Jenn Kang

Journey

Team

Photography JENN KANG Fashion TRUDY NELSON Hair ANDRES COPELAND Make-Up WENDY MARTINEZ Model MICHI DELANE Photo Assistant ALEX FOSTER  Fashion Assistant REGINA DONALD

Designers

  1. Top AMI Trousers LANVIN Shoes SUICOKE Ring LEIGH MILLER Earring and Necklace LOREN STEWART
  2. Halter VERA WANG Skirt SYSTEM T-Shirt and Boots MARYAM NASSIR ZADEH Ring LEIGH MILLER Earring and Necklace LOREN STEWART
  3. Dress MARYAM NASSIR ZADEH Jacket NANUSHKA Boots REIKE NEN Jewellery KATHLEEN WHITAKER
  4. Dress NANUSHKA Boots MARYAM NASSIR ZADEH Necklaces LOREN STEWART Ring LEIGH MILLER
  5. Dress JACQUEMUS Shoes REIKE NEN   Necklace LOREN STEWART
  6. Blazer JACQUEMUS Shirt GUCCI Jeans THE ATTICO Shoes REIKE NEN Rings LEIGH MILLER and LOREN STEWART Necklace LOREN STEWART Earrings LEIGH MILLER
  7. Full Look CHLOÉ
  8. Top AMI Trousers LANVIN Shoes SUICOKE Ring LEIGH MILLER Earring and Necklace LOREN STEWART
  9. Halter VERA WANG Skirt SYSTEM T-Shirt and Boots MARYAM NASSIR ZADEH Ring LEIGH MILLER Earring and Necklace LOREN STEWART
  10. Dress MARYAM NASSIR ZADEH Jacket NANUSHKA Boots REIKE NEN Jewellery KATHLEEN WHITAKER
  11. Dress NANUSHKA Boots MARYAM NASSIR ZADEH Necklaces LOREN STEWART Ring LEIGH MILLER
  12. Dress JACQUEMUS  Shoes REIKE NEN   Necklace LOREN STEWART
  13. Blazer JACQUEMUS Shirt GUCCI Jeans THE ATTICO Shoes REIKE NEN Rings LEIGH MILLER and LOREN STEWART Necklace LOREN STEWART Earrings LEIGH MILLER
  14. Full Look CHLOÉ

Artem Kononenko

Ambivalent

Photographer Artem Kononenko captures Lucie and Bintou for online. Featuring looks from Roger Vivier, Azzaro and more


Credits

Photography · Artem Kononenko
Creative Direction · Plamena Karaliyska Fashion Belishi
Make Up · Olga Kruglova Hair Mayu Marimoto
Models · Lucie At Women Management And Bintou At Supreme
Location · Presswall Studios

Kaytranada

Pivotal points and personal breakthroughs

As the sun sets earlier and the air gets colder–as the weather folds–Louis Kevin Celestin (also known as Kaytranada) is returning to Los Angeles to pick up where he left off pre-pandemic, with a new understanding of himself. When the coronavirus broke out, he was in the midst of lining up studio sessions with artists, shooting a new series of visuals, and transitioning to a more collaborative creative process. Bubba–his sophomore album–had just been released and he had tour dates booked around the globe throughout the year. Be that as it may, he had to wrap things up and return to shelter in his Saint-Henri apartment. The pulse and tempo of his raw and distinctive take on out-and-out dance music would also have to stay confined in the custody of TikTok dancers for the time being. 

2020 was meant to be everyone’s year, but our most ambitious intentions subsided to a transformative journey of trials and tribulations as things went a whole other way. Abundant introspection has brought many of us to retrace our own pasts and re-imagine our futures in tides of hope and fear. The conversation Kevin and I shared was the occasion to revisit pivotal points of his life and personal breakthroughs of the past year, as well as the impact it has had on where he stands today, in the world and within himself. 

Born in Haïti and raised on the outskirts of Montréal, his notion of belonging has been in continuous motion over the years. Grappling with his perspectives on queerness lead him to find multiple groundings for his identity, as an artist and as a person. Growing into the power of only saying “yes” when he means it, of setting boundaries and maintaining them has meant asserting a much truer self. After spending the summer re-connecting in different ways–with nature, with friends, with other creatives, with himself, with film, with literature, and so on–he is back in phase with his own rhythm. 

