Artist Spotlight: Rommy Kuperus of ROMMYDEBOMMY

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The ROMMYDEBOMMY Ikea Food Purse. Photo by ROMMYDEBOMMY

The sunshine is near, as are pastel hues, friendly faces … and lots of tasty treats! It’s true, spring hasn’t even sprung and we’ve already got picnics on the brain. Whether you’re dressing to impress for your bubble or just really hungry right now, we have one proposition – indulge in the decadence that is ROMMYDEBOMMY, the creative concoction of Rommy Kuperus. 

Rommy Kuperus is a 29-year-old artist and designer based in Harlingen, the Netherlands. The essence of ROMMYDEBOMMY is breaking from the mainstream and taking camp to the dinner table. Also Cool was recently able to connect with Rommy via email, where she dished on her growth as an artist and all the goodies yet to come.

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Rommy Kuperus of ROMMYDEBOMMY modelling one of her creations. Photo by ROMMYDEBOMMY

After spending some time as a student in product design, Rommy decided to forge her own path. Food has always been a passion and inspiration for the artist, and making it into permanent art was Rommy’s dream come true. “I like the shapes and colours even more than the taste of it,” she explains to me. “Every time I go to the grocery store, I am amazed by all those beautiful textures. A lot of people don’t realize that [the] grocery store is a museum itself.” 

This fascination shows across her wide array of designs and creations. Farfalle bow ties, Popsicle purses and a wearable tray of airplane food are just some of the options to snack on. There are also Bundt cakes and chicken nuggets to put up as home decor. Her work covers pieces of childhood nostalgia and touches on so many cultural staples. If you can eat it, Rommy can probably design it.

How do these treats get made, you ask? Rommy herself is behind every step of the process, from the concept to the cherry on top. She gathers inspiration from food bloggers and pastry chefs all around the world, and handcrafts her designs with various forms of clay and foam. They are made-to-order, and Rommy takes her time to ensure that a unique vision is reflected in all her products.

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Rommy Kuperus of ROMMYDEBOMMY posing with her Bundt Cake Home Decor. Photo by ROMMYDEBOMMY

This range of products reflects her customers and admirers from every pocket of the world, and Rommy is proud to work with all kinds of taste buds. “The Classic Pancake Purse with butter and syrup is one of my best-sellers,” she notes. “The Eaten Birthday Cake Purse is really popular at the moment. I have a lot of customers from the USA and I figure that they like the cakes the most.” Rommy also works with many British customers, a group that she describes as “more outgoing,” and she says that they tend to request the Potato and Supermarket Chicken Purses. Drool!

Since the COVID-19 pandemic started, Rommy’s business has boomed. “To be honest, it was the best year I have ever had,” she shares. “People couldn't go to their favourite restaurants, cafes, or the movies, so they [spent their money and time] on different things. I have never received so many orders as when the COVID-19 [pandemic] started.” Although the Netherlands is still under lockdown, she has been able to continue the ROMMYDEBOMMY business from home – where she makes her treats, styles and directs the product shoots, and ships each order out in a perfect pink box.

Part of this growth can be attributed to Rommy’s clever usage of social media. She advertises her products every day through creative shoots and immersive videos of her artistic process. The ROMMYDEBOMMY Instagram page boasts over 65,000 followers – this is how I discovered Rommy, after a friend sent me some of her delicious content. But her biggest audience can be found – where else? – on TikTok, the ultimate platform of the pandemic. She has garnered over 2.5 million likes and nearly 200,000 followers after starting her TikTok account just 9 months ago.

@rommydebommy

Croissant purse 🥐🇫🇷✨ SHOP: www.rommydebommy.com ##rommydebommy ##handmade ##croissant ##fyp ##foryou ##foryoupage ##foryourpage

♬ Hit Sale (feat. Roméo Elvis) - Therapie TAXI

When I ask her to elaborate on this growth, she confesses that it almost didn’t happen: “My 15-year old cousin pushed me to go on TikTok, [and] I didn’t want to. But when I finally uploaded my first video, I realized it could be huge for my brand. After a month, I already had more followers on TikTok [than] on my Instagram. I completely underestimated TikTok in the beginning, [and am] pleasantly surprised!”

Running the ROMMYDEBOMMY shop sounds like peaches and cream, but it can be hard work for just one person. Translating an artistic vision to reality can also be hard work, and I was curious if there were any foods that Rommy struggled with designing. “It doesn’t happen often,” she remarks, “but last year in January I started with an Oyster Purse and I wasn’t feeling [the design] at that moment. I put it away, and last month I decided to finish the purse – it became one of my most liked pictures on Instagram.” Take a look at her final product – we’d be shellfish to keep it to ourselves.

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A post shared by ✨R O M M Y D E B O M M Y✨ (@rommydebommy)

Perhaps you’re interested in shopping ROMMYDEBOMMY, but want to make a bolder statement. Or, maybe you just can’t pick a favourite food (okay, relatable). Rommy also makes some groovy creations outside of the world of food. You can carry around an ear, some TP or a bar of soap if that’s what suits your fancy. My personal favourite was the purse I least expected – the sanitary pad. When I asked Rommy about this design, she was proud to reflect on its place in her shop: “The sanitary pad [design] was to make a statement. We need to normalize menstrual hygiene. Some people still call it gross and disgusting, [but] it’s nature. I think the end result of the sanitary pad looks really elegant and chic.”

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The ROMMYDEBOMMY Sanitary Pad Purse. Photo by ROMMYDEBOMMY

In getting to know more about ROMMYDEBOMMY and the woman behind the brand, I was left inspired by Rommy’s commitment to mixing fashion with fun. Our conversation reminded me of all the whimsy and magic that can be found in everyday life, and how holding onto that is so very important.

Looking ahead at what’s to come, Rommy has a few tricks up her sleeve. “There are a lot of exciting things coming this year,” she shares. “More collections, more giveaways and more next-level food purses!” Needless to say, we’ll be hungry.

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The ROMMYDEBOMMY Avocado Egg Toast Purse. Photo by ROMMYDEBOMMY

ROMMYDEBOMMY

Website | Instagram | TikTok | Etsy

Facebook | YouTube

Rebecca L. Judd (she/they) is a writer and student currently based in Ottawa. When not stuck in a daydream, she can be found writing, collaging, and talking about The Sopranos to anyone who will listen. Instagram | Twitter

This interview has been condensed and edited for clarity.

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I’m For No One’s Consumption But My Own: Meet NYC Treasure Kitty

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Kitty, edited by peachy_kai

In our era of “the everyday celebrity,” where creators’ means of gaining a reputation and fanbases are (sometimes) dictated by social media savviness and a viral appeal, one roadblock remains: authenticity. Across all forms of creative expression, the timeless questions of “Why do artists do what they do?” and by extension “Who are they, really?” are always on the table, especially now that creators willingly let us peer into their everyday lives online. A few odd years ago seeing artists “just being themselves” could majorly stain their image. Now, the advent of “get ready with me” and “day in the life” style social media segments humanize, and even glamourize, the day-in and day-out of lived experiences. In other words, the exposé has retired and vulnerability has been readily embraced. Relatability is in, and can even be your ticket to widely received recognition via innovative corners of the Internet. At the same time, the idea of online availability trickling down into how success is born and raised also threatens how people are treated by their audiences.

With little barriers between creators and consumers, the pressing question becomes “How do creatives preserve and care for their sense of self when so much of it has to be on display in order to stand out?” This theme was at the core of my conversation with Kitty, a multidisciplinary visual and makeup artist, fashion designer and model, who uses social media to showcase their creative portfolio and network within the fashion industry and beauty community. 

On the surface, Kitty and I actually have a lot in common. We’re both 23 years old, earth signs, and are living with our parents after graduating post-secondary during the pandemic. Though we share a “just figuring it out” mentality, there is, of course, one key difference between us: their 35.9K following on Instagram. Through chatting with Kitty, I learned that the upkeep of their artistic passions, in tandem with their social media presence, is made entirely possible by staying true to their biggest source of inspiration, themselves. 

“When it comes to my creativity, a lot of people ask, and are surprised, when I say that I’m mainly my own source of inspiration,” they say with a small smirk across their face. “I’m like, what do you mean who inspires me? Why does it have to be somebody else? To me, being a real artist and a real creative doesn’t mean you can’t find inspiration in others, but basing my drive off someone other than myself is something I’ve never experienced or felt,” they add. 

