|Issue #7 - November 2011: Page 1 / Page 2
In this issue:
ART: Asger Carlsen / INTERVIEW: 6 Objects of Desire - Leigh Johnson / FASHION: Into the Light / ILLUSTRATED: Monster Models / ART: Tessa Farmer / BEAUTY: Eyes Wide Shut / FASHION:
Indoor Training (Act I) / ILLUSTRATED: Somewhere Between Flight & Falling / ART: Quentin Jones /
FOUND: Horror Film Stills
ART: 'Hester' - Asger Carlsen
The Uncanny Asger Carlsen: 'The Uncanny (Ger. Das Unheimliche -- literally, 'un-home-ly', but idiomatically, 'scary' or 'creepy') is a Freudian concept of an
Mono. What led you from the real to the surreal?
M. Crime or punishment?
M. Premeditated or accidental?
M. New York or LA?
M. Right or wrong?
M. Odd or even?
M. What is funny peculiar?
M. Who or what is Hester?
M. Breasts or legs?
M. Naked or nude?
M. Why have these women lost their heads?
M. Sculpture or photography?
M. Do you dream in black & white or in colour?
M. Metaphoric or semiotic?
M. Is seeing believing?
M. Finally, Life after death?
Lena Modigh gives us another perfectly executed exercise in minimalism. Half-seen models, barely there styling. This is 'no fuss' without being 'no-frills'.
Models: Dennis, Frederikke, Lovisa & Ludwig at Nisch Management
A horror inspired homage to our favourite 'old-school' models:
Images: Lucie Russell
Tessa Farmer is a British sculptor who typically works with organic materials, creating supernatural worlds where tiny, skeletal fairies do battle with insects. Her work can be found in the collections of the Ashmolean, Saatchi Gallery & David Roberts. She has completed a residency at the National History Museum. She currently appears in Lafcadio's Revenge, New Orleans, from where she responded to this Q&A via email.
Mono. How long does it take to make a single evil fairy?
M. You have spoken about the fairies as if they had a life of their own, do they?
M. Your scenes are quite apocalyptic? Is the end of the world part of the narrative?
M. The size of your creations is uncanny. Why is small scarier?
M. How do the evil fairies travel - culturally not logistically!?
M. Which are more human in your work, the evil fairies or the long-suffering insects?
M. Is there a political dimension to your work such as 'anti-war' or 'class struggle' etc?
M. Your work has been compared with Bosch. What are your thoughts on the afterlife?
M. How do reactions to your work differ between adults & children?
M. Would you/do you ever work with live insects?
M. How did the residency at Natural History Museum affect your practice?
M. Is the study of anatomy still important for artists? TF: I believe so, but you only realise how important it is until you study it. Everyone should learn how to draw a life model as a skeleton - it gives you x-ray vision, which is pretty cool & makes you feel like you have a superpower. An awareness of one's own flesh & bone machine also helps with fears of dying.
M. What has been your role in the new show Lafcadio's Revenge?
TF: Lafcadio's Revenge is a collaborative project between New Orleans resident Nina Nichols, former New Orleans resident Dana Sherwood & myself. The premise is to re-tell forgotten stories & histories of the city in a mobile 'museum', inspired by Lafcadio Hearn's writing about New Orleans & the myth & magic inherent in a city that buries its dead above ground (because of the high water level) & is purported to be the most haunted in the country.
M. You've had recent shows in stately homes, how do those compare with white cubes for you?
M. Thank you, Tessa.
Interview: Mark Sheerin
BEAUTY: Eyes Wide Shut / FASHION: Indoor Training (Act I) / ILLUSTRATED: Somewhere Between Flight & Falling / ART: Quentin Jones / FOUND: Horror Film Stills