ISSUE 25 OCT 2020
Nikola Borissov Frank Horvat - Eugenio Recuenco - Christopher Miles - Brent Lee - Michael Creagh - Giovanni Gastel Holly Pan - Enrique Vega - Sandy Linter - Anya Anti - Walter Rothwell - Stefanie Renoma pablo Almansa - Javier Marin - Michael Callas - Jose Cacho - Christina Nicodema
faddymagazine
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F A D DY Mag
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In memory of Frank Horvat 1928 – 2020 A self-described European, Frank Horvat eschewed nostalgia. His penchant for realism gave his work a unique perspective. While widely known for fashion photography, Horvat’s oeuvre encompasses photo journalism, portraiture, landscape, nature, and sculpture. One of the first photographers to shoot in color and to work with Photoshop, he was interested in new ideas. We (at FADDY) feel privileged to be able to provide a space to present the work of artists and their new ideas. In honor of this vastly creative and insightful artist, we present to you our October issue.
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table of contents 188
336
Holly Pan
Iconic Influencer and Stylist
Artist - Sculptor
164 72
Javier Marin
Giovanni Gastel Exclusive Interview
Eugenio Recuenco Exclusive Interview
238
Anya Anti
Exclusive Interview
8
122
The Modern Antebellum
142
Michael Creagh
Brent Lee
Exclusive Interview
F A D DY Mag
10
Nikola Borissov Cover Story
358
392
Michael Callas
Fine Artist
212
Christina Nicodema Fine Artist Jose Cacho Fine Artist
380
Dangerous Times
by Enrique Vega feat. Sandy Linter
260
Walter Rotwell
Exclusive Interview
284
106
Time for Change Christopher Miles
Stefanie Renoma
Exclusive interview
308
Pablo Almansa
Exclusive interview
40
Frank Horvat
Exclusive interview 9
NIKOLA BORISSOV
I
f I could write an entire interview solely made up of quotes from Nikola Borissov, I would, and gladly. Eloquent, educated,
and fluent in 6 different languages, he describes himself as a “grumpy Eastern European” that could “talk for hours”. Our conversation ranges from brutalist architecture, Bulgaria, houses in Sicily that one could buy for just one euro, and his upcoming golden years, “I don’t have a clue what the future is going to bring, but I have a plan. I just had my 40th birthday, so I have entered a totally new mind shift. The first one comes when you’re 30. So this is my second. And let me say, it’s really making me want to get my sh*t together”. We both laugh. His laugh is honest and earthy. Like many artists, the outbreak of COVID-19 stopped Borissov’s plans in their tracks. He tells me that right now, he has recently fallen in love with real estate and is planning out his next move. In Europe, “geography doesn’t really matter in my line of work. You can get on a plane and be in London in 3 hours for a photo shoot”. Although he has lived almost every place imaginable, he tells me that the virus caught him in between moving from Milan to Barcelona, causing him to move back to his home, Sofia, Bulgaria. “It’s fascinating to me that I am back here. I’m seeing old classmates, I can see my family... It’s almost as if this place is now exotic to me because I have not been here in so long.”
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F A D DY Mag
EXCLUSIVE I N T E RV I E W I N T E RV I E W B Y N I C O L E V I C K E R S
Tell me about the most beautiful and inspiring
Your portrait work is so intimate. How do you get
places you’ve ever been to.
the models to feel so comfortable around you? What conversation if there, if any? Do you play
Cape Town, South Africa. The moment I stepped
any music while you’re working?
off the plane I knew I was home. The colors that surrounded the area were like, saturated
It really is a case-by-case scenario; in general I strive
technicolor. I’m so bummed I can’t go this year.
to be a decent guy that the talents feel comfort-
It’s Africa, you know! There is something about it...
able being around. Also quite often I work with the
It’s the edge of the world, nothing compares to it.
same models over and over again so, in the end, we
It truly is the only place I have felt at home. The
become friends; actually, a lot of the women that I
smells, it smelled like earth, and flowers, and … I’m
shoot are amongst my closest friends, and this makes
kind of obsessed with that place.
everything infinitely easier. It also depends a lot on the type of job – on big complicated sets with dozens
Nikola’s sense of adventure and curiosity is palpa-
of people running around it’s generally harder and
ble. His artistry is a perfect blend of who he is as a
more hectic, small teams and small sets make for a
person- looking for the realness in everything, trying
much more relaxed and friendly vibe. But again, there
to understand as much as he can, and leaving his
are no rules except for one: “Treat everyone with
mark wherever he goes.
respect and don’t be a d*ck”. As for conversation – yeah, in this line of work with time one has to become
You mentioned your “golden years” earlier.
something of a cross between a psychologist and a
What do they look like for you? What do you
stand-up comedian in order to keep everyone on set
think they have in store?
happy, and a happy set equals a good picture. I generally keep a silent set during the actual shooting but
Well, I do have a plan. I just turned 40 a few weeks
before, after, and during the breaks, there’s music,
ago. This is my second mindset shift, but I still feel
jokes, stories, conversations about art, politics, reli-
very childlike. My plan was to settle down, get a
gion, everything. I am a very curious person by nature
houseboat, and be able to go onshore and shoot.
so I always annoy and/or entertain everyone with the
It’s tiring living out of your suitcase for 7 years, but
most absurd conversations. In my usual base cities,
on the other hand, I am someone who gets bored
I have teams that I always work with, and there is a
easily. Hence the boat! I can go stay in one of the
family vibe anyway, so even when we work with new
towns when I get bored. I just want this lifestyle.
talent, they immediately feel integrated and relaxed. A big factor is also the cultural specifics of the country
One of the first things that I noticed about Nikola’s
we are shooting in – some places are rigid and sterile
portrait work i show delicate and intimate it is. After
(the US or Germany, for example), while elsewhere
speaking to him for all of five minutes I had my an-
the attitude towards everything is much more relaxed
swer, but I knew I had to ask him about his process.
(Italy, France, Spain, South Africa, etc). I feel equally at home in both scenarios, you learn to adapt to the local ways (and it did take the occasional faux pas).
