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Bethel Dudt

Cars

I moved a few years ago to the suburbs. Right away, I noticed lots of classic cars in front of houses and in repair shops near my house. I suppose I began to shoot them because I found them so romantic. When I see a classic car, I am reminded of old movies and TV shows. You can see all kinds of possible adventures in these vehicles which I can’t yet imagine in more modern cars.

All my photos I see and shoot while on the street. Right now, during this virus pandemic, I am still walking and shooting cars on my days off from work. Only the most abandoned cars are left now in lots, and I love to imagine the life that they once lived. 

Credits

Photography and words BETHEL DUDT
www.betheldudt.com
www.instagram.com/beedotvon

Matthew Johnson

At Summer’s end my wife and I packed up our Brooklyn apartment and drove north. Congested highways gave way to windy, forest-lined roads. We were trading in the bustle of the city for a slower life, upstate. The skyscrapers and swarms of pedestrians that have become such a motif in my photography were being replaced with rivers and waterfalls, barns and abandoned buildings. I wondered how my work might change now that there wasn’t as much action. I was prone to looking for subtle, relatable moments in the midst of madness.

Now there wasn’t madness at all. In quite a welcomed way, there wasn’t much of anything.

It’s a new story to tell.

One that’s vast, quiet.

One that feels like home.

Niklas Bergstrand

Credits

Photography Niklas Bergstrand
Fashion Lani Elisé Dafter
Creative Direction Mateja Duljak + Lani Elisé Dafter
Make-up and Hair Marta Tayanouskaya
Discover more from this editorial in the Empowerment issue

Designers

  1. Hats Tsumori Chisato
  2. Jackets Rives Paris Socks Model’s Own
  3. Oleg wears T-Shirt Andrea Crews Jeans Acne Studios Wojtek Jumpsuit Acoté

Mary Elizabeth Ford

“Whatever someone thinks is out of my control, and I like it that way”

When did you start drawing and creating?

More intentionally, about 4 years ago.

How do you find the balance between the vision you have and the mediums you are using?

The vision I have is always so rough. I’m a moody person and because of that, I make things on a very emotional basis. I don’t quite set out with a vision of what I’m going to make. It just sort of happens. The mediums honestly differ by whats in front of me, or how much money I have to make something. When I started doing wire faces I was just too broke to buy paint and I had a lot of dry cleaner hangers, so I started furiously bending them. Most of my paintings on paper, are on really crappy paper because I don’t plan ahead and that’s usually whats lying around. So, it changes frequently and there is no method.

What inspired your style of work?

I don’t know if I can really control the style I have. I don’t even know what style it is, but every time I try to do something that doesn’t feel like me it really bleeds through and I have to scrap whatever I was trying to be.

Where do you get inspiration from? Are there any particular artists, photographers, painters drawers you look up to their works? 

The environment that I’m surrounded by plays a huge part in what inspires me. What I’m feeling, specific colors, where I live, structures, and personalities all play. Without thinking about it too much, Basquiat, Helen Frankenthaler, Vivian Maier, Kindah Khalidy, are what come to mind immediately. It really varies. I really lean towards following and getting inspired by people that have very different styles or approaches to me.

How long does it take to create a piece? What is the process being it?

Time varies. The process differs too. I tend to have an idea of what I’m feeling drawn too, go with it, hate it, rework it, like it, again and again, until it feels good, lots of layers. I’m a goddamn onion.

Would you say that there is a main thread connecting all your artworks and if so, which is it? 

I don’t know. I definitely get emotional with all my pieces. Maybe that bleeds through or maybe it doesn’t. But, I guess the main thread is I don’t hold back from all the things I want to make or how into it I get, so they are very honest to who I am and I guess I really hope that translates to all mediums and works of art that I do.

What kind of talks would you like to hear around your artworks? What kind of conversations would you like your artworks to spark?

You can not control what people say. If you make a thing and it’s out in the world, you cant get mad if someone feels differently about a piece than whatever idea or intention you had. I definitely put language to a piece after it’s done, not the other way around. Which is for context, not the only way it’s to be thought about. I don’t want to manipulate anyone’s thought process when viewing my work. I guess all I could hope is that someone felt something and wanted to talk about what that feeling is or lack of feeling they have about it. Providing a thing that encourages conversation is really what I want to happen. Whatever someone thinks is out of my control, and I like it that way.

Rory Gardiner

Luisa El Bouyahyani

Space in Between

Space can be seen as a free and borderless. As I searched to fund out how to visually capture an in-between space, a creative process developed. is creative process consists of taking photographs of places and textures, defining forms out of the surrounding and recombining all of it.