Over the years, you’ve shared with me how touring and the acclaim that has come with it has been a source of relief at times, and the cause of distress at others. How has your relationship with being on the road shifted? 

In 2014, I was going on my first tour. The ‘If’ and ‘Be Your Girl’ remixes were buzzing, I had shows in Montréal getting sold out, people were showing up, it was kinda crazy, everything was growing at the same time… so my first tour in Europe was… a first tour. It wasn’t a disaster but my manager and I were learning a lot, especially my manager because I was always counting on him. I’d never been to Europe. I went to London first to just chill then we went to Italy for the first show and the hotel was in the middle of nowhere in some outskirts really far from the city and I was like “what the fuck, that’s Milan?” *laughs* […]. 

Touring was like an escape for me; when I went to LA for the first time, I met my label and the Soulection people, and it was like wow I’m finally there. When I’m in LA, I’m in a good space that’s nourishing to me, good vibes.. that’s what I’ll pay attention to– seeing, things I’m aware of… I used to not deal with it the right way and wouldn’t do much out there, now I’m trying to be more present mentally and trying to be less shy too, not that there’s something wrong with being shy– just not overthinking or holding myself back. 

All this LA shit happened before my first European tour actually, which is crazy. I was in LA, I was finishing school, which I didn’t even finish… I got the Boiler Room LA offer, then I went to Europe that summer. I came back to Montreal and right off the plane I had to head for Murale Festival, one of the first ones. That’s when I saw that a lot of people were there just to see me, there were so many people dancing to my shit, I played some unreleased stuff that later became hits.

A true homecoming. So when did the feeling switch up? 

Yeah, so when I went back on tour, my first album wasn’t out yet, I had only released 2 singles with XL– so I was on tour with no new music, which really bothered me because I was either playing other people’s music or songs from 99.9% that wasn’t even out yet, and people wouldn’t recognize [them]. 

I would often tell my manager ‘I can’t do this anymore’ and he would be like ‘hang on man, you can do it’, to a point where I got really sick on tour– overworked, stressed, I couldn’t eat, and thank God my brother was there because it really saved me.

“I would be trembling with shivers, I had to perform sick and go right back to bed shaking, throwing up my meds, I couldn’t eat, I had to force myself to eat soup… at the same time I was drinking a lot and I didn’t know that drinking was gonna kick my ass the way it did, like every night getting drunk, my head was hurting, it was killing me… there was so many things that I didn’t realize, I was kinda overweight too… I was not well.”

All that back to back stress accumulating into a burnout… how did you cope with that? 

I stayed home for much of 2015, I had money though, which was cool, so I was really like “okay this career shit works, I’ll be back on tour later on”. It was bitter-sweet because I loved to perform but I didn’t like traveling from a city to the next, so it would’ve been a lot better if I had like 3 days off in Berlin, because I wanted to see Berlin, I wanted to see Philadelphia… 

I had to take a long break, I was at home, I really wanted to move out and get my own spot– my mom couldn’t understand it– but I was like ‘I’m still sharing my room with my brother and I’m 24 years old this is ridiculous’… I hadn’t come out of the closet yet, so that was just before I put out 99.9%. 

So while there was so much changing on one side of your life, it was more of the same on the other 

Yeah so then I stayed home, worked on the album; I didn’t even work in the studio with anyone on that album, I mixed it by myself and then I turned it in, and the album came out in May 2016, a couple of weeks after the article where I came out. 

I came out years before but I had to re-come out again– because I had told my family I was bi to be more acceptable, but

“it got to a point where I told them ‘I’m not gay anymore, I’m delivered’, forcing myself to not-be-gay and to have girlfriends, because my friends would ask me ‘so when are you gonna have a girl?’, my uncles, everybody was worried for no reason, like, mind your business.”

Did that help you understand yourself better? 

I mean, there was a typical identity of being gay, so I wasn’t sure of myself because there weren’t gays like me that listen to Madlib or like Mobb Deep or Tribe Called Quest or M.O.P., raw shit like that– that’s what I listen to every day. I got my own divas that I like but it’s like Mariah Carey or Janet, she worked with J Dilla you know– because they’re hip hop. 