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F PHOTOGRAPHY IS THE ART OF NOT PUSHING THE BUTTON....
I
n almost 70 years of photography, I had the time to photograph many different subjects, with at least a dozen different
techniques. But that’s almost beside the point. The point is that I had the time to play many different games. The hardest, as in the case of the present website, is to make this clear to the people who look at my work.
Frank Horvat
rank Horvat exclusive interview
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F A D DY Mag
EXCLUSIVE I N T E RV I E W I N T E RV I E W B Y N I C O L E V I C K E R S
B
orn in a Jewish family from Central Europe in 1928, Horvat has lived in Switzerland, Italy,
Pakistan, India, England and France, where he settled in 1955, while continuing to commute in Europe, to often work in New York and to travel to various countries in Asia. Horvat acknowledges having been strongly influenced by Henri CartierBresson. After meeting him in 1950, he follows his advice (‘God didn’t put your eyes on your belly’), by replacing his Rollei with a Leica and embarking on a two-year journey in Asia, as a free-lance photojournalist. His photographs from this trip are widly published and one of them is included in the Family of Man, at the New York MOMA. In 1957, Horvat moves to a different branch of photography, by shooting fashion for Jardin des Modes. But he holds on to 35 mm cameras and available light - which formerly had
“For me, digitalization was liberation from repetitive and boring tasks, like measuring light and distance, bracketing, shading, spotting, filing, etc etc.” 42
F A D DY Mag
rarely been used for fashion.
criticism comes from his master,
The innovation is welcomed
Cartier-Bresson: “You shouldn’t
by ready-to-wear designers,
mix directive and non-directive
because it presents their
photography! What you do is
creations in the context of
pastiche”!
everyday life for which they are meant. In the following years, he
Between 1962 and 1963, Horvat
is commissioned to do similar
reverts to photo-journalism, with
work for Vogue in London,
a trip around the world for the
Harper’s Bazaar in New York
German magazine Revue. Then
and Elle in Paris, and his lead
he experiments with cinema
is followed by others. The only
and video. In 1976, he decides
1961, Paris, France, rue du Parc Montsouris, Judy Dent
to “become his own client”, by
photography.
producing three personal projects:
Riboud, Eva Rubinstein, Jean-Loup Sieff and Joel-Peter Witkin. They
Portraits of trees (1976-82), Very
In the 80’s, Horvat suffers from
are published in France, under
similar (1982-86) and New York
an eye disease and for some
the title Entre Vues, and are now
up and down (1982-87), which he
months has to replace his eyes
considered a work of reference,
calls his “triptych” , even though
with his ears. The result is a
not only because the interlocutors
the three are so diverse, that
series of interviews with fellow
are famous, but also because
they seem to be done by three
photographers: such as Edouard
with Horvat they ‘talk shop’, i.e.
different photographers. Their
Boubat, Robert Doisneau, Mario
as people dealing with the same
point in common is that the three
Giacomelli, Hiroshi Hamaya, Josef
problems.
are in colour, which at the time
Koudelka, Don McCullin, Sarah
is a relative exception in creative
Moon, Helmut Newton, Marc 43
1959, London, UK, for BR VOG, with horses
In the 90’s, he takes an even more
in Provence, Cotignac or in its
EntreVues, with the collaboration
radical step, by adopting computer
immediate surroundings. Eye at
of a younger generation of
technology. First with Yao the
the fingertips, started in 2006,
photographers such as Roger
Cat (1993), then with Bestiary
is photographed with a digital
Ballen, Jane Evelyn Atwood and
(1994) and Ovid’s Metamorphoses
compact camera. It can best be
Bruce Gilden.
(1995), he transgresses the cartier-
described as a hodgepodge of
bressonian rule of the ‘decisive
whatever triggers some emotional
In the past 40 years, Horvat has
moment’, by combining parts of
response in his mind, even if his
exchanged prints with fellow
images shot at different times and
mental associations are not always
photographers. His collection of
in different places.
conscious (or particularly in those
500 photographs illustrates the
cases)
photographic language he belongs
Published in 2000, with a text
to. This unique collection will be
by the French historian Michel
‘1999’ has been widely published
shown at the MAMM, Moscow.
Pastoureau, Figures Romanes is
and exhibited, the other two are
the result of a 2-year exploration of
still confidential. In all three, Horvat
The Atelier EXB – Xavier Barral
Romanesque sculpture, an art that
explores the miracles of everyday
publishing house will release his
flourished between 1100 and 1200
life, unlike the widespread
last book, Side Walk, on his New
AD and that to Horvat is at once
tendency of photographing
York series during the ‘80s, in
visually fascinating, geographically
whatever seems exceptional or
October. The project Very Similar
close and intellectually remote.
extreme.
was shown at the gallery Lelong in Paris last summer. His early work,
His next three projects are
Until the last days, Frank
when he just arrived in Paris in
possibly his most personal. 1999
Horvat carried his small camera
the ‘50s is currently showed at the
is the photo-diary of the last
everywhere he went. He kept
Maison de la Photographie Robert
year of the millennium, shot with
working on his Livres Blancs, a self-
Doisneau.
a tiny analog camera designed
published edition, allowing him to
for amateurs. La Véronique was
retrace all the different languages
He passed away on October 21st,
shot within a 30 meters range,
in his career. He also prepared the
surrounded by his family.
either inside his beloved home
new edition of his influential book 45
1984, NY USA, backs of two ladies, facing Central Park West
1963, Tokyo, Japan, sterile meeting
E IT IS A MATTER OF LIGHT, I DECIDE WHICH PARTS ARE SEEN AND WHICH PARTS ARE SENSED...
