(new)seen magazine volume 1, number 1

8/8/2019 (new)seen magazine Volume 1, Number 1

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Jennifer Massey:Art with a Heart

Page 7



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(new)Seen is a monthly publication, online and in print, that serves to pro-mote the artists, models, musicians, performers, and others who make a

point to be unique, different, and refuse to adhere to what is considered to be what’s ‘in’ at any given time. (new)seen is a publication by Genepool Pub-lishing and a product of Genepool Design. Seen is distributed free of charge,and is supported by blood, sweat, tears, and those who advertise within our pages!

Publisher: Genepool PublishingEditor: PJ Smith

Advertise and be seen: email [email protected] for more info and rates.

Cover Models: Jennifer Massey- Photo ©2010 Steven Schultz

See What’s InsideLetter from the Publisher

Mano Divina & The Divine Hand Ensamble Page 4Jennifer Massey: Art with a Heart Page 7Stephanie Malloy: Lucky Rabbit Photography Page 9Platform One Review Page 11Horror Craftsman Gus Clark Page 13

Letter from the Publisher

Dear Readers,Welcome to the big numero uno! Issue one of many. I have thought long and hard about whether or not I should just be a good littledrone and follow all of the rules the publishing industry has laid before me. Then I thought about what good reasons exist for me todo so. I then thought that the whole idea would be a complete waste! Without further ado I present to you my fabulous little disaster I call Seen!Seen, you ask? Well...I had other titles in mind. The Underground. Underground. Scene. None of them really t. This is a magazinededicated to the arts. Not ‘the’ arts, but the arts that are a little off-the-wall. Unique. Nothing that would be considered ‘the norm’or even close to typical, which brings me to the whole ‘seen’ instead of ‘scene’ thing. To be honest, ‘scene’ is too broad and, lately,way too overused. What do artists want? They want to be seen! You follow me, right?If you are an artist who chooses to be unique, different, and refuses to adhere to what is considered ‘in’, this magazine is for you.

Think your art form is a little too ‘out there’ or too freaky? Please...just let out your inner exhibitionist and aunt what ya got. Is your music on the experimental side, or use instruments that no one has ever heard of? It’s perfect! Be seen! Now, turn the page and enjoy our magazine and perhaps discover something new!

Yours until the end,PJ Smith



For centuries, string ensembleshave entertained and delightedaudiences with their performances,typically featuring pieces fromclassical composers such as

Vivaldi, Bach, and of course, Mozart.However, there is one ensemblethat not only performs the belovedclassics, but also popular favorites,movie score arrangements, operaarias, and even rare funerarypieces. In addition to their uniqueand exciting repertoire, they featurea very fascinating instrument thatbrings a whole new sound; thetheremin.

The theremin was invented in 1928by Russian physicist Leon Theremin.It was originally intended to be aproximity alarm, but Theremin cameto realize the musical potential of hisnew instrument, and it became the

rst electric instrument. How doesit work? Basically, the thereminconsists of two antennae, the PitchAntenna and the Volume antenna.

The instrument creates an electro-magnetic eld, which the player stands inside. The player positionshis or her left and right handsbetween the antennae, interrupting

the magnetic eld and creating thedesired pitch and volume. Soundseasy, but the theremin could verywell be the most dif cult instrumentto actually play musically. There areno keys, frets, or any other physicalindicators of where to place your hands. The instrument is micro-tonal, therefore the player’s handpositioning must be nothing lessthan perfect. In addition, because theplayer is, essentially, manipulating

electricity in a eld to produce sound,the slightest movement effects thetone. Slouching, breathing, even asmall twitch can upset the pitch of the note. The theremin is most wellknown for its contribution to thescience ction world, but in 1965musician Clara Rockmoore broughtits musical capabilities into the light.

