Artnois... one year and counting!

No. 7AUg

2013

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www.artnois.com

2 ARTNOIS No 7, AUG 2013

Well we are still here, a year later after starting Artnois, a very scary venture for both Jess and I but we are super proud we’ve even made it this far.

We’d like to take this chance to tell you guys a bit about the roller coaster ride we’ve been on since committing to exposing artists from around the world. Artnois sprouted as a handmade traveling booth that would pop up in local venues selling random artwork, from paintings, to handmade wallets. Soon after meeting so many inspired artists, we ourselves were motivated to take it to the next step. Sure we loved the actual art making but acknowledging all the amazing work and passionate artists made us want to help others appreciate it as much as we did. We were both working and going to school at the time but yet we jumped on the idea of having an online magazine be our vehicle for a sense of community.

Truth is part of the time we are pulling our hair stressing and staying up till the crack of dawn trying to bring you what we can. However, when we talk to artists and listen to their stories of what art and music is for them and when everything about that person exudes passion and inspiration for doing what they do...well, it’s hard to ignore that. It makes us feel like there is so much more importance to life than the daily struggles and that no matter how hard it may be, the relationships we establish and the lesson’s we learn make it all worth it. As cliché as it may sound, we’ve learned that life really is what you make of it and that if you never try you will simply never know. We have to apply ourselves 100% in all we do and believe in it otherwise we can’t say we tried. This perhaps is one of the most expressed feelings we’ve received from the artists we’ve met. For this reason we strive to represent artists who are positive and somehow inspire others to think outside the box and truly show life what they are made of.

Additionally, we want to thank all the artists who have contributed their time and their work along with everyone else who help make Artnois possible. We included a short recap of what we’ve covered since starting our magazine. Hope you enjoy.

-Magda Becerra & Jessy MerazArtnois Founders

Artnois turns 1! Artnois TeamMagda Becerra

Artnois Co-Founder, loves anything creative, manages all

artwork, and final editing. magdabee.com

[email protected]

Jesenia MerazArtnois Co-Founder, brings music to your ears. Always looking for new music and artists to share

with the world. [email protected]

Carlos RubioStaff Writer

Shelley PhamIntern

Comes with a rainbow and a pot of

gold.

Patty NunezGraphic Designer

Thank her creative mind.

Trang NguyenIntern

You can’t spell ‘strange’ without ‘Trang’

https://www.facebook.com/go.artnois

http://instagram.com/artnois_magazine

3 ARTNOIS No 7 AUG 2013

Contacts: PO BOX 923082 SYLMAR,CA 91342, tel. 818.584.1868, [email protected], www.artnois.com

About ARTNOIS:ARTNOIS Magazine was started by two young female students, Magda and Jessy. While they both share common interests, Magda has a passion for art and Jessy has a passion for music. Seeing as neither one had the time nor the skills they wished they had to create jaw dropping art or inspiring music, they decided to make a magazine featuring all the great artists who do. Art and music is motivation for both to do something great. They hope this magazine will help do the same for you.

contents Issue 4 February/March 2012

041 Year RecapWe did it!

08TA-KUUprising beat producer

10Lucille GhattiGhatti Ghatti, she likes to party

14Eric RosnerInk marker illustrations

20Nora Ann-Francis Martin HallCatwoman anyone?

24Katie MalloryYoruba Culture

26Luis RivasPoet

32David RomeroPoet

36Nazario GrazianoIllustration & Graphics

42Jacqueline MooreCosmic paintings

46Jungle FireLatin funk band

50Myron & EStonesthrow’s latest addition

54Don’t Drink AloneSpotify suggestions

56Suzanne CarterSelf taught artist

http://www.facebook.com/locustsongs


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Let's do it Again!

Our first issue was released August 1st of 2012. Don’t laugh, it was our first one. It surprisingly hit a mass number of viewers. This encouraged us to continue sharing the stories of inspiring artists and musicians. Stories like that of San Francisco artist Zachary Sweet and photographers like 16 yr old Eleanor Leonne Bennett and Jorge Neftali Gonzalez, among others.

The 2nd issue was released October 1st and en-compassed the theme of Dia de Los Muertos (The Day of the Dead). Some discoveries included mu-sic by Maya Jupiter and Las Cafeteras from Los Angeles, and artwork by Patrick Vertino and Nydia Lilian.

Third Times a Charm!Our 3rd issue was definitely a charm, featuring Homeboy Sandman, Chicano Batman, and sur-real artists like Alex Andreyev. In it you can also find an article on the Mayan prediction about the end of the world...and how they were wrong. By this point we were getting the hang of things.

12/ 12

08 12

Let's Give it a Shot!


We're On a Roll!Our 4th issue of Artnois Magazine featured some amazing work by LA based photogra-pher Ryan Schude. You’ ll also discover some groovy tunes from L’ Orange, The Growlers, Mr Green, Hello Seahorse!, and many more.

High Five!The 5th issue features some Spring artwork and Asian Heritage tidbits. This issue features singer songwriter Keaton Simons among other artists such as Diamond Rings, Buyepongo, Wave Ma-chines, and Chill Bump.

Happy First Year!

Ah yes, the 6th issue... This June release com-pleted our first year of Artnois Magazine. It features Lowleaf, a simultaneous harpist and pianist; Raashan Ahmad, an MC from Los An-geles; and other great artists including Barba-ra Kerwin and Keving Sloan who is featured on the cover. A fun piece here was Norman Gray who is Jon Measures’ (from 1st issue) alter ego. We also interviewed the creators of Mucho Musica.

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MusicProducer

TA-KUIt’s a Maori word for “Me , Myself and I” depending on what context you use it in.

INTERVIEW BY JESENIA MERAZ


A year ago I would have never imagined that I’d have the opportunity to Skype with the talented music producer, Ta-ku. He calmly spoke from Westside Australia while I nervously asked questions from a small city in the outskirts of Los Angeles, California. Very much like all my interviews have been thus far, it was an enjoyable interview. It went a little something like this...

Where are you from Ta-ku?

I’m born and bred in Australia but my parents are from all over the place. So my dad is from New Zealand, he’s half Maori half Scottish and my mom is from the Philippines. So she’s half Filipino half Spanish.

What does the name Ta-Ku mean to you?

It’s a Maori word for “Me , Myself and I” depending on what context you use it in. I was pretty desperate to find a name. (chuckles) People kept telling me, “call yourself Deejay Reggie” and I thought it was the lamest name I’d ever heard in my life. I’m very proud of my heritage and where I’m from. I was either looking at Filipino or Maori words and I think that one kinda stuck. I’ve always kinda done things my way. I’m a pretty head-strong individual. The music I put out is a strong reflection of myself. It just kinda fit.

How did you become interested in creating beats?