I
t is a pleasure to sit down and speak with renowned photographer, Eugenio Recuenco. A boy of an artistic nature, Eugenio’s vocation to
arts was envisaged from a young age. Enrolling in the Faculty of Fine Arts of the Complutense University of Madrid to study painting, Eugenio shortly realised his passion lied with photography. After gaining much local notoriety, his images were splashed across numerous glossy magazines such as; Vogue Spain, Elle, Marie Claire, Vanity Fair, Madame Figaro etc. A spontaneous move saw Eugneio relocate to the Fashion Capital of the World, revelling in the abundance of high fashion and picturesque photography. His work captures reality with an almost painterly sensibility, exuding a whimsical flair, reminiscent of the grand masters of Spanish Classical painting. Whether it be cinematography, photography or a myriad of fine art mediums, Eugenio seduces the mind of spectators internationally.
ugenio Recuenco exclusive interview
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EXCLUSIVE I N T E RV I E W I N T E RV I E W B Y G A B Y S M I T H
A
fter majoring in painting
it perfectly, migrating early on and
at the Faculty of Fine
not settling just in the pleasure of
Arts of the Complutense
local recognition.
University of Madrid, at what point
did
you
realise
your
passion lied with photography?
Living in the Parisian capital, did this fuel your love of fashion photography?
I had always been interested in photography and in the early
I think it awoke in me an interest in
stages of my career, I took every
detail and uniqueness.
possible subject to do with the ‘audiovisual medium’. Initially I
Your work has graced the pages
started photography as a means
of numerous glossy magazines
of earning a living until I could do
and billboards. What has been
something more creative. I did
your proudest achievement or
not have a specific goal of what
biggest highlight?
I wanted to be and gradually I realised that what I really wanted
I think the most important and
to do was to create images and
unexpected moment was being
I realised this was through my
called to participate in the 2007
photography.
Lavazza
Calendar.
It
meant
becoming part of a small group Born in Madrid, you moved to
of photographers that I greatly
Paris, pursuing your dreams
admired. I never thought I would
in
What
be involved but I had always
migrate
dreamed of being as good and
to the Fashion Capital of the
credible as them one day. And that
World?
call was magical.
the
creative
encouraged
you
field. to
I think first and foremost you need to begin the collaboration with spirit and
Everything
happened
when
I
acclaimed
collaborated
new and unique that will elevate the
published regularly in Spanish
with many luxurious brands
brand. This requires understanding
fashion magazines such as Elle.
such as; Jean Paul Gaultier,
the brand itself, understanding its
I was a little fed up with the fact
Yves Saint Laurent, Lowe and
philosophy, knowing what works for
that my reportage was directed
Nina Ricci. How do you ensure
them and what doesn’t. Treat that as
by
foreign
your authentic style is not
the limit and boundaries in which you
magazines. I chose to travel and
compromised by the brand’s
can present your authentic style. Your
see firsthand what the fashion
direction?
way of seeing has to be subjected to
from
F A D DY Mag
also
soul, looking to barring something
you
references
have
photographer,
achieved my first goal, being
magazines were like. I think I timed
74
An
the story you are going to tell and
each story requires a different
you intentionally blur the
that people intuit some areas so
approach, but despite that your
boundaries of painting and
that they can see the ones that
authentic style will always remain.
photography?
interest me.
It is a matter of light, I decide which
Where do you source inspiration
parts are seen and which parts are
for your work? Literature,
Your photography is often
sensed. It is almost what happens
paintings, cinema?
described as “cinematographic”
when you approach a painting
and “pictorial”, with references
by Velazquez and you see that
From life. From asking myself the
to the history of art, such
the foot that you saw from afar is
reason for everything. And when
as the Renaissance, Picasso
actually two brushstrokes. I apply
I don’t have an answer, I invent
or Tamara de Lempicka. Do
the same to photography. I prefer
it and when I know it, I deform
Style is a way of looking at things, they are not things themselves.
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FADDY STORIES
s e i or
St
Time for Change SAY THEIR NAMES by Christopher Miles
TIME FOR CHANGE SAY THEIR NAMES ALONE TOGETHER ISOLATED APART WE WILL RISE CHRISTOPHER MILES
Model ALEXIS SHEREE: Dress MADISON JAMES - Jacket MICHAEL LOMBARD - Shoes FREELANCE - Mask DULCE BESTIA - Bracelet SOPHISTICATED STONES - Model GUETCHA: Dress MICHAEL LEYVA - Jacket DELISE’ ANA - Shoes ART OF DANCE Bracelets SOPHISTICATED STONES - Mask DULCE BESTIA - Headband GLADYS TAMEZ MILLINERY <- On aperture: Model GUECHA: Dress DUR DOUX - Shoes TAFARI - Crystal bra UPSTREETKID - Gloves LILITH VIPER
THE MODERN ANTEBELLUM BY
BRENT LEE Photo BRENT LEE @photobrent
Styling STASI BEREZOVSKAYA @sb.style.me.up Make-Up DANNY LARIVIERE @dannyxglam Hair DAMIAN MONZILLO @damianmonzillo Make-Up ELENA AZZARO @elenaazzaro Photo Assistant CAROLINE OURSO @ceourso Video ROB MENZER @robmenzer
Red Coat: MORPHINE FASHION @morphine_fashion - Black Skirt: DAVID TLALE @davidtlale - Red Boots PER FIDEM @perfidemleather
Black Pants: NUEQUE - Black Jacket: NUEQUE - Feathers Pink Shoes: BLONDISH @blondishofficial -> on the right page: Skirt: LOUIS VUITTON - Black Mesh Blouse: DAVID TLALE @davidtlale - Shoes: SAINT LAURENT
MICHAEL CREAGH M
ichael Creagh creates simple iconic photographs for dozens of fashion and commercial brands. An expert in production and visualization, Michael guides clients through the creative process of booking talent, models and creating imagery that brands the fashion line and creates a campaign. Michael’s award winning journey began while living a vagabond’s life in France and Italy: just walking around taking pictures of everything he saw. In London, he began shooting portraits, and in New York, fashion. He has been recognized by many international juries and press; including the IPA International Photo Awards, the International Color Awards, the Black and White Awards in London, and PX3 Prix de la Photographie Awards in Paris. His book “Editorial Stories” won 2nd place in the prestigious Photography Book Now Competition. Michael has been named a 2010 Hasselblad Masters Finalist. With press from China to Europe to Latin America, Michael’s work is internationally acclaimed. His 10 page cover story and interview in Digital PhotoPro Magazine could be found on nearly every magazine stand in America.”