Divine Hand thereminist, ManoDivina, was inspired by theperformances of Clara Rockmooreand learned to truly play thisinstrument. The ensemble,

consisting of violinists MoniqueCanniere and Julie Myers, violaplayer Johnelle Lawrence,acoustic guitarist Sean Carnahan,cello player Jon Salmon, harpistsMary Bryson and Gloria Galante,and glockenspiel player DanielWhitehawk, performs a variety of arrangements, The Ghostbuster’smovie suite, Mozart’s Ave VerumCorpus, and Queen’s Who Wantsto Live Forever are among the

enchanting, eclectic repertoire.The soft, sweet music or stringinstruments coupled with theethereal beauty of hearingelectricity sing creates an almostindescribable ambient calm over any listener. In an effort to obtain abetter understanding of the groupand their music, I spoke with Manoabout his divine ensemble.



Nicole: What inspired you to learn to playthe theremin?Mano: My rst exposure to the thereminwas when I was watching a concert by themodern French composer *Jean MicheleJarra. He was doing a number of differentsongs, and for one of them he whipped outa theremin, and I was just so mesmerizedin the 5 minutes he played it that I justhad to know, “What is this instrument?How does it work?” I had played severalother instruments at the time but I gota theremin just to get my hands on itbecause I thought it was so neat to havethis instrument that you could play withouttouching anything. I messed around withit and ending up falling in love with it somuch that I abandoned playing any other instrument whatsoever and focused all of my time on just the theremin.

Nicole: How did you learn to play it?Mano: Well there’s no real manualor instructions that come with thetheremin. In a technical sense Iborrowed Clara Rockmoore’s AerialFingering Technique and used thatas a kind of guide to build my ownstyle of playing, because I waslooking for a certain sound to comeout of it. Alot of it is going throughtrial by re. There’s alot of momentswhen you have to really worksomething out because you havenone of the other references thatyou have with normal instruments.You can’t rely on tactile memory.You can’t touch anything. Someonecould play a guitar blind-foldedbecause they could feel their wayaround the neck. I had nothing totouch to help me with it and I hadno keys or frets to look at, so thevisual and tactile senses are lost.It’s really just shing around in theair to nd the right note to make the rightsound. That’s about all that can be donebecause it’s all about relying on your ears.It is kind of a big surprise when you get atheremin because it’s one of those thingsthat looks so easy. Then you try to workit and you nd out it’s really hard and youhave to dedicate alot of time to it becauseyou don’t have the visual or tactilecomponents. Visually, it’s like playing thinair, which is both part of the challenge andpart of the beauty of it.

Nicole: What inspired you to form theensemble?

Mano: I started to really play thetheremin and got to wear I could makethe instrument sing. I watched videosof people plaing the theremin, from thegreat players like Clara Rockmoore to thepeople just messing around on youtubeplaying video game themes or somethingof the sort and I thought, “All of this isvery interesting, but how do you sustainthe audiences’ interest in watching itfor two hours?” I thought it would be agreat idea to bring together the beauty of electricity singing and traditional acousticinstruments which have been around for hundreds of years. I thought it was a goodway to introduce it to people who havenever seen or heard of the instrument ina way they can understand. Being a bigfan of classical music and opera I wantedto play that style of music with it. The goal

of the nesemble is to play beautiful musicthat moves people, and also it’s interestingto watch someone manipulate electricityto make it sing. I felt the theremin neededa musical context to be brought to people.By forming the ensemble we were able toget up in front of audiences and give themsomething familiar enough to understandyet entertaining enough to watch for a fewhours. It’ more than just a novelty act, itbecomes a serious instrument. If nothingelse part of my mission is to re-introducethe theremin as a serious instrument thatcan be played in a classical context.

