written Julia Ahtijainen
illustrated Gary Chew
SPEED = messages, responses, feedback, information, execution, rigor, chronicle
CLUTTER = ideas, content, books, music, events, choices, pattern detection
UNPREDICTABILITY = accountability, flexibility, constant changes
DISTRACTION = information overload, concentration, mindfulness
FRAGMENTATION = the niches, subcultures, the big picture, cultural sensitivity
IDEOLOGY = critical thinking, competing, changing ideologies
61st International Leipzig (Germany) Festival for Documentary and Animated Film:
DOK LEIPZIG 29 OCTOBER – 4 NOVEMBER 2018
written MALCOLM THOMAS
A Little Pill artwork available for sale, for inquiries e-mail: email@example.com
film Chris McElroy
© copyright + courtesy Tyler Swanner + Preston Douglas
written + interview Hannah Rose Prendergast
works_ © + The Artist: John Yuyi
© + Courtesy Artist
written + interview Valerie McPhail
Le Mile: How would you describe your art? Do you have an artist’s vision?
Phannapast: My art is another form of communication. It tells stories about my experiences or my view towards my surroundings. Sometimes, when I look back on it, it is like a personal diary. The art tells a lot about what kind of music I was listening to at the time, the book I am reading, or the people I have met.
Le Mile: What are your thoughts and opinions on the relationship between fashion and art?
Phannapast: Personally, I believe that art stays everywhere, including fashion. Fashion is the story of the art which appears on the body — in movements, and dimensions. Fashion speaks a lot about the mood, the perspective and the personality of a subject; therefore it is also a personal communication. Designing clothes requires a lot of creativity and imagination. There are different types of knowledge in fashion like fabric design — the choice of colors you use, silhouette design, the structure and the pattern of clothing. Combined with inspiration in the right amount this is when fashion and art meet.
Le mile: I would like to talk about your experience working with Gucci: how did the work and collaboration with Gucci manifest?
Phannapast: Alessandro Michele discovered my work on Instagram in 2016. Shortly after I collaborated with Gucci on 3 projects: GucciGramTian, The Fairy tale book for Le Marché des Merveilles Jewelry Collection, and, recently, Bloom Acqua di Fiori perfume. They are very important experiences I am very happy and proud of.
Le Mile: What is meaning behind the animal motifs in the work?
Phannapast: I use the animals to represent my feelings. Whether it is a tiger, a bird, a crocodile: they represent a part of myself. Sometimes I draw them with a mole below the lip because I have the same mole.
Le mile: Can you explain the story of your illustrations in this work?
Phannapast: In every Gucci project, there is always a story of myself. It is the experiences or how I think at that moment or something that I have been through: self-acceptance and how we can see the value of ourselves and the relationships with people around you. In every picture, there is a personal symbol hidden, the character's act and how it expresses itself. There is also a physical and visual expression. I use both to convey my message through expression.
Le Mile: Have you always created work in fashion and fashion illustration?
Phannapast: I always like to add a little fashion into my drawings. You can see the animal characters wear different clothing, sometimes, the flowery pattern has a little gimmick hidden in it, and sometimes I use the different palette of colors that is more special than the natural tone.
Le Mile: And you have a studio, Pommecopine Studio, which showcases your solo fashion and artwork. What is the heart and soul of this project? Can you explain the meaning behind the name?
Phannapast: Pommecopine is a nickname my friend gave me when I was studying branding at the university. It came from my personal hairstyle, which looks like an apple. Pommecopine first became my brand of clothing for dolls and figures. Now, my intention is to create Pommecopine as a brand that represents what I loved during my childhood. I still like dolls, patchwork, embroidery, or handmade knickknacks. That’s why I also organize workshops for people who are interested. Now, I have a mascot for the brand named Rainbow Sue, which I named after my mother. She represents happy days.
Le Mile: The platform extends beyond illustration into embroidery, beading and patchwork, what inspires you to create new forms of art?
Phannapast: Embroidery and patchwork are my hobbies. I’m thinking of combining them to my art. At the moment, I’m interested in creating a soft sculpture from fabrics.
Le Mile: Can you elaborate on the type of work we should anticipate next?