I define ‘natural’ as in something you do that feels good, pleasurable, right and authentic to you no matter what the activity might be. When you follow what holds your interest, are true to yourself and do what you really love and what defines you as a person.

To me talent is the successful synergy of passion and soul. It’s something that differentiates people from one another. Talent is being yourself. It’s an ability, a skill set, an expression of a passion that is located in you, sometimes hidden, sometimes more obvious. I think everyone has a certain natural ability, something they are good in without trying hard or even being aware of it.

Talent is something that grows. Something you might need to train through learning about yourself and your passion, being in a right and positive environment, overcome fear and self questioning, staying curious and open minded about your passion – and as a creative – trying to work on personal projects, experimenting and expressing your mindset (visually), no matter how individual or non-suitable it seems to be for the majority.

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

Leandro Colantoni 

Ultimo Paesaggio Siciliano is a visual investigation on Sicily, shot exclusively on iPhone.

It is focused on the symbolisms and clichés that characterise the Sicilian culture, people and landscape.

Tara Olayeye

“when I’m actually there, I’ll naturally feel aligned, because I’m not thinking myself into oblivion”

For Tara Olayeye, whose relationship with her work mirrors her relationship with herself, the practice of film-making has turned into an experience as meditative as it is creative. Her latest short film, So Natural, proves as profound in aesthetic as it is in prose & composition. The visual aspect is only a portion of the young Atlanta-based director’s crafts, as the poem she recites over the film is an adaptation of a song she wrote when she was 18 years old, which she re-appropriated from her archives for the purpose of the film. Her experience with music– singing and playing the piano– reflects in the care she has for the rhythm and pace of a narrative.

The production of this short film was a tough tango between Olayeye and the vintage 16mm camera she swears by. The texture and character of the footage shot on film is true to the attitude of the device. The level of attention and awareness required to shoot with it turned being on set into an undertaking of mindfulness.

Being drawn away from her initial inspiration and expectations, she picked up on the resonance of her own creativity. As So Natural emerged, she found her expectations exceeded by what it turned into, despite coming inches away from moving on from it. Olayeye’s latest project was the fruit of months of internal tides of inspiration which intersected between motion picture, poetry, spoken-word, and music. Patience, with herself and with her work, was of the essence. As she learns to trust her processes, she has been reminding herself not to give into doubt and fear.

Fear forms the roots of many of our expectations, as they manifest a need for security into the future. Figuring out how to let go of them becomes essential to tapping into one’s uninhibited creativity. Our apprehensions are often an architecture of our own mind, and moving forward and beyond them is the only way to embrace reality and discover the multitude of possibilities that may be, both in our work and our lives.

In constant creative expansion, the latest craft she has picked up on is knitting. Amidst the present circumstances, the therapeutic elements of art consist in much more than a practice: it becomes a philosophy and a way of life that nurtures and carries over into everything else.

Olayeye granted NR an introspective insight into her work, distilled below.

Between the visual, the musical and the poetic dimensions of your last film, So Natural, and over the course of the year during which it was shot, what was your creative process like?

I started brainstorming it in January of 2019, I had a concept that I wanted to do – I had a script and everything written out – and actually the final result of that project is not even close to what the original concept was supposed to be. Getting things set up and put together didn’t end up working out the way that I thought it was supposed to. Whenever we were shooting, there were so many mishaps and things going wrong because we shot on 16mm, and the camera that I was using, and still use, is a really old film camera, it’s – it has an attitude, so it was a little temperamental, and there were a bunch of hiccups that ended up happening. As I was trying to piece everything together, when I got the first rolls of footage back in the summer, in the way that I thought that it was supposed to go, it wasn’t working and

“I was almost about to scrap the entire thing, because I thought ‘This is not how I wanted it to be, this is a failure’.”

I walked away from it for a few months and realized “Okay, maybe this project isn’t working in the way that I initially thought, but that doesn’t mean I have to completely dispose of it, I can just re-imagine a storyline, re-imagine how I want this project to feel”. So I picked it back up again around September or October last year, I started re-shooting and I had these lyrics to a song that I wrote years and years ago, I don’t know how or why it came into my head while I was looking at this project, but as I was reciting the lyrics, I thought “wait, this could actually work really well as a poem”. It worked really well with the footage that we had shot over the past few months, so instead of the original script I had, I decided to use the words of that song that I wrote, when I was maybe 18 years old, and that’s where the poem is from. The music is one of my favourite songs of all time, and I emailed the record label that owns the rights to the song to see if I could have the permission to use the song in my project, because I just felt like it fit so perfectly. So that’s the story of the project. It was definitely a very unique experience, that’s not really how I’ve gone about making a lot of my film projects, typically I have a script, I have a very clear vision of what I’m gonna do, and even though things change and evolve, it still holds that same essence of the original concept.