I wanted to be a deejay throughout high-school and I wanted to be a deejay after high-school. It didn’t really work out. Collecting records became a really big part of my life. From then, discovering new music and new hip-hop and wanting to make the songs I listened to was the real start. I was about 19 or 18. (I’ve been making beats) probably about 5 to 6 years now.

Were there ever any particular artists whom inspired the thought of producing your own music?

Definitely, there are a few songs. One of them was ‘’93 Til Infinity” by Souls of Mischief. When I heard that beat, I was like “Oh man, I wish I could make stuff like this”. Then I heard Slum Village’s “Fall in Love”. When I heard that I was like, “okay that’s it. I need to learn to make beats.” I was really drawn to those two (songs) in particular because I was so nostalgic at the time.

How did you come across producers like Gaslamp Killer and Baauer from the U.S.?

I remember back in 2006 there was a mix-tape which came out that was really forward-thinking. It was hip-hop but it was really futuristic. It had a-lot of synths and it was really clunky. Since then, as you know, the scene around the world kinda attaches itself to these artists and then we all kinda gravitate toward similar artists. I think that was it. (Soon after that) Flying Lotus came out with 1983; it was just like an ongoing progression...so yeah it was just a natural kind of thing that happened.

Would you say they influenced your style in creating music?

Yeah, definitely. I think I undermined how much of an influence all these guys are to my music ‘cause Dilla was a big influence to me. The sound I make is kinda shaped from the stuff that they make and the stuff I listened to back in the day was their stuff, well more like three years ago.

I noticed you make donut beats, much like Dilla’s style. Is it something you do on purpose?

Umm... It’s funny (because) I was introduced to him when I was about 18. I’m not going to say that I was there when Fantastic Volume 2 came out with Slum Village and I’m not going to say I knew his whole discography as it came out, but I guess that’s what’s special about music. You find an artist and then you kind of dig and look into their back catalogue and keep on digging. So I think when I first heard donuts, I was like man this is the kind of stuff I make, or the stuff I aspire to make. That’s the kind of stuff I feel comes natural to me.

The donuts kind of stuff. Just taking really well orchestrated samples and reorganizing them to a different soundscape. I just feel me and Dilla have this kind of, not connection, but the type of music that he makes is the music I love making most.

How would you explain that style (donut beats) of beats to someone?

I think it’s honestly taking the most soulful part of a song or loop and just exploiting it to it’s maximum capabilities. With donuts, Dilla really went all out. He would just take the most soulful part of a sample and embody it into a new track and most people recognize that signature style because it’s so soulful. Although (a donut) may seem quite repetitive, because he used such a great part of the sample, it doesn’t matter; you get to listen to that part it on repeat. It doesn’t get old.

How often do yo produce a new beat?

I try to make one every night. I still work and have responsibilities like a normal person so I try to just put an hour aside a night to create something new or work on something that I created the night before. I feel, like in any art form, keeping a regular schedule and making it a habit is really good for you creatively.

What is the beat making process like for you?

No, not really. Each time is different. I work in an environment that allows me to listen to music quite a bit so it just depends on what inspires me that day. I don’t really have a strict formula.

What inspires you?

I use Soundcloud a-lot. I think it’s an amazing tool for any artist. Not just to connect but to listen to music that you might not be exposed to every day. Especially the repost function, you actually get to hear what your peers’ musical taste is like. Not just to know what their stuff sounds like, but to know what they’re interested in too. (I appreciate) any kind of track that makes one feel emotional and has that element in it that just touches you. That’s what really


inspires me. Sometimes I won’t even wait to hear the end of the song. I’ll (instantly) feel so inspired and quickly try to make something similar. It’s not biting someone else’s style, you’re just transferring inspiration to something that you’re trying to make.

What makes you beats stand out the most?

I’m not sure... I never put anything out that I don’t feel myself. Even though I have a pretty high output, I feel like every song I put out, I have to like it myself and I have to feel something when I’m making it myself too. I think that’s the only thing I would say about my music is that I never put something out that I’m not one-hundred percent happy with or conferrable sharing with my fans. I just put stuff up that represents me. It’s always going to be how I feel.

Is there a beat in particular that you feel hast stuck with you or takes you back to a special moment in your life?

Yeah, there are two. They take me back for different reasons. One, for the memories they give me but also two, for the way they make me feel now; in the way they make me feel now despite the memories they give me. One of them is called “Sylvia” (https://soundcloud.com/takugotbeats/sylvia) and the other one is called “Smile” (https://soundcloud.com/takugotbeats/smile-tall-black-guy-presents). They’re both not like my future stuff, nor my electronic stuff, and they’re not like my Dilla stuff either. They’re kind of sitting in the middle. I feel like those two tracks I made with a-lot going on in my life. The memories attached to them, every time I listen to them, are pretty strong. Also, they kind of give me a form of euphoria or some kind of hope.

Do you ever put out tracks hoping your listeners will feel a certain way?

Yeah, all the time. Every single one. I put one out today and I called it “I Miss You” (https://soundcloud.com/takugotbeats/i-miss-you) because I made it missing someone who was close to me and is not close to me anymore. I know that in things such as feelings and emotions or things that we go through as humans, we are not alone. There are so many people in the world that feel the same way that we do. There are people that are going through similar situations if not the same exact situations. Every track I hope the listener feels a certain way if not the way that I do and that it helps them in some way. I feel music heels. I listen to other artists and when I’m feeling a certain way I know which songs to play to to get me out of that mood.

In 2012 you released two albums attributed to Jay Dee (hip -hop producer); the albums were titled 50 days For Dilla Volume 1 and For Dilla Volume 2. What was the reasoning behind these creations?

I started the first one to try to distract myself from a breakup that happened pretty recently. So I just wanted to stay busy

and make a track a day. Put my energy into something else besides feeling sorry for myself (chuckles). That’s where it started and then after fifty days I was exhausted! (laughs) It helped me get over it (the breakup) and it took a lot out of me. A lot of people were thinking I was using Dilla’s name for publicity or for promo but it had nothing to do with that. It was just that he was such an inspiration to me in every track. Even today mostly every track is inspired by him. It was a bit hard creating that album but I’m thinking of doing it again. This time I would call it “50 Days for You” which I would dedicate to the people who have been following me for so many years.

What in Dilla do you look up to so much?

I think honestly it’s his simplicity. I have huge and mad respect for anyone who can express a lot with simple kind of actions. We say every day that a smile from a stranger can brighten your day, or saying thank you, or a family member saying I love you can result into special moments. It’s the small things that make a big difference. Even-though Dilla wasn’t so technical; he didn’t have crazy choir changes and he didn’t wild out on the guitar or keys on every track. It was how hard his drums would knock even=though they were really simple and really sparse. It was his choice of samples; a really simple loop would just sound so good. He was able to put so much emotion and put so much feeling into a baseline. Which is hard to do because bass really drives the track, where as chords or melodies really evoke emotion. I feel like he nailed it every single track.

