English Spanish Korean
+-
English
Archive page:



Etiqueta: NR MAGAZINE

Michele Oka-Doner

Posted on by nr

NR · WORLD
Published · Online

Feature · Michele Oka-Doner
Words · Nicola Barrett

«Repetition itself is life-affirming. The wavelength calming.»

With a career spanning over five decades, American artist and author Michele Oka Doner’s work, which is fuelled by a lifelong study and appreciation of the natural world, is internationally renowned. She has worked across a wide range of mediums including “sculpture, public art, prints, drawings, functional object artist books, costume and set design and other media.”

Doner grew up on Miami Beach, and her love for the natural world comes from her father who was elected a judge and then, mayor of Miami Beach during her childhood. She states that while she loved watching him work in the courtroom, it was his passion for the outdoors that would inform the rest of her life. “As busy as he was, my father would pause to watch a bird sit in a puddle after the rain. He’d stop for a sunset. He paid attention.”

Best known for her public artworks, Doner’s work is seen by tens of millions of people are they are located in areas with high foot traffic. One example of this is ‘A Walk on the Beach’, a mile and a quarter long artwork made of over nine thousand bronzes embedded in terrazzo with mother of pearl, at Miami International Airport. The work is inspired by the marine flora and fauna of Miami.

She continues to make work in her New York studio where she has worked for nearly four decades and the space is crammed with unfinished and competed works, alongside a treasure trove of found objects such as animals bones, shells, stones and fossils. Donna states that she is a “hunter-gatherer” and that despite living in urban New York she is still connected to the natural world. NR Magazine joins the artist in conversation.

You have a longstanding interest in nature, something which your work reflects. How did that interest start and do you think your focus has shifted over the course of your career?

I was enchanted as a child growing up in sub-tropical Miami Beach, close to the water and surrounded by trees. That initial confrontation continues to hold my mind, imagination and has perfumed my life.

You believe that all art begins with the sacred. What does that mean to you?

The word transcendent speaks to that question. What is sacred perhaps is different for each of us. That said, everyone needs to have an I-thou dialogue within, a knowledge of their boundaries when faced with life’s temptations.

You draw inspiration from world histories and folklore. Are there any in particular which are especially meaningful to you? 

I love the Norse myths, over and over I seek their wisdom as well as hopes and fears. The rise and fall of family, also beautifully haunting in their telling. Then there is ‘The Iliad and The Odyssey’ that speak to us of the evolution of feeling, of love, lust, seduction, jealousy.

Naturally occurring shapes and patterns are a key theme within your work. Do you think people often overlook motifs like these in their everyday life and could the quality of their life be improved if they look the time to appreciate such patterns in nature etc? 

Patterns and shapes are magical, repeating over and over in every culture.

«Repetition itself is life-affirming. The wavelength calming.»

Has the pandemic affected how you approach your art practice and if so how? 

The pandemic allowed me time for many things I had set aside until I found time to explore, concentrate deeply. That time has resulted in clarity.

A Walk on The Beach is one of your largest and perhaps most well-known works. Could you tell me about the process of making this work?

The bronzes all came out of Doner studio over the course of 24 years.

«It became ritualised activity, a materialised tone poem, a saga. I carried the notes in my head and composed in my sleep.»

What does identity mean to you as an artist? 

Being called an artist is only an avatar. I have many identities.

How has your experience of being a female artist changed over the course of your career and has that change been for the better? 

I have always fully embraced the feminine aspect. That said, gender is a spectrum.

«We are moving in the direction of a more equitable balance for both genders and I am happy to be flowing in the river of change.»

What advice do you have for young creatives? 

Be a good dog. Dogs don’t dig up other dogs’ bones.

Are you working on any projects at the moment and what plans do you have for the future? 

I am going to be the designated guardian of the banyan tree I grew up under in Miami Beach across the street from my childhood home. It will be declared a natural wonder very soon.

Credits

Images · MICHELE OKA-DONER
https://micheleokadoner.com/

Isamu Noguchi

Posted on by nr

NR · WORLD
Published · Online

Feature · Isamu Noguchi
Words · Nicola Barrett

«to be hybrid is to be the future»

The art world, unfortunately, has a certain reputation for snobbery. Everything that is deemed as ‘art’ must, of course, be well thought out, aesthetically intriguing and completely unaffordable for anyone who isn’t part of ‘the rich’. Anything that is actually affordable for people who aren’t part of that income bracket is deemed as ‘low art’. Low art is defined as “for the masses, accessible and easily consumable.”

Over the years this definition has often been criticised alongside the common phrase “art for art’s sake” which was born from definitions like these and “is so culturally pervasive that many people accept it as the “correct” way to classify art.” Thus, it is rather surprising to see such definitions being alluded to in reviews of Noguchi’s exhibition at the Barbican as the artist himself was not a proponent of “art for art’s sake” according to Barbican curator Florence Ostende.

