CONTENTS

TJ DRYSDALE 8 KELSEY FLOYD 59

ALFREDO MACCHI 26 KURT K GLEDHILL 70

FELICIA SIMION 40 MAREN KLEMP 91

Fine Art

By Sandra Djak Kovacs 54

BACKSTAGE

CHRIS KOVACS Publisher: Adore Noir Publishing

Editor
Online: adorenoir.com
SANDRA DJAK KOVACS
Executive Editor Email: [email protected]
Adore Noir Magazine
TIM ANDERSON 1202 West Pender Street
Editor at Large PO Box 17514
Vancouver, BC
V6E 2S8
LESLIE HILTS
Adore Noir online magazine is published bimonthly.
Editor at Large
All images are © copyright of their respective artists and may not be
copied or distributed. All rights reserved. Some images may be censored
to comply with App Store policies. Please email us via our website if you
JOHN GLYNN have a censored version and would like an uncensored version.

Contributor ISSN 1925-5160

 Editor’s Notes
Autumn is a time of year when the golden trees another, a young girl; his innocence and joy is
kindly let us know that change can be beautiful. captured beautifully. His expressions unmasked
It is a magical time of bright colours and falling even though he is wearing different costumes.
leaves that dance in the wind. Eventually, the
trees become bare and remind us that the ongoing Kelsey Floyd explores the human relationship to
cycle of life and death is always in motion. Henri the medicines that are prevalent in today’s soci-
Cartier-Bresson saw photography much this way, ety. Her feature titled, Medicine, features pills
capturing life in a photographic moment happens and syringes as they are interlaced with parts of
only once, a cycle of life and death with each the human body––the photos are both sharp and
photo taken. dreamy at the same time.

Fine Art photography came to the fore in the Most of Maren Klemp’s photographs are self-por-
1960s, the delineation of it is an art, along with a traits, she says, “I consider the images to be vi-
strict definition is hard to assemble. In my essay, sual representations of different states of mind.”
A Fine Art Conversation, I discuss the various In one photo, a woman is floating––it is as if she
views on what is considered Fine Art photogra- has disassociated herself from her body. There are
phy. bandages around her arms, traces of blood; may-
be she has been saved and she is on her way back
In this issue, we have assembled a stellar roster to herself? This photo, along with the others, are
of feature photographers for you to enjoy. T J powerful statements of how the human mind ex-
Drysdale illuminates his subjects with only nat- ists beyond the body.
ural light. You will find yourself returning to his
female portraits again and again; there is a pen- The body and the mind are powerful when set
sive fire in the photos, a yearning that shows life in motion, unleashed, so to speak, with a certain
is everywhere, especially when the light is let in. goal in mind. Part of my essay on Fine Art ex-
plores success and what this means for an artist.
War Landscapes, by Alfredo Macchi, a photo- Essentially the nuts and bolts of the advice is to
journalist, is a heart-breaking review of many follow your heart, listen, as Kelsey Floyd tells us,
war-torn cities that have, for the most part, been “Sometimes it’s a little voice, just barely whis-
vacated. Life is fragile. The buildings that are torn pering…but pay attention to it. Cultivate that,
apart and full of bullet holes were, once upon a there’s something to it even if it doesn’t make
time, someone’s home. much sense at that moment in time.”

Kurt K Gledhill lives in Okayama, Japan, his

feature was inspired by his city. He wanted to So...Dim the lights, go to your favorite place, sit
explore and present an unexpected idea of what back, relax and enjoy!
Okayama is. My favourite photo is of the sun-
flowers. Sandra Djak Kovacs

Felicia Simion’s feature The Playground, is a

photo-essay of her young cousin in various states
of play. In one photograph he is an old man, in
 ON THE COVER

TJ DRYSDALE

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 FEATURED
TJ DRYSDALE

“The natural beauty of women inspired me to shoot fashion. I like to

portray the raw emotion and beauty of my subjects, and lighting plays
an important role in that.”
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 NEAR LIGHT Interview with TJ Drysdale

AN: Please introduce yourself. Where are you my neighborhood and photograph all of the
from? beautiful scenery. From my film experience, I
knew how important lighting was to create a
TJ: My name is TJ Drysdale. I’m a fine art certain feel to a scene. I would aim to practice
and fashion photographer, currently based in those techniques while I was out there. I fell in
Tampa, FL. I was born in Queens, NY and love with photography at that point and have
lived there for the first fifteen years of my life. not looked back since.

