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ISSUE #9

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:

Chris Artem Nastia Joseph Scott


Kuzma Mishukov Sukhanova Valentino Radke

Lisa Sergio Alex Katrin Liza


Congdon Mora & Cocco Kirojood Sidorina

Vladimir Michel Roberta Alexander Arbito


Snegotskiy Ducourneau Ridolfi Chernov

James Alexey Olivia


Roper Shpunt Locher

Justin Diana Alvin


Richel Thorneycroft Tang

Felix Jesse Corrado


Rodriguez Untracht- Dalco
Oakner

Charles Marina
Glaubitz Adyrkhaeva

Molokoplus magazine
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Illustrators

Molokoplus magazine
Chris Kuzma
www.chriskuzma.com

Chris Kuzma is an illustrator living and working in


Toronto, Ontario, Canada.
He is a graduate of the Ontario College of Art and
Design, and the University of Saskatchewan, with
an illustration degree and a studio arts degree,
respectively. He works mainly in watercolour, ink
and pencil, and likes to maintain a strong element
of ridiculousness in his work.
In addition to his editorial illustration, he draws
and publishes comic books with his friends at
www.woweezonk.com. They recently released a
56-page book showcasing a number of up-and-
coming sequential artists in Toronto.

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Lisa Congdon
www.lisacongdon.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).

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Vladimir Snegotskiy
www.ctrl-v.ru

Vladimir Snegotskiy (aka Waldez) is a person who has never get


any art education. Though he stays in search of new ways of self-
expression in visual art. He lives and works in Moscow, Russia,
and have a great skills in vector and collage art. It’s important for
him to create powerful and impressive artworks. Working with
minimal set of colors he enriches his works with complicated
interlacing shapes. He also use fragments of human and animal
bodies to tangle the meaning and composition.
Despite the modern approach to creation his artworks are per-
meated with ethnic motifs, leading you away to antiquity and the
unconscious.
At present time Waldez is working as a freelance designer with dif-
ferent kinds of media projects. Also he spend much time working
on his own art ideas.

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James Roper
www.jroper.co.uk

James Roper was born in 1982 in Knutsford, England. Graduated in


2005 from a BA Fine art Painting course at Manchester Metropoli-
tan University. Now he lives and works in Manchester.

“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.”

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How are you?
Fine thank you.

What gave you the first impulse to go into illustration?


Illustration means the act of clarifying or explaining, I guess I must want to clarify
and explain myself. I find verbal communication with people lacks something. With
art you can connect with the viewer on a much more visceral level without the
need for words which seem to always dull down what I’m trying to convey.

What is your art about?


Me. Hopefully what I’m trying to put across resonates with other people so if that
happens it’s about you too.

Can you describe the process of creation your works?


I ingest thousands of images via the Internet, digest them and vomit them back
out.

How do you rest?


I go to sleep.

What music does help you in your art work?


Certain parts of certain songs by certain acts can inspire work, I don’t care which
genre, anything from classical to ambient to heavy metal to pop.

What are your current projects?


I’m painting a new painting, working on a composition for the next painting and
a new drawing, working on a poster for an opera house, I’ve just worked on the
production design for a short film I co-wrote which is now in post-production, I’m
writing 3 screenplays, working on ideas for a sculpture, sorting out gallery shows in
the U.S. and Europe and answering questions for magazines.

How do you see your career in the next 5 years?


On a good day: selling my art for outrageous sums of money. On a bad day: out in
the gutter begging for money. On an average day: still making art.

What are the plans for this autumn?


Making art.

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Justin Richel
www.justinrichel.com

Justin Richel is an artist whose main focus is painting com-


plex and detailed compositions that range in content from
Desserts, men with wigs, presidents and birds. These works
share a common theme of an underling social commentary.
He received his BFA from the Maine College of Art, in Port-
land, ME (2002) and studied the technique of Icon painting
at the Franciscan Monastery, Kennebunk. He now resides
in the northwest mountains of Maine, with his lovely girl-
friend Shannon and their adorable kitty. Justin has exhibited
his work throughout the U.S. and has also exhibited work in
Switzerland and Germany.