I think it would have to be
balloons.” Susana has been
Do you prefer planned
Bubbles, 2007. I originally
one of my longest co-con-
photoshoots or improvised
shot it in partnership with de-
spirators. Needless to say,
street photography?
signer Susana Monaco for her
the number of balloons kept
collection and people seemed
growing, and we never looked
really drawn to the series.
back. I am not sure why peo-
We got the stunning French
ple are drawn to it. I think it
Canadian model, Charlotte
is simple and beautiful while
Le Bon to pose for it. She has
being somewhat recognizable
since become a successful
and striking. It isn’t unique.
actor and artist. Starring in
I don’t believe Susana and I
several movies; The Hun-
starting using lots of balloons
dred-Foot Journey, Yves Saint
in photographs and I have
Laurent, and The Walk. The
seen it done and copied too
shoot itself was simple. I
many times to count. I think
believe I just had one main
people just like our vision and
light and a fill light at points.
version of the idea. Because
I shot slowly on my Hassel-
of the repetition of the large
blad medium format digital
monochrome balloons, there
camera. My original concep-
is the shape and composition
tualization was a little differ-
in each image that keeps the
ent. I pitched Susana a model
series moving. It also doesn’t
sitting on a big white ball and
hurt that Charlotte is one of
holding a big white balloon
the most beautiful human
on a string. Susana liked it,
beings.
but said, “What about more 148
F A D DY Mag
I only really participate in planned photoshoots. They are different skill sets. Some people do both well, but I like photography because of the social connection with your subject and team, and my personality doesn’t let me connect with people on the street well. I like to photograph people, who want to be photographed. When a stranger comes into my studio, I feel differently and I immediately begin a process of creating with them. But there is a barrier for me on the street or at an event. I can do it, but I don’t enjoy it. So instead, I am only a fan of street photography.
G I O VA N N I G A S T E L
It is an honour to feature the acclaimed fashion photographer, fine portraitist, poet and writer, Giovanni Gastel. After being introduced to the world of fashion in the 80s, he spent much of his photographic career dedicated to artistic portraits. With a keen eye for detail and Master behind the lens, Giovanni’s camera has captured countless striking shots, each encapsulating the essence of human emotion and identity. His recent exhibition ‘The People I Like’, compiles over 200 portraits taken throughout his extensive 40 year career. Among the selected images, or as he defines ‘souls’, you may well recognise some familiar faces from the world of culture, design, art, fashion and politics. From Barack Obama to Franca Sozzani, Giovanni’s authentic and spontaneous ability to capture spirit and soul in just a few camera clicks, in just a few fleeting moments, is most applaudable.
Photo by Stefano Guindani
EXCLUSIVE I N T E RV I E W
I N T E RV I E W B Y G A B Y S M I T H A L L E D I T O R I A L P I C T U R E S B Y G I O VA N N I G A S T E L
In the 1970s you had your first taste of
photographs’ objective to sell fashion. It is fashion
photography, what was the project or shoot
that dictates, then if you can also take beautiful
that fuelled your passion for photography?
photos, you are a great photographer. I think that’s what struck me most.
There wasn’t a real project or shot that initially fuelled my passion for photography. In fact, at the
Photographers and designers often have a
age of 12 I was a child actor, shortly after I then
‘muse’, for example Audrey Hepbrun for Hubert
began publishing poetry books. My dream was
de Givenchy, Twiggy for Justin de Villeneueve or
to be a poet; I then discovered photography as
Jean Shrimpton for David Bailey. Who would your
an amateur passion. One day a girlfriend of mine
muse be?
pointed out to me that I was taking very beautiful photographs. Thus, the immense love for this form
The model that most impressed me during my
of art was born. At 17, I sold my first photos. At 19, I
forty-year career, with beauty but above all for the
opened my first self-taught photographic studio.
chameleonic ability to transform into the right woman for your project, was Linda Evangelista.
At the beginning of your career you were
More recently I am fascinated by a young Corsa
offered the chance to work for Christie’s from
model, Lisa Louis Fratani.
1975-1976. During your time as an apprentice and amateur photographer, what was the most
From countless iconic photographs and portraits,
important thing you learnt?
do you have any one image or shoot that remained a personal favourite? If so, why?
They hired me at Christie’s to document the works of various collectors. It was here I received one
I certainly have some photos that represent an
of my first great lessons in humility. I learned to
important moment for me: the portrait of Obama
respect the object as it presented itself, without
or the first cover taken for DONNA magazine with
improving or embellishing anything.
Linda, (the first cover for her too) but I’m always very focused on today’s photo. I face it as if it were the
Stepping into the early 80s you were introduced
only chance in the world to prove my worth. The past
to the world of fashion by Carla Ghiglieri. What
is already past and the future is yet to be decided;
excited you about fashion photography?
only the present remains. “Hic et nunc”.
Being a fashion photographer, it was immediately
The recent and unprecedented pandemic proved
clear to me, from the very first steps (I had my first
a confusing and difficult time for many. All
cover in 1981 at the age of 26) that it’s fashion that
creative industries were put on pause. How did
speaks. Everything else are accessories; including
this affect your creativity?
the men and women. The dress being photographed will always feature
After a brief moment of bewilderment and reflection,
a small detail that describes its story entirely. The
I thought that there were infinite means to express
shoot has to display and present that story; it is the
my creativity. During the lockdown I produced a
the short film “Ninfe” was made by Giovanni Gastel with the essential support of the hair dresser Franco Curletto, to give substance to “a need that I consider urgent, to find a new alliance between Man and Nature as it was in the days of classical mythology” as the photographer himself states.