AN: How did you become interested in AN: Please tell us about your work and what
photography? inspired you to shoot fashion?

TJ: I’ve always loved photography, but TJ: The natural beauty of women inspired
throughout high school and my early college me to shoot fashion. I like to portray the
years, I was more interested in filmmaking. raw emotion and beauty of my subjects, and
It wasn’t until the Christmas of 2009 when I lighting plays an important role in that. I shoot
received my first DSLR from my grandparents using only natural light, and the way that the
that photography truly entered my life. In sun hits an object or the model really inspires
the beginning, I’d go out to a boardwalk in me to create the images I produce.

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AN: What do you enjoy most about definitely something I admire, and look to
photography? incorporate into my own work.

TJ: For me it’s the stories people tell me about AN: Do you have any upcoming projects?
my photos. I can go to a shoot with a specific
idea and once people see the photos, they tell TJ: I have a few conceptual photoshoots lined
me something completely different than what up. I want to step outside of the box a little and
I was trying to portray. That never upsets expand my portfolio. I’m always looking for
me, it amazes me actually. Photography is so new and exciting challenges and I feel like this
subjective and everyone views an image with will definitely be one.
their own perspective.
AN: What is your final say?
AN: What or who are your influences?
TJ: Every time I pick up my camera and head
TJ: Peter Lindbergh is my biggest influence. out to a shoot, I have to thank my grandparents
Our styles are very different but I love the way for unknowingly putting me on this path. Had
he photographs his subjects, especially women, I not received that camera, I can honestly
he photographs them so naturally. All of his say I don’t think I’d be taking the photos I
photos have pure, raw emotion––and that’s am now, or doing this interview rather. Life

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is funny like that. I’ve met some special Thank you Adore Noir for this opportunity. ♥
people along the way and have had some
amazing life experiences that I’ll never forget. See more at: tjdrysdale.com
I know I still have lots to learn, but I’m very
excited to see where photography takes me.

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 FEATURED
ALFREDO MACCHI

“I believe that we are bombarded with too many images of violence and
pain, often we reject these images. Instead, I chose photos that capture
atmospheres, places and marks left by conflicts.”

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 WAR LANDSCAPES Interview with Alfredo Macchi

AN: Please introduce yourself. Where are you does not allow time to reflect. I became very
from? interested in photography while I was reporting
on things that I saw.
AM: I was born in Switzerland in 1967. I have
lived in Italy my entire life. I currently live in AN: Please tell us about your series War
Rome, which is the base for my travels. I’m a Landscapes.
journalist and I work as special correspondent
for an Italian television network. I always carry AM: War Landscapes is a photographic project
my camera because photography is my real that includes a book and an exhibition. War
passion. Landscapes is my way of documenting the
war, not through photos that depict a single
AN: How did you become interested in conflict, but through the landscapes devastated
photography? by all of the wars and through the almost total
absence of the human figure. I think this could
AM: I was lucky enough to be able to do what be a way to reflect as a whole, far from the
I dreamt of doing, which is to travel the world immediate emotions of a single event.
and tell about it. Television is a fast media that

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AN: Why did you choose to focus on the I am influenced by the great Italian paintings
landscape rather than the people affected by that I have seen in many museums.
war?
AN: What is your final say?
AM: Images of those affected by the war
are part of the news and there are great AM: I often photograph for myself, to keep
photographers doing those types of photos. I in my memory sensations and places that
believe that we are bombarded with too many have impressed me. Pictures tell what the
images of violence and pain, often we reject photographer sees but also his way of thinking,
these images. Instead, I chose photos that his soul. I hope this can be grasped by my
capture atmospheres, places and marks left by images. ♥
conflicts. I think my images can help people
understand why thousands of people leave See more at: alfredomacchi.it/eng/
their city destroyed by war.
Pg. 26, 27, 28, 29 - Kabul, Afghanistan, 2001. Pg. 30 - Misurata,
Libya, 2011. Pg. 31 - Sirte, Libya, 2011. Pg. 32 top - South
AN: What or who are your influences? Lebanon, 2006. Pg. 32 bottom - West Bank, 2003. Pg. 33 top -
Kabul, Afghanistan, 2002. Pg. 33 bottom - Kabul, Afghanistan,
2002. Pg. 34 - Sirte, Libya, 2011. Pg. 35 - Tripoli, Libya, 2011.
AM: I love the photos of Sebastiao Salgado, Pg. 36 - Sirte, Libya, 2011. Pg. 37 top - Kabul, Afghanistan,
mostly for the composition and overall 2002. Pg. 37 bottom - West Bank, 2005.
atmosphere. I also think that unconsciously

