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CREATORS UNITE SHOP ADVERT
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TABLE OF CONTENTS
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Masthead Editor’s Letter The Studio: Interview with Red Dirt Macabre artist Christophe Murdock by Metal Coffee PR Exclusive: out now on DVD and video on demand ! Tony Newton takes a look at the cult video nasties and unearths censorship! P. 034 Highlight: Extended Cut by Jora Frantzis & Viktoria Modesta P. 039 MASTERS AT WORK: STARTER | WEBTALK | TECH SECRETS | CATWALK 106 [ ENGLISH & CHINESE] EXTRAS: SHOWROOM | VANITY CASE | METHODS OF THE MASTERS
Special Feature dedicated to Karine Yijing Gao’s work by Azzura Nox, Jessy Chen, Eleanor Fawcett Lorenza Florida, Biscuit C, Roy Bheer. Extras by Christopher Zisi, Emilie Flory, Omar “HorrO” Usman, Chantal Handley, Elizabeth Wright, Dustin Siegwarth, Kent Steine and Justin Fears.
▪ STARTER / WEBTALK: Interview with Karine Yijing Gao P40 ▪ TECH SECRETS: THIRFT SHOP - FROM CONCEPT TO COLLECTION | KARINE’S ATELIER P57 ▪ CATWALK 106: THIRFT SHOP - FASHION SHOW | LOOK BOOK P106 SHOWROOM: Review/Essay by Emilie Flory | Painting by Chantal Handley | Artwork by Elizabeth Wright P126 Review and Essay on THE SENSUALITY OF GUNS by Christopher Zisi | Artwork by Dustin Siegwarth P134 VANITY CASE: Horror Makeup Exhibition and Interview with Justin Fears [winner of The AHCA and of Promote Horror SFX Horror Makeup Contest] by Omar “HorrO” Usman P152 METHODS OF THE MASTERS: Special Tribute to VOGUE’s illustrator Carl Erickson by Kent Steine P174 P. 190 Focus: Spotlight on Eleanor Fawcett & Elizagothart’s work by Roy Bheer P. 210 Supertreat: Chic & Glam Shock: Helmi | Sarah Chatfield nd | Yoonha Park | Lluis Panades Julia | Monica Menez [LJFFF Most Creative Concept] | Conceptual Photography: Short Presentation of Marisa Howenstine’s work | Hard Digital Aesthetics: Defasten’s + . P. 236 Shocker: by Marcus Kreiss Creators Unite 08 SP Fashion
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THE STUDIO
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THE STUDIO
Red Dirt Macabre Artist Christophe Murdock talks about his work!
PRAY TO THE SAW ! Interview by Metal Coffee PR | Review by Christopher Zisi
Interview by Metal Coffee PR | Review by Christopher Zisi | Visual Conception: Dub Meter & Emilie Flory | Images Courtesy of Christophe Murdock. Special Thanks to: Tunnelmotions, OpenClipart -Vectors, Matthias Wewering, Alexas_Fotos, UX Troubletrace, Michal Jarmoluk , Ryan McGuire, Adrian Olichon, Pixabay & Unsplash. What is your name? What is the name of your band and how did you come up with it?... What do you do for the band? My name is Christophe Murdock. I am a singer/songwriter. I mostly perform solo, but also occasionally as a duo or band. Usually under my own name or when a band name it's “Christophe and the” so people still know it's me. Example: for the First Jason concert, I had a punk band back me up and we were “Christophe and the Kids from Crystal Lake”! Tell us where you are based and describe the scene. How do you think where you are located influences your sound? I am based out of Oklahoma. I'm not sure how to describe the scene... I am kind of all over. At the metal shows, punk shows, country shows... just any live music. I don't feel my location influences my sound.