For Kitty, self-reliance is a must and comes naturally when conceptualizing new projects. From a young age, they’ve always been encouraged to pursue creative freedom, and continue to reject being boxed-in when it comes to self-expression. Their looks combine ethereal whimsy with the underground edge of their hometown of NYC, adorning them with a presence that exudes originality. Much of their determination is evidenced by the origin of their name and artistic outlook. 

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Self-portrait conceptualized, created, styled, shot and edited by the artist

“I’ve been in love with cats since I was a little kid. I remember I used to go to art school and they would get so upset with me because all I wanted to do was draw cats,” they laugh. “My instructors couldn’t understand why, but cats always represented much more to me than just my favourite animal,” they explain. “I’ve done a lot of research on their symbolism, and cats represent the concept of one’s inner-child and a sense of playfulness, and how to embrace that. My connection to cats brought my work to life… [It’s] just very magical, and also very safe. I feel like that’s my energy, and how I want people to feel when they see my work.” 

This story was made a little sweeter by the fact that they had a kitschy kitten poster behind them during our Zoom call. 

Kitty also expressed that their relationship with their inner, imaginative world has only come to life in a tangible way after learning to cultivate their distinctive sense of style.

“Since I graduated high school I’ve gone through so much shit. Back then, I didn’t really know who I was. Though I still added my own personal touch when it came to how I expressed myself, I still felt like I had to be a ‘certain type of girl.’ Back then, I didn’t even know I was non-binary, and I wasn’t surrounded with the right people who allowed me to feel more fluid in myself,” they articulate. “In terms of my evolution, I’ve really learned to free myself from norms that were pushed onto me, and there’s no going back.” 

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Self-portrait conceptualized, created, styled, shot and edited by the artist

Though much of Kitty’s growth was made possible by nurturing self-acceptance, sharing it with the world via social media unexpectedly lead to online admiration; much to their surprise considering their humble intentions. 

“As I always like to say, I don’t think people realized that I started from my fucking basement,” they giggle. “I didn’t have a tripod and I didn’t have a ring light. I just had some backdrops, and you know, I would do a fun makeup look here and there. That’s when people started reaching out to me, and I realized diving into the industries I was interested in was possible.” 

Kitty tells me that while the start of their online buzz brought professional opportunities in the world of beauty and fashion, the downside of broadcasting their personal brand on a public platform has made for a lot of challenges. Like a lot of online creators, Kitty struggles with maintaining boundaries and managing their followers’ expectations. 

“Personally, it feels like I’m never enough for some people, you know?” they begin. “I’m very grateful for all the love and support I get, but at the same time, I get overwhelmed because people feel very entitled to my time and personal life.”  

Just as they were about to make another point, Kitty noticed an Instagram DM notification pop up on their phone, and read it out-loud to me. 

“Hi, if you don’t mind me asking, how did you pay your bills when you were just starting to model, what were you doing?” 

They roll their eyes, sigh and smile. The timing is a little much for both of us. 

“Yeah, like you see?!” they exclaim. “I can only give you so much of me and my experience. I do joke a lot, saying that I’m not real… But, I am a real person. I have feelings and things I need to process… I don’t always want to be perceived. At the end of the day, I’m for no one’s consumption but my own.” 

Laughing off this note of frustration, Kitty and I got on the subject of how they’re learning to self-advocate on social media, and how much of it draws from protecting their art, as so much of it comes from a sentimental and intimate place. 

“People are so used to me being sweet and nice, but one thing I refuse to be silent about lately is the makeup community not understanding the difference between recreation and inspiration. Another part of people wanting too much from me is when they say they’re ‘inspired’ by me and use that as justification to recreate my look without properly crediting me, especially with my rhinestone looks,” they share. “People might label me as being a bully or being mean, but I’m tired of being accused of gatekeeping when I’m defending something that fully represents me.” 

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Self-portrait conceptualized, created, styled, shot and edited by the artist

I then asked Kitty how they keep up their momentum and stay grounded within these circumstances, realizing how exhausting they must be. 

“I feel like everything really comes full circle. Everything I have has really just started from myself, and I can’t lose sight of that because I want others to get there. For example, I’ve been working my way into the modelling industry since I was 19, and it’s very toxic. I realize now, after walking fashion week at 5’5, that I can break the mold and inspire people who have features like mine; models who are short and have weird noses, or like a nose bump… any kind of nose, and any body type. Even though I still deal with people who try to manipulate and undermine me, and who expect me to work for free… I want to always give back to others because I feel like when you give back, the universe will return it to you eventually, you know?” My friends remind me that not everyone is going to want to come with me on my journey, but that leaves room for new people and new energy.” 

In closing our conversation, Kitty tells me what they’re looking forward to in 2021 after undergoing so much self-discovery in the past year. 

“I feel like what I was missing before was the self-love that I started finding in 2020. I think a lot of that translates into my work now, and I hope people recognize that I am much happier. I’ve got some exciting collabs coming up in the future and my website is growing. Even though things are uncertain in the world right now, one thing I learned in the past year was to do all the things [I was] afraid to do. I want to carry that energy forward and continue to evolve.” 

Kitty shot by estherfromnewyork for uzumakigallery

Kitty (They/Them)

Website | Instagram | TikTok | Youtube

Zoë Argiropulos-Hunter (She/Her) is the Co-Founder and Editor of Also Cool Mag. Aside from the mag, she is a music promoter & booker, radio host & DJ, and a musician.

This interview has been condensed and edited for clarity.

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Artist Spotlight: Gabriella Scali

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Sorry Girls by Gabriella Scali

Get to know Montreal-based photographer Gabriella Scali, whose photos initially caught our eye with with their attention to texture and muted colour schemes. Read and experience Scali’s reflections on following the band Sorry Girls on their past North American tour in her photo essay below. Within, Scali shares the charming, intimate moments of touring with a band through a gentle lens, and discusses how her relationship with her work transformed through reminiscing these nostalgic moments a year later.

- - -

One year ago, I left Montreal to follow Sorry Girls on their tour across North America. My boyfriend is one of the musicians in the group, and as a photographer sensing a great opportunity, I immediately bugged him to have me tag along. I knew I had to document the band and their adventures on the road, in motel rooms and behind stage curtains. 

Only packing a handful of film stock with me, I had to be very meticulous about what I wanted to capture. This is one of the reasons I always prepare my ideas in advance by sketching scenes and images: It calms my anxiety before the actual shoots. But on tour, it was creatively difficult. I couldn’t easily have control over the scenes and create images following my drafted ideas like I usually do. Being shy to approach the subjects fully and the quick pace of the tour schedule made it difficult for me to take pictures I enjoyed. 

At this point in time, I wasn't very well acquainted with the other musicians in the band, and the process of following and documenting people that I barely knew was unsettling. I feared that the results might be overly-reserved and inauthentic. When my photos came out of the lab, a sinking feeling of disappointment came over me. I realized I had kept a deliberate safe distance from the subjects, in order to disturb their experience as little as possible. I tossed my photos aside. It wasn't until later that I was able to find beauty in my polite, introverted approach. The artists’ faces were often obscured by flares and reflections, creating an effect as if they are in a different realm, like light peeking through a translucent curtain. I noticed, however, that in time this shy obfuscation, approached with a cautious veil towards the beginning of the journey, began to lift. The warmth of the California sunshine began to seep in, illuminating the subjects' faces and the shadows between us.

Now one year later, when I look at my photographs I am faced with nostalgia and a bittersweet sensation. I feel the desert wind on my legs, the yellow sun warming my arms, and I smell the sweet scent of gasoline as I picture the mountains swiftly passing by. I also recall the cramped 15 hour drives, the unhealthy road-meals and the poor sleeping habits. I see my personal transformation in these photos. I see the time it took me to reach my comfort level, and how I was eventually able to let go of my expectations and preconceived results and to instead embrace the music scene’s vibrant and spontaneous energy. Spirited, suddenly full of power and brightness. This trip was like a flare you had to quickly grasp, otherwise it is lost. I wonder if I will ever experience this feeling again.

- - -

Gabriella Scali is a Montreal-based photographer who started taking pictures as a young teenager, always dreaming of travelling to quiet places and capturing people by creating mood and settings around them. In 2016, she received her BFA in Photography at Concordia University. She also found inspiration in new surroundings, studying design at Bauhaus University in Germany, where she travelled across Europe and displayed her work in exhibitions. She now works as a graphic designer for a non-profit organization and works on her photography projects on the weekend.