all of a 125th of a second, in this time the subject and I drop our defenses and barriers. Many familiar faces can be spotted in your portrait exhibition, are there any other famous faces you would love to shoot? The title of my photography exhibition is ‘The People I like’ and luckily I was able to shoot a large number of people I like and admire. The difficulty was for me and my curator, Uberto Frigerio, that we had to exclude many of them due to space constraints, however I will continue to photograph people I like. Last but not least, we would love to hear what else you are working on? The project I’m currently working on with my super stylist, Simone Guidarelli, is a series of Madonnas. This series is interpreted with infinite respect in
lot; editorials, a series of themed photos revisiting photos already taken, promoted a competition with the FEELROUGE agency inviting participants
a contemporary and neo-baroque key that will eventually become an exhibition and a book published by SKIRA.
to use their window as a frame (almost 50,000 participants) and on top of that, I also found time to write a book - dialogue with the poet Davide Rondoni on beauty “giving a voice to beauty” edited by Lamberto Fabbri. We have to talk about your latest exhibition, ‘People I Like’. Currently on display at the MAXXI. Capturing over 200 figures in elegant shots with touching human emotion, what do you say to your models as you click the camera? To get the shot, it is vital to charm the subject, make him feel comfortable and at ease in a friendly world to minimize his initial tension. With the subject on the set, I aim to shoot quickly and efficiently. The ‘real portrait’ is an act of mutual seduction that lasts
166
F A D DY Mag
The texts of the film were taken from the book “Dare del tu alla bellezza - Giving a voice to beauty” written by Giovanni Gastel in the form of a dialogue with his friend and great poet Davide Rondoni
167
THE PEOPLE I LIKE GIOVANNI GASTEL
Barack Obama
H H
i, I am Holly, style influencer and fashion stylist based in Washington DC. Until I
turned forty, my life had nothing to do
with fashion or style, I was a science major with advanced education & professional credentials in business. Now looking back, it all started 20
years ago, when I went to an art exhibit for the
first time in my life, the Vincent Van Gogh exhibition at the National Gallery of Art.
Before I came to the States, l had been shopping for unique designs but my exposure to art and
fashion was next to nothing but occasional runway shows on tv and print magazines. So when
i n t ro d u c i ng
olly Pan
Iconic Influencer and Stylist
Dress: STAUD - Bag: Jacquemus - Shoes: JACQUEMUS - Hat: JACQUEMUS
Dress: HELMUT LANG - Coat: ALESSANDRA RICH - Necklaces: TILLYS VEAAS - Headband: DIOR
Dress: JACQUEMUS - Bag: JACQUEMUS - Shoes: JACQUEMUS - Hat: JACQUEMUS - Necklaces: TILLYS VEAAS
S
SO, WHO I AM IS A MAKEUP ARTIST. A MAKEUP ARTIST THAT HAS BEEN DOING EDITORIAL SHOOTS SINCE 1973. WHICH IS SUCH A LARGE AREA TO SPAN FOR A SINGLE INTERVIEW…
So, we try our best. I am such a fan of your work. What era? The ‘80s? New fans of my work usually go to my Disco Beauty Book from the ’70s. Yes, and the ‘90s. But I really loved your work with Debbie Harry. Oh yes so the ‘80s! See, it’s the same for me, I also love the ‘80s and the ‘90s. I started in the ’70s but I thoroughly enjoyed working in every decade. My work evolved in a certain directionI started out in a salon called Mr. Kenneth’s. I did all of the makeup for the society women at the time, and these were Mr. Kenneth’s clientele. I had all of his clients! He did hair for Jackie Onassis, Barbara Walters…etc. He was very, very famous. I used to work at his counter in Bloomingdale’s. I loved makeup and I wanted to be close to makeup. I didn’t know how else to do it. I went to a beauty school and got a hairdressing license. Mr. Kenneth had a salon on 54th Street and Madison Avenue.
andy Linter exclusive interview by Nicole Vickers
GEORGINA HERRERA Choker at Flying Solo
A
nya Anti is a New York-based internationally published and awardwinning photo artist who specializes in
on-location fine art and conceptual portraiture. Originally from Ukraine, she moved to the USA in 2014. She’s been into photography since 2010. She’s always been a creative person – as a child she was good at painting and crafts. As her passion for art grew she fell in love with photography. As a self-taught she gained all her knowledge and inspiration through social media and online photography communities. A year-and-a-half later, she started creating fine art surrealistic female portraits, which became her preferable genre and a hallmark of her work. Anya strives to create beyond just simple portraiture and to tell imaginative stories through her art. Photography is not only what she loves and what she does, it’s also how she sees the world. It’s a reflection of her deep emotions and passion for beauty. What I’m trying to show is a beautiful image, but also tell a story, convey an idea and play with associations. She never just takes a photo but uses photography as a way of collecting material to create something that is not possible to capture. Installations, costumes and Photoshop manipulation help her embody her fantasies into a finished piece of art.
nya Anti
exclusive interview by Anneysa Gaille
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WA LT E R R O T H W E L L
Walter Rothwell is a multi award winning, internationally published and exhibited photographer with work held in private and national collections. With over 30 years of experience, he has worked with clients ranging from blue chip companies to charitable foundations, news and media, as well as the arts. He has also been the keynote speaker at many photography festivals and events. His work has been exhibited at, amongst others, the Paris Salon de la Photo, Saatchi Gallery London, The Mall gallery London. Walter has had work published in many photography magazines and has had stories featured in titles including The Independent, London standard and Time Out London. Walter is also an award winning darkroom printer. In 2015 he co-founded the Street Photography International Collective, which now have the largest Instagram account dedicated to the genre with over one million followers, his own account has over 150,000 followers.