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THE STUDIO
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THE STUDIO Who influences your sound that would surprise people? I pull my influences from all over. Anything and everything I hear can become an influence. Metal, Punk, Pop, Country, Jazz, the list goes on. I guess one of my biggest influences was my cousin Merle Kilgore, a songwriter and ex-performer that was still in the business. While growing up he really encouraged me in all that I did. I was mostly playing bass in punk and metal bands at the time and he would talk to me and build me up. Growing up his sound also became an influence on my style. Are you endorsed by musical companies? If so who? And if not who would you like to be endorsed by? I am endorsed with COFFIN CASE and DEAN MARKLEY STRINGS. I would like to also be endorsed by IBANEZ, PEAVEY, FRIGHT-RAGS and JIM BEAM. When you started what was your ultimate goal? And how close to the goal are you now? My ultimate goal was never to be a “Rock Star�, I just wanted to make a living and travel. I am not quite where I want to be, but definitely am on my way. I am at the point where music is my main focus, while working at clubs on the side. I hope to increase the amount of touring I do in the coming year. In today's digital environment it takes creative strategy to keep things moving. What creative ideas do you have to keep your band relevant over time? To be honest I am kind of a dinosaur when it comes to this. I am the guy that collects vinyl and VHS. So, I tend to focus on my physical product more so than my digital. I know there are other collectors out there who still want things to hold in their hand. I try to give my physical releases something unique.
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EXCLUSIVE
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EXCLUSIVE
Takes a look at the cult video nasties and unearths censorship! By Tony Newton Visual Conception: Roy Bheer & Emilie Flory | Images Courtesy of Vestra Pictures, BodyBag Films, Schlock Films and World Wide Multimedia | VHS Nasty Cover and O’ The Horror Cover by Mancat Design. VHS Nasty is out now on DVD and video on demand! The documentary which is part three in the VHS Lives Schlockumentary series takes a look at the defining era of moral panic that swept the country like a tidal wave! Does censorship really work? Find out! In the early 1980’s VCR players were the popular medium of choice for home cinema but there was something sinister about to awaken direct from your very own VCR: The Video Nasty! Video stores were popping up left, right and center to capitalize on the VHS boom. With no regulation in place, video shops were flooded with an array exploitation and horror films, with over ninety percent of them featuring blood, gore, nudity and the odd zombie eating brains or cannibal feasting on live bait. The packaging on the VHS sleeves were also unregulated at the time so, walking into the video shop, browsing through the horror section, you would find an onslaught of explicit horror VHS sleeves, all competing for your attention -such as a drill going into someone’s head. That's if you were one of the lucky few who got to watch these unregulated horror and gore films before they were banned in the UK and the hysteria started to spread across the globe!
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EXCLUSIVE
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EXCLUSIVE
Long gone were the days when you would have to connect up a projector and reel to reel to watch a film from an old off-white screen! There was no more hassle getting everything down from the loft and having to re arrange the furniture! It was easy and available to anyone with a TV and with the money to buy a bright new and shiny VCR player. The unregulated market caught the attention of both the press and members of parliament following the link between recent violent crimes and video nasties hit the media. The term video nasty was everywhere. The Director of Public Prosecution created (along with the BBFC) a list of films which were deemed to depraved and corrupt the public, with fears growing of the unregulated rating system in place that children would have access to these VHS titles. Following the release of the list, the leader against the video nasties was the head of NVALA, the National Viewers and Listeners Association, Mary Whitehouse (obviously not a lover of exploitation and schlock horror). Mary Whitehouse and her contacts in the government caused such a fuss that, not only were the videos banned but, in 1984, the video recordings act was passed, meaning every VHS video title had to be inspected and given a rating by the BBFC. Any video shop in the early 1980’s which was renting or selling a video that was on the video nasty list was not only subject to raids but also prosecution. It was crazy, video store owners removed most of their horror VHS stock because this led to confusion as to what films were actually on the list. A lot of the bigger companies like WARNER BROTHERS held back their titles for the reason that VHS and home video was actually competing with cinema. You had small distributers capitalizing the market and their low budget indie films next to big named Hollywood features on the shelves in video stores.