Yeah, even Mariah singing over Shook Ones or Cam. 
While a lot of people have been adapting to the concept of remote working, you’ve said you like working that way better from time right? 

Yeah I mean at the time I used to, but I don’t want to do that anymore, because I always know [how it’s gonna turn out] when I work remotely, so now I really wanna be out there and create with the artists, its more fun. And I used to get too much in my head when I would try to create with an artist and that wouldn’t come out as nice but yeah I know now I’m not gonna just work remotely, and it worked ’til covid happened– like I was ready, I put out Bubba, which was what I really sound like personally, so people reached out and those that did because of the album, it made me more confident to just do my thing, so that was working out until covid happened and I had to go back home. 

It’s ironic that right as you were becoming more comfortable with that way, everything had to shift back to remote working. 

Yeah, it makes me forget that I was that way, that I was ready to work with people. Some days I’m like– I’m going to LA soon, so– I forgot– I feel like I’m back to my old ways. 

So let’s revisit how the year went down; how did going into lockdown unfold for you? 

Okay, so– the pandemic was hard for me. I had a tour planned after putting out Bubba in December, so I was ready to go on tour for April-May-June then go to Europe after that– I had my whole year planned. I had done the Australian tour in January, which was amazing but a lot of problems came after that and everything kind of went down. 

I was in LA when the pandemic happened and I was working with people, on what was perhaps going to be the second part of Bubba that I was talking about, which didn’t happen because I had to go home right after doing the Need It video, and things went downhill… 

I went through a breakup in June, and that really messed my head up at a crazy level and I don’t know why, it’s funny because I didn’t need anybody but the breakup was hard to take, and day-to-day life, making beats, was harder than it used to be, I really lost myself. 

I grieved for I guess 3 weeks then I got up like, you know what– I’m not gonna spend my whole summer crying and shit– so I went to my friend’s studio. Alex from BADBADNOTGOOD got a nice farm somewhere in the countryside and we took shrooms, made a lot of beats. He has a beautiful spot, a bunch of vintage synths, a nice lake in the back, all to him and his fiancé… it’s amazing, his dogs are very nice, his cat too, that’s the best shit ever for me… I regret not going earlier or more, but next year I definitely will. Even when we’re not making music, we’re just listening to records, we talk about records a lot, so he just brings out the dopest Brazilian records.. and we just sunbathe and drink wine. That’s the fucking Life, I swear.. so it was really that state of mind… 

“I tried to distract myself from this breakup and I managed to have one of the best summers I’ve ever had still. Maybe less beats, but all the beats that I made were made on purpose and were dope. I found a new formula, I felt elevated.”

Your creative process? 

Yeah, my approach is so different now, and I sample less too, which is crazy.. all my records are just sitting there not being sampled it’s just weird. *laughs* Now I just rather create my own samples and add drums at the end and its a completely original production. It feels great to have that. 

A lot of things have been leading you back to yourself. 

Yeah, sort of.. even this breakup made me want to go to therapy, so I started therapy for the first time and it really blew my mind. I didn’t know why self-love was so important– why loving myself was so important… seeing friends that remind you that you’re the shit, because I was so invested in my relationship. When I was freshly single it was like “okay I gotta find distractions I guess“; good distractions– my friends really helped me, all the people that were there for me this summer, I didn’t know I had that many true friends. 

Having folks really show up for you. 

Yeah, so on top of that it just feels good to have that, and realizing in the long term, “okay this is connected to what happened before: this is why I act this way, this is why I react this way to this breakup“, its all related to what I’ve been through before, and who I am today. It was really an awakening I had inside of me, being in touch with myself and now I feel good about being by myself too. 

What are some self-care habits that have helped with that? 

Meditating, reading at least 15 minutes a day, making beats, reaching out to people and collaborating more, going to the farm, spending time in silence. 