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ALTER ROTHWELL’s work does something
photography as a practice is vital but how we think and
that every artist strives to do: it captures
see are ultimately more important. Pure aesthetics can
humanity in our most pure form: while
be initially pleasing to the eye but are easily replicated
we’re walking. While we’re going from place to place,
and don’t compare to recognizing and capturing a
unaware of anyone stopping across the street to
real, unrepeatable moment.
glance at us. When we’re lost in our thoughts, deep inside our own heads- trying to remember our
How did you get into darkroom printing?
groceries store lists, or coming home from a long night out with friends or loved ones, running late to
I started studying photography two years before
a meeting, gossiping with a close friend, or heading
the first commercial digital camera was released so
to a lover’s house. All of these moments allow us
there was no choice! As I watched the capabilities of
as humans to exist in our own little world. In these
Photoshop etc grow I made the conscious decision
pure moments, we are the most unassuming, the
to stick with film for all but commercial work. We are
most vulnerable, the most unfiltered versions of
all searching for the perfect image and unfortunately
ourselves.
many have fallen foul to the temptations of postproduction. For all its capabilities and limitations I still
When writing your keynote speeches, what
love darkroom printing, there is nothing quite like the
is something you want to resonate with the
beauty of a properly made silver print.
audience? Is there any other art medium you love as much as My love for the art of photography and the
photography?
importance of integrity within the genres I work in. Documentary and street photography should
There are many mediums I admire but photography is
be accurate and un-manipulated depictions of the
the only one I practice.
people and events we see. Who is an up and coming photographer you think In your 30 yrs of experience, what were your
the world should know about?
first couple of years like in the industry? There is a young British photographer called Simon Unusual - I was freelancing and at the same time
King who is well worth keeping an eye on.
converting an old butchers shop in London into an art gallery. I wanted to create a space where young
Tell me about a moment you feel has defined your
artists could show their work without the exorbitant
career thus far.
fees that many London galleries charged. Moving to Cairo and starting a documentary at the Do you think photography is more of a learned
Pyramids of Giza. I have over ten years of work in
skill or innate talent?
it so far and it’s by far the largest project I will ever undertake. I’m looking forward to finishing it!
Bit
of
both.
Learning
the
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IT’S A MIX BETWEEN THE SOUL THAT I’M CAPTURING AND THE STORIES, THE DREAMS I WANNA TELL....
tefanie Renoma exclusive interview by Nicole Vickers
EXCLUSIVE I N T E RV I E W S T E FA N I E R E N O M A
S
tefanie, the first time I saw your pic-
do you do this even while shooting inanimate
tures I was absolutely captured by the
objects?
raw sensuality of every image. How
much of you is reflected in your work?
I’m trying to make objects alive, that’s why I’m always shooting this kind of campaign with mod-
Thank you so much, It’s a mix between the soul
els that I know, with personality and a strong
that I’m capturing and the stories, the dreams I
attitude. I’m adding a lot of movements and
wanna tell.
emotions.
You are a celebrated photographer who has
Regarding your polaroids- tell me about
had many exhibitions and interviews. Does
shooting them- were they planned? Or were
social media add any value to your portfolio
you just inspired by the right kind of people
or inspiration as an artist?
around you?
It’s an amazing opportunity to be open to the
Never haha it’s always in the moment, sponta-
rest of the world. To share your ideas, and also
neous and unexpected. I love catching this kind
to find amazing artists, peoples... I’m using a lot
of stolen moments when the energy is floating.
Instagram to find my models. Social media is a great window for your work, it’s the new online portfolio
Do you see your career as a journey or are you hoping to get to a destination?
Tell me about a project you want to do in the future and please tell me about your book!
Right now I’ve just launched my new art book “ Remember Your Future “ about 5 years of work. I’m also working a lot on this amazing project
I’m living day by day, my only expectation is to
with the cancer institute “ Rafael “ with the “
stay free as I’m.
beauty phototherapy “ that I’ve installed with my team and the doctors from this institute. I’ve got
Tell me about shooting jewelry ads. You breathe such life into all of your photos, how 288
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also many campaigns who are coming soon, and I also hope to be able to travel really soon! And for the rest ... Big secret haha
Pablo Almansa
Do you prefer to shoot in black and white over color? When I find out, I promise to answer you. So you’ve never been represented by an agency? Never, do you have any recommendations?- There is no denying the true artistry and creative genius that this man possesses. Something I always love to ask artists is the moment they made the decision to pursue their craft. Pablo tells me that his decision was made around the ages of 14-16 reading books in his father’s library. My father is a painter and a designer, and in the 80’s he already had quite an impressive art and reading library. Before I turned 13, he asked me what gift I wanted, and I told him all I wanted was to go to his library and see all of his books. There, I came across books by Irving Penn, Newton, Patrick Demarchelier, and American editions of famous magazines such as National Geographic, Playboy, AD,
“The freedom and naturalness with the women pose naked is for me without a doubt, a revolution. They have taken control and I find it wonderful”.
and Vogue. Two years later, my
A few years ago, a collector
father gave me the best gift he
of my photos told me that he
could ever give me: he told me
could not continue to buy more
that I could buy about 50 USD
photos from me because the
worth of books that I liked per
sizes I made were too large.
month. That is how I began my
This gave me the idea of a
own library.
luxury collectible that moves away from the formats already
I would absolutely love to
created. After two years of work,
hear about Nu Box and the
I have created a wooden box
idea behind it.
that contains fine art prints of 350 grams of 40x60 cm of the
images that I’ve made with my
with whom I can share my work at
about how he does his sessions
models. The collectors can select
the highest quality.
and his wonderful behind the
from any of those images. In this
Currently, the box is being held
scenes work.
way, with the passage of time,
by about 12 people between
there will be 50 boxes, all totally
Madrid, London, Milan, Monaco,
Thank you so much for your
different and totally exclusive. My
Murcia, Alicante, Oslo. On Pablo’s
time Pablo, it was wonderful to
hope is that this project won’t end
Instagram (@pabloalmansaofficial)
work and learn about you and
for many years. I’ve heard from the
and on his Patreon channel,
your artistry!
first couple of collectors that they
viewers can see updated, new
are already enjoying the project
photos and videos of how Nu
immensely- this is creating a
Box is being produced, and he
network of very interesting friends
welcomes his followers to ask him
M
exican artist born in Uruapan, MichoacĂĄn, in 1962. With an active career spanning more than
thirty years, Javier MarĂn has exhibited individually on more than ninety occasions and has participated in more than two hundred collective exhibitions in Mexico, the United States and Canada, as well as in countries in Central America, South America, Asia, and Europe.
