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Danny Augustine

“I’m guilty of having quite a short attention span”

Raised in East London, artist and printmaker Danny Augustine explores ideas of identity in his work, primarily addressing topics of race and gender politics. Danny works predominantly with the medium of print but has a unique and painterly approach to his projects, toying with different narratives that prompt his audience to think about modern society’s views and obsessions surrounding race, gender and sexuality.

NR speaks with Danny, discussing his background, influences and how he has navigated his artistic career.

What attracted you to first start working with print?

First, I wanted to be a fashion designer, then a photographer, then a filmmaker and then finally a painter. The problem was that I wasn’t great at any of those things. I’m guilty of having quite a short attention span. I always want to work big, and I want instant gratification, so print works really well with appeasing those traits.

You grew up in Hackney, how has living in East London impacted your work and you as a creative individual?

I’m of the generation where I ever so slightly missed or was too you young to realise what was going on in regards to the YBAs, but the water mark was clearly visible. Coming from a Caribbean family and growing up in Hackney I felt gave me the licence to push and become an artist – there’s never been a doubt in my mind.

Are any other locations inspirational to you?

Berlin and Venice – those places rock me every time I visit.

Your work deals mainly with ideas about gender and identity, does exploring these narratives come naturally to you, or is it a struggle to express them creatively at times?

I think my work ends up talking about or outlining those points on its own. I didn’t realise it was happening until I had a bit of hindsight. I think it’s pretty natural still.

“I’m not sure why it’s like that but I’m happy that the work walks out on its own and is what it is.”

What’s your usual process when designing and printing a piece?

I usually start with an idea and instantly start to build a collection of works that explores that. I like to think about it like how a fashion designer builds a collection for a new season. I hardly ever just make a singular piece.

What other artists inspire you?

Tim Mara, Eduardo Paolozzi, Frank Bowling, Cy Twombly, Francis Bacon, Kate Gibb, David Hammonds, Billy Childish. I have loads more: Hockney, Louise Bourgeois, Lucien Freud. We’re in an incredible time because so much has passed and there’s a lot to look back on for inspiration.

How have you navigated the past year in the pandemic as an artist?

Minus the horror stories that people went through during this time, I found I was able to concentrate on making loads of small prints and send them to people who wanted them, no charge.

“Knowing when it arrived and how it cheered people up, I felt happy that I was able to connect with people for no reason other than being able to make something and then send it out.”

Have there been any seminal experiences that have impacted your work or your practice?

Having my son was an incredible thing. When he was born, I knew I wasn’t going to make anything as beautiful as him (cheesiest thing I’ve ever said). My work has changed since having him – I think it’s possibly more grown up, but I won’t know until I start working more.

What does your body of work aim to say in terms of confronting issues about gender and identity politics?

I don’t think it aims to say anything, but perhaps it prompts the viewer to possibly say something.

What was it like transitioning from studying Fine Art to specialising in your printmaking MA? 

It was nuts, I probably wasn’t ready for it. Maybe I should have had a year between them rather than going straight in, but at the same time I think I had to be thrown straight in after university. I had to learn the language pretty fast.

Are there any particular figures you draw the most inspiration from?

I think probably Cy Twombly and Lucien Freud. As soon as I open a book my brain goes crazy and thoughts and ideas start flooding in.

Are you working on any projects at the moment?

Yes, I’m working on a few large screen prints mainly dealing with colour and abstract forms leaning heavily on a specific way of printing.

Credits

Images · DANNY AUGUSTINE
www.jealousgallery.com

Virginia Arcaro

“I learned to rediscover myself, my body and my mind through photography”

Virginia Arcaro is a visual artist whose work spans the realms of painting, collage and photography and explores personal connections with contemporary culture, art and high fashion. Working with the likes of Dior Homme, Acne Studios, Arcaro’s editorials integrate elements of fashion and art history with her own personal vision. The result is an impressive and authentic body of work that is sleek and carefully considered. Arcaro’s practice draws inspiration from a range of subcultures and the limitless potential of photography as a medium.

NR looks into Arcaro’s influences and creative process across both her personal and editorial work to learn more about their artistic production. 

You have a really interesting body of work that ranges from high fashion to more intimate, personal pieces. What have been some of your favourite photography projects to work on? 

Definitely the projects in which I had the freedom to express myself and my creative vision without many boundaries and limits. And those in which I tried to simultaneously blur and establish the lines between art and fashion.  

How did you start getting into photography? 

Since I was very young, I’ve always had my camera with me. I was constantly shooting. It has always been a passion. On a professional level, I started immediately after graduating from the Academy of Fine Arts, collaborating with my boyfriend at that time, shooting the collections of his brand and also curating the creative direction of every photographic project with him. Soon after, I started working as a backstage photographer during fashion shows in Milan, Paris and London, and at the same time I was shooting editorials for magazines and commercial works for various luxury brands.  

How much does fashion influence your work and creative process? 

Fashion is both a means of expression and a source of inspiration. It definitely affects me a lot, but not so much to overwhelm my creative process. When I started working in fashion, I was quite clueless about how complex the industry was. Working in the field and having had the opportunity to meet and collaborate with so many different people helped me learn a lot. I feel honoured and will forever be grateful to have had the opportunity to document the incredible work of designers I love and admire. 

What has impacted your creative vision the most? 

My background and cultural experiences, music, my love for rebellious youth cultures and subcultures – when they could still be defined as such. And having studied art history for years, I can’t deny that traditions and classical references also played an important role in impacting my vision.  

What people and places do you draw the most inspiration from? 

From authentic people, radically different people, confident outsiders. I’m inspired by any place I have a connection with – a connection that is not only physical but also mental. From all the places I’m sentimentally attached to for some reason. 

How have you managed to stay present and creative during the past year? 

Last year was surreal, but I think it had a positive impact on my life and it helped me a lot on a creative level. My job has always led me to travel continuously, and I’ve always loved traveling in my free time too. I had to learn to stop and be in one place for months, so I had time to recharge, time to reflect and time to develop new creatives projects. I learned to rediscover myself, my body and my mind through photography, immersing myself deeply in the essence of art.