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 FEATURED
FELICIA SIMION

“I have watched my six-year-old cousin grow up, developing himself in a

small Romanian village...”
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 THE PLAYGROUND Interview with Felicia Simion

AN: Please introduce yourself. Where are you received a camera, a Canon 400d, on my
from? birthday––and so a new journey began.

FS: I am a twenty-one-year old photographer AN: Please tell us about your series The
living and breathing in Romania. I was born Playground and what inspired you to create
in a city called Craiova, but am now in my this body of work?
third year of college, in Bucharest. I am deeply
connected to my country. FS: The Playground is a story about many
stories, about the growing up of a little boy,
AN: How did you become interested in and at the same time, the jump into the
photography? adulthood of myself, the photographer. I
have watched my six-year-old cousin grow
FS: I have always been interested in art, in up, developing himself in a small Romanian
many of its forms, when I was little I would village, which has shaped his personality,
paint, sing, dance and write, and I believe allowing him to be carefree and creative.
all of this led to photography. When I was Through his various roles, a firm young man,
thirteen I started dreaming about becoming a blonde wigged girl, or a dog, the viewer can
a photographer, almost out of nowhere. I get a glimpse at the tiny universe of a boy

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where freedom and imagination undermine the and create emotions. I hope to know this world
routine, the constraint and the fear of living better, to be closer to people and nature, to
truly. understand light, darkness, life, and to never
grow tired of its various forms.
AN: What were some of the challenges
involved in photographing this series? AN: What or who are your influences?

FS: The first challenge I encountered was FS: When I first approached photography,
getting Felix’s attention, making him listen to I was inspired by the great masters such as
me, while being carefree at the same time. But Henri-Cartier Bresson, André Kertész, Steve
as soon as I just let him be, while I observed McCurry and Sally Mann. I am also influenced
his games and movements through the lens, he by young artists such as: Zhang Jingna, Nirrimi
was able to become a new character, without Firebrace, Lara Jade and Alexandra Sophie––
any fear of the camera. they ignited my love for portraiture, street and
documentary photography.
AN: What do you wish to achieve with your
photography? AN: Do you have any upcoming projects?

FS: Through photography, I hope to tell stories FS: In the next year I wish to document the

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streets of Bucharest and also the Romanian FS: Whatever you do, be human. Do not be
mountains and villages, to finish my degree misled by artist stereotypes. Your soul bears its
and maybe write a book. own dreams, stay true to it. ♥

AN: What is your final say? See more at: feliciasimionphotography.com

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 A FINE ART CONVERSATION
By Sandra Djak Kovacs

In the third edition of the 2001 Oxford cannot be mistaken for a tourist snap shot,
Dictionary of Current English, paperback nor can they accidentally have captured
version, the definition of Fine Art is sim- moving poetry with such precision; it is
ple: “art intended to appeal to the sense pure and simple, talent and calling.
of beauty such as painting or sculpture.”
Or photography one might add. Charles Bresson is quoted as saying: “As far as I am
Baudelaire, poet and art critic, would have concerned, taking photographs is a means
disagreed, the mechanics of photography, of understanding which cannot be separated
the ease with which one could snap a shot from other means of visual expression. It is
without working with the traditional artist a way of shouting, of freeing oneself, not of
tools was enough for him to discount this proving or asserting one’s own originality.

