ISSUE 31 | January 2015

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THE START OF A BEAUTIFUL JOURNEY.....

CASTMARIANIC PARRA

SHININGELVIRA DAYELJADE MOON

CRISTINA VENEDICTLOVE RULES OKAY - SUSIE DAVID

MICHAEL JULINGSFUGGART DESIGN

BOZ MUGABEGORDON JAMES WILLIAMS STABBINS

SAM WALKER SMARTDIMITRINA KUTRIANSKY

AMANDA MENDIANTNATIVE MAKERSKEITH DILLON

KATERINA BELKINARODNEY NELSON

KATARZYNA JABLONSKAGUSTO ROBUSTOALICE HARRISONNATHANIEL HALLSATCH DOBREY

CANE DOJCILOVICFRESH GHOSTSTEIN ROHNER

RYOTA MATSUMOTO

MARIANIC PARRA

ARTIST'S STATEMENT

I follow the footsteps of painters who were interested at the end of the 19th century by discovering secretsof living light, namely by laying it on canvas. Referring to the Impressionists, I speak specifically ofpointillists and visionnists.Light is not painted anymore; it is no longer an illusion of light. It is light created. Optically, when Seuratpaints a touch of green, he put a touch of blue next to a touch of yellow, and optically at a few meters fromthe viewer's eye it created green. This green reconstructed by the eye is a brighter green than the greenpainted, greener than the green obtained by mixing painting. These artists were qualified scientists whorelied on Chevreuil techniques; they used all the theories of simultaneous contrasts, etc. They succeeded,for the first time in art history, to optically create Light. It is no more light illusion, but a real light.It is the beginning of a great adventure which continued by artists of Optical art, and others like Dan Flavin,Soto, etc.But this living light remained fixed, static, it was not moving; it was posed on canvas. Dan Flavin, forexample, gives us a great chance to look at the light. We are not used to watching light; light fills up space.With this type of artist, audience looks at light through installations.In my work (tableaux are not lit from the back) which associates natural materials (volcanic sand or coal) intheir original state and contemporary materials such as plexiglass, the viewer has the privilege of seeing aliving and moving light. My kinetic tableaux react permanently with the variations of the sun, with variationsof natural or artificial light. The work changes with the light that it is exposed to and in the setting in whichit is placed.Thus, there is a completely new contribution in this large family of artists who were interested in light. It is acontemporary vision by, of course, use of contemporary materials, and by the eye capturing moving light. Itis a new approach.

www.parra-art.com

SHININGAN INTERVIEW BY SAM ROWE

"It's damn good thing I'm ok with strobe lighting!' were the first words I spoke as Istumbled into the venue, late as ever. As I flung open the doors I was greeted bythe chaos that I would later learn was 'The Madness and the Damage Done'. Myinner fan boy gushed at the sight of a Dillinger Escape Plan t-shirt AND their coverof 21st Century Schizoid Man. I had never heard of Shining at this point but afterwatching their spectacle of a live show in Ultrecht, I needed to interview them."

- Sam Rowe

How did the band form originally? We started as an acoustic jazz quartet back in 1999, when I was studying jazzsaxophone at the Norwegian State Academy of Music in Oslo. I had sometunes and needed a band for a gig, so I picked the best guys I could find atthe school and started the band.

You guys sound very different from Where the Ragged PeopleGo and Sweet Shanghai Devil, how did this change comeabout? was it a concious change or was the changeunplanned?

Yes, we have indeed made quite a few changes in our music since our firstalbum in 2001! I grew up with metal music when I was a kid, so even when Iwas studying jazz music for ten years at the academy, I still had this uniquebackground from metal music. Shining started out playing acoustic jazzmusic in the vein of the mid and late era of John Coltrane, but after two prettystrict jazz albums we got tired of sticking to so many rules, so we decided wewere just going to do whatever we wanted to do! So we fucked around withsynthesizers, I picked up the electric guitar that I hadn't played since I was 13years old, and while our first two albums were recorded live in the studio, withno overdubs or edits or anything, we now started experimenting with modernstudio techniques and had a lot of fun with it. Elements of rock, metal andcontemporary classic music started sneaking into our music on our third andfourth album, and on our fifth album, Blackjazz which was released in 2010,we had completed a full blown metamorphosis and had become a great andnew mix of metal and jazz which we just called Blackjazz.

Even though these changes might seem sudden and abrupt when youcompare albums, they still were gradual changes over long periods of time.Some were conscious and planned changes, but most of all it was just aboutus doing whatever the hell we wanted to do, not abiding by what our fans orpeople around us hoped or expected us to do.

The band has experience a lot of line-up changes since it'sinception, was this to experiment with different combinationsof instruments and sounds?

When a band changes its musical direction so drastically that we've done, it'snatural that some musicians in the band might not feel comfortable with aparticular new direction. In that aspect I feel it's been natural for Shining tohave had some changes in line-up along the way. We all get older, we allchange, but we do not all change in the same direction. The result has alwaysbeen that the new person coming into the band is super enthusiastic aboutwhere the band is and where it's heading at that moment, which gives a greatboost in energy and enthusiasm to all the other members, and also makes theband a better band all over.

Are there any elements you would consider bringing back infuture records?

We are currently in the process of making and recording new music, and onsome tracks we feel we want to bring back some of the darker and aggressivevibes from the Blackjazz album, along with some of the more expanded andlonger forms. But it's still hard to say. We still just keep doing what we want,and it's hard to predict what we would like to do in the future.

>>

"I THINK A LOT OF SHINING'S MUSIC HAS BEEN DIRECTLYOR INDIRECTLY INSPIRED BY MOVIES. I LOVE MOVIES,

ESPECIALLY SCIENCE FICTIONS STUFF! I ALSO GETINSPIRED BY PHILOSOPHY AND MATHEMATICS."

What bands and musicians would you say are your maininfluences?

That list is very long, but from the top of my head I'd like to mentionthe following: John Coltrane, Albert Ayler, Michael Brecker,Entombed, Death, The Dillinger Escape Plan, Meshuggah, Nine InchNails, Marilyn Manson, Olivier Messiaen, Gustav Mahler and ArnoldSchönberg.

