Professional Documents
Culture Documents
CHRIS KUZMA / LISA CONGDON / VLADIMIR SNEGOTSKIY / JAMES ROPER / JUSTIN RICHEL / FELIX RODRIGUEZ /
CHARLES GLAUBITZ / ARTEM MISHUKOV / SERGIO MORA / MICHEL DUCOURNEAU / NASTIA SUKHANOVA / ALEX &
COCCO / ROBERTA RIDOLFI / ALEXEY SHPUNT / DIANA THORNEYCROFT / JESSE UNTRACHT-OAKNER / MARINA
ADYRKHAEVA / JOSEPH VALENTINO / KATRIN KIROJOOD / ALEXANDER CHERNOV / OLIVIA LOCHER / ALVIN TANG /
CORRADO DALCO / SCOTT RADKE / LIZA SIDORINA / ARBITO
Contents:
Charles Marina
Glaubitz Adyrkhaeva
Molokoplus magazine
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Illustrators
Molokoplus magazine
Chris Kuzma
www.chriskuzma.com
San Francisco mixed media artist and illustrator Lisa Congdon did
not begin making art until she was 33 years old; eight years later,
it is now the most significant part of her life and livelihood. Aside
from four painting classes, Lisa is entirely self-taught. She uses
her lack of training to her advantage: instead of following refined
technique, she works with her own sense of color, composition
and design as her guide.
Lisa’s work has been shown in over eight cities, including New York, Los Angeles,
Seattle, San Francisco and Portland. Her story and art + design work have been
featured in numerous print magazines and art and design blogs, including Ready-
Made, Country Living, CRAFT, Australia’s Real Living, design*sponge, Daily Can-
dy, Juxtapoz, Flavorpill San Francisco, Stitch, Venus and Bitch. Her illustration cli-
ents include Urban Outfitters, the National Poetry Foundation, Galison Stationary,
iPOP magnets, Chronicle Books and Pottery Barn. She has a new line of stationary
which will be released in the Spring of 2009 by Chronicle Books.
When she is not making art in her studio, Lisa is at Rare Device, the San Francisco
design-led shop and art gallery she owns and operates with her friend Rena Tom.
Lisa believes in truth telling, working hard, and being nice to people. She lives in
the Mission District of San Francisco with her 9 pound chihuahua mix, Wilfredo,
and her two cats, Barry and Margaret (named for Barry McGee and the late Marga-
ret Kilgallen, two of her favorite artists).
“My work explores how the exaggeration and distortion of form can
stimulate a response that corresponds more closely to our direct
perception of the world rather than the numbed version we experi-
ence via our conception of it. I use themes taken from religious
iconography specifically influenced by the Baroque period and it’s
dynamic use of the human body, billowing cloud formations, the
voluminous folds in fabric and architectural structures to depict a
heightened version of reality. This hyper-stylised form is also found
in modern day Japanese animation which has partly informed my
painting style and is where I appropriated images exclusively for my
‘Hypermass’ series.”
These paintings represent our relationship with one another in a society in which
success is measured largely by one’s ability to consume. The “sweets” are repre-
sentative and are essentially a replacement or stand-in for the “figure”.
The Sweets series attempts to explore this precarious balance, they allude to the
fragility of circumstance. For instance the stack can only exist so long as all of its
pieces are cooperating together, to shift or remove a piece would inevitably send
the whole thing crashing to the ground. So the paintings themselves become social
commentary. I try to draw parallels between human interaction and the stuff that we
surround our selves with.
One of his personal worries is that of being able to help all that young
people with interesting projects but few resources, in a work of socializa-
tion of his work as designer and creative, like on the case of the short
“The roots of Utopia” of Victor Alonso and David Tordable, in whom he
collaborated realizing the initial credits and other elements of the short,
and or the disc of the singer placed in California, Lex S. Huang.
A formal analysis of his acrylics will transport us to a colorful world, with subjects
that navigate between the circus and the dream world. Subjects that known well
what they want to say and know how to express it. He lets us look at the elements
that smoothly compose the works. Mora’s style is very recognizeable, simple; his
meanings are a whole another story. Semantically, Mora shows enough meanings to
fill a dictionary of symbols: the magic animal like a guide and protector, the maze, the
crater…All the situations are scenes, could be a theater, a strange world very close to
us, maybe the back door of our reality or maybe the complete opposite.
Sergio Mora the illustrator is not happy with having more than 15 books published.
Neither is he happy with having shown his work all over the world or to have created
a language that works in many scopes… Sergio wants to arrive to all of us, to cheer
us with his magic touch, to be in our retina and to take us to this intimate, hidden and
wonderful place where our differences will recognize the end of their existences .
Molokoplus magazine
Nastia Sukhanova
www.flickr.com/photos/18263361@N00
“I’m lucky – once I’ve seen that light, silent beauty of roads and sleeping
people. My aim is to share it. I believe that the beauty cures soul and it’s
able to fill the emptiness round us. I don’t try to attract attention or shock
somebody with things I do. I’d like people were crying when they looked
at my photo. I’d like their hearts were aching because of the memories. I’d
like people stopped for a second and thought where did they run and what
things have they left behind.”
