Creators Unite 07 Art Issue
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Darlene C. Deever Editor-in-Chief & Publisher Roy Bheer Executive Editor
Emilie Flory Creative Director Tony Newton Editor-at-large Christopher Zisi Editor-at-large Christopher Bourez Lorenza Florida Editor/Translator Kelly B Editor-at-large Eric Alfonsi Business Development Director Charlotte Trends Community Manager AStyanaX Graphic Designer Dub Meter Biscuit C Translator
Chantal Handley Levinsky Kent Steine Jim Towns Nikki Brett Correspondent Patricia Lelievre Correspondent Illeana Ganz Lydia Buckley Proofreader Eleanor Fawcett Transidioethnograph Special Thanks to: Anthony Dubois Photographer Margaux Chalmel Photographer Marine Creuzet Majorelle PR & Events
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EDITOR’S LETTER Dear Reader(s),
D-NG-TR-N-QU-C-345523-UNSPLASH
At last, here it is: our special Art issue that you have been waiting for! It is available online in the expanded version of our uncensored downloadable edition for 5$. The media economy has radically changed and continues to evolve. This is just the beginning. The internet is no longer so democratic. The system the giants of the net offer us to have easy access to everything has a price… Freedom, choice, quality and of course privacy are involved… The current system, through its failings, promotes hatred and spreads suspicion rather than empathy. Mitchell Baker, recently urged the giants of the Internet to rethink their "Ad System Economy" and to question themselves. There is what we see, what’s imposed on us and what’s left. The opportunity to strive for quality, beauty, human enrichment is possible. Our battle at CREATORS UNITE is to allow superior artists and creative work to emerge, be seen, supported as well as funded. There are outstanding artists that the world ignores. Art may come from outside the margins, but it is not marginal! It speaks to all of us. It struggles to be heard, nonetheless, it makes our lives more bearable and beautiful. CREATORS UNITE was born out of this need to introduce strong, undefinable and original work by authentic artists of all categories. It is an alternative to the cultural and artistic media currently available. We are totally independent and work tirelessly at our own expense to bring you atypical and in-depth content which makes us unique. For this reason, our free edition will from now on be an abridged version of our downloadable edition for 5$ (printable in the same way as our book series). To keep you entertained, we recently launched AHCA (a contest that supports creators you can vote for) and at the same time we sponsor the SXF makeup contest of Promote Horror which strongly supports creators. A special treat for you; our favorite muse, the superb Kelly B has just launched an Instagram page dedicated to the magazine associated with our new spotlight feature ‘Focus’, which was her idea. Go check it out!
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TABLE OF CONTENTS
P. 002 MASTHEAD P. 003 EDITOR’S LETTER P. 008 THE STUDIO: Filmmaking Schlock Horror & Gore! By Tony Newton
P. 028 EXCLUSIVE: An Introduction to Christopher Zisi’s first novel The Himalayan Devil Woman P. 034 HIGHLIGHT: JR at Le Louvre P. 046 LE BOUDOIR: Dark Electro artist Levinsky talks his first full length album Electra Complex P. 062 IDENTIKIT: WEBTALK | PARLOUR 106 TIN-TIN / Le Mondial du Tatouage 2019 ▪ WEBTALK: Interview with Tin-tin
▪ PARLOUR: Photo Exhibition of Le Mondial du Tatouage feat. Co. DCA / Philippe Decouflé P. 126 INCEPTION: TECH SECRETS / Cinema & Story Ideas ▪ TECH SECRETS: Gojira vs. Godzilla- the Birth of the King of Monsters by Jim Towns P. 142 VAULT OF CREATION [GALERIE 106]: Chantal Handley’s Surf Art Exhibition Summer of Beauty P. 158 TRIBUTE: Special Tribute to Author and Pinup Artist Kent Steine P. 178 FOCUS by Kelly B: Dark Fiction Author Nick Younker | Martin Daniels’ House of Lexi P. 184 SUPERTREAT by Kelly B, Emilie Flory, Christopher Bourez and Roy Bheer: SOUNDS & VISIONS: Tommy Jacob - Decision, Thylacine - War Dance, Greg Kozo - Terry, Stereoclip - Feel The Game | Mimi Choi MAKEUP ARTISTRY | Pierre Châtel-Innocenti ARCHITECTURAL PHOTOGRAPHY | Christian Hogarth SUBCONCIOUS MIND PAINTING P. 227 SHOCKER: Viktoria Modesta Bionic Showgirl! Creators Unite 07 Art Issue
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THE STUDIO
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THE STUDIO