Japanese American designer and sculptor Isamu Noguchi was of “the most experimental and pioneering artists of the 20th century”. His exhibition at the Barbican displays over a hundred and fifty works from his career which spans over six decades and explores his life, work and creative method. The best way to describe him is a ‘creative polymath’ as his work straddled a multitude of disciplines.

The exhibition itself is on two levels and upon entering the space you are directed upstairs. This first section is divided into spacious alcoves and display different periods of the artists work. There is a slight feeling of disconnect here and one finds oneself peering over the railing to the floor below, which appears from above far more engaging. However, this part of the exhibition provides an important overview for those who are not so familiar with Noguchi’s work. It maps the artist’s collaborations with the likes of Brâncuși, Martha Graham and R. Buckminster Fuller, in addition to charting Noguchi’s activist work, protesting racist lynchings, America’s internment of its Japanese American citizens during World War II, and fascism.

However, it is on the first level that the exhibition becomes a real delight, a rambling hodgepodge of stone and metal sculptures and his world-famous Akari lamps that makes one itch to play amongst this minimalist wonderland. Noguchi was committed to creating accessible public art and playgrounds, or playscapes, were a fascination for him. He designed these playgrounds as a way to “encourage creative interaction as a way of learning.” Indeed this interest in play and playfulness is echoed in the exhibition’s main space.

The star of the show is certainly the Akira lamps handing like softly glowing space ships, seemingly emerging from the floor like some strange luminous creature and arranged in clumps like brightly coloured mushrooms. Noguchi designed them after visiting struggling post-war Japan as a way to revitalise the economy. He took the Japanese bamboo and rice paper lanterns and modernised them as a way to bring industry back to the war-torn country.

These lamps became popular in Britain in the sixties and are still available, albeit in a slightly changed form, in IKEA. Because of this they are instantly recognisable and have led to some likening the Barbican exhibition to a ‘high-end lighting showroom.’ However, this brings us back to the discussion of ‘art for art’s sake.’  As I wandered around the exhibition I was drawn back to childhood memories of visiting B&Q with my parents, (they were the only shop in my hometown that had escalators and thus was an infinitely entertaining playground). Playground is the keyword here, I was allowed to roam the aisle alone in delicious freedom and explore this wonderland of light, metal, wood and a multitude of other textures, shapes and materials. To my childlike understanding, all of this was art. Interestingly Noguchi’s philosophy was rather similar. In creating the Akari lamps he aimed to “bring sculpture to everyday households”.

In our current environment of late-stage capitalism, Noguchi’s quiet and thoughtful philosophy’s on purpose, sustainability and environment are perhaps exactly what the art world needs. He saw commercial forms of design “as a way of escaping the art market and working with more freedom and fewer constraints.” While we might criticise the society we live in unfortunately we must still exist within it, however Noguchi “believed in the idea that even in mass-production, individuality is still possible.”  We must adapt and innovate within the framework we have because after all, to quote the artist, “to be hybrid is to be the future.”

Credits

Images · Isamu Noguchi
Noguchi at the Barbican is open from Thu 30 Sep 2021 —Sun 9 Jan 2022. For more information visit https://www.barbican.org.uk/whats-on/2021/event/noguchi
 

Photos

  1. Portrait of Isamu Noguchi, American sculptor, the latter’s special assistant planner, July 4, 1947 in New York City. (Photo by Arnold Newman Properties/Getty Images)
  2. Bronze plate
  4. Noguchi, Isamu (1904-1988): Humpty Dumpty. 1946. Ribbon slate. Overall: 59 ◊ 20 3\4 ◊ 17 1\2in. (149.9 ◊ 52.7 ◊ 44.5 cm). Purchase. Inv. N.: 47.7a-e New York Whitney Museum of American Art *** Permission for usage must be provided in writing from Scala.
  5. Terracotta and plaster

Antonio Dicorato

Posted on by nr

NR Vol. 14 Identity · Autumn Winter 2021
Published · Print Page 60

Credits

Models · LOUISE MENARD at GIRL MANAGEMENT, KESTELMANN TOUSSAINT at SUCCESS MODELS, SARAH DAOUI at OUI MANAGEMENT
Photography · ANTONIO DICORATO
Art Direction · LAURA GAVRILENKO BURMAN
Fashion · MIREY ENVEROVA
Casting · REMI FELIPE
Hair Stylist · ASAMI MAEDA at WISE AND TALENTED
Make up · AURELIA LIANSBERG at WISE AND TALENTED

Anastasia Korolkova

Posted on by nr

NR Vol. 14 Identity · Autumn Winter 2021
Published · Print Page 60

Tears and Cheers

Team

Models · IULIIA SAVINOVA
Photography, Art Direction · ANASTASIA KOROLKOVA
Fashion · MARIA BARBAYANOVA
Make up · FARIZA RODRIGUEZ
Hair · EKATERINA POKORNAYA
Photography Assistant · GENNADIY MELKOZEROV
Fashion Assistant · KIRA VASIL’KOVA