Are you influenced by any other forms of art? e.g. paintings,illustrations or sculpture?

I think a lot of Shining's music has been directly or indirectlyinspired by movies. I love movies, especially science fictions stuff! Ialso get inspired by philosophy and mathematics. When I say"philosophy" I mean in a very broad term. I'm not talking aboutDescartes or Kant, but often more modern works about thinking ingeneral, often on the edge between science and philosophy. Thiscould be anything from simplified books on relativity theory andquantum physics to modern classics such as Daniel Kahneman's"Thinking Fast and Slow". But here are a few specific books andmovies that have directly inspired some of Shining's music:

David Lynch's Dune and Twin Peaks, Kubrick's The Shining and2010: The Year We Made Contact, Aleister Crowley's many books(Magick Without Tears, Book Of Thoth, Book Of The Law, Book OfLies etc.), Fellini's 8 ½ and Milan Kundera's The UnbearableLightness Of Being.

When I saw you supporting Devin Townsend in Ultrecht the genresin your sound work together without without one overbearing theother? How have you achieved this balance?

We've always been a band that want our live sound to be arrangedin a balanced way without having to rely on backing tracks. So wetry our best to arrange the songs and instrumentation so that itsounds great in the rehearsal room as it is. That might contribute tothe balance you mention. But thanks anyway for such a greatcompliment!

What inspired you to mix all these musical styles together? It's really the two musical styles I like the best, metal and jazz,mixed together. Who wouldn't want to do their favorite two things allat once?

How do you guys go about creating a record? do you go in with aplan and a sound in mind or do you just let the creative juices flow?

It's different every time. Our first albums were recorded live in thestudio. The very first was even recorded directly to tape with onlytwo mics! Others have been cut, pasted and pieced together in thestudio, while the Blackjazz album was a slight return to a more liveoriented way of playing and writing.The common formula is reallyjust me writing songs and ideas, and then seeing how we can makea great recording out of them. >>

FOR SHINING IT'S BEEN IMPORTANT TO FOCUS ONMAKING GREAT MUSIC FIRST, AND THEN TRY TO

FIGURE OUT HOW THE MUSIC BUSINESS WORKSAFTER THAT.

What is your favourite country to tour? I must admit that The Netherlands is one of the best countries to tour in thewhole world! The distances are small, the venues are super well run, and you amet by the smell of soap upon arrival! Also the people seem to love great andadventurous music. I hope we'll get to tour a lot in The Netherlands in the nearfuture!

What makes the perfect live performance? A great venue, and great audience, a great local crew, a great band, and greatmusic.

How do you prepare for a live show? Do you have anyinteresting pre-show rituals?

We try to live healthily while on tour, so our pre-show rituals often include agood and nutritious meal, a run around the local area, a trip to the nearestswimming pool, or just some quiet and relaxing time in the bus or backstage.

Can you give any advice to any bands and musiciansstarting out?

For Shining it's been important to focus on making great music first, and thentry to figure out how the music business works after that. But who knows,maybe it's better the other way around for other bands? Anyway, I still thinkthat great music wins in the long run, even though the journey might be a verylong and heavy one. Good luck! Stick to it and stay strong!

Interview By Sam Rowesam@tribemagazine.org

soundcloud.com/shining

ELVIRA DAYEL

www.elvira-artist.com

BEATPOEM BY JADE MOON

That long distant beat,traveling in on the breeze,I'm you-tubing you and those cronies,some kind of smoke haze drifters,watching your faces silently,moving between the beats,speaking.

There are a host of characters amongst you,the beatniks and the blinkered,and you roaming onbetween the saxophone and the be-ats,keeping the heart beating,talking like you know everything of nothing,humbling all those who hear it.

You trace the history of the beatand have one of those facesthat reads words in everything,the beats and the multitudeof meanings in that phrase.I guess they slam things in this era of mine,torrents of meaningless rhymes,but you, Jack, are languid,like smoke caught in cloth,your scent remains rambling.

The beats don't complain,they phrase all of these neon lights and headlightsand darkness in the shallowsinto some kind of song of freedom.Shirts loose and dirty jeans,hair swept or falling,voice smooth like a riverrunning through the jazz drifting.

That long distant beat, you,and one special smoke haze cronywayfaring on fat roads over vast pregnant hills,through smoky bars and beat people.A typewriter tapping,a keyboard clacking,They say you're slacking but we know differently,your songs of a slouch hat, your mother,cats crooning to the moon and youdrifting in the beatitude.

Jade Moon

Illustration by Juan Pattino Herraiz

CRISTINA VENEDICT

www.cristinavenedict.ro

LOVE RULES OKTHE WORK OF MEGAN CALVER BY SUSIE DAVID

Before you go in you notice the glass doors havebeen very thinly white washed as ifto slightly obscure the exhibition inside.Shops do this when they're doing somethinginside that they don't wantyou to see, but here it is only a faint wash - a veil, whichhas broken inplaces into a delicate filigree. You can see through, but you have toreallylook. You are invited to 'declareyour love ' bydrawing on the glass. There is aheart, names, initials and a few random marks. Megan Calver likes them: "theyare asort of love message too". Everything here is a token, a message, of love.

There is a twig that had been dropped by twopigeons whilst being passed from beakto beak, now it is held by the beaks oftwo clothes pegs as it hovers still in the air,poking out of the wall as ifthe story continues out of sight on the other side.

Three measuring rules, or rulers, given to her by her grandfather, her father and herdaughter initiated these process-based investigations in which Calver began byexploring the rulers' functions and how they demanded to be used - she had todiscover their set of 'rules'. She says of this first stage: "I began by wanting to touchevery calibration that my grandfather and father would have touched, using repetitionand copying to keep an emotional response in check." Her grandfather died sometwenty odd years ago. Her father is becoming very frail. Her daughter has movedaway for her work.

So the drawing of thelines with a fine mechanical pencil began - each repeatedreverentially andtenderly, carried out according to the ruler'sincrements andcapabilities in order to draw lines or grids.