“The act of taking the photograph freed Bresson as both a

human being, and as an artist. He started out as a painter,
and eventually found his way to photography.”

medium as only good enough for the fields It is a way of life.” (http://www.johnpaulca-
of science or tourism, where direct repre- ponigro.com/blog/12018/29-quotes-by-pho-
sentation was necessary. tographer-henri-cartier-bresson/)

And yet Fine Art Photography is flourishing The act of taking the photograph freed
as a legitimate and very real Art medium. Bresson as both a human being, and as an
The beauty, the evocative poetry and the artist. He started out as a painter, and even-
craft required to create the Fine Art pho- tually found his way to photography. He
tographs we see, both today and from the took his craft seriously; he would live in a
past, is irrefutable. “Henri Cartier-Bresson location where he was photographing for
was a French photographer whose humane, months, to years at a time, in order to be-
spontaneous photographs helped establish come familiar with his surroundings. He
photojournalism as an art form.” (From spoke of how he felt photography move
http://www.biography.com/people/hen- him in his body––he was compelled to pho-
ri-cartier-bresson-9240139). tograph.

He is known as the father of street photog- In 2010 the Museum of Modern Art had
raphy, his photos capture the beauty and the its first exhibition of Bresson photos after
poignancy of life as it is lived. His photos his death. In the introductory notes to the
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exhibition we read: “The two most import- Progress is Baudelaire’s enemy––he was
ant developments in photography in the born at the end of the Industrial Revolution.
first half of the twentieth century were the Progress was the messy business of large
emergence of lasting artistic traditions and factories, coal, and long hours for the com-
the rise of mass-circulation picture maga- mon worker. Baudelaire was a champion of
zines. Henri-Cartier Bresson (1908-2004) Romanticism, perhaps, for him, poetry had
was a leading figure in both domains.” to be kept pure and distant from the world
(http://www.moma.org/interactives/exhibi- that had risen up all around him in order for
tions/2010/henricartierbresson/#/) it to remain untainted. Henri-Cartier Bres-
son, on the other hand, immersed himself
“Lasting artistic traditions,” combined with in the world as it was, capturing its beauty
“the rise of mass-circulation picture maga- with a poignancy that only Henri-Cartier
zines,” are the two things that MOMA has Bresson could.
identified as most important for the emer-

“There is something about success that is not always linked

to talent. I am not saying that those without talent become
successful over those without; it is just that some folks seem to
mysteriously rise to the top, out of nowhere.”