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THE GHOSTS OF BRISBANE Digital Version ADVERTORIAL
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THE GHOSTS OF BRISBANE Print Copy / Soft Cover Version ADVERTORIAL
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HIGHLIGHT
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HIGHLIGHT
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ADVERT SHOP
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MASTERS AT WORK
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MASTERS AT WORK STARTER
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MASTERS AT WORK STARTER
by Azzurra Nox Images Courtesy of Eleanor Fawcett and Karine Yijing Gao From the early Romans and Egyptians, fashion has always made a statement. Whether it was to demonstrate your social status or occupation, fashion was used in a way to make you stand out from the regular plebeians. For centuries, the only people who could afford to dabble in fashion were the aristocrats as they were the only ones who had money to spend on something so frivolous as clothes. Most people wore the same clothes for years and only had about three outfits at the most. What sparked a huge shift in fashion was when it started to become more accessible even to those who didn't have money to throw away like the rich. With the rise of the industrial revolution and clothes becoming more and more mass produced, it was easier for middle class folks to buy more and more clothes. Soon, fashion was no longer used merely to show one's social status or occupation, but rather to express one's personality or beliefs. When women began to gain independence, their skirts began to get shorter and shorter. They refused to wear corsets, seeing them as constraints of a patriarchy that wanted to keep them meek and above all quiet. In fact, during the peak of the Suffragette movement, they began to use red lipstick as a fashion accessory to stand for their courage to speak out against the inequality of the genders.
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MASTERS AT WORK WEBTALK
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MASTERS AT WORK WEBTALK
INTERVIEW WITH KARINE YIJING GAO 高一景 Exclusive Interview | Masters at Work organized in close collaboration with Karine Yijing Gao herself | Correspondent: Jessy Chen | Translators: Jessy Chen, Eleanor Fawcett & Biscuit C | Editors: Lorenza Florida & Roy Bheer | Visual Conception: Emilie Flory & Roy Bheer | Title Image: Cartoon Little Star from Pngtree | SPECIAL THANKS TO: Marie Monene and Atelier Chardon Savard | Photos Courtesy of Maki Yin & Ruyi Lin. Hello Karine. We are delighted to get a chance to talk to you about your creations which harness a beautiful and rare aesthetics of simplicity. Tell us about your career and your passion for Fashion. I have been studying Fashion Design at the DALIAN UNIVERSITY OF TECHNOLOGY for four years. I dreamt of being a painter since I was young, so I was already studying art before I went to college. I found Design to be a fascinating subject. It can simplify complicated problems and express them in innovative ways, bringing about new aesthetic joy and pleasure. This is what Fashion Design means to me. After constantly questioning and challenging myself, ideas are innovated. Seeing others enjoy my Design works is a very fulfilling thing. The main reason that I like Fashion Design is that through it, I have been able to evolve, constantly make progress, see the expanding world, which makes me full of hope and excitement for the future. That is the vitality that Design brings to me.
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MASTERS AT WORK WEBTALK
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MASTERS AT WORK WEBTALK
想请你谈谈对成为服装设计师的经历以及你对时尚的热情和酷爱。 我是从⼤学开始学习服装设计, 在⼤连⼯业⼤学读四年的服装设计专业, 在次之前我 ⼀直在学习美术, 从⼩的梦想是当⼀名画家。 我发现服装设计是⼀件很有意思的事情,他会把复杂的问题简单化, 再用创新的方式表 达, 给⼈⼀种新的视觉享受，服装设计对我来说亦是如此, 不断的否定自己创新出新 的想法, 看到别⼈喜欢我的设计作品, 是⼀件很有成就感的事情。 我对服装设计的热情是⼀直在追求变化, 不断的进步，感受丰富的世界，对未来也充 满希望和憧憬，是设计带给我的生命⼒。
你是从什么时候开始决定从事服装设计生涯的？ 真正开始学习从⼤学开始，因为他与美术息息相关。 Thirft Shop 系列是如何诞生的？
因为我对材料⾮常感兴趣，我会用不同的服装⾯料去尝试排列和混合，创新出新的 ⾯料设计风格，另外我还喜欢解构重组服装的结构，通过做加减法等不同的设计手 法创新出新的设计方式。 我的灵感来源是Régis Mayot艺术家的设计作品, 他对生活中的垃圾空瓶⼦做裁剪成 为艺术品，即环保⼜美观，于是我尝试把同样的设计理念应用于我的服装系列中， 我去⼆手店买了很多不同⾯料的服装，针织，皮革，⽜仔等，先按照服装的款式结 构去裁剪，用不同的⾯料结合再裁剪,反复环…..虽然最后的成品不美观, 但我觉得这 是⼀种很有趣的设计方式，每⼀次得到的效果都不同，每次成品都会有不同的惊喜。
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MASTERS AT WORK TECH SECRETS