Designers

  1. Turtleneck JIL SANDER Dress MARIIA ERSHOVA
  2. Dress JIL SANDER Necklace J.KIM
  4. Sweater Stylist’s archive Skirt OTOCYON Clogs KHAITE
  5. Shorts Y/PROJECT
  6. Turtleneck JIL SANDER Dress MARIIA ERSHOVA
  7. Shirt VERTIGO
  8. Shirt VERTIGO Trousers Stylist’s archive Boots LOEWE
  9. Sweater Stylist’s archive Skirt OTOCYON
  10. Blazer Stylist’s Archive Top STROGOVINTAGE
  11. Dress JIL SANDER Necklace J.KIM Shoes Stylist’s archive
  12. Blazer Stylist’s Archive Top STROGOVINTAGE Leggings Stylist’s archive Clogs KHAITE
  13. Polo Shirt Y/PROJECT

Jurga Ramonaite

Posted on by nr

NR Vol. 14 Identity · Autumn Winter 2021
Published · Print Page 246

Credits

Models · MELODY LULU-BRIGGS at THE HIVE MANAGEMENT, MATTHEW KELLER at XDIRECTN
Photography · JURGA RAMONAITE
Fashion · HANNAH LORD
Casting · MC BARNES
Hair · KATSUYA KACHI

Designers

  1. Dress SAINT LAURENT
  2. Suit ARMANI Shirt RENATA BRENHA Shoes BOTTEGA VENETA
  3. Melody wears Top ARMANI, Short and Shoes SAINT LAURENT Matthew wears Dress LAURA ANDRASCHKO and Shoes BOTTEGA VENETA
  4. Melody wears Top RENATA BRENHA and Tights SWEDISH STOCKINGS
  5. Suit ARMANI Shirt RENATA BRENHA Shoes BOTTEGA VENETA
  6. Melody and Matthew wear Tops RENATA BRENHA and Tights SWEDISH STOCKINGS
  7. Matthew wears Blazer RICK OWENSMelody wears Blazer JIL SANDER
  8. Matthew wears Top SITUATIONIST, Trousers BALENCIAGA, Shoes ARMANIMelody wears Top VALENTINO, Trousers and Shoes ARMANI
  9. Matthew wears Top SITUATIONIST, Trousers BALENCIAGA, Shoes ARMANI Melody wears Top VALENTINO, Trousers and Shoes ARMANI
  10. Melody wears Top ARMANI, Short and Shoes SAINT LAURENT Matthew wears Dress LAURA ANDRASCHKO and Shoes BOTTEGA VENETA
  11. Melody wears Top ARMANI, Short and Shoes SAINT LAURENT
  12. Dress and Shoes SAINT LAURENT
  13. Suit ARMANI Shirt RENATA BRENHA Shoes BOTTEGA VENETA
  14. Dress and Shoes SAINT LAURENT

Aude Moreau

Posted on by nr

NR · WORLD
Published · Online

Feature · Aude Moreau
Words · Nicola Barrett

«I think what motivates my work is the word: privatisation»

Less is more or… is it? For visual artist Aude Moreau, whose works includes carpets of sugar that take up entire galleries or large scale installations that cut across the Toronto skyline, one cannot help think that ‘more’ is the grander option.

For the latter work, Moreau spelt out those same words “Less Is More Or” across the face of the Toronto-Dominion Centre’s skyscrapers. The buildings were designed by the German-American architect Ludwig Mies van der Rohe, and Moreau twists his famous maxim ‘less is more’ leaving it open to interpretation when juxtaposed with his towering skyscrapers. “I wanted to revisit the interpretation of the evolution of modernism and the possibilities of what is to come . . . to say ‘what now?”

Moreau’s practice encompasses her dual training in the visual arts and scenography. The time she spends creating her works range from years of painstaking preparation for ambitious installations to more short term interventions. She “focuses a relevant, critical gaze upon showbiz society, the privatisation of the public space, and the domination of the State by economic powers in today’s world.” NR Magazine joined the artist in conversation.

Much of your work is realised on a very large scale, how do you deal with the practicalities of seeing such ambitious projects through to fruition? 

I think it was my dual training in visual arts and scenography and then the fact of having worked in cinema that allowed me to develop large-scale projects. The theatre and the cinema are fields that depend on a multitude of skills in order to create a work. Also, a large part of my job involves surrounding myself with a team that can help me achieve my projects. In that sense, I act a bit like a producer.

There is a political element to your work, do you consider it a form of activism? 

Activism demands clarity of message, transparency that excludes contradiction or paradox. Art is polysemous. So I would say that it is ‘the political’ rather than politics that runs through my work.

Are there any particular concepts or inspirations which drive your creative process?