Any advice for upcoming artists?

Don’t underestimate hard work. It pays off. Enjoy it while you’re doing it, don’t try and rush yourself and push yourself, or try to be anything you’re not. Your music will travel if it’s good and you’re true to yourself.

Any messages for your fans and the public?

Thank you for listening!

LISTEN

https://soundcloud.com/takugotbeats/sylvia

https://soundcloud.com/takugotbeats/smile-tall-black-guy-presents

https://soundcloud.com/takugotbeats/smile-tall-black-guy-presents

https://soundcloud.com/takugotbeats/i-miss-you

https://soundcloud.com/takugotbeats/i-miss-you

http://ta-ku.me/album/re-wrk-vol-ii

http://ta-ku.me/album/re-wrk-vol-ii


We say every day that a smile from a stranger can brighten your day, or saying thank you, or a family member saying I love you can result into special moments. It’s the small things that make a big difference.


Lucille Ghatti


“

I think people don’t always understand my creative direction, but it doesn’t matter to me anymore. Either way I’m going to create what feels good to me, and leave the opinions to the listeners.

Photos by DJ Sydney Love

Lucille is a true raw artist. Ninety-nine percent her, one percent mystery. Although she may not speak of experience in all her songs, she clearly translates an essence of wisdom through each one. She’s enchanting.

An interview by Jesenia Meraz

Ghatti“

“


How would you describe your music?

It's weird because I truly can’t describe it. Every time someone asks me what kind of music I make, I draw a blank. I don’t what to say because I’m not sure who to compare my sound to. I don’t know yet, but maybe my fans will decide that for me. I have 4 projects out right now, two EP's and two albums.

Who writes your lyrics?

I am a writer! I write about the people around me and rarely about myself. I love relating to people through music.

What do you like about the song-writing process most?

I just listen to the beats, and whatever sounds good to me will spark some sort of story. Normally I can hear a beat and instantly know what I want to do with the song. The process will take like 20 minutes.

Which is your favorite song at the moment?

My favorite song at the moment is Ginsing Strip by Yung Lean. I just think he’s so nonchalant , I love it..

What do you hope your audience gets from your music?

I hope they take whatever they chose to take from it.

Who makes your beats?

So many different people, but I work with Goldsmith, Leken Taylor and DJwes a lot.

What's the most memorable music making memory you have?

The most memorable moment is … well so far it's been being on stage and performing I love being on stage. I love singing in front of people. I am learning how to perform better.

Whom have you collaborated with before?

Danny Seth, Jon B., Raven Sorvino, Illcamille, and

Where do you get inspiration from?

I get most of my inspiration from the people around me, sometimes from my imagination. I am inspired by music of course, but I love life experiences.

Who are some singers who inspire your particular style of singing?

I love Bilal. I think his raw vocals and creative abilities are incredible. He’s the only artist I try to emulate, even though I will never be close to his genius abilities.

Where did you grow up?

I grew up in Oakland and San diego California. I really loved Oakland because it was a city and most of my family is rooted there.

When did you know you wanted to pursue a career as a singer?

I started singing when I was 4. The first song I sang to my family was 5 steps by Dru Hill, my mom laughed and looked at me and said, “this girl can sing”. From then on she put me in the choir in church and in school.

I randomly went to a studio session with a producer friend of mine, and I asked him to let me get in the booth and sing. He did and ever since, I've been recording music.

I’m still learning about the music industry. I don’t think I’ll be prepared any time soon (for it). I like the mystery of what comes next in music.

Whom do you collaborate with?

I've collaborated with some really unique people, one of my favorites was Jon B. He heard my music and scheduled a studio session and I was so honored. Ive always listened to his music growing up. So it was so surreal to actually be in the same place Nas recorded with him.

What has been your most enjoyable experience creating music?

Being able to travel and meet new people. I love human interaction. Music has allowed some strong and creative people to come into my life and teach me new things about myself. Music has also shown me who I am as a person, as well as shown me my power.

Do you ever find yourself being misjudged in the music scene?

I think people don’t always understand my creative direction, but it doesn’t matter to me anymore. Either way I’m going to create what feels good to me, and leave the opinions to the listeners.

Who do you look up to the most?

The sky, the universe and god.

http://www.youtube.com/watch?v=Qbphp5xX63s


Mike G from odd future.

What does creating music mean to you?

It means self-expression, and realization of self. It means life and love to me.

Ultimately, what is your goal in the music scene?

To dominate and create my own lane. In want to change how artist create music.

Any messages for the public?

LOVE YOURSELF, KNOW YOUR WORTH, LOVE YOUR EARTH, AND TRUST YOURSELF.

What is your go-to musician or band to gain inspiration?The Beatles !

"LOVE YOURSELF, KNOW YOUR WORTH, LOVE YOUR EARTH, AND TRUST YOURSELF."


NiceTyphography

Eric RosnerMeet


INtervIeW by MAgdA becerrA

Eric Rosner An artist who captures the world through beautiful ink marker illustrations.

INTERVIEW BY MAGDA BECERRA


eric, can you tell us a bit about your-self and your current work?

I started as a Graphic Artist at MTV Networks back in good old 1990. Com-puter for graphic design was not ready for primetime yet but I was a Mac geek and went in head first all the way. I quickly learned about all the new good-ies coming in, Photoshop, Premiere, CoSA, After Effects….these were all new concepts for computers back then. Very exciting time. I started work-ing for Nickelodeon and Nick@Nite in 1994 as an Animator. It was great, we got to experiment with all this new tech to create cool promos for children. However, my true fascination was 3d and tried to learn as much about it as I could. Around 1996, I wanted to make my own animations. My first hit was a short called ‘The Adventures of Water-

bong’. It got a big play at one of the first “Burning Man” festivals. It was great to be able to create content at home. So I was creating all the art on the comput-er but one day I thought about illustrat-ing the art by hand. I had always been an avid illustrator for fun, and people would comment on it but I really never thought much about it. So 17 years lat-er, that small switch became my main focus. I truly love to illustrate things I find fascinating: old buildings, flowers, iconic images. Sometimes it seems like I have a spirit guide behind me helping me along the way, because I really love doing it.

you seem like a well established art-ist; your style is very focused and cohesive. How did you arrive at this style and what was the process like? Many artists struggle to find their

“It’s an incredible time to be a creative now. The tools at our disposable have never been more powerful than today. It blows my mind that I can post an illustra-tion on Facebook and get a comment on it from a somebody in Spain seconds later.