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MASTERS AT WORK TECH SECRETS
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MASTERS AT WORK TECH SECRETS
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MASTERS AT WORK TECH SECRETS
1 强调服装风格与流⾏元素保持⼀致性, 增加实用性特点 2 怎样去裁剪服装结构, 选择服装款式能更好的展现⾯料结合的创新理念以及达到美学 标准 3 怎样减少⾯料成本以及缩短生产流程 4 不断的尝试新的⾯料进⾏色彩的搭配和对比性 5 确定自己的服装风格, 选择合适的⾯料和针织品
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MASTERS AT WORK TECH SECRETS
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MASTERS AT WORK TECH SECRETS
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MASTERS AT WORK TECH SECRETS
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MASTERS AT WORK TECH SECRETS
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MASTERS AT WORK FASHION SHOW / LOOK BOOK
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MASTERS AT WORK FASHION SHOW / LOOK BOOK
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MASTERS AT WORK FASHION SHOW / LOOK BOOK
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MASTERS AT WORK FASHION SHOW / LOOK BOOK
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SUPPORT US ADVERT
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PUBLICATIONS ADVERT Issuu / Peecho
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MASTERS AT WORK SHOWROOM
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MASTERS AT WORK SHOWROOM
Showroom By Emilie Flory & Christopher Zisi
Painting: Chantal Handley | Artworks: Elizabeth Wright & Dustin Siegwarth | Photos Courtesy of: Space Rocket Nation, Vendian Entertainment & Navaron Films | Guns Posters: AStyanaX | Images: 4304553, Khusen Rustamov & Viktor Hanacek from Pixabay
Directed by Nicolas Winding Refn Written by Nicolas Winding Refn, Mary Laws & Polly Stenham Starring Elle Fanning, Christina Hendricks, Keanu Reeves, Karl Glusman, Jena Malone, Abbey Lee‌ Music by Cliff Martinez Cinematography by Natasha Braier Produced by Space Rocket Nation,Vendian Entertainment, Bold Films, Danish Broadcsting Corporation PLOT: Jesse (Elle Fanning) moves to Los Angeles just after her 16th birthday to launch a career as a model. The head of her agency tells the innocent teen that she has the qualities to become a top star. Jesse soon faces the wrath of ruthless vixens who despise her fresh-faced beauty. On top of that, she must contend with a seedy motel manager and a creepy photographer. As Jesse starts to take the fashion world by storm, her personality changes in ways that could help her against her cutthroat rivals. Creators Unite 08 SP Fashion
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MASTERS AT WORK SHOWROOM A photographer who excels in his art but doesn’t cultivate snobbery is not considered a star in the world of fashion; the splendor of his photos has no impact on those who count (models, agencies, designers etc.). The success of the photographer is not related to the beauty of his work but to his attitude. Everything is about attitude; the attitude one has cultivated and the image one reflects. Shakespeare’s weird sisters in Macbeth said “Fair is foul, and foul is fair” (translated by Victor Hugo: “beauty is ugly and ugliness is beautiful”) … This all-consuming obsession with beauty reveals bloodless cannibals who fade completely behind their obsession. The main character herself possesses this rare beauty that all seek, but has no real importance. Refn makes Jesse disappear in the middle of the third act; stating that what counts is what she represents, not her carnal envelope. In The Neon Demon, Refn exposes the hidden face of absolute narcissism and the morbid despair felt when self-esteem collapses or does not exist. In this polished universe where discussions only revolve around the need to be desired, to be emotionally and sexually available and the one who will be chosen, there can be no cheerful conclusion. Only the evaporation, the absorption, the integration of the flesh can lead to elevation, absolution, and finally to bliss. Brilliantly, Refn announced from the very beginning, the true nature of The Neon Demon with one of the most fascinating scenes of his entire oeuvre. In the style Dario Argento adopted for Tenebrae when making us crawl along the roof of a villa to inform us of the approach of evil, Nicolas Winding Refn plunges us beneath the black lights of a nightclub pulsating with the beats of Julian Winding’s mighty Demon Dance, warning us of the entrance of his threatening Demon.