Nicole: The ensemble performs a varietyof pieces, such as opera arias by Mozart,movie scores like Ghostbuster’s andEdward Scissorhands, and rare selectionslike the funerary violin pieces. How do youselect a piece to perform?Mano: I do have a very strict criteria for what we choose. First of all, the group iscalled the Divine Hand Ensemble for areason. I pick composers who took their gift and tried to reach some form of divinityusing all that they were blessed with. For example, Mozart wrote alot of differentkinds of music, all of it brilliant. However,the brilliance of a piece from the MagicFlute and the brilliance of his Requiemare two different things. A piece like hisRequiem was a hand up to god. We tryto choose composers whose music isresplendent with divinity. It seemed like the

perfect guideline to use when selecting apiece to add to our repertoire. Whether it’san opera aria or a rock song from the 70s,if it had a particularly beautiful melodythat I felt was moving I would choose it.I was looking for those shining moments,and that’s mainly what we’re trying tobring out with the singing of the electricity.Also, I’m a huge fan of all kinds of music,and there were certain pieces we wouldcome across that were not just beautifulbut would also work very well with theensemble. I adore the Ghostbuster’smusic and I always have. I choose EdwardScissorhands because Danny Elfman is



one of my favorite composers if not myfavorite living composer, so naturally Iwanted to do an Elfman piece or seven.But we would choose a piece that hadthose moments, and as a result we havesuch an eclectic repertoire. Basically wewanted a performance to be one beautiful,moving piece of music after another.

Nicole: How long does it take the ensembleto complete an arrangement?Mano: We do the arrangement beforewe give it to the ensemble. Jon Salmonand I sit and arrange how we want it togo, how we want it to sound, and we workout everyone’s parts. Then we give it tothe group, they will sight read it a coupletimes, then we’ll play and listen to eachother to try to get it to really sound like anensemble piece. It’s meant to all blendtogether into a piece of beauty. Audio art,if you will. Some songs the group taketo very easily. Others that they may notbe familiar with or an obscure opera ariatake longer, not just what’s on paper butto nd our own voicing in it and to get it tohave our signature sound. Ghostbuster’scame immediately. We handed them thishuge 15 minute multi-movement suite andfrom rst sight reading on it just clicked.On the other hand, we’ve been workingon a French opera aria by Gounod for asolid 9 months and we’re still coming upwith different phrasings, ngerings, andvoicings.

Nicole: What has been your favorite sofar?Mano: One of my favorite pieces to playis de nitely Mozart’s Ladaute Dominumbecause the vocal line for that is sonaturally theremin sounding to beginwith and it’s great to see the audiences’reaction when they hear what sounds likea singer onstage performing the piece butthere is no singer. Any piece that we openwith would be good examples becausethose pieces make the whole audiencetry to gure out what’s going on. Somepeople don’t even know I’m playing aninstrument, they think I’m conducting. If Ihad to pick a favorite piece to perform, itwould probably be the Ghostbuster’s suitebecause it’s just so fun to play live. There’sso much gorgeously romantic music inthere that you don’t even realize becauseit’s all part of the score and wrapped upin the visuals of the movie. So we tried tobring out those hidden pieces so audiencemembers could hear it and think, “I didn’teven realize this was in the movie.”

Nicole: Are there any pieces you hope toplay in the future?Mano: Every time I’m listening to music,regardless of what it is, I think, “I couldhear the ensemble playing this. The cellocan do this, the violins can do that,’ etcetera. Just the other day I was listening toI’m Coming Home from the Rocky Horror Picture Show and the rst thing I thoughtwas that it could totally work with thetheremin and strings. So every day I cancome up with something new I’m excitedabout playing. In the end, it’s about what’sgoing to work for the audience and theensemble. Right now we have about 25pieces in the works that we hope to playon stage. I’m sure once we’re done withthose, we’ll have 25 more. We’re havingour 3rd annual Halloween show at theSellersville Theater where we will bedebuting 8 songs, one of which is DannyElfman’s score for the remade Wolfmanmovie.