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Gabriella Scali, photo courtesy of the artist

Gabriella Scali

Instagram | Website

Sorry Girls

Instagram | Website | Facebook | Spotify | Bandcamp

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Artist Spotlight: Caitlin Prince

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Caitlin Prince is a Vancouver-based artist and ceramicist making functional and sculptural work in clay. We had the chance to visit her studio this summer and get a glimpse of her instantly-recognizable, naturally-hued cups and vases. We also tested out those iconic dimple cups to see if they live up to all the Instagram hype - they do, and the morning coffee routine hasn’t been the same since. We caught up with Caitlin and her art school BFF, Liv, over Zoom to talk shop, the value of functional art during COVID, and getting ripped off by one of the Real Housewives of Vancouver.

Maya Hassa for Also Cool: What does your work look like and how do you approach your art practice versus making pieces for production? Does your attitude change for those different types of work?

Caitlin Prince: Because it's consistent work, it's a privilege to actually be producing art that you enjoy making - and have people be receptive to it and want to buy it. My vases are definitely my main creative outlet. Cups are just production work, but there's been a lot more interest in that lately, so my policy is to make everything one-of-a-kind. They're all uniquely marbled and the dimple or shape is always slightly different.

I don't ever want to be a production potter that's making a thousand of the exact same piece. I don't want to be a factory - you can have ceramics produced in a factory pretty easily. Even the stuff that I make could be manipulated [for mass production].

MH: That's part of the value of what you're making as well - that it's one-of-a-kind, that it's only been produced in small batches.

CP: With the vases, it's exciting to be able to make each one different, but then people are like, "Oh, I saw this one here - can you reproduce this for me?" I don't even think I have the skill to make something identical!

There's a lot of other stuff that I’d rather do. I've been really interested in collaborating with different artists - people who do painting or metal work, putting different crafts together.

I would actively like to do it, but I just feel like I don't have the time now during COVID. It's even harder to coordinate than usual - everyone's kind of scattered. Some people are hyper-productive, but most of the time , if you ask someone to do something, they'll get back to you in three months. I can't even respond to an email for work!

It has definitely affected my ceramics practice because I don't feel like I'm really making art anymore. I'm making consumable goods. Its weird because sometimes I feel like I'm compromising of my artistic integrity.

Olivia Meek: Do you find that there are other ways to make the production work more creative? What methods can you use as a creative outlet? I imagine you'd have different glazes and things, but is that the only way to spice it up?

CP: In terms of spicing things up, there are other objects that I want to make. I want to make really big pieces. I like pushing the limits when I'm making a big pot - like a powerhouse pot.

OM: What about miniatures?

CP: Miniatures are fun too - those are more when I'm trying to flex, or when I'm procrastinating, I like to make like really tiny things.

OM: You could could break into the dollhouse market…You could carve out a whole new market for influencers who are downsizing.

CP: The miniature scene is actually huge!

CP: There are actually a lot of people who have tiny [pottery] wheels the size of a dollar and throw on them. It's total TikTok content, but I'm here for it.

Going back to the topic of COVID, I don't know how it's affected me as far as production goes, but I feel less motivated than before. It's like that doom where you think, "What am I even doing? I'm just making things." Thankfully people get a lot of joy out of my work - and that recognition feels so amazing.

I've met so many kind and wonderful people throughout this, too. Meeting with my clients and hearing how much they appreciate not only supporting a small artist, but also the actual pieces themselves, I realized that maybe I'm not even looking at my work as much of an art practice right now. The people who receive it really seem to appreciate it as such, though.

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Credit: Briggs Ogloff

MH: Now especially, people are turning to art - consuming it almost as a coping mechanism.

OM: Living through COVID really opened people's eyes to the importance of supporting artists - realizing, "Oh, if we don't support artists, they can't actually do anything!" When people are spending so much time alone in their homes, having objects that bring them happiness and make their living space tolerable is important.

MH: How did you find the role of social media playing out in this time?

CP: Most of the traction I've received with my work has been through certain influencers posting it on social media. Also through stores within my community, like one in Gas Town that did a wonderful job of putting a spotlight on the work of local artisans.

Online sharing is super beneficial, but I think it's funny too, because I am such an "un-aesthetic" person. I'm not posing with my minimalist little cup of coffee in my sparse home. I definitely have an aesthetic, but there's this whole culture that my work really fits into that I'm just the polar opposite of.

A lot of people expect that I'm going to be this quaint, linen-wearing, flower-picking person - whereas I'm actually just sitting here in my gym clothes, sweating at the studio. It's interesting how I can curate my style of work to a certain audience. I don't think people would necessarily connect my lifestyle and the way I present myself with the pieces I produce - I think that's pretty funny.

Curating an online presence isn't natural for me. I'm 29 years old - if I were three years younger, I would have had that [self-marketing] ability. Living through so many weird Internet times - like Myspace and Tumblr - I have no shortage of an internet persona. I have a presence, but it's just not necessarily one that would be appealing to the demographic buying my work.

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Credit: Briggs Ogloff

MH: Tell us about "The Peasant" - your current online persona. Where does that come from?

CP: I think it was just the toil of life and being constantly just like, "Oh, like, I can't..."

MH: Life led you to feudalism?

CP: Yeah...

MH: Does "The Peasant" serve as a contrast to that influencer lifestyle of the people you mentioned before?

CP: Probably - the peasant persona is just representative of the shitty side of me where I acknowledge that this is life, we're doing it, we're working for the man.

OM: Maybe "The Peasant" is Caitlin Prince - in the context that you're making goods for a demographic that you don't feel like you personally fit into. I mean, you could fit in if you wanted...

CP: I'm fitting in more now - at least no longer being a broke art student. Literally being so broke and spending outside of my means constantly - and not even having a studio for so many years. I was just working whack jobs to support having a practice and not wanting to give up on it. I'm actually surprised that I didn't! That's something that I'm ultimately proud of. You have to f*cking love art as a hobby to put in your extra time and money, to stick with it, but I'm glad I did.

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Credit: Briggs Ogloff

OM: Tell us a bit about your work during art school.

CP: A lot of my early work in university - especially with ceramics - was just testing the limits of the medium. I was interested in learning what was possible - like when I was making ceramic Jesus toasts. That was a play on existing Jesus figures, but also [the infamous Jesus toast relics] that you can purchase on eBay. I literally dipped pieces of bread in clay slip and fired them in the kiln so the bread would fire out. With every Jesus toast made (until I made a mold of it) bread was sacrificed.

OM: The toasts had Jesus decals because at the time there was a whole thing on the internet about a lady seeing Jesus in her toast.

CP: I made that mostly because I thought it was funny, but also just wanted to put clay-covered bread in the kiln.

OM: When did you realize that ceramics was your thing?

CP: Probably in my second or third year of university - that was when I really fell in love with clay. There are so many ways to manipulate it, and so many materials you can use to beat it, mold it, and make it into weird stuff. The experimental aspect is really exciting - and it's also a kind of escape.

MH: Do you have a preferred style of working with clay?

CP: I really enjoy throwing on the wheel and then adding hand-built elements. A lot of my pots are partially thrown and partially done with coil building. I like mixing both. I could throw the entire pot, but it would be too perfect-looking. I like when it appears more organic, and less like it's just been made on a production line.

There are many cool ways that you can manipulate clay, but glazing has never been my thing. I'm more into the clay bodies themselves. I use a clear glaze for food safety and water retention, but all the color variations you get are through the natural clay bodies themselves. I like to mix different brown and black clays, whites, speckles, grays - all that.

Another thing I like about ceramics is that you can work with the chemistry behind it - you can add different elements when you're firing it to produce new textures, colors, or different effects on the body. Then there are all the options for structure - mold-making, hand-building, and wheel throwing - and the surface design elements. It's this limitless medium. It's also cool to be able to work on something and then just reset and be like, "Oh, I'll just recycle it, use it next time."

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Credit: Briggs Ogloff

OM: Tell us about the Lohan plates!

CP: That was back in art school when we learned a new technique called the decal technique. I thought it would be so funny if I made a set of commemorative plates. I think Lindsay Lohan's fifth mugshot had just been released.

A commemorative plate as an object is so bizarre to me. It's pretty useless, yet there are so many of them celebrating royalty or celebrities. I wanted to commemorate someone very controversial - a mess.

OM: Lindsay Lohan was one of the biggest celebrities of our generation and then was just in jail constantly.