With my artwork, I hope you can conjure a stunning time period over a century ago when the imagination ran wild and magnifi-cent structures soared to the sky.”

“strengths at first, would you say you can relate or did it come naturally?

As I’ve mentioned, I love 3d and its many concepts. I try to create a struc-ture for my work and base it on a wire-frame ideology. I would play around with different techniques, study the old Masters and try to illustrate their style and One day it all just comes together and you expand on what you think is “it”. I have worked on my style for many years and love when it takes a shift to the next level.

You have a collection of just flowers, which have a great focus. Why flow-ers though? What about them moti-vates you?

I love to study nature in action. I’m al-

ways amazed that it never misses a beat. You can watch a glass drop and break on the floor, the scattered pieces seem to position themselves in just the right chaotic pattern every time. It’s so cool. Flowers have an incredible archi-tecture to them: the way the petals are arched and the filaments are inserted, its all a epic teeny tiny superstructure and a wonderful collection of inner workings that I find fascinating. I try to convey the subtleties of this perfection the best way I can.

the depth in your work really makes your art pop out almost as 3d; what is the process like when you are start-ing a new piece? do you start with a photograph and build upon it?

I like to search for a vintage photo that


depicts a busy street scene. When I find such a photo, I really feel I am transported back to that period. I search for small details on the cars, signs or on the buildings. I love the expressions on the folks walking down the street. I then outline the building and create details and build on that. I like to cre-ate a bunch of pieces at the same time, work on them a bit then come back later and finish them up.

In looking at art constantly I find that while there is a lot of great work out there, finding unique art styles is not as easy. your work however, is a very personal style. Is there any other artists that inspire your work? Which do you look up to?

My big idol was Winsor McCay, the famous illustrator from the turn of the century. He worked at the NY Herald on editorial and created “Little Nemo” in Slumberland. I had the most fortunate luck to live in a building that was right across the street from the old NY Herald Building. I like to imagine how W.

McCay had walked down the same path that I walk down now. He really got me excited about illustration. I was always blown away by his talent. I also love Thomas Nast and all the covers from the old PUCK magazine. Jean Henri Gaston Giraud is also my idol as is Edward Gorey.

eric, in your email you made a comment that I chuckled at. you said “A new direc-tion for storytelling is needed to enthrall and capture the minds of today’s short attention span inflicted masses. Engaging and humorous but intense and positive messages will win the the battle for eye-balls and sponsors.” I completely agree with the comment of this generation having a short attention span. the “Me me me generation,” as a re-cent time issue called it, needs so much to stay interested. I am guilty of it myself but I blame technology for that. you have been making art for a while so in your words, how has art or art making changed

since you started? What have you learned in your journey?

It’s an incredible time to be a creative now. The tools at our disposable have never been more powerful than today. It blows my mind that I can post an illustration on Facebook and get a comment on it from a somebody in Spain seconds later. I can sell my work and get paid via Paypal. My work can be sold worldwide just by emailing a file to some-one. It’s crazy! This power has yet to reach it’s potential but it frees the Artist from the gatekeepers and allows them to do what they do best…make art.

We are going to backtrack a little now. you previously mentioned you’ve worked for Mtv, Nickelodeon, Nick@Nite and tvLand among other great accomplish-ments; what advice can you give artists who are currently struggling to reach such goals or who may at times be discouraged by making ends meet as an artist?


A great commencement speech by Neil Gaiman recently was to simply “Make good art and make your own art.” He said to walk towards the mountain that takes you to where you want to go. Doing what you love and what feels right is scary, it goes against the grain of society. We tend to do what we ‘should do.’ but fear is a good thing. I think that it’s your reassurance that you are on the right path. I’d had goals that I wanted to achieve and I believe I have hit them all. Now I have new ones. And it’s exciting and at the same time frustrating, exhilarating terrify-ing and depressing as I try to reach the next level but I feel it’s the only way to live your life and find your true dreams. You have to do something while you’re on this planet, it might as well be doing something you love to do.

“FLoWers HAve AN INcredIbLe ArcHItec tUre to tHeM: tHe WAy tHe petALs Are ArcHed ANd tHe FILAMeNts Are INserted...

www.erosner.com

http://erosner.com/


“I feel that all art has artificial value. Something assembled with relatively inexpensive materials can be then sold for much more. For that reason i believe that all artists are con-artists.

I have a personal affinity with the character of Catwoman, aka Selina Kyle. She has a charm and manner

reminiscent of the wealthy elite that she doesn’t belong to. There’s a quality of con-artistry or theft in my pieces representing this character, from gold leaf, to knockoff designer fabrics used for her iconic suit. She’s the saint of illegal wealth. She’s a classy anarchist who steals for the sake of stealing. “- Nora

N o r a A n n - F r a n c i s M a r t i n - H a l l

A catwoman aficionado from Diamond Bar, California


meow meow meow meow meow meow meow meow meow meow meow

Versaci KittyPart of my designer fabric series, the fabric for this piece was illegally obtained, and hand stitched to the canvas with gold thread. From my 3rd solo show, The 2am Rule

Gucci Gato SketchPart of my designer fabric series, the fabric for this piece was illegally obtained, and hand stitched to the canvas with gold thread. From my 3rd solo show, The 2am Rule

Untitled

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http://andrewhuang.bandcamp.com/album/musculature

http://andrewhuang.bandcamp.com/album/lip-bomb

http://andrewhuang.bandcamp.com/album/lip-bomb


NoraMartinHall.com

http://andrewhuang.bandcamp.com/

http://noramartinhall.com/


She Only Lived OnceA portrait of silent film actress, Lillian Gish. from my 2nd solo show, Everything Must Go

Yolo ThroatA portrait of silent film actress, Lillian Gish. from my 2nd solo show, Everything Must Go

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yoruba who? Well we had to do some research ourselves after see-ing these fun portraits of them. Here’s what we learned. They consist of folk philosophy, religion and literature who have “oriki,” pet names that express what the person’s family is or suggests what that person might become. They are known for their sculpting and terra cotta work along with their high regard for music and dance. Art and music? What else could we as for.

Artwork based on the African Yoruba Culture.

KATIE MALLoRy

Acrobats at the Ogun FestivalCharcoal & acrylic Sango Festival drummer

Ink & enamel

The Yam PoundersAcrylic paint and enamel on

400 lb paper.

YemojaInk & Acrylic


This statue is of a royal couple meeting with a concubine. Although she is an adult, she is made small to show her lower status. The queen supervises all of the Kings concubines.

King’s crown adorned with beads from top to bottom symbolic of the Orisa. The blue and the birds represent family life and pro-tection of the people.