How do you choose your subjects and the people you photograph? 

Each person is unique, and I choose them for different reasons. There’s no rule. I understand immediately when I like a subject. 

Is there a main message you want to say with your more personal photographs, or do you find it’s more of a relaxed and natural process? 

It’s a combination of both. I feel it’s a natural process for me to shoot something with a meaning, or a plurality of meanings. Each image contains messages and symbols that lead to a different dialogue. Interpret as you will. 

Virginia Arcaro’s work has been featured in Dazed Digital, AnOther Magazine, Vogue Paris, Vogue Italia, Vogue UK, Harper’s Bazaar UK, Highsnobiety and more.

Arcaro’s work can be found here virginiaarcaro.com

Bradley Sharpe

“It has developed, suffered and excelled – all in one breath”

How could one forget the wearable gargantuan mantua tents that, no longer than a year ago, stole the spotlight of fashion?

We are talking about it today, and we’ll definitely be for a while. British designer Bradley Sharpe graduated from Central Saint Martins last summer, and his vision has not skipped a beat since. The visionary creator opened up to NR about the launch of his own brand, his debut collection and the responsibilities descending from being a contemporary designer.

Authenticity remains at the core of his priorities, admits Bradley. Not only are we looking at what we put out to the world, but, most importantly, what we say. A highlight of his process falls onto accountability as well – a gentle reminder that fashion should never be taken with a grain of salt – “It’s not just about you.”, to have a voice, implies responsibilities. Bradley Sharpe: get ready, you will not be bored.

Your graduate collection hit the world with a bang this past year, can you talk us through the inspirations and process behind it?

Working at a sex club to financially support my final year, I became fascinated by its unrestricted public hook up culture. I began looking into the historical aspects of hooking up and became fascinated when I discovered the tales of Molly houses and court events. I wanted to find a way to reinterpret the Mantua – a gown worn by aristocratic women in the 18th century – and, after coming across a tent in a charity shop, I naturally began pursuing its idea of volume.

That said, I’m quite a tactile person. My work is always inspired by a body of experiences or things that I’ve come across naturally… Nothing is ever forced, rather completely authentic. I also really liked the idea of a consumer buying a gown, but still having to literally build it themselves.

What hides inside these tents?

My sleep paralysis.

What inspires and pushes you to create?

I’m privileged to live in London. To be surrounded by relentless creativity which always pushes me to do more.

What has been your greatest achievement so far?

Probably working with some incredible people recently. From Lady Gaga and Tim Walker, to my fantastic and ever inspiring studio team.

Looking back at your experience at Central Saint Martins and Marc Jacobs in New York, how has your view on fashion changed?

This year alone, the industry has changed astronomically. It has developed, suffered and excelled – all in one breath. More than ever, the difference between then and now is that the future of fashion lies within its young designers.

“People are no longer looking towards the successful fashion houses for an opinion, they’re looking towards us”

What is the most valuable lesson you have learnt from it?

To be authentic.

Stepping into the world of fashion during such hard times must have demanded a lot of backbone. How have the first months of your career outside of university been?

It’s been a breath between exciting and manic. I’ve learnt so much by getting things – so – wrong: that is just the process of growing independently. I’m still so blessed to have a small team that’s so committed to the vision.

After my graduation (Ed.), it’s taken me a while to get started again: I am not in any rush to put out my debut collection. St. Martins felt so unnecessarily rushed. I cannot talk about, nor consider sustainability, if you’re going to work yourself or your team like a horse. Good things come at a good time, and I’m comfortable with that.

What are the biggest challenges for a young designer to start up their own brand?

It is probably about getting your head around the construction of a brand, and how to entirely build one from the ground up. Being an adult, configuring a business, it is totally different from being an 18 year old who just wanted to have their own brand. You can be street wise, but still, you have to be smart and make responsible moves. It’s not just about you.

What responsibilities descend from having a voice in contemporary fashion?

You have to be authentic and use your practice as a way to ascend your voice. Popular opinions aren’t necessarily always correct – just do what you want and say what you think.

We are all very excited for what is next to come. What are you working on at the moment?

I’ve been working on my new collection these past few months and it’s finally started to take shape. I cannot wait to share it with you very soon.

Credits

Images · BRADLEY SHARPE
https://www.instagram.com/bradleysharpe/

Fernando Livschitz

“Take a camera or computer and do things that motivate you. Do, do, do and do, that’s the way.”

A whale splashes about with its calf in a garden swimming pool, a speed boat spins in circles upon a galaxy of stars, and famous buildings just up and float away. These are just some of the worlds Argentine filmmaker Fernando Livschitz brings to life in his short films. “His stories unfold organically showing the extraordinary as something ordinary and common. Going deeper into reality through the wonder that is in it by creating a charming and mind-boggling mood.”

Indeed, his works are inherently surrealist by nature, incorporating the mundane with the absurd, but there is an inherent youthful playfulness to them that offsets their obvious technical conception. They invoke all the innocent creativity of a young child, who has been set loose in reality and has been given the power to make it their plaything. In doing so they remind us all of the freedom of childhood imagination, unconstrained by adult worries such as gravity or logic.

Livschiz’s films are viral by nature and have been seen by over a hundred million people. He has directed all over the world, winning The Young Directors Award at the Cannes Lions and worked with well-known brands including creating the opening credits for CBS’s The Late Show with Stephen Colbert.

How long does it take for you to make each project/video and what’s your artistic process when coming up with ideas for your work? 

It could take one day or months to make a project. there is no logic there.

Usually, I start from a small idea or concept I want to show and then the process can lead in other directions.

Which is your favourite project and why? 

I’m not sure, maybe “Buenos Aires Inception Park”. This project is 10 years old, and it has opened all kind of doors in my career.

You stated that during lockdown you didn’t feel very positive because of the current situation, is that what inspired you to make Anywhere Can Happen, which is a very uplifting and positive work. 

Well, I’m not sure if it was the lockdown period. Life is complicated beyond this crazy time. I feel we can see things as different, more positive.

Which was the most difficult project you worked on and how did you overcome the challenges you faced while making it?