CP: Maybe there was something comforting about it - the buildup and beat-down of a celebrity. Now they don't get torn down the same way. The Kardashian-Jenners are loved and hated, but they're still so influential. Our generation had Paris Hilton getting built up, torn to shit, and then built up and torn to shit again. Amanda Bynes, too. We witnessed really weird demises of people.

The Lohan plates were really well-received, and funnily enough, led me to the Real Housewives of Vancouver. They were entered in a show at school and this woman who runs a gallery in Vancouver really liked them - she was working for one of the Housewives whose husband was a big art collector in Vancouver. The Housewife decided she wanted me to make commemorative plates of her, so I ended up making some 50 plates with pictures of her and her cat on them.

MH: Did she end up selling them?

CP: Yeah, so it didn't go as well as she thought it would. I went to the show - I was mostly there for the free wine and to see who was actually going to buy these plates - and at the end of it, they didn't even pay me! She was like, "Oh, we'll be in contact with you about payment," and literally avoided paying me for months.

That was my first commission and first experience being screwed over as an artist. When she finally came around to paying the last $50, she met up with me downtown pulled out her big designer purse, and actually tried to give the plates back - she was like, "We have some left over, would you want to be paid with those? Do you want these back?"

It was definitely a wacky experience, but also an interesting first foray into life as an artist showing and selling my work. She works at a car dealership now.

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Credit: Briggs Ogloff

OM: Decorative arts and ceramics have always been pushed to the side, where it's like, "Oh no, that's not art, it's craft." That was one really annoying thing about going to art school - the idea that there are two types of people - the "crafts" people and the "artists". The fine art and design programs were so elevated, while ceramics fell through the cracks. Ceramicists were made fun of constantly - it was actually crazy.

CP: I have this internalized self-loathing for production pottery that is rooted in that schooling experience and having to put meaning to work . Not everything has to have a "concept" behind it. Some things can just purely be enjoyed.

MH: Do you think that what you're doing now, working with boutiques, is a result of being taught to make technically perfect pieces for commercial success? Or is it the other way around - do you attribute your popularity to the unique imperfections of your work?

CP: At Emily Carr, there was no emphasis on being commercially successful. We didn't learn how to market ourselves as a business. We didn't learn any of those skills. I would have probably benefited more from going to a business school and just pursuing ceramics as a hobby, if that was my goal, but I also like making work that people can afford and own. Work that isn't completely unattainable. I don't need to have my pottery on a pedestal.

I think that art should be accessible. Especially now, creating affordable art that you can get out to people - there's something to be said for that.

https://www.caitlinprinceceramics.com/

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Credit: Briggs Ogloff

Artist Spotlight: BestWorld

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“Dreamscapes” by BestWorld

BestWorld is the moniker Ottawa-based surrealist collage artist Sierra, who is the latest artist in our series of spotlights. We first came across her psychedelic collages on Instagram, and wanted to know more her creative process and how she creates such unique and dreamlike images.

Malaika Astorga for Also Cool: Hi Sierra, tell us a bit about who you are and what you do.  

Sierra: Hey, I’m Sierra a surrealist artist. My days consist of drinking lots of coffee and hanging out with my baby kitten, Zephyr. I just recently turned 24 and I’m in that stage of recognizing that time is passing by super quickly and I’d rather be putting my energy to things I love doing. It’s kinda as if I’m in a quarter life crisis, but in the best way possible. Most of my days are honestly spent daydreaming and envisioning the future. Naturally being this way has given me an edge on creating, but has definitely stunted me in other aspects of my life. I created BestWorld a few months ago honestly out of sheer boredom, working back to back government contracts in Ottawa and [discovering] it wasn’t for me. On my lunch breaks, I started to create vision boards and took up multiple courses in graphic design. I was also heavily obsessed with 70s concert posters at the time and was like, “Oh hey… turning my work into something tangible would be cool.” I also have a background in business which has helped me out a lot. 

AC: How did you first get into art? Has collage always been your primary medium?

Sierra: I got into art at a very young age, in fact it was probably the only thing I was deemed “good” at up until my late-teens. I literally sucked at all sports and was terrible in school. I was a very stubborn child. My dad and I, when I was around 7 up until my late teens, would create these giant playlists and draw illustrations to the songs. I believe my love for art first started around this point because I was feeling things that I couldn’t really put into words for the first time. 

Sketching and painting were my primary mediums growing up. I still do draw a lot and paint sometimes. I do feel like the future of art is going to be very digitized with Procreate, so I’m starting to learn new mediums and formats as we speak.

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“Devyn’s Dream” by BestWorld

AC: What’s the creative scene like where you’re from? How do you think it’s influenced your work?

Sierra: The creative scene where I am from has definitely flourished in the last 5 years. I really do think Ottawa has a lot of potential and there are some extremely talented people here. A lot of my friends here are creatives and the community is pretty close knit, which is really warm and fuzzy. When you’re surrounded by talented individuals. it definitely pushes you to become the best version of yourself. This is my last year in Ottawa as I will be moving to Vancouver this summer, but I am extremely grateful for Ottawa’s creative collective. 

AC: Your work is super psychedelic and colourful, a nice break from the minimalist aesthetic we often see on Instagram. Where do you find your inspiration? Who are some other artists who have really influenced your work?

Sierra: Haha, thank you so much! I get my inspiration mostly from other surrealist artists and other visual artists, my own dreams and visions and of course, as well as music. My top three favourite artists are: Salvador Dali, Jean-Michel Basquiat and Victor Moscoso. Dali’s painting “The Elephants” is honestly probably where it all started for me. I saw the painting when I was around 10 and I was completely blown away by its otherworldliness. Basquiat was overall just such an interesting character, who was way ahead of his time. My favourite work of his is “Riding with Death,” which he painted right before he died. He was illustrating his opinions on the state of the world at the time and the racism he was experiencing. Victor Moscoso’s use of colour is what really intrigued me about him. It was just super unconventional; he made so many rock posters, advertisements and comics in the 60s and 70s. He was the first rock poster artist of the 60s and highlighted the entire psychedelic/hippie movement going on at the time. He also just seems like a super sweet lad. 

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“Kiss the Earth that Birthed You” by BestWorld

AC: Who do you usually listen to when you’re creating new work?

Sierra: I usually just put on a Spotify playlist I’ve created while making new designs. As of now I’m, really into 53 Thieves, Washed Out, Melody’s Echo Chamber, Japanese Breakfast, Frank Ocean, Weyes Blood, beabadoobee, Jay Som, Toro Y Moi, Litany, TENDER, The Strokes, RF Shannon, Crumb, Tame Impala, Jimi Hendrix, Andy Shauf, King Gizzard & The Lizard Wizard, Mazzy Star, Chloe x Halle… Honestly could add 10,000 more artists in there, I listen to music all day.

AC: You mentioned that you’re doing more commissioned work lately. How have you found the transition from making art for fun, to beginning to be able to monetize it? What are some tips/resources you could give to up and coming artists?

Sierra: As of now, I’ve been incredibly lucky. Everyone I’ve collaborated with has been amazing to work with and I’ve made some long lasting friends. My advice to up and coming artists is to honestly stick to your guns and don’t get pushed around by anyone. Believe in yourself, as scary as that sounds. You’re working for yourself and you can decide, pick and choose who you’re working with. Make sure they are good humans because your name and brand is on the line. Overall, you don’t want to be working with shitty people regardless, just know your worth. 

Especially when you’re first starting out, you might have imposter syndrome. Try to brush those feelings aside because it happens to the best of us and I believe every artist has these thoughts from time to time. Also, collaborate with other artists and learn from them. Don’t be afraid to direct message your favourite verified artist on Instagram; they may have some phenomenal advice for you. Don’t think you’re above or below anyone or anything and don’t be afraid to take risks. It’s only when we truly push ourselves out of our comfort zones… That’s when we grow as individuals and artists. 

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“Otherworldly Realms” by BestWorld

AC: What’s your creative process like? How do you usually find your images?

Sierra: My creative process can take up anywhere from 20 minutes to 2 hours depending on the piece I am creating. It takes a lot more for commissioned work as I am working with someone else's visions, whereas I kinda have mine already known in my mind (if that even makes sense haha). When I’m working on album artwork or single artwork, I listen to the song over and over again to pick up on sonic motifs and lyrics, and then incorporate them into the cover art. I find most of my images on vintage archived libraries. For my hand cuts, I go to thrift stores and buy their clothes and ask if they have any mags from the 70s I can use. 

AC: Finally, is there anything that you want to promote or mention? How can we best support you and your work?           