I feel like I often forget what guides me and at the same time always revolve around the same thing, without being able to name it completely. Each new project brings its own issues, its own context. Right now, I think what motivates my work is the word: privatisation. It is a term that we associate with economic vocabulary, but which, in its polysemy, describes complex realities which affect the ideological relations of our time. The criticism of the «spectacle», the structures of power, the activation of already existing places, the ephemerality of the works, are various anchor points stated in the 70s and have nourished my practice.

Sugar can be quite a difficult substance to work with as it tends to clump together with even the slightest bit of moisture in the air. With Tapis de Sucre, was this an issue and if so did you try to stop it from hardening or did you consider the change in materials as part of the artwork?

I was not confronted with this reality during the «Sugar Carpet» installation. There have been several editions of the work in different contexts. I think it’s because the industry takes care of this kind of problem through different methods, including adding emulsifiers like magnesium stearate.

However, once the installation is complete, each accident remains imprinted on the surface without altering the trompe l’oeil and the overall vision. The accidents that mark the surface bear witness to the life of the place and momentarily shatter the trompe-l’oeil. These stigmas refer to the fragility of the work. It is the reversal of the monumental and its spectacle which echoes the fragility of our presences that makes the work moving. Like an invitation to cross the trompe-l’oeil to catch a glimpse of the deadly reality of this industry, both in its historical production methods and in its consumption.

Architecture seems to play quite a large role in your artwork, why is that?

Probably because architecture plays a big role in our daily lives. It defines our habitats, structures our movements, testifies to our time and our way of thinking while talking about previous eras. It is silent but contains in itself the production contingencies of an era, and bears witness to the historical, political, economic, technical, cultural and ideological contexts that it emerged from.

In this sense, Gordon Matta-Clark’s cuts in architecture greatly interested and challenged me. And the reading of Dan Graham’s text which puts in dialogue the cuts in the architecture of Matta-Clark and the concept of transparency in Mies van der Rohe through the question of the penetration of light was a major trigger in the process of creating my skyscraper illuminations projects.

What was the most exciting project which you worked on? 

The last project « Less is More or ».

What was the meaning behind showing your own version of Mies’ famous maxim ‘less is more’ on the skyscrapers he designed. Was it irony or something more complex? 

In fact, I modify the sentence of Mies van der Rohe by adding the word «or» to complete the occupation of the four facades of each of the skyscrapers. This has the effect of inscribing the sentence in a loop. «Less is More or Less …» This lessening of the affirmation refers to «post-modern» semantics which, while criticizing the modernist project (the great utopias, the desire for a social architecture, etc.), defends the idea that all points of view are equal. However, this equivalence of individual points of view creates new norms and forms of alienation.

So, this is not ironic towards the architectural achievements of Mies van der Rohe, but ironic compared to the flattened world we live in. A constantly updated world that works to erase traces at the same time as it blocks the horizon by creating disproportionate surpluses. Surplus of images, data, storage, memories, codes, goods, plastics, fashions, tastes, opinions, etc.

What do you want people to take away from your artwork? 

Questions and the feeling that anything is possible.

What advice would you give to young creatives interested in creating large scale and ambitious works? 

I would say that the large-scale works do not necessarily require large resources. However, it requires persistence. The realisation of the projects can take several years, even decades. Therefore, it is essential to ask the question of the need for an occupation of space of this type and to find allies. This is particularly true for projects carried out in public space.

Are you working on any projects at the moment and what plans do you have for the future? 

Yes, I am working on my next exhibition which will take place in January 2022 at the Bradley Ertaskiran Gallery in Montreal. A new corpus that will bring together sculptural and two-dimensional works around the issue of melting ice. Inspired by a brief trip to the Rockies in Alberta, visiting the Columbia Icefield and especially the Athabasca Glacier. The geographic context is particularly significant given the proximity of the glacier and the oil industry in the province.

In the longer term, I would like to achieve «the Blue Line», which is ongoing. This is an ambitious project, the idea of which germinated about 10 years ago, and which has gone through different phases of development without being completed to date. It is about drawing a line of blue light 65 meters high on the facades of 20 buildings bordering the East River in the Financial District of Manhattan. The height corresponds to that of the rising waters if all the ice on the planet melted. When I think about this project, I tell myself that it must be done now, there is a sense of urgency that rises.

Zantz Han

Posted on by nr

NR · WORLD
Published · Online

Feature · Zantz Han
Words · Matthew Burgos

«To truly appreciate light is to observe it intentionally everyday»

Light: a single word draped with a plethora of definitions. It may be about the metaphysical virtues and beliefs that crouch into the human traditions, an object that wounds into the fixtures of homes, or for Zantz Han, an essence in photography. The Singapore-based photographer employs light to charge his images with character and underscore the colors that accentuate his mood, the subject, and their overarching philosophy. As he confesses his reverence for moving versus still images, Han recalls his voyage towards capturing portraits and how color, expressions, and the vision of self immortalize his every shot.

