July 2011 "art" issue

8/6/2019 July 2011 "art" issue

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THEART

ISSUEVIRTUAL REALITY FOR

ALL FIVE SENSES

FEATURINGALVIN NGUYEN

STREET ART

NIKKI LAM

BROOKE SHADEN

DI$COUNT

THE ART OF DANCE

AND MUCH MORE!


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4/130JULY 2011 www.papercutmag.com

IN THIS ISSUE

06 FROM THE EDITOR

THE LIFE

08 This is Not An ArtworkUnderstanding the high value o contemporary art

10 New York ChroniclesStreet art

12 FirelowerAvant-garde ashion; photographed by Quro Studios

22 The Art o DanceAppreciating the art o dance and all its many colors

25 Melbourne Art SpaceBlogger Ray Tsai shares his avorite hot spots

BUZZWORTHY

26 Siren SongYou will be pining or these looks; photographed by Niko Mitrunen

36 ImmaterialInterview with eature artist Nikki Lam

40 Angel BoysHeavenly menswear; photographed by India Hobson

52 The Range in Fine Art PhotographyFine art photographer Brooke Shaden shares her experience

FASHION FORWARD

56 Le Paysage le Reve et le DesirA ashion dreamscape; photographed by Erica Fava

70 On The VergeThree artists with very dierent talents

78 Color TheoryFine art or your ace; photographed by Mirella Szymoniak

86 Moving in PicturesFast-paced ashion; photographed by Yuji Watanabe

98 Hal-LieFashion reaches new levels; photographed by Alvin Nguyen

114 DI$COUNT Its not just ashion, its a movement; photographed by Zac Steinic


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Papercut

ON THE COVERPhotographed byALVIN NGUYENAssisted byALAN WANG & TOMMY OBRIENHairNIKO WEDDLEMakeupSTACE QUACHStylingALVIN STILLWELLModelKELSEY JEAN HARDING (SMG)0 37542 98437 4

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EDITOR-IN-CHIEFHayley Maybury

CREATIVE DIRECTORNicole Bechard

MARKETING & TECHNICAL DIRECTORJamall Oluokun

ADVERTISING DIRECTOR & PUBLISHERShomari Miller

FASHION EDITORNicole Herzog

COPY EDITORNora E. S. Gilligan

WEB DEVELOPERJason DePeaux

GUEST BLOGGERRay Tsai

CONTRIBUTING WRITERSErin Berry

Brittnee Cann

Lee HersheyBrooke ShadenAlicia StrusaGeorge Veve

CONTRIBUTING PHOTOGRAPHERSBrittnee CannJulie Dewale

Erica FavaDaniel HerzogIndia Hobson

Niko MitrunenAlvin Nguyen

Ron Erick OdchigueQuintin PerezBrooke Shaden

Zac SteinicMirella Szymoniak

Yuji Watanabe

papercutmag.com



FROM THE EDITORSUNSHINE AND SUMMERTIME.

Hello and Happy Summer,

This time o year, I nd that it can sometimes behard to keep up with whats going on around youall you want to do is push all your work to the side,hang out, relax and lie on the beach with youravorite issues oPapercut (well, thats all I wantto do)! Lucky or you, though, while youve beenfipping through our pretty pages, we have beenhard at work to bring you one o our avorite issueso the year...The Art Issue!

This month we are embracing the Art community inits entirety. We have gathered artists rom all overthe globe to give you a look at their very cool work:the lovely Brooke Shaden oers us some greatinsight on ne art photography, our guest blogger

Ray Tsai gives us a tour o his avorite Melbourneart spaces and our own Erin Berry talks to us aboutwhat makes Contemporary Artwell Art, in herclever article, This Is Not Artwork. And o course,

as always, we are bringing you some top-notcheditorials. We welcome back our dear riend AlvinNguyen and his outstanding editorial team, as wellas some abulous new photographers, to bring youyet again a dazzling display o photos.

And, dont orget to grab your own copy oPapercutMagazine here...www.magcloud.com. It is a musthave or your summer reading!

Enjoy, Papercutters!

xoxo

CLOCKWISE FROM TOP: Editor-in-chie Hayley Maybury, creative director Nicole Bechard and riend Susan Haieigh at a recent MassArt event; visiting the Chihuly Through theLooking Glass exhibit at the MFA Boston or their annual Summer PARTy; a gorgeous nighttime view o Miami during their recent MBFW Swimwear ashion week (photo by Greg Brown).


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IN FASHION, ART,

CULTURE & NEWS?

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ON THE WEB



I was strolling through the MetropolitanMuseum o Art a ew years ago withmy boyriend Brad, who, being anengineer, was a little out o his elementsurrounded by paintings and sculptures.I dreaded the transition rom the moreunderstandable, traditional art o Ancient Greece and the Renaissanceto the Modern Art wing, where he wassure to question me about why a canvaspainted entirely white would be hangingin a prestigious museum. Sure enough,as we rounded the corner into the gallerywhere Damien Hirsts inamous stuedshark foated ominously in a tank oormaldehyde, Brad turned to me andsaid, Nowwhy is that art? Theresa shark like that at my college in theMarine Biology departmentso is thatart too? I sighed and careully tried toassemble the correct explanation in myhead, as i having an art degree made

THIS IS NOT AN ARTWORKUNDERSTANDING THE HIGH VALUE OF CONTEMPORARY ART.

Written by ERIN BERRY

me an expert on such volatile things:Wellhe made this with the intent oit being art. Your school meant it as ascience exhibit, I said, hoping to settlethe discussion.

So I could bring my dead deerhead in and call it art, then it couldbe hanging in a museum? Brad asked,purposely trying to push my buttons. Onthe brink o losing my patience I startedto say, Well not exactly... he interruptedwith, What makes this shark morespecial than my shark? I dont get it. Notwanting to disturb him urther, I decidednot to mention the acts that Hirstneither caught nor stued the sharkhimsel, and at the moment the piecewas worth a whopping 12 million dollars.The most rustrating thing about thisexchange was not the act that Brad justdidnt understand the very prooundsubject o art, but that his questions were

Ren Magritte, The Treachery o Images (This is not a pipe), 1929, oil on canvas, 25 3/8 x 37.


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completely viable. In act, they were the very same questions artists themselvesscratch their heads over. Art with acapital A is as ckle as a labyrinthitcan be controversial, and the success oone artist over another can appear to becompletely random.

