OFF SE T PER SONAL SPACE
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NORSE PROJECTS CREATED TO IMPROVE LIFE GOOD FOR ALL SEASONS
LINDISFARNE COTTON JACKET An insulated, long parka featuring heavyweight English cotton canvas and pile fleece lining for added warmth.
albam
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Personal Space
CONTENTS
FEATURES Diosr
Independed graffiti artist challanged on his enviroment ouside and personality. 12 - 16
B. Artiste
Currently studying a BA in visual communication at the University of Creative Arts. A study into Ben’s studio and enviroment and the affects it has on his lifestyle as well as the art work he produces. 18 - 33
Daisy Parris
Painter studying fine art at Goldsmiths University in London. Photos and writing about her student life and an insight into her studio enviroment. 36 - 49
Contents
Josef Palasz
A study on his home life and his short manifesto on personal space. The feature also takes a look at the ways in which he works and the work he produces. 54 - 71
Sundays Suppers
A look into Sunday Suppers cumunal kitchen and space aswell as a dinner held in collaboration with Kinfolk. 72 - 77
Aaron Darveniza
A freelance graphic designer and artist Aaron works of his own back and runs a brand called Moose & Yetti. Recently has been travelling around the world and working with different people as well as luanching a new company called Rising Giant. 82 - 89
Sarah Hamburger
A photographer from the USA whos work ranges from 35mm to large format photography. She’s currently studying in Chicago, where she’s ivestigating into subjects like lighting and old photographs. 90 - 95
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Offset VOLUME 01 ISSUE 01
EDITOR / FOUNDER Josef Palasz PHOTOGRAPHER Josef Palasz
CONTRIBUTORS Deiosr B. Artiste WWW. CARG O C O L L EC T I V E. C O M / L EA RT I S T E
helloartiste@gmail.com
Daisy Parris WW W. D A I S Y PA RRI S . C O M
daisy@daisyparris.com
Josef Palasz WWW. CARG O C O L L EC T I V E. C O M / J O EPA L A S Z
joepalasz@yahoo.co.uk
Sunday Suppers WWW. S UN D AY- S UP PERS . C O M
Aaron Darveniza WWW. M O O S EA N DY ET I . C O M
mooseandyeti@hotmail.co.uk
Sarah Hamburger WWW. F LIC K R. C O M / S A RA H H A M BURG ER
All rights reserved. No part of this publication may be reproduced, stored in retrieval systems or transmitted in any form or by any means, electronica, mechanical, photocopying, recording or any information storage, without written persmission from the copuyrights owner(s).
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Kitchen Flowers C-type Print / Canon 60D 16.5 x 11.7 inches
JosefPalasz Palasz Josef
“In the physical realm of the world, you could define the space you have for yourself by acknowledging an actual space that’s personal to you, or even the mental or private space you have just for yourself.”
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PERSONAL SPACE
The aim of this issue was to explore the ideals of personal space and how artists and designers choose to work within their enviroment. As well as looking at what personal space could mean, as well as how it should be considered, and how others look at it. The definition of the terms could mean different things to different people, and it kind of comes down to how you look at it. In the physical realm of the world, you could define the space you have for yourself by acknowledging an actual space that’s personal to you, or even the mental or private space you have just for yourself. Taking these definitions and placing them into a world of art and design and questioning artists and designers, opens up a quality subject to be explored. This issue features a number of artists and designers who regularly practice working in their own or other environments, and talks through how they look at the subject and use their space. Taking a first hand look in to their studios, homes, space’s and work to show you how they use their environment to create work. The issue also looks at their work they produce as well what they’re working on. Many of these features serve as solution to keeping organized and keeping up to date with how others choose to work.
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DEIOSR
Another bumber, real undercover Its difficult to get an insight into the underground graffiti scene, and see whos out there and still pushing it forward. Aswell as that you wont see much besides the people who put themselves out there already and have something to say. So I decided to make a feature about someone who is and still persues in that lifestyle. Writing under the name ‘Deiosr’ and exploring his own style trying to make the imposible happen, he paints whenever he can and hits spots where theres walls big enough to paint. Taking into account he’s not your every-day street bommer hitting every wall or spot in their way, not to say they don’t persue graffiti nearly enough in the same way. Deiosr takes the challenge to find places and spots to paint in the first place and under takes a personality within his identity that places him under a category that keeps him underground and harder to find or see. Thinking in that perspective and undergoing challeneges to find places to paint, makes him an intresting contributor to this issue. When you place the terms personal space in the context of the outside world, it can be difficult to understant, but when you think of it through somebodies or his perspective, its his space he choses for himself. If you broaden the meaning of graffiti or try understand what it means, you could almost say you make a wall or place personal to you when you paint it.