Nicole: What are some of the obstaclesyou have faced?Mano: First and foremost is for someoneto even understand what it is I’m talkingabout. I could spend an hour and a half explaining and they still may not get it.Another is the disbelief in the theremin.At our very rst Halloween show, we wereoutside during the intermission, gettingsome air. We saw and heard two couplesgetting in their car, and they were allcomplaining, ‘It was fake, It was a magicact. It was prerecorded.’ and so on. Oneof the members turned to me and askedif I wanted to set them straight and I said, ‘No. I think that’s the best compliment toreceive.’ People have such a hard timebelieving that this instrument is makingsuch beautiful music. Trying to get itrecognized as an instrument is another dif cult obstacle. People are used tohearing the theremin in sci- movies or Scooby Doo cartoons, but not hearingMozart out of it.

Nicole: What is the most satisfying part of a performance to you?Mano: That’s easy. Hearing that at leastone person in the audience was moved byour performance. Playing the instrumentrequires so much concentration thatplaying on stage and practicing arebasically the same in that I become ‘zen’with the instrument. My appreciationcomes from what the audience says,and to hear that they were moved is themost rewarding part of what we do and is

another reason why we do it. We’ve hadpeople tell us that we healed them of anailment, be it their hearing or a physicalpain that they had. I really think it’s justabout being relaxed and allowing yourself to be open to the music. The music waswritten with the intent to move you, butnot everyone can just sit down and listento Beethoven for a bit to unwind. Hearingone beautiful piece of music after another in a different way than they’re used to cancreate a strong reaction in some people.And it comes from people of all differentages and backgrounds. Whether it’sclassical, or spooky, or the rare pieces weplay, many different people can enjoy it,and that’s very satisfying.

The ensemble will be playing their 3rdannual Halloween show at the SellersvilleTheater in Sellersville, Pennsylvaniaon Halloween night. The show has twoparts, the rst of which is representativeof All Hallow’s Eve, featuring horror moviescores, spooky soundtracks, and funeraryviolin, music speci cally written for thpurpose of guiding a soul to the afterlife.The second part is All Saints Day, featuringopera arias and spiritual selections. Theatmosphere created inside the old theater on this night, when the veil betweenthe world of the living and the realm of the dead is thinnest, is truly captivating,almost magical. The ensemble also hasupcoming shows in November, at theWest Chester University Harp Festivalas a musical guest to the university’s 25harp ensemble, and holiday shows inDecember. Please visit www.divinehand.net for more upcoming performances,

photos, videos, and links to their other fanpages.

Sounds Like: Nothing you’ve ever heardbefore. It sounds like divinity; truly etherealand captivating

My Piece: My rst exposure to thensemble was last year’s Halloween showat the Sellersville Theater. Halloween is myfavorite holiday, so giving it up was iffy, butthe opportunity to see someone actuallyplay a theremin was too awesome to passup. Within minutes I was in love with their beautiful arrangements, and at the end of the performance I knew precisely what Iwould be doing the next Halloween. Notonly is it a truly remarkable performanceto see, but the music itself is a uniquemasterpiece. To hear electricity sing isboth strange and stunning. I recommendthis ensemble to absolutely everyone, butyou really have to see it for yourself.

I Heart: Everything this group does andthe absolute peace I feel when I listen totheir music



Jennifer Massey: Art with aBy Steven Schultz

Jennifer Massey is a 37 year-old jewelry artistwhose home and studio are located in southeastern

Pennsylvania, less than an hour from Philadelphia.Jennifer’s work spans many media and art formsbut her most popular works consist of highly origi-nal fused-glass pendants, all of which are individu-ally hand-crafted works.

The pendants cover a diverse range of subjectsand symbologies, including Mexican Folk, Nordic,Celtic and nature - including kitties, butter ies,dragon ies and sea serpents. Working in a visualreverse to her ultimate image, Jennifer creates her

glass pendants by hand painting enamel onto clear glass. She then fuses the background to the image

by ring it in a kiln, completing the work. Each pendant requires a solid investment in time and skill,yet they are available on her web site starting ataround $25 and going no higher than $50, depend

ing on the technique and the glass used.

“I want to provide a one of a kind piece of art andkeep it affordable,” says Jennifer.

Heavily in uenced by archeology, anthropology andmythology, Jennifer’s works include a beautiful,sugar skull series inspired by one of her personalheroes, Frida Kahlo and the Mexican Day of theDead.