Each project has its complications. When I start with a project I’m not sure how I’m going to do it. As I progress, I discover the complications. Sometimes I feel that my work is based on gradually solving the problems that arise.

Is there anyone/anything in particular that you draw inspiration from (ie, literature, films, artists, creators etc) 

Yes, lot’s of artists: Slinkachu, Michel Gondry, David Lynch, Tim Burton, Leandro Erlich, Pablo Rochat, Fubiz, Vimeo Staff Picks, Nowness.

How do you think working on an international level affects the creation of your work? 

I think it affects it in a positive way. The greater the knowledge, the greater the possibilities.

What advice would you give to young creatives looking to work in animation and film? 

Do not wait for things to come from outside. Take a camera or computer and do things that motivate you. Do, do, do and do, that’s the way.

In the BTS of Lost in Motions, I saw your daughter helping you to spray paint the individual pieces you used to create the stop motion. Do you often include her in your creative process? 

Yes!, she has an innocent view of things and life and I love her opinion. She has great ideas.

You have a background in photography and design how did you transition into creating these kinds of works? 

I think in my work, everything is connected. Photography, animation, analogue, digital, design, music. What I do now came from all those backgrounds.

Are you working on any projects at the moment? What can we look forward to seeing from you in the future? 

Yes, I am working on several projects. But shhhhh. I can’t talk about them yet.

Vivien Canadas

“It began as a necessity, and quickly became a FUNdamental step of my process”

To paraphrase Fellini, things are not always what they seem. It is incredible how individuals’ minds can correlate images, objects, colours and shapes which do not originate from the same context. His name is Vivien Canadas, and his latest collection, A sip of fresh air, is an ode to visual culture and its boundless limits.

If I were asked what tortellini and a handbag have in common, I would probably call my grandma, asking the same question. On the other hand, the recent Central Saint Martins MA graduate, might have something to say about it. Taking inspiration from the simplicity of everyday life, the French designer took us on a wonderful journey across his process and peculiar eye for silhouette and shape.

“To show humour, but also recall some kind of old-fashioned elegance” points out Vivien. The collection struck fashion’s preconceived notion of mundanity, and here we are, a second later, witnessing the evolution of a trumpet, into a pair of trousers.

Being able to surprise the world with such a brilliant MA collection, followed by your project in collaboration with Tod’s must have felt as an incredible achievement, congratulations!

Tell us more about your vision and inspiration in the process of making it.

Thank you for your kind words! I’m very glad, my final collection and my Tod’s project caught the eye of NR Magazine. My design reflects my fascination for the ordinary and mundane. Through my research I visually collect artefacts, explore customs and incorporate these elements into my draping process. A trumpet evolves into trousers, a tortellini becomes a bag etc. A playful approach that does not intend to be literal. I aim to create a silhouette that shows humor, but also recalls some kind of old-fashioned elegance.

Part of my draping process for my MA collection was about recreating the movement of a garment caught in a storm. I designed voluminous skirt and dress that were based on a simple circle of fabric. Using such a shape was a direct reference to Christian Dior and his New Look silhouette. Subverting traditional techniques and volumes used in Couture is fundamental in my process.

Your collection, ‘A Sip of Fresh Air’ is an open invitation to escapism, to look at things under a different light. What would you like people to reflect on when looking at it?

In less than a century, humanity has completely transformed its natural habitat by escaping the countryside in favor of the city. A radical mutation that built some form of nostalgia.

My collection is an invitation for a city getaway.

“A moment to reflect on what is ‘modernity’ and how the ideal of countryside life redefines or transforms this concept.”

It is a celebration of the bridge between traditions and Mankind’s – perhaps odd? – progress.

The wind is blowing and taking everything on its way. Full skirts are flying, coats are pushed on the front of the body. “A sip of fresh air” is also about re-iterating and re-thinking our temperamental relationships to the elements.

Tell us more about Tod’s and the ‘Tortellini bag’.

For my project for Tod’s, I decided to explore the Italian food culture and gastronomy. One of the main references was the movie Roma by Fellini. A scene in particular was key to me: It’s evening and people are eating on a restaurant’s terrace.

“A moment of life that depicts with humor, and splendour, the Italian cuisine and its mise-en-scène.”

I was intrigued by the construction of the Tortellini. An emblematic ring-shaped pasta dish that is made from a flattened square dough and stuffing. Following the same construction, I thought of adding Tod’s elegance to the recipe. The result? A funny shoulder handbag in various colours.

Can you talk us through the collaborative aspects of your MA collection?

Fashion is about sharing. It is a human adventure that reaches its fullest when you get to collaborate, interact and create with others. I couldn’t imagine this project to be only about my own exploration. I wanted to incorporate other visions, and give them the space to express themselves. The shoes were designed in collaboration with Baptiste Faure. They are made from recycled Wellingtons, reworked into a pair of shoes, suited for urban life.

Collaborating was also a way to celebrate Daum’s savoir-faire, a crystal company founded not far away from home-town, Remiremont – France – in 1878. Using their unique craftsmanship of casting and colouring crystal, we designed “trompe l’oeil” headpieces. Resembling wet hair, the prosthetics reiterate our temperamental relationship with the elements, but also reflect my desire to build a new bridge between tradition and modernity.

The global circumstances in which you found yourself developing such a high caliber of work must have not been the easiest ones. In what way have you managed to adapt your practice to such a restrictive situation? What have you learned from it? How did you adapt your creative process to it?

Working on these projects was a chance: it forced me to stay resilient and pro-active despite the world situation. The lockdown pushed my process to evolve: more than ever before, I used my own body for my draping experimentations and fittings.

“It began as a necessity, and quickly became a FUNdamental step of my process.”

Things might not go the way you are planning, or you might not have the fabric you wanted: this experience taught me the essential value of being flexible.

Your journey into fashion started long before applying to CSM. Tell us more about your background and training.

Following a Masters degree at Sciences Po, Paris, and after completing a couple of internships, I worked as a junior designer at Maison Margiela for almost two years. Not your typical pathway… I hadn’t formally studied design before commencing the program at Central Saint Martins!

Looking at fashion Today, what are your hopes and concerns?

