EVES 2010

Skriepa. Olanda. All'età di 11 Collin ha cominciato a dèpingere per strada, anni più tardi ha frequentato l'accademia di belle arti, di Goes nei Paesi Bassi, dove ha appreso le antiche tecniche di pittura e la teoria per dipingere con la vernice. Nel 1996 si è laureato come miglior studente ed è stato accettato per un 4 anni di pittura e grafica a St.Lucas in Boxtel, Paesi Bassi. Ha studiato l'illustrazione per 4 anni e si è laureato con un titolo di bachelor nel 2004. Durante il periodo presso l'Accademia Collin e un paio di amici, hanno avviato una galleria per i giovani artisti. Dopo la laurea si è trasferito a Maastricht, il Nethelands e ha iniziato un nuovo progetto di galleria d'arte per il contemporaneo, situata nel centro città, Galerie Groen lLicht. Attualmente lavora come gallerista, illustratore e pittore. Collin Dal 2004 collabora a vari progetti nazionali ed internazionali, raggiungendo l'obbiettivo di sapere misciare assieme sia la tecnica pittorica accademica, che l'avvanguardia generaa dall'espressività della strada.

Ericailcane. Italia. Ericailcane e' un ex-writer, attivo da anni a Bologna, ma è anche il nome di un Collettivo, il cui lavoro è l'insieme di svariati metodi espressivi: wall painting, video, incisioni, disegni, in tutti i linguaggi, i soggetti comuni che vengono rappresenti sono un mondo multiforme nel quale sono visibili le possibili influenze da La fattoria degli animali di George Orwell, dove personaggi dalle sembianze animali, vivono e raccontano per immagini una silenziosa fiaba dagli oscuri retroscena.

Acorn. Canada. Nelle sue illustrazioni Acorn dimostra una grandissima attenzione per il dettaglio, accompagnato da un grande amore per le atmosfere magiche di Hayao Miyazaki e una più generale influenza avuta dallo sterminato mondo dei manga.Nel piccolissimo spazio di un foglio da disegno Acorn crea un mondo cucito addosso ai suoi personaggi, sottoforma di decine di minuziosi, coloratissimi particolari, a sua volta, queste ricchissime figure sono inserite in spazi perlopiù naturali, che rendono il tutto rappresentazioni cariche di un forte, mistico, naturalismo.

Web: www.flickr.com/photos/acornsgrow

Useless Idea. Italia. Il suo interesse per l’arte emerge nel 1993, quando a tredici anni fu respinto dalla scena per le sue modalità espressive lontane dal purismo Hip Hop. Oggi continua questo percorso in modo spontaneo allontanandosi da ogni classificazione canonica e alimentando più che mai il bisogno di uno sfogo espressivo senza compromessi. In Useless Idea, emerge un originale e complicata ricerca estetico formale che ha alla base il continuo e inarrestabile rinnovamento di se stessa, nei suoi lavori il figurativo e l'astratto si fondono in un'unica cosa, elementi in grado di dare forma a uno stile grafico di impatto, forte e unico. Le sue opere sono state esposte in alcune dei principali centri d’arte contemporanea internazionale, tra i più significativi: Shiodomeitalia Crative Center, Shangai Art Museum, Triennale Milano, Pompidou Center in Paris.

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Web: http://www.uselessidea.blogspot.com/

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Detrocboi. Italia. Detrocboi è un giovane illustratore, nel suo lavoro compare un insieme variopinto di linguaggi e influenze del disegno, i quali sono tati assorbiti in anni di esperienze con l'obbiettivo finale di creare un proprio stile. Il mondo di Zeta Zero Zap, è quello che egli esprime nelle sue "illustrazioni", una rappresentazione ideale della realtà, nella quale il modernariato POP e il costume etnicho, si mescolano a personaggi e creature di fantasia, con il risultato di uno stile unico, New POP.