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Interview ‣ How did you get into graffiti?
On the subject of personal space, what
Does that effect how you do graffiti?
do you think of your enviroment?
Deiosr ‣ I can’t really say, I got into whole culture of it and started finding stuff since a young age, so I started looking into that sort of lifestyle and people who did graff aswell. You don’t always paint the same name?
Deiosr ‣ Em yeh it depends on what I’m going to paint or where I’m painting, so I change the letters or take some out. Plus that allows me to try new things and different ideas. Is there anybody who inspires you?
Deiosr ‣ I guess I look at graffiti from all around so I see flashes of style in every direction, but its not what Im trying to achive. Im still working on my own style and trying to make it my own. I guess you could say my style similar to the work of MSK and REVOK in perticuliar, but Im trying to avoid other peoples ideas all together.
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Deiosr ‣ Well I can’t really say, I always enjoy the places I paint, unless Im stuck somewhere legal because I cant get far. I guess where ever I am and what ever the enviroment is, makes the piece I’m painting, as its all part of the same thing. Taking a look around to find somewhere more intresting always helps and ends up upping the creativity of what your doing. You like to keep a low profile, its almost a part of what you do?
Deiosr ‣ Yeah, its like how I decide where to paint. I don’t like to paint things illegal walls or anything I could get caught for, because I remember being searched back in the day and it wernt nice. On top of that I know people who been sent to jail and I definitly dont want that. Its defeats the purpose of what I’m doing.
Deiosr ‣ In a sense yeah, since my stuff is harder to find, so theres something more to it. I don’t exactly want to show everyone what I do, so its not on the street. I’d rather find a nice place that nobody know of. Does that being hidden make it more difficult?
Deiosr ‣ Yeah definitly, Its always hard trying to find new spots, but its the fun in it and making it happen that makes it work out. I remember trying to get out there when I started and it was difficult to get to places you wanted to paint, but as you get older, it just starts to happen. DEIOSR DRS CREW
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B. Artiste
Fan - zines and Tambourines
I met through University, and we became good friends since we started the course. All in all, this feature is on a friend’s work and space, so it’s quite funny in terms of showing that to others. He once said, “I like to stay away from conventional graphic design” and still pursues his learning through his own methods, which kind of sums up his approach. His style is the one that should be acknowledged for what it is, its got its roots stuck into almost everything, but I see a lot of coming through street art, painting and drawing as well as tattooing. He tends to always fall into new areas to explore. Throughout nearly all his projects, you can see the development he’s made, which kind of takes you through a journey that looks at the progress and learning he’s put in. Even though this being said, his methods and touch always seem similar and spark the fact that theirs a certain trait to all his work, which make them a part of the same thing. You could say he likes to use all time he can, but most of the time he works from home and uses the University. He also makes an occasional visit to a friend’s studio and does some work there. In person B. A is quite the gentleman, and likes to get on with others, although there’s sides to his character you don’t see in person, rather on paper or canvas. The way we he approaches art and design, always includes some hints towards something significant in my opinion. Because I kind of know what his influences are and what inspires him, I can see how a style emerges within his work. With that style and the ambition he puts in, it brings out something more, as well as certain traits that show character and personality. The unique-ness of his work is quite special, and I believe he wants to achieve in that area in the future. As with all artist and designers in their early stages, it’s best to keep an out eye for them. My hopes say he’s going to have a publication published soon, so keep your eyes on that. I shot some photos of his workspace at University, which gives you an insight into the space he uses and how he utilizes it to fit his needs.
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University Space
INSIGHT INTO B. A’S WORK SPACE AND STUDIO AT UNIVERSITY, ASWEL AS SOME BACKGROUND TOWARDS THE WAY HE WORKS.