Calver talks about the oddnessof using Skype to communicate with herdaughter. Her daughter, a writer, had given her a rolling ruler that is designed tohelpdraw lines parallel to one another. She explains: "The conceit is thatI'dmake these lines for her to write on, but they're too tight. Maybe I'mtalkingtoo much and she can'tget a word in edgeways?"Perhaps the drawing impliesthebetween-the-lines-writing that could be done, or perhaps the lines speak ofclosing the distance between them.On a piece of marker paper using the ruler fromher mathematician father,Calverattempted to make a premium piece of graph paper byfollowing theguides. She glances askance at her graph paper: "It's laughing at me". After thefirst attempt she went to visit her father and sherealised she had to do it again:"itwas too hard. The line needed to be lighter. The emotion wasaffecting theweight of the pencil".For in amongst all this repetition, strict line-following, ruleabiding andregimented line drawing, there is a softness she is searching for.She is hoping for somethingother to show through. >>

On one sheet of A4 paper a pair of inverted commas have been drawn in very finerepeated pencil lines, so that each curve is slightly shifted from the next and two arcsof crescents result. These have been reversed slightly obliquely on the other side ofthe paper and they ghost through. The edges of the paper curl up slightlyencouraging you to lift the page and see the other side. These are empty invertedcommas and Calver suggests they can't find the words, they are potential, they are ata loss for words.

A painting by her grandfather, a carpenter by trade, is perched on top of a small stepladdertopped with flesh-pink felt - which makes a subliminal link to Beuys' restorativefelt and fat. The felt softensthe utilitarian nature of the step ladder and makes it agentle perch for thisprecious object. The painting is further protected by beingshrouded in tracingpaper, which may be lifted to see beneath. The protection may befrom any harshgazes that casually ricochet around an art school (wherethisexhibition is housed). There are signs that a ruler was used in the painting'smaking. On a nearby wall there are twopieces of A4 black-edged card upon whichseemingly inconsequential parts of thepainting, a patch of water say, where the lighthits, have been transferredwith the most delicate of fragile, shaking lines. This paleknotted tracerydances off-centre on each sheet. They are achingly exquisite. "Theseare beautiful" says Calver"to stop people intheir tracks - to make them look".

Looking at her works is always rewarding. Many are made whilst attemptingapparently impossible tasks, and a further performative element involves endurance,in the spirit of Bergson's durée, rather than duress. She remembers her grandmotherin cafés, and the way she would save her paper serviette, smoothing it out to bere-used later, sometimes offering it to her grand-daughter as a hanky (another lovetoken). In homage Calver set about exploring this gesture by repeatedly crumpling upand smoothing out a single paper serviette over a period of 24 hours. For display, theserviette's three layers have been carefully peeled apart, a form of emotionaldissection, and each then draped over its own cut-glass cutlery rest, which animatethe scene with motes of light glinting in the facets. All three mounds lie on a plainIkea trestle table covered neatly with the same pale flesh-pink felt as before. Thetissue paper is so worn, so smoothed, ...so loved! at first sight it could be the mostdelicate lace, it could have been made, or tatted, by her grandmother. Eachsee-through and delicate ply lies there in its fragile, vulnerable state, exposed to gustsof wind or an over-curious viewer's clumsy touchFocused on simple repetitive tasks arising fromspecific sets of tools and apparatusgiven as love tokens, Calver searches for closeness. It becameevident to me that eachof the many lines in the exhibition is attempting tospan the distance between theartist and her loved ones, to calibrate and tocelebrate emotion. This strategy is not ameasure of love but a marking of itsincrements, through the time and the distancethat has accrued between. In aworld that seems too hard, too governed by rules, theartist works through these rules in orderto arrive at the inverse, softness of emotion.This journey, through thedictates of apparatus and routine, is a form of longing thathopes to arrivethrough her love to their love, on the other side.

For, in all these works, you can see throughand catch glimpses ofthings behind or on the other side - through the door,the paper,the tracing paper, the serviette. Althoughall these works are leftvulnerable, with no frames or display cases, nevertheless theyappear cocooned from the harshworld: by the wash on thewindows, the cut-glass rests, the sheets of tracingpaper, and thecushioning felt. Calver laments: "There is so much horrific stuffgoing on in the world".

She moves a thin white carpenter's folding rule from one wall toanother,trying several times to prop it between the wall and theslippery floor where smallorange adhesive spots have beenplaced to mark potential places of rest. "Does love rule? I don'tknow" she sighs wistfully. The spots give just the merest hintofpurchase, enough to hold the ruler as it curves like a cupid'sbow about to spring.

LOVE RULES OKProcess drawings generated from familial objectsMegan Calver22 September - 3 October 2014artspace 101Roland Levinsky Building, Plymouth University

MICHAEL JULINGS

www.julings.com

FUGGART DESIGNINTERVIEW BY RICHARD THOMAS

Fuggart Design has been working alongside the music industry for over five years,building up an impressive list of clients in such a short space of time, to provide

them with graphics for their merchandise that is not only eye-catching andcontemporary, but complimentary to the music instrumentally and aesthetically. I

wanted to find out more about what makes music-art what it is, and how and why itdiffers to other art forms. I caught up with Fuggart Design's sole founder and artist

Tom Gordon to pick his brains a bit.

Hey Tom, what have you been working on today? Today I was drawing up a few type options for a Queens of theStone Age project I am working on, which has been fun. I was alsodoing a few photo based pieces for an American band who I'm notreally into, but it's relaxing work, so I don't mind that.

Could you tell us a little more about how you got in to graphicdesign? Where did it all start from?

Graphic design was never really something I aspired to do, at leastnot in a serious way. Back when Myspace kicked off in 2004, I saw alot of people making their own banners and stuff for their profiles,which prompted me to work out some basic stuff that would helpme copy-cat that. A few years later I was putting on a few shows inmy area and playing in bands, etc, and I never had the money topay people to do our artwork for us, so I just made stuff myself.After a while I guess I got OK at it, because before long I had otherpeople asking me to do their stuff. Fast forward a year or two and Iwas at a point where I noticed I was making a few hundred a monthon my side hobby and decided to take it seriously. I think it's fair tosay that I've always enjoyed art in general. I remember, even at ayoung age, people would complement me on my drawing ability. Inretrospect, I think I sucked at fine art, but I do know that the feelingI got when people would tell me my drawings were awesome wasaddictive and kept me wanting to create.