gence of the photographic medium as art. His talent was extraordinary. He was a
The masses and fine art? Perhaps this is purist in the sense that he did not approve
where Baudelaire’s distaste for photography of tinkering with the photo that was taken
as art lies. in-camera. However, he understood that
photographing takes practice. He said,
In Baudelaire’s famous essay, On Photog- “Your first 10,000 photographs are your
raphy, from the Salon of 1859 we read: worst.” Just because the equipment is set
“Poetry and progress are like two ambitious up in such a way that quickness and quan-
men who hate one another with an instinc- tity can give way to thousands of photos in
tive hatred, and when they meet upon the the span of an hour doesn’t mean that those
same road, one of them has to give place. If thousand will be good. Indeed, in today’s
photography is allowed to supplement art time we might need to qualify the quote as
in some of its functions, it will soon have “the first 10,000 that you have pulled from
supplanted or corrupted it altogether, thanks the 100,000 that you clicked through.” Any
to the stupidity of the multitude which is its photographer using digital media knows
natural ally.” (http://www.csus.edu/indiv/o/ that you can take as many photographs as
obriene/art109/readings/11%20baude- your memory card allows, however, the
laire%20photography.htm). time spent in reviewing and choosing from
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them is precious. Hence, setting up, wait- can keep them from being seen.
ing for the right moment and learning the
craft are still as necessary now, as they ever From Leanne Cole’s blog post, What is Fine
were. Indeed, Bresson said that a great pho- Art Photography and How to do it? (http://
tograph versus a good photograph is in the digital-photography-school.com/what-is-
millimeters. fine-art-photography-and-how-to-do-it/)
she tells us how to become a Fine Art Pho-
Henri-Cartier Bresson was instrumental tographer. She says, “There doesn’t seem to
in the rise of photography as art, partic- be a definitive explanation or definition for
ularly street photography. The poetry of what Fine Art Photography is, but there do
the photographer was music to the mass- appear to be things that help define what it
es, especially those showcased in Amateur is.” She goes on to describe the following
Photographer, it began publication in 1884 in more detail, each of these is required in
and between 1968 and 1979, editor, George order to qualify as a Fine Art photographer:
Hughes interviewed Cartier-Bresson, Ansel Artist’s Vision, An Idea, Technique, Body
Adams, Brassai and many more. of Work, and an Artist Statement. The steps
she outlines are clear and can be followed.
Photography as art was inevitable, a con-
traption that captures the world, in picture, Can everyone that follows these steps be-
not just in words. MOMA began collecting come a Fine Art photographer? Probably.
photographs in 1940 and the rise of Fine Can everyone who follows these steps be-
Art Photography in the United States and come a successful Fine Art Photographer?
Britain happened in the late 1960s. Along Probably not. There is something about suc-
the way the lines between different types of cess that is not always linked to talent. I am
photography and art became blurred, Hen- not saying that those without talent become
ri-Cartier Bresson worked as a photojour- successful over those without; it is just that
nalist and a fine art photographer. some folks seem to mysteriously rise to the
top, out of nowhere. It is, however, upon
It is the conversation of the masses, and a closer scrutiny of their careers, a slow rise.
select few, such as those affiliated with mu-
seums, galleries and the like that make the For example, David Burdeny, started off
ultimate decisions of what is and isn’t Fine as an architect, he made the move to full-
Art. time Fine Art photographer only after many
years of doing both jobs, taking part in
For newer photographers starting out, am- small shows, and being interviewed on lo-
ateurs in a very real sense, this can be dis- cal television. There is also something to
heartening. They give their all in an effort be said for timing, sometimes the timing
to be recognized but still need to continue of a certain work or a certain series is most
working at day or night jobs where the very important. For example, Walker Evans is a
reason they are able to produce artwork, phenomenal photographer; his photos docu-
and then post their work, is the vastness of menting The Great Depression are some of
the internet, and it is that same vastness that the best that exist.
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Do what you love and use the world around cide that painting and drawing are once
you, the tools that you have, the tools that again your passion, then paint and draw you
you are drawn to like a magnet. The defini- must. Work hard, refine your craft, work
tion of Fine Art will continue to evolve as hard, refine your craft again, get out there,
the craft does, it is the conversation along be heard, online, in your community, and
with the medium that creates an ongoing keep trying. Each time you fail, you fail
dialogue about what is and what isn’t Fine better until that one day, one moment, when
Art––things are changing all of the time. you don’t. ♥
What would have Baudelaire thought of
the digital age? Ironic, that it is the Inter-
net where I find his words, more than one
Sandra Djak Kovacs is a freelance writer
hundred and fifty years later speaking to me
living in Vancouver, BC. She can be reached
passionately about progress and its evils.
at: [email protected] and on
Perhaps he would have had an open mind
twitter @sandradeekovacs
about it all.

How can you formulate your success

then? Jeff Sauer’s blog post Formula for
Sustained Success = Talent *Timing*
Hard Work (https://knowledge.land/sus-
tained-success-formula/) talks about the
ever-present formula for ‘making it.’ He
discusses all three ingredients: Talent, Tim-
ing and Hard Work. The one thing that
clearly cannot be compromised is the hard
work. Sauer says: “Nobody wants to hear
that success comes from a lot of hard work,
even though that is what every successful
person will tell you––their success comes
from hard work.”

Why Not Me? is the title of Mindy Kaling’s

new book. She reiterates that the secret to
her success is hard work. I could work just
as hard, however, if I don’t put myself out
there and take the risk to fail, no one will
ever hear my voice. Kaling is talented and
she followed her natural born instinct to
write and to make people laugh. If, like,
Henri-Cartier Bresson you feel it in your
bones to photograph, then photograph you
must. If, like, Bresson, you eventually de-
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KELSEY FLOYD

“Each image was created in a different way, whether it was constructing

a pill tree to hang above a friends arm, torturing my boyfriend by asking
him to poke himself with a needle, or crackling pills along a tattooed arm
to give the façade of disease.”

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 MEDICINE Interview with Kelsey Floyd

AN: Please introduce yourself. Where are you produce several versions of a piece in such
from? a short period of time, allowing me to focus
more on the idea instead of fixating on
KF: My name is Kelsey Floyd, I’m originally technique.
from the suburbs of Chicago. I went to school
in Indiana and spent the last three years in AN: Please tell us about your series Medicine
Maine. I am about to make the move to San and what inspired you to create this body of
Francisco. work?