Economist Don Thompson exploresthese questions and the real reasonsbehind the enormous price tags in hisbook The 12 Million Stued Shark;

the curious economics o contemporaryart. He cracks open the door into thecutthroat world o art auctions atChristies and Sothebys, two auctionpowerhouses that make up the crmede la crme o the art scene, where therichest o the rich thoughtlessly laydown seven gures on a large abstractas i purchasing a lawn ornament.Thompson explains that making it in theart world is all about being brandedrather than having raw talent. Art issimilar to ashion in this sense, orinstance, you wouldnt buy that putridyellow purse with the gaudy clasps atany old bargain outlet, but suddenlythe name PRADA makes it an objecto beauty, an envious accessory, and anabsolute must-have. Thompson explainsthat owning expensive art is more aboutstatus than true appreciation:

Even i you are only moderately rich,there is almost nothing you can buy or1 million that will generate as muchstatus and recognition as a brandedwork o contemporary art. Flauntinga Lamborghini might be viewed as

vulgar. A country house in the southo France is better, but it better have asmall vineyard and a sea view. A greatmany people can aord a small yacht,but art distinguishes you. A large andrecognizable Damien Hirst dot paintingon the wall produces an impressed,Wow isnt that a Hirst?

Thompson points out that theaesthetics o a piece are not as importantas the price, who is looking to collect itand the aura o the artist himsel. Twoartists on dierent sides o the worldcould produce a piece that is similar in

subject and style, but i one o them isa boring housewie and the other is atransvestite who survived a tsunamiwho do you think is going to have thehighest bid? The intent o artwork isalso gloried and elaborated whenit is up or sale. Thompson mentionsChristies catalogue description o YvesKleins blue color eld painting that soldor 1.8 million in June o 2006:

What did Christies catalogue say aboutthis solid blue canvas? These works

allowed the viewers to bathe in theinnite, in the luminous spiritual realmo the Blue. Infuenced by his experienceo Judo, his interest in Rosicrucianism,his ascination with the age o the atomic,Klein had created paintings that have norames and thereore no edges, and arethus windows into the eternal and endlessspiritual realm. Imagine being oered awindow to the eternal or just 1.8 million.

Artists are not always creating work

with multi-layered meaning comparableto peering into a magic eye picturelike my high school art teacher oncesaid, Sometimes an apple is just anapple. But when work is entered intothe market, it suddenly needs to havea story to make it interesting. Abstractsare no longer spilled paint strokes, butbold marks representing the anger theartist elt about the country at war, anda solid painting like Kleins is no longer just a plain study o the color blue, buta window to the eternal. Phrases likethese that emphasize the mystique o a

piece are what add value to otherwiseordinary paintings. You would think,with the way certain pieces are selling orthe cost o a small country, the starvingartist stereotype would no longer beapplicable. But the competition to beoriginal and to get noticed is erce andlargely reliant on who you knowalsoon pure dumb luck.

Another relevant question is howdoes an artist maintain creative integritywhen making art to make a living? Inother wordsis art made or arts sakeanymore? Contemporary artists seemto be more interested in what they canget away with than the exploration otheir own journey. Bostons Institute o

Contemporary Art (ICA) was recentlycritiqued by Boston Magazine writerRachel Levitt Slade or selling out. Inher article titled The Exhibitionists,Slade criticized the museums lack ointeresting new artists and its ocuson sae modern choices that weresuccessul in the past. The exhibitionsthat are most likely to draw a crowdare generally those that present adisturbing idea or provoke a negativereaction, and, as people are desensitized,it becomes more and more dicult to

elicit such controversy. Slade commentthat contemporary art is not meant tbe pretty; its purpose is more sinisteThats the job o contemporary arto piss us o. It disturbs, gnaws at thpsyche, provokes visceral reactions, anultimately gets us thinking about thcurrent human condition in a way thaeven the most sumptuous John SingeSargent painting at the MFA cannot.

So what does this mean or th

uture o art? I every strange or shockinidea has been brought to the oreronis it harder or artists to produce eyecatching work that will launch him oher to branded status? Maybe i thstigma o what sells were removedartists could produce new and originawork that is true, and unhindered bthe color green. Then again, art wialways be a business, no matter whicside o the easel you stand on.

ART WITH A CAPITAL A IS AS

FICKLE AS A LABYRINTHIT CAN

BE CONTROVERSIAL, AND THE

SUCCESS OF ONE ARTIST OVER

ANOTHER CAN APPEAR TO BE

COMPLETELY RANDOM.


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One o the best things about living in New York City is thatinspiration can strike at any moment. Walking around, yourealways being creatively stimulated by anything and everythingaround you. And one o the most prominent anythings andeverythings is art. Not always just the stu hanging ingalleries; its the art on walls, on the ground, on rootops and

in every nook and alleyway throughout the city.New York is one o a collective o major cities around theworld known or its grati and street art culture (others, iyoure curious, include London, Paris, Berlin, Melbourne,and So Paul). Artists rom all over the world come here tomake their mark in the U.S., leaving behind a piece o theirwork accessible to all o the citys residents. In the spirit ocompetition, it becomes a game o creativity, wit and seeingwho can spread their name the widest and astest.

I this game sounds amiliar, its likely because the ashionindustry plays it too. What has no one else done beore thatwe can create? What kind o design will prompt a discussion?What is something that will bring out an emotion rom the viewer? All o the best designers and artists are constantly

coming up with new ways to answer these questions. Trendsare recycled all the time, so the best o the best are coming upwith resh ideas to break up the rotation. Just the way ashiondesigners create things that make a viewer stop to think aboutwhat it is theyre looking at, street artists are doing the same.

Last summer I had the incredible ortune to have asmall part in a large-scale street art project happening in theChelsea neighborhood o New York. In August o 2010, designstudio AKANYC organized an 80-oot mural project on thewestern acing wall o Public School 11 with twin Brazilianartists Os Gemeos and the legendary Futura. Beingamongst these artists and spending time talking with themwas an honor and a pleasure. One o the things I ound most

interesting was their take on ashion and how their work hasbeen translated into the business.

Otavio and Gustavo Pandolo, otherwise known as OsGemeos, are certainly not ones or high ashion (I know roma rst-hand witness that they washed their socks in a hotelbathroom sink during their art tour last yearsorry, guys), but

its quite remarkable how their art has been made into wearableduds. Ater the P.S. 11 murals completion, grati website12ozProphet produced a limited edition t-shirt eaturing theartists work, which sold out almost immediately. As or LennyMcGurr (Futura), he has built himsel a retail empire, smoothlytransitioning rom grati into ashion with his FUTURALABORATORIES store in Tokyo that sells his own brandedclothing alongside other leading street wear brands.

