Impact (through glass)

This months cover by Aleksandar Ares.
With layout by K.K.W

Amanda Richards: "Uncorrected Proof". By Aleksandar Ares, photos by K.K.W

At the event "Artbeat: SAS", I noticed something interesting, full of life and worth thinking about beyond the event itself. 

Its true; sooner or later all things are broken, shattered, left in fragments and often better left unsaid.

"Uncorrected Proof"

In Amanda Richard's piece "uncorrected proof" [2014 - resin, windshield glass] the force of pain and trauma serge's through it, the power of a life lived. Each line a wrinkle, a place we've been an will never be again, the places of impact could moments of joy that left its mark, or tragedy that we can never let go. 

"Uncorrected Proof"

The name of her piece leaves as much unanswered, as its gives; what is uncorrected? The material which no longer serves its function? The embodiment of a broken human form? Does her work give proof of what we all suspect and fear; that even alive, we're already shattered and broken?

"Uncorrected Proof"

The beauty is through the harshness of what it emanates, the pale-color, the lines from the impact its sustained, which created its current state. Its tortured soul given a state of grace by hands that loved it for what it is. And what it could be.

"Uncorrected Proof"

If you would like to know more, you will have to wait until we can locate Miss Richard's website. "Art is the reason, art is the way"

Meredith Dustin

This months cover by Aleksandar Ares,
with layout by K.K.W

                 "Dust":by Meredith Dustin. 

                                               The faces turn to paper
                                               The paper turns to flame
                                               The flame turns to smoke
                                              And the city is empty again

Meredith Dustin. Original photo
courtesy of the artist, digital augmentation
by K.K.W.

                                  The longest moment of our lives as you fell
                                             Three thousand heartbeats--
                           The last four were mine, when there was emptiness
                                                Where once stood life
                                              And when a smiling face
                                            Reduced to smoke and ashes,
                                           A memory like dust in my eyes.

                                            You think that I'm just a kid
                                  Staring into a world I don't yet understand
                                            Where you're grabbing a gun
                                       And claiming justice for these ashes

                                                 But under these ashes
                                                       Is my home
                                          And I'm trying to put the towers
                                                      Back together
                                I'm trying to hold the sky up on my shoulders
                                             So it doesn't fall on us again

                                                     Under these ashes
                                                         Is our city

                                                    Under these ashes
                                              Is an unmarked mass grave

      

                                                     Under these ashes
                                       There are no angels, there is no God,
                                   There are no martyrs to bleed for their faith
                                                 Our gospel has burned
                                              And we are burning with it
                                                 Hands gray with ashes
                                         Souls red with our collective blood
                                          The passion we have all bled for
                                      We have all suffered for it long enough
                             We will cry until our tears can wash the ashes away
                                        And we can amputate the parts of us
                                              That still want to be afraid

                                                             Ashes
                                               That were faces on the wall
                                             Blowing away in the fiery winds
                                      And I am still chasing the fluttering images
                                                   Trying to catch them
                                                   And bring them back

Meredith Dustin.
Original photo courtesy of the artist.
digital augmentation by K.K.W

Arguably a seriously talented emerging writer, with a dark creative edge, hovering near the light. Her writing is often filled with passion, imagination, and clever metaphors giving rise to other worlds. 

If you would like to know more, go to:http://xtemporary-insanityx.deviantart.com/  "Art is the reason, art is the way"

Music now:"Five easy pieces"

This months cover by Aleksandar Ares,
with layout by K.K.W

Michael Vincent Waller: "Five easy pieces". By K.K.W

There's a softness thats flows and resonates from each track of Michael Vincent Waller's "Five Easy Pieces"; matched equally by a tender, somber feeling 

like cold november rain. Its pacing is an elegant mixture of seeming, languid grace, 

with subtle increases of tempo and intensity ("L'anno del Serpente").

Like rain drops on the surface of a pond (or puddle of water) turning into ripples,

"Ninna Nanna" is like the repetitious cycle of falling rain. Its beginning is slow, exuding equanimity, towards a gradual change of slight exuberance and a gentle decline - as with most things in life.

Cover for the EP, image courtesy of the artist.

A seemingly simple series of chords thats dissonant with a harmonious touch , and yet its cyclical. Like the wane and wax of the moon controlling the tides crashing against the shore. Its haunting element  is embedded in its simplicity - hiding somewhere behind the notes ("Per Terry e Morty - 1&2").

Complicated and low-key, exuding a stream of slight melancholy, altered by a brief increase in tempo. "Acqua Santa" is a light shifting storm you underestimate, its momentum reasserts itself, then dissipates - the emotional output lingering...

on the horizon.