So, the business side of it came about quite naturally, then. As I mentioned before, the whole business started very organicallyas a hobby. I managed to earn some side cash whilst doing it, butmy focus was always on music at the time. The only real jumpbusiness-wise was after my son was born. Before that, I spent a lotof my time touring, partying and avoiding my coursework foruniversity by smoking a lot. When my wife and I found out that shewas pregnant I quit my band, knuckled down with my courseworkand turned into a work machine. I knew that I had nine months tomake it as a designer or end up stacking shelves, and the latterwasn't an option.

What about influences? Are there any designers out there that youparticularly admire, or bands whose merchandise designs you findyou often favour?

There are a tonne of incredible merchandise designers out thereand artists in general, but if I had to name a company who inspiredme to begin with, it would be Sons of Nero (now called Forefathers).They were the biggest inspiration for me starting out, andfortunately I now chat to a couple of the guys from Forefathers, andthere is a great deal of mutual respect between us. It's a surrealfeeling when the people you looked up to for so long turn aroundand give you compliments on your own work.Band wise, again, there are so many with styles/branding that I love.I am fortunate enough to work with a few of them. Nine Inch Nailsand Deftones have a good taste in merchandise, as do Queens ofthe Stone Age. Recently I made some artwork for a band calledEmpress AD (Roadrunner Records), and I got to do some really funpsychedelic style stuff for that.

"EVEN THOUGH IT'S MY JOB I LIKE TO ONLY TAKE ONPROJECTS THAT I THINK I WILL LIKE, BECAUSE THE

MINUTE YOU SEE A PROJECT AS 'WORK' IT BRINGS YOURPERFORMANCE LEVELS DOWN."

Great. So, can you tell us a bit more about your process of creatinga design?

If I am working on a rush project, a lot of this goes out of thewindow and I just go into full steam mode, but ordinarily I will workto a strict schedule. I always start off by really reading the projectbrief and making sure I have understood what the client needs.Once I am certain of that I move onto research. Research consists oftwo tasks: the first task being to check out the clients existing rangeof artwork to understand what they have approved in the past, andthe second task is to make a mood board of imagery so I have avery good reference point. I'll usually soak it in for a minute beforecoming up with ideas on paper. Anyone who's seen my conceptsheets has laughed at how awful my sketch-ups are, but all thatmatters is that I get the idea down with a rough layout so that I amcreating something special without needing to use every Photoshoptrick in the book. If you just storm about in Photoshop trying tomake something, it usually looks rubbish, because you've not spentlong enough on the concept and layout. All of my artwork lookshorrendous up until the final five minutes of creating it, mainlybecause I don't do any colouring or textures, etc (all of the finishingtouches), until everything else is perfect. I like to have the feel andlayout right before I fuss over the smaller details. I also never stickto one colour theme, so it makes sense for me to worry about thatlast. Once I wrap everything up, I like to be organised, so I tidy uplayers, give specific design codes to find files easily, and mock upthe art on t-shirts and whatever else to show clients. I like to thinkI'm very organised with my design process, but I know a lot ofpeople are better at it than me!

I have watched Fuggart Design grow, from designing for localbands to huge names like Foo Fighters, Blink-182 and of courseQueens of the Stone Age. How have you got to where you are now,designing for internationally acclaimed acts?

It's a funny one because it all happened so fast and I can't reallyexplain how/why it happened. I remember having this one crazyweek, where one minute I was wrapping up some mind numbinglocal show poster for £20, to being on the phone with RollingStones' team talking big bucks and London meetings. The day afterthat, Underoath's manager, Randy, emailed me and introduced totheir guitarist, Tim. All of a sudden I was doing all of the artwork fortheir farewell tour. That's a lot to take in all in one week! After thoseprojects went through and I pulled off some good art, word ofmouth did what it does best. Now, a new years later, word of mouthis all I need because I have built up such a strong reputation orwhat I do, and have a group of clients that are happy to pass myinfo on to others.

Wow, that was a good week for you then! Predominantly your clientele fallunder the alternative banner, but you've designed for people like Katy Perry,The Backstreet Boys and Rod Stewart, too. Do you find much difference inworking for acts so different musically?

It's interesting you say this, because in reality I do more pop stuffthan rock! I think the reason people presume that I am more rock isbecause I tend to showcase that more. Pop acts tend to need a lotof photo based artwork, which is actually enjoyable for the mostpart, but every now and then you'll get a really interesting brief.Rock stuff can go both ways. I can either have an awesome briefwhere I get to do some crazy out-there piece, or I can get lumpedwith some has-been rock band who just want stars and skulls. Bothends of the spectrum have their pros and cons, you just have tolearn to love them both!

Recently I've been doing a tonne of artwork for 5 Seconds ofSummer, and I would say it's one of the most enjoyable projects Ihave ever worked on, and the guys have been really into all of myideas. For me that's the most important thing to have in a client,because you feel more comfortable putting some crazy idea outthere.

Is there much difference in designing for bands compared to othertypes of clients?

I don't work with non-music related clients any more, but when Idid, I would spend a lot of time researching, because it wasn't theworld I knew. You could ask for more money, but overall it was fairlyunenjoyable. Even though it's my job I like to only take on projectsthat I think I will like, because the minute you see a project as 'work'it brings your performance levels down.

>>

"YOU HAVE TO DO BAND ART BECAUSE YOU REALLYLOVE DOING IT. THE REASON FOR THIS IS THAT IT IS

ONE OF THE TOUGHEST INDUSTRIES TO MAKE A NAMEFOR YOURSELF IN, AND EVEN HARDER TO MAKE A

GOOD WAGE IN."

Sure, I can definitely understand that. How about the differencesbetween designing a poster or album artwork in comparison to at-shirt – are there any?

