media story!
PE: Collectors are not stupid people. They don’t buy artwork for...
BL: They’re morons, have you ever met one?! Anyone who thinks collectors are intelligent should read Charles Saatchi’s autobiography. That’ll finish anybody off.
AHG: There was an interesting story in Ben’s magazine about Jay Jopling, way back when the YBAs were kicking off. Jay took a bag of crisps into a gallery and either The Sun or The Mirror published a front page story entitled ‘is this the most expensive bag of chips in the world?’
GB: Art seems to generate the personality cult much more because sales depend on the personality cult.
PE: I very strongly disagree with that. The artists who become celebrities actually use their celebrity because it’s useful to their practice and to their work. People like Tracey Emin, her work is very expensive but...
GB: Useful in what way?
PE: Useful in that Tracey Emin’s work is very autobiographical, so whenever she goes on TV she’s teaching you something about her personality, giving you something of herself. It validates the objects that she makes because it’s supporting the mythology around her work. It’s very useful to her as a tool, in terms of setting up the context in which we understand her work. The critical context of somebody’s work does actually support their sales, and better work tends to sell for more. We all know artists aren’t artists if they don’t sell anything.
BL: Better work sells for more?!
PE: What I’m saying is, it helps us establish the contextual understanding of her work, which in its own terms, does help incentivise her sales, or give her some kind of validation.
GB: I asked Tracey last year, 'Have you ever been happy?' She replied, 'Not until the money came in.' |
|
|
| NOIR ET NUIT |
[Dec. 18th, 2009|02:42 pm] |
Marloes Horst by Paul Empson for Black #11.
 |
|
|
| HERMIONE AND HER MERIT |
[Dec. 16th, 2009|06:08 pm] |
Hermione de Paula's S/S 10 'Las Venus' collection laden with subversive floral prints was a standout at last season's Vauxhall Fashion Scout 'Ones to Watch' show. The Central Saint Martin's trained print mistress has now been rewarded with Vauxhall Fashion Scout's Merit Award which will enable her to show next season at London Fashion Scout as well as having mentoring that will help develop her business. We have been following de Paula's past two collections (S/S 09 and A/W 09-10) and after her first showing at London Fashion Week last season, she has gained momentum by working with Browns Focus for S/S 10. “I am so thrilled to have been selected as the winner of the Vauxhall Fashion Scout Merit award. Vauxhall Fashion Scout have already championed and helped the careers of some incredible designers and I am honoured to be considered in the same light,” says de Paula.
Past Vauxhall Fashion Scout Merit award winners include William Tempest and David Koma, with the latter recently scooping up high profile press with Rihanna, Beyonce, Cheryl Cole and Lady Gaga all wearing Koma's designs.
The Vauxhall Fashion Scout scheme is open to all new designers showcasing for the first time. Their A/W 09-10 shows in February will for the second season be held at the Freemasons Hall in Covent Garden. |
|
|
| GRAPHIC DESIGNER MAGDA ANTONIUK |
[Dec. 16th, 2009|06:00 pm] |
Via Dazeddigital.com
Based in Poland, Magda Antoniuk is a young freelance graphic designer and illustrator who counts trash culture and street-styles among her influences. Her work has been exhibited in Poland and featured in fashion and lifestyle magazines in Australia, Spain and London. With experience in fashion prints and design, she has already collaborated with brands such as MelleSan in Paris and is making quite a name for herself with her fashion illustrations.
Dazed Digital: Your illustrations tend to be of people, how do you pick who to draw?
Magda Antoniuk: It varies, but it’s a very natural process. It all depends on my mood. I’m trying to find someone who fits my mood. Most of the people in my pictures are from photos – they are friends and self-portraits. I often include private themes into my projects. It makes me feel a deeper relationship with the illustrations.
DD: How long does it typically take for you to finish one of these drawings?
Magda Antoniuk: Several days. The first instinct is usually the right one but sometimes working on a illustration is more complex – I pay attention to details, I try to make it very realistic. No matter what time of day I finish, I can’t wait for the new illustration because there is nothing more tiresome than doing nothing.
WHAT('S)..
...makes you happy?
I enjoy feeding people – treating them with a delicious meal and everything that goes with it.
..your work all about?
Trash culture, street-style, fitting perfectly into every space... People are the most important thing to me. Pencil and ink are just tools that let me show my emotions, to show what is sometimes invisible to others.
..the one piece of work you wish you'd created?
The clown Cha-U-Kao at the Moulin Rouge by Henri de Toulouse-Lautrec.
..the world comes down to?
The world is built from mathematically calculated constructions.
...the best piece of advice you've ever heard?
Let everyone live the way they want to live.
... the most inspiring thing you've ever seen?
The Last Judgment by Hans Memling.
...the cleverest thing you've ever done?
I am in a relationship with my country – it stimulates me.
...the stupidest thing you've ever done?
I am still in this love-hate relationship.
...next?