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Web: http://www.flickr.com/detrocboi

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1911 Italia.1911 prevalentemente realizza disegni nei quale l'elemento predominante è la componente onirica. Brevi visioni, si presentano come squarci di sogni, che vengono trascinati sulla carta per non dimenticarli ma anche per non doverli rivivere. Nel suo lavoro riaffiora il senso dell’orrore indefinibile, come artisti quali Zdislaw Beksinski, ma anche la dimensione metafisica di Giorgio De Chirico, ma senza ispirarvici direttamente a questi artisti, e ricodificandoli con un linguaggio visivo moderno ed essenziale.

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Web: http://www.thegoodmachinery.com

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Shannon Keller. Stati Uniti. Shannon Keller fa parte di una numerosa cerchia di disegnatori americani, accomunati da una sola parola: “weird”(bizzarro). E’ uno stile che nel folto mondo sotterraneo statunitense abbraccia svariati campi dell’arte, dalla musica fino alle arti visive. Shannon Keller reinterpreta con un tratto ricco e dettagliato le figure umane, le deforma senza renderle mostruose, le rende più graziose, in qualche modo attraenti e allo stesso tempo repellenti, è questo il grande segreto della weird art, è un’enigma indecifrabile e anche per questo risulta estremamente intrigante.

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Web: http://www.flickr.com/shannonkeller

Koolmorf Widesen - Meodies fork now - CD.Design

Progetto Grafico Coordinato - Koolmorf Widesen.
Client: Leonardo Barbadoro / Grafic for EVES Music System. Listen Koolmorf Widesen Music: www.myspace.com/koolmorfwidesen

EVES My Space: www.myspace.com/eveslabel

Gafic By. USE / EVES Vision - Creative Corp.

EVES Web: www.evesart.it

New Home Lost

I find your work really interesting, I see it as a diary ofexplorations, how do you define it? Do you have a specific aim?

an interesting fact is that i misread this question the first times i've read it. i thought you were seeing it as a "dictionairy of explanations", and was intrigued by this reception of new homes lost (or my work in general). for sure it is an attempt to explain the world surrounding / invading me. not in the way of giving answers, i think there is none, but like a colection of fragments / pieces of a puzzle never to be completed. you are hardly able to see behind the facades of the system you are trapped in. even if you are a part of the structure involuntaryly, it takes a whole lot of (intellectual) work to get a deeper insight. to find fragments of explanations, i think it is a necessity to involve the body as an invading / probing extention of yourself. you have to rely on both the psychological and the phsysical conciousness. and in one way this is what new homes lost might be, the physical result of the longing for spaces, where it might be possible to create something new, spaces where you are able to see how instable the system which seems to be invincible could be. you just have to find the right points and angles to push it out of it's balance. to see the construction of the world in it's deconstruction, to take a very close look at a collapsing building might be the only way to really see why and how it was constructed, and if you study this moment you might discover how useless (in the sense of what YOU really want) it has been at all. in these small cracks it could be possible to discover how essential it is to find a blank space and to fill it with an (always blurry and evolving) image of utopia and also how essential it is to neglect the status quo.

To come back to your question, yes it is something like a diary, but i would like to call it an archive. what you can see on the website is just a part of the material we collected throughout the years. i am still not quite shure if it is the right way to do it. it is semi-public, (if you share the point that the google-search-engine is the main window, most of earths www-connected persons choose to take a look at the world) because the new homes lost archives can't be found by it. besides the photographs, i also have a lot of videodocumentation of several places in my still private parts of the archives. i plan to do a book with some dvds, to open these archives to interested persons, but i am not good in raising money for a release / project like this and fear the fact that i would totaly fail in its distribution. also there are still doubts about some points in it, for example i experimented with quite precise descriptions of the movement and an explanation of the subjective reception inside the places (perhaps this is why you wrote "diary" in your question) and i am not sure about that yet. on the other hand i am opposed to some aspects of the "urban exploring" phaenomenon and would hate to be drawn in the same context. also "art photography" of abandoned places usually bores me.