I hope fashion could go back to a more human scale.

The urge for relevancy in the work we produce has never felt more important than now. What do you have to offer?

As fashion designers, we are not only developing garments, we are creating a world. As a matter of fact, it is essential to take part in the ongoing conversation, and to reflect on the message behind my work. It appeared crucial, within my process, to understand who I am and what I represent, in order to support a progressive message that acknowledges and elevates others, no matter which gender, race, sexuality…

What can we expect to be seeing from you in the near future? Do you have any new projects coming up?

I would love to keep working on my own practice, and see where this takes me.

Credits

Images · VIVIEN CANADAS
https://www.instagram.com/viviencanadas/

Reuben Selby

“making the industry ‘less worse’ is not enough”

Creative and modelling agency co-founder, fashion designer, sustainability advocate and researcher, set designer and collaborator… These are just a ‘few’ of the many shoes that took Reuben Selby’s work under the spotlight… Sounds a lot? Forget it. The designer seems to be only at the very first steps of a very promising career.

With Maisie Williams being his number one collaborator and girlfriend, the creative duo is actively challenging fashion normativity, making a change one step at a time.

When I first met Reuben and Maisie on a photoshoot set last fall, I remember them talking us through the message and intentions leading the freshly born brand. Today, Selby took a second to explain us the importance of collaboration, change and sustainability within his vision.

“Introspection is at the heart of the brand” suggests the designer, outlining the hopes and passions intertwined within his creations. What we are witnessing, it’s an inspiring act of love for creation, an invitation for reconsideration of our true identity.

Following a successful opening of FASHION FOR GOOD’s “GROW” exhibition, and an upcoming show planned to take place at the next LFW, we couldn’t be more excited to see what the future of the brand holds.

Where does your passion for fashion come from? What pushed you to start up your own brand?

My passion for fashion comes from my desire to create and bring art into the world. I wasn’t surrounded by fashion growing up, but I’ve always been fascinated by the idea of storytelling and building new worlds.

“I see fashion as one of many art forms that I use to express myself, which is also the true driving force behind my brand.”

For as long as I can remember, I have always wanted to run my own brand and curate shows.

What have been the greatest challenges throughout this past year?

Navigating the impact of Covid and Brexit on the fashion industry. I want the brand to be focused on fashion shows and collaborative projects more than bringing garments into production; however, the small runs we’ve planned to bring out have been massively disrupted.

What inspires you? What kept you pushing?

Striving for something bigger than myself is what truly inspires me. Creating an artwork that transcends, and connects deeply with an audience.

“I’m inspired to create new perspectives, to encourage people to look internally, in the hope to make the world a better place.”

We loved your latest homage to Christo and Jeanne-Claude’s legendary work. How has the collaboration come together?

Jeanne Claude and Christo’s work has always been a massive inspiration to me as an artist. However, only recently have I been able to come to terms with a deeper meaning to their work. Their pursuit of creating self-funded art on a grand scale is as equally, as admirable, of the work itself. The vision, the determination and drive resonate deeply within me: they reinforce the importance of being patient, reminding me how powerful an everlasting image can be.

You recently took part in FASHION FOR GOOD’s “GROW” exhibition in Amsterdam. Tell us more about your collaboration with Infinited Fiber.

Another core pillar of the brand is sustainability. Beginning with the brand’s conception, we felt responsible for building it the most ethical way possible. For our debut collection, we put a lot of work into the research and sourcing for partners to collaborate with. We were so inspired when we found Infinited Fibre: we thought of it as a fantastic opportunity to tell their story, and highlight their amazing work. Infinited fibre has a technology that turns cellulose-rich waste – a discard that would otherwise be landfilled or burnt into something precious – a 100% circular premium textile fibre. It reduces the world’s reliance on materials. We used the fibre for the cargoes and shirting in the collection.

The rumor has it we shall see a new collection coming up soon. Do you want to talk us through the inspiration behind it?

This June, we will be presenting our first show in London during LFW. I’m so excited for this project as I will be going deep into my cultural roots and my connection to the city. We’ve been working on this show solidly for seven months, compared to the two months that we spent on a daily show in Paris. We are taking things to a whole new level, and this will be the first time people get to see what our creative team is capable of. There will be a lot of raw energy and excitement, and I can’t wait for people to absorb it.

What statement lays at the core of your brand?

Introspection is at the heart of the brand. We often say we created the brand for introverts. To feel comfortable, without having to stand out or identify. The brand is the catalyst for self-expression: it aims to create an image that builds confidence, to push individuals to stay true to themselves.

Do you believe in change? What are your hopes for the future of fashion?

I 100% believe in change, but I also think that change is not easy, and perhaps, it is sometimes not welcomed. For change to happen, it has to be approached systematically, we have to realise how things are intertwined first. We need more people coming together, collaborating, and solving challenging problems, rather than performing individually. Also, the focus should project onto the roots of the problem: making the industry “less worse” is not enough.

Production and consumption must be reduced, which means businesses and people need to reconsider their motivations, in order to ensure an ecological and abundant world in the future.

“It is my deep hope to center fashion around creativity and storytelling, rather than profit and consumption.”

How has Maisie supported you in becoming one of fashion spokesmen?

Maisie is my number one collaborator. She brings so much of the energy and drive that pushes me to create. Maisie has a beautifully contrasting mind to my own, and she constantly questions how things should be done. She broadens my peripheral view when it comes to conceptualising what we’re going to create. I often have such a clear vision and focus, meaning that I’m not looking at the things I’m unaware of.

“To have someone on your side always giving creative energy means you will never create something that isn’t exciting.”

What is next to come for your brand?

My focus for the brand is to do good, and this can take any form. We want to collaborate and create projects that inspire people, and that’s all.

Credits

Images · REUBEN SELBY
https://reubenselby.co/
https://www.instagram.com/reubenselby/

Ekow Eshun

An Infinity of Traces, a selection of work from eleven Black women and non-binary artists

Walking into the airy gallery space from a quiet London side street, one is immediately struck with a powerful sense of joy, exuberance and pride in an exhibition that discusses incredibly serious topics surrounding Black identities in the UK. An Infinity of Traces, which showcases a selection of work from eleven Black women and non-binary artists, was originally planned to open shortly after a summer of intense discourse surrounding the Black Lives Matter movement and subsequent protests but was delayed due to Covid restrictions. The delay is not a bad thing as the exhibition serves as a compelling reminder of the ongoing nature of this discourse. There is always work still to be done. 

