Promoshoot, February 2014
Brigitte Zobel | meandasuicide | http://www.brigittezobel.tumblr.com
Paul, a 25-year-old product designer, came up with a brilliant idea. He invented the “Pfandring” that is a so-called “deposit ring”.
There are still people who rely on the extra bit of cash they get by collecting discarded deposit bottles from public trash cans. Paul Ketz’s creative invention makes it easier for collectors to reach the bottles, that used to be thrown in the litter.
Watch the video here
copyright pic above: https://www.facebook.com/Pfandring
Born on 13 May 1987, Ian Permana is a very talented illustrator from Bandung, Indonesia.
Check one of his internet appearances: Iannocent on Bahance.
I asked him for a little interview to get to know him and the way he is working much better. And here we are.
What means Iannocent, always wanted to know how you got your name.
I can discern Innocent – is that right?
That’s right, iannocent is from innocent, a long time ago my nickname was “Innocent”,
but my friend said “the name will be more interesting if you combine your name (Ian) with innocent”.
My name is Ian + Innocent = Iannocent, that’s the story behind my nickname, thanks to my friend Alfatoni for the idea.
Tell me about your hometown: How is your life as an artist in Bandung, Indonesia?
In my city all people like beauty, art, street art, and music. Many creative people live here.
An inspiration for me is the illustration community I joined in. The name is ACEKING SKETCH SQUAD (ASS). You find many
different styles of drawing – it’s awesome.
For me as an artist it is just a little disappointing, because you don’t get a real appreciation for your work, so I must work very hard to get enough money and keep the loyalty towards my artwork.
When and why did you start drawing and illustrating? Has your work already developed yet?
I like to draw. When I was a child, I liked drawing Songoku, Bezita, and Frezer – that are characters from my favorite anime “DRAGONBALL Z”.
Back in the days I loved to draw animes, but now my drawing grew with many references, many styles, and many artists, so this is my style now.
Yeah, my work developes until now, I’m still working on my technique and learn how to issue a concept for my artwork.
There are so many ways one can connect with people, but what motivates you to build relationships through an art making process?
I just ask, because I saw that you already worked with ELFT, another artist from Indonesia (“Elft x Iannocent”). Can we expect more?
I like to post pictures of the drawing-process. The process is the story of my drawing, and actually will be my history. I really appreciate the process.
I like to share every drawing-process, I hope that many people around the world appreciate the process too and maybe this connects us.
ELFT is a friend from my community. We always talk about the illustration world or draw together.
I asked him to collaborate on some artwork, but only the “opening artwork” is finished now.
The main artwork still is in progress, because he’s really busy. I want to collaborate with other artist from another city or country.
Do you have any other artist you would like to work with?
Yes sure, I want collab with Oliver DZO, PEZ Artwork, Mymutas, Aaron Horkey (he’s my main inspiration), and many more..
Is there anything you consistently draw inspiration from and what is your work about?
I consistently like drawing animals, so my work is about “Natural Anger”. A lot of people who destroy nature for their personal needs, but do not realize that it is a quick way to ruin ones life.
What’s the best, or even the worst thing about being an artist?
The best about being an artist for me is that we can work with our imagination, to make the Earth a not saturate.
There is no worst thing about being an artist. For me drawing is the best thing to do and it is the best thing in my life.
Samira Velasquez studied fine arts in south France and lives now in Montréal, Québec Canada.
“My drawings are surreal incarnations of personal obsessions about the report to the body, violence, women experience and sexuality.My work explores the recurring nightmares of the female psyche: the sublime and the disgusting, ugliness and beauty, sexual desire and its paradoxes, the monstrosity.
Hybrid engineering, organic and animal forms in my scenes involved and act as symbols of primitive and unconscious impulses. Reconciliation of my artistic and existential research for me works to create like a catharsis.”
I had the pleasure to interview her last week.
Here you can read it full:
How did you become an artist?
As many artists, I started to draw as a child, beside many other arts forms such as
writing, collage and sculpting clay characters. My mother is a painter so we had
plenty of art books in our house that I loved to browse, and I guess art was a natural
and obvious form of expression to me. I went to study arts at university in France,
but I think it taught me more about art history and philosophy of arts rather than
techniques. The teachers were more into performances, video and installations
and every time I showed drawings they seemed to think it was an old-fashioned,
uninteresting medium! I got discouraged many times, but I kept on drawing for
myself. I moved to Montreal three years ago and the realization that I really wanted to
become an artist became clear there. I found a gallery that I liked and met people like-
minded that made my art evolve, in an ambiance of motivation and emulation. This
year, I worked hard to find my style and favorite mediums (even thought it still is in
progress!), so I guess I am more self-taught rather than academically trained.
Tell me something about the process behind your art, do you use any specific motives or certain workflows?
I work part-time in a restaurant so I am working on my drawings half of the week.
Usually I start working on a sketchbook to make ideas come. If I’m excited about
what the drawing becomes, I finish it. It often starts with a portrait, since I am
interested in the female figure, and then I look for ways to distort it and tell a story
that symbolically has a meaning for me. For bigger artworks, it begins with an
uncertain vision of a composition, some elements that I want to use, such as animals
or body parts. I usually think about what I am currently living in my life that can
inspire me and ways to transform it in a single picture. I start to draw it with graphite
so I am sure to place the elements where I want to and be able to erase it if I am not
satisfied, and then I retrace it with ballpoint pen. If I think colors can add something
to the drawing, I color it with pens. I make up my mind for some time to be certain of
what I draw, but I am kind of impatient person, which I try to work on, since art
process takes time! For a big scale it can take a month, but usually it is quicker. I also
like drawing with my boyfriend who is a painter, because we motivate and critic each
other at different stages of the creative process.