Sierra: Support local businesses and your pals. Keep your artistic friends close because trust me, I can tell you they work hard. The best way to support me would honestly just be to have some conversations with me, feel free to reach out to me on Instagram at anytime. I love humans so much haha. I also have a second shop launching shortly where I will be selling t-shirts, bags and a lot of other things. My Etsy will still be available to purchase prints, canvases and custom artwork. Thanks so much for your time!

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“I’ll Change” by BestWorld

BestWorld

Instagram | Etsy

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Marie Marchandise: Not Your Devil

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Photo credit: Marie Marchandise; Model: Laetitia Kitegi

It all started with what Cécile, Manon and Marie do in their creative processes. Marie dyes, cuts, and patches fabrics, Manon dreams up, sews, and refines delicate lingerie, and Cécile designs, shapes, and crafts belts. The three of them bring beautiful and important changes concerning lingerie and clothing. With Manon’s fine nature-inspired lace, Marie’s natural dyed fabrics, and Cécile’s organic-shaped belt buckles, the wearer can appreciate the art and the longevity that results from making something as a craft.

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Tout a commencé par les créations de Cécile, Manon et Marie. Marie teint, découpe et assemble, Manon imagine, coud et peaufine, Cécile conçoit, modèle et façonne. Toutes trois changent la donne dans les domaines de la lingerie et du vêtement porté, tant dans la délicate dentelle de Manon aux inspirations florales, comme dans les précieux tissus colorés naturellement de Marie que dans les boucles des ceintures de Cécile à la pâte de bronze et aux formes organiques.

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When I began putting together the different looks, I pictured mythological figures - Athena, Leto, Artemis - and all the beautiful drapery that is cast on statues of deities - with complex stories, but bold personalities. Hemingway’s Garden of Eden came to mind, particularly the character of Catherine Bourne.

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En imaginant les tenues portées, j’avais en tête des figures mythiques : Athena, Leto, Artemis, et tous ces magnifiques drapés façonnés dans ces statues de déités aux histoires complexes, mais aux caractères toujours francs. Et tout d’un coup, le roman d’Hemingway Le Jardin d’Eden m’est venu en tête, et plus particulièrement le personnage de Catherine Bourne. Et vous allez comprendre pourquoi.

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The novel is a fusion of sun and sensuality - the reader has to adopt the perspective of David Bourne, a successful writer, whose wife Catherine is portrayed as being jealous of him. However, as the plot progresses, Catherine evolves to become the dominant character - apparent both in how she asserts herself with her husband and in her relationship with Marita, a young woman who becomes the couple’s love interest.

I’ve read a lot of articles analyzing this literary piece, but I’m still always struck by how David calls his wife “Devil”. Catherine takes the bull by the horns, gains control. She can be hurtful with her words - but without her there’s no story.

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La sensualité et le soleil sont les deux points cardinaux de ce roman. Le lecteur n’a d’autre choix que d’adopter le point de vue de David Bourne, romancier à succès dont la femme, Catherine est décrite comme jalouse. Catherine, adoptera, au fil des pages, un caractère dominant, tant dans sa propre affirmation que dans sa relation avec Marita, une jeune femme dont le couple va tomber amoureux.

J’ai lu beaucoup d’analyses à propos de cette oeuvre, mais je n’arrive pas à oublier comment David appelle sa femme : “Démon”. Catherine prend des initiatives, parfois elle s’impose, certes, et lance des remarques salées à son mari. Elle blesse également. Mais sans elle, il n’y a aucune histoire. 

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In my search for a story to tell, I wanted to portray that Catherine’s character, as do the many strong female figures that mirror her, first and foremost takes agency through her “misbehavior”. For me, Catherine’s flaws are her most inspiring qualities.

With the pieces made by Cécile, Manon and Marie, I wanted to create outfits for a someone - a Catherine, an Athena - that illustrate the beauty and power of having a devilish demeanor.

“Not your Devil” is a series of photographs involving five women, who gathered one morning to discuss Catherine Bourne and the stereotypes about villainous women in fiction, and without whom this story would be nothing. It is also a celebration of sustainable clothing design and a tribute to craftswomen who dedicate their work to the concept of slow fashion. 

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Dans ma recherche d’une histoire à raconter, j’ai pensé que Catherine, tout comme les figures féminines qui lui font écho, est d’abord et avant tout une femme qui fait preuve de force et d’intelligence. Il y a, en effet, beaucoup de qualité dans ces défauts.

Alors, avec les créations de Cécile, Manon et Marie, j’ai souhaité fabriquer les tenues d’une femme, Catherine, Athena ou tout autre personnalité illustrant la puissance et la force que l’on retrouve chez ces figures diabolisées.

“Not your devil” est une série de photographies impliquant cinq femmes, réunies le temps d’une matinée pour parler de Catherine Bourne, mais aussi de tous ces stéréotypes sur les femmes dans la fiction, qui ont un mauvais rôle et sans qui l’histoire ne serait rien. C’est également un hommage à la création textile et aux artisanes qui se consacrent à la mode slow.

Model: Laetitia Kitegi
Body: Eternel Ephémère
Fabrics: L’atelier Maison
Belts: Ysun Ysun 
Location: Bibliothèque d’Etudes et du Patrimoine, Toulouse

Premiere: Ariana Molly's Short Film "MISS LIBRA" is a Romantic Fever Dream

Still from MISS LIBRA by Ariana Molly

Through a haze of smoke, horoscopes, and red wine, emerges Ariana Molly’s MISS LIBRA. You may know Ariana from Mutually Feeling, or from her ethereal photography, but this short film marks her directorial debut. As an artist, Ariana transitions effortlessly between mediums, and MISS LIBRA is an invites us to take a deep dive into the her creative world.

MISS LIBRA chronicles our heroine, Lees, as she recounts the sagas of her failed pursuits for love. Written as indulgently obscure as a daily horoscope, Lees reels in feminine divinity and smashes it at its core, expelling gender presentation as laughable, playful, chaotic, evil. She muses over the queer, the trans and the astrological experiences muddling make believe with reality. She is pouting and painting her lips in a blue-hued bathroom. She is wearing a wedding dress in a smokey bath. She is drinking endless red wine. She is laughing maniacally, tying ropes and cracking whips and she is smoking-smoking-smoking. The cryptic yet seductive monologue, when coupled with the film's distinct visual, transports viewers to a mystifying space of gender frenzy and chaos, beauty and celestial delight. This highly aestheticized, ethereal slice of desire, dazzles in all of its glam-queer glory.

Still from MISS LIBRA by Ariana Molly

The film was realized by an almost entirely female/non-binary cast and crew. It was shot in October 2018 and has it's premier in October 2019. It's now being released on IGTV October 1st 2020. We spoke to Ariana about her creative process for the film, and her transition into this new medium.

Still from MISS LIBRA by Ariana Molly

Malaika Astorga for Also Cool: What made you take the leap from photography to producing a film?

Ariana Molly: Making the move from photography to film was something I always fantasized about but felt intimidated by. The reverberating "you should do film!" would bounce at me from friends, colleagues and professors who felt that my aesthetic language would translate well. It was honestly a matter of fighting off that pesky inner monologue telling me I wasn't ready. If there's one thing I've learned it's that we NEVER feel ready for any new challenge. At a certain point, you just need to swan dive and believe that you're going to stick the landing, and also be okay with knowing that you might not, and that's okay too.

I originally started developing this project because I applied and was accepted to write/direct the film for a series out of Australia called "Calendar Girls" that is now defunct. Unfortunately, due to lack of funding, they had to cease productions for their second year (for which I was supposed to participate) but in my mind I was already making the film, I could see it and feel it and I really, really wanted to make it. So I went ahead with it anyways and self-funded it. I didn't want arbitrary circumstances to prevent me from realizing this project.

Still from MISS LIBRA by Ariana Molly

Also Cool: What are some of your favourite films and why?

Ariana Molly: I have always loved films that cultivate a particular mood and create their own universe. I am a huge sucker for opulent aesthetic, overboard production design, costuming, DIY special effects, faux gore, queer themes!!! Anything related to halloween will usually charm the shit out of me. One of my favourite films of all time is The Love Witch. I think it might be the most perfect film ever made. Escapism through cinema is bliss, give me give me more. 

Still from MISS LIBRA by Ariana Molly

AC: Reflecting on MISS LIBRA two years later, how do you think you’ve grown as a director and artist? Do you have any advice for your past self, or for anyone aspiring to make a short film now?