Immediately Jade Montserrat’s series of work draws the viewer into a discussion of Eurocentric beauty standards and colourism and how Black women are forced to navigate their bodies and thoughts within these structures. 

Across from this stretching line of mixed media drawings is Liz Johnson Arthur’s work, Spring… Times, which dominates the space. Three images from Johnson’s archive are blown up in black and white on banners that hang above the viewer. Anyone who took part in the BLM protests in London last summer will be immediately drawn to the image on the left. A Black Muslim woman stands on the seat of a car, holding on to the frame for support with the door flung open behind her, her fist raised in salute. 

During the London BLM protests, there was often a buildup of traffic due to the sheer amount of protesters that filled the roads. However, this traffic became a part of the protest as motorists would blast their horns and raise their fists in support. This sense of powerful community and strength was both incredibly touching and a potent motivator, something this particular image encapsulates perfectly. 

An Infinity of Traces contains a large number of video works, a medium which is often overlooked by gallery visitors who tend to briefly pause in front of the screen before zipping off to the next artwork, seemingly unwilling to commit to placing earphones over their heads and immersing themselves in the artwork. In the case of this exhibition it would be a mistake to do so as, with the exception of the forty one minute film by Alberta Whittle, it is quite possible to watch the entirety of all the video works in under half an hour. 

Alberta Whittle’s work, Between a Whisper and a Cry, is well worth the extra time though, exploring, through the mariner’s rhyme: “June too soon, July stand by, August it must, September remember, October all over,” Britain’s historical, cultural and political relationship with the Caribbean. Whittle’s practice is rooted in the history of the transatlantic slave trade, however, one is reminded of Britain’s treatment of Caribbean immigrants, in cases such as the Windrush Scandal, which is still an ongoing issue. 

Ayo Akingbade’s Tower XYZ film is full of bright colours and youthful hopefulness, following three young women around London neighbourhoods and featuring 1970s Brutalist landmark, Trellick Tower. A young female voice raps the words “Let’s get rid of the ghetto.  I hope I don’t die for a long time. I still got things I want to do and look at and boys to talk to. I wanna see an African spirit or like sleep on top of a volcano.” The work simultaneously invites you in, as an older Black man, holding a sign saying ‘All is well’, smiles welcomingly at the camera but then pushes you away, as the camera follows three young Black women into a lift and they turn to stare, making the viewer feel like an unwelcome voyeur into their private lives and thoughts. 

The last artwork in the exhibition is a film by Rhea Storr titled Here is The Imagination of the Black Radical. Exploring the Bahamian Junkanoo and recontextualising it as contemporary art Storr’s work discusses ideas of Afrofuturism and radical imagination alongside such practicalities as what happens to carnival costumes and floats after the event. Interspersed with these discussions  is archival footage of carnival, with performers in elaborate costumes dancing to infectiously upbeat Afro-Caribbean music.

The exhibition will run from the 13th of April to the 5th of June at the Lisson Gallery on Bell Street and visits can be reserved here

Terrence Zhou

“It is less about aesthetics, but more about being sympathetic with our customers”

New York based Chinese designer, Terrence Zhou is radicalising our preconceived notions of body and silhouette. Leading us through a journey in between geometrical exaggerated volumes and block colours, the Parsons graduate is redefining our ways of seeing fashion. 

Terrence Zhou graduated from Parsons School of Design in 2020, following a degree in Fashion Design with a year student exchange program in the UK at Central Saint Martins, University of the Arts London. With plenty of projects on his shoulders, including a collaboration with Austrian jewellery brand Swarovski, and a design strategy proposal for Japanese cosmetic company Shiseido, the designer took a moment to speak with NR about his creative growth and process.

“I will keep creating and never stop.” affirms Zhou, reassuring us all about the difficulties and struggles experienced throughout the past year spent away from his loved ones.

With Maths at the core of his training background, the young designer talks us through the first steps through his career, his motivations, and the intentions behind his sculptural creations.

Your training began with Maths, to later shift to Fashion. Tell us more about your education experience.

I always wanted to do something art related. I know that I’m good at both Mathematics and Art. If I knew what I know now, I would say at a young age I already felt the calling for art and design. I never received any proper training as a kid, I would draw and paint on newspaper, or would make my uncle build sculptures with me. When it came to applying for university, I really wanted to go to Parsons. Unfortunately, I got rejected. I was thinking at the moment “Okay, great! Now I can focus on pursuing my second choice, Mathematics!”. It was a subject I was really good at and also interested in. While majoring in Mathematics in a liberal arts college and soul searching for two years, I decided to apply for Parsons once again. This time, I got in.

Do you reckon your mathematics background has somehow forged the way you design?

Definitely, still now I would do Maths problem sets for fun. Maths is a way of thinking and a way of living. It is a system of thoughts: it enables me to see the essence of every day matter. I personally find Mathematics very romantic. To me, Mathematics is a system that helps us understand the foundation of this 3D world. Back in middle school and high school in China, I really enjoyed inventing new ways to simplify steps of difficult Math problems. It was really funny! My Math teacher at the time thought I was also good at drawing: she would always invite me to draw graphs on the blackboard and teach the class how to solve problems my own way. The idea of constantly innovating and synthesizing from Mathematics has transformed into my design language. Even when in Parsons,

“I would always challenge myself at making the design process more efficient in terms of expressing my ideas.”

The past year has been a challenging one for us all, what did you learn from it? How has the pandemic affected your approach to fashion?

I am from Wuhan China. During that time, I was just worrying about my family. I haven’t been home for almost 3 years. The pandemic has never affected my perspective to fashion, rather, it revealed to me what my real approach is: no matter what happens on the outside, I will keep creating and never stop.

What are your thoughts on the direction Fashion has taken in relation to the current situation?