Team


Photography KANE OCEAN
Fashion SAMUEL FOURNIER
Interview ALEX MOHAMMAD
Creative Direction NIMA HABIBZADEH and JADE REMOVILLE
Grooming CAROLE MÉTHOT
Prop Stylist ANA LONTOS
Photo Assistant SAM NOVACK
Dove Provided by Alan Greenberg
Stream BUBBA now


Designers

  1. Full Look CALVIN KLEIN JEANS Jewellery Talent’s own
  2. Full Look CALVIN KLEIN JEANS Jewellery Talent’s own
  3. Full Look BOTTEGA VENETA at HOLT RENFREW Jewellery Talent’s own
  4. Jumper CHARLES JEFFREY LOVERBOY Trousers ECKHAUS LATTA
  5. Full Look BOTTEGA VENETA at HOLT RENFREW Sunglasses LOEWE at HOLT RENFREW
  6. Blazer MARNI Jewellery Talent’s own
  7. Full Look THOM BROWNE at HOLT RENFREW Mask RAF SIMONS
  8. Full Look EMPORIO ARMANI
  9. Jacket and Trousers MARNI Shoes GUCCI at HOLT RENFREW

Tomihiro Kono

“it was something I grew into loving”

Tomihiro Kono, a hair stylist and head props creator, currently based in New York City, is best know for his outstanding work with designers such as Jil Sander and Junya Watanabe. His launch of his own book ‘Head Prop’ is a ‘documentation of distinctive head prop work produced’ by himself. Not only does Tomihiro produce ‘visually striking head designs’ but ‘designs that focus on functionality in the beauty of form’. Kono has grown to become the master of a genre he created from himself.

I understand that your career started in Japan, where you worked as a hair stylist. But how did the idea of creating wigs and head props appear in the first place? What was the starting point for you?

I started my career as a hairdresser in Osaka, where I studied basic hair skills. Four years later I had gotten seriously obsessed with geometric haircut techniques and decided to master the method. I ended up working in a few different hair salons in Tokyo and acquired the best haircut skills. In 2017, when I branched into session styling, I moved to London. I started head props originally to satisfy my own creativity but I’ve always been obsessed with new hair and head creations. The act of hair styling and designing head props are, according to me, closely related to each other. They go hand in hand. Therefore, as a hairstylist it’s also my responsibility to keep working with hair designs in order to grow as a creative.

Was this all a part of your childhood dream or was it something you grew into as you got older?

When I was a young boy I wanted to become a veterinarian, which is quite different from what I do now. So I would definitely say that, as I got older, it was something I grew into loving. Even during the beginning of my career as a hairdresser I wasn’t dreaming about working abroad as a session stylist. I have just always been focused on doing the best I can and working hard. This is where it has taken me.

From a creative point of view, what was it like to grow up in Japan? Did the Japanese culture become a strong source of inspiration to you or was it just an influential cultural background?

Personally, I always got more inspired by the Western cultures. But when I moved to London I started to find more understanding of my own background. I think that the Japanese culture used to be something I would just take for granted. After moving to London, I created a Geisha inspired portrait series. This is a classic example of our distinctive heritage, which I’m proud of.

Many successful people have said that having access to a big city is always an important part of your career. After living in both London and New York, two of the largest fashion capitals in the world, what do you think is the most significant difference between the designs you’ve produced in each city? In what way did the city affect your work?

I believe that my first choice of city was the right one. London has a great hair culture, especially the avant-garde style with its young creative- and punk influential spirit. It’s a city where people really appreciate originality. For me,

“working in London was a mix of crazy dark, romantic goth and experimental design, which was very satisfying from a creative aspect.”

But I do think that New York is the best place to establish oneself. I always try to adapt my work to the city I’m in and its current fashion trends. Therefore, since I moved to Manhattan, my work has been quite clean and modern.

The line between most creative subjects and art is often very blurred. Do you consider yourself to be an artist? If so, did you always feel like one or was there a significant moment in your life when you realised that you wanted to become one?

If there is one hairstylist that could be called an artist, I might be that person. But that is not how I see myself. However if I could choose, I would much rather be the only one than the best one.

By being involved in the fashion industry, you are constantly surrounded by the idea of beauty and how it should be presented, but in what and where do you personally find beauty in the world?

Personally I find beauty in the world of nature, music and old Japanese films – which I like the aesthetics in.

Working with craftsmanship and creating each design by hand must be very creativity challenging from time to time. What is currently your biggest source of inspiration? When you lose track, where do you go to find it?