Working within a public area with others around is always different to being alone, and B. A manages to show how well it can be done, as well as how you can brake those boundaries. Looking at it from his perspective he uses the studio in a way that suits him. For example his methods stretch from digital uses to analogue practices, so he goes form one to another and works that way. And as of now as he’s working with a lot of images and visual work, so he makes use of anything possible ranging from printing, painting, collaging etc. For B. A its important build up a body of work, and lately he’s broadened in that area and covered a whole lot more in mediums and materials. Taking his research and inspiration from many names and brands in the industry to finally get to where he is.
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B. Artiste
The space B. A has at university is pretty tight and not exactly personal to him, unlike other University students who get their own space just for themselves. He basically common deeded the corner of the graphic design room, which serves around 20 people or so and hoards the mac with the scanner on it. So that area of the room has its uses for him. Because he’s creating a lot of visual and concept like design, he’s making use of the walls there and putting stuff on display. He also likes getting his hands on anything he can so theres always a mixture of materials and stuff lying about. Beside himself everyone else in the group sticks to their own methods, and I think B. A has been the only person who hasn’t been afraid to use the wall space for themselves. Which kind of had shown the rest of the group that there’s space to be used and sides to the university that can still be explored. But the point I’m trying to make is that he chose to personally make that space for himself by himself, so it became his own private space within a public room.
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University Space
B. Artiste
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Interview ‣
How and when did you come about doing
What kind of tools do you own and like
art ?
to use?
B. Artiste ‣ I’ve been drawing etc from a young age and its the only thing I have known, it sounds mad romantic but thats life ahahaha
B. Artiste ‣ Shoe polish and a crayon are the best tools I’m sure , I wouldn’t know were I would be without them super cheap and works on any surface perfect .
What sparked of your ideas for your
You enjoy painting?
current project?
University Space
B. Artiste ‣ Currently I’m working on 8 / 9 different projects from some branding work to more fine art paintings, so ideas flow throughout.
B. Artiste ‣ Yup painting keeps me stress free , need to keep on top of all this bad energy hahah . Seriously painting , drawing and making is all I do day in day out it makes me who I am ah , who knows were id be without it ?
Where do you choose to work?
B. Artiste ‣ I work where there is space, currently it’s in other peoples studios, flats and my bedroom. Wait for the summer to come though I’ll be outside painting and installing stuff. I hate being stuck inside so the more time I can be out the better.
Does making art contribute towards your lifestyle?
B. Artiste ‣ Lifestyle ? The stuff I do isn’t for a lifestyle or to hang with the kool kidz , this is all I’ve known and all I will ever do , keep passionate !
Where would you choose to work?
B. Artiste ‣ Well I don’t really have a constant work place , so much of my stuff is in bags ready to go to the next place but few years back done a residency at Goldsmiths uni and well safely to say the walls were covered in paint and I was a mess within the week that I lived there, so I guess it would be a mess as a perfect model of my life currently.
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POSH BOYS CLUB 4 LYFE , WIZZARDS CREW LA.
B. Artiste
Mad Dog the English Man Painting on canvas 2 Foot, 8 x 2 Foot, 8
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University Space
Nebula Star Quest Painting on wood 2 Foot, 8 x 2 Foot, 8
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B. Artiste
Marshmellow Boy Collabartion B. Artiste & Daisy Parris Painting on Wall 2.5 m x 1.5 m
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University Space
B. Artiste
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University University Space Space
A & E Letter Forms A & E(close-up) Letter Forms (close-up) Paint on Wall Paint on Wall 32 OFFSET 21 OFFSET OFFSET 21
Loose Letter Forms
Whee l Of Fortune Paint on Wall
B. Artiste
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Viaduct Bridge C-type Print / Canon 60D 16.5 x 11.7 inches
Josef Palasz
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P
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Goldsmiths Student
I met Daisy through a friend, at a street-art exhibition in London called the ‘Old Boot’. From hearing about her before we met, she turned out to be as lovely as I heard to be. She studies fine art at Goldsmiths University, where she’s free to study art, and persue her learning in the way she feels right, and I’m safe to say she really enjoys it. Her work ranges from quite abstract and expressionist paintings and drawings to sculpture. And in my opinion she’s incredibly talented and should stay on the track she’s on. You should definitely take the time to look at her work, and follow her blog and Flickr account’s at daisyparris.tumblr.com and flickr.com/ daisyparris. I had a chance to interview Daisy about her studio and work. Her latest project is about the inbetween, and the relation to fur and the human body. Her investigation She gets a working space through the University, allowing her to study and develop her work in the right kind of environment. From what I know she manages to use every aspect of it, and still try’s to find new ideals that her environment could provide. She’s quite keen and positive and a section from the interview backs this up... “Yeah I’ve got this rad desk/storage space on wheels that I found in a skip. It’s the perfect table.” shows how she can make use of what she has, as well as being positive enough to try make things better.