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Big Wigs
Ostentatious men with wigs that nearly topple, billow and swirl, like plum-
age these wigs are meant to impress, and perhaps even threaten, evidence
of wealth and power, symbols of status and examples of conspicuous
consumption. These men are mocked by their own behavior, continually
usurping the previous sovereign of style in order to preserve one’s self-
complacency. Their mounds of hair piled high like towers reaching for the
heavens render them useless, a virtuous disability that requires of them
abstention from laborious labor. The beautiful becomes the grotesque, style
surmounting function.
These men sit ridged and firm in their positions of power and deeply en-
trenched in their glory, so much so that they essentially become living
“monuments” of their own making. Meanwhile nature takes its course, birds
move into their wigs, fungus and lichen grow on them freely and sometimes
fires threaten to engulf them. All the while the big wigs struggle to save face
and maintain their proud and victorious posture, ignoring their surroundings
and the ensuing predicaments.

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Sweets
In the midst of an entirely barren and empty “landscape”, void of anything other
than a multitude of sugar coated inhabitants. The many shapes and sizes, parts and
pieces of a greater whole come together to construct towering mountains, pillars of
sugary strength and the destructive forces of confectionery whirlwinds and tsunamis.
A flawed yet functional infrastructure, A conglomerate society of multi-colored temp-
tations, vying for the same hierarchical position at the top of the heap.

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.

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Fеlix Rodriguez
felix@pobrelavaca.com

Felix Rodriguez is a designer, illustrator, calligrapher, pho-


tographer and plastic artist from Spain. He was born in
1978 in Valladolid.
In 2002 he create “Estudio PobrelaVaca” together with Ana Maria
Hernández, where they restore a way of being employed based at the
professionalism and creativity, impelling his illustrators’ branch but giving
gone out simultaneously for many other fields, like the ancient calligraphy,
the photography, collages, watercolors, oils.

In 2007 he receives the Golden Award to the Best Design of “Castilla y


León”, award granted by the design of a line of branding for wine and
based on original illustrations in ink, and in 2008 it stays again between
four finalists in the category of design. In this way, his works start being
known at European level and start receiving proposals of France (Pro-
ducteurs Plaimont), Portugal (Roquevale), Belgium (Magnus Kwaliteitswi-
jnen), Catalonia (Eudald Massana Noya) and Castilla y León wine vaults
(Somanilla, Anta, Farran Diez) to realize new lines of wine.

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.

In 2009 he create “Type On”, a stamp, a platform, an entity that takes


as a purpose to give gone out for artistic expressions at different levels,
from exhibitions or performances, up to formative workshops for students
and professionals. In March there take place the first Type On activities,
celebrated in the Museum Patio Herreriano of Modern Art. The activities
have consisted of 4 workshops and a masterclass, for which 400 persons
have happened, being a public’s success without precedents in this type
of matters.

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Charles Glaubitz
www.mrglaubitz.com

The Mexican illustrator Charles Glaubitz lives in Tijuana,


which allows him to teach at nearby San Diego City Col-
lege across the border. His work is influenced by ancient
cultures, history, myth, alchemy, comic, spirituality, mys-
ticism and Mexican pop culture.
Many of his drawings, acrylic paintings on canvas, col-
lages and installations refer to archetypical narratives of
destruction, final struggle and new creation. His work has
been exhibited in the USA, Mexico and Spain and pub-
lished in Rolling Stone Magazine, San Francisco Chroni-
cle, Texas Monthly, Complot and Juxtapoz Magazine.

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Artem Mishukov
www.flickr.com/photos/24352135@N03/

Artem Mishukov is a 20 years old artist from Moscow.


He works as a keeper in the zoological museum.

“One of my hobbies is drawing. When I draw, I fall


into a strange condition, which is very similar to the
meditation, trance or hypnosis. At the moment I think
about making the series about my afterlife. When I die,
I’ll have enough time to say goodbye to this world and
move to next world, where my soul will grow stronger
and learn everything that I can’t study during my life.”

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Sergio Mora
www.sergiomora.com

Placing yourself in front of a Sergio Mora painting requires accept-


ing a number of premises. In the first place we have to recognize
that we are in front of a complex piece of artwork, very rich in de-
tails and emerging  into its own symbolism pushing away any type
of superficial reading. We must also consider the fact that his art-
work comes from the illustration world, but leaves it behind due to
its intensity.
Mora’s work is organic; it works as a live element. His subjects and the scenes that
compose his illustrations are a refection of any of us. This is where the magic begins;
in front of him we are part of a spectacle that makes us spectator and lead actor,
about to transform our insides. To achieve this effect, Mora uses elements like practi-
cal  symbol or subjects as representation of  drawing on fobias, subjects that grab our
hand and guid us towards a familiar terrain, serene and festive. It doesn’t matter the
subject of the illustrations, they work because they recognize their own observers. It
could be a child, youngster, or adult, all of them understand and enjoy what they are
seeing. Mora’s work has the ability to unite a big margin of public. No one is excluded
because he does not believe in masks. Sergio is eloquent, because he paints familiar
things, reminding us that at one point we had a sense of magic. 