Mujer de pietra III ( details) 1998. Barros de Zacatecas and Oaxaca with engobes. 100 x 99x 30 cm Photo: Javier Hinojosa
Javier Marin
Javier Marin Photo: Bernardo Arcos]
J
avier Marín’s work conceives
(2013–2014); Les Musées royaux
bition Corpus Terra was present-
an integral human being, an-
des Beaux-Arts de Belgique, in
ed in the Antiguo Colegio de San
alyzing the creative process
Brussels (2010); Museo di Palazzo
Ildefonso anPalacio de Iturbide, in
based on the construction and de-
Reale, in Milan (2008–2009); Bass
Mexico City (2015–2016).
construction of three-dimensional
Museum of Art, in Miami Beach
forms. In addition to sculpture, he
(2006–2007); Museo Colonial and
His work is part of major public
now includes drawing and pho-
Museo Santa Clara, both in Bogo-
and private collections in Mexico
tography among his central disci-
ta (2006); Museo de Arte Contem-
and abroad, including that of the
plines.
poráneo de Oaxaca (2006); Museo
Museo de Arte Moderno and Mu-
Amparo, in Puebla (2005); Espace
seo de la Secretaría de Hacienda
Some venues of his exhibitions
Pierre Cardin, in Paris (2000); Mu-
y Crédito Público, in Mexico City;
have been Place du Louvre, un
seo del Palacio de Bellas Artes, in
Museo de Arte Contemporáneo
Paris (2018); The San Diego Muse-
Mexico City (1996); Museo de Arte
de Monterrey; Museo del Barro,
um of Art in California (2018); MU-
Contemporáneo de Monterrey,
in Caracas; Santa Barbara Muse-
DEC Museo delle Culture in Milan
Mexico (1993); and the Museo de
um of Art, in California; Museum
(2018); Pinacoteca Comunale Casa
Arte Álvar y Carmen T. de Carrillo
of Fine Arts, in Boston; Boca Raton
Rusca, in Locarno, Switzerland
Gil, in Mexico City (1990), among
Museum of Art and Latin American
(2016); Museo d’Arte Contempo-
many others. As an overview of the
Museum, in Florida; and also in the
ranea Roma Testaccio, in Rome
thirty years of his career, the exhi-
Blake-Purnell Collection, in New
Javier Marin Photo: Alberto Morago
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Cabeza Estrella 2014. Lost wax bronze 132 x 92 x 97 cm. Photo: Armando Canto
Represented by
JoANNE ARTMAN GALLERY
326 North Coast Highway, Laguna Beach, CA 92651 511A W 22nd St, New York, NY 10011 949.510.5481 www.joanneartmangallery.com || joanneartman@aol.com
G
rowing up in Southern California in Orange County, the combination of the area’s natural beauty
with its planned communities and highly curated environments were a heavy influence on his artistic process. Rooted in Pop Art, Street Art, graphic design, drafting, and his life in Southern California, Michael Callas’ paintings are done entirely with spray paint and stencils. Integrating figure and language, Callas combines text, character archetypes, and bold color within each work. Maintaining a comic aesthetic, his compositions are intricately produced through a vigorous process of drafting, mapping, and hand-cutting precise templates. Then transposed onto canvas with aerosol paints, Callas creates a surface that is uniform and rich in color.
Birth of Venus II in Orange spray paint and stencil on canvas 23 x 23
Michael Callas
JoANNE ARTMAN GALLERY “Yes, Masters: A MANthology” A Conversation with Michael Callas JA: This exhibition, Yes, Masters: A MANthology, explores Old
CALLAS: The majority of the work
Master paintings being reframed
came from my collection of art
in a contemporary context, in
books. I like to spend time going
addition to the idea that the
through many different books read-
compositions and narratives still
ing about the particular piece and
hold relevance in today’s art and
artist that I am interested in. Once I
society. Do you think of your
settle on a couple different options,
works as portraits of figures at
I then take to the Internet to do
a particular time and place? Are
further research on that particular
your paintings set in the past,
piece. I would say the most com-
or are these figures that would
mon artistic movement referenced
exist only today?
would be The Renaissance.
CALLAS: I do not view the specific
JA: A large part of the construc-
composition as what ultimately
tion of culture is how we depict
matters in regard to the individual
each other. How do you select
paintings themselves. So, in that
and then choose to portray the
sense, I suppose that these figures
figures in your work?
could exist at any point, however, my paintings are set in the present.
CALLAS: The selection process of
I am a student of what has come
work initially has more has to do
before me, but ultimately I am a
with my filter and how the piece will
creature of the times. I work with
aesthetically look. I might subcon-
the past to learn from it. I like to
sciously draw attention to certain
think of working with these pieces
aspects of the painting, however,
as a border conversation. When ap-
that would require psychoanalysis
propriating 600- year old paintings,
of my decisions and myself. Not
I am studying every decision that
sure I am ready to go there just
was made on the canvas. This al-
yet. Some things are better left a
lows me to carry on a conversation
mystery.
into the present day. When a paint-
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ing becomes timeless it becomes
JA: How does this differ from
eternal. These conversations then
your typical work? What chal-
take place over a series of centuries
lenges did you face creating this
instead of minutes.
new body of work?
JA: Where did you get your imag-
CALLAS: This work does not depart
ery from for this series? What, if
from my typical work. I have been
any, sources or particular artistic
working on appropriations of Old
movements did you reference?
Master’s paintings for some time.
F A D DY Mag
Venus in Pink spray paint and stencil on canvas 23 x 34
Workings with these pieces are
climate has had an impact on
promised through the lens of the
among my favorite type of paint-
me. As one who makes a living off
future. When sufficient time passes
ings to do.
of conscious and subconscious
the moment becomes more de-
expression, often it can feel vul-
fined and understood. I would like
JA: Is there a cultural experience
nerable to put yourself out there.
the conversation I am having with
that changed the way you see
I believe art should always speak
a 600-year old painter to continue
the world? How has this affected
truth to power. My paintings will
with another painter 600 years
your artistic practice?
exist not just for today, but also for
from now. That way, the thread of
many years to come. I do not want
time is never lost and the conver-
my work to be looked at as com-
sation is ever evolving.