“This project was literally writing itself and I was just there to be as open with it, and accepting of the path that it was taking.”

How did you feel about the way it turned out as opposed to what you initially had in mind?

I’m even more happy with what it turned into. It’s funny because as artists or creatives, whatever you wanna call it, we have– or, I’ll just speak for myself– I tend to have preconceived notions of what I want a project to look like, I’ll think “it’s going to be like this and like that” and the way the project moves, circumstances change, and the project just naturally evolves and what you thought the project was going to be– it just becomes better than you ever expected it to. So that’s always amazing to witness and experience.

It seems like you had a dynamic relationship with this project; how did that reflect with your relationship with yourself?

Last year was really interesting for me, it was a year where I really began to learn more about myself, and I began to realize a lot of negative patterns I had developed throughout my entire life. Patterns of perfectionism, feeling like I needed to control everything, feeling like I needed to know everything, and if I didn’t, I would feel like I was just missing something. It makes perfect sense that this project was my main focus last year, because I did a lot of self-reflection and flowing with myself and, like you said, surrendering a little, and not feeling like I had to control everything and I think that reflected a lot in this particular project because I went into it thinking I knew what was going to happen but then it just flowed into something completely different. It really showed me the importance of being open and not being rigid with my creativity, and understanding that art can in different ways teach a lesson and teach you about yourself, and teach you about life, so

“that project was definitely a reflection of my inner-growth and of being open.”

What made you inclined to shoot this project on film?

I really wanted to learn how to shoot film for the longest time, just from watching other people’s work, watching films that were shot on film, I loved the look of it and I wanted to try it out. I was fortunate enough to know someone who had a film camera sitting in their basement and they sold it to me. It’s definitely a learning curve– shooting on film when we have such instant gratification with shooting digitally– there’s so much we don’t have to think about, whether its just taking a picture on your phone or shooting with a cinema camera. Shooting on film is a humbling experience and it forces you to be very attentive and be really intentional about every shot that you make; you have to be really alert when shooting on film, which I think is a really good practice just in general

What nurture your creativity, and what inhibits it?

For me, patience is the most important thing. I tend to feel restless at times when working through a creative project because it’s easy to care more about the end result than the process. But every step you take while creating something counts for something. So staying with it and reminding myself that the pace that things are going is the pace that is meant to be helps me a lot.

I realize that fear blocks my creativity, I don’t believe [those two states can co-exist]: true creation and fear. You can’t [be fearful] when creating because what makes creating so magical is that you’re letting go of the need to know, you have to trust the process, so it’s interesting how I am a creator but at the same time I deal with a lot of fear. Wanting to create, and Create wholeheartedly, while having these underlying feelings of fears: fear of judgement, fear of failure, fear that things won’t work out, fear that you are wasting your time… It’s an interesting back and forth between creating and fearing.

The main thing is just going with it and within, not thinking too much, feeling my way around. Each creative flow is different but I guess

“the common denominator with each endeavour is being fully committed because I really do believe that as long as I Commit, I really can’t fail.”

When do you feel aligned the most?

I think I feel the most aligned when I’m not in my head. Over-thinking is so exhausting and it’s something that I have a lot of experience with. I feel like even when I’m doing something that I love, if I’m in my head about it, I don’t feel aligned. It’s really important to live outside of my head as often as possible. [While doing] anything like just walking down the street, talking to a friend or eating a meal, as long as I’m present, when I’m actually there, I’ll naturally feel aligned, because I’m not thinking myself into oblivion or panicking about something that holds no real weight. I feel the most aligned with my true nature, who I actually am, my power, all of that; I feel alive and connected to all that when I am actually within my body, doing something with full attention.

Credits

www.taraola.com
www.instagram.com/taraolaa
www.instagram.com/indigoflores

Valeria Amirova

Kazakhstan

My mom and I left Almaty, Kazakhstan for Canada in 1994. I was 9 years old. When you’re a refugee, you can’t go back to the country you came from for at least 3 years. We went back after 5 years.

My mom was sent to prison for obscure reasons almost immediately after our arrival in Almaty. We left as soon as she was released. I always hated Kazakhstan. I never missed the mountains that my mom always talked about. I never felt any connection to the place where I was from.

Growing confused about my identity, seventeen years later I decided to go back. I hiked the mountains where I grew up, slept in yurts, ate the food and spoke the language.

Being back home felt wonderful!

Credits

Photography and Words · Valeria Amirova

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