By Tony Newton Visual Conception: Dub Meter & Emilie Flory | Images Courtesy of Vestra Pictures, Trash Arts, The Enchanted Architect, Troma Entertainment, SRS Cinema, Sector 5 Films, World Wide Multimedia, Body Bag & Schlock Films. I started out writing horror film scripts and, being a ghost-writer and script doctor on a few projects over the last ten years, it was my love of horror films that spurred me on to get into indie film making. Since then, I have made horror films, horror anthology films and VHS documentaries. I also write horror books. I'm obsessed with horror films to the point where basically everything in my life revolves around horror: I watch Horror films every chance I get, I listen to horror soundtracks and have an obsession with the band Goblin (theSuspiria soundtrack is the most played album in my house!), I collect skulls (I think at this point in time I have more skulls than a graveyard!), and my latest venture is creating a cabinet of curiosities (so, basically anything creepy ranging from dolls heads to mummified fairies to Cthulhu statues, old rocks, vampire killing kits and old medical equipment)‌ Apart from that, I collect horror VHS tapes and vintage horror toys and play horror movies on VHS and super 8! I'm obsessed with schlock horror and B movies so much that one of my film companies is now called SCHLOCK FILMS!... I also own VESTRA PICTURES and BODY BAG FILMS. I love the medium of film for telling stories. I don't think anything else comes close. I watched the Evil Dead when I was 5 years old; my parents won a VCR player in the early to mid-eighties so, every night they would rent the latest video nasty to cult classics like Friday the 13th film series, all the Nightmare on Elm Street films etc.
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THE STUDIO
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THE STUDIO
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EXCLUSIVE
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EXCLUSIVE
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HIGHLIGHT
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EXCLUSIVE
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HIGHLIGHT
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HIGHLIGHT
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ADVERT PROMOTE HORROR CONTEST
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SFX HORROR MAKEUP CONTEST CALL FOR ENTRIES
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SFX HORROR MAKEUP CONTEST CALL FOR ENTRIES
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LE BOUDOIR
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LE BOUDOIR
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LE BOUDOIR
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LE BOUDOIR We are keen to hear about any new work in progress by you, when can we expect a follow-up to Method To The Madness? Thanks for asking that! The fact is I’m releasing my debut full-length album entitled Electra Complex this summer. Musically, this will be my most emotional yet ravaging work up to date, and marks the introduction of some entirely new influences pushing the genre envelope so to say. The single off the album Pet Hate is already out there so do check it out! The themes explored on the album range from psychoanalysis, psychosexuality, eroticism, animal rights and societal hate to name a few. I want to get people thinking and finding out about things for themselves, not only to provoke them simply for provocation’s sake. Expect a lot of influences from 80’s synthpop, soundtracks and a few more experimental and “arty” takes on music too! Production-wise, I’m putting really a lot of effort into this one as I want it to be absolutely perfect, from the cover artwork by the Finnish graphic artist Ninni Kairisalo -check out her amazing work at kaligraphics.fi (click on the poster to enjoy Ninni Kairisalo’s work, Ed)- to everything else. Expect also a cassette and vinyl editions on top of digital release and of course some new merchandise to boot! Your artist name really stands out, how did you come up with that? My dear brother (who’s a musician too, he plays guitar and writes songs in two bands actually) came up with the moniker. It’s a play on our family name, and it just stuck naturally as I could identify with it well. On top of that and as such, it’s a real family name too. Under such a moniker I also find it easy to push the musical envelope as I wish, as the name is not specifically bound or limiting to any particular style or approach, I think. When you started making music as Levinsky, how did that take its course? Do you find it natural to create music by yourself? Well, I already got into making music back in the mid-80’s as a kid when I got my first guitar.