When I arrived to America, I’ve fallen in love with it, but my camera
has broken. I didn’t want to photograph anything. I had the sensation
that two pictures, one in my mind and one in front of me, are super-
posed. But I’ve shot something with my simple hand-held camera.
When I received this film, I found that this harmony of my soul has
filtered into these shots. And I’d like to share it.
My basic genre is a portrait. I like to look intently into people and I like
they look me in the face. We often communicate without words – I
just look in the lens and feel such power of people’s eyes that it knock
me down. Friends, please, look in the each other’s faces and tell onle
truth to your dears. Then there will be less sad people in the world.”
DISTIL ENNUI .... definition :- to extract the essence and beauty of life to ap-
pease world weariness.
distil ennui is a collection of photographs and films that attempt to present our
everyday confinements, re-proposing the ordinary, displaced and the over-
looked.
“We have been shooting for over twenty years as commercial advertising photographers with over
80% of our time dedicated to personal and community support projects including many years doing
voluntary work especially with the homeless, a subject that we have particular interest in. These
personal projects create a solid foundation for artistic direction in our commercial work. We exhibit
our personal works regularly as more of an underground event rather than a PR process, taking
over any abandoned industrial spaces and out of hours multi-storey car parks mixing hung material
with large scale projections of our motion projects - all of which have taken place as self funded en-
deavors - seeing this as a cathartic process rather than a critical one.
Our personal works are always presented ‘as shot’ without cropping or post production of any kind
– remaining dedicated to the ‘in camera’ purity of these works. This allows the images to flow and
connect to each other with a sense of grace and simplicity. Rather than appearing precious and
overly concerned with aesthetics, the images more evidently describe a life and eye made behind
the camera.
With many of the works, subjects appear floating in a black space that neither interferes nor disrupts
the subject matter, in fact the collaboration within this void offers a serene and dreamlike sensation.
Images that do suggest cultural and social issues do so in a way that is not forceful or aggressive,
but more open to you, the viewers, own interpretation.
Life can be described as being like a constant stream of images, they pass us by like towns on a
highway. But sometimes a moment stuns us as it happens and we know this instant is more than
just a fleeting image, we know that this moment every part of it will live on forever. That is the driv-
ing force when working on personal projects.”
You photograph mainly fashion. But why? And how has it begun?
It's true, I shoot a lot of fashion in my work. I think mine it's more of a fascination with
beauty than fashion itself.
I guess I have my own approach to fashion photography and I like to keep things natural
and kind of accidental.
“The nomad. I listen to the rain, I’m languid with the Sun,
love to love, breath, read, listen, see.
London was always the dream for me, the concentration
of my favorite music and culture. It’s easy to breath and
take photos in this city.”
In 2002 her images were included in the Phaidon Press publication Blink. Ten
curators were each invited to identify 10 photographers who they felt were “the
most interesting, cutting-edge photographers to have emerged and broken new
ground in the last 5 years”.
Known for making art that hovers on the edge of public acceptance,Thorneycroft
has pursued subject matter that often challenges her viewing audience.
Jesse has shot ads and collateral for BBDO and Interbrand, editorial
for Missbehave, HEEB, Chief and Rollingstone magazines as well as
assingments for Time Out NY, Hass Avocados and reportage for an NFL
advertorial campaign.
“In the childhood I liked to draw and to eat strawberry most of all. Now
I’m 20 years old and I still like to draw, eat the strawberry and also to
take photographs. The last passion started with a very popular sce-
nario – with my grandfather’s Zenit. I learned to photograph myself,
mastered the theory and practiced.
During 20 years I have worked as a photographer, designer, decora-
tor, illustrator, shot a film, done painting and I still haven’t run mad.
I’m inspired by the most ordinary things: my beloved people, dreams,
sensations. The sensation of purity, silence, calm, sadness, loneli-
ness. It is absolutely impossible to describe it in words. If I could, I’d
not photograph.”
Molokoplus magazine
Scott Radke
www.scottradke.com
“I like all my hobbies, but especially I love my toys. They are my little
babies. The first ones were clumsy monsters made of improvised
materials. But it didn’t stop me. I’ve found the new facilities, technics,
materials. And now my toys get their appearance. They are soft and
tactile because of the best soft fleece and little balls inside of their
body. They have human eyes and they look like alive now. I don’t give
them names, it’s a privilege of future owners. I give them just general
names – in order not to mix them up. Now I have rabbits and anteat-
ers. But I plan to create more characters. I’ve already drawn many
sketchs. My inspiration is eyes and smiles of the buyers of my toys
when they meet a new “friend” for the first time. And also all their kind
words. It’s really great!”
Moloko+ team: Marina Beloklokova, Revaz Todua, Evgeny Godov, Vera Golosova Twitter / Facebook
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