Surprisingly, there is a huge difference. When you are working on asquare canvas like a poster or a CD cover, you are able to go all theway to the edge and whatever you see on the canvas is what youwill see on the end product. With t-shirts, you have twocomplications. The first complication with t-shirts is that they areprinted (mostly) using the method of screen printing. With screenprinting, you have colour limitations, and you can't always get all ofthe detail from your screen onto the garment. It's a print processyou really have to understand before smashing out a load of art fora client. The other complication is that you can't just take arectangular design and slap it on a t-shirt. You need to be able todesign something that interacts with the garment in a way thatpeople will want to wear it.

Have there been any favourite briefs, or favourite clients you haveworked with?

I always enjoy working on Queens of the Stone Age! Recently, I'vebeen asked to make some heat-responsive artwork for a band (Ican't name names at this point). I haven't started that yet but I'mvery excited. Generally speaking, you can win my heart by askingme to work on lithographs (a type of high quality art print). That ismy speciality!

Heat-responsive artwork sounds fun! You're certainly doing somebig and interesting things. Where do you see Fuggart Design goingfrom here?

In my niche of band merch, I have already achieved so much that itis hard to picture a next step, but I've always loved the idea ofworking in a studio with other creatives. It'd be really fun to bounceideas around and have people to give me instant feedback. It's alsoincredibly motivating to be around other strong creatives, as itmakes you push yourself so much harder. Short term, my list ofgoals is very simple, and involves mostly ticking off more names onmy bucket list! One day I would really love to spend more timetalking about design and teaching people.

Talking of a bucket list, then, who are some bands you would liketo work with?

A few bands I really wanted to work with in 2014 have been tickedoff already (Foo Fighters, Ryan Adams, All American Rejects, Lorde,Paramore, and a few others). There are plenty left though. Myfavourite band of all time is Brand New, and I'm desperate to dosome art for them. Sigur Ros, Daughter, Fleetwood Mac, Band ofHorses, Basement, Citizen, Jimmy Eat World and Linkin Park are allbands I am desperate to work with. Some because I'm a big fan andsome because I like their art style, and then finally Linkin Parkbecause of the nostalgia!

Lastly, do you have any advice you can share with readersinterested in getting in to this type of work?

You have to do band art because you really love doing it. The reasonfor this is that it is one of the toughest industries to make a namefor yourself in, and even harder to make a good wage in. My typicalweek involves over seventy hours of work, and anti-social businesshours to accommodate my global clientele. If you don't have astrong work ethic then it probably won't work out for you, so makesure you go into it with your head focused. Despite how hard it isand how much it will DEFINITELY kill your social life, it's honestly thebest feeling in the world to do it for a living, so if you really want it,work hard to get there.

Cheers, Tom!

Interview by Richard Thomasrichard@tribemagazine.org

Find out more about Tom's work at Fuggart Design elsewhereon the web:

www.fuggartdesign.comwww.facebook.com/fuggartdesignwww.instagram.com/fuggartdesign

www.bozgallery.com

GORDON JAMES WILLIAM STABBINSAND

SAM WALKER SMART

Boy:

The touch you keep,is not yours to store,they give it freely,no price,no fall.

Girl Smoking:

Joy tastes sweeter on the 15th floor,young smoke,young guns,and a suited figure,operating the cellar door.

Hommerton Street Scene:

In a town where truth and honesty,proof such a rare commodity,treat each other well.

Bicker not,with man or clock,

Nor abandon child's will.

Lady Corgi:

As the days turn into steamand rectangle rooms fill with finery,a medicinal canine,to pal and paw,helps ease the creaking,of times door.

Yet tonight, tonightintros and invites,knuckle down,own the light.

Scooter:

Fear not deer heart,Outside awaits a new teacher,To nurture your greatest mistake,That beautiful demand.

Not all eyes are hungry,Not all words are harsh,A tomorrow offered,An option nursed.

Sheik Sheriff:

He stood ready for tides of teachers,under kindly moons,the 5am saints,would visit,

would visit very soon.

Whiskers:

A boy who cast a vile eyeon sand, sea and mother,a man who read too many texts,on the underground, the other,

Now an older gent,who circumstance,left like so many others,

Jack of the green,a friend or fiend,full of rum hopes,full of hollows.

DIMITRINA KUTRIANSKY

www.dimitrinakutriansky.com

AMANDA MENDIANT

amandamendiant.com

NATIVE MAKERSINTERVIEW BY AIMEE DEWAR

Towards the end of 2014, Native Makers ventured into the world as the brainchild oftwo talented art graduates, designer Rosie Drake-Knight and illustrator EmilyDymond. With the focus of supporting young and upcoming artists in Plymouth andthe South West, the duo debuted their business with a beautifully designed andorganised Christmas Market at Plymouth's unique Rumpus Cosy/Radiant Spacetearoom and art gallery, with a stunning turnout. I think this is just what Plymouthneeds and am personally very excited to see how Native Makers grows over time.Their first event perfectly set the scene for their future work and it is very much acase of watch this space with this fledgling venture. They took some time out to chatwith me about their journey so far.

Pictures: Dom Moore Photography

Hi ladies, thanks for taking the time to speak to us here at tribe.Can you introduce yourselves and tell us a little bit about NativeMakers?

R - Hello! Thanks for having us! I'm Rosie, I'm a textile designer and2013 graduate of Falmouth University.

E - And I'm Emily, an illustrator and 2013 graduate of PlymouthCollege of Art. Native Makers is designed as a quality sellingplatform and social hub for local artists. We provide low-costhigh-quality selling spaces at events, to encourage skilledprofessional artists and designers to trust in group exhibitions andto break the 'craft fair' norm. We hope that providing thisenvironment for our designer makers, puts them and their work inan appropriate setting, attracting the right buyers and increasingthe awareness of their craft.

How do you feel about being based in Plymouth? Do you see thecity as a cultural hub?

R - Plymouth is a funny place. Having grown up on the Isle of Wight,you can imagine moving to Plymouth was a bit odd! I've been herefor nearly two years and I've realised that actually, Plymouth hasloads of culture. The problem is that its so hidden, its never seen bythose who don't already know about it. Nobody knows about it, andsome people don't want to know about it. Having said this, there is ahuge community of people who are constantly searching for it, andits those people that Native Makers has been created for!