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Interview ‣
Can you tell us about G olds m iths
Is there anything personal about your
Are you holding any shows or looking
University and how you’re finding it?
studio that makes it special to you?
to exhibit any work in the future?
Daisy ‣ Goldsmiths is great, it’s one of the only unis where they don’t set you any projects and just leave you to get on with what you need to get on with. They treat you like an artist which is really liberating. At the same time it’s so critical and it’s quite tough being a non-conceptual artist/painter in the contemporary art environment but I’ve learnt how to talk about my work and stick up for myself since being here.
Daisy ‣ Yeah I’ve got this rad desk/storage space on wheels that I found in a skip. It’s the perfect table. Other than that my studio is covered in fake fur with paint all over the walls. It’s nice to not have to worry about making too much of a mess, I just go for it now.
Daisy ‣ I haven’t got any shows planned at the moment but I’m always up for exhibiting. I had a couple of group shows in London last year and one in Hamburg in February this year, so I’m just focussing on making work right now.
How do you find living in London and what are your thoughts on it?
Tell us about your studio?
Daisy ‣ It’s pretty small, I’ve got about 3m x 1.5m wall / floor space. I share it with a few other people but I’ve managed to make the space work for me. I’m on the fifth floor of the building so I’ve got a view of the whole of London from my studio window. It’s nice to be able to see the city from a distance and not have to be in the chaos of it all. The sunsets always look glorious from my studio and if I’m struggling to make work I sit and stare out the window, watching people to take my mind off things.
your current project?
Daisy ‣ I’ve been painting fake fur for a while now but recently I’ve been covering bars of wood in fur and painting different percentages of colour on them. The wetnessx of the paint and the texture of the fur make them look like road kill, or severed mutilated limbs, or feathers plucked from pigeon wings. I’m just trying to get across different levels of trauma or pain and recreate the sensation you feel when you see cut flesh or open wounds.
Daisy Parris
Daisy ‣ I’ve always wanted to live in London; I just never thought I would be living here this soon. I love it most of the time; I’m really fond of South East London more than central or anywhere else. I’ve got a love-hate relationship with it though cos often there’s no space to breathe in London, no space to just sit and be quiet so it can be suffocating but I try to get out every once in a while.
Can you tell us a little bit about
As an artist do you experiment much with different mediums and tools?
Daisy ‣ Yeah I try to, the way I use paint has changed dramatically over the years in ways I never thought it would. At the same time I tend to pick a material and use it for as long as possible and see how far I can take it. I’ve been using fake fur for 6 or 7 months now and I’m not bored of it surprisingly. Sometimes I forget that other materials and colours of paint exist though, which is my downfall, but it’s good cos when I rediscover materials it sends me off in different directions.
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Inbetween
Inbetween
A UNIQUE LOOK INTO DAISY PARRIS’S WORK THAT COLLABORATES PAINTING AND FAKE FUR TOGETHER, IN SUCH A STRONG CONTEXT, THAT PRODUCES A VISUAL RESPONSE TO THE HUMAN BODY. The project is about the ‘inbetween’, most of my work since has been about the inbetween as a state of mind, or space to sit or dwell when you’re in a different version of yourself. It’s also about injury, comparisons of trauma and sensations of pain. Every thing I make I just imagine as a substitute for the body, whether it’s the body as a whole, a single limb or an organ. Why fur? The pink fur held my gaze long enough for it to take me to an inbetween space of viewing, almost a state of paralysis. The paint would clot in the fur, it looked like road kill. It allowed me to emulate my fascination with accident and injury visually and refer to all the images I have stored in my mind of severed limbs and crushed animals. Are they paintings or installations or anything in between? I guess a bit of both... They started off as paintings but then they turned quite sculptural. I always used to get restricted by the frame or the stretcher but when I broke away from that and extended out from the frame, I found that vibrations of colour from the fur and paint could transcend across a whole room, rather than go inwards into the two dimensional surface that sat upon the frame.