Jennifer also produces colorful and highly originalworks in dichroic glass and beaded necklaces thatare made from glass, pewter, gold, silver and silver plate. As if her works were not eclectic enough, shealso creates whimsical, one-of a kind, cat toys thatare spiked with what she calls “a blend of high qual-ity organic catnip and other kitty-safe herbs thatyour favorite feline will love.”

Jennifer loves to collaborate with other artists andgive back to the community. Although suffering her-

self from Fibromyalgia, chronic fatigue syndromeand a horrendously bad back, she is constantly do-nating creations and time to causes like the Cys-tic Fibrosis Foundation of Vancouver and supportsother up-and-coming artists by incorporating their works into her beaded necklaces. Jennifer wearsher hair bright red in honor of the late Eva Markvoortand the 65 Red Roses weblog.

On eBay, Jennifer’s works can often be seen up for auction under the store name Freya’s Fire, with all

proceeds going to one of many charities.

It seems that the good Karma that she createscomes back to her as her creative activities act as akind of therapy; keeping her ngers from stiffeningup from the Fibromyalgia.Truly, Jennifer Massey is an artist with a heart of gold.



Jennifer Massey ’s work can beviewed and purchased at her website, “ Freya’s Fire .”http://www.freyas re.etsy.com

Shops that show her works include:

Mystical Tymes 127 South Main StreetNew Hope, PA 18938

215-862-5629

Dragon y Gift Shop 19 Bohemia AveChesapeake City, MD 21915410-885-9470

Passional Boutique704 South 5th StreetPhiladelphia, PA 19147-3006

(215) 829-4986(Exclusive line of pendants)

VIX Emporium 5009 Baltimore AvenuePhiladelphia, PA 19143(215) 471-7700

Jennifer also presents her worksat different festivals, including theMaryland Faerie Festival and theWicked Winter Renaissance Faire inSomerset, NJ.



Stephanie MalloyLucky Rabbit PhotographyBy Nicole Doudna

Photographer Stephanie Malloy truly captures

the beauty of her subjects. Under the nameLucky Rabbit Photography, her astonishingportfolio contains shots of models, animals,natural landscapes, plant life, and events,each projecting their own impression on theviewer without the use of heavy editing. Hereis a sample of her work and a look at the art-ist behind the camera on page 15!



OCTOBER EVENTS

October 6, 2010

Anti Gravity at the R Bar 218 Bowery, New York, NY 10012

War Music Presents: “Anti Gravity” - Each Wednesday night @ R Bar, 218 Bowery. AntiGravity is 100% UNDERGROUND LIVE BANDS featuring an array of styles that include,

Electronic, Post Punk, Industrial, Synth Pop and other obsolete labels that attempt to de-scribe this amazing music.

October 10, 2010

With Convenant at the Paradise Rock Club987 Commonwealth Ave. Boston, MA 02115

Platform one is pleased to be playing with Covenant at the Paradise Rock Club in Bostonon October 10th! Buy tickets here. Doors at 7:00pm. Platform one goes on at 8:00pm.

October 23, 2010

The Scarlet Parlour at Eamonn’s41 Murray Street, New York City, NY 10007

8:00pmwww.scarletteparlour.com

October 31, 2010

KLOCKWERQ at T.T. The Bear’s Place10 Brookline St. Cambridge, MA 02139

9:00pmwww.ttthebears.com/



Looking for the perfect prop to scare up some seriousfun this Halloween? Or a horror movie fanatic lookingfor a one-of-a-kind collection piece? Feast your eyes onthe fascinating work of artist, Gus Clark. Gus makescustom latex horror masks, custom latex make-upappliances, horror props, and Jason Vorhees masks.His accessories are made with such remarkable detailyou could almost think you’re face-to-face with thehorror movie legends themselves. And with all thecheap, wanna-be rip offs at every store in the MilkyWay galaxy, why not go for something a little moreauthentic?

