Fashion. Neonomur

Numéro #112 April 2010
Shot by: Greg Kadel
Model: Anna Maria Jagodzinska

Fashion. Plateau 7

Plateau 7
Numéro #112 April 2010
Shot by: Luciana Val & Franco Musso
Model: Rasa Zukauskaite

Sound. Aeon Sable - Per aspera ad astra (02.2010)

"Long enough Aeon Sable have waited for the star to shine. The debut from the german duo is entitled „Per aspera ad astra“ and delivers a very individual interpretation of Goth-Rock.

Din-Tah Aeon and n1n0, already enriching the ‘dark side of music’ with other projects in the past, are now on the road with a self-produced, 40 minutes-set, tied on the atmosphere of Fields of the Nephilim or The Sisters of Mercy, revamping it into a modern style. The album not only shines with unique sound and sophisticated tracks, but also inebriates the attentive listenes with extraordinary audioeffects. The likewise self designed artwork is enriched with drawings from the also german industrial artist ghostfog. Let yourself be absorbed into the world of Aeon Sable".



ON MYSPACE

DOWNLOAD FREE!

www.af-music.de

Painting. Kevin Peterson

Kevin Peterson studied art at Austin College in Sherman, TX where he received his BFA in 2001. Kevin now makes his home in Houston, TX where he works out of Winter Street Studios

Artist Statement:

My work is about the varied journeys we take through life. It’s about growing up and living in a world that is broken. These paintings are about trauma, fear and loneliness and the strength that it takes to survive and thrive. They each contain the contrast of the untainted, young and innocent against a backdrop of a worn, ragged, and defiled world. Support versus restraint, bondage versus freedom, and tension versus slack are all themes that I often visit. My work deals with isolation, loneliness and longing teamed with a level of optimistic hope. Issues of race and the division of wealth have arisen in my recent work. This work deals with the idea of rigid boundaries, the hopeful breakdown of such restrictions, as well as questions about the forces that orchestrate our behavior.

Kevin Peterson - HOME PAGE
ON BEHANCE

Art. Ben Lo

"About time I write a new journal entry, hahaha )

I've recently graduated and moved to Boston for work. All I can say is that time really flies. I can still remember the times back in high school when I was deciding on what do I really wanted to do for the rest of my life. "I wanted to become an animator," was what I thought back then. That was the main reason I threw myself into the animation program at Sheridan. It was hell. But after going through it, I realized that it was worth it. I did not become an animator though. At some point in 3rd year was when I realized that what I really wanted to do was concept art. And I really did it. It was through the help from a bunch of my friends, teaching me from none to be able to create paintings thats actually something what people would like. I just don't know how to thank them. I er... I think i blabed on too much, hahaha )

So anyway, Thank you all so much for dropping by. Despite my laziness to reply, I do read every single comments posted on here ). If you do have any question, you are more than welcome to just send me a note or ask me on msn.

-Ben Lo

Ben Lo on Carbonmade
Ben Lo on DeviantArt

Shot. Ben Courtice

Ben Courtice on Flickr
Ben Courtice on Carbonmade

Illustration. Carlos D. PÉREZ LIZÁRRAGA

"I am Carlos D. Pérez Lizárraga, illustrator from Argentina. I began my professional career when I was 15 as graphic cartoonist and humorist, contributing to important publications in my country as well as in France. I later worked in animation, making advertisement spots. I also worked as a free-lance commercial artist and graphic designer. Since 2000 I live in Montevideo, Uruguay, where I work as illustrator for children's books and advertising agencies. I also design websites".

Carlos D. PÉREZ LIZÁRRAGA
ON WORDPRESS
ON BEHANCE

Digital Art. Milena Lolli

The more original your idea is, the less good
advice other people will be able to give you.
When I first started with the cartoon-on-
back-of-bizcard format, people thought I
was nuts. Why wasnʼt I trying to do some-
thing more easy for markets to digest, i.e.,
cutie-pie greeting cards or whatever?
You donʼt know if your idea is any good the moment itʼs created. Neither does anyone else.
The most you can hope for is a strong gut feeling that it is. And trusting your feelings is not
as easy as the optimists say it is. Thereʼs a reason why feelings scare us.
And asking close friends never works quite as well as you hope, either. Itʼs not that they
deliberately want to be unhelpful. Itʼs just they donʼt know your world one millionth as well as
you know your world, no matter how hard they try, no matter how hard you try to explain.
Plus, a big idea will change you. Your friends may love you, but they donʼt want you to
change. If you change, then their dynamic with you also changes. They like things the way
they are, thatʼs how they love you—the way you are, not the way you may become.
ChangeThis
Ergo, they have no incentive to see you change. And they will be resistant to anything that
catalyzes it. Thatʼs human nature. And you would do the same, if the shoe were on the other
foot.
With business colleagues, itʼs even worse. Theyʼre used to dealing with you in a certain way.
Theyʼre used to having a certain level of control over the relationship. And they want whatev- er makes them more prosperous. Sure, they might prefer it if you prosper as well, but thatʼs
not their top priority.