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Daisy Parris
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Daisy Parris
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Untitled. Oil paint, emulsion on canvas.
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Anna F. Oil and emulsion on canvas.
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Untitled. Oil paint, emulsion and charcoal on canvas. 48 OFFSET
Blue. Oil and emulsion on canvas.
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Josef Palasz Hill side, Fog, Day < october C-type print / Canon 60D 16.5 x 11.7 inches
Josef Palasz Studio And Artwork
As the editor of this magazine I decided to hang the introductory Feature on my own environment and show you how I place myself within it. I can’t exactly describe how I live my life, or what I define as my territory or space, because I find it too hard to explain and I dont want to bound myself to an explanation; that could stop me from developing myself further. I tend to spend most of my time working on my own art or going to university. As a student who commutes to university each day or every so often, I get to travel nearly enough half the time. If I’m not studying at university, I’m living at home with my parents, in my room watching cartoons, or sketching crazy ideas down, that never happen. Within my room or as I would call it my single roomed hermitage, is where I dwell and spend most of my time, focusing on producing work. I find that the way you work can really be affected by your environment and space. As somebody who developed a passion for art since an early age, it’s only become natural to spend my time in a studio environment.
Collect & Decorate I’ve collected a reasonable amount of resources and tools over the years to be able to create and work on my art almost everyday. This brings me to say that everything I own makes up for how I live and the way I live it. The way I see it is that everything you own creates some sort of complication and you need to find ways of working around them, and eventually you learn to slot objects and tools in to your environment in ways that benefit you. In my opinion learning about the things you have and the space you have changes the way you use it, interact with it and associate yourself with it. I find this attachment defines how something’s become personal to you. At the heart of my small room lies a table or work top, big enough to place all the junk and scrap I don’t throw away and clutter with cups of tea I never take downstairs, as well a computer and enough drawing space. This is where I end up sitting almost all day from the point of waking up, if I’m working on long projects. So having all the space around me to freely move stuff about and get comfortable is heavily important in my day-to-day life. As well as a swivelly chair, because I’m dead lazy. It allows me to produce work at a higher rate and much more easily. I also have three shelves to place books/paper and resources in to keep things tidy, and leave room for useless toys and collectable memorabilia. I find the little things you pick up and find over the years, really hold something special and pleasant within that’s great to surround yourself with, as well as retaining small evidence and memories from your past, allows you too keep them safe in the confinements of your space. For me, my room is the most personal/solitary place, as it’s where I produce most of my art work, ideas and bring them together. Its also a quite place that allows me to cool down and think, and be alone, whenever I can or get the chance. The peacefullness of living at home and working at home makes life considerably easier. As a graphic designer and photographer I’m either at home or out in the field. Whilst at home I try to use all the stuff I can and try out all sorts of ideas, and see how they work. I arranged my space to fit my needs and sorted my tools into places for the right time of needing them, that way everything happens to be easier to find.