At the moment, my source of inspiration comes from wigmakers around the world. That is the subject I will build my new project around. Luckily, I never feel like I “lose track” so I always just keep moving.

What motivates you to grow and do better?

I motivate myself to be original at all times.

A lot of people tend to seek comfort in hiding behind their hair, do you ever feel like your bold and fearless style comes as a shock to people? Would you say that this is a part of the purpose for you?

My designs tell a story of what I do in life, if that tends to shock people, I take it positively. I know what I have done in the past three to four years is completely different to what most other hairstylists in this industry do. I personally like both natural hair styling and over-the-top head prop design at the same time, because I feel confident in both shadowing trends and being original at the same time. Whilst working in the fashion industry, you’ll always have the choice to create a trend as well as following a trend. So if head props become something that inspires upcoming artists and they want to follow that, or even keep building on this path I have created for them, that is something that would be very interesting to me.

Have you seen any good examples of how people have adapted your creative work into their everyday lives?

Except for my friends, wearing my creations on an occasional night out,

“I never think of my head props as being used in people’s everyday lives. I see them as head art.”

What is your best piece of advice for the people who want to follow your footsteps?

Be creative and work on building your originality. If you want to be a hairstylist and make head props as well, you need to learn about the basics of hairstyling, then play with your imagination from there on. This is how I started my career and I hope that my story can be helpful for young artists who want to pursue their dreams in Fashion.

You have worked with some of the biggest names in the current fashion industry and has had your work published in the most influential magazines and online platforms in the world. Now, just a couple of weeks ago you had your very first book launch as well. Where do you see yourself going from now on?

I never really expected my first book to get so much attention! It was a big surprise for me to see that people are curious about what this book was all about. I created the concept one year ago and I haven’t changed anything since. Towards the end of the process, after having had several meetings with some very talented good publishers, I decided to publish the book myself, because I wanted to keep the creation as pure and personal as I possibly could. I consider the release of this book too both mean the end of one chapter and the beginning of a new one. What’s next for me? Well, as you go, your career establishes your style and, for now, I have a lot of wig making to do. Hair will keep me busy for a while.

Credits

‘HEAD PROP’ by Tomihiro Kono is a documentation of distinctive head prop work produced by Hair and Head Prop Artist, Tomihiro Kono from 2013-2016.
Available to buy now with pink vinyl cover exclusively at www.konomad.com

Designers

  1. Copyright Tomihiro Kono
  2. Copyright Tomihiro Kono
  3. Copyright Tomihiro Kono
  4. Copyright Tomihiro Kono
  5. Copyright Tomihiro Kono

Shaquille-Aaron Keith

“I like emotions, they should always be the centre point of anyone’s art form”

Shaquille Keith credits his mum for being the drive behind his creative output; as a child, she would always make sure a young Shaquille had the tools – pens, pencils, paper – to draw with. But it wasn’t just art that she encouraged Shaquille to pursue; ‘she made me play the trumpet for eight years. These are things that I’m so grateful for, even if I wasn’t at the time.’ Those formative experiences have helped Shaquille get to where he has today, as a painter and a poet; he attributes the rhythm that helps structure his poetry to learning the trumpet. Many people familiar with Shaquille will know him as one fourth of PAQ, the YouTube streetwear show that he started with friends Danny Thomas, Dexter Black and Elias Riadi in 2017 when they were all on the cusp of their twenties. The show, which carved out a space online to passionately discuss men’s fashion, without the pretence and sincerity that often comes with the territory of high-end and streetwear gear, is an unequivocal success. To date, the show, which airs every Thursday, has over 84 million views and not far off 800,000 subscribers. Shaquille, himself, has nearly 275,000 Instagram followers, and shots of him wearing an array of covetable attire – including campaign shoots for some of fashion’s biggest names – are interspersed with his paintings, his poetry and other musings about his creative process. The success of PAQ can be attributed to how personable its hosts are, and the same applies to the kind of inclusive community that congregates on the comment section of Shaquille’s Instagram posts. At this point, Shaquille has reached a level of success that many can only dream of, but it’s clear that this is only the start of where he hopes to eventually get – with dreams to take his painting and poetry to new heights.  ‘Oh the artist, Shaquille Keith, did you see him in that music video with – I don’t know – Drake?’ he muses in our conversation; ‘Did you see the artist Shaquille Keith acted in that new James Bond movie?’ There’s little doubt, however, that, when that day comes, Shaquille won’t share it with his PAQ peers, his online fanbase and, most importantly, his mum. 