I had this realisation after a poor start to my post grad life. I got sofed up of attending low-rate stuffy craft fairs, time after time peoplewalking right past my elaborately designed stall, that I thought i'dbetter just get my act together and create the kind of market I waslooking for. I pitched the Idea to Emily and she immediately gotonboard. We realised that between us we knew so many local artistsand designers who were looking for the same thing. I think this initself shows that Plymouth is destined to be a cultural hub. It'sgetting there!

How do you think Native Makers will impact on the South West? E - I think the most significant impact will be the encouragement forgraduates to stick around in the South West. The arts educationdown here is excellent, but so often graduates head back to largermore classically cultural cities like Bristol and London. We're hopingto give practicing designer makers a reason to stay put,subsequently creating jobs in the Arts in the South West andnurturing the growth of culture in Plymouth.

Can you outline the importance of buying local and handmadeproducts for young artists such as yourselves?

R - Theres a quote that a lot of designer-makers would recognise..."When you buy from an independent artist, you are buying morethan just a painting. You are buying hundreds of hours ofexperimentation and thousands of failures.You are buying days, weeks, months, years of frustration andmoments of pure joy. You are buying nights of worry about payingthe rent, having enough money to eat, having enough money to feedthe children, the birds, the dog. Most importantly, you are buyingthat artist more time to do something they are truly passionateabout; something that makes all the above worth the fear and thedoubt; something that puts the life into the living". I think that saysit all!

What are your plans for Native Makers in 2015? E - We had some incredible feedback from the last event, so muchso that we have to do it again! It was always an intention to put theChristmas Market on again this year, but we would love to doanother one in the summer. Keep your eyes peeled for more detailson this!

Lastly, do you have any tips for anyone starting their own creativebusiness?

R - Keep your eyes on the prize! Its tough, and stressful, andsometimes you think its not worth it, but don't give up! When youget back just a little bit of praise, or someone recognises why you'redoing it, or says thank you, its so worth it.

KEITH DILLON

My work in one word, questions. It is super surreal, very graphic, with complexcomposition, and heavy use of perspective. Coming from dreams and visions, somemake a statement, others tell a story, and some are just for fun. I shoot all theobjects, with a Canon SLR digital camera, and put them together. Taking trips tolocations to shoot stock images. I shoot all kinds of things, at the time not knowinghow I'm going to put them to use. I also shoot models, and objects in the studio, thatare needed to create a image. I cut and paste the images on to a background, insome cases, using filters, or painting them to create, a collage As we all know aphotograph shows us a real thing, we been told that all our lives. By using myprocess, it looks like a photograph, but something is out of sink. And by having themprinted on archival stretched canvas prints, are they a photograph or a painting. Theviewer is drawn in, and then it starts a questioning of what is real. The hook bringsyou in, and then a story begins to develops. That's why I call it super surreal art, ArtThat Makes You Think !

ARTIST STATEMENT

dillonphotoartist.carbonmade.com

KATERINA BELKINA

www.belkina.ru

RODNEY NELSON

STEWERSHIP

and the place is no longer oursDHL

heat cabbage in a pot of cleanserto make the right chemical stew andserve it tomorrow with a side plateof burnt-out mineral garbage

you will need to be an it creatureto eat the earth you're on and survivewith an omnifarious dietthe oven never going out

the arm that you got amputateddid not belong to you anyhowand letting go the earth will not hurtif you are its main infection

Robinson Jeffers had to inveighand Edward Abbey to laugh when theyspotted what you were turning intobut the ears on you went foreign

YOUR COUNTRY

wide traila foot avenue

rounding the lake in woods ofgreen and once-green leaf

autumnnot quite in the sky or hereonly an intent the scentof old wet vegetablewent with obliquity yeta crow was heard staccatoin woods that would have muffledit a month ago had notmuch other calling in them were hollowed now

rain onlyan aspergillum and oneminute of sun

enough toundo a crow's obloquy

SNOW IN APRIL

not the right look or smell to the two-weekmild but we had not wanted to let onand when cold hit again we put out moresuet because what had only seemed togo away could only seem to return theriver upped and would be greateninganyhow but we knew the prairie wasstill in town and did not want to let on

Illustrations by Hannah Mae

KATARZYNA JABLONSKADrawing has always been dominant in her practice. Line, light, shadow andcomposition play as much a fundamental part of her work as the content and storybehind it. Her artist's perception, sensitivity and receptivity are exemplified intechnically and formally rewarding study and the acquired technical skills are thebridge to dynamic approach resembling artist's life experience and a foundation for anatural, conscious, genuine creative process (as opposed to what's uncontrolled andaccidental). Drawing from the concept of portraying genuine passion and emotionsthrough a figure she creates images narrated through identity, expression andimagination.

Looking for that critical moment to convey her vision is a challenge and an assertiveexperimentation with the composition. It is an intellectual and intuitive processdrawing on her attention to details, her skills and experience.

With a camera and then on paper she penetrates the core of musicians', dancers' andother artists' spiritual life, lifted vibration, exhilarating energy.

katarzynajablonska.wix.com/visual-artist

GUSTO ROBUSTOINTERVIEW BY EMMA SCOTT

Nowadays society is predominantly ruled and influenced by technology, puttingpressure on the world of art and design to adapt and keep up with what some wouldcall 'the digital age.' In recent years digital illustration, or vector art has becomeincreasingly poplular, and design company Gusto Robusto have embraced this, witha mission to produce limited edition digital artworks. I caught up with Anna Rado ofGusto Robusto to find out more.

So firstly can you tell me a bit about Gusto Robusto? What is itexactly?

Gusto Robusto deals with producing, promoting and selling artprints in limited edition. The artworks are printed with the highestquality (5 Pantone colors). All the illustrations are exclusivelyrealized by selected artists. The project started from the desire ofManifactory, an Italian communications agency, to promote vectorart in its highest and purest form.