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Bedroom Black & White 4 C-Type print / Canon 60D
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Home Life
1
The image above is probably the most well kept part of my room, and the shelf itself has been a part of it since I moved in. I tend to pick things up, and buy stuff that interests me, but unfortunately I can’t get all the things that I want. I’ve recently started to collect vinyl and bought a record player, which is the best possible music device for the mornings, nothing beats it! You treasure it like the music you’ve heard elsewhere, but in a physical form, its something to worship. I mostly store my music digitally, as most people do these days, but there’s an indescribable aesthetic to vinyl and the sound. If you don’t have a record player or have never thought about getting records, then I suggest you do, or have a first hand look at a collection from one of your friends, and see what your missing out on. As well as records, I collect books and magazines, which I read of course, or put away to read later. Seeing things first hand helps you to appreciate the final quality, especially with books, like photographer or artist books. With magazines, I just think there fucking cool, it’s like a real adult toy or something, plus the physical aspects of it make it feel so substantial, awesome material to indulge in properly, alone. Besides that I own a rack of clothes in my room pushed as far back as it goes. I am a big fan of clothing, menswear and the way girls look. I’ve really been impressed with some of the current collections that are coming out this year (I wrote this line a year ago). Personally I think things really started to kick off with brands and stuff around 2010-11, especially with brands like Norse Projects. I’m also a great fan of Parra and Patta who has been collaborating with Nike recently on some really interesting projects. Parra himself has had a great influence on my work and I’m a keen admirer of his style. I also own two cameras, and some others. My D-SLR and a medium format film camera. I like to shoot both digital and film as they both deliver a rich document. I find going through film takes a lot of time,
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but once you get through it and move on to using them, your quite happy with the results. Keeping film in contact sheets is also nice, because you can scan through old photos quite easily, and think about making that negative a final image. I also like post processing digital photographs, and shooting digital in contrast, as you can shift the colour balance easily and capture something completely else in some respects. My regards to A.S atonomy with the physics, prince Richard from Harward and finally the academy. My personal life really isn’t that interesting, I cant ever really remember what im doing. Me and my friends used to do a lot of venturing out in fields and the country and stuff. I’ve only been to the forests like twice and I can’t remember anything, the second time was awesome. It was insanely foggy, I record it being around October or November sometime 2012, quite a young lad still, sitting in the back of a small car, a Saxo actually, with black wheels, the original kind, and of course the handy immobilizer. Driving through country lanes to get there, playing T-Rex, and I took a photo’s all the way. So yeah it was breath taking, I remember some good clips in my head, and that’s where they will stay. I’ve also been into graffiti since I was young; it’s always been a part of me, so I’m carrying on with that, especially this year. Your more than likely going to see a shit load of Graff in later issues!
1: Shelf 2: Magazines 3: Shelf with stuff
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Josef Palasz
2
Home Life 58 OFFSET
Josef Palasz
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Inside The Studio THE DIFFERENT WAYS I PERSUE ART AND A DAY-TO-DAY INSIGHT INTO THE TECHNIQUES AND TOOLS I USE. they come in different sizes. I find using ink to be very fulfilling and rich as it’s a great recourse in many of ways, it has that unique colour and aesthetic it leaves behind. Its not as thick as paint so it has its own personalities like the way it grades and allows casual blending with tones as well as wishy-washy brush strokes. I quite like using pencils and crayons to quickly add colour, it gives your images a mono like substance with some aspects of transparency in the depth it relieves. Crayons leave a lovely texture to your work too, and it brings about many characteristics that can really look pleasing if you ap-
Home Life
Most of the time I prefer working in my sketchbook and drawing by hand. Its where the ideas tend to start of and show off their true value. I like using fairly large sketchbooks, as I prefer using a bigger art board, I know some people prefer working in small, or use every inch of their material, but I like the space. Using ink and paint is where I usually get to after sketching in pencil; I hardly ever start working without a pencil, unless I’m sketching. Personally I really like Posca markers and the high pigment in the paint they use. It covers incredibly well, although it does take a few goes if the paint is wet, and
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ply them right. Getting the paintbrushes out is a great deal of fun especially if your sat in doors for long hours, it really delivers joy to my life as its so satisfying and delightful. Beyond all the excitement, painting is much more than a happy atmosphere filled with pretty colours, it’s unpredictably difficult and expensive. Being tempted in to painting again by a fellow student I realized how I’ve missed out on another world of art that doesn’t get acknowledged as it should by graphic design. As an artist / designer I don’t find myself to be all that experimental and revolutionary as I may think. Although I find myself feeling like I’ve missed out when I see something I haven’t tried. I get this feeling the most about analogue or crafty techniques that require exploring and testing like in painting. After all I always find myself using a digital method to produce work, I can’t help myself, It’s how I learnt graphic design. I managed to acquire a 27 inch LED iMac with University founding although it was tough to spread the costs. It runs anything possible and handles my documents incredibly well. Its main purpose as a work machine is to run the Adobe suite and blast hiphop tracks and Facebook in full screen. I feel over privileged with it but I doubt I could live without it. When the necessity arrives I scan or take a picture of a document, which I want to digitally process. I’ve always been annoyed with transferring data across from one platform to another, you could say. Scanning in high detail preserves aesthetic qualities in some sense but photographing it can really push it out. In my personal opinion, retaining RAW aesthetics’ prevails. Considering the direction you approach your art project to, then suddenly becomes’ all harder as it’s not all that easy as it’s said to be done.