AN: How did you become interested in KF: I am often amazed and humbled by those
photography? who tell me their stories of how medicine
has saved their lives: a friend who tells me
KF: I’ve taken art classes since the age of she just can’t be happy without the anti-
five, and have always enjoyed the challenge depressants affecting her serotonin levels; an
of improving in each medium: painting, line- artist who nearly lost his sight but was able to
work, ceramics, sculpture, etc. Photography regain it by way of a corrective eye surgery;
was the last medium I picked up––I was a young friend who beat cancer; and the
around twelve years old. I loved that I could passionate researchers who improve medicine

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and its everyday role. AN: Can you tell us a bit about how you
captured these images?
Conversely, I have witnessed and am
overwhelmed by the possibility of the negativeKF: Each image was created in a different way,
effects that modern medicine can facilitate: whether it was constructing a pill tree to hang
the potential for corruption, suicide attemptsabove a friends arm, torturing my boyfriend
from overdose, near deaths from misdiagnoses, by asking him to poke himself with a needle,
malpractice, over-prescription, and price or crackling pills along a tattooed arm to give
increases by insurance companies. the façade of disease. One thing I will say
is that all images, except two, were created
By no means do I have the intent of demeaning in camera instead of Photoshop, a fact that
or belittling the accomplishments of modern seems to surprise many. I think digital art is
medicine, what I hope for instead is for my fantastic, but I personally get my artist’s kicks
work to serve as a facilitator to discussion. from the transition of idea to tangible form.
Topics such as over-prescription, dependency, Unfortunately, I have a hard time asking my
and a culture of pill-popping acceptance are models to walk around balancing pills on their
critical to discussion, especially within our bodies, so the final product ends up being a
own families, with friends, and even within photograph. I’m most interested in creating
ourselves. photographs that can’t exist in reality, whether

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that’s because of timing, physics, practicality, AN: Do you have any upcoming projects?
or the scene simply doesn’t exist outside of my
imagination. KF: Yes! I’m continuing to push the temporary
body installations, I like the idea of creating
AN: What or who are your influences? a sculpture for the moment of photography. I
recently began a new project, Icarus’s Wings.
KF: What: Hardware stores. The sheer Following the tale of Icarus flying too close
volume of tools and materials makes me feel to the sun, I relate the story to the rise and
consistently ignorant to what many of them fall of two major civilizations throughout
are or do. This allows a playful and unbiased history. This project is an exploration of the
sort of interpretation, to see them as what I comparisons and contrasting differences
want them to be, as opposed to what they are, between the two civilizations and how history
opening up doors for how they can be used can enlighten future decisions. The work I’ve
creatively. made so far is part of a sub-series exploring
architectural feats throughout history and the
Who: All of the artists I’m influenced by people who have helped us achieve them.
have a magical quality to their work. Joyce
Tenneson and Cig Harvey, two photographers AN: What is your final say?
I have had the joy of working with for the
last several years. Their unparalleled drive KF: Keep trying different things until
and vision are inspirational. Arno Rafael something settles in and you think, “This is it,
Minkkinen, for his dedication to a singular this feels right.” Sometimes it’s a little voice
vision, and the sense of curiosity his work just barely whispering that, but pay attention to
imparts. Robert and Shana ParkeHarrison for it. Cultivate that, there’s something to it even if
their constructions, they are jaw-dropping. it doesn’t make much sense at that moment in
Tara Donovan, a sculptor, for her mastery of time. ♥
balance between alluring the viewer visually
while also challenging the interaction between See more at: kelseyfloyd.com
viewer and piece, on physical and conceptual
levels.

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KURT K GLEDHILL

“The things that inspire me are beautiful places, and bad weather. I
often find that cloudy, windy, or rainy days make the best photos.”
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 MY CITY Interview with Kurt K Gledhill

AN: Please introduce yourself. Where are you love photography, movies, and the great out-
from? doors.

KG: My name is Kurt, I’m thirty-six years old AN: How did you become interested in pho-
and I live in Okayama, Japan. I was born and tography?
raised in West Yorkshire, England but I have
been living in Japan for the last seven years. I KG: I became interested in photography

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because of Photoshop. I started playing with inspires you to photograph.