All kingdoms are related to the first King, Oduduwa, who came from eastern Africa in approx. 1,11C.E.

www.facebook.com/katiemalloryart

https://www.facebook.com/katiemalloryart

https://www.facebook.com/katiemalloryart


Poetry is Bourgeois (Love Poem for Ulrike Meinhof)

By Luis Rivas


first i would just like to apologize for writing this, for writing a love poem

you know, i don’t normally do this write love poems, let alone to dead

german women, but there has not been sufficient amount of work written in

your tribute, in your honoran affected, tormented, creator of

rebellion—literary and in actuality, ulrike meinhof, with dark, hurt mothering eyes

she who embraced the clandestine , a mother

a journalist, a fighter, a revolutionary that transcended her mortality—as we all must— in the righteous cause against capitalism and

imperialism

she who denounced the myth of objectivity that

pollutes the world of journalism, neutrality which is fetishized into grandeur, that

perpetuates inaction, callousness well-measured treachery, criminality of

apathy

she who stopped writing (in the professional sense)

understanding the violence of textual silence and rose up with red army faction comrades (who acted not from choice, but of historical

obligation—as we all must)


she who understood that destruction begets destruction, but violence begets resistance and for her, i would abandon my stance against monogamy; and for her, i would re-think my stance on romantic relationships; and for her, i would loosen my dogma on the idea of marriage (historically, a method of subjugation of women, a perpetuating mechanism of capitalism); and for her, i would fall with wide-open arms into ideological abandon, suspend my radical politics on marriage, relationships, and just worship her with my unequal, flawed incomplete, infantile revisionist love and get on one knee, confess to her my bourgeois affection;

but she would demand that i get up, look her straight in the eye—as equals—all convenience and mannerisms aside, and she would say to me, comrade, to hell with all that, you are my equal, do not attempt to control yourself as a way to pay homage to me; nothing is sacred, you struggle alongside me, that’s all; everything else is subjugated

naturally, she would turn down my reactionary offer and say, i have one thing to ask:

stop writing, start acting; poetry is bourgeois

and i would take out my rejection on all future

partners; incomparably measure them to ulrikea rejection that I would never recover from, from a german women, now 37 years dead, with cold unfeeling doctors, slicing up her brain still trying to figure out her revolutionary commitment, what they mistakenly term as madness, sickness, which we call adequate repulsion for the world, appropriately measured reaction to it, proportional anger,

indignation, but above all things only

love, love, all things love


indignation, but above all things only

love, love, all things love


I drive by a lady selling flowers on the day before valentine’s day roses wrapped in plastic in white painter’s buckets, a table assembled displays her high-end items: gigantic stuffed teddy bears, also wrapped in plastic, smaller bears more economically priced for those on a budget, a sheriff pulls over and begins the standard questioning: how are you? do you have a permit? you speak english?

she smiles, silently, without knowing the language, and answers “no.” the sheriff, struck with a mixture of empathy and frustration, acting out of character gets back into his car and drives away, feeling hurt, hopeless but contributing ignorance as a humble offering

I gotta stop writing angry poems it’s allowing me to sympathize with repressive elements of the state at times

I Gotta Stop WrItInG anGry poemS


a long-time friend has come back from india radicalized, telling me of all the dead babies littered in the streets, where mothers carry children around in knapsacks and sedate them to stop them from yelling and crying that stops them from responding appropriately to their reality, and many mothers walk around with dead children, a country of dead babies, and all I can recommend in doing is reaching out to anti-governmental organizations, fuck the red cross, for nothing should exist that allows this to take place I gotta stop writing angry poems it’s polluting my ideology something that always come to mind is my family, about to be three of us unemployed, miraculously making ends meet, left to fend for ourselves, but my

parents remain calm, patient, busying themselves with chores, the art of grocery shopping on a budget, job hunting, updating resumes so they appear less desperate

a fire that burns at a consistent flame

and then there’s me – where did I go wrong, what causes me to destroy private property, aesthetically improve public property, write out my fantasize my wishes, the complete dismantling of the towers of our oppression, of class division, the persecution of the private owners of the public modes of production, and their celebratory demise

I gotta stop writing angry poems its walls are growing more and more compromised, and they’re getting really long too

Luis Albert RivasRivas is a poet from Los Angeles who expresses his life experiences and views about growing up in the city of angels. His publication, Random Acts of Terror, depicts his stories and theories living as part of the 99%. For more info visit his facebook page.

www.facebook.com/RandomActsOfTerror

https://www.facebook.com/RandomActsOfTerror


One million hoodies marchOur suburbs and streetsHoodies carry the name of the latest victimWhat's in a hoodie?

Guilty before proven innocentPublic menaceFilm at 11

More gangstaThan tattoos, baggy jeans, fedoras or zoot suitsAsk yourself ifWhen you pull up the hood of your sweater tonightWill this neighborhood find its executioner for you?Guillotine, ax

Safety offCartridge cocked backTarget to bleed redBut often painted Black

You face your executionerUnarmedGlad that with his loaded weapon trained

black Wears a Death HoodieBy David Romero


He has courage enoughTo stand his groundRemember

Laws, too, once made lynching legal.The scythe holds you in its sights...Black wears a death hoodie tonight.


DuskFalls on the basketball courtAirplanes loom overheadShooting hoops in lonelinessTaking a break for a cigaretteWhen all of a suddenA strange thought driftsBUMPBUMPGoes the basketballRapping upon the asphaltWhat if this eveningI played basketballWith Edgar Allan Poe?

The poet appears suddenlyUpon the asphaltDark and heavily layered raven’s clothHardly the garbOf a proper basketball playerMethinksStill he motions for the ballAnd it pass it to himHe drives the laneTowards the basket And in desperationI move to block him.

Edgar Allan Poe and I

Are playing a game nowSweat and dirtGritAnger and determinationWin or loseNo drawBragging rights for eternityAnd I’ve got all the advantageThat being aliveAnd a few good layups can allowBut Poe posts upPump-fakes his shotsIn his wakeThe backboard transformsInto a swinging pendulumReminding meI have been playing basketballIn this pit of imaginationAnd mundane realityLong beforeI ever played against him.

Edgar Allan PoeIs going to winHis every shot takes the air out of meInexplicably burying me aliveMy smack talk is grave,“You are dead, poet!”“I am immortal”

Basketball with Edgar Allan PoeBy David Romero


Poe shoots the basketball“You’re just a fucking zombie!”I cry“I am immortal”Poe shoots the basketball“You’re the definition of mediocrityIntroduction to poetryNo one takes you seriouslyPlayed outNo one gives a fuck about you poet!”“I am immortal”Poe shoots the basketball“You are the rolling of eyesTired sighsAn un-cool roadsignThat signals the more exciting road aheadTo advancedHard-to-pronounce-name poetsBeat poetsSpoken word and hip hopNeo-surrealismPost modernismPost feminismMagical realismWhatever-the-fuckPeople-consider-real-poetryThese-days-ism!“I am immortal”Poe shoots the basketball“You are an emotionally disturbedNutjobWeaklingWho should’ve been prescribedVicodin amongst other thingsWe put people like youIn looney binsYou couldn’t handle your alcoholYour drugsYour familyYour shit

You need a probation officerAnd a therapistConsumptionTook your incestuous wifeAnd youWatched HelplesslyKnowingThere was NothingYou could doTo stop it.