To start with, when you’re creating your artwork or poetry, what inspires the direction that you take? 

I would say it’s all about how I’m feeling at the time. In my experience, I find that, if I’m talking, it never stays in the person’s head. I always feel like, when you go to a concert and see the way fans know all the lyrics, they’ll say, ‘I love this song so much because it resonates with me especially when,…’A four minute song resonates better than a 30 minute conversation, so that’s why I like to write poetry. And when it comes to painting, it’s about the idea of identity and how I feel. When you’re trying to explain how you feel to someone, they don’t always get it. But, sometimes, when you do a picture that’s more than just a pretty picture – something with meaning – and you give it a title that reflects how you feel, and the image depicts how you feel, I think that can communicate it a lot better. Whenever I create an image, or put pen to paper, I would like to think it’s always for the purpose of communicating something important. And it’s also for reassurance that, whatever I’m going through, I’m not the only one. Sometimes it can be daunting when you’re going through something and you don’t have anyone to really talk to about it. I’m grateful to be able to put my work out there and have enough people see it and say, ‘actually, I’m going through this too.’

I think it’s quite interesting the way you share your poetry online; posting photos of handwritten poems is quite a personal thing to do. What do you hope people reading your poetry in this way will gain from that experience? 

I can’t lie, my handwriting is absolutely shit, but I don’t mind it because I feel like, that’s what my aesthetic is. Sometimes it looks good, sometimes it looks bad, but I really like to think people would read it if they can make out the words. I like to think people do read it straight from the book because if you do that, it’s more raw – which is why I want to make my own poetry book, with the pages of what I’ve written with a type out on the back so you can read it. I would rather people read from the actual book itself, rather than just reading the caption if I’m posting on social media.

You’ve got quite a big social media platform for people to engage with your work. But, as an artist, what role does sharing your work have for you?  

I don’t rely on my social media to define my work as such, but I guess the role it’s played is that I’m able to get immediate feedback from people. Until you share a poem or a painting, they’re pretty much done for yourself. If I’m writing something, I’m pretty much talking to myself, and then when I share it, I’m putting it out there for people to engage with so I can understand what they take away from it. So I think the one good thing about social media is that it allows me to see what people think about my work, who it’s for and whether it’s for everybody. When I get comments from people saying, ‘you know what, I’m not into poetry, but I like your shit’ – that makes me feel good, that’s kind of inspiring. 

Do you think you would have been able to get to the place you have with your art without other platforms that you have, like the YouTube channel PAQ? 

The thing about PAQ, and not a lot of people know this but, with the very first episode of PAQ – before we even knew what it was going to be – was my idea. So obviously, all four of us got together with the idea of making a show and everyone came up with good ideas for the first episode but in the end we ran with the one I offered and I think, that alone, is testament to what I wanted to do creatively anyway. I feel like, if I didn’t have PAQ, in another reality it would have been something else – or, my art itself would have been the platform. But I’m so grateful for the PAQ platform; it’s something that’s completely different, something that’s not been done before. And I do feel like it’s given me access to things, particularly in the fashion world, that I wouldn’t have had access to before. PAQ has enabled me to find more interesting ways to mix art and fashion, which also contributes to my other stuff.  

Something that strikes me about your work is that the emotion behind it is really important; is communicating that emotion as central to the artwork itself? 

Yeah, 100%. In art, whatever platform it takes: music; movies; literature; whatever – if it doesn’t move you then, in my opinion, it couldn’t get further away from an artwork. Art should essentially be made up of raw emotion. Things that are very bland, where you don’t know much about the artist and what they’re thinking, aren’t for me. There are other artists that I’m not really interested in, like sometimes Jackson Pollock’s work – it doesn’t always interest me. It’s very contemporary, but just not the style of art that I would have in my house because it doesn’t represent how I’m feeling. I like emotions, they should always be the centre point of anyone’s art form.  