Let us go back to your roots in photography. Before pursuing this medium as your primary means of communication to the world, what influences and incidents triggered this penchant to photography? Was it rooted in your upbringing, or did you discover it during your studies?

I studied animation during my college years, and I was specifically interested in 3D lighting and rendering, but I chanced upon photography during a sub-module course provided by the school and decided to pursue photography as a career later on.

You desire to evoke the senses of your audience when they rifle through your portfolio. What are the senses that you envision to be provoked? How would your images tap into your audience’s emotions and reflections? Why is there a desire to carry this out?

In the sea of content and moving images, still images have less of an impact now. I hope to evoke a good feeling or any sort of feeling to the audience so that they can have a second look at the picture. I wanted the picture to have a lingering effect on that instead of just being another still content – a sensation or nuance of something they can take away from looking at the images.

 

As your concluding statement on describing your photography, you have mentioned the union of art with commerce. In what ways do you marry art and commerce through photography? Also, how do you define art and commerce? Are they separate or combined entities?

My idea lies in creating a business through art and being able to sustain a living through the art that I create. Here, art converges with commerce.

In some of the still images you captured, you induced the stark shade of red/orange in the shots. How do colors influence your photography? What role do your emotions play in your photography? Also, do you relate to the emotions your subjects exude during a shoot?

I think color plays a big part in my photography because it evokes a sense of emotion that brings the picture to life. Growing up, my taste in colour treatment and lighting started to evolve because of the experiences I encountered, and I try to translate them into the pictures via the mood, tone, emotions, and color.

The overview page on my portfolio or website is a collection of recent works that I produced by channeling my inner frustrations into pictures; the darkness and stark reds are strong emotions that I want to portray having experienced them all by myself. The emotions in the pictures are essential in bringing out the story behind it and to evoke a feeling within the audience.

Going through your Overview page, I notice how portraits infiltrate this section. How do you perceive portraits? Are they a reflection of who you are as an artist? What other styles of photographs have you explored?

I think portraits are an easy go-to and the simplest form of human photography. I like to explore still life and documentary photography too.

Your style crosses the boundaries of ethereal and surreal pop, dreamy and hazy vibes, and solemn looks. Do you define your approach in photography, or do you go for a more free-flowing manner? How do you transition from one mood to another? Is it an easy move to do?

I approach photography through my mood and feeling, and express them through the crafting of light, expressions, and colors. The transition depends on the chemistry between the subject and myself, and how expressive the subject can be.

I have also noticed the play of light in your photographs. In some images, the light seems to be subdued, while vibrant in others. How essential is light in your photography? Do you plan its use, or is it more spontaneous? Then, does light – in its figurative, metaphorical, or obvious term – mean anything in your life? How do you incorporate these beliefs in your art?

Light, something that is very sensitive to the eyes and camera, is one of the essence in photography. To truly appreciate light is to observe it intentionally everyday. I like to take my time in constituting my light and modifying its quality to my taste to match the mood and tone I am envisioning.

Light, in its simplest form, provides energy to all life forms. It is essential in creating imagery because it brings the picture to life. It gives it a soul; without it, everything will be pitch black.

Random International

Posted on by nr

NR · WORLD
Published · Online

Feature · Random International
Words · Nicola Barrett

«Don’t think about doing something too long; do it, and think with your hands while doing it»

Have you ever stood in the rain and not gotten wet? If you ever visit Rain Room created by Random International, a collaborative studio founded by Hannes Koch and Florian Ortkrass, then this is something you can experience for yourself. Rain Room is an interactive art work that uses motion sensors to allow visitors to walk through an artificial downpour without getting wet and is the work that thrust the art collective into the public eye in 2005. Since then Random International has continued to create work that invites the viewer to actively participate and questions “aspects of identity and autonomy in the post-digital age.” The collaboratives studio’s aim to “explore the human condition in an increasingly mechanised world through emotional yet physically intense experiences,” and they “aim to prototype possible behavioural environments by experimenting with different notions of consciousness, perception, and instinct.” NR Magazine joins Random International in conversation.

Rain Room is perhaps your most well-known work, but which of your other works was the most exciting to work on? 

Audience (2008) was certainly a game-changer for us; it integrated several research directions that had been previously isolated: it looks at our emotional reaction to simulated life forms, it recognises body-in-space, and it starts to animate a more architectural sphere.

On the other end of the spectrum, we are enjoying working on Body / Light (2021), which is bringing an augmented and time-based elements into an immersive form of engagement.

Lastly, we’re in the pre-production stage/creation phase for a number of new bodies of work; while the pandemic has certainly been a huge challenge, it did allow space for deepening our experimentation with ideas, processes and technologies.

Are there any new technologies are you particularly interested in incorporating into your art practice?

Any technology that supports us in expressing ourselves in a language that everybody can understand is of interest to us…so we don’t really have any preferences. There are however various (diverse) areas of science that we’re paying a lot of attention to, such as different areas of decision making research, developments in machine learning, some obscure branches of behavioural science, cognitive neuroscience (focus on distributed forms of cognition), Kinaesthetic learning et al.