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4: Desk 5: Sketchbook 6: Paint
Josef Palasz
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Photography AN INTRODUCTION TO PHOTOGRAPHY AND PHOTOGRAPHS BY JOSEF PALASZ.
I started working with photography at a fairly early age like many other photographers, and that brings me to say, I really only do it for fun; but many of my projects do require some photography work within it, so I don’t really know how I feel about it. Theres a lot of things you could say about photography yourself and whats good and bad about it, but theres also a lot of things proffesional photographers say aswell, that just doesn’t sound right, or ruins your denfinitions on why you do it. All of that clever over rated stuff they say is just bull-shit to me, and makes me luagh, as you can’t really teach photography other than talk about the work you’ve done. Which makes me say, I only do it for myself, and progressivly get better and learn more. So yeah, dont become a proffesional photographer for nothing. The photographs I’ve taken since the point I shot my first photo, have all been about the world I live, and of things in the world I like, besides any projects that required photography work. So theres not much to say other than enjoy these photos for yourself.
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Kinfolk Table
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Josef Palasz 4
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Yellow Garage Scrap Wood Double Garage Cup & Tin Global Trotter
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Kinfolk Table
6 x 7 // Mamiya RZ67 9.44 x 10.62 inches
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Josef Palasz
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Sunday Suppers SUNDAY SUPPERS IS A COMMUNAL CENTER IN WILLIAMSBURG BROOKLYN. Four years ago Sunday Suppers started in their home. The story says a few good friends gathered at their apartment and cooked and dined and made a toast. From there, their dinners have evolved and they have grown into a beautiful new space. The concept however centers on simplicity and a love of food. Words from Sunday Suppers: “Through shared meals and the act of cooking communally we celebrate the traditions of food and community. The food is seasonally focused market fresh. We work with local artisans and crafters to create monthly dinners in our space.” Their new site is an inspiration space documenting food, travel and life. Most of the photos are styled and photographed by Karen Mordechai of Sunday Suppers – unless otherwise noted.
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Sunday Suppers & Kinfolk A SPECIAL DINNER TO CELEBRATE THE NEW LUANCH OF KINFLOK, ‘THE KINFLOK TABLE’ WHICH YOU SHOULD DEFINITLY PICK UP! To celebrate the luanch of Kinfolk’s new issue, Sunday Suppers decided to clebrate the event with a special dinner in partnership with their friends. This being one of Kinfolks best additions to their family of publications, really did deserve an event like this, as both partners work goes hand in hand. The event was wonderfully catered and presented in rich detail. All thanks to the great team that worked together on the project, creating a vast array of beautifully presented goods, along with fresh produce from Good Eggs.
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Words From Sunday Suppers: We hosted a Kinfolk dinner to celebrate the launch of their new book. Have you seen it ? It is quite lovely. We are always so happy to be working with our friends there – and only wish we lived a little closer! But we were happy to support from afar. A great crowd gathered for this dinner. We served mulled wine and a crostini of basket cheese and husk cherry jam – made by Ali, our chef and partner at Good Eggs. Good Eggs supplied an array of farm fresh produce. Suann and I collaborated on the fabric sign and menus and other paper goods. You may also see a sneak peek at our new line of branding elements (more on that to come). Brittany hung leaves from the ceiling – to emulate the feeling of fall indoors. The warm comforting meal was served family style on the ceramics made by our friend Frances. Guests mingled and enjoyed a long supper. They went home with a copy of the book and a perfume from foxfodder farms (appropriately wood scented). It was truly magical.