Michael Vincent Waller.
Photo courtesy of the artist

Each piece is elegantly played by Gumi Shibata (1-4),

and Jenny Q. Chai ("Acqua Santa"), aside from their obvious skill - they seem to feel the music in an honest way. Waller's music gave me the sensation of water, of falling rain, somber moods tinged with joy. I would image its because he's born under a water sign; and is quite gifted. 

If you would like to know more, or take a listen, go to:http://michaelvincentwaller.bandcamp.com/album/five-easy-pieces. "Art is the reason, art is the way" 

Aneta Kacurkova: Music now

This months cover by Aleksandar Ares,
with layout by K.K.W.
On the cover, Irina Sarnetskaya 

UniversaLove: moments of harmony. By K.K.W

The fist time I heard Aneta's music, is when her sister Genoveva posted one of her songs on Facebook. At that point I knew she had talent, 

and there was something worth listening to.   

There's an overall beautiful quality to the music, and though its bathed in 

her sense of love & joy, there is the subtle sense of pain that comes with living, loss, and knowing heartache [only to realize the joy in it all].  

Aneta Kacurkova. Photo courtesy of the artist.

Especially with the the first track ["I am I", which is like an extended intro], a meditative feel lingers throughout; a vocal spirituality that's akin to love. Listening to it I feel like I'm floating in darkness & the track is calling me.

"I Surrender" [my favorite track] is a soul-full, well written piece that flows with the music, like a leaf on the surface of a river. Its tender, heartfelt, gentle yet forceful, and sexy...just damn sexy. 

All this with a straight-forward lyrical honesty, wrapped in a lounge atmosphere 

back-drop, of Jazz / rhythm & blues ["UniversaLove"]. The first 2:30 minutes is like pop-lounge-Jazz  singing, setting itself up for the rest of the track. The piano & trumpet coming together [2:55 - 3:34]  is smooth-grove, a great instrumental, romantic feel to it. 

Aneta's music, this time around, comes across as moments of harmony, 

along with moments reaching for that same harmony. Some tracks work very well, and I connect with, others seem to lack a certain kind of resonation. And yet, it all flows with her abilities. 

If you would like to know more, or listen, go to:https://soundcloud.com/aneta-kacurkova. "Art is the reason, art is the way" 

Q&A with Delphine Fawundu Buford

This months cover by
Aleksandar Ares, with layout by K.K.W.
On the cover, Irina Sarnetskaya.

Delphine Fawundu Buford: a series of straight-forward questions. By K.K.W

The first time I met Delphine was @ her solo exhibition "In A Time Of Change", on June 16 2012 (at MoCADA in Brooklyn). Not only was I impressed, but also amazingly inspired. 

K.K.W: Delphine, thanks for taking the time; I know your very busy.

D.F.B: Cool! Thanks for thinking of me.

Delphine Fawundu Buford.
Image courtesy of the artist. 

K.K.W:  Reaching back, what made you decide to pursue art? 

D.F.B: Art was always in me, however, when I picked up a camera in 1993 I couldn't put it down. That's when I became conscious of the fact that I was an artist.

K.K.W: Photography is considered an art-form, and yet its become almost a cliche; How do you view your work in the medium between these two point?

D.F.W: I am an artist and photography is my primary medium of expression. It's always been that way since 1993 when I was shooting film and developing in a darkroom. I understand my medium and how to manipulate it to express the visions that come to my mind. The oddest question that one can ask me is "Are you still doing photography?" My response, "Am I still alive?"

K.K.W: What is it that you get from photography? A need to observe, visual exploration, or  does it feed a need for power through the appropriation of the subject? 

D.F.B: I am an observer of human nature, I can't help it.  I am a visual person constantly seeing things in frames. I have a way of connecting with strangers and photography documents the beauty in those connections. The images inspires and enlightens people that I don't even know, there lies the power.

Delphine Fawundu Buford.
Image courtesy of the artist. 

K.K.W: Being as photographers (especially those who are artists) control what the viewer sees & presents it in a certain context, would you say your work is a subjective form of representation?

D.F.W: I don't think that any form of representation is objective. Certainly my work is subjective by nature. The context is usually very realistic and includes the voices of my subjects in some form.

K.K.W: Susan Sontag (in her writings) is concerned that "...to photograph is turn people into objects that can be symbolically possessed." - do you agree with that? 