Ariana Molly: It feels crazy to me that two years have passed since I realized this film. In some ways it feels like centuries ago, probably in part due to the way the world has radically shifted since that time #ronaaaa But in all honesty, the advice I would have given myself then, is the same advice I give myself now: just. fucking. go. for. it. There are literally one hundred thousand million reasons not to do something, don't let your own self confidence be the thing that prevents you from giving it a go. I have always been a person paralyzed by fear of failure, major A-type personality complex. I always joke that I never do anything I'm bad at. But, at the same time, discovering that I was capable of something new was one of the most invigorating feelings, and I'm going to keep chasing that high.

For a long time, when I would look at work I made in the past, I would be horrified (yikes @ undergrad). But MISS LIBRA has never turned on me. I am as proud of this film now as I was two years ago and infinitely grateful that this one film gave me the confidence to do so many other film based projects. I hope I can continue to cultivate that sensibility for the rest of my career because self doubt will rot the soul. 

I will always advocate for the fake it till you make it lifestyle because imposteur syndrome has followed me, no matter where I've been in my career, and I've accepted it as a part of life. I've basically learned to slap on a smile, say "yes I can" and then figure out how to make it work. Thank god for YouTube tutorials, my partner and every person who's ever given me a helping hand or a shot. They're the real MVPs. 

Still from MISS LIBRA by Ariana Molly

MISS LIBRA will be available via Ariana’s IGTV on October 1st 2020. The release is also tied to a fundraiser for Taking What We Need. Ariana encourages anyone who enjoys the film to donate to their crowdfunding.

Still from MISS LIBRA by Ariana Molly

CREDITS

Written + directed by Ariana Molly I Starring Lees Brenson (Dregqueen) I "The Hands" Sophie Marisol + Eugenie Tutin I Produced by Nicole Richardson I Director of Photography Marie Chemin I Beauty by Jessica Cohen I Beauty Asst. Dahlia Bercovitch I Production Design by Ariana Molly I Wardrobe + Production Asst. Kaitlyn Woodhouse I MISS LIBRA Title Animation by Jason Voltaire I Original Score by Mutually Feeling I Sound recordist Monika Rekas I Audio mix + master by Autin Tufts

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Artist Spotlight: Amanda Leigh Ponce

By Amanda Leigh Ponce

Amanda Leigh Ponce really does it all. As an actor, graphic designer, and illustrator, she’s a force to be reckoned with. Get to know Amanda and all of her creative endeavours below.

Malaika for Also Cool: How did you get into creative work? 

Amanda: I honestly can’t remember a time in my life where I wasn’t participating in something creative. I’ve been dancing since I was a kid and spent most of my childhood inside dance studios. After a back break right before college auditions, followed by illness, I switched gears. I focused on acting while I was recovering, and eventually ended up going to New York City for college to train to be a film actor. 

Throughout that entire time, I had been drawing and teaching myself how to use design programs just as a hobby. It wasn’t until I got to New York that I realized that art and design were things I could pursue as a career. A friend of mine had seen some of my work and mentioned that I should set up an online shop.

So I began reaching out to the network I had established as a performer. Many of the theatre companies I’d worked at gave me my very first opportunities as a graphic designer, and really gave me the confidence to begin freelancing. 

Amanda Leigh Ponce

Also Cool: Do you have a primary medium?

Amanda: Yeah, it’s definitely changed over the years. I started out trying to act full-time, but being in a smaller market wasn’t sustainable. So now, art and design are my primary mediums, and how I spend most of my day today! Pre-pandemic I was auditioning a lot and going to New York for shoots, but everything came to a halt. I had to pivot and sort of re-assess how I was going to be able to pay my rent, ya know?  

AC: I really enjoyed your blog post about the pressure to be productive as a creative during quarantine, and for your work to reflect the current times. Do you still feel that way now, and if so, how do you manage these expectations?

Amanda: Thank you. It was kind of cathartic to write, to be honest. I definitely still feel that pressure a little bit. I’m trying to learn how to give myself some grace and to not force myself to create out of an expectation. As a generally anxious person, I think I do that to myself a lot.

Since May, when I initially wrote that post, I’ve really been working on not stretching myself too thin. Setting actual work hours, allowing myself to pursue the projects and hobbies that bring me joy, scheduling out my social media weeks in advance so that it’s not even something I have to think about. Doing what I can to support and lift the voices of other Black and BIPOC artists who have the energy to create in that way has also been important to me. 

I’m very slowly beginning to realize that my productivity and output do not define my human worth. The more I lean into that, the better I feel all around. 

By Amanda Leigh Ponce

AC: Who are your creative inspirations?

Amanda: Oh gosh, there are so many different people, but some I can think of off of the top of my head are Hsiao-Ron Cheng, Corinna Dodenhoff, Frida Kahlo, Andy Warhol, in particular, have had a significant impact on how I see colour and composition. 

AC: I love your fake film posters! What are some of your favourite films, and why?

Amanda: Thank you! I love working on alternate posters, it’s always a fun way to pay homage to movies that I love. Right now, I’m kind of obsessed with Bong Joon-ho’s Parasite. I thought it was really thrilling and beautifully shot and I’ve watched it multiple times now and have noticed something new with each viewing, which I love. Another film that I think is just so visually stunning that I know a lot of people hated, lol, but that I will always have a soft spot for is Sofia Coppola’s Marie Antoinette. The soundtrack, the cinematography, the costume and makeup design, it’s really just a visual treat and I really love highly stylized pieces like that. 

By Amanda Leigh Ponce

AC: In your opinion, what makes a good poster? 

Amanda: Whether or not it grabs my attention. It’s a weirdly simple answer but that’s kind of the point, right? Movie key art exists to get audiences excited/intrigued about what’s to come. So if it makes me really stop to take it in, it’s done it’s job. I think a lot of posters sort of fall into the same basic composition/fonts/etc. and I definitely feel like those are less likely to catch my eye. 

AC: What’s the biggest lesson you’ve learned as a freelance artist? What would your advice be to others who are trying to figure out how the freelance world works?

Amanda: Honestly, that there’s enough work to go around for everyone. I’m so lucky to have a circle of incredibly creative friends and colleagues, and I find the more that you’re willing to support other artists (even if they’re your ‘competitors’) the more support that comes back your way, and then you’re really able to begin creating a community that you can lean on, which I think for me as a freelancer has been absolutely vital. 

The other major lesson that I think every freelancer has to learn in their own time, is to know what your art is worth, and not budge on it. Figuring out my rates (and not being bullied into changing them once they were established) was a huge game changer for me. 

As far as advice goes, I would just say don’t be afraid to shoot your shot. I’ve sent out countless numbers of ‘cold emails’ with my work to brands/companies that I would love to work with. And while most of the time it doesn’t work out, sometimes it does, and they wouldn’t have known me from any other artists out there if I hadn’t taken the time to do that. Of course with that being said, you need to make sure that you’re prepared and have a solid portfolio of work to show people, but ultimately I’ve found that most people are pretty open to this because artist and designers are problem solvers. 

Also - and this shouldn’t be that surprising but - be kind! Firm, but kind. It will help you to navigate all of the different types of personalities that you’ll come in contact with doing freelance work. 

By Amanda Leigh Ponce

AC: Finally, is there anything you want to promote or shout out right now? How can we can best support you?

Amanda: I would love if you checked out my website (amcoart.com) and gave me a follow on Instagram (instgram.com/leigh.corbett). For whatever reason, the amount of followers you have seems to “legitimize” artists in the eyes of some brands, so that’s super helpful for me as I continue trying to branch into the crazy world of brand partnerships. I also post cute cat pics! I’ve been selling prints of my work on Society6 for a long time and recently launched a store where I’m selling prints directly through my website, plus I have some tee-shirts available through Hot Topic! A visit through my website (to the ‘shop’ link) will direct you to all of those places! 

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RESOURCES

http://www.slate.com/articles/arts/culturebox/2017/04/the_history_of_self_care.html

https://locallove.ca/issues/the-revolutionary-origins-of-self-care/#.X1ka0WdKhE5

https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5024403/

http://www.itsabouttimebpp.com/Survival_Programs/survival_programs.html

https://www.instagram.com/p/CDCg5UyJPfy/

Nina Slykhuis-Landry is a Montreal-based illustrator, cartoonist and mural artist. 

Instagram I Website

Rico Montaño on Colombian Graphic Design, Freelancing During Quarantine & Chimbites

Rico is a Colombian multidisciplinary artist currently based in Barcelona. Known for their colourful and creative style, they are a graphic designer, art director and photographer. We caught up with them about their work and their latest project, Chimbites.