I feel that pandemic has expedited our journey to the virtual world. Working from home and online shopping have become a new norm. It definitely enabled us to abandon our preconceptions on many things and probably pushed us to envision more possibilities.

Collaborations also played an important role in the building of your brand. How did you manage to fit your aesthetic within Swarowsky and Shiseido?

Swarovski and Shiseido were two different projects when I was in school. Swarovski sponsored us crystals and we had to create a collection. The project with Cle de Peau Beaute and Shiseido was more interesting. Teamed with Columbia Business School MBA candidates, we provided design strategies to Cle de Peau Beaute to augment its client base in the US. Projects like this always make me think from a user experience designer perspective. It is less about aesthetics, but more about being sympathetic with our customers. It is a different creative process.

How do your origins inform your work?

No experience is ever wasted.

Why do you design? What is the message you want to convey with your garments?

I want to build connections with people who look at my work. It encourages them to think about everyday objects in ways they never thought about 10.

What will the next steps be for your brand?

Keep creating.

Credits

Images · TERRENCE ZHOU

www.terrencezhou.com

The Climate Clock

“A slow-motion carbon time-bomb we are dropping on ourselves and all of Nature”

At the time of writing, there is six years, 267 days, 16 hours, 25 minutes and 57 seconds to stop the clock, so to speak, before the environment faces catastrophic events. Of course, by the time this goes to print, that number will be less. And in September 2020, when two artists, Gan Golan and Andrew Boyd, unveiled their ‘Climate Clock’ in New York, there were seven years remaining. The clock, plastered on the side of a building in New York’s Union Square, shows two figures. The first, in red, shows the time remaining to reach the 1.5 degree target, set by the Mercator Research Institute on Global Commons and Climate Change, which would provoke devastating environmental disasters around the world. The second, in green, shows the percentage of energy produced using renewable energy; our lifeline, as it were. 

The clock replaces Metronome, an LED public art installation unveiled in 1999 by the artists, Kristin Jones and Andrew Ginzel, that shows the length of time to, and from, midnight in a 24 hour cycle. As it happened, the artists behind the original public artwork had been looking to address the climate crisis through this work. Utilising the existing technology, the display was temporarily reprogrammed for the duration of Climate Week, ending on 27th September. For now, the Climate Clock remains in situ – that is, of course, unless it reaches zero.

Following the birth of his daughter (igniting a sense of urgency around the climate crisis) Gan Golan approached Andrew Boyd, to collaborate on the project. They had previously made a Climate Clock before, but on a much smaller scale. Nine days before the activist, Greta Thunberg, appeared at the UN Climate Action Summit in 2019, the pair were approached by email. “Greta wants a clock,” it read. They were able to band together enough coders, designers, artists and the like to make the clock in time for the summit, which was ultimately barred from being brought into the event by UN security. As the affair is summarised on Climate Clock’s website: “Oh, come on! It’s just a block with LED digits furiously counting down. Does that really look so much like a bomb?! Oh. Right. Well, that’s probably because it is a bomb! Or at least the symbol of a bomb. A slow-motion carbon time-bomb we are dropping on ourselves and all of Nature.”

The launch of the Climate Clock in New York chimed with the world in a much bigger way than Gan and Andrew had perhaps anticipated. And in the six or so months since its unveiling, smaller Climate Clock initiatives have launched across the globe. The first clock in Kazakhstan was turned on in January, another is planned in Glasgow to coincide with the United Nations Climate Change Conference (COP26) in November, and there are plans for one in the Bay Area – to name just three. Climate activism is not a recent phenomenon, but the past few years have undoubtedly seen an acceleration in their coverage, influence and engagement. 

The first Earth Day was marked on 22nd April 1970, during which 20 million Americans mobilised to voice their concerns for the direction in which the climate was headed. Every year since, Earth Day has taken place on the same day. The origins of Earth Day date back further, however, arguably to the publication of Silent Spring in 1962. The books author, Rachel Carson, rang the alarm bells that the twentieth-century way of life was having a devastating impact on the environment. Petrol guzzling engines; the acceleration of mass-production; the use of pesticides. Up until that moment, the world was somewhat unaware of the consequences of their behaviour on the environment, the eco system and on their own health.

Ahead of Earth Day 2021, NR Magazine partnered with Gan, Andrew and the Climate Clock team to highlight the urgency of addressing the climate crisis. We spoke with representatives from three of the satellite projects, in Kazakhstan, Glasgow and the Bay Area, to learn more about what drew them to the Climate Clock, and how their involvement is creating change within their local environments. The full video discussion, which took place over Zoom, will be unveiled on 22nd April, but below is a condensed and edited summary of the issues covered.

The three representatives, Meruyert from Almaty, Kazakhstan, James from Guildford, UK, and Kim from San Francisco, US, are all at different stages of their Climate Clock journey. ‘I saw the clock that they’d set up in New York over social media […] and it caught my attention,’ James explains. He recognised its huge potential to raise awareness about the upcoming COP26 summit throughout the country ‘because,

“not many people in the UK actually know it’s happening or what it is, which is not a good sign because that means that people around the world probably don’t know it’s happening either.”

For Meruyert and Kim, seeing the New York clock on social media helped sow the seed amongst their teams, too.

‘One of the team members, Galiya, found out that we could also put a Climate Clock in our city – in our country,’ Meruyert says. They began as a team of four, working to put up the ‘third biggest Climate Clock’ and the first in Asia. ‘It was crazy, it was huge […] And now, we’re doing new movements [and] projects in our community and getting into the eco activist life.’ Not long before the Zoom call, the Kazakhstan team welcomed their sixth team member. For Kim in the Bay Area, though, it’s currently just her and her friend, Hannah, involved. They’re still early on in the process, but are committed to doing something about the Bay Area’s lack of any ‘[real] substantial symbol of action towards the climate crisis’. 

Though the ultimate goal of Climate Clock is to “flatten the climate curve” it’s interesting to hear the immediate concerns of the respective teams. The shadow cast by Silicon Valley over the Bay Area is one that needs to be addressed, quickly, for the local environment, as well as the world. ‘[These areas] have a such a large sphere of influence. There’s so many corporations and companies that can work towards a more sustainable future.’ Kim hopes a ‘butterfly effect’ will occur, and so her goal is to put pressure on those companies. 