Horror Craftsman Gus Clark By Nicol e Do udna



Nicole: How long have you beenmaking latex props and what made youdecide to do so?Gus: I’ve been doing horror props asa pseudo business for a few years,but I’ve been doing amateur horror make-up since I was in sixth grade. Istarted with those little bottles of liquidlatex and tissue paper like everyone

else, then I moved up to make-upkits and so on. I started working withsculptures and latex in early 2008 whenI decided to enter a contest to designa Jason Vorhees under mask to beworn under the hockey masks I wasalready painting. I didn’t winthe contest, but the guy whodid win really liked my work,he gave me some pointers,and I kept working at it. We gotto be pretty close friends and

now work as partners creatingprops and displays. I becamea featured artist on frightstuff.com and kept working on horror props. Later that year I decidedto develop a concept mask toaccompany some of the masksI was painting. I got some clayand the rest of the supplies Ineeded and set to sculpting.By the time I was done I hadcreated a pretty decent looking

zombie Jason and decided tocall it “Gravesend”. There areless than 30 and the mold willsoon be retired. I developedsome zombie make-upappliances that can be usedfor multiple different looks andstarted work on other masks,either r myself or to sell.

Nicole: What kind of education andexperience have you had?

Gus: I majored in graphic design incollege and I always have been kindof artsy, but I have no formal educationin sculpting or effects. Everything I’velearned about sculpting I’ve learnedfrom my partner, Mark, and my artdirector at my design job. Both havebeen extremely helpful. Everything elseI learned the hard way... trial by re.

Nicole: What kinds of tools and materialsdo you use to make your props?Gus: Just about anything I can getmy hands on for tools. I have a ton of store bought sculpting tools as wellas a few I’ve made from guitar stringsand whatever else I nd laying aroundthat looks like it will do the job. As for materials I use a couple different kinds

of oil based clay to do the sculpting, andI usually put that over a human headbust for masks. Though if I’m sculptingsomething that’s not human generally Iwill make my own armature out of pipesand anything else that strikes me as

useful. I use alot of tinfoil.

Nicole: How long does it take tocomplete a mask?Gus: It can vary. My rst mask was alearning experience. The sculpturewas a 6 month labor of love. The moldtook me almost a full day to make, thelatex took a day to pour and cure, andpainting can take anywhere from 5 to10 hours. Alot of time goes into them.Hockey masks can take just as long if

I’m trying to match a speci c look foa customer. Sometimes they’ll sendme screenshots from the movies toreplicate, and people can be reallypicky.

Nicole: Do you work with any genresother than horror?Gus: There are genres other than

horror? Seriously though, I haven’treally found any genres other thanhorror that my skills apply to. Generaleffects make-up is something I want toget in to more. I love creature creation.Growing up I was a huge fan of the Jim

Henson movies and I still am. I couldwatch the “Inside the Labyrinth”documentary endlessly. I wantto start doing some original latexpuppets and creatures soon. By day,I’m an animator for a Philadelphia

area company, so I do work in somelighter stuff when the sun is up.

Nicole: What has been your favoritepiece to make?Gus: So far it’s still my rst latex maskIt turned out well and I’m proud of it.It’s evil looking, it’s grotesque, and itturned out almost exactly how I rsenvisioned it.

Nicole: Do you have any upcoming

projects?Gus: Right now I’m workingon a sculpture of Slimer fromGhostbuster’s just for fun, and I’mbeginning work on another Jasoninspired concept mask to replace theone I’m retiring.

Nicole: Since Hollywood couldn’t tellus, who would win, Freddy or Jason?

Gus: Tough call. It depends on the turf. If we’re talking dream world, hands down

Freddy. In the real world, Jason wouldown Freddy. Jason is an unstoppablekilling machine and I’m rooting for himall the way.

Nicole: What are your plans for Halloween?Gus: I’m running a promo on frightstuff.com so that has me busy. My personalplans... scare the bejeezus out of asmany people as humanly possible.



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