What do you look for when selecting artists to create work forGusto Robusto?

When we select an artist, we first search for talent and enthusiasm.We give them maximum creative freedom. We just ask that theyrealize the illustration in a vectorial technique using the selectedPantone palette that characterizes every series. Because freedom isthe necessary condition for the artist to express himself at their best(too much often illustrators are bound by the commission of aspecific work and they rarely have the opportunity to fully expresstheir potential). All the talented artists contacted, also for futureseries, are interested in the project. It's a joy to work with suchspecial people!

Gusto Robusto is focused on digital/vector artwork, this is fastbecoming a very popular form of illustration, why do you think it isimportant to promote and celebrate this as an art form?

Vector graphics is one of the most common techniques used at aprofessional level by many illustrators and artists. There are a lot oftechnical reasons for which this technique becomes suitable formany uses. For example there is not resolution limits so prints couldhave high quality even in a large dimension. At the same time thevector technique requires high technique, precision and dedication.Only master illustrators are able to express their vision at the bestwith this technique. A vector graphic for Gusto Robusto can takethree weeks working time to be ready for printing. >>

GUSTO ROBUSTO'S AIM IS TO HELP VECTORILLUSTRATIONS IN BEING RECOGNIZED AS A FORM OF

CONTEMPORARY ART.

What was the reasoning for keeping the prints the artists create aslimited edition? Of course digital artwork can be easily replicatedand reproduced, therefore why did you decide to keep the printsas one of pieces?

We believe that the vectorial technique can be considered suitableto create original pieces. With the classical technique (as etchedengraving) the artist incises a metal plate with various methods. Theoriginal matrix of the artwork is inked and printed in the number ofcopies decided for the series. It has been like this for centuries. Webelieve that a plate generated by a vector file has the same value.We create a real original piece with a software, instead of bymanipulation as in intaglio printing, or by chemical methods as inthe photograph. If the photograph it is already accepted, why notthe digital illustration? The general public struggles to understandthat this kind of artwork is not anything different than a hand-madepiece of art. It's just a different technique.

What is the aim within Gusto Robusto, what do you want it toachieve?

Gusto Robusto's aim is to help vector illustrations in beingrecognized as a form of contemporary art. Moreover "An artist is notpaid for his labour but for his vision" (citing James Whistler). So,we're trying to offer this opportunity to those who work with us. Wecontact well-known artists and we have a scouting ambition. Livingin Italy is not good economically at the moment, but all theconsents we got prove that we have the energy to react.

You promote the artworks in exhibitions and galleries, is this opento anyone to come and view?

Yes, it is. We're trying to create the possibility to expose our artprints because a live experience of them is necessary to reallyappreciate the quality. When someone sees one of our original printlive they often say: "Seeing it live it's even more amazing!". This isdue mainly to the care we put for the realization of the artworks.Moreover, we love the contact with people and we think that thebest way to show our project is through exhibitions. We arearranging a great exhibition for September 2015 with lots of news. Itwill be the beginning of an international tour ... but it's still too earlyto talk about it. We can only say for sure this will be a great year.Stay tuned ;)

Where do you see the future of digital art within the field ofillustration? Do you want to adapt/change/influence this withGusto Robusto?

This is a good moment for illustration in all communication field. InItaly there is a network of new illustrators which allows us to workand create interesting collaborations. As Gusto Robusto, we're tryingto help this development and to facilitate the recognition of theseart forms. We're promoting talented people, and we're trying to helpyoung talents to emerge. We are planning some importantexhibitions and we're also thinking to create a competition to helpyoung illustrators to emerge. Our imagination has no limits so wekeep going!

Interview by Emma Scottemma@tribemagazine.org

www.gustorobusto.com

www.alicenharrison.com

NATHANIEL HALL

SCARLATTI HALLBY SATCH DOBREY

The audience in Scarlatti Hall is filing out now. After a marvelous performance of LuskusDelph, this amazing concert, the last of its kind, is brought to a close. The Montonia SymphonyOrchestra thank you, the Whaling Memorial Choral Society thank you and we here atBroadside Studios and KBOX thank you and truly appreciate the support you've given us overthe last sixteen years. For the last time, this is Ray Durand wishing you and yours a fantasticnight and an even better tomorrow. Goodbye Louie, for the last time, goodbye...

That's it, that's the last we hear. Luckily, we tracked down a former player in the orchestra whois now disabled. He has recorded every concert for the last seven years.

I take it that you've listened to the other tapes. He doesn't mention Louie on them, doesn't say,'goodbye, Louie'?

That's the strange thing, sir. No, he doesn't say 'goodbye Louie' but at the end of every concertMr. Durand says, 'goodnight Louie'. 'Goodnight', not 'goodbye'.

So, this Louie fellow, you think that might be Louis Jackson?

Louis Jackson, janitor at Scarlatti Hall, was found dead in the alley behind the Hall lastThursday evening by an unidentified person. Cause of death is unknown at this time. Thursdaynight's concert was the last in a series of bi-monthly concerts over the last sixteen yearsemanating from the historic venue that was once home to the Vaudeville Circuit and countlessother musical acts, theater and film presentations. The local Historical Preservation Society isattempting to save the building from demolition but the St. Bernard Hospital has acquired theproperty and is planning to build a Center for Cancer Treatment facility on the site. An autopsywill be performed.

Stevens turned things over in his head. Unsure of whether to pursue or drop, he listened againto the taped sign-off. He repeated to himself his discussion with the Chief. He took anotherlook at the newspaper article. Was the autopsy for Scarlatti Hall or Mr. Jackson? His interviewwith Mrs. Seedy left him uneasy and hesitant to act yet curious to find out more. She soldtickets the night of the Concert like she had for years. While listening to the Concert on theradio, she stayed in the ticket booth till half past nine. She then helped out at the refreshmentcounter during intermission. As the concert ended, she finished some odd jobs and was backat the counter listening to the radio when the audience was leaving and the police wereentering. He looked again at his notes.