Photoshop about six years ago, I would take
photos just so I could edit and manipulate KG: My two favourite styles of photography
them. It wasn’t long before I became hooked are black and white fine art, and environmental
on photography, and now I rarely use Photo- portraiture. When shooting fine art I am always
shop, I try my best to get everything done in drawn to capturing “still” and “movement”
camera. all in one frame, I really like the contrast and
the slightly surreal nature it gives. The things
AN: Please tell us about your work and what that inspire me are beautiful places, and bad

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weather. I often find that cloudy, windy, or abandoned buildings, etc. In my work you will
rainy days make the best photos. see a variety of different subjects.

AN: What is your favourite subject to photo- AN: What or who are your influences?
graph?
KG: Without a doubt Michael Kenna is top of
KG: That’s a hard one, my mind changes so the list, the man is so talented and so influen-
much, and so quickly, sometimes it’s nature, tial. I find inspiration looking through Flickr as
then it’s the ocean, then it’s people and then well, there are so many amazing photographers

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out there such as Hana Haley, Megan Doherty, normally expect. For a future project I would
Emmanuel Rosario, just to name a few. I am like to shoot the people of my city––many dif-
also heavily influenced by movies. ferent faces in many different places. I am also
planning on doing some underwater work.
AN: Do you have any upcoming projects?
AN: What is your final say?
KG: The photo project you see in this maga-
zine is all about my city, I tried showing my KG: I would say photography is like a sport,
city in a different way from what you would if you don’t practice everyday you will not get

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better. I don’t just mean knowing your gear, See more at:
try to learn to see things in a different way Tumblr - http://kurtkgledhill.tumblr.com
from other people. Step outside the box, break Facebook - facebook.com/kurtkgledhill
the rules and don’t let people tell you that you
can’t do things.

Photography is art and there are no rules in

art. Don’t copy other people but find your own
voice, style and originality. ♥

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 FEATURED
MAREN KLEMP

“I want my images to convey emotions hidden in the mind of the viewer,

emotions that people do not pay much attention to during their lives, but
may recognize and acknowledge by looking at my images.”

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 THE VEIL OF FOG Interview with Maren Klemp

AN: Please introduce yourself. Where are you me my first camera when I was seventeen, I
from? immediately knew that I wanted to become a
photographer.
MK: My name is Maren Klemp and I am a
thirty-one-year-old fine art photographer living At the same time I dropped out of high school
and working in Oslo, Norway. and started an internship as a photographer
with the local newspaper.
AN: How did you become interested in pho-
tography? During this period my interest for photography
grew even stronger, and after about six months
MK: As a teenager I was very passionate about at the newspaper, I started studying fine art
writing, especially poetry and short stories. photography under professor Robert Meyer at
Robert Meyer Kunsthøgskole in Oslo.
After a while I also felt the need to express
myself more visually. I had no talent for either AN: Please tell us about this series of images
drawing or painting, so when my father bought and why you chose self-portraiture?

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MK: I have always been interested in psy- and even sadness, what emotions are you want-
chology, and this series of images reflects that. ing to convey to the viewer?
I consider the images to be visual representa-
tions of different states of mind. These images MK: I want my images to convey emotions
are very personal to me, and it felt natural us- hidden in the mind of the viewer. Emotions
ing myself as a model. I find it easier to cap- that people do not pay much attention to during
ture the mood and expressions that I want my their lives, but may recognize and acknowl-
images to have by working with self-portrai- edge by looking at my images.
ture. I also find it very convenient because I am
always available and ready for shoots. AN: What or who are your influences?

Some people find it strange that I use myself MK: I am influenced by movies, music and art
as a model, and I can understand that. When I in general. Some of my favorite artists are Sal-
am working with an image it feels like I am a ly Mann, Odd Nerdrum, Francesca Woodman,
stranger, and I do not think of the fact that the Gregory Crewdson and Emmet Gowin.
person in the image is actually me.
AN: Do you have any upcoming projects?
AN: Your images capture a sense of darkness,

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MK: I have just finished a project called Leav- See more at: marenklemp.com
ing Behind A Troubled Mind. The images tell
stories about people trying to escape their own
mind and thoughts. It is a series of self-por-
traits, and all of the images actually portray a
person with suitcases on the run.

I have no specific plans for what I want to do

next, but I am very inspired by nature during
the fall, so I am sure that my next project will
involve nature in one way or another.

AN: What is your final say?

MK: My advice to a young photographer

would be to find your own expression and stay
true to that. Make sure that your work is recog-
nizable and has your footprints all over it! ♥

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