If your idea is so good that it changes your dynamic enough to where you need them less or,
God forbid, THE MARKET needs them less, then theyʼre going to resist your idea every chance
they can.
Again, thatʼs human nature.
Good ideas alter the power balance in relationships, that is why good ideas are always ini-
tially resisted.
Good ideas come with a heavy burden. Which is why so few people have them. So few people
can handle it.

Good ideas alter the power balance in relationships,
that is why good ideas are always initially resisted.

The idea doesn’t have to be big. It just has to change the world.
The two are not the same thing. We all spend a lot of time being im- pressed by folks weʼve never met.
Somebody featured in the media whoʼs got a big company, a big product, a big movie, a big bestseller. Whatever.
And we spend even more time trying unsuccessfully to keep up with them. Trying to start up
our own companies, our own products, our own film projects, books and whatnot.
Iʼm as guilty as anyone. I tried lots of different things over the years, trying desperately to pry
my career out of the jaws of mediocrity. Some to do with business, some to do with art, etc.
One evening, after one false start too many, I just gave up. Sitting at a bar, feeling a bit
burned out by work and life in general, I just started drawing on the back of business cards
for no reason. I didnʼt really need a reason. I just did it because it was there, because it
amused me in a kind of random, arbitrary way.
Of course it was stupid. Of course it wasnʼt commercial. Of course it wasnʼt going to go
anywhere. Of course it was a complete and utter waste of time. But in retrospect, it was this
built-in futility that gave it its edge. Because it was the exact opposite of all the “Big Plans”

The sovereignty you have over your work will inspire far more people than the actual content
ever will. How your own sovereignty inspires other people to find their own sovereignty, their
own sense of freedom and possibility, will change the world far more than the the workʼs
objective merits ever will.
Your idea doesnʼt have to be big. It just has to be yours alone. The more the idea is yours
alone, the more freedom you have to do something really amazing.
The more amazing, the more people willidea, the more it will change the world.

Nobody can tell you if what youʼre doing is
good, meaningful or worthwhile. The more
compelling the path, the lonelier it is.
Every creative person is looking for “The Big
Idea.” You know, the one that is going to
catapult them out from the murky depths of
obscurity and on to the highest planes of incandescent lucidity.
The one thatʼs all love-at-first-sight with the Zeitgeist.
The one thatʼs going to get them invited to all the right parties, metaphorical or otherwise.
So naturally you ask yourself, if and when you finally come up with The Big Idea, after years
of toil, struggle and doubt, how do you know whether or not it is “The One?”
Answer: You donʼt.
Thereʼs no glorious swelling of existential triumph. Thatʼs not what happens.
All you get is this rather kvetchy voice inside you that seems to say, “This is totally stupid.
This is utterly moronic. This is a complete waste of time. Iʼm going to do it anyway.”
And you go do it anyway.
Second-rate ideas like glorious swellings far more. Keeps them alive longer.

Everyone is born creative; everyone is given a box of crayons in kindergarten. Then when you hit puberty they take the
crayons away and replace them with books
on algebra etc. Being suddenly hit years
later with the creative bug is just a wee voice telling you, “Iʼd like my crayons back, please.” So youʼve got the itch to do something. Write a screenplay, start a painting, write a book, turn
your recipe for fudge brownies into a proper business, whatever. You donʼt know where the
itch came from; itʼs almost like it just arrived on your doorstep, uninvited. Until now you were
quite happy holding down a real job, being a regular person…Until now.
You donʼt know if youʼre any good or not, but youʼd think you could be. And the idea terrifies
you. The problem is, even if you are good, you know nothing about this kind of business.
You donʼt know any publishers or agents or all these fancy-shmancy kind of folk. You have a
friend whoʼs got a cousin in California whoʼs into this kind of stuff, but you havenʼt talked to
your friend for over two years…
Besides, if you write a book, what if you canʼt find a publisher? If you write a screenplay, what if you canʼt find a producer? And what if the producer turns out to be a crook? Youʼve always worked hard your whole life; youʼll be damned if youʼll put all that effort into something if there ainʼt no pot of gold at the end of this dumb-ass rainbow…


Milena Lolli
ON BEHANCE
ON REDBUBBLE
PORTFOLIO

Interior Design. Maria Yasko

Maria Yasko (Kirov, Russia)
ON BEHANCE

Fashion. The Snow White Princess

The Snow White Princess
i-D Spring 2010
Shot by: Willy Vanderperre
Styling by: Olivier Rizzo
Model: Mariacarla Boscono