Phannapast: Right now, I want to bring out my world into a form of work that in tactile, something that you can interact and share experience with. It is my dream for the future which I will take time developing.
portraits_ © + The Artist
Artworks (illustrations)_ © + Courtesy Gucci
*The “Porsche Talent Project” is just the latest chapter in the Stuttgart-based automotive manufacturer’s ongoing history of involvement in culture and the arts. Among the events supported by Porsche are the Leipzig Opera Ball and the Ludwigsburg Festival. Porsche also has long-standing co-operations with internationally renowned institutions such as the Leipzig Gewandhaus Orchestra and the Stuttgart Ballet.
written + interview Michelle Heath
Anaelle Cathala: I don't really know what or how ... I love art. I've always wanted to create. I searched through mediums, for the medium that would work for me ... but it was not particularly easy for me to find it. It has been complicated. And I did not allow myself. For me, it was always others who were the artists, not me. I did not go to an art school and I did not feel legitimate enough ... while it is only there, in art, that I feel in the right place. But I stopped trying to intellectualize all that. Just do, dare, work, try. And the tide is reversed. Nothing precise led me to this but everything has led me there.
Anaelle: I did analogue photography for many years. I love it and I need to do it all the time and everywhere. However, it is "not enough" for me. I do not feel I am purely a "photographer." Since the beginning I have been working to do something else with these images. Project them, paint them ... I try to use them in many different forms and methods of my work. For the moment, this collage collection is my most accomplished and personal work. Working in collage interests me with its notion of infinite possibility. I am really caught up with the idea of ecreating new realities, new spaces, new dimensions. I sometimes even feel like just putting things in their place, putting my finger lightly on the gift of ubiquity, of being everywhere at once.
Anaelle: The first collages I made were not just with my photos but with images cut from magazines. However, it wasn’t the right fit for me and I did not find what I wanted. The approach did not suit me. The rendering did not suit me. Then one day, I realized that I had all the necessary material in my hands. You do not always immediately see what is so obvious … All the photos in this first series of collages were made prior to the idea of making ollages with them. So, there was no influence on them when they were taken. And I will continue to do it that way. At least in a conscious way! I prefer to continue taking photos in an instinctive way, as I always did, and then to create my collage artwork afterwards.
Anaelle: Because these are areas that fascinate me. I have always been fascinated by architecture and urbanism. I live in an urban environment; therefore, I am necessarily fed by it from my confrontation with it every day. This really raw aspect pleases and touches me. Just as much as nature. And I like to confront them. I see obvious connections between all of this. In the sensations that it can provide.
Anaelle: I do not really think about what I want to communicate. But I think it's just my relationship to life and things. A precise notion of reality that I question a lot. Personally, almost everything seems unreal. And these collages with these unreal and flawed universes become precisely and extremely coherent. That's what I like.
Anaelle: My images come from everywhere and from a lot of different moments! Absolutely everything is mixed!
Anaelle: Sometimes I think about this type of work but I don't yet know at all when or how ... It's at the research stage for the moment.
Anaelle: I moved to Paris at the age of 21 because I have always loved this city. Because I love big cities. I don't feel right in small towns. I need to be in a big city that is teeming with either nature, space, or emptiness. No half-measures. Ideally, I need it all alternately, for my work and for my mental health! The artistic scene is not directly what made me settle here but it is part of the package.
Anaelle: I will, of course, continue to develop and work in depth on my collages because I have really found myself in this activity. Other series are under way. I also have a series of paintings of my own pictures in progress. I am very attracted by installation, video ... in short, my brain is bubbling with ideas; it will have to work it all out. I think we must attempt to remain free to do what we want. And try. All that we want to. I am now represented by the ALB Anouk le Bourdiec Gallery in Paris and that brings about great upcoming events. Physically, I want to move around and travel anywhere and as soon as possible and, if it is for exposure, it would be fabulous!
written Mikal Shkreli
Alban E. Smajli
Courtesy the artist
C24 Gallery, NEW YORK
BRIAN TOLLE: BENT
January 11–February 24, 018
written Nikkolos Mohammed
WHITNEY MUSEUM, NEW YORK
ZOE LEONARD: SURVEY
MAR 02 –JUNE 10, 018
detail of You see I am here after all, 2008.
p3,851 vintagepostcards, 11 × 10 1/2 × 147 ft. (3.35 × 3.2 × 44.8 m) overall.
Installation view, Dia: Beacon, Beacon, New York, 2008.
Collection of the artist; courtesy Galerie Gisela Capitain, Cologne.
Photograph by Bill Jacobson, New York
Photographer Michael James Fox
Artist Blondey McCoy
CREDIT INFORMATION | © Davide Annibale