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The Space Age
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Arron Darveniza Eye control - Porto, Portugal 80 OFFSET
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Aaron Darveniza Moose & Yeti
I met Aaron at a local exhibition in Folkestone, Kent where he was showcasing work for Moose & Yeti. He’s a keen artist and makes a wide spectrum of work as well as being really nice to talk to. I couldn’t imagine him being any different than the way he is. You can spot his work form around the world and notice his work for clubs like Licked Beatz in London and identity and branding work he makes as a designer. As an international designer, he works in places such as London, New York and recently moved to portugual where hes been paiting walls. You could say he’s been expanding the enterprise and more importanly hes just set up a design company called Rising Giant. So I wouldn’t be shocked to see his work appearing more and more. He works for an amasing graffiti and street art magaine called VNA as a designer. Be sure to check them out! He works in a very interesting style and takes intrest in illustration and graffiti and other sources to produces incredibly well thought out pecies. To me he’s established himself as a very capable designer who works digitally and manually especially well with biro’s and markers.
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Interview ‣
How did you come about doing art?
Does your space/studio/ outside contribute to your work?
Aaron ‣ My family is generally pretty creative whether it be through painting, writing, or interior design, and some of my earliest memories are of painting with my grandmother - I can’t really remember a time when I haven’t been drawing. Like most people I started out trying to copy things from old computer games and comic books. I remember having this one book called ‘How To Draw Comics The Marvel Way’, which I would sit over for hours. I spent a lot of time as a kid making books out of A4 paper about dungeons, soldiers and spies.. I’ve never really been interested in doing anything else! How did you come to working with VNA?
Moose & Yeti
Aaron ‣ I have known the guys for years. Worked with a company called Monorex a few years back and met the creative director then. Do you work with other people regulary besides your own work?
Aaron ‣ Well, I’m a freelance designer/illustrator so I work with companies all the time as well as my own stuff. Can you tell us a bit about your space and environment?
Aaron ‣ My work space is forever changing and in the past few years it has changed about four or five times. I had a small table in a basement in New York whilst producing work for the ‘Hunter Gatherer’ exhibition in 2012 . In 2011 I lived and worked in Mallorca. I was lucky enough to hava a large spare room in my flat that doubled up as my studio. That was really nice in the Summer as I would work late into the evening with all the windows open. It also had a great view of the Serra de Tramuntana (a mountain range which runs the whole length of the island). I am currently living in Porto,Portugal, and working at a large table in my living room...
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Aaron ‣ I am definitely someone that likes change, so it is extremely important for me that my work space is constantly changing too. I tend to go a bit stir crazy otherwise. For me personally, I find that moving around constantly and never really settling in one place helps to develop my skill, focus and ideas. Anything new coming up or any interesting projects?
Aaron ‣ Just been in Portugual working on a couple of projects and painting walls, it has been nice.
Aaron darveniza
Jellyfish Kiss Biro on A4 11.7 x 8.3 inches
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Moose & Yeti
Piss Alley Biro on A4 11.7 x 8.3 inches
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Aiko The Dreamer Biro on A4 11.7 x 8.3 inches
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This piece by Aaron, was actually a freestyle he did for his mates birthday party. It wasnâ&#x20AC;&#x2122;t a commision or anything so its intresting to see where he got the idea, but he said it was just for fun. It looks prety serious to me, all in all, but to why anybody would cut eggs with a knife is over me, its like attempting to cut a block of cheese, but instead its an egg, with mucky contents. Although the some what half dead character is just juggeling eggs in the air, and swiping across as if he were playing friut ninja, alone in the corner. Most facinating for me are the eyes embbeded in the chest, they look so mystical. I peresonally love pieces like these painted so large, rather than on paper, their so much more pleaseing. To top that its an massing mural for a party to say the least. The space aswell looks promising, well Iâ&#x20AC;&#x2122;m not actually sure what it looked like, or what they done to it later, but it sure looks like the place for a social gathering!
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Sarah Hamburger Photgrapher
I cought a glips of Sarah’s work online not too long ago and was captivated by the nature of her work. I started talking to her and asked her if she wouldn’t mind being featured in the magazine, and she was happy to do it.
This is what she had to say: Sarah Hamburger is my real name! I’m originally from New York, but I’m in Chicago right now for college! I got into photography as a hobby when I was fourteen and just took photos with my friends, but I began to get genuinely interested in composing photos/creating concepts for myself. I’m always working on projects! Currently I’m buying dresses from thrift stores and creating narratives out of them. I work everywhere: I use both darkroom processes and digital printing!
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Your Not Here
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Sarah Hamburger
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Your Not Here
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Sarah Hamburger
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