You’ve touched on this a little already, but what ambitions do you have for your work in the future? 

When everyone talks about my stuff now, they call me a presenter. Also, I hate people calling me an influencer; I’m like, ‘bro, I’m not an influencer – please don’t call me that.’ I want to do what I love as a lifestyle, but also redefine the respect that painters get. It’s like, I always see hip hop stars, actors, presenters at fashion shows – I’d love to get invited to all these things with my main title as ‘artist’. That’s the kind of respect I want for painters, because I think there’s a lot of talented people, artists, poets working at a level of quality that I appreciate. I’m grateful for the fact I’m able to do PAQ, but grateful for my artwork because that allows me to blend the two, you know? So, that’s pretty much the goal: to redefine the level of respect for artists everywhere – and also for the black community as well. I feel like the black community is constantly left out of the art world. I mean, it’s a very tough world for black people to get into, but I believe that we’re in the right time, in the right generation, to make that change. So, I would love to be one of the people that spearheads that as well. 

I think that’s a really valid point – I think you can definitely see in the fashion world, it’s opened itself up more to include more people, but art is still quite closed off. I guess it’s easier to say, ‘I’m into fashion’ than it is to say ‘I’m a poet.’ 

I feel like it’s going to be a mission, but I’m willing to do it.

It’s going to be fun too; a lot of ups and downs, but it’ll be rewarding in the end. 

Eric Kogan 

Creatures, People and Places

My main passion is street photography. On what makes this genre what it is, I’ve heard many sides, but to me, the main points are taking candid photos in public places. The essence is that they are not staged and on touching the emotions point to our existence. 

Though not every photo in this collection belongs to the street genre, I feel like my relationship with it has influenced every image. They are the result of observation, of interpretation, and rely on impulse to the point where having a camera with me is a permanent practice. Even if I don’t take a photo for days, the greatest lesson street photography has taught me is that the best time behind a camera always comes with I least expect it.

Credits

Photography and words ERIC KOGAN
www.erickogan.com
www.instagram.com/erickogan

Monty Kaplan

Nocturno

Nocturno is a long term project that spans five years and documents lonely nights across the world. It’s a subjective take on the documentary genre, that serves as a surreal diary

All my life, I’ve been lonesome. Not alone, but lonely. The distinction seems redundant, but one of the most common misconceptions about loneliness, is that it’s a feeling you get when you’re alone. Yet you can be in a room full of people and still feel lonely. In fact, being in company can often heighten the feelings of alienation that loneliness produces, which has been true for me.

Loneliness is a form of disconnection, that creates an invisible gap between yourself and everyone else, like speaking a completely different language that only you can understand. It’s impossible to translate, so it only feels natural to speak it to yourself.

Which is why the night has always been an environment i’ve gravitated towards. Since a young age it had been a source of fascination. I remember i used to sit in the dark of my room at night, looking out the window into my moon bathed backyard. It gave me the strangest feeling, like peeking inside an alternate universe. The trees and grass, acquired a ghostly grey from the soft moonlight, the branches from the top stretched across the sky in the dim light like black lines on top of a black canvas. It looked so beautiful and peaceful. And every night, after i was sure my parents had fallen asleep, I’d venture outside to my park to play under the moonlight. Some years later, and not without a sense of irony, i developed a case of severe insomnia. As a still preadolescent boy at the time, this really had a toll on my daily social life. Since i was hardly sleeping at all, everything during the day became overwhelming, the people, the noise, even the sun light became excessive to my eyes. It was like my brain couldn’t handle it, and i started to resent it. This was something that would ultimately shape the rest of my life.

That resentment slowly built over the years until it eventually led to a complete separation from that daily world. I grew up rambling through empty streets in the after hours, seeking for solace, but longing for contact.

“Nocturno” is the result of these years of lonesome nights. As i’ve navigated through empty cities and towns, fighting against the disarming feeling of being abstracted from society, the night provided me with the context of an empty world, an abstract environment i could shape at my own will and vision. A blank canvas to ultimately create, piece by piece, my own private universe.

Credits

Photography and words Monty Kaplan
www.montykaplan.net

Posted in 미분류

Weng Jui Kun

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