PoeNever flittingStill is shooting“We are immortalTerror and lossConstitute my soul, poetWhat are the contents of yours?”Poe shoots He scoresForever moreEdgar Allan PoeRetires from the floor…

At DawnI riseTo face his shadowTo be a writerTo be a poetAndAt long lastPeruse those volumesOf forgotten lore.

Edgar Allan Poe is immortalAnd that is whyI let him beat me one nightAt basketball.

www.davidaromero.comSee more of Romero’s work on his site

http://www.davidaromero.com/#!


Nazario GrazianoInterview


Nazario Graziano

So I discovered Nazario amid my long night web searches for talented individuals. I recently became more involved in the design world so natu-rally I was interested in seeing what was out there and who I could learn from. When I came across his site, I instantly fell in love with his work for multiple reasons. First off was his choice of color, second was that he liked the Beatles and third he had a piece on God. As if I wasn’t already interested he became even more inspiring after finding out he is self taught! I had to get his inside scoop.


Can you tell us a bit about yourself and what you do, and how long you’ve been doing it?

Hello Artnois folks. My name is Nazario Graziano, I’m an Italian illustrator, art-director and graphic designer and I love my work. I started with the “graphics” in primary school. My notebooks was full of doodles of robots, shapes, bubbles, puppets, words and letters, all drawn with pen, pencil or crayon.

In the next years I created an imaginary world which I still draw in creative moments. From first doodles to today, there have been sacrifices, sleepless nights and a lot of passion, everyday.

My first reaction to your work was “ whoa, love the colors!” The combination of all the brights create a very fun and positive light in your work. Can you tell us a bit about your color palette and how it connects with your goals as a graphic designer?

Thanks for your “WHOA!” :) Usually I do not create in advance nor follow a “strict” color palette. I choose the colors in a very natural and instinctive process. I honestly do not know how this happens ... just ask at my synapses!

Where did you learn all you know? Did you always know this is what you wanted to focus on? How did you step foot into the world of design? What was it like?

I am self taught, and much of what I learned I learned by observing, studying, reading, researching. I believe that at the root of it all is the passion and the desire to know and learn. The first steps I have moved from very young in small advertising agencies as a web designer, then I started dealing with brand ... and at the end I started to experiment with digital illustration and collage by publishing my work online and asking to collaborate (for free of course) to some magazine and art-zine.

Are there any artistic weaknesses you feel you have overcome as a result of your experience with illustration and graphic design? What are some of your learning experiences? What have been some of the most challenging tasks?

We live in a super-fast world where the professionals are even more qualified. I would like to try out on a video and 3D but time is less and less to specialize in everything! So you have to focus yourself and study as much as possible in one, maximum 2 sectors. Every day there is a challenge that you

are launched, it is from a customer, from a magazine or from a simple personal illustration.

It appears as though no matter what client your are working with, you stay true to your personal style. What is it like trying to balance what you want to create personally versus what clients want you to create? Do you ever find yourself having to design something you aren’t comfortable with for any reason?

Definitely. I do not always realize things whose end result is exactly as you would in my head. The “perfect client” is one that tells you “do what you want” but it is not easy to find :) I do not like the work too “picky” and too didactic. I always prefer commission with a strong creative component, ironic and abstract.

What kind of message would you say you try to translate in your work?

To excite and inspire people is always a good thing. I am always delighted to receive emails or comments from children, students, adults or families who like my work or who have purchased my press for their home. I’m happy to contribute to their emotions, day after day.


What is your process like for starting new designs? What percentage of it is hand drawn, if any?

I do not use a standard process. If work is commissioned by a client the first thing I do is analyze the brief well and try to understand what may like to stroke my client. Instead, when drawing

“free-theme” illustration … everything started from a blank photoshop canvas and I let myself be guided and influenced by all the “messages” coming from the outside world (mood, music, films, articles, climate, etc. ...). I believe that our work is very “sensitive”.

About technical process I like to mix digital elements with “paper/physical”

elements. I like to draw with pen and pencil, scan and combine everything with images, brushes, pictures and more.

How do you know when a piece is complete and its time to move on?

Here, too, I think is a very natural process. I look at the composition 100


times. Add 10 items. Delete 20 items … and finally say, “it’s OK”.

What or who would you say most inspires your work? Does music play any role in your work? Is there any music you enjoy listening to while working?

I think inspiration is everywhere and it comes out in every moment of our day! Everything can give me the right start or the “wonderful idea”! I can find inspiration in music, movies, football, old books, skateboard world, 50’s 60’s advertising, photography, old robots, creatures from mars, snow, spring wind, autumn leaves, old pencils, and so much more ….

The music accompanies all my working hours. I


listen to music at 360 °. Actually i’m really addicted to Spotify, so if you want to know in detail what I listen to, you can follow me on Spotify. I’ll be happy to share music with you!

I am recently addicted to Spotify too! It makes music discovery so easy. Anyway, any advice for others pursuing graphic design?

It’s important to put passion into what you do. In each sector. Be curious, always go looking for something new and put passion into the work. Create a network and exchange ideas with other guys, this is also a very important thing.

Lastly, I’m particularly interested in your piece titled God. Can you tell me about this project?

I do not really explain my work, I think it’s nice that everyone see what they feels at that moment. Anyway for GOD … I

think GOD is “everything” ... big bang, light, black-hole, smile, tears, sun, rain ... and someone who looks out into the dark to see what’s there.

Anything else you would like to say?

A big thanks to Magda and the guys of Artnois. Good Luck with this nice project!

www.nazariograziano.com

http://www.nazariograziano.com/#!