How many places do you usually explore in a year? How do you know about the places you explore?

it depends on:
a) my condition (which is quite unstable) > health, time, motivation ...
b) a person who would join me (not always, as i like to go alone also) > dangerous places, or just the fact that i am bored with talking to myself, i also like the connection and the trust you must have to each other is these kind of situations
c) if i am traveling (which i do not do enough) > as i hate the city i am living in i hardly get out, my radius is limited by using the bike as a main transport device.
d) on the weather > basically a problem for underground spots, but also a problem with bike traveling.

i haven't counted but it might lay between 10-30 places a year. basically i take a closer look at places i am just passing by when i found out they are empty, but sometimes i try to get in places which are not really abandoned but are of my interest. sometimes i friends tell me of places they have been or seen. as i am in opposition to the whole mapping phaenomenon i do not use satellite navigation or other resurces.

How many people is New Homes Lost made of?
It is a fluctuating group of me and friends.

Don’t you think that exploring abandoned places may be dangerous?
It is or can be, for sure. (two massive asbestos poisonings were my worst experience until now.)

Did you get in troubles inside the buldings you explored?
As i like to practise the art of "stalking" and "vanishing", i never was caught by the police or security quards, although i had to hide or to run. the most exiting experience in this case was when i climbed up the roof of an office building trough the ventilation shafts. as i was standing on the roof enjoying the view i saw a car of the security guards speeding towards the building, jumping out of the car and running to the mainentrance of the building. but i managed to climb down the shafts while they were rushing upstairs.

What are your feelings when you enter in an abandoned place, when you explore it?
I am very curious in the first place, sometimes i am a little scared because i fear to get in trouble, but in everycase all my senses are tuned up to the extreme...and after a while i start to feel really bad about the fact that this new found resort will be destroyed soon. anger rises and the frustration about the "world outside" leaking into every last spot makes me crazy. what remains is the memory fragments in my heart and hands...and the captured pictures or videos.

What’s the weirdest place you explored? Have you got any pictures of it to share with us?
I can't decide, because in fact all the places i have been used to be quite normal and are part of our daily life somehow. but the most intersting places are the ones you usually are not supposed to see, of course. for example:

- the sewersystem with strawberries floating on top of a stream of shit. (http://42loop.de:8888/less-public/1135)
- the servicetunnels connecting the different wards of an old hospital build during the time of great diseases.
- the disecting room of a pathologic laboratory with its cooling-lockers for stillborn babies and mutations of all kinds.
- the insides of airconditioning shafts covered with thick layers spiderweb and dust filtering the airsupply for the office drones. (http://42loop.de:8888/less-public/798)
- the combustion chambers of powerplants bigger as any room i have lived in. (http://42loop.de:8888/less-public/791)
- the dark and vast subterran hangars which used to be the storage for killed animals in times without electrical cooling chambers. (http://42loop.de:8888/less-public/1131)
- the burned out market halls with all their goods turned to ashes. (http://42loop.de:8888/less-public/1092)
- the abandoned exposition pavillions of the EXPO2000, incredible examples of consumerism-architechture. (http://42loop.de:8888/less-public/985) (http://42loop.de:8888/less-public/1053)



In some of the pictures I noticed compositions, like DADA assemblages, made with object found aroud your exploration sites. I find them interesting, is it a usual practice you make, or it happens once in a while?

in "new homes" i usually do not like the idea of leaving marks (like tags or waste) behind, but sometimes i rearrange found objects or materials to point out what i think or feel. the picture you've put up here, the one with he screaming dead sheep was made inside an old fort in alessandria / italy and it consist of four parts: the word "famila" written in coal, a half mumified sheep half rusty baby carriage hybrid with the head rised up for a silent scream, a closed empty birdcage hanging on a nail in the wall and a white column with a dried root pointing upwards. just after finishing when i took a closer look at what i did, i had to run because a guarddog spotted me. i don't know if i would have teared everything down after looking at it for a while, so now it might still be there. in general i only like very few of the "art" done in abandoned places especially not tagging or grafitti (this belongs to the streets).

I know that Grim is a graffiti artist too, what can you tell us about your painting style, your need to paint? Where does it come from, and did you have any influence?