For both Meruyert and James, their action is aimed more at politicians. As James explains, the hopes for the Glasgow Climate Clock around the time of COP26 is that it will address the ‘huge disparity between current levels of political ambition and what needs to happen.’ The idea being that the clock will help mobilise the public, and put pressure on politicians to draft up seriously-considered strategies and policies; words that have actions behind them.

“We have a big problem, in the UK at least, with politicians talking the talk and saying things at these international summits, but then actually, domestically, not really living up to that.”

That’s a sentiment Meruyert shares, and it was the empty words of political leaders in Kazakhstan that energised the team to get to work. ‘The interesting thing is the people in political power say that they need to take action, but they want us – the younger generation – to save the world, to save the country. But they’re the decision-makers.’ This disconnect spurred Meruyert and team on; ‘that was the urgency. And after researching all the information we were like, “We must get it. We need to do it.” So, we did it.’  

Another issue that all three teams have had to address is criticism that, if real change depends on political power, the Climate Clock only scares and intimates the public. ‘We’ve definitely had some tough questions and concerns raised,’ Kim recalls, adding that a community college she contacted about adding the Climate Clock’s widget to their website were worried it was ‘too similar to a Doomsday Clock and would actually push people away.’

After the installation of the clock in Almaty, Meruyert’s team approached officials in Nur-Sultan, the capital of Kazakhstan, about installing a clock there. The response was that they didn’t want ‘negative energy in big public places.’ But as all three point out, what’s more terrifying is the fact that the 1.5 degrees threshold could be crossed due to global inaction. ‘I feel that the climate issue [is at] a point where such an urgent symbol is needed,’ notes Kim. ‘We don’t have forever to fix the issue, and I think that the Climate Clock is meant to be intimidating because it’s supposed to pressure people to take action.’ 

Collaboration comes before fear-mongering, within the Climate Clock community and beyond. The teams meet virtually every Wednesday with Gan and Andrew and have access to training and mentoring to help them get their local campaigns off the ground. Kim mentions that herself and Hannah, for example, received advice from the Kazakhstan team on how to reach out to local partners. Unlike Kim and Meruyert, James has been a climate campaigner since the age of 13, and the team in Glasgow have also had discussions with other climate activist groups in the city and beyond, including Fridays For Future and YOUNGO, the UN’s youth climate constituency.

Acknowledging his relative experience as a climate campaigner, James asks Kim and Meruyert whether they’ll continue to be involved in similar work after Climate Clock. Both agree that, in one way or another they will – because the issue isn’t just going to disappear. But as we approach Earth Day 2021, what do the three team members hope to have achieved by Earth Day 2022? 

‘I hope we’ll have managed to successfully use [the Climate Clock] to mobilise young people in the UK ahead of COP26, and managed to push for ambitious enough action – and start to have that filter through into policy around the world. But hopefully, we can still use it to continue to generate momentum around the country and the world to hold politicians accountable to the decisions they’ve made at that summit, and make sure that actually translates into physical action rather than just words that were spoken that once, in November in Glasgow.’ – James

‘To change people’s minds at the local level. All around the world, people want to change the climate crisis. But a year from now, I guess, first of all, on a local level, we want as many people as we can to join our movement; to know and to educate themselves and to realise that it’s real. And second, is to get our team bigger and bigger. One year from now, I hope our movement will grow to a bigger movement, to bigger projects and to stop climate change.’ – Meruyert 

‘I really hope to grow the Bay Area team too. Right now, it’s just a team of two people, so having that help would be great. But, on a local level I think there needs to be more education, especially for the younger generation. Our goal with the Climate Clock on a local level is to educate those people and bring awareness to these issues. In a larger sense, the corporations and companies that I talked about earlier, just helping them, pushing them, towards a more sustainable future is […] one of our main priorities.’ – Kim 

Credits

Images · THE CLIMATE CLOCK
https://climateclock.world/

Ishiuchi Miyako

“Photography is the work of evoking time using light”

The photographer, Ishiuchi Miyako, grew up in the Japanese port city of Yokosuka in the aftermath of the World War II. Yokosuka is one of the largest overseas US Naval base, and it was against this backdrop that Ishiuchi Miyako grew up. She went on to study textiles and weaving in Tokyo in the late 1960s, and whilst there, discover a passion for photography. Ishiuchi Miyako returned to Yokosuka in the 1970s to confront the place that brought joy (in the form of American exports like jeans and pop music), fear and anger, as a city overrun by the – sometimes sinister –  pleasures of the military occupation. Once there, Ishiuchi Miyako began documenting the city in grainy black and white images that capture a place shrouded in confusion surrounding its identity. Her images are scenes of a Japanese urbanscape, that much is clear, but the lingering presence of Americanisms here and there in oftentimes deserted scenes feels alienating and menacing. Ishiuchi Miyako titled this body of work Yokosuka Story after a hit Japanese pop song, and its release as a book in 1979 launched her career in a male-dominated field. 

Ishiuchi Miyako would later create a series of work around the time of her 40th birthday, in which she contacted women of the same age to photograph their hands, feet and bodies up close. The work, 1∙9∙4∙7, captures imperfections, wrinkles, and scars as evidence of the life’s impression on the human form, not quite young but not old either. What is striking about Ishiuchi Miyako’s photography is that many of her projects seem to inform the next body of work. After the book publication of 1∙9∙4∙7 in 1990, Ishiuchi Miyako turned her attention to another series, Scars – a tender exploration of scarred bodies. One particularly striking image, Scars #13 (Accident 1976), shows a woman’s torso in soft focus; a lengthy scar etched into the natural dip of her stomach. ‘While a person hopes to remain unblemished through life, we must all sustain and live with wounds, visible and invisible,’ the photographer explains in the afterword of the 2005 book, Scars; ‘It is an imprint of the past, welded onto a part of the body.’ 