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 . 

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Michel Ducourneau
http://michelducourneau.blogg.se

“I’m interested in conflict and harmony, contrasts, ambigu-


ous emotions, tensions. I try to build up those things and
keep them in a fragile coexistence. Too much peace in a
picture disgusts me and so does too much chaos, and the
best feeling is when you suddenly get a tension, and some-
how recognise what you were looking for. Just building it
up and sculpting it line by line.”

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Photographers

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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.”

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Traveling helps me to find the answers to
my questions. All books and movies about
road are about me. It’s difficult for me to
name all places where I’ve already been
and what I’d like to visit. I’d like to visit
Iceland and Japan very much. And to ride
by motorbike through Latin America, and
by bycicle through Holland. It’s great to
travel by train in India if you aren’t afraid
of the cockroaches. By the ship that goes
long from England to America – it allows
you to read a lot of books. And it’s neces-
sary to do the scuba diving in Australia. In
the childhood I have learnt the name of the
capital of Madagascar – I thought I visited
it one day. However, I’m ready to go there
right now. Also I’m planning to travel by the
caravan through all American states from
the West to the East, do heliboarding in
Kamchatka and visit Murmansk for seeing
the polar lights.”

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“My photos are my world. When I look at them I feel that I’m home
wrehever I am. Somebody muffles up in a sweaters and plaids, but I
constantly travel all over the world of my imagination. It doesn’t differ
much from the world I’m living in – there are just more sun and air.

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.”

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Alex & Cocco
www.distilennui.com

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.”

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Roberta Ridolfi
www.robertaridolfi.com

Roberta Ridolfi was born in Rome in 1978.


She moved to London in 1999 and still lives and
works there.

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What camera do you mainly use? And why?
I mainly use a Contax G2 but I have a lot of different cameras I use too, mainly 35mm.
I love 35mm cameras cos they are light and less intrusive than bigger cameras and I
love the feel and the grain you get with them.

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.

What inspired you to move into this sphere?


When I started taking photos I had no idea what I wanted to do, I was just interested in
taking pictures of what was around me... Then I started planning my photos more and
that's how I got into fashion. It was a natural evolution.

Do you have favorite photographers?


I have a lot of favorite photographers... I think Corinne Day's and Juergen Teller's early
work are among some of my favorites.
I also really love photographers like Mark Borthwick, Valerie Phillips, Joseph Szabo, Wil-
liam Eggleston, Ari Marcopoulous and Takashi Homma.

How do you concern to criticism?


I'm not really concern about criticism, I'm not worried about what people think when I
take photos, for me that's something very instinctual and I don't think about it too much.

How do you spend your spare time?


I love travelling and I would spend all my time doing that if I could...
I also love reading, watching Woody Allen's movies and hot springs!

What would you advice to people who just start?


Be yourself and do what you like!

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Alexey Shpunt
http://chiz13.livejournal.com

“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.”

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Diana Thorneycroft
http://members.shaw.ca/thorneyboss/

Diana Thorneycroft has exhibited various bodies of work across


Canada, the United States, Edinburgh, Helsinki, Moscow, Tokyo,
Sydney, Vienna and Belgrade. Her work has been the subject
of Canadian national radio documentaries and a CBC national
documentary for television. 

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”. 

She is the recipient of numerous awards including an Established Artist grant


from the Canada Council, several Senior Arts Grants from the Manitoba Arts
Council and a Fleck Fellowship from the Banff Centre for the Arts.

Known for making art that hovers on the edge of public acceptance,Thorneycroft
has pursued subject matter that often challenges her viewing audience.

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Group of Seven Awkward Moments
Although most Canadians reside in urban centres, the quintessential
Canadian identity is inextricably connected to our geography and the
consequences of living in a northern, rugged environment. 

In the early 1920’s a group of artists began painting landscapes that


captured the essence of how we envision ourselves. In his book The
Group of Seven and Tom Thomson, David Silcox wrote “we relate to
the iconic painting of these natural aspects of our country as being
part of who we are as Canadians.” Later on he writes that the paint-
ings have “come to stand for something more complex and compre-
hensive than what they simply describe or depict, and (that) they
evoke emotions and responses that are powerful.” So powerful he
claims, that well known images like Thomson’s paintings “are the vi-
sual equivalent of a national anthem, for they have come to represent
the spirit of the whole country...”.
 