I will not go into the discussion about what is grafitti and what is not. But i used to be a writer when i was a kid, but stopped to belive in the idea of hip-hop-culture, as it was understood by the universal zulu nation, when i found out that i wasn't black and everything i did was just an invention of the (pop-)industry. i went into the woods and stayed there for quite a while and when i moved to a big city after some years, i felt the urge to start writing again...but not in the way of "just writin my name", but as an attempt to let out my rage and anger provoced by my new surroundings. i started several campaings (http://42loop.de:8888/less-public/675) and after a while the thing i did (among others) were fairly adopted by the mainstream, by now it was called streetart and everybody loved it. i desperately kept on trying to explain that it is not about a name/brand/logo, but to be understood as agitation (as the opposite of propaganda, it should spur the recipients minds and leave space for everybodys own thoughts). i participated i expositions and books and what happend was that i was very frustrated by it, when i recognised that only a very few realised what i was doingand that the only wish most of the participating persons had was/is to make a career, to make money or to be popular. [by the way: soon i will start a fashion campaing and everybody is invited to buy the shirts i sell!] there is one writer i truly admire, he is writing since i can remember and has been in jail for years for not stopping, he's evolving like no one else and by now he is writing the names of other writers or crews in plain, mostly black spraypainted letters.

You also have a musical project, your music sounds noisy and chaotic, I thought that it may be connected to New Homes Lost, like a short circuit with the apparently quiet nature of abandoned places, or that it may be opposed to it, like a representation of the violence or the disorder that is outside of them. Can you tell us something about it?

Do you record some of the sounds you can usually hear in factories or other abandoned places and then use it in your music?

everything i do is connected. and my audioprojects for sure are coming from the same source as the rest. in fact some of the recordings i used for TOTSTELLEN(http://telenautik.de/grimm/totstellen) have been made inside places, i found during my explorations. quite often the concept of the tracks or whole releases are based on the recordings of one building, like the acoustic part of the project TUNNEL BRUECKE (http://42loop.de:8888/less-public/1073) which was recorded entirely inside the structure of a motorwaybridge. as nearly all of the sounds i use for my compositions are based on fieldrecordings it is no wonder that they are related to the nhl-explorations. but i disagree to your point that the "music sounds noisy and chaotic" in general, because it is also very quiet and structured sometimes. it depends on what i had in mind when i was doing it or what results the acoustic experiments i did to generate the sounds had. for sure i do not care about musical structures, as we have been forced into our ears since we were born, but then it reappears suddenly just to drown in the noise of a car crash for example, which basicly is an other musical structure ringing in our collective ears since ages. i still do not dare to declare what is music and what is not. During the last years i have used following words to describe what i am doing with TOTSTELLEN: "...soundscapes based on concrete fieldrecordings, getting tighter and closing in like gentrified quarters, pulsating like the constantly droning industry and quiet like the abandoned places, which are disappearing in the speeding development of the cities...an articulation of egocentric perception in urban/social space..."

Stak

How old are you? And where are you from?
I am born in 1972 in the west parisian suburbs.

When did you start making art, and was there a particular moment in which
you felt like you were taking a new path in your production?
When i was a kid i use to draw, then at the end of the 80’s, i started writting my name on the wall of the city. In 1995, i did my first exhibition.

Did you have any influence during your artistic development?
Yes, of course… but i can say that my main influence is definitely the place were i come from. I am a pure product of the city, and my work come from that roots.

How do you consider your artistic production?
Ironic & politic.

Did you have other artistic experience beside your visual work?
I’m a cooker !



Do you see your work as applicable to different medias? If so, which ones?
I am an artist, i make exhibitions… If you are asking me if i am able to customize items for fashion company, i would like to say : no thanks.