CALLAS: The current cultural
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JOSE CACHO CONTEMPORARY ART
MY WORK IS AN INQUIRY ABOUT HUMANITY FROM THE COSMOGONY OF THE WOMAN, BEARER OF LIFE AND MYSTERY. SHE IS RECOGNIZED AS A SOURCE OF KNOWLEDGE AND HARMONY, PERPETUATING WISDOM AND BALANCE.
A
well-rounded life completes Jose Cacho’s colorful palette. This autodidact’s methodology balances art with family. Inspired by the strength of wom-
en, his art mirrors their power.
When did you get your first exposure to the world of art, and the idea that you could/would create art? Was your mother or another family member an artist? My mother was a psychologist and my father is an engineer and businessman; as far as I know none of my ancestors was an artist. I started out drawing (as many children do) when I was very young. I didn’t have any particular exposure to art, I just liked it. That love grew into a fascination. My parents propelled my interest by buying the art materials and framing some of my drawings. Art has been an essential part of my life ever since.
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I N T E RV I E W B Y L I N D A A R RO Z
You’ve followed the tradition of hanging your own
been motivated by my love for art. They’ve had the experi-
children’s art in your home. Influenced by your work,
ence of being surrounded by art them and now when they
have any of them followed you path as an artist?
visit my wife and me at home.
The works that hang on the walls of my house were made
When we think of art, we don’t always think of the
by my children, and now also my granddaughter, just as
discipline required to create. When did you come to
the art that hangs in my parents’ house was made by me!
understand structure was a key factor in your produc-
I couldn’t say that they have been influenced by my work in terms of theme, technique or style, but I think they have
tivity? A long time ago I realized that in order to enjoy life, and
Amor Propio 120x80 75x50 Restaurar la esperanza Mixed on canvas 84x94
THE COMPOSITION OF THE ELEMENTS IN EACH PAINTING IS CHARGED WITH SYMBOLISM 375
at the same time be efficient, it was essential to organize
when they realize the works are covered by text, in relief.
my time. Throughout my life I’ve dedicated time to a vast
I think having words in front of you, but not being able to
array of interests, from the artistic, to business, social, po-
read them, results in something magical. In the end, each
litical, sports and humanistic. I find enormous satisfaction
person finds their own interpretation, personalizing the
in doing diverse things. Success in any endeavor is based
meaning of the work.
on hard, as well as consistent, work. For me, to create requires exploration, experimentation, honesty and order. I wake up early to exercise. I make sure I eat well and get enough sleep. These tenets require discipline, but I’m able to enjoy my family and friends, work a 10-hour day, and be able to do everything I like! You incorporate text into your work, eliminating spaces and punctuation. The raised letters are reminiscent of hieroglyphics. Do you find that people take the time to decipher the message, and do you think they receive subliminal information as they observe the work? One day, it occurred to me to use text in my pictorial work, as an integral part of meaning and aesthetics. The way in which I use text has evolved. I remove the spaces and punctuation, so it’s difficult to read. I’m often asked to translate. I discovered the observer becomes more fascinated
Regreso al Instinto Deepart 76x89x25 42 kgs
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Your use of resin makes us think of amber. The images in resin feel like an homage to another time, of time standing still. What was the moment of inspiration and meaning for the use of resin? I love that association, of time standing still. About ten years ago, I started to experiment with resin. The idea of being able to see an object clearly, but not be able to touch it directly, assigns the art with a mystical value, relating to the unattainable. A key moment in moving forward with resin as an integral part of my work, happened when I visited an exhibition of the work of Marc Scheff, a young and talented American artist and designer, who uses resin intensively. That day I had the idea of applying the technique with my own style and artistic concept. When we look at your work, we catch a glimpse of Gustav Klimt, with your use of whimsical color and
Regreso al Instinto 2 Deepart 76x89x25 42 Kgs
Regreso al instinto Mixed on canvas 83x93 377
All the images are Courtesy of Nancy Littlejohn Fine Art, Houston, TX
Artist Spotlight
CHRISTINA NICODEMA
C
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hristina Nicodema lives and
a transcript of Western civilization
of endlessly stacked information.
works in Long Island City,
and an index of the gentrification
She digitally compiles her themes,
New York, having graduated
of horror, addiction and anxiety.
narratives and abstractions from
from Parsons School of Design in
Her latest solo show at Nancy Litt-
image search queries to explore
2009. Prior to becoming a painter,
lejohn Fine Art, “Mayfly”, captures
a more primal aspect of Western
she worked for nearly a decade as
these central themes. Pieces such
culture; violence and survival as it
a set designer and art director for
as Freak Shake Mountain, Shi-
has been gentrified throughout the
animated films and television and
pwreck, and Whale have attracted
history of painting. Her works travel
is an undefeated amateur boxer.
the attention of the art world and
up and down the food chain ex-
All of these influences are highly
the general public alike. She is also
posing the mental divide between
present in both her subject matter
a part of a group show entitled
the familial desire to nurture and
and working process.
“A la carte: A Visual Exploration of
the horror of instinctual maternal
Her paintings explore the schis-
Our Relationship with Food” at the
violence. Employing the subtext of
ms of the food chain that all life
University of Alabama at Birmin-
comfort and control, deprivation
participates in. They challenge the
gham’s Abroms-Engel Insitute for
and reward she explores food as
impossibility of reconciling the
the Visual Arts.
a source of deep emotion, hie-
opposing notions of violence and
Her compositions begin with the
rarchy and ultimately dominance.
empathy by detailing the endless
internet and its continual churn
She uses paint and color to both
cycle of dominance and submis-
of imagery as both palette and
destroy her underpainting and to
sion present throughout all species
medium. By collapsing high and
reconstitutes her references into
and cultures. Exploiting the millen-
low aspects of art history, image
a dreamlike stream of conscious-
niall lens and the language of a di-
resolution and painting techniques,
ness that collapses the distinction
gitally native generation, Nicodema
she questions the relevance of
between the historical past and the
uses the history of painting as both
linear time amidst the overload
contemporary moment.
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