What do you think it is about interactive and immersive art that makes it so universally popular? Do you think peoples’ shortening attention spans due to the influx of information they receive each day from their phones will necessitate even more engaging works in the future? 

There’s an analogue, physical component to engaging with a sculpture in a space that cannot (yet) be met by screen-based forms of engagement. Maybe humans are still designed to feel safe in a real, physical space where the known rules apply or at least most of them. So that’s why we continue to seek out and share real, physical experiences.

You have stated you are interested in examining our ‘automated future’, how do you think technology, particularly AI, will influence your lives in the future, specifically in the art world? 

It looks like we’re increasingly surrounding ourselves with machines and processes that are designed to ‘read’ us, draw their own conclusions and then respond to us accordingly. All – as with most advancements in the past – to make our lives easier (predictive text actually suggested ‘easier’ after I typed ‘lives’ just now!) and safer.

The issue is that we’re not entirely compatible with those kinds of transactions; we are not wired to fully grasp the consequences of our actions and thus one could see us getting into all sorts of trouble, existential & comical alike. Questions re the transfer of agency (i.e. can an algorithm be an artist?), distributed creation processes and algorithmically curated experiences are probably some of the topics that we’ll see flaring up some more soon in the art world. Not to speak of entire macroeconomic ecosystems that are emerging (NFT’s) and likely here to stay.

Has the pandemic affected you and your approach to your art practice and if so how?

Yes. While we were already working very zoom based and in several countries/time zones already, we took the time to refocus our practice on some core themes and allowed ourselves the luxury to dive deeper into some of the topics that previously often dried up once a show was up or a commissioned work opened. Going for depth rather than breadth is something that was incredibly energising and something that we definitely continue to cherish and honour now that the pace is picking up again.

What do you want people to take away from your work?

A different perspective on the world and their own place in it.

In contrast to your use of technology, a lot of your work seems to be influenced by forms and phenomenons found in nature. Is this the case and if so why?

We’re obsessed with the ingenuity of our human species and the bandwidth of our perception, just how far and how deep it goes. So at the core of most of our work is the human form, the human condition and our emotional reaction to an increasingly automated and dematerialised world. Nature and natural phenomena connect us: to ourselves, to others and to the world around us. So they make brilliant material for art making!

How do you approach working collaboratively and what are some of the pros and cons of working as a collective?

We can’t not work collaboratively, it’s as simple as that. As a studio, we are a machine that is at its best when we generate knowledge and meaning in the creation process. Flo and I and the group that works with us do have a thing for communication; the complexity of the work dictates that we look at it from a lot of different angles. And our team, through brilliance and diversity, enables the studio to take on large, international projects in an efficient manner.

What advice do you have for young creatives who are interested in working with art and technology?

Don’t think about doing something too long; do it, and think with your hands while doing it.

Technology is a tool, not the aim.

Are you working on any projects at the moment and what plans do you have for the future?

We were commissioned by the BMW Arts Group to develop our work No One Is An Island in partnership with Studio Wayne McGregor and a score by chihei hatakeyama. Due to the pandemic, we had the opportunity to do an intimate rehearsal in London in October last year, and are planning to bring performances of that work to Frieze London in October 2021. We’re also working on several; different exhibitions and group shows to present a new body of work on Swarm Algorithms later this year, and we’ve celebrated three years since opening our Rain Room at the Sharjah Art Foundation this year. With Pace Gallery’s new spin-off Superblue, we’re working on several exciting outings so do stay tuned!

For more information, please visit random-international.com

Dhillon Shukla

Posted on by nr

NR · WORLD
Published · Online

Feature · Dhillon Shukla
Words · Nicola Barrett

«I need to know the mood of a space before I can start to imagine who occupies it»

In the yellowy November gloom, a young Londoner tries to scrape together enough money to take his crush on a date. Money Up, named after the schoolyard game, is a film that captures the “spirit, grit, and resilience of young Londoners in a lighthearted and poetic tone.”  The film has been garnering attention for Dhillon Shukla, whose previous works range from photographing young Sri Lankans who have adopted Californian surfer culture to collaborating with music artists such as Jessie Ware, Disclosure and Gorillaz. NR Magazine joined Shukla in conversation.

As both a filmmaker and a photographer how do you think your previous experience with photography projects informs your filmmaking process.

I think it’s changed over time. When I started taking pictures I was a teenager, I used to walk around and shoot locations I thought would be interesting to set a film in. I had this massive archive and I used to look through it and try to imagine a story. Then a couple of years later I started to work with musicians who were quite established, a lot of them had really creative personalities and sometimes our visions wouldn’t aline so I had to learn how to navigate that. After a few of those experiences, it began to feel natural to work with talent and for sure that’s fed into directing and working with actors.

You have stated that you predominantly worked with music and documentary. Do you find that you include those elements in your fictional works and if so how?