In 2000, when Ishiuchi Miyako had been working on the Scars series for almost a decade, she persuaded her mother to take part – hoping to document scars from a cooking accident that left their mark on a large part of her body. Unbeknownst to both Ishiuchi Miyako and her mother however, the latter would be diagnosed with liver cancer not long after the photographs were taken and died within a short space of time. Left with her deceased mother’s belongings, Ishiuchi Miyako began working on her next series, Mother’s. In attempting to grapple with the grief she was experiencing, coupled with a complicated relationship with her parent, Ishiuchi Miyako turned to photographing the shoes, underwear, dentures and make up left behind. A hairbrush is captured with strands of her mother’s hair still entangled in its spokes. In one image, Ishiuchi Miyako photographs a snapshot of her mother from the 1940s stood in front of a vehicle. Her mother drove an ammunition truck during the war; another reminder of Japan’s fraught history.

Mother’s was shown in the Japanese pavilion at the 2005 Venice Biennale; it was after that that the photographer was approached by the Hiroshima Peace Memorial Museum to photograph clothing and accessories belonging to the victims of the atomic bomb. Without the familial connection to the belongings of a parent, in hiroshima, Ishiuchi Miyako forges a relationship with the objects themselves. For the series, the photographer carefully positioned each item of clothing – sometimes talking to them, the curator of the museum told Getty in 2015. The images are beautiful, affording an almost anthropomorphic feeling to a dress or a blouse. But these images are hard to look at too; after noticing the detail of a collar, intricate needlework or the vividness of a print, the eye turns to the tears and charring in the fabric. As Makeda Best, Curator of Photography at Harvard Art Museums, wrote in 2015, ‘These “scars” on the fabric serve as metaphors for the bodies of bomb victims and of a nation.’

Following hiroshima, Ishiuchi was commissioned by the Museo Frida Kahlo in 2013 to photograph 300 of the artist’s belongings, sealed in the bathroom of her home in Mexico until 2004. The result is a body of work that both forms a bond with the clothing of someone the photographer never knew, and begins to build an impression of a woman’s life. Over the course of her career, Ishiuchi Miyako’s photography has worked to leverage an intimate portrayal of women and womanhood, of time, suffering, loss and memory, into a world of brutality and hardship. 

Has your outlook as a photographer changed over time? 

Photography has always been a product of its time, and has always changed with the times. My photographs may change in superficial terms, but what I am basically expressing and my mentality remain unchanged.

You mention that it was photographing your mother’s lipstick that led you to take colour photography. What difference is there between shooting in B&W and colour, and what impact does this have on the final image? 

I can do every step by myself when I’m working in black and white. My ideal here has been to take full responsibility for every stage: shooting, developing, printing. When I’m working in colour, I just take the photographs and have the rest of the work done at a lab. When I started doing this, it was very refreshing to have the works be out of my hands and be able to look at them more objectively.

With black and white, I felt like I was clinging to the photographs throughout the entire process. When I started working in colour, I felt in a way as if I had been liberated from photography. Black and white is a world of artistic creation, while colour is the world of everyday life. At the same time, both black and white and colour are just approaches, and it doesn’t matter which you use.

The photographs of Yokosuka are commended for their grainy texture. What are the attributes that make a powerful image? 

The Yokosuka photographs are not intended to have a powerful impact. When I printed my first photograph, I realized that a photograph is a collection of ink grains on paper. I wanted to print those particles properly, so I developed the film at a high temperature. Grains are like units of time, and I tried to make prints as if I were counting them one by one.

I like the analogy between your background in weaving and the process of photographic development.

Do you think there’s something similar with the photographs themselves; weaving moments of time into history? 

Photography and textiles are very similar – they are both water works. It was a revelation to me that the colour-fixing liquid used for dyeing yarn and the stopping liquid used for photography are the same thing. Making textiles is very labour-intensive work. Photography is the work of evoking time using light. Both of them are jobs done by hand.

A lot of your work involves photographs of objects and possessions. Do you see photographs as being objects and possessions too? 

“A photograph is a narrative that documents and renders memory visible in two dimensions, transcending objects and possessions.”

Photographed subjects are given new value and meaning, and by becoming part of a photograph they become almost eternal.

Did you take a different approach photographing the possessions of your mother and Frida Kahlo, compared with the clothing of Hiroshima victims (whose identity we might not know)? 

/hiroshima, Mother’s, and Frida all share the same intent in that they focus on what has been left behind. I took the same approach to photographing these three subjects, but Mother’s began as my own personal project, then after being shown at the Venice Biennale it became a photographic work that transcends my own personal concerns, expanding from the private to the public. This later shaped the specific development of /hiroshima and Frida.

I find it interesting that you don’t attach messages or captions to your photographs. How does that relate to the objects (clothing/possessions) that you photograph? Do you try to interpret the meaning that their original owner gave them? 

I consider my photographs to be creative rather than documentary, and I take them from my own point of view and with my own values. I believe that adding a message or caption to my photos would take away the viewer’s freedom of thought. I want people to be free to see my photos from their own perspectives, and to attach their own words to them. 

I cannot photograph the past. My work is based on encounters with things left over from the past, but which are in front of me, in the same space and time, in the reality through which I am living in now. In particular, the bombed artefacts of Hiroshima cannot become part of the past.

/hiroshima is very different to Yokosuka Story – how do they capture the aftermath of the war in Japan and the country’s relationship with America? 

I made my debut with Yokosuka Story, a series that is kind of a personal sentimental journey.

“I was born in the post-war era and spent my adolescence in a community with an American military base, and I enlarged these prints to exorcise emotions like scars I felt I had received from the Occupied Japan city of Yokosuka.”

There is a connection between Yokosuka and the history of the atomic bomb dropped on Hiroshima, which played a huge role in ending the war, and which I documented about 30 years later. Yokosuka still serves as the home port for Asia’s largest nuclear-powered aircraft carrier. The post-war period is not yet over, and the reality is that Japan is still under US control. My photographic work, which started in Yokosuka, inevitably turned toward Hiroshima, and /hiroshima is still an ongoing project.

Credits

Images · ISHIUCHI MIYAKO
Special Thanks · THE THIRD GALLERY AYA

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