D.F.W: I absolutely agree with this. However, from my practice people have responded to my work as one which demystifies stereotypes and enlightens people more about a particular group of people. In my most recent series www.deconstructingshe.tumblr.com/, I am the "model" or silent "actress" in this series that aims to explore the complex identities of women in image driven society.  Essentially, I force the viewer to question these pre-conceived notions that "symbolically possesses" the images that they see.

K.K.W: Who are some of your creative influences?

D.F.W: I am inspired by an endless list of creatives including Roy DeCarava, Gordon Parks, Lorna Simpson, Carrie Mae Weems, Renee Cox, Cindy Sherman, and Mary Ellen Mark. I absolutely love and adore THE Photo Historian and Artist, Dr. Deborah Willis who has served as the most dynamic mentor!

K.K.W: Being a woman wasn't easy before you were born (if ever), and despite changes  within your society, do you find that its tough to gain respect and or advance yourself in whats still a man's world [to touch on the song by James Brown]?

D.F.W: I can't function from a paradigm of struggle because of who I was born to be whether it's my gender, sex, or race. If I could do it all again, will be exactly me. Most of the people who inspire me are women so that's a wonderful thing!

Aside from being immensely talent, Delphine is one of the interesting, intelligent, and beautiful young women I've ever met.  If You would like to know more, go to:www.delphinefawundu.net. "Art is the reason, art is the way"

Q&A with Irina

This months cover by
Aleksandar Ares, with layout by K.K.W.
On the cover, Irina Sarnetskaya.

Irina: A series of straight-forward questions. Photos & interview by K.K.W

Originally from Riga, Latvia, she grew up in the Bay-Park Sector of Brooklyn, N.Y. From Edward R Murrow to F.I.T (Fashion Institute Of Technology), she has pursed her craft, knowledge, and life with equal intensity. I caught-up with her @ while back in New York a few weeks ago.   

Irina. @ Light-Space studios,
for the "Transcend"
(Unreleased controversial documentary)
by J.Leigh Brantly, which she edited. 

K.K.W: Reaching back, what made you decide to pursue art?

I.S:  I didn't pursue "art." I pursued "craft." I liked the way photography made me feel and the connection it gave me to subjects.

K.K.W: Photography is considered an art-form, and yet its become almost a cliche; How do you view your work in the medium between these two point?

I.S: The word "art" is a cliché. "Art" is too subjective to be taken so seriously, and I believe in "function first." I like photographing because I feel good doing it. Others tell me they feel good when they see my work, therefore validating it socially. 

Irina.

K.K.W: What is  it that you get, from photography? A need to observe, visual exploration, or  does it feed a need for power through the appropriation of the subject?

I.S: See above. 

K.K.W: Being as photographers (especially those who are artists) control what the viewer sees & presents it in a certain context, would you say your work is a subjective form of representation?

I.S: Yes.

K.K.W: At this point in your career, its obvious your into all things....kinky and perverse. Are you a pervert? And is this something you consider "art"?

I.S: See above.

Irina.

K.K.W: After....seeing (I still can't believe I saw that) your "film" de-railed on Sat [3/1/14 - @ CineKink], what led you towards being involved in what could be considered "gay-porn"?

I.S: I don't consider de-railed a "gay porn." I see is as pansexual, sex positive, educational. It starts with a girl on guy, then goes to guy on guy, then the girl comes over and ties a guy up, then back to guy on guy. Gay porn implies only one gender and de-railed has both.

K.K.W: Being a woman wasn't easy before you were born (if ever), and despite changes  within this society, do you find that its tough to gain respect and or advance yourself in what's still a man's world [to touch on the song by James Brown]?

I.S: I don't think "this is a man's world," James. People have their privileges, some have more than others. The other day a straight guy told me that he cashes in on his "free drink privilege" by going to "gay bars" - it blew my mind.I tend to step away from people who tell me that we live in a man's world, because saying that perpetuates an "us against them" mentality. I prefer to take a humanist perspective by opting to spend time with allies and humans who respect me. I believe in making what doesn't work obsolete, and that is done by focusing on what does work. 

Photography (film & digital), mixed-media, film-editing, creating & directing,  Irina is certainly as ambitious as she is talented. Outside of that, she's a seriously interesting person with a fierceness and a unique personality. Recently she's  had two short films premiered; "De-Railed" @ The 2014 CineKink (the kinky film festival), and a documentary she edited, "Transcend: Unreleased controversial documentary"

by J.Leigh Brantly (which was screened @ Light-Space Studios).  She's currently living & operating in Oakland California (much to the dismay of those who miss her in NYC). 

If you would like to know more, go to:www.irinasarnetskaya.com, or:http://cinekink.com/. "Art is the reason, art is the way"