Behind any given realm o culture, be it in ashion, streetart or otherwise, there is a million man and woman armyollowing and supporting the movement. Fashion ollowersare anatical about the industry just the same way that streetartists and their ans are passionate about grati. Why elsewould ashion weeks be such a hectic mess in a million and one

cities? Why else would people have watched a website tickercount down the minutes until the Os Gemeos and Futurashirts were released or sale? Seeing the demand or ashionby these artists proves some overlap between the street artand ashion communities. It just goes to show that sometimesthe best way to show your support or the arts is by wearingit on your back.

12oz x Futura t-shirts can be bought exclusively through 12ozProphet at www.12ozProphet.com/shop

BRITTNEE CANN is a reelance ashion journalist or StyledOn and also writesabout ashion, music, art and other cultural musings on her personal blog atwww.brittneecann.com.

NEW YORK CHRONICLESSTREET ARTWritten and photographed by BRITTNEE CANN


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Photography, hair and make-up byQUINTIN PEREZ & RON ERICK ODCHIGUE,

QURO STUDIOS www.qurostudios.comWardrobe and styling by MARIANNA BARKSDALE

www.mariannabarksdale.com | www.evigheden.com

Model EKATERINA PETUSHOVA

irefower


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Locke and Demosthvest dress by BARK


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THIS

Maladroit jacket and Pocu by BARK

OPPOGra leotard and Polyglo(worn as shoulder pad) by BARK



HIS PAGE

Caromed dress by BARKSDALE;Null Gravity shoes by EVIGHEDEN

PPOSITE

Mazer Rackham jacket andPidgin skirt by BARKSDALE


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THIS

Locke and Demosthvest dress by BARK

OPPO

Kiss From A Roseby EVIG


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I am Ender Wiggin twoby EVIG



I remember watching my nieces dancerecital a couple o years ago; the showwas called The Color O Music. Eachsong related to a color, and everythingrom the lighting to the choreography tothe costumeswas perectly matched.The show made me realize how mucho an impact music has in our lives. Itmotivates us to work out, or to sit downand write a ten-page paper. Along withthe music, naturally, came the dance. AsI watched the children perorm the lastdance to its respective matching color,the true meaning o the work unolded.Each color was meant to symbolize

a dierent genre o music, and eachindividual dance was a choreographedpart o one big, unied whole.

The beautiul thing about danceis that it always tells a story. I cantremember a time when I didnt move mybody to music, says Jackie Rwigamba,a 23-year-old dancer rom Uganda.Rwigamba has been part o a danceacademy since moving to the UnitedStates at our years o age. She laughs aswe talk and sit in her apartment, lookingat her Arican interpretive dance photosrom when she was a child: I think I want

my own dance studio someday, saysRwigamba with a big smile. It wouldbe such a blessing and wonderul thingto teach people the expression o dance.To pass on the beauty and creativity o itwould be a dream.

Traditional Arican dancers likeRwigamba not only represent a spirit,but also embody that spirit duringtheir dance. These stunning dancersuse a range o masks and costumes,representing spirits, gods, and sacredanimals, to help tell their storythrough music.

Its been said that the body is asacred garment, and that dance is thehidden language o the soul. Dance hasa language all o its own, says RobynGoullet, a ormer dance instructor at theJeannette Neill Dance Studio in Boston.We always tell our classes to just listento the music and fow along with therhythm and emotion o it, the movementreleases energy and its communicatinga beautiul language.

Even the ancient Greeks believedthat dancing was a git rom the gods

that the gods oered this git only toselect mortals, who in turn taughtthe art o dance to humanity. I believethrough the practice o dance, we canexperience past and present, connectingwithin ourselves when we have nowords to communicate. It is known asa healing art, because positive energyis said to move all throughout the bodywhen dancing.

Dance is not only an art, a way oexpression and a language; it is also askill that takes much passion and truededication. Dancers are athletes intheir own unique way, using patterns

in movement, practicing or hoursperecting their routine. Ballet dancersespecially spend an extensive amount

o time crating dainty movements, onegraceul leap ater the next.

At ve in the morning in a dancestudio in New York, 18-year-old ChantelHughes begins her daily stretchingroutine. This is what I spend myweekends doing, you know? saysHughes. Ballet is a big part o mylie. She starts by resting her leg onthe bar attached to the giant mirrorsin the open, echoing studio, and slowlyreaches her arm up to stretch across it.Ill spend the day here, stretching andworking on splits to help me move more

easily. When you have a show or a recitalcoming up, you cant aord to slack o.Chantel pounces around the studio anddances or a bit on her tippy-toes. I justeel better when I dance. Its who I amand inside I am an artist. Its somethingwe should remember to cherish and nottake or granted.

Just as Hughes is motivated andstrong in each stride she takes, hip-hop step and interpretive dancer MikaBrinson cant imagine ever taking whatshe does or granted. I am so thankul

THE ART OF DANCEAPPRECIATING THE ART OF DANCE AND ALL ITS MANY COLORS.

Written byALICIA STRUSA

or the opportunity to move and danceevery single day, Brinson says to me,as we sit outside o the Boys and GirlsClub in Nashua, New Hampshire. Shejumps up, eager to show me her step-dance routine. Step dance, unlike moststyles o dance, involves patterns omovement around the dance foor.The arm movement is sharp and theootwork is very simple. Being ableto dance here and practice every daymakes me count my blessings, saysBrinson. Ill take classes here and I just dont want to be anywhere else.Dance is just in my being.

Ater hearing the passion in eachdancers voice, I believe that perhapsthe true beauty in the art o dance is notonly the orm o expression itsel, butalso the driven inspiration o the peoplewho passionately pursue it. When westep back and look at the positive impactboth music and dance have on us, we seehow much each has shaped our culture,and will continue to do so in the uture.Every rhythmic motion really is just asmall part in one big, unied dance.When we look at it this way, we learn totruly appreciate the art o dance, and all

o its many colors.

EVEN THE ANCIENT GREEKS

BELIEVED THAT DANCING WAS

A GIFT FROM THE GODSTHAT

THE GODS OFFERED THIS GIFT

ONLY TO SELECT MORTALS, WHO

IN TURN TAUGHT THE ART OF

DANCE TO HUMANITY.


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Natasha Balan, Moscow Ballet ballerina; photographed by Daniel Herzo


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FITZORY

It would be impossible to excludFitzory, an inner city suburb to thnorthwest o the city, while speakino art in Melbourne. Art and musiare truly celebrated here. Filled witvintage shops, bookstores, commerciagalleries, artist-run spaces, studiolive perormance venues and caartistic reshness is everywhere tbe ound in Fitzory. Some galleries t visit are Brunswick Galleries, Centro Contemporary Photography anGertrude Contemporary Art SpaceTake a walk around Fitzory, and re

your pool o inspiration.