I agree for many Canadians, these landscape paintings trigger feel-
ings of national identity; and are viewed as uplifting symbols of our
land; “the true North strong and free”. While it’s admirable what Silcox
envisions the paintings represent, I believe Canadian society is not
nearly so benevolent, and that our environment, the same one “we
stand on guard for”, is fraught with anxiety and contradictions.

In the photographic series, Group of Seven Awkward Moments, re-


productions of paintings by Tom Thomson, Emily Carr and the Group
of Seven are used as backdrops. In the foreground a fabricated set is
constructed that contrasts with their iconic landscapes. The content
in each piece (such as a burnt out igloo, or a tongue stuck to cold
metal) reflects tragedies caused by bad weather and poor judgement,
intentionally subverting the upstanding idealism the Group of Seven
paintings have come to embody.

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Jesse Untracht-Oakner
www.juophoto.com

Jesse Untracht-Oakner captures images as he sees them.


He uniquely combines his technical skills from R.I.T with
his distinctive artistic vision. From his candid portraiture
to found landscapes and fashion stories, his photos run
the gamut from the mundane to the stunning and heart-
rending; often the photos serve as unexpected glimpses
of life, each with an intangible sense of rareness and
relevance.

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.

Jesse is a featured photographer on the French-based stock photo web-


site, readymade-images.com and has been named an up-and-coming
photographer on Photo District News website and Photo Serve.

photographers / Jesse Untracht-Oakner Molokoplus magazine


photographers / Jesse Untracht-Oakner Molokoplus magazine
photographers / Jesse Untracht-Oakner Molokoplus magazine
photographers / Jesse Untracht-Oakner Molokoplus magazine
photographers / Jesse Untracht-Oakner Molokoplus magazine
photographers / Jesse Untracht-Oakner Molokoplus magazine
Marina Adyrkhaeva
www.flickr.com/photos/ps-mary/

Marina Adyrkhaeva was born in 1988 in Vladivostok,


where she lives nowadays. She took part in many com-
petitions, some group exhibitions and had her personal
exhibition in 2007. Marina’s photos have been pub-
lished in many editions.

“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.”

photographers / Marina Adyrkhaeva Molokoplus magazine


photographers / Marina Adyrkhaeva Molokoplus magazine
photographers / Marina Adyrkhaeva Molokoplus magazine
photographers / Marina Adyrkhaeva Molokoplus magazine
photographers / Marina Adyrkhaeva Molokoplus magazine
photographers / Marina Adyrkhaeva Molokoplus magazine
Joseph Valentino
www.flickr.com/photos/7875/

photographers / Joseph Valentino Molokoplus magazine


photographers / Joseph Valentino Molokoplus magazine
photographers / Joseph Valentino Molokoplus magazine
photographers / Joseph Valentino Molokoplus magazine
photographers / Joseph Valentino Molokoplus magazine
Katrin Kirojood
www.kirojood.se

Katrin Kirojood was born in 1982 in Germany but


moved to Vienna, Austria shortly after graduat-
ing highschool to study arts and photography at
the Unviversity of Vienna and later at the “Höhere
graphische Bundes- Lehr und Versuchsanstalt”.
She is now living and working as photographer in
Göteborg, Sweden.
Her pictures are somewhere between art and fash-
ion and often have a soft and melancholic under-
tone.

photographers / Katrin Kirojood Molokoplus magazine


photographers / Katrin Kirojood Molokoplus magazine
photographers / Katrin Kirojood Molokoplus magazine
photographers / Katrin Kirojood Molokoplus magazine
Alexander Chernov
www.flickr.com/photos/blacknov/

photographers / Alexander Chernov Molokoplus magazine


photographers / Alexander Chernov Molokoplus magazine
photographers / Alexander Chernov Molokoplus magazine
photographers / Alexander Chernov Molokoplus magazine
photographers / Alexander Chernov Molokoplus magazine
photographers / Alexander Chernov Molokoplus magazine
photographers / Alexander Chernov Molokoplus magazine
photographers / Alexander Chernov Molokoplus magazine
Olivia Locher
www.olivialocher.com

Olivia Locher is an 18 year old photographer from


Johnstown, Pennsylvania USA.
She is fascinated by her day dreams and fantasies.
With her photography she can live in her own made
up fantasy world; an imaginary dreamland that only
she can create. You can see this world through Ol-
ivia’s photographs.
Olivia is currently working on preparing herself to
begin undergraduate studies in photography in NYC.