-Emilie Flory
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MASTERS AT WORK SHOWROOM
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MASTERS AT WORK SHOWROOM
Directed by Abel Ferrara Written by Nicholas St. John (as N.G. St. John) Starring ZoĂŤ Lund (as ZoĂŤ Tamerlis), Peter Yellen, Jack Thibeau, Music by Joe Delia Cinematography by James Lemmo (as James Momel) Produced by Richard Howorth, Mary Kane, Arthur Weisberg (Rochelle Weisberg) PLOT: In Manhattan, Thana, a timid and mute woman who works as a seamstress in the fashion industry goes insane after being attacked and raped twice in one day. She uses a .45 caliber pistol to shoot men on the streets of New York. She dresses suggestively and roams the dark streets alone, wreaking vengeance upon anyone who tries to take advantage of her. Eventually, her secret life overflows into her regular life in the fashion industry.
Ms .45, All Men are Evil! by Christopher Zisi The late 1970s and early 1980s were a weird time in New York City. The Son of Sam was spreading his carnage, and George Steinbrenner turned the New York Yankees into a soap opera as he kept firing Billy Martin. The movie Death Wish starring Charles Bronson gave people hope about tackling crime. Also, during this time, I Spit on Your Grave began the rape/revenge genre in film. This brings us to 1981's Ms.45, an incredibly violent film starring Zoe Lund (1962-1999). When not acting, Lund served as an advocate for the use of heroine... ironically, she died of drug related causes in Paris at the age of 37.
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MASTERS AT WORK SHOWROOM
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MASTERS AT WORK SHOWROOM The plot: Lund portrays Thana, a timid and mute seamstress in New York's garment district. On her stroll home one evening, a thug pulls her into an alley and rapes her. Without the ability to call for help, she scampers back home only to walk in on a burglar who rapes her at gunpoint. As she endures the second rape, she reaches for a crystal apple (perhaps symbolic of Eve's fall from grace), conks the thug in the head and finishes him off with an iron. She now has a gun (.45 caliber) and a new attitude. No longer meek, she cuts up her 2nd rapist and places him in garbage bags in her refrigerator. She disposes a piece of him each day on her way to work, finding different trash cans on her walk. Armed with a .45, Thana is slightly more confident. One day, a creep follows her, chases her into an alley and she deposits a round between his eyes. Easy... and slightly enjoyable to our newly created homicidal maniac. Each killing brings her more and more out of her shell. She, one night, dolls herself up with make-up and a risqué wardrobe and hits Central Park. She mows down five “would be” rapists in just a few seconds. This movie turns into an orgy of carnage as she also offs a Saudi Arabian prince and his driver on her way home. The New York Post starts reporting on these mass killings beside the news of the latest Billy Martin firing as Yankee manager. As she finishes disposing of the remains of her second rapist, she feeds the last few pieces of him to a neighbor's dog. An incredibly violent conclusion approaches which see a now sexed up Thana heading to a Halloween party as the date of her boss who constantly sexually harasses her (can you guess his fate?). Oh yes, her costume? A nun. This movie is violent and drips of symbolism. The final scenes have her dressed as a nun, and her intended final victim, dressed as Dracula. In all, she kills 18 times, all captured in these reels. This film reminds us more of Death Wish than I Spit on Your Grave but both influenced this work. Director Abel Ferrara keeps this a stylish work, and masterfully creates a character that starts out as a victim in waiting, to a horrific predator. See Ms.45 but be warned... your weekly quota for motion picture violence will be filled in these 80 minutes.