RAY TSAI is a web designer originally rom Taiwahe has been based in Melbourne, Australia or thlast our years. Ray encourages web designers

explore all orms o art, and to experiment wivarious mediums, because web design itsel is alsa orm o art.

See his inspirational blog here:raytsaiblog.blogspot.com

And ew o his exploratory personal works here:rippingtearness.blogspot.com/

Explore the city o Melbourne, Australia,and its not too hard to sense that thisis a place immersed in the arts andcreativities. Inspired to share, here is alist o my avorite art spaces in the city andsurrounding suburbs. A ew paragraphssimply cannot describe the amazementMelbourne has to oer; I give my apologiesto other signicant places let unwritten.

ACMIhttp://www.acmi.net.au/

ACMI stands or Australia Centre oMoving Images. Arguably the mostimportant exhibition centre or cinematicarts in Melbourne, hundreds o monthlyprograms, educational workshops and lmestivals are open or lm bus to attend.

In the past ew years, the Centre has heldexhibitions or Disney, Pixar, Tim Burtonand many other international leadingorces in moving images. ACMI is locatedin the same complex as the NationalGallery o Victoria and Federation Square.

Federation Square, Flinders Street,

Melbourne, Victoria, Australia

THOUSAND POUNDS BENDhttp://thousandpoundbend.com.au/

Thousand Pounds Bend was born toeed Melbourne peoples dual addiction

MELBOURNE ART SPACERAY TSAI SHARES HIS FAVORITE ART SPOTS IN THE CITY.

Posted by RAY TSAIPhotographed by JULIE DEWALE

to both coee and art. The building is acombination cinema (upstairs), ca andgallery; the gallery tends toward local,independent and street art, and has hosted

a series o grati contests, exhibitionsand even a local skateboarding videopremier. The artistic energy o ThousandPounds attracts many to come and linger,meeting like-minded people or art chatsover warm vintage couches and coee.

361 Lt Lonsdale Street, Melbourne

Victoria, Australia

OUTR GALLERYhttp://www.outregallery.com/

Outr Gallery is located in the inner cityo Melbourne on Elizabeth Street (with asecond location in Sydney). The gallerys

ocus is on introducing internationalworks and collections o contemporaryartists around the globe. A decentstorage o art books is also availableor purchase. New show openings areheld each month, and provide a greatenvironment or socialization amongartists; Outr recently launched theexclusive exhibition o Sylvia Ji (whotravelled down under rom Los Angelesor the event).

249 Elizabeth Street, Melbourne

Victoria, Australia



eather top and shorts (with detachablerapping) by SUZAAN HEYNS; leatherarness by MISSIBABA


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PhotographybyNIKOatwww.n

ikophoto.com

Hair/Make-upbyBIANCAHARTKOPF

StylingbyCATHARINACA

RAVANWYK

ModelsSANTA(ICE)


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THIS

Pleated silk and satin goGAVIN RAJAH COUTURE; crop to

deconstructed leather helmSUZAAN

OPPO

Pleated silk gown with Shorosky cby GAVIN RAJAH CO



THIS PAGE

Silk and chion gown by CINDY BAM;leather epaulets by SUZAAN HEYNS;encing mask is vintage

OPPOSITE

Cut-out crop top by SUZAAN HEYNS;encing mask is vintage.


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HIS PAGE

ne piece with cut-out cropp by SUZAAN HEYNS; leathereather shoulder epaulets withhain by MISSIBABA

PPOSITE

eated silk and satin gown byAVIN RAJAH COUTURE; crop topnd deconstructed leather helmety SUZAAN HEYNS


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Silk and chion pleated caCGDT KLUK; bikini by SUZAAN Hleather harness by MISS


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Melbourne is the second biggest city in Australia. Hasits dierences and/or similarities to Sydney helpedinspire any o your work?The cityscape in Melbourne is all about the alleyways,basements and rootops. Smelling like coee during the dayand beer at nightall, these spaces oer a unique experienceto visual artists, street artists and musicians alike, to createsite-specic workwhich is very exciting. We really have aculture here in Melbourne to creatively use those interestingspaces. This has denitely inspired me, especially in creatingspatial installations. Some say Melbourne is the arts capitalo Australia. I guess we have relatively more unconventionaland bold art spaces than in Sydney. But, then again, i youask any Melbournian, they would tell you that everything inMelbourne is better than Sydney.

How have social networking websites helped you toexplore new markets interested in your work?I think online social media, such as Facebook and blogs, havereally provided us young artists an open platorm to reach outto an audience around the world. Once your work is online, itmakes marketing a lot easier locally and internationally. Itdoesnt matter i the artist is emerging or quite established;[his or her work is] still as accessible or the public. Socialmedia sites are also very cost-eective. Great or early careerartists like mysel.

You ocus a lot on photography, video art, perormativework and new media installation. Are there any

specifc reasons you preer to work capturing liveimages, created by you, than using other media (e.g.paint, clay etc.) to create an imaginary installationrom scratch?I think that really depends on the theme that I am workingwith at the time. In the past ew years, I have been workingwith ideas related to the immateriality o identity andcultures. With that, I oten eel the need to create somethingwith direct reerences o my subjects visually, rather thanthe representations o them. I ound video installations, inparticular, the most suitable as the majority o my work related

IMMATERIALAN INTERVIEW WITH NEW MEDIA ARTIST NIKKI LAM.

Written by GEORGE VEVE

to the duration o changing, becoming and transitioning. Thlong and ongoing duration o the videos becomes a cruciaelement o those works. Besides, I ound the evolving imagintechnology very ascinating, in that one can always discoveresh and innovative ways to create, install and present videart. The truth is...I cant really paint.

It seems like you draw a lot o inspiration rom languagetraveling and sociology. Would you say you are inspireby other cultures more than your own, or have ideayouve drawn rom home also inspired your art?This is a dicult one. I have always been intrigued bcultures other than my own (the precise reason o why I livand work in Melbourne). The idea o dierences interestme a lotwhen you think about it, everything we do an

think, ultimately our identities, come rom not just ou

amilies, religion, work and education, but [rom] the diverscultures (and subcultures) in our societies. The ambiguito these relationships between individual identities and th

sense o belonging ascinates me. From communications tways o living and human conditions, it is interesting to peelayer by layer and get to the bottom o ethnology. To answeyour question, I guess my inspiration comes not only romdierent cultures, but, most importantly, rom the gaps anlayers within the complex structure o cultures (whatevethat might be).