I take a lot of influence from music when starting a film, for me, it’s one of the best ways to find an emotion or feeling and put yourself in the headspace of a character. Then recently I completed a documentary which was shot over 4 year period and in a really observational style when I started it I only planned to shoot for 3 months, I had quite a rigid idea of what it would be but then there were a lot of surprises and the story told me it wanted to be something else. I had to listen to that. Looking back that was probably one of the best projects I could have done as it taught me to really think about an edit while shooting, I was always reacting to a moment and simultaneously trying to capture it whilst thinking of questions to ask and how I would build that into an edit. Creatively I became a lot sharper and able to generate ideas a lot quicker than I used to which helps with fiction work and to not be too attached to the script as it’s always evolving.

What was the most exciting filmmaking project you worked on?

I’d probably say Run Outs – the short film I’m making with the BFI at the moment. Like Money Up, it’s set in London but it’s darker, more ambitious and also quite impressionistic. I’m excited by how it’s developing, it feels quite fresh and more in line with the direction I want to go in.

You stated that you wanted to show the lighter side of London in your film Money Up. Do you find that people tend to have a negative stereotyped view of London and do you think your film works to change those perspectives?

I just felt that a lot of youth-orientated stories in London revolved around drugs and violence and while that’s obviously a reality for some people they’re also a lot of peoples experience that doesn’t reflect that. The intention of the film was to reframe that for sure and also show multicultural London kids in an innocent way.

You mentioned you are working on a script for a large scale work set in the future. Can you tell me more about this project?

Not really at the moment, just that it’s finished and the plan is to make it my first feature film.

What filmmakers and directors do you draw inspiration from and how do you apply that inspiration to your work?

I think when I’m writing I’m more inspired by music or locations. I need to know the mood of a space before I can start to imagine who occupies it. That’s where most ideas come from for me. They’re not many films I would say are perfect but the ones below are and I find it hard to not think about them from time to time.

Chungking Express

A Prophet

The Tree of Life

Barry Lyndon

Apocalypse Now

You shot Money Up on a small budget. What was the process you had to go through to see the film to fruition?

I wrote the script for an open call for the BBC and got selected. My exec producer connected me with an amazing casting director. They’d worked with people like Nicholas Winding Refn, Lars Von Trier and Gaspar Noe but they’d also cast all the seasons of Top Boy which made me feel they’d be perfect for the film. They were great and found all the actors in about 3 or 4 weeks. We shot in November during a lockdown so it complicated things a bit, we weren’t able to rehearse or even meet each other before we shot it. Then for all of the post-production, we had to work via Zoom as well. It was quite a different way to work but I think in the end everyone who was in it and worked on it was pretty happy with the result.

How do you think Covid will affect the indie film scene in the future?

I’m not sure but it’s been a shame all the film festivals have moved online because they’re really important for indie filmmakers to connect with people and continue to keep making work so I hope they’ll come back soon.

What advice do you have for young creatives looking to work with film and documentaries? 

Start by making something independently where you can have creative control. It’ll allow you to develop your style and attract the right collaborators for you.

What are your plans for the future?

As I mentioned before I’ve recently completed a 40-minute documentary called The Prodigy which follows 23-year-old Muay Thai world champion Greg Wootton and his 9-year-old prodigy Jimmy Clarke, they both fight out of the KO Gym in Bethnal Green which has produced over 25 world champions. It’s about two young Londoners’ pursuit for greatness in the sport which leads them to find a deeper meaning in their lives. It’s been quite an epic project so I’m really excited about releasing that later this year and also completing Run Outs. Then beyond that, I’ve got another short I’m going to make before doing my feature film.

 

Credits

Images · DHILLON SHUKLA
https://www.dhillonshukla.com/#1

Tobi Shinobi

Posted on by nr

NR · WORLD
Published · Online

Feature · Tobi Shinobi
Words · Nicola Barrett

«Shoot what you love and love what you shoot»

Self-taught and award-winning photographer Tobi Shinobi has worked in many major cities around the world. He is known for his distinctive images of architecture and symmetry for which he gained recognition on social media. Born in East London, Shinobi worked as a litigator before his hobby of snapping pictures on his camera phone became his full-time job. Now, when he’s not jetting off around the world and working on commissions for companies like Apple, Audi and Coach, he haunts the streets of Chicago, capturing the city with his unique style of street photography. NR Magazine joined the photographer in conversation.

What is it that makes a good photograph stand out from the rest, particularly with the over-saturation of photography that we see on social media every day? 

I really appreciate great composition, something that catches you almost immediately. Though the photo doesn’t need to be technically perfect to be great, it helps if the photographer takes the time to nail the focus and avoid distracting features which can detract from the ‘illusion’ that the picture aims to create. When I take a picture I’m trying to get you to see what I see and bring you into my world, distractions destroy the seamless transition from someone’s reality to my surreality. With that being said, a good photo can be portraiture, street, architecture, or a great shot of an event: it doesn’t matter – a good photo just catches you.