If you want to communicate a message of any kind through your art, could you explain it to us?
There is no only one message behind my art. There are thousand ! But to understand better my work you just need to read the intro of Selected Works II : In each of his interventions, Olivier Kosta-Théfaine plays with the codes and clichés of popular culture. He uses the languages and codes of the city and its suburbs, changing or modifying their original meaning so it can be understood by a broader public. His reflection is essentially based in rehabilitating the, often deconsidered, elements that belong to the city. His fascination for the suburbs has switched to a passion that is essential to his everyday work. The city is his muse, the drive for his artistic inspiration. He tries to decipher a discredited world through simple and ironic little mechanisms which he then transposes into galleries. By introducing the language of popular culture into the white cube, Olivier Kosta-Théfaine uses the suburb’s many clichés, plays with the truth and distorts the elements of pop culture. Olivier Kosta-Théfaine makes fun of himself ... While others wear a tie and work on improving their table manners, he’s proud of being “38% chav” and claims it loud and clear. His work is more ironic than fundamentally serious. He asserts his pride of belonging to the concrete universe of suburbs, on the edge between glam and pop.



Which tools and materials do you use?
In term of medium, depends of what i have to say…i can use cheap medium as glitter paint or flamme of the lighter. I can also use expansive medium as neon lights… no rule.

Have you ever took part in exhibitions, both in personal ones or collective, if so, which ones?
Quite a lot, in France and abroad. I am also represented by a young gallery with a lot of energy : A.L.I.C.E. in Brussels.

What kind of books do you read and what music do you listen to?
Mostly books and mag about contemporary art. Concerning the music, i can easily listening Gabber, Coldwave or Flamenco !

Do they influence you in your artistic production and everyday life?
Back in days Dutch hardcore music was a great influence for me.

What do you think about modern communication, and how it is used in today's society?
Modern communication seems to be the perfect way to be the most famous in a few time. You dont need to go outside.

Can you name us some artists you like?
Too much people i like, to mention them all. Anyway they know who they are.

GRAPHIC SURGERY

We are Gysbert Zijlstra and Erris Huigens, both 30 years of age. We were born in the same month, there is only 4 days in between our birthdates. We both live and work in Amsterdam, Netherlands.

When did you start making art, and was there a particular moment in which you felt like you were taking a new path in your production?
We've both been drawing and assembling collages since we were really young. Making art/design started in art academy. We were both interested in the same visual language and taking similar pictures (graffiti, architecture, art, cities) and that's why we started working together. At first working on school projects but eventually, around 1999, we started painting together and doing graphic design for various clients.

New paths were taken when we 'discovered' techniques:

- Photography: Working in a darkroom and collaging with pictures on one sheet, thus manipulating photos. After this came a scanner, later digital photography. Combined with the use of software like photoshop and illustrator this took us into new directions.

- Screenprinting: Possibility to "paint with pictures", and apply them as graphics.

- Photo-etching: A technique we started working in recently.

- Interactive media: Working together recently with several programmers and interaction designers. Also, our new intern works with us on interactive media. It's hard to explain exactly what, but you'll see someday...

Did you have any influence during your artistic development?
Influence is allways there, and changes along the way. From art and design you see around on the streets/ the city, from other artists, in books and the world around us is a constant inspiration.
Art in public spaces, www.stick-it.nl, stencil revolution, pop art were all a big inspirartion. Though, we never wanted to be part of one particular scene or subculture.

How do you consider your artistic production?
We are only at the starting point of our 'career' as artists. We want to work multi-disciplinary within graphic art. From print to architecture and from furniture to interactive installations.

Did you have other artistic experience beside your visual work?
One of us has worked as a signmaker. And we both do workshops and have done some teaching in the field of drawing and painting. Besides that we both have a couple of years experience at graphic design studios, that really worked out very well. Except we want to do our own work instead of working for a boss.

Do you see your work as applicable to different media? If so, which ones?
Our work is all about applying it to differenrt media. First of all, we allways try working with different materials and techniques to create our visuals. It's allways great to do painting/ screenprints/ collages and wallpaintings, but right now we feel like we should find other ways to interact with the viewer. For instance we are now finally experimenting with moving images and film. We also want to move towards installations and interactive media.

If you want to communicate a message of any kind through your art, could you explain it to us?
It's a tough question. Not specifically trough our art but more through the way we live... Actually we simply want to make what we feel like making. We never start out with wanting to really tell something to people.