In your last installation (May 2011), you createwalls o suitcases to express the idea o physical anemotional transition during lie. Although the idea o

IN THE PAST FEW YEARS I HAVE BEEN WORKING

WITH IDEAS RELATED TO THE IMMATERIALITY O

IDENTITY AND CULTURES. WITH THAT I OFTEN FEE

THE NEED TO CREATE SOMETHING WITH DIREC

REFERENCES OF MY SUBJECTS VISUALLY, RATHE

THAN THE REPRESENTATIONS OF THEM.

THIS PAGE AND PREVIOUS: Longing, Be-Longing (at BUS Projects) (2011) Two-channel Video Installation.



using suitcases to express transition is appropriate,what made you think o using the suitcases to buildwalls? Did it have to do at all with the idea that duringcertain transitional phases in lie it can eel like youhave to break down walls and barriers to move on?Longing, Be-longing was a work that evolved a lot in the pastseven months or so. Initially it was installed with suitcasesrandomly placed on the foor o Trocadero Art Space, inOctober 2010. I was [showing] with another artist in a groupexhibition at the time, and the piece was more ocused onthe intimate videos o repetitive packing o belongings.The suitcases were metaphors o the transitory nature oattachments, both physical and emotional.

I decided to make [the piece] more site-specic or my

last installation at BUS Projects Gallery due to the natureo the space (BUS is located in the basement o a beautiulheritage building in Melbourne CBD). With a sense oemptiness and the cool air down in the basement, I decidedto create an experience or my viewer in which they wouldhave to be stunned by a storage o others burdens. Sinceall the suitcases were old and each had a history o its own,they became less material and more sentimental. As muchas it was about the transitions and moving on, I tried toexplore the emotional aspect o being attached to the past.During the exhibition, I was quite surprised by the diverseresponses rom my audience. Some ound it comortingand secure, some ound it dicult and nostalgic. Thework transormed rom one viewer to another, and became

something more personal than I had expected.

O every piece o art work youve done, including inprimary and secondary schooling, what has been youravorite creation?Its hard to pick because Im a sel-conessed perectionist.When I look at something I created two years ago, I canalways pick on things that I could have improved or changedor rened. I I have to pick one, though, I think it would beLonging, Be-longing, simply because its most recent and Ihavent got sick o the idea yet.

THIS PAGE: Romanticism (2010) Archival Digital Prints on Aluminum. OPPOSITE: Silence II(2009) Three-Channel Video Installation.


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Are there any places in the world that have inspiredyou most? Anywhere specifc to Australia that helpsyou envision your next project?Cockatoo Island in Sydney. I went to the Sydney Biennale a coupleo times and I loved the creative use o the old, unconventionalactory buildings and tunnels on the island. Lucca, Italyasmall, old town in Tuscany that is surrounded by a thick, 16th-century wallis another place. I rst started my project onlanguages and identities during an artist residency in Tuscanyin 2008, so I guess the place really had inspired me deeply.

On your blog you discuss your most recent musical muse,France Gall. Are there any other artists who have helpedinspire and shape your personal style as a visual artist?I am inspired by a range o artists and thinkers, includingMona Hatoum, Alredo and Maria Isabel Aquilizan and Ai WeiWei, as well as by writers Ghassan Hage, Dominique Mosiand Roland Barthes. But most o the time my inspirationcomes rom all sorts o directionsood, media, music, lmand just lie in general.

Do you eel any pressures being an emerging artist isuch a metropolitan area?Very much so, yes. Melbourne has a very active and vibrant arscene, which makes it very competitive or young and emerginartists. Having said that, we do have a very supportive culturwithin the arts communities across Melbourne. Besidethe pressures and competitions kind o become part o mmotivation to push mysel a bit urther every time I get a chancto show my work to the public. Its a positive stress I suppose.

Are there any other artists who you would potentiall

like to work with one day?Interestingly, I havent thought about that beore. I thinI would love to collaborate with international artists idierent disciplines, such as contemporary dance, musitheatre, etc. Im open to collaboration with any creativminds that share views similar to my own.



Photography & post-production by INDIA HOBSONPhoto assistant DAISY HOLLINGDALE

Grooming by Nina Robinson (Lyden & Andrew) & Nina Sagri (Louis & Matt)Styling by REEME IDRIS & LINDSEY CASH

Styling assistant CIANNA CANNINGModels LOUIS DU SAUZAY (AMCK), LYDEN (STORM), ANDREW JONES

(ELITE); MATT WOODHOUSE (ELITE)

Special thanks to CLIC LA MODE STUDIO, LONDON

ANGEL BOYS


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Andrew wears knit/eather cardiganby CALUM HARVEY; shirt by DOMINGORODRIGUEZ; trousers by YASMIN BAWA

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THE RANGE IN FINE ARTPHOTOGRAPHYFINE ART PHOTOGRAPHER BROOKE SHADEN SHARES HER EXPERIENCE.

Written and photographed by BROOKE SHADEN

One o the joys o ne art photography is that thephotographer can ocus on any element o the image he orshe is creating, instead o selling a garment or showcasinghair and makeup. The point o commercial photography isoten, to put it bluntly, to sell something. That somethingmay not be as tangible as a shirt or a handbag; sometimesit is the model hersel (or himsel), and sometimes it is ahairstyle (so the stylist can use the picture or his or herbook). With ne art photography, the ocus is on the creativeconcept o the piece, and the mixing o all elements to createsomething dynamic.

Fine art photography is personal, and can be deneddierently or everyone. Unlike in most commercial work,suited to magazines, the aspect ratio and subject matter canchange; an image can have high concept or no concept atall. So, i there are no standards or rules as to the perectimage, what makes something ne art?

Fine art ullls the creative vision o the artist while notaiming to sell a product or document a real event. Becausethe denition is so broad, the term anything goes relateshere in a way that it does in ew other artistic areas. WhenI started photography, I did not know whether I would label

my work ne art or not. In act, I had no idea what ne artwas. I simply began creating the visions that I had in myhead which happened to be quite dark and disturbing. Frommy earliest accounts o being an artist, I wanted to capturethe essence o darkness while at once creating and sharingit in a beautiul way. To this day my motto still stands, aswanting to make beautiul that which others nd disturbing.

To my amazement, I was never completely shunned ornot creating beautiul, commercial images. Until I beganmy journey, I thought that all photography was commercialphotography, as naive as that sounds. It was not until Ipicked up my own camera that the idea o ne art clickedin my mind. I nd that the most evocative ne art imagerycarries juxtaposition; even i an image is hard to look at, iit is sad or dark or disturbing, there is something beautiulto be ound in it, either aesthetically or conceptually. Thesame goes or beautiul images. There is oten more to lookat than just the pretty exterior.