Design by Rico Rica for Cuarenteca

Rico: My name is Rico, and I'm never in one place for too long. I’m currently based in Barcelona, but grew up in Colombia, and lived in Canada for 13 years. I love my culture, I love colours, and I love people. 

I go back to Colombia as much as I can, and I take many of my photos there. A lot of my work is documentary or editorial. I mostly photograph people I love and the people I collaborate with, and I always shoot with film. I love analog. Even in my design practice, I love starting with a painting or a drawing and then it becomes something else.

Design by Rico Rica

Malaika Astorga for Also Cool Mag: Who inspires you for graphic design, and why?

Rico: I take a lot of inspiration from things that aren't graphic design. Growing up in such colourful streets in Barranquilla made me become almost obsessive about colours. Luis Barragan is a big inspiration (he was in his turn inspired by North African architecture). His book on emotional architecture "Obra Construida" really resonated with me, so I dedicated a semester to studying his work and did a three-part book about it. 

My dad was my first exposure to graphic design, without realizing it. He's obsessed with stamps. He has a lot from Colombia from the 1940-50s and 1800s as well. I didn't understand why he liked them so much when I was younger. Now that I'm trying to find more Colombian graphic design, I go to them for inspiration and plan on making zines to document them.

I truly admire the work of Ramon Tejada and Jerome Harris on decolonizing design and documenting African-American/Latinx work in our field. I’m also really inspired by Leah Maldonado’s take on typography and education. These days I’m really into 3D typography, early 2000’s internet art and anything that shines.

“Ver, Leer, Sentir” on Luis Barragan by Rico Rica

AC: How have you been able to find your style? 

Rico: My style has always been really colourful. Quarantine has helped me get out of all the practices that have been in my head from school. I think I just had to go the complete opposite way. I'm still exploring, I'm experimenting with, for example, how many textures and gradients I can add to something. 

Design by Rico Rica for Nox Lounge

Design by Rico Rica for Nox Lounge

AC: How are you managing your freelance work? How have you been able to figure out balancing it with your routine? 

Rico: Balance is a big word. (laughs) I think the most challenging part has been balancing mental health and freelancing.

AC: Well, you seem very like on top of things. 

Rico: I'm trying. I think something that's helped to get the ball rolling over the years has been building up a network of other artists and collaborators. That way, we're working together, and I don't take all the responsibility on myself. 

I enjoy coordinating in general, getting people together, or building a team for a project. It's something I'm slowly starting to do more, and spending less time on the details of the project.

Social Distancing campaign by Rico Rica x Florient Aniorte

AC: What are you working on right now? 

Rico: I'm working on a collaborative project called Chimbites with my friend Julicore from Bogota and a community of Latinx artists in Montreal. It's an intersectional Latinx Artist Network, focused on encouraging collaboration, community building and solidarity within the Queer Latinx Immigrant community and Latinx artists in Latin America. 

The initial idea came up in April and is finally coming to fruition with our digital event on September 11th. It will be a fundraiser and a collective performance in solidarity of two organizations: Taking What We Need and Dos Latinas. 

The event will showcase artists from the Latinx community and allies performing to raise funds for various organizations, aiming to support Femme, Trans, Two-Spirit and Marginalized communities in Canada and Colombia. 

Chimbites will happen in two parts: a Mixcloud Livestream, showcasing short films, music sets and performances, and a Zoom afterparty with Club Quarantine. 

Taking What We Need is an informal volunteer-run community group dedicated to helping trans women, trans-feminine (AMAB), and Two-Spirit people get what they need through discretionary funding, primarily in Tio'Tia:ke-Montreal.

Dos Latinas is an organization that provides food, basic hygiene products, contraceptive care and sexual education workshops that seek to protect women in marginalized territories in Colombia. Their work is crucial throughout the COVID-19 pandemic as the number of unwanted pregnancies augmented, and the poverty situation is worse than ever before. 

Menstrual cups and contraceptives will be sent to the womxn in Baru, Colombia, and their neighbouring islands. Food baskets will be sent to the Afro-Colombian community in the urban Palenque in the city of Barranquilla.

AC: It's really cool to see how you integrate community into your creative practices. Do you think that this is something that you want to continue, like past this event and into the future as well? 

Rico: Definitely. It's attracted people from all around the world, who are a part of the Latinx community. There's a lot of interest in participating in the next one. 

We want to keep using this platform to collaborate, creatively, or even find and allocate funds. We're also not exclusive to Latinx people only. Anyone can help, and we encourage non-Black people to help by opening up their wallets and donating.

Design by Rico Rica

AC: Is there anything else you'd like to put out into the world right now? Advice or otherwise?

Rico: I feel like this article is a bit of a goodbye letter to Montreal. My last advice is to follow your gut feeling and to listen a lot. 

Ensure that your intentions are in the right place and that you're listening to the community around you. Listening to the people, you're trying to help. If you're in a position of power, delegate it. As hard as that can seem for some people, it's an important thing to do. 

Set boundaries for your time and take care of your mental health. Take care of yourself and your friends more than anything. 

Rico

RICO RICA I Instagram

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Chimbites

GoFundMe I PayPal I Instagram I Nequi: 3212476229⁣

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🥂𝐸𝓍𝓅𝑜/𝒫𝑒𝓇𝒻𝑜𝓇𝓂𝒶𝓃𝒸𝑒🥂⁣via MixCloud⁣

SHORT FILMS

Eléctrica Rogil @edsoniebla⁣ Tupamara Alta @La_crymoso⁣

⁣

FASHION PERFORMANCES

Rastros de Amor @posadas.apparatus⁣ CoctelCancer @analcancer2009⁣ Neus Lakraviadus @neagonorrea @_lakras_ @otrusextraviadus⁣ Chimbites Collab: @viasus_ x @culonahigh⁣

⁣

WARM-UP with @Yoggaton⁣

⁣MUSIC SETS

@jas_h_im x @accept__cookies⁣, @deidre.opal9 x @teozamudio⁣, @lomaasbello (live)⁣, @isabellalovestory (live)⁣, @climatecollapse x @us3rname2⁣, @__jerico_____ x @custoblanch⁣,

Chimbites Collab: @teykirisi x @metacyber.s.a

⁣

🥂𝒜𝒻𝓉𝑒𝓇𝓅𝒶𝓇𝓉𝓎: @clubquarantine🥂⁣via Zoom⁣

LINEUP⁣

@tayhana_⁣ @k.hole_kardashian⁣ @laguapiss⁣ @phaedramu⁣ @akadjmilf⁣ @anpob⁣⁣

The winners of the Raffles we have with @earthnotescents, @lmbainofficial and @arielledepinto will be announced during the event! ⁣

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Gabor Bata: Memories of Clown Exhibits, Wim Wenders, & Getting Over Art Blocks

Art by Gabor Bata

Known for his wavy characters and psychedelic range of texture and colour Gabor Bata is a Montreal-based illustrator, whose work will transport you to a whole other world. He does everything from comics to book design, and article illustrations as well.

We caught up with him about creative influences, strange art exhibits, and how to get over art block.

Art by Gabor Bata

Also Cool Mag: How did art first enter your life? Was it something that was always there, or did you find it later on? 

Gabor Bata: I was sort of in a special situation where my parents actually encouraged me to go into the arts, even at a young age, and continue to do so today. Art was always a big part of my life, and it was usually a very giving dynamic. 

My parents always had art books lying around the house or would take my brother and I to galleries. I remember one, in particular, was this show in Ottawa when I was about 9, called Portrait of the Artist as Clown. It was all these kitschy paintings, drawings, sculptures, photos, and videos of clowns. I feel like I must’ve made such a huff about not wanting to go because the last thing I think a 9-year-old wants is to be trapped in a museum full of clowns on a Saturday. Great idea for a horror movie, but ya know. My folks insisted. One installation in particular that has always stayed with me was this strange, very sensual video of this half-nude queer clown doing a trapeze act. 

While I’m sure it was all aggressively incomprehensible to me at the time, stuff like that opened me up pretty early on to how diverse and limitless art could be. I never would’ve thought of that as art until then. My scope had changed, and I think it’s important for any kid getting into art to have an experience like that. Preferably without the clowns, though. 

Art by Gabor Bata

AC: Your personal style is so unique and has a great variety of textures and colour. How did you find your style, and how has it evolved over the years? 