Which tools and materials do you use?
Many materials. It's what Graphic Surgery is all about. The name tells you that we use skalpels, scissors; almost surgical tools to make graphic work so to speak. The list of materials is too long.

Have you ever taken part in exhibitions, both in personal ones or collective, if so, which ones?
We've done two solo exhibitions at De Zwarte Hond Architects (in 2003 and 2005) in Rotterdam and have taken part in various group exhibitions.

To name just a few:

'Under Construction', Vlaardingen (organised by galerie MAMA), NL (2003)
Exhibitions in Punct, Tilburg, NL (2005/ 2006)
'Intersections, BOAZ Bruxelles, BE (2006)
'Artbeat', museumnight, Amsterdam, NL (2006)
'Ritual Tendencies'- Wallpainting with Zedz, N8, Amsterdam, NL (2007)
'Beats & Drips', galerie L'issue, Paris, FR (2008) - http://www.lissue.com
*Upcoming: A solo exhibition at Extrabold, Luxembourg, L (March, 2009) - http://www2.extrabold.eu

What kind of books do you read and what music do you listen to?
- Books/ reading: Mostly books published by: Die Gestalten Verlag, Thames and Hudson, Laurence King, BIS
Actar, Index Book, Rockport. Books on art and design offcourse. Plus the occasional magazines and weblogs.

- Music: Jon Kennedy, Flying Lotus, Bonobo, Amon Tobin, Four tet, Burial, Radiohead and many many more... Currently playing Wax Tailor and various dubstep records.

Do they influence you in your artistic production and everyday life?
In many ways. Not just books, music and work by other artists are an inspiration but everyday life itself is a constant inspiration.

What do you think about modern communication, and how it is used in today's society?
On the positive side: The fact you can shoot photos from your phone and send them straight to your computer and on the web is insane. But it also has downsides offcourse: Billboards should be for cultural purposes not advertisement. Advertisement nowadays is insane anyway. It's absurd how many times a day (non stop actually...) people truly get bombarded with ads to consume.

Can you name us some artists you like?
artist is a broad conception...Franz Kline, Antoni Tapies, Herzog & de Meuron, Daniel Libeskind, Coop Himmelblau, OMA, Futura2000, Delta, Zedz, Wim Crouwel, Heijo Hangen, Christina Rusche, Victor Vasarely, Kurt Schwitters, Theo van Doesburg, Michel Gondry, Josef Muller Brockman, David Carson, too many/ many more...Cubism, Futurism, Pop Art, Minimalism, DADA, Constructivism, De Stijl, Bauhaus, Abstract Expressionism, Street related art, Graffiti, Functionalism.

Personal Web: http://www.ehgz.nl/

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Gubia

By the time i was 17 i started painting/drawing referenced familypictures. adding drama to them, making them seem haunted. i startedthinking of painting as a way to communicate things i couldn'tarticulate. in 2005, i felt like things were taking off for me, as inart being a career of sorts. i started getting some attention on theinternet and some good offers for freelance illustration. next weeki'll have my first solo show here in guayaquil. to me it feels like anevent. this'll make things official after years of being invited toparticipate in shows scattered worldwide, artbooks, online exhibits,etc. like a debut, not as private and secretive as usual.

my art have a conscious influences, mostly by online artist friends since theinternet allowed me to check their progress and share anything withthem. this is key. unconscious influences, all the time.

The artistic production so far it's limited to medium sized paper works, but i'd like to work on rougher surfaces and take more advantage of the materials hemselves. get to the core of things. i'm very prolific. it's all i think about doing.

I have other artistic experience beside my visual work, dabbled on music recording and photography and they're allself-taught, including painting. i'm interested in working with all visual mediums and the aural equivalent as well.