Art can easily have a transcendent quality, wherethe soul o the image hovers in equilibrium. This is the

FINE ART FULFILLS THE CREATIVE VISION OF THE

ARTIST WHILE NOT AIMING TO SELL A PRODUCT

OR DOCUMENT A REAL EVENT. BECAUSE THE

DEFINITION IS SO BROAD, THE TERM ANYTHING

GOES RELATES HERE IN A WAY THAT IT DOES IN FEW

OTHER ARTISTIC AREAS.


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juxtaposition that I speak o. Thereare usually unanswered questionsand emotions that the viewer takesaway that all between happiness andsadness. Fine art is oten a crossroad

between emotions: sorrow and joy,pain and comort, lie and death.Imagine a photo o a landscape:

mountains loom in the background,some trees are visible and perhapsa lake resides in the oreground othe image. This might be consideredlandscape photography, but maybenot ine art. Now add some highlydynamic, detailed and thick cloudsin the sky. Suddenly there is dramaadded to the image. This dramais oten what takes an image rom

a picture to ine art, and it issomething I try to capture into everypicture I take. Fine art allows spaceor the drama actor to dominate thevisuals o the image, which is why ine

art is so dynamic in range.In the image published here,Amongst the Decay o Wild Forest,both emotion and tone are ambiguous.The subject is hanging rom a treebranch, blowing in the wind: on onehand, someone might see this as darkand deathly, while another might lookat it and see pure beauty. The subjectis becoming the tree, and thereoreconnecting with nature; some willundoubtedly see that as weakness,while others see strength. And therein

lies the beauty o ine art. There isnothing being sold, neither garmentnor idea. Instead, ine art is put orthor the viewer to interpret, makingit as intimate and personal as it is

wonderully undeinable.


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Photography by ERICA FAVAArtwork by SARA SPANO

Hair/make-up by JOANNA BERDZINSKAStyling by NOELIA ORTEGA

ModelAMANDA MORENO GARCIA (UNO MADRID)


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Geometric top and culoAMAYA ARZUAGA (PARIS COLLECshoes by UNITED NUDE; headdr

MARIA E


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eometric jumpsuit by AMAYA ARZUAGA;oots by ASTAER; headdress byAMITA LINDA


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orset by MAYA HANSEN; shorts andhoes by AMAYA ARZUAGA; chainmaily ANILLARTE.


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THIS MONTH WE BRING YOUTHREE TALENTED ARTISTS WITHTHREE VERY DIFFERENT STYLESHOLLY LEVELL CONSTRUCTS LIFE-

LIKE GROCERY ITEMS AND OTHERPRODUCTS OUT OF CLOTH. THOMASBONNIEUX DAZZLES US WITH HISGRAPHIC ART THAT HAS BEEN

FEATURED BY BRANDS SUCH ASH&M. AND MICHAEL COMBS PROVESTHAT HAND-MADE ART IS STILLALIVE AND WELL. ALTHOUGH VERY

DIFFERENT, ALL THREE ARTISTSWORK CONVERGE.



Google Thomas Bonnieuxs name andthe rst hit will be yourarthere.com, byH&M; here you will nd his Nostalgie, a

collage and painting about the evolutiono music supports (read: everythingrom an old school Walkman to the latestiPod). Thomas, who also goes by Thomars,submitted a winning entry or the H&Mdesign contest, and his design laterbecame a graphic on t-shirts sold in-store.

Tout minspire. Thomars workis bright, electric, and colorul, and, aswith Nostalgie, much o his inspirationcomes rom music, especially pop cultureand mainstream images and sounds.Jattache aussi beaucoup dimportanceau signe distincti dune personne ou dequelque chose. (Translation: I attacha lot importance to a distinctive style oa person or a thing.)

News and other art are alsohuge infuences. Oten, ideas come toThomars rom the street, when he leastexpects it: Cest souvent le quotidian,la vie de tous les jours. He carries asmall notebook with him, and with asketch or drawing, ideas become livingworks, through which he hopes to touchpeople with simplicity and color.

Thomars has a knack or combiningcertain images into one, so his collagesappear seamless. He also combines

symbolism into his illustrations. Takinga second look is oten well worth italthough the symbols within Thomarsart allude to greater depth, his intentionis more motivated by stimulatingemotions rather than creating a message.

There is also a strong 80s vibe toThomars work, which may beckonrom the era he was born in. The retroelements that jai collectione depuistout petit (that he has collected sincechildhood) permeate his work, addingto that electric and exciting energy. Asa child, he said he always loved to drawand create, and once made his ownhandmade blankets with images o k7audio (music cassettes).

Je pense que jai toujours voulutre graphiste et illustrateur, Thomarssays about his desire to become an artistrom a young age, adding that he didntthen realize that it could be a trade.

Thomars studied at several schools inFrance, and also a ew months in Venezuela(Caracas) beore he graduated. Currently,he is working on creating his own brand

GRAPHIC CONTENTINTERVIEW WITH GRAPHIC ARTIST THOMAS BONNIEUX.

Written by LEE HERSHEY


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o t-shirts or the whole amily. Cet ut unprojet unique et tres interessant. Laspectcreative est immense. (It is a unique

and very interesting project. The creativeaspect is expansive.)

Having been in the eld or onlythree years, Thomars illustrations arecatching on with a lot o great names.He has collaborated with many brandson packaging and advertisement design,such as or Chanel, Piaget, Paul SmithSparkling Water, ENKI WATERS (one ohis rst big projects) and Hush Puppies.

It has always been by chance,he wrote in French, [and] throughcontacts, that Thomars has come intothe networks he has. He enjoys workingon more globalized projects, that reach agreater demographic o people. He wouldlike to open himsel to other means ocommunication with his art, whetherthat be through more magazines, artgalleries or other media. Thomars notesthat he would like to work with a watchbrand: Jaime beaucoup cet objet commeaccessoire de mode, et la maniere dont onpeut le reinterpreter a linni. (I lovethis object as a ashion accessory, andhow it can be reinterpreted at infnity.)

Thomars graphic illustrations canbe ound eatured in such magazinesas Art NouveauMagazine, Velvet and

BooMag. To view more o his work, visitthomars.com or videos, collaborations,illustrations and more. Each week, heposts new work in the OF THE WEEKsection o the site.



STITCH BY STITCHINTERVIEW WITH TEXTILE ARTIST HOLLY LEVELL.