I’m currently working on a series of portraits of men – people tend to say that the subject matter of my work is very gender-centric, very sociological, maybe that's because of my occupation. |
|
|
| FALLEN SERIES |
[Dec. 16th, 2009|05:51 pm] |
By Photographer Toby Burrows.
 |
|
|
| PHOTOGRAPHER YOUNG KYU YOO |
[Dec. 16th, 2009|04:26 pm] |
Via Dazeddigital.com
Young Kyu Yoo moved from Korea to New York to broaden his horizons and learn all he could about contemporary photography. Now he is creating images that are softly erotic, humanly delicate, and deeply intimate. His work follows the similarities between our environment and the human body closely, celebrating the beautiful interconnectedness of all things…
What's
...your work all about?
I’m always thinking; all creation's directions, movements, combination of shapes. That means all creation have a shape in common and that are moving exactly in common.
...the one photograph you wish you'd created?
I cannot say I wish I`d created just one photograph. However, it would be every single photograph by Wolfgang Tillmans.
...the world coming to?
Who knows what the world coming to… But I do not want humans to control the world anymore.
...the best piece of advice you've ever heard?
Art cannot come before life.
...the most important thing for an artist to remember?
Art cannot comes before life! You can`t be an artist without your family and friends, life. Even a lovely pet. So I think most important thing is your own life for an artist.
...the most inspiring thing you've ever seen?
Everyday, every moment, every breath is inspiring to me.
...the cleverest thing you've ever done?
Maybe coming to NYC? If I didn`t come to NYC, I would not have improved my photographs.
...the stupidest thing you've ever done?
Also coming to NYC. I have been away from my family and friends for 4 years for my work. That still hurt me.
...next?
I`m going to go to Korea in November for exhibition at there, and I`m going to make own my zine in Korea.
...the point?
Not so sure. Perhaps being good to my family and growing.
What equipment/film do you use? What do you like about what you use?
Mostly Kodak big mini, Leica minilux, Canon 5D, film- Kodak 160nc & gold 200.
Who/what are your influences - art/film/literature/other photographers?
I think most artist give me influences. Especially Walter Pfeiffer, Wolfgang Tillmans and 20th century north European architects, furniture and most of sculpture.
 |
|
|
| THE RULES OF DECEPTION |
[Dec. 16th, 2009|04:00 pm] |
Guinevere Van Seenus - "The Rules of Deception" - V Magazine #58 March/April 2009.
 |
|
|
| WILD THING |
[Dec. 15th, 2009|09:16 am] |
Text via Dazeddigital.com
Abbey Lee dons her best wolf suit and makes mischief in the untamed spirit of the autumn/winter collections, as Dazed travelled to Where The Wild Things Are with Opening Ceremony and Pamela Love for the cover shoot. We show some behind the scenes images and also a small video of Abbey Lee having fun in the Opening Ceremony x Where the Wild Things Are playsuit.
Photography by Daniel Jackson
Styling by Karen Langley
Hair by Teddy Charles for Orlo Salon
Make-up Lisa Houghton at Jed Root using Mac Cosmetics
Model Abbey Lee at Next
Photographic Assistants Karen Goss, Nadya Wasylko, Jerome Corpuz
Styling Assistants Louise Hall-Strutt, Jessica Bobince
Hair Assistant David Sharif
Production Gina Liberto, Curtis Wingate at Map
Casting AM Casting
 |
|
|
| CELTICS 104 WIZARDS 102 |
[Dec. 14th, 2009|03:45 pm] |
From Boston.com
WASHINGTON - The Celtics found themselves having to heed their own warning.
Before the season, coach Doc Rivers figured that if there was a team everyone was forgetting about in the Eastern Conference, it was Washington.
So far, the Wizards had given the league every reason to look away. They were a disappointing 7-12 entering last night and their new coach, Flip Saunders, had gone so far back to the basics that he was reteaching how to set screens.
The Celtics still saw a dangerous team, one that could light up the scoreboard and clean the glass - a point of particular emphasis for a Celtics team that had been streaking, but had also been called out by its coach for not hitting the boards hard enough.
The Celtics went into Verizon Cen ter and picked up their ninth straight win, 104-102, but the Wizards gave them their biggest scare in a while, taking Boston to the final minute before fading in front of 20,173 fans.
Rajon Rondo scored 21 points and dished out 11 assists. Ray Allen scored 18 points, passing the 20,000-point plateau. Kendrick Perkins put up a double-double (16 points, 11 rebounds). And Kevin Garnett finished with 17 points. The Celtics shot 49 percent from the floor and picked up their fourth straight win over the Wizards dating to last year when they swept the season series, but it didn’t come easy.
The Celtics got into a shootout early on before building a 14-point halftime lead. A 20-6 run by Washington to start the third quarter turned that lead to dust and put the Wizards up, 72-70, midway through the quarter. Allen settled things down with a 3-pointer that was as fitting as it was timely, giving him 20,000 career points and putting the Celtics ahead, 73-72.