Does your approach to your photography change depending on which city you are working in and if so how?

My approach doesn’t change particularly unless I have to be particularly mindful of my surroundings. Some places that I have been aren’t the most visitor-friendly tourist spots, so sometimes I have to be aware. With that being said the usual respect and appreciation for the locals and their customs and some good old fashioned street smarts has kept me in good graces. There are many times when I capture street photography and locals don’t necessarily appreciate their photo being taken and I respect that entirely.

What was the most exciting project you worked on and why?

Honestly, I don’t have a single project that I can point to that has been the most exciting one. I have been blessed with a lot of cool experiences, I guess I can say working with Sony last year, I was in front of the camera for a shoot for the launch of their long-awaited A7s3. It was a secret so I couldn’t tell anyone and one or two of my shots actually made it into the final video. I was also featured in front of the camera for Lightroom, as one of their ambassadors, showcasing my architectural photography around Chicago. Both great experiences during a challenging year.

You were a lawyer before you became a freelance photographer. Does your background in law ever influence your photography work and if so how? 

Up until very recently, the vast majority of my work has focused on balance and perspectives. In a literal sense, this has presented itself as a heavy focus on symmetry and geometry. My fascination with these themes forms the basis for my first solo photography book Equilibrium. The metaphor of balance in my work shows up in a number of ways. One example is one is that there have been occasions when it would seem that my work appeared to be too “urban” to be mainstream and too mainstream to be “urban”. To bring it back to the question, the theme of perspectives comes from my legal background where I learned to always consider the other side’s ‘arguments’. I had to consider other people’s points of view, so as to be armed with the best argument. Similarly, symmetry can be seen as me trying to get my visual message across, in as straightforward a way as possible. 

«These themes have also been a subtle nod to me seeking to address the imbalances I come across in life. Namely my own personal challenge of feeling that I don’t quite fit in, no matter where I am.»

With photo-sharing apps like Instagram getting your photography out there has become easier and easier. However, do you think there are negative sides to apps like these and if so what? 

Apps like Instagram have great upsides, it’s important for me to say as much, given how much it has changed my life for the better but there are also some challenges that come with it. The mental strain that comes from the pressure to always produce quality work is a lot. The algorithm rewards consistency. Artists aren’t factories that can just churn out work. We need time to live life, learn, laugh, loathe and then live some more. Consistency is only sustainable for so long. I hope app and platform developers start to realize the strain that they are putting on artists and act accordingly.

Are there any photographers and artists that you draw inspiration from or are particularly interested in? 

One of my favourites in recent years is Carlos Serrao, he is a photographer’s photographer and I am a big fan. I have also been blessed to be able to make a friend and mentor out of the legend that is Sandro Miller. A great human being and an awesome source of inspiration. I take inspiration from all over really. It could be music, religion, sport, film, comics, anime, art you name it. I just consume and then feel that creative spark to create my own and then share. I also take inspiration from the people around me which is why I think it is of the utmost importance to make sure that you surround yourself with positive, creative and inspirational people. I came across a quote the other day that said ‘show me your friends and I will show you your future,’ and I think there is some truth to this notion that the people you surround yourself with will have a profound effect on your outcomes.

You use drones for a lot of your shots. Do you find that the tightening restrictions around drone use, particularly in cities have hindered your work? 

To be honest yes it has slowed things down but I understand why the authorities have had to take some of the steps that they have taken. Some people have little regard for others and have endangered some folk so the authorities were bound to clamp down on it.

What are some of the best spots in London for street photography? 

I’d have to say that Shoreditch and Soho are the best spots in London for the best street photography. You can get some cool stuff in the Square mile too. An 85mm or a 50mm and you can capture some gold at the right time of day.

What advice would you give to young creatives who are interested in photography? 

Keep shooting. Shoot what you love and love what you shoot. Spend more money on travel than you do on equipment. Chase the dream, not the competition. And by this I mean it is easy to just do what everyone else is doing in terms of your style and there is an element to which we learn from imitating others but at some point, you will need to discover and nurture your own style and not rely too heavily on the influences of all those if you want to stand out.

Are you working on any projects at the moment and what plans do you have for the future? 

I’m always thinking about some project or another. I am going to keep on being the best Tobi that I can be. Continuing to evolve, marinating in my creative process. Really trying to sit on it and not force or rush it. That’s going to include video, music in some form, maybe collaborating with musicians. I have agency experience and I have the freelance experience. I do dig down and bury into the artist route or the employed route? I work in the Creative Lab at TikTok as a Creative Strategist, teaching big brands how to make. better TikToks. I want to collaborate with cool people around the world and enjoy all the opportunities that come with that. With everything opening back up I am in the process of planning what the next chapter looks like.

Credits

Images · Tobi Shinobi
http://www.tobishinobi.com/

Subscribe to our
Newsletter