Written byALICIA STRUSA

When you look at Holly Levells Tumblr page, you cant help

but grin rom ear to ear. A bottle o ketchup, a can o beansand a Diet Coke. Levells ound a way to recreate these simpleproducts into works o art with cloth material.

Ive always had a thing or drawing and art, says Levell,But it was at college when my graphic design course clashedwith another subject [that] I sort o ell into textiles, and,within a year, I was completely and totally in love.

The 21-year-old textile artist specializes in embroideryand will graduate this summer rom the United KingdomsUniversity o Hudderseld with a degree in Textile Crats. Asshe ocuses on school, Levells passion and motivation or hercurrent work has only grown: The everyday object has beena huge infuence in my work or the last three years. Thingsand objects that are overlooked or orgottenI try to shine a

spotlight on them to be enjoyed.Levells blog eatures her latest project, Supermarket

Stitch, which includes a colorul array o antastically-crated,everyday groceries, ranging rom a box o Kelloggs Cornfakesto a lie-size tube o Colgate toothpaste. And yes, she evenadded the grocery store receipt!

Supermarket Stitch got its start through Levells interestin working with three-dimensional objects; sot sculpturewas a natural extension o the artists talent with textiles andcreative inclination. Levell admits the style wasnt easy to takeon, however. Each object had to be taken apart and re-sewntogether at least ve times: It was the 3D nature o the objectsthemselves. When I get a good idea I run at it ull speed anddont take time to planits my downall. But I think, in a way,

Ive enjoyed the stress and sleepless nights dreaming about howI could make a piece o elt look like a ketchup bottle.

How many o us can say that? The project was a six-monthprocessand its not over yet. Truly dedicated to her passion,Levell wakes up thinking about her work and alls asleep atnight dreaming about ways to achieve what she wants to create.

With that kind o determination, there isnt anything elsethat Levell would rather be doing. What I do now is what I wantto do until Im old and grey, and probably way past that. The maingoal is to be a ull time Textile Artist, and to have un while I do it.

The art o sot sculpture is not a new crat. Levells mainsource o inspiration is Claus Oldenburg, whose work madeher re-think what she was capable o achieving throughembroidery. Magarita Cabrera is another one o Levellsinfuences. Cabrera produces textile replicas o everydayobjects and completely sotens the lines o perception,challenging the viewer to re-think what they see.

Do what you love and love what you do. This motto describesLevell quite well. I love my work and I get really excited inmaybe the last ten minutes o each sot sculpture, says Levell.Its as Im nishing o any stitching, removing bits o fu andmassaging them into shape; I just sit or a while, taking in whatIve just made, admiring my creation. I do it with each [piece]I make, beore I photograph or reveal it to anyone. Its like theobject and I have a bit o alone time to appreciate each other.

Become a an o Holly Levell on Facebook or check out her blog: http://hollylevell.tumblr.com/


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HAND-CRAFTEDINTERVIEW WITH SCULPTURE ARTIST MICHAEL COMBS.

Interviewed by ERIN BERRY

Ever since computers dipped their digitalpaintbrushes into the art world, our ideao beauty and creativity has changeddramatically. Art has become both a duetand a duel between human and machine,so today it is a rare treat to come acrossart that celebrates the product o whattwo human hands alone can accomplish.Sculptor and mixed media artist MichaelCombs returns to his natural roots withcareully carved sculptures that dealwith the relationship between humans,nature and the morbid exquisitenesso death.

Combss work could be dened asmasculine, both in subject and material.Born rom a generation o hunters,builders and shermen on the coast o

Long Island, Combs creations are thedenition o man-made. His carvingskills derive rom his boyhood experiencemaking duck decoys or hunters. Combsgathered rom this experience not onlyan extensive knowledge o the birdsanatomy, but a certain empathy that isquietly indicated in his slack-necked ducksculptures. The smooth seamless carveddeer mounts, embellished with leatherand zippers, along with his elegantduck head sculptures, refect a tragic,but etish-ed obsession with huntingas a sport. Combs work illustrates the

dilemma he aced growing up, betweenthe instinctual desire to hunt and thegrotesque atermath when gutting theanimals. In the same way Combs removedthe guts rom a kill, his work guts theinner animalistic desires o people:

Mans relationship to nature isnt alwayspretty. I oten dissect the absurdity owhat we do, or example the lengths inwhich we go or power, security or sex. Ind it extremely similar to what happens

in the animal kingdom.

Combs attained both his bachelorsand masters degrees rom The Schoolo Visual Art in New York City, wherehe currently lives and works. His workhas been exhibited in many prestigious

galleries throughout New York, andhe held a solo exhibition in Dubai in2008. Combs has been eatured inwidely circulated publications suchas ARTNews, BOMB Magazine andSculpture magazine. His rst largescale installation, titled The TrophyRoom, at the Parrish Art Museumin Southampton NY (2005), was amenagerie o taxidermy rom his ownamily collection mixed with his owndisingenuous representations o deadtrophy animals. More recently, Combsheld a solo exhibition titled The Lodge

at Salomon Contemporary in New YorkCity, which eatured a large aluminumcage hanging rom the ceiling containinga lie size sculpture o an albino buck.The piece is titled The Wish and itreers to the legend o its elusive subjectmatter, said to be the most sought-atercreature in the woods o Long Island. Ianyone knows a true hunter, they wouldbe amiliar with the obsessive way that ahunter searches and waits or the perectbuck. Combs sculptures successullyconvey the duality between predatorand prey and the dierence betweenkilling or sport and killing or need.Using phallic curved lines and S&Mparaphernalia, the pieces relate huntingto sex, emphasizing the instinctual

urge to overtake and penetrate like anarrow through skin. Not only is thesubject matter enticing and edgy, but themanner in which the sculptures are builtrefects the importance o hand-madeitems. The cratsmanship is not onlysomething to be admired aesthetically,but also because it ties in the history opeople building rom scratch and usingthe land to carve out a lie.

Combs has upcoming exhibitions inthe Parrish Art Museum in SouthamptonNY and Salomon Contemporary galleryin New York City.

Field Gear (2005) wood vinyl urethane oam, leather.


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CLOCKWISE FROM TOP: Head Games (2011) wood vinyl urethane oam; Untitled (2005) wood, oils archival wallpaper; Head o State (2001) wood vinyl urethane oam; Apparel (2005) carved woosilk embroidered patches, oils).