Jacqueline Moore

A cosmic experience with San Francisco artist 'S FREEING VISIoNS


“In the depths of meditation, a greater fundamental reality reveals itself behind my closed eyelids. When I open my eyes the feelings of freedom remain but the vision fades. Painting has become the modality in which I explore these meditative visions further. The canvas offers a stretch of space in which I can translate the energy I experience into a language accessible to all. I begin by finding the geometric dissection of the space. This becomes the compositional framework. To develop each scene, I use linseed oil and galkyd to layer multiple glazes in order to enrich the depth of the space. Oil paint allows an elongated time frame in which to develop each scene while providing a deep saturation of color. I use this medium to employ a sense of realism by using the figure and elements of landscape in order to encompass our primary perception. From this perspective it is then easy to reveal a parallel reality of cosmic existence. Drawing upon esoteric teachings in combination with the insights of astronomy and physics, I intend to inspire a greater consciousness of energy. Indeed the energy that flows through the cosmos too flows through us as individuals. I seek to offer viewers a scene of transcendence from the mundane into a higher field of cosmic existence.” -Moore

Jacqueline Moore’s work can be seen live at The Port Workspaces, the latest gallery addition to Oakland’s Art Murmur. She also keeps the creativity alive curating art shows for Music City SF’s Plug N Play monthly music showcase. For more info check out her website.


www.jacquelinefmoore.com

http://www.jacquelinefmoore.com/


While the majority of them are from Los Angeles, a couple hail from Or-ange County, CA and Sand Diego, CA. Michael Duffy (Timbales), Steve Haney (Congas,bongos,shekere), Sam Halterman (Drums), Joey Reina (Bass), Otto Granillo (Trombone), Miguel Ramirez (Congas,Bongos), Al-berto Lopez (Timbales, bongos), Jud-son McDaniel (Guitar), Patrick Bailey (Guitar), Sean Billings (Trumpet), Da-vid Moyer (Baritone Sax,Flute).

How did you all come together to

form Jungle Fire?

Joey Reina: Back in 2012 a friend of mine asked me to put a group togeth-er for one of his summer music festi-vals. There were a handful of classic latin funk tunes that I’ve always wanted to do live and pulled together some friends to play them. It was only sup-posed to be for that one night but the people seemed to dig it, and so begins Jungle Fire!

I for one, am a huge fan of Celia

Cruz. What was it like working with her?

Joey Reina: Our trumpeter Sean was the one lucky enough to work with her band. I can’t put words in his mouth, but I’m sure for any salsa musician that’s a career milestone of a lifetime!

Among the many artists you’ve worked with, who has touched you in the most profound way?

Steve Haney: My personal surreal expe-

meet Jungle Fire

December 2012

They are sure to provide electrifying performances and lure the dancer hidden within you!


‘‘We have a thing forbreakbeat

culture,70’s funk, Jazz &

Latin music.’’

rience was having the honor of record-ing a song with Stevie Wonder then per-forming it live in front of 90,000 people before the soon to be President Obama. The cool thing was it was his vision to feature different cultural drums over acapella vocals.

Would you say there is a lot of competition amongst the afro/latin funk music scene in Los An-geles?

Joey Reina: Los Angeles definitely has a deep latin music scene ranging from indy rock, cumbia to salsa but there seems to be a gap with latin/afro funk. Jungle Fire seems to fit in nicely between the alter-native latin scene and the growing funk/soul culture. Right now in LA there is so much new great music bubbling up that there isn’t room for competition. We’re all excited to see each other’s projects gain attention and grow!

What are some major struggles

you have faced within the music business?

Joey Reina: As far as Jungle Fire goes it’s still such a new project that we haven’t had any real struggle on the business side. I think since collectively we’ve al-ready been through enough business bullsh#t (with other projects) we’ve been making smarter decisions.

In your YouTube video for the song “Comencemos (Let’s Start)”, you guys portray a sense of com-munity. Was this done on pur-pose?

Joey Reina: Absolutely! The funk/soul community in LA is very tight knit and that particular event we shot at is called the Beat Swap. They are huge sup-porters of our music and we felt that it would be the perfect backdrop for our first video, just rockin’ it outdoors with all of our friends around.It was a collaborative effort between

the band and our good friend who shot it Giovanni Solis (an up & coming film-maker who has some incredible stuff in the works, keep an eye out!)

How did it feel to have break danc-ers dancing to your jams? Is this usually the case(a crowd of young folks having dance-offs)?

Joey Reina: To be honest that was one of the main ideas behind creating the band; to play the classic latin/afro breaks that never get a chance to be heard live on stage.

The energy behind having a crowd of bboys and b-girls rockin’ to your music is incredible and we love seeing them rep-resent at our shows.

What has been you favorite expe-rience performing?

Steve Haney: Jungle Fire brings a very democratic approach to sharing musi-

http://youtu.be/TSnTBOQDH4A


cal ideas. Collectively when we are firing on all cylinders it’s unstoppable. We are generally an instrumental band, but are known to add soulful vocalist Jamie Al-lensworth which elevates our live show.We will record some vocal tunes with Ja-mie Allensworth in the future.

How do you go about when writ-ing a new song?

Steve Haney: Song ideas start most of the time with a drum/percussion idea then a bass-line comes in to solidify. It can also start with a solid rhythm gui-tar line which acts as a melodic percus-sion idea. Horn melodies are usually ar-ranged after.

Who has been the most influen-

tial in writing your songs?

Steve Haney: I don’t think we are influ-enced on one band. We have a thing for breakbeat culture, 70’s funk, Jazz & Latin music.

What are you currently working on?

Steve Haney: We are currently writing new songs and adding them to the live show. It’s important to see how they come together and take shape in front of an audience. The key is to record them with the same intensity as the live show.

We have released 2 vinyl 7” records both on an indie label Colemine Records.

Also released digitally thru Bandcamp/Itunes along with remixes from DJ’s in the US and Europe.We hope to have an LP finished before the end of 2013.

Would you say there is a theme to your music?

Steve Haney: The theme is a blend of influential rhythms from Cuba, Africa, South America. Jungle Fire has 3 per-cussionist all versed in rhythms from Colombia/Brazil/Cuba/Africa. Those rhythms layered on top of a rhythm sec-tion have a lot of weight.

What can one expect to experi-ence after attending one or your shows?


“Jungle Fire seems to fit in nicely between the alternative latin scene and the growing funk/soul culture.”

junglefiremusic.com/events/upcoming

Steve Haney: No shortage of high en-ergy hot sauce funk!

Any messages for the public?

Steve Haney: Support the arts!

What is your go-to musician to gain inspiration?

Steve Haney: I think each member has influen anywhere from the punk ener-gy of Bad Brains to James Brown’s funk legacy.

http://www.stonesthrow.com/store/album/myronande/broadway


How did you two meet?

We met working tours for the hip hop act Blackalicious. I was the tour DJ & Myron was a background singer. Our taste in music was very similar from the start; we both grew up on older music.

Do you think being from complete opposite sides of the states (Myron from South Central Los Angeles and Eric from Newark, New Jersey) plays an important role in the music you make? In a way it does but not too much. We both grew up in a time when music had a much longer shelf life so we were exposed to a lot of the same music. However, we were exposed to regional music that may not have made it to one another’s coast.

Eric, where did you first experience working with The Soul Investigators?