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IDENTIKIT
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IDENTIKIT
A PRIVATE TALK WITH TATTOO ART’ SUPERSTAR TIN-TIN Editors: Lorenza Florida & Roy Bheer | Translators: Lorenza Florida & Biscuit C | Correspondent: Patricia Lelièvre | PR: Marine Creuzet, Majorelle PR & Events | Photographers: Anthony Dubois & Margaux Chalmel | Photos Courtesy: Le Mondial du Tatouage, Co. DCA/Philippe Decouflé, Lucifer, Greg Conraux, Filip Leu, Bill Salmon, Luke Atkinson, Kari Barba, Mark Mahoney, Ultra Vomit, Anthony Dubois & Margaux Chalmel
A self-taught artist, Tin-Tin starts his career as a tattooist in 1984 in Berlin during his national service. By finding inspiration in art books, rather than in the common iconography of tattoo artists at that time, Tin-Tin makes his personal learning his strength; this even makes him stand out and quickly acknowledge in many countries until getting a worldwide reputation. In France, Tin-Tin pleads for an artist status (the 10th Art, Ed) that many tattoo artists despair to have officially recognized. It has become a life-long battle. We met Tin-Tin on the occasion of Le Mondial Du Tatouage 2019 (Paris Worldwide Tattoo Convention, Ed) where he invited us. Number one of the conventions dedicated to tattoo art in the world, Le Mondial Du Tatouage, founded and organized by Tin-Tin himself is a key event for professionals: Paris convention indeed allows them to show off their creations to the public but also to present some of their finest pieces to a jury composed of legendary tattoo artists such as Filip Leu, Bill Salmon, Luke Atkinson, Kari Barba and Mark Mahoney... And sometimes to be awarded a prize!
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IDENTIKIT
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IDENTIKIT
INTERVIEW WITH TIN-TIN Creators Unite: Hi, thank you for giving us this interview Tin - Tin. How would you define yourself? Tin-Tin: Well… That’s quite complicated... How would I define myself?... Well I am considered as… … Creators Unite: An artist! Yes, but you know, even “being an artist”, that’s not something easy to say… I am an advocate for the profession, I militate in favor of some of us to get an artist status… If I’m recognized as an artist then good for me but I tell you, I cannot really judge if I’m an artist... And then the people who say things like: “Me, as an artist...” … Well, I never spoke of myself as an artist; I am campaigning for the recognition of my art, and for some practitioners to have them considered as artists but... Me, you know… Well… I do not define myself actually... It’s difficult to define people...
A waitress comes
Tin-tin: Why should we look up there? Is there only one thing or… Several things? There we go… Meat... The Waitress: or veggie... Tin-Tin: No: Meat! Yes!... rather meat! Creators Unite: What has been the trigger for you, what is it that made you choose tattoo art? Did you really choose tattoo art? Tin-Tin: Yes, absolutely, but the trigger...Well… I don't know… I was sixteen... But precisely, that’s a trigger: you don't really know what’s going on!... It just happens, it chooses you... And you constantly think about it, you don't know why... Indeed, it's completely trivial: one day, I saw a tattoo made with colors… I found it nice and suddenly I was...
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IDENTIKIT
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IDENTIKIT
Philippe Decouflé Choreographer Philippe Decouflé was born on October 22, 1961, in Paris. He grew up on comic books and musical comedies. Inspired by the Bauhaus choreographer Oskar Schlemmer, he took to dance through mime and the Annie Fratellini circus school. He worked with Merce Cunningham, Régine Chopinot and Alwin Nikolais before founding the company DCA in 1983.