What do you want to express with your art? Do you try to come to terms with
I found that art was a way of expressing intense feelings without words or social
conventions, like a form of psychoanalysis or catharsis. I try to materialize feelings
and sensations, but I like to use metaphor and construct my creation as a riddle, full of
symbolic elements of the collective mind.
I make images out of personal obsessions on the body and his mysterious desires, made
of contradictions and oppositions. Explicit sexual images, explosion of the anatomy
and also vegetal or animal elements, in a constant macro-micro zoom from the inside to
the outside, are like surrealists condensations of the human sensorial experience of life and decay.
As in my personal life, I am always on a quest for ways to deconstruct and
recreate identity, and finally being able to arrive at the essence of it.
The fact that I am a woman, whether I want it or not, influences the way I present
sexuality. I don’t know if art has a gender, but my feminine body experience is present in
my work, in all the floral blossoms, holes, the leaks and drips… Which is funny because
a lot of people think ectoplasm is a man, because my pseudonym is neutral! I find it
interesting because in the end, the viewer always carries what he is and what he has
experienced to analyze an artwork. So I guess that the gap between what I expressed
and what the viewer interprets is ok. I do not make propaganda, and I don’t try to make
people think a certain way, but rather, I want to address a more instinctive and primitive
part at the core of ourselves.
What do you to work with? Do you have favourite materials you like to use?
Lately I have been more into drawing with pens on paper, mostly in black and white.
I have different sizes of black pens that I worship! I am still looking for the perfect
papers to make more watercolors!
I also love fabric, with which I have been making jewelry and one-of-a-kind clothing
for the past 5 years. I also make textile art: I draw and paint on paper, then sew it on a
chosen fabric as the background, like for example the piece ‘’A ma soeur’’. Another
technique that I love is drawing portraits or writing words on the fabric as if the
sewing machine was a pen.
I also paint a bit on canvas. In fact I like to experiment different mediums to find the
more accurate and poetically able to transmit what I want.
I admire a lot of great masters, that have a surrealist, perverse and macabre twist,
such as Bosch, Goya, Egon Schiele… I also admire a lot of contemporary figurative
artists, such as John Dyer Baizley, Stephane Blanquet, Vania Zouravliov, and Caitlin
Hackett which I recently discovered. Montreal is full of good artists that are inspiring,
some that I met at the small underground gallery Usine 106U, such as Scott Ferry, the
engraver René Donais, and my boyfriend the painter Xavier Landry, to name a few.
However, I don’t have any specific role models in the visual contemporary art world,
anyone who has passion, wisdom and dedication to his practice is an inspiration to
Here is a short interview with Cloven Hoov/Natvres Mortes Illvstration – aka Bryan Proteau of San Francisco, California who was ready to answer some of my questions about his illustration. Be prepared!
0) Thank you very much. I really appreciate this!
Okay, here are just a few things that would be important for me to know:
Did you visit art school or are you a self-taught artist? Do you use specific materials that makes your style individual?
I went to San Francisco Art Institute for a year and a half and was majoring in printmaking, however, the work I’m producing now looks nothing like what I was making during my time at SFAI. It was only after leaving there and taking a break from art that I was able to really get back into it. I work with pencil, india ink pen, and nib pens. I sometimes use tattoo ink to get the really dark black if I’m blacking out a background. But the materials I use are pretty basic to the craft.
1) I really, really dig your style. Currently a lot of pretty good artists do artwork for pretty good bands..
QUESTION: What bands do you work with, who is you favourite clientele, with whom do you work best?
Thank you so much, there are a lot of great artists collaborating with bands and I’m happy to play a small part in it. I mainly work with metal bands, black and doom metal bands, as well as some off projects for record labels, clothing companies etc. My favorite client to make art for would probably be Obolus. Their total anonymity allows me to create an identity through visuals, and I feel like I have a real understanding as to what they are trying to say musically, and that helps me create the visual side. But I also have a very special working relationship with the band Deafheaven. We were actually speaking at length about this recently. I’ve been with the band very early on, and all the work I’ve done for them has been pro bono. As the band has gotten more popular and my artwork has gotten more attention the result is mutually beneficial. They’re good friends of mine and we have a solid understanding of what the other is trying to accomplish artistically.
2) You’re Blogtographer (haha, nice!) for SF Sludge, artist for Natvres Mortes Illvstration (alone or in a team?) and writer for CVLT Nation.
QUESTION: What do you prefer most and why?
Ha I say blogtographer because I don’t consider myself a real photographer, that would be an insult to people who actually know what they’re doing. Art is definitely my main focus. Change is nice but I’m at a point where I need to be fully invested in illustration. SF Sludge has been dead web space since February, and I’m not sure if I’ll pick it back up again. CVLT Nation is fun, but like with photography, I don’t consider myself a writer. I’m intimidated by writing record reviews, but luckily I can also do gig reviews and continue photographing live music. To answer your other question, Natvres Mortes is just me.
Above: artwork for SF funeral doom/sludge band Lycus’ demo
3)“Some of his work is heavily detailed, creating beautiful, crisp landscapes, and in some he reigns in his detailing and brings your focus to the subject.” (www.cvltnation.com)
QUESTION: Is there anything specific about you work, something you always have in mind while creating a new masterpiece or is there a higher importance in each artwork?
This is a difficult question to answer. I am trying to develop my own unique style, so I try and keep in mind that what I’m making should be cohesive with a body of work. But when it comes down to it when I’m creating art to always just do what’s best for the image. Some are more simplistic and rely more on contrast, others are more detail oriented. It varies each time.
Above: Art Zine, black on black covers, 10 pages, limited to 30 copies. Features art from both Rainbath and Cloven Hoov. – Sold Out –