photographers / Olivia Locher Molokoplus magazine


photographers / Olivia Locher Molokoplus magazine
photographers / Olivia Locher Molokoplus magazine
photographers / Olivia Locher Molokoplus magazine
photographers / Olivia Locher Molokoplus magazine
Alvin Tang
www.alvin-tang.com

Alvin Tang’s style of shooting brings a weighty,


film-like quality to visual storytelling. Whether
it’s for commercial, editorial or personal work, he
shoots with precision and a unique visual perspec-
tive. His carefully crafted painterly portraitures and
frozen narratives move across the disciplines from
fine art to advertising.
With his commitment to narrativity and the inter-
play between concealing and revealing, his viewers
are often left to draw influences from fragmented
information in his oddly attractive images.

photographers / Alvin Tang Molokoplus magazine


photographers / Alvin Tang Molokoplus magazine
photographers / Alvin Tang Molokoplus magazine
photographers / Alvin Tang Molokoplus magazine
Corrado Dalco
www.corradodalco.co.uk

Corrado Dalco was born in Parma. Studied Graphic Design in Italy


while working in a advertising agency. Moved to Milan to assist
fashion and advertising’s photographers.
Moved to Berlin and Barcelona, returned to Parma to set up pho-
tographic studio. Based in London since 2002.

photographers / Corrado Dalco Molokoplus magazine


photographers / Corrado Dalco Molokoplus magazine
photographers / Corrado Dalco Molokoplus magazine
photographers / Corrado Dalco Molokoplus magazine
photographers / Corrado Dalco Molokoplus magazine
Toy makers

Molokoplus magazine
Scott Radke
www.scottradke.com

Toy makers / Scott Radke Molokoplus magazine


Hi Scott! How do you do?
Very well, thank you.

Can you tell us about the history of your puppets?


I started making puppets in 1997-98. I made my first one as a gift to my
wife and it took off from there. I currently only make sculptures but will
probably go back to marionetts one day.

Please describe the process of creation these sculptures.


I usually start by making heads and faces and see where that takes me.
Lately I have been sketching things out first to save some time. After I
have the heads created I will figure out what sort fo animal they will be-
come and shape an armature around the face. I go through many layers
for paint until I feel finished. I never really feel finished with anything but I
find good stopping points.

Why have your sculptures never smile?


That's a good question. I don't know the answer really. I have tried to cre-
ate smiles in my work. I think it makes them look crazy really. It's hard to
pull off a smile without that at least for me it is. I prefer them to feel more
subdued calm. I suppose they look a little too sad sometimes.

Where do you get your inspiration?  


Nature. Life. Peacefulness. My family.

Tell us about your proximate plans for the future.


I just moved into a new home so I am trying to adjust and get back into
some sort of rhythm. I work best that way. I plan on continuing my animal
characters for some time.

Toy makers / Scott Radke Molokoplus magazine


Toy makers / Scott Radke Molokoplus magazine
Toy makers / Scott Radke Molokoplus magazine
Toy makers / Scott Radke Molokoplus magazine
Toy makers / Scott Radke Molokoplus magazine
Toy makers / Scott Radke Molokoplus magazine
Toy makers / Scott Radke Molokoplus magazine
Toy makers / Scott Radke Molokoplus magazine
Liza Sidorina
http://lizasidorina.livejournal.com

Liza Sidorina was born in Moscow. She takes photos,


creates toys and sews.

“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!”

Toy makers / Liza Sidorina Molokoplus magazine


Toy makers / Liza Sidorina Molokoplus magazine
Toy makers / Liza Sidorina Molokoplus magazine
Toy makers / Liza Sidorina Molokoplus magazine
Toy makers / Liza Sidorina Molokoplus magazine
Arbito
www.arbito.com

Arbito is a full time artist living and working


in Seattle. Each figure is hand sculpt, cast and
painted by Arbito. Materials used urethane
resin, paint, wood.

Toy makers / Arbito Molokoplus magazine


Toy makers / Arbito Molokoplus magazine
Toy makers / Arbito Molokoplus magazine
Toy makers / Arbito Molokoplus magazine
Toy makers / Arbito Molokoplus magazine
Toy makers / Arbito Molokoplus magazine
Toy makers / Arbito Molokoplus magazine
The End.
Thanks to everybody for the participation.

Cover by: Scott Radke info@moloko-plus.ru www.moloko-plus.ru

Moloko+ team: Marina Beloklokova, Revaz Todua, Evgeny Godov, Vera Golosova Twitter / Facebook
Molokoplus / Flickr
magazine

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