I see my work applicable to different medias, as the sculpture i want to work with wires and porcelain. digital painting,but i'd have to figure out how to present it in galleries. projectmoving images on a wall? step by step, process recording. My works communicate at me, in general, it's almost an attempt to try and see who i am. likeforging one's personal view on every topic, just life. i'm not intomaking things clear or saying something relevant or whatever. there'snothing to prove. it's more open-ended than that. there are so manypossibilities and ways of commenting on any given subject. also, ithas to do with being a human being. being.for next year i'd like to introduce some absurd, bizarre type of humorinto my work, be it aural or visual, because i think it's missing inwhat i've produced so far.

Tools and materials for create my works:
lots watercolors, oil paint, paper, canvas, brushes, water solublemarkers, white gouache, soft pastels, ink, crayons, colored pencils,charcoal. ha graphite and gel pens too. thinking about mixing bothdigital and analog media. still trying to figure it out.

I just had one expò in portland, oregon at p:ear gallery.another one in hong kong promoting this english artbook aboutcontemporary portraiture, Two Faced. i contributed and donated twopieces for a bill mantlo, rom spaceknight writer, charity cause viafloating world comics at portland, oregon as well. shared an exhibitspot with a german artist, estella mare, in munich. fette's gallery inculver city, california has also been very supportive just as italiancurator albert hofer from channel 83 has been since the verybeginning. yet another one in new york about contemporary portraiture,surprisingly well curated shows i always get invited to. onlineexhibits like "we've moved on"/ wheat toast by miranda lehman andkamden vencill. twice featured in ruby online mag run by anargentinian artist, irana douer,- via which i got an invite toparticipate in an international event about freedom of speech as ahuman right. you were supposed to donate and send in adulterated,painted in banknotes of your country to toronto, canada, where theevent was held. manifesto, banknotes project. proceeds from theauction went to amnesty international.

I rarely read books, i mostly watch movies and listen to music. i'minto anything that has a dream-like, half awake-like quality to it.with a quiet type of revolutionary approach and swampy, cavernous, rawsounds. repetitive and playful. though lately i haven't been listeningto the music i actually like, i've been checking out and downloadingdull/clashing music that i always ignored because of it's perceivedbad taste or tacky things i associated with it and the people involvedin it, their lifestyles. i guess i approach it as an anthropologist attimes, but if you allow yourself to enjoy it, you can. i really likejeanette.

The reviews of certain records and movies can spurideas in me. certain creative word pairings. i mainly use music tokeep me going while i paint or draw.

The modern communication, and how it is used in today'ssociety, it can be abused at times.

Some artists that I like their work: helene schjerfbeck, unica zürn, tim hawkinson, harmony korine, stinanordenstam, francis bacon, willem de kooning.

Personal Web: http://gubia.neurasthenic.net/

Interview by. Bignotti Cesare

Graphicsurgery

Oggi, siamo lieti di presentarvi uno dei migliori giovani artisti in Giappone, Daisuke Ichiba. Nato nel 1963, Ichiba è stato creatore di enormi quantità di disegni, auto-pubblicazioni. Il suo lavoro è venduto in luoghi specializzati, e ha raggiunto un fubbliconumeroso in Giappone.

Come si può sapere, il manga e l'animazione giapponese nella cultura è ben noto nel mondo. I cosiddetti "Otaku" ha hanno influenzato molti giovani artisti giapponesi. Ichiba, senza alcuna eccezione, è uno di quelli che sono cresciuti in età d'oro di epoca Manga, e si può vedere in alcune delle sue espressioni artistiche, come il manga di stile che ha guardato nella sua infanzia.

La sua arte non deve essere vista sul muro, una per una. Il modo in cui si dovrebbe vedere è considerabile come un flusso di disegni da un mini book. Una mutazione del manga, che è. Tuttavia, in questo modo il lavoro dell'artista assume un carattere più forte. Vorrei dire che la sua espressione artistica è davvero originale, da questo punto di vista, che la competente tecnicha e di espressione sono interessati.

Il mondo rappresentato nei sui disegni deriva dal clima culturale del presente Giappone, tuttavia, tale espressione, unica nel suo genere, prende forza della sua energia spirituale e la formazione tecnica.


Englisch Text: http://f1.aaa.livedoor.jp/~baransu/t.html