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MASTERS AT WORK SHOWROOM
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And the Allure of Guns by Christopher Zisi
“You’ll get a badge, a car, and a gun.” That was told to me in October of 1989. I was a subpar law student at Tulane Law School in New Orleans, Louisiana. The recruiter from the Federal Bureau of Investigation (FBI) had come to campus to recruit future lawyers into the FBI. I was hooked… badge… gun… car… could babes be far behind? He might as well have said, “… chocolate covered strawberry, champagne in a long-stemmed glass, and raw oysters.” We can talk about cars and badges some other time, but are we ready to admit the allure of that killing device… the gun? A brief history. I was an FBI agent for 25 years. I came on in 1990 and was issued a SMITH AND WESSON 357. Let us not confuse it with the .44 Magnum, “the most powerful handgun on Earth,” as stated by Clint Eastwood’s Dirty Harry. We all remember that scene, Dirty Harry, sleek, calm, and powerful, holding that Magnum by his side. His Magnum is long, shiny, dark, and ready to kill. In a moment he will ask the punk, “do you feel lucky?” Audiences in the early 1970s cheered and memorized Clint Eastwood’s lines infinitely easier than words on a spelling test. Long, sleek, and controlling… a Magnum or Catherine Deneuve in a revealing, black evening gown? Back to Earth!… My new .357 Magnum was shorter, but just as powerful. By the way, two years after I got my gun, I got a beautiful and elegant wife… coincidence?
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SOCIAL MEDIA ADVERT
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XTREM COLLECTION ADVERT
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MASTERS AT WORK VANITY CASE
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Horror Makeup Exhibition & Interview with
MASTERS AT WORK VANITY CASE
Winner of the 2nd Annual PROMOTE HORROR SFX HORROR MAKEUP CONTEST AND of THE ART AND HORROR CREATION AWARD
Interview by Omar “HorrO” Usman | Photos by Nicci Fears This winter, in our Vanity Case Feature for the Fashion Issue, we decided to offer you a very special Make-up Exhibition and an Interview with Justin Fears, the winner of the 2nd Annual Promote Horror SFX Horror Makeup Contest and of the Art and Horror Creation Award 2020! Here is for you an exclusive exchange between two horror lovers: Justin Fears and, our friend and partner from Promote Horror, Omar “HorrO” Usman. Enjoy! Let’s start at the beginning. When did you start practicing special effects makeup? I developed an interest in makeup and costuming not long after my wife and I met, around 2009. It was something fun that we could do together and we both enjoyed dressing up and attending various events. At that time, it was very basic grease paint makeups. It would be a stretch to call those early makeups special effects. The real magic didn't start happening until we were introduced to the haunted house industry around 2012 when I bought my first airbrush. Even then I was only doing airbrush tattoos and later one-dimensional airbrush haunt makeups. My first real special effects makeup was in November of 2015... I only remember the date because I did the makeup on a friend of mine, Lucas Turner, for the release of Fallout 4!
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MASTERS AT WORK VANITY CASE
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MASTERS AT WORK VANITY CASE
How did you go about learning your craft? Self-taught, formal teaching, or both? That first makeup turned out so well that we thought, hey, this might be something we could do more often! Lucas lived close so we decided to meet up occasionally to try our hand at other looks. I had a fair amount of supplies in my basement and we had no lack of imagination. At the same time, I decided I would take a big step and start taking special effects classes in Chicago with Anthony Kosar (from Faceoff, Ed) on the weekends. I soaked up as much information in those weekend workshops as I could! In all, I think I took about a dozen different courses from Anthony and learned a ton! It was the application of those skills and practicing with Lucas that really solidified many of my techniques and abilities. You've worked as a lead artist in haunted houses. What was a typical night like for you? As the haunted house grew in popularity and staff, the demands on my time grew as well. Conceptually I had created the characters in the haunt and had a pretty specific way I felt they should look (so I was a little particular about the makeup). Ultimately what this meant for me is that I would end up doing 90% of the makeups myself. Not advisable for anyone... I had helpers who could do basic looks or spatter blood but for the intense looks I felt like I needed to be the one taking care of business. Needless to say, this made for long nights. I would start makeups as soon as I got there, usually around 3:30 pm and would finish the last makeup usually as the first bus load of people was being dropped at the door (approximately 7 pm). Three and a half hours is really not that bad to get fifty to sixty actors in makeup and out on the floor! Oh, and I lead the pre-show warm-up so there was no time to waste! The rest of the night, I managed the main house of the haunt... much less stressful than the makeup room, lol!