By the time I arrived at the Hall, the audience had left. When I interviewed her she was wearinga purple hat that completely hid her hair. She wore black gloves that reached to her elbows.Her skirt was too short for her hips giving the appearance that the upper half of her body wastrying to escape from the lower half. Her elbows were blood red. She proceeded to tell meabout Jackson and Durand. She said she was thinking he might cause problems. MeaningJackson.

"Jackson was a malcontent. He came to our meetings of the Historical Society once in awhilebut all he talked about was his job - his janitorial job and his other job. He was a nightwatchman at some warehouse. He threatened to quit as janitor if he didn't get more hours. Hereally hated women, that's for sure. He didn't like me, didn't like the fact I was trying toorganize things, trying to set up a non-profit."

I asked her why she had phoned the police to report a murder when they were already at theHall and had called an ambulance for the body. I stuttered a few times asking questions like,"D...iiid you know the Chinese gentleman who d...iiiscovered the body"? Or, "Wh...een was thelast time you spoke with Mr. Durr...aand?" She would squint when I stuttered. I hated that.

Illustration by Polly Morwood

"He has a marvelous voice, Mr. Durand, so fluent and sonorous. His inflections are simplyrapturous and he never stutters or interrupts his timing. His timing is impeccable."

She would not give me a straight answer but kept going on about her dislike of Jacksonand her admiration for Durand. I decided to veer from my tact. Did you or did you notsuggest that Ray Durand might have had a hand in Louis Jackson's death? I realized assoon as I spoke those words, their pathetic ring. She looked at me and smiled. She thenlicked her lips, not once, but twice.

"I thought the police should know. When one says 'goodnight' to the listening audience andhas said 'goodnight' to Louie after every concert for over a decade, and then says 'goodbye'out of the blue...well, I would think a detective should be notified. 'Goodbye' is final in thissense, no?"

She punctuated the air with a large arcing question mark. Then quipped, "Stop me if I'mrepeating myself, but murder is not that uncommon." I agreed to have an officer drive herhome as she would have missed the last bus. Decided to interview Durand in the morning.

Mr. Wong was taking a short cut home from the Chinese Restaurant where he worked. Henoticed a man lying in the alley behind the Hall and noticed some men carryingequipment to a van so he told them about the body and the musicians notified the Hallstaff. Jackson's apartment was four blocks from the Hall and offered no clues. Autographedpictures of black entertainers from the fifties.

"Why 'goodbye' instead of 'goodnight', Mr. Durand?"

"That's it. That's the end of the Hall. I was telling Louie goodbye. Of course, he neverlistened to my broadcasts but Mrs. Seedy did. She bungled the preservation thing."

"She as much as accused you of murder."

"Are you aware that Mrs. Seedy moderates the Murder Mystery Book Club at her Library?"

Stevens turned red, blood red.

Satch Dobrey

CANE DOJCILOVIC

"...Inspiration is a human face or a body, but subject matter is inconsequential, itcould be anything. Initial stage of the painting or drawing is calculated, calm andsimple, with a clear subject matter. Fragmentation and chaos follows, sometimes onlyto lead right back to the calculated and calm beginning which would be, inevitably,fragmented again. Different "poetics" are developing in the process, intentionally orunintentionally dependent to the painting process itself. Few hours of painting todaycould take any direction tomorrow, either to more fragmentation and complication orto clearing and simplification of the fragmentation painted yesterday. Extremes ofopposites, symbiosis of sharp and soft, stillness and motion, bright and dark and arange of different temperature grays in between are originating and becoming visible.All those opposites can find the balance only in the process of painting and theycannot be devised, formulated or arranged in advance. In that process, separaterhythms, "plays" and fragmentations of the forms, lights, shadows and structures aredeveloping and starting to evolve and deviate to different directions, somehowbecoming independent from the initial "subject" matter.It seems to me that there is never end to that process and in it I find the joy ofpainting that prevents me from declaring a painting "finished". That is why mypaintings are only in different stages, depending on where and when I decided tostop painting them. I am aware that rational decision must be made sooner or later:when to stop? But my paintings are never "finished..."

ARTIST STATEMENT

www.saatchiart.com/CaneDojcilovic

FRESH GHOST

www.freshghostart.com

STEIN ROHNER

OBSCUREPaint, stone and shards

Circus and its obscure world; short, glamorous moments in front of an audience as a productof hard work, hidden behind the stage. An intense life, always on the move. Different artscombine to evoke emotions, amusement, laughter, amazement, dreaming and finally, theadmiration of the spectators.The films directed by Fellini, especially "La Strada", depict such extreme and contrastingmoments. The circus is brought to life through colourful characters portrayed by the artists inthe ring and their distinctive costumes. The pictures of our inspiration derive from a bygonetime, telling stories in black and white. Various colourful rainbow leaf beetles with their obscureshapes and silhouettes mingle among the artists. Everyone seems to play his role andcharacter, wearing a quirky costume.We reinterpreted many of the circus costumes, such as the leg of mutton sleeves and stripes,the voluminous silhouettes and shapes of the harlequins and beetles. Also the body-huggingcostumes, which embrace and accentuate the movements of the holder, but at the same time,disguise them in an obscure way with patterns, shapes, applications and fringes.Implementing our vision, we apply many technical materials, most of which we process oralienate. For example, we slotted an outdoor fabric with the help of a laser cutter in millimetrethin strips, which were then fanned out in a three-dimensional way and draped over the bust.Inspired by this, we have knitted floats, also stitched on voluminously. The yarn reinforces theround bounce through fine iridescent polyester yarn, subtly highlighting the brilliance of thebeetles. The gloss is made especially apparent in the screen printing by various coloured shinymetal foils. These motifs are greatly enlarged and abstracted heads and hulls of beetles andshimmer usually on the inside of the clothing. Moreover, the foil coating shines on a finepleated and strengthens the fabric in its two-dimensional motion.The fragile glow of the artist is reflected in the screen printing, emerging through fine pebblesand broken glass; loses itself, shimmers in the light and decays slowly in time throughmovement. Just like the glow of many artists used to.

ARTIST STATEMENT

steinrohner.com

ryotamatsumotostudio.blogspot.co.uk

MAKE SOMETHING GREAT HAPPEN