In addition to the many dance shows that he created, Philippe Decouflé explored new territories such as commercials, music videos (for New Order or Fine Young Cannibals) and short films. On July 14, 1989, he collaborated with Jean-Paul Goude during the parade of the bicentenary of the French Revolution. But what brought him international fame was the opening and closing ceremonies of the Olympics in Albertville In 1992. Découflé’s audience was conquered by this unprecedented meeting between the worlds of circus and dance, by the offbeat, humorous and poetic aspect of his choreographies enriched by the use of video. Philippe Decouflé’s success has not wavered since. He alternates performances with his company DCA (a resident of Saint-Denis’ boiler room since 1993), and multiple experiences such as musicals direction, opening ceremonies (the 50th anniversary of Cannes Film Festival, the opening of the Rugby World Cup in 2007…), commercials for famous TV channels, or even direction of adult shows (CRAZY HORSE Cabaret’s Show Desire). Associated with the national theater of Britain where he created Panorama (a show in which he revisits his choreographic career), Decouflé is the writer and director of the CIRQUE DU SOLEIL’ show Iris. and the director of the CIRQUE DU SOLEIL show’s Paramour which started in 2016 in New York City.
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IDENTIKIT
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THE PARLOUR 106
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INCEPTION
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INCEPTION
TECH SECRETS GOJIRA VS. GODZILLA The Birth of the King of Monsters
By Jim Towns Visual Conception: Emilie Flory & Astyanax | Photos Courtesy: TOHO STUDIOS, GODZILLA TM, WARNER BROS PICTURES & LEGENDARY © Godzilla ® Gojira and the character design are trademarks of Toho Co. Ltd. © 1954 Toho Co. Ltd. All Rights Reserved
31 May, 2019 This week marks the release of Godzilla: King of the Monsters, and it made me want to revisit the original film, as a way of remembering where this watershed character came from: Ishiro Honda’s 1954 masterpiece, Gojira. Before we get started, we should make sure everyone’s caught up on how this film contrasts with its better-known American counterpart film Godzilla. This might be a bit remedial for fans of Japanese cinema, but bear with me: In 1954, TOHO STUDIOS was in production on two big-budget films: Akira Kurosawa’s Shichinin no Samurai or Seven Samurai, and this film: Gojira. Spiraling budgets on both projects very nearly sank the company into bankruptcy, but luckily these films turned out to be two of the biggest hits ever produced in Japan. Gojira was partially inspired by the 1933 American film King Kong, and also by a film called The Beast from 20,000 Fathoms which had come out the year before-but MOSTLY Gojira was inspired by the destruction of Japanese cities Hiroshima and Nagasaki by atomic bombs at the end of World War 2. More on that below.
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INCEPTION
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INCEPTION
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INCEPTION
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INCEPTION
Finally, Gojira (as well as its American counterpart) is also a critical cultural touchstone. It created a conduit into Japanese and Asian cinema for many western film and sci-fi fans like myself, smashing the social and ideological barriers created between two peoples by politicians, xenophobes and warmongers, and showcasing the similarities we all share- the love of family, friends and country- and the hope that as human civilization continues to grow, it will also grow wiser. Jim Towns Jim Towns is an LA-based writer, director, producer and artist. His feature films include Prometheus Triumphant, STIFF, House of Bad, and State of Desolation, as well as the upcoming documentaries A Guitar Story and Ninjapocalypse. His short films have been included in the anthologies Grindsploitation and Shane Ryan’s Faces of Snuff, and his producing work includes Survival Knife, Enter the Samurai and The Bill Murray Experience.
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VAULT OF CREATION GALERIE 106
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VAULT OF CREATION GALERIE 106
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TRIBUTE
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