I met the Soul Investigators for the first time in 2005. I was on a hip hop tour and we had two shows in Finland. The show promoter shared studio space with them and I was introduced to them. I had heard there music before then. I heard the Didier Sound Spectrum LP along with a few other 7’s from the Timmion label. It was during a jam session at their studio that I grabbed the mic and begun to sing; they really liked it. So that’s why when I reached out to them 4

years later wanting music for a hip hop project to which they said yes!

Besides having worked with Nicole Willis, what makes The Soul Investigators a one-of-a-kind band?

They have a really killer studio set up. They are able to achieve that classic one of a kind sound because they use only vintage instruments and recording gear!

What inspired you to start this music project?

I was signed to a label making hip hop singles and the first record I did for them went very well..They asked me to do another but wanted me to make the next record sample free. I reached out to the Soul Investigators in Helsinki for a track and they agreed to give me music with the condition that I sing on a track for them. I accepted the challenge and immediately called Myron for to help.

Eric, what made you decide that you wanted to create an album with Myron?

The opportunity just kind of fell on our lap. We never set out to create an album but people seemed to love the music and the Soul Investigators asked us to come up with an entire LP.

Myron& Echeck out Myron & E, the latest addition to Stones Throw Records. A classy duo smooth with voices accompanied by the sweet horns from The Soul Investigators. The recent release of their album, Broadway, is a soulful expression of positive messages.

InterviewBy Jesenia Meraz


& E‘‘Broadway

is a place you can find in mostly

every city...’’


‘‘meet me on broadway”


LISTEN

‘‘meet me on What does that name of the album (Broadway) mean to you?

Broadway is a place you can find in mostly every city. So to us it means representing from all over!

I understand that The Soul Investigators were overseas while helping you create the album. How was that experience?

Well we had all the rhythm tracks sent to us via the internet and we wrote on the tracks. Then we went to Helsinki and recorded vocals for 2 weeks nonstop. Once a preliminary arrangement mix was complete we did some additional recording in the U.S. and sent them back to Helsinki for them to be finalized.

What is the most important experience you have learned through touring?

So many things like which songs are better live, making sure to have some crowd participation moments, which songs to extend, etc.

Did you look for specific songs for inspiration when creating the album?

Some songs we looked to because we wanted a song to have a certain feel. One example is “Running Back & Forth” by Edwin Starr which we used as inspiration for our song “Everyday Love”.

How did you go about in choosing the theme of the album?

We really didn’t do it consciously. After recording a bunch of music we chose the tracks that fit best into a LP.

Whom wrote the lyrics of the songs? All the vocals were written by Myron and I. We drew inspiration from so many places like old songs we liked or just speaking on life experiences.

Stones Throw Records is one of the biggest record labels based out of LA; how does it feel to be signed with them?

Being on Stones Throw is great so far. They really believe in their artists and fully get behind the projects with press and promo. Previous labels I have been on will just put your record out, leaving the artist to manage press and promo on their own. It’s nice to be somewhere they let you be a true artist.

broadway”




Don’t listen to music alone, Drinkify suggests...

VIA

“otis redding”8 oz. Hennessy8 oz. Tabasco sauce6 oz. Cough syrupCombine in highball glass and serve. Stir slowly. Garnish with glowstick.

“tame impala”1 bottle Microbrew1 bottle Lemon juice1 bottle Sipsmith GinCombine in shaker and strain into cock-tail glass. Serve.

“ramones”1 oz. Tequila Reposa-doServe neat. Garnish with salt.

“selena”4 oz. TequilaServe neat. Stir vigor-ously. Garnish with pickled carrot sticks.


Don’t listen to music alone, Drinkify suggests...

“Gang starr”1 bottle Gin1 bottle Egg whites8 oz. Woodford Reserve Bourbon Combine in shaker and strain into cocktail glass. Serve.

“James blake”1 TESCO lagerServe cold.

“Ta-Ku”4 oz. Jack Daniel’s Ten-nessee WhiskeyServe neat. Stir vigor-ously. Garnish with cock-tail onions.

“bonobo”1 Red StripeServe cold.

“kendrick lamar”1 oz. BourbonServe on rocks. Garnish with olive.

“bilal”12 oz. Woodford Re-serve BourbonServe neat. Stir vigor-ously. Garnish with mar-aschino cherry.

“twin sister”1 oz. Cognac1 oz. Coco López4 oz. Grapefruit juiceCombine in highball glass and serve. Stir quickly. Garnish with sugar.

“sonnymoon”4 oz. Water4 oz. Coconut milk2 oz. Tequila ReposadoCombine in shaker and strain into cocktail glass. Serve.

“Marvin gaye”8 oz. HennessyServe neat. Garnish with pickled carrot sticks.

“jamie lidell”8 oz. Hennessy8 oz. Tomato juiceCombine in highball glass and serve.

“pink floyd”1 bottle Box wineServe at room tem-perature

“M.i.a.”8 oz. Red Bull8 oz. Żubrówka Vodka8 oz. Rose’s lime juice4 oz. Plum BrandyCombine in shaker and strain into cock-tail glass. Serve.


Suzanne CarterArt by

I am a self taught mixed media and digital artist

Look Before You Leap 1


The Voyage


“A Yorkshire girl who lives in New Zealand. My work is often whimsical with a vintage twist. I love to work with texture and text, taking something old and re-purposing it into something new. I love to take an image and manipulate it and pull it and push it and morph it into something entirely different. I will usually combine images and fuse them together using layers, and color, and texture to tell a story. My work is rich in symbolism and every element

of the digital painting combines to form an overall tapestry of a bigger picture. Within my work there is usually layer upon layer of images, color, symbols and text. Some of my work evolves over time and will be added to progressively while other works are produced quickly and spontaneously. All of my work has a prophetic aspect to it. I love the power and the impact of the image and its ability to convey mood and feeling and drama, all of which

will be interpreted differently through the lens by which it is viewed. I have recently become a designer for fashion company Front Row Society: http://www.frontrowsociety.com . For more of my work check out my portfolio at http://society6.com/SuzanneCarter or connect with me on face book at https://www.facebook.com/SuzanneCarterArtist I have sold my work around NZ and the world.”- Carter

http://www.frontrowsociety.com/

http://www.frontrowsociety.com/

http://society6.com/SuzanneCarter

http://society6.com/SuzanneCarter

https://www.facebook.com/SuzanneCarterArtist

https://www.facebook.com/SuzanneCarterArtist


Dream

Overnight Delivery


Be FreeShe heard a rumor of rain

The Journey Purple


Teddy Water Lily

The Whale


http://society6.com/ArtNois/Truth-pkd_Print


http://www.facebook.com/go.artnois


Thank You!

Artnois... one year and counting!

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