Photography by MIRELLA SZYMONIAKMake-up by LENA ZIEBA

Models KATARZYNA DANIO, ALINA GOWACKA (AW AGENCE) & MAGDALENA MRZYCZEK

OLOR

THEORY


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Photography byYUJI WATANABERetouching by MONICA CHAMORRO & YUJI WATANABE

Hair by CHIKA KIMURAMake-up by NAO YOSHIDA

Styling by KANAKO HIGASHIModels ENN (BELLLONA)


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Jacket by NOZOMI ISHIGUROby MADE HER THINK romRE

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Tops by NOZOMI ISHIGURO; bodyJAZZKATZE; necklace by FLAKE; ri

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PREDress by ERI MATSUI; necklace byrings by MADE HER THINK rom R



ress by YASUTOSHI EZUMI; headpiecey STEPHEN JONES rom TEST,rings byADE HER THINK rom RESTIR; shoese stylists own


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Photography byALVIN NGUYENHair by NIKO WEDDLE

Make-up by STACE QUACHStyling byALVIN STILLWELL

Model KELSEY JEAN HARDING (SMG)Assistants ALAN WANG & TOMMY OBRIEN

H A L F L I F E


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Photography by ZAC STEINICPhoto assistant LUKE REYNOLDS

Hair by ROB MASONMake-up by BERNICE MANSFIELD

Wardrobe/styling by DI$COUNT at www.discountuniverse.com.auModel MALAAN (FORD MODELS) & JETHRO CAVE

RTI$ANALdress by DI$COUNT


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JUST WHO AND WHAT IS DI$COUNT?WE FIND OUT MORE...

Told to us byNADIA NAPREYCHIKOV &

CAMI JAMES


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We met in our Honours yearthe nal year o the ashiondesign degree at Royal Melbourne Institute o TechnologyUniversity (RMIT). The course is pretty much a total mind-uck or all involved, perhaps even more so or those thatwere perplexed by RMITs attempt to teach us to creativelyt into a system. Both o us ound that we had begun tocreate things that had no typical contextualization, asoutlined in the brie given to us by lecturers, and the ashionsystem that was being preached was something that neithero us could seem to relate to, as much as we tried. The kind owork RMIT encouraged was generally pigeon-holedgallery

foor or editorial (so nothing in particular, and especially nonancial stability), and the job prospects circulated aroundinternships and working or other peopleclimb the ladderstyle shit. Which, o course, is absolutely brilliant or some,but simply not what excited either o us.

Both o us have been, or quite some time, pretty hardinto technology and online communication. In act, we bothwrote our thesis last year on topics that revolved around theuture o online creativity, dissemination, showcasing andcommunication. This probably has a lot to do with how limitingit can eel to be in the Australian marketnot only eelingisolated on a geographical scale, but also even having invertedseasons to the rest o the world. Through use o the Internet, wegain global access instantly; it closes the gap between trends inwhat are considered the ashion meccas o the world and ourown local trends. Through online retail, and the ability to buyrom anywhere in the world, were now able to choose season/trend/culture/styleirrespective o location.

In some ways, the Internet has cut the ashion market upthe guts, and the playing eld is much vaster and more diversethan ever beore. Money is not nearly as huge o an advantageas it used to be, or example. To start up a conventional labelyou need capital (or maintaining retail space, stock, etc.),while by using the Internet, anyone can enter the marketand gain interest and momentum through the use o variousonline communication systems. (We should note here thatthere are many well known celebrities, blogs, labels, etc. that

have succeeded rom cash and access not talentInternet justgives a better voice and platorm to the little guy).All these things were going through our heads during

the course o our graduate year, and we were becomingaware that our work and outcomes didnt really t withinthe traditional Australian ashion market. Another thingwe know is that we are really lucky to be doing this at thisvery time, because some years ago we wouldnt be in sucha position. The current ashion system is outdatednow isthe time to challenge it, to recreate the ramework.

The evolution o the online consumer has supersededthe industrys pace. In essence, we recognize that thetraditional ashion system lags even in comparison to thecountereit one. I you acknowledge that collections are

designed (give or take) six months beore images o themare released, and then available or purchase another sixmonths later, then it becomes clear thatwith the evolutiono the web and democratization o citizen journalism, inthe orm o the blogthis system is outdated. Given thenumber o outlets available to saturate the market withwhats new, it is not uncommon that imitation productsare released even beore the initial design. We all knowwhat happened to the inamous Balmain jacketimageswere released months beore the physical jacket wasavailable, and Zara and Topshop copies went to retail. TheInternet propels the organic, traditional fow o ashion, andits eclipsing the outdated system that ashion previously

existed in. We came up with DI$COUNT because we reuseto change our ideals to t into said system.

Our idea o ashion stretches beyond just clothing. Thterm itsel (ashion) is becoming ambiguous; it was neveexclusively applicable to just clothing, yet was popularizeby the clothing industry to the point where most o us seemto have a hard time remembering what the word actuallmeans (it comes rom the Latin termacti oractin, whicmeans, to make, to do or to shape. And to us, this applieto any eld or medium). The ashion education system

that we were exposed to didnt show us all the optionstaught a specic way to design and to be a designer, througorcing concepts and tting in to certain systems. The wehas created new channels; weve seen it change the musiindustry and print journalism. It is inevitable that it ichanging ashion, too.

DI$COUNT allows us reedom. Were designing oown place in the system. Its through the subversion o, th ucking with the ashion ramework, that DI$COUNT wadeveloped, and the output is steeped in humour and ironyclich and imitation.

DI$COUNT is a brand, an idea, an image, a dialogua strategy, a transormation, a design, a blog, a motiopicture, a label, a personality, a website, a quote, a garmenan emotion and an evolution.

DI$COUNT IS A BRAND, AN IDEA, AN IMAGE, DIALOGUE, A STRATEGY, A TRANSFORMATION,

DESIGN, A BLOG, A MOTION PICTURE, A LABEL,

PERSONALITY, A WEBSITE, A QUOTE, A GARMENT

AN EMOTION AND AN EVOLUTION.

Nadia Napreychikov and Cami James o DI$COUNT in the process o creating their garments orthe a collaborative project entitled 3. The fnished pieces can be seen on ollowing pages.


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THIS

Dress by DI$COUNT ARTIboots are v

OPPO

Dress by DI$COUNT ARTI$Icollaboration with VLAD KANE

yellow string hair extensioDI$COUNT TRA$H;bootDI$COUNT VINTAGE AR


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Backpack by DI$CARTI$INAL FOR THREE EXHIB

shorts by DI$COUNT ARTI$shoes are v



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ress by DI$COUNT ARTI$INAL


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acket by DI$COUNT ARTI$INALOR THREE EXHIBITION; Pantsnd Russian soldier hat rom$COUNT VINTAGE ARCHIVE


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ress by DI$COUNT ARTI$INAL;oots are vintage

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July 2011 "art" issue

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