“When I say we’re not a 48-minute team, that’s proof right there,’’ Rivers said.
Paul Pierce, who scored 12 points to eclipse 19,000 in his career, agreed.
“I thought we just played down to the level of our competition in the second half and that’s something we want to keep building on,’’ Pierce said. “We played one half of basketball tonight and we have to continue to get better.’’
And in the fourth quarter, when it looked like the Celtics could keep Washington at bay, the Wizards got clutch buckets from Antawn Jamison (16 points, 8 rebounds) and Gilbert Arenas (25 points on 11-of-23 shooting), and surprisingly big buckets from backup forward Andray Blatche (17 points).
The Wizards were within 91-90 with three minutes left when Garnett hit a 17-footer. Rondo scored two critical baskets down the stretch, including a strong dunk over Blatche that put the Celtics up, 100-98, a lead they would never relinquish.
“It was really the ‘Rondo and Kevin Pick-and-Roll Show,’ ’’ Rivers said.
“Rondo has the ball and we try to get the guys open; when he’s penetrating and getting the lane, he’s loosening guys open,’’ said Pierce. “And the way they played him, they were sagging guys off him, they were content on backing off Rondo and giving him that jumper [and] he was able to knock it down.’’
Rivers had criticized his team for its rebounding, but the Celtics beat the Wizards, 40-34, on the glass. The advantage was 11-0 in the second quarter, helping Boston open its biggest lead of the night, and Rivers took it as a sign that his team is capable of winning the rebounding battle more consistently.
“It’s just amazing that when you focus on something that well, you do it,’’ Rivers said. “But that’s something we have to improve on.’’
Perkins said, “I take it personal from a big standpoint. That’s really my job, blocking shots and rebounding. So I feel like if I do a better job of that, we’ll have a better chance of winning.’’
Garnett grabbed five rebounds, all on the defensive glass.
“It starts with the bigs and I really look at myself as being a better rebounder than what I’ve been,’’ Garnett said. “Rebounding is timing, it’s effort, and I’ve just got to put it together. Perk and I, it starts with the two of us and we will get better as the year goes on.’’
“We still won,’’ Rivers said. “That’s good on the road, and we’ll take that.’’ |
|
|
| BLACK AND WHITE PHOTOGRAPHS |
[Dec. 14th, 2009|03:30 pm] |
Via Obvious
The beauty and fascination of black and White photography conjugated with nudity of bodies. Contrasts, wavy forms, strong textures, stains of light and shade turn this type of register into true plastic art. Expressionism or abstractionism... We´re all voyeurs. To look with a more detailed view.
 |
|
|
| FASHION ILLUSTRATOR CONNIE LIM |
[Dec. 11th, 2009|04:27 pm] |
The fashion designer and illustrator, Connie Lim applies her inspiration from aged buildings and her love of Pugh to her feminine images and pieces. With a collection of drawings in the White Stripes colour code, she places glamorous girls into playing card themes, brimming with elegance and an eerie gothic-tinge in her experimention with various Manga styles. Lim's animated fashion sketches appear hauntingly striking, adding an edge to her depictions of Alexander McQueen's A/W 2009 collections.
Dazed Digital: Where are you based?
Connie Lim: I am based in Los Angeles, California where I lived most of my life.
DD: With whom you would like to collaborate?
Connie Lim: I would love to collaborate with Gareth Pugh, I think our dark sides can come up with quite a force. I love that he is very experimental with many different mediums and has an endless amount of imagination. That is usually where the excitement starts.
DD: Where do you see yourself in the future?
Connie Lim: I see myself as a fashion illustrator / designer having my own label or brand. I came this far with the idea of seeing my illustrations coming to life and will continue with this single notion and see where it takes me. I think the future for now is uncertain but that makes it all the more exciting.
WHAT'S...
...your work all about?
My work is my relief, my freedom of creative thought, basically, the unseen part of myself. On paper, it comes down to dark lustrous women who are confident and dangerous. I love bold women who are not shy with dark massive make up and unimaginable high heels. With just this notion, I created a world of my own through my series of fashion playing cards. It's a world I would like to share with others and hope that they would enjoy them as much as I do.
...the most inspiring thing you have seen?
The city of London is probably the most inspiring thing that I have experienced so far. Everything was the opposite of my daily life in LA. Aged buildings, gloomy weather, and massive amounts of unique people roaming around all fascinated me. I fell madly in love.
...the one piece of work you wish you'd created?
It would be Gareth Pugh's wig coat. Pure genius!
...is your favourite piece of clothing?
My shiny black American Apparel leggings. It is my constant companion and I can actually sleep with them on. |
|
|
| navigation |
| [ |
viewing |
| |
most recent entries |
] |
| [ |
go |
| |
earlier |
] |
| |
|
|
![[info]](http://l-stat.livejournal.com/img/userinfo.gif){kind=small}
doctorphil69's Friends Page