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MASTERS AT WORK VANITY CASE
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MASTERS AT WORK VANITY CASE
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AHCA ADVERT
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SHOP ADVERT
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MASTERS AT WORK METHODS OF THE MASTERS
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MASTERS AT WORK METHODS OF THE MASTERS
by Kent Steine Editor: Roy Bheer | Visual Conception: Dub Meter | Images Courtesy of VOGUE & CONDÉ NAST Fashion illustration has always been a specialized endeavor for a select few universally successful artists. For example, J.C. Leyendecker and René Bouché, typically come to mind when discussing the subject of this select group. Noted illustrator, Bob Peak, was greatly influenced by Bouché, and cited a commission that he won in direct competition with Bouché as his first meaningful assignment. The advertisement was for OLD HICKORY WHISKEY, and Peak went on to certain fame creating numerous images for various clothiers within the garment industry during the 1950's and 1960's. However, preceding and eclipsing Bouché and Peak, and many other illustrators who gained recognition creating art for the fashion industry, was an artist who simply signed his work, Eric. Carl Oscar August Erickson, was born in Joliet, Illinois, nine years before the turn of the twentieth century. Poster Presentation On the Left Unknown fashion advertising illustration, possibly for BALENCIAGA or GIVENCHY [charcoal and gouache] On the Right (Top) Party with stylish attendees. Advertisement for COTY COSMETICS. 1944. [Ink and transparent watercolor on paper] On the Right (Bottom) Advertisement for COTY COSMETICS.1945. [Produced with brush inked line, transparent watercolor and gouache]
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MASTERS AT WORK METHODS OF THE MASTERS
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MASTERS AT WORK METHODS OF THE MASTERS
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MASTERS AT WORK WEBTALK
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PEECHO ADVERT
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CANNIBAL COMEDIAN ADVERT
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Elizabeth Wright is a self-taught digital artist based in the London area in the UK, specializing in portrait design. Her current projects explore different Goth culture and horror icons, ranging from some of the well-loved classics to modern day. Her inspiration to create her art includes music, movies and true crime. Although the main focus of Elizabeth’s work is the portrait itself, she enjoys exploring different ways to frame her work, whilst incorporating an element of text. Elizabeth has many projects planned for the future, exploring different themes, such as literature, TV and gaming.
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« 프퓸 Perfum is an adaptation of the Perfume (KBS2 Korea 2019) with a twist: I changed the leading lady. I just felt given the narrative, she deserved to be there, but the creatives went with the more conventional option (the actress who plays her younger, slimmer and 20 years younger). I have seen Ha Jae Suk in so many dramas and she deserves some credit for her grace, thick skin and endurance in a high-pressure appearance orientated industry for among a range of roles playing the heroine before surgery (birth of a beauty) or before the weight loss etc. And Shin Sung Rok is a great charismatic actor on screen and on stage. They have made us both laugh and cry in numerous dramas so here is a small tribute to beauty in all its forms. The irony and kitsch visual nature of this body of work is not lost on me, whilst passionate about and very well versed in contemporary art aesthetics, I believe that there is a certain rebellion in figurative painting when the art market prizes parodies of yester-year's modernism and abstraction, I continue to enjoy the post-modern era's playful bombastic aesthetics that boomed in the 1980s-1990s. » 프퓸 PERFUM
프퓸 PERFUM Eau de/ ode to Ha Jae Suk and Shin Sung Rok [Min Jae Hee and Seo Yi-do] Body of work / Adaptation of the Perfume (KBS2 Korea 2019) Acrylic on canvas 150x100cm 2019 by Eleanor Fawcett Creators Unite 08 SP Fashion
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PUBLICATIONS ADVERT DOWNLOADBLE UNCENSORED ISSUES
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PUBLICATIONS ADVERT DOWNLOADBLE UNCENSORED ISSUES
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