Gabor Bata: Comics and cartoons were as always the backbones of my work. I never really got over them or felt like once I was going into art school that I had to “grow up” and move on. I’ve become less interested in creating straightforward cartoons and comics in the last two years and more interested in exploring their abstraction: the shapes and the colours, the visual language. So much of those elements alone can tell a story. 

Those were what had always appealed to me, and made me feel so at home in those worlds. Removing a piece of dialogue, the linework from a drawing, letting forms breathe and bubble, and stretching across those familiar panel grids and geometric lines creates something more involved and emotional. It actually gives you a lot more through suggestion, instead of creating a full scene with fully formed characters and speech bubbles with dialogue that tells you these blobs are mad or depressed or haunted or heartbroken or whatever. The work would all be done then, and there’d be nothing left for the viewer to interpret for themselves. 

Art by Gabor Bata

AC: Where do you go for inspiration? Either online, or IRL? 

Gabor Bata: Movies are a big inspiration. Seeing all of these separate elements coming together, the images, the pacing, the music, combined to elevate and flesh out a singular statement is really magical. I’ve recently been on this Wim Wenders kick, and his films are like my new obsession. He finds a way of creating worlds you just sink into. I just rewatched Paris, Texas and am planning on catching Until The End Of The World, and wow, now does that film have a killer soundtrack. 

Julee Cruise, Nick Cave, Talking Heads, good grief! I haven’t watched it yet, maybe it’ll be terrible, and I’ll regret bringing it up here, but the music has already made me soar and brought me to another place. It just isn’t the same thing for me when I’m drawing or painting. 

When I’m creating, I have a pretty particular idea of the voices, the sounds and the music I associate with the image. Still, no one else will ever really know those things or have access to it the way you would with a movie. Some galleries and installations try doing that, with audio playing in the gallery, or the lights flickering or something to elevate the pieces, but it always just feels like you’re in a sad version of Disney Land. Some works really have the ability to transport you, though, and that’s something I always aspire to. 

Art by Gabor Bata

AC: What do you do when you hit an art block? What helps you get over it? 

Gabor Bata: If I need a boost, I’ll do things that I’m uncomfortable with or shitty at, or try something I can’t rely on my laurels to accomplish. 

Screenprinting was a big one, and actually ended up greatly influencing my interest in abstraction. Breaking my images down layer by layer made me see all the incidental work going on literally beneath the surface. I’m still a little lousy with printing, but that experience was so informative and helpful in regards to the work I create now. 

It’s really easy for me to start feeling trapped in my drawings or to get overwhelmed by the detail. It’s constantly a game for me to surprise myself or trick myself into doing something I wouldn’t have thought of before. It centres me a bit and reels me back into why I’m doing what I’m doing. 

Art by Gabor Bata

AC: Where did you grow up? How did your upbringing shape your ideas about art and design? 

Gabor Bata: I was born in Montreal but was raised an hour out in a couple different suburban towns until I was 15 (at which point I moved back here). I feel that was the right age to come back, and while I think I did most of my maturing and creative discovering in the city, I can’t say suburbia didn’t have some effect. 

Nature had always been a backdrop in my home life, trees especially. My interest in the shape of trees has translated into some of the organic shapes I toy around with in my art. And the strange things you find living in those trees! My brother would get these bugs biting him all the time, and he’d just balloon completely out of control. The way the body reacts, how little control we have over it, and how little understanding, especially as a kid, definitely must’ve played into me drawing these erratic, bulbous organic characters who can barely contain themselves. 

Art by Gabor Bata

AC: How do you feel about social media as a platform for what you make? 

Gabor Bata: Social media has its perks. It can be a beautiful way of connecting and discovering others, especially in the art world. However, as a means of consuming art and information, that’s a bit tricky. On Instagram, you’re swiping through image after image after image, and at a point, they don’t really have the impact or the ability to be enjoyed on their own. Is it the ideal way to consume a piece of art? 

In my case, there’s a lot that feels lost in the translation of my 3x5 foot drawings to my 5.5x2.5 inch iPhone. I dunno, I sound like dinosaur bones now. I follow plenty of artists who have mutated their output to fit within the square confines of an Instagram post, to the point where I can’t imagine it being presented anywhere else. To me, I use it more out of practicality, and I’m definitely intent on eventually creating my own website where it’s less about taking in as many different images as possible in 30 seconds and more about giving the work a proper platform to breathe. 

Art by Gabor Bata

AC: What does community mean to you, and how do you connect with it?

Gabor Bata: Look, I know I just wrote that grand anti-Instagram manifesto, but yeah, I’ll stand by the fact that I’ve connected with so many cool artists and friends through it. 

It’s important to surround yourself with other nut jobs who share the same wants and struggles as you. Working around like-minded folks can be inspiring and challenging. If they’re really good at what they do, I think getting a bit pissed at how good they are and trying to outdo them every once in a while is healthy. 

Here are just a few of the artists who piss me off on the regular: @jupescoops (Aaron Elvis Jupin), @alexahawksworth (Alexa Hawksworth), @mlarono (Mathieu Larone), @catherine_desroches (Catherine Desroches), @erynlou (Eryn Lougheed) @jasonmurphyart (Jason Murphy) @foreshortening (Graeme Shorten-Adams), @francismarcel_ (Francis Marcel Williams) @peiangelina (Angie Pei)

Gabor Bata

Instagram I Tumblr

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How Warm.Up.Project Keeps Creativity Flowing In Quarantine

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Via Warm.Up.Project

Malaika for Also Cool: Who is Warm Up Project? How did it get started?

Jean David: Warm.Up.Project is a daily collaborative project between me (Jean-David) and Louis.

It started after I was forced to come back from my three-month trip in Asia due to Corona. I felt like I needed to transfer my energy into something creative, to forge a habit and release stuff without overthinking. I wanted to create music on a daily basis, and I immediately thought about asking Louis to collaborate for visuals. At first he said: “Ok let me think how I can pull this off without investing six hours a day into it,” to which I replied, “Think about it and let’s talk tomorrow”

I woke up the next day to 25 messages from him. I felt his excitement and determination. We posted the first collaboration two days later, and now we have more than 50 posts, with more to come!

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Via Warm.Up.Project

Also Cool: What are your backgrounds? The combination of your visuals & music choice is stunning. I definitely binge-scrolled through your account when I first found it.

Jean-David: I’ve always been in the audio and music industry. I took art classes here and there for fun, but I’ve worked in recording studios all my life. Throughout the years I’ve collaborated with a lot of talented artists, creatives, directors and international brands. I’ve always thought that music and visual art were meant to enhance each other. I am super grateful that I met Louis, and after all these years it was time for me to finally release music regularly and share my passion with the world!

Louis: I had a three years cegep program in graphic design, and then got into freelance work by sheer luck! I met like-minded people and started doing more projects in animation, while still keeping and evolving my taste in graphic design. I met Jean-David some years ago from afar, and always considered him to be a genuinely talented guy. So I was flattered when he came to me with this project. The more we work together, the more we realize how connected our visions are! We really respect each other's work, and we are stunned how sometimes our inspirations match up perfectly. There have definitely been a few moments of “DUDE it was meant to be!!”

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Via Warm.Up.Project

AC: Have you always been interested in combining arts and music? How does that manifest in your life outside of this project?

Jean-David: Yes! Like I said earlier, for me it’s a great combination that I think we need more of! Adding eye-catching visual effects to the emotional aspect of music is so powerful. Geometry, colors, perspective and compositions have always been important for me visually, and Louis understands that, making for a great artistic connection between the two of us!

Louis: In animation, rhythm plays a crucial role. Good music is a driving force to push the visuals further. I like fixed images without any sound too, you have more time to really analyze the art. It’s like photography versus cinema. But in the end, a specific moment that moves both in image and sound is really powerful to me. 

AC: Who are your favourite artists right now? Both musicians and visual artists?

Jean-David’s favourite musicians:  Rival Consoles @rivalconsoles Superpoze @superpoze_ Olafur Arnalds @olafurarnalds

Favourite visual artists:  Charlotte Taylor (Dello Studio)  @dellostudio Alexis Christodoulou @teaaalexis Sean Meilak @seanmeilak David Umemoto @david_umemoto

Louis’ favourite musicians: Yussef Dayes @yussefdayes Daniel Caesar @danielcaesar Jordan Rakei @jrakz Skinshape @skinshapemusic Yves Jarvis @yvesjarvis Lianne La Havas @liannelahavas

Favourite visual artists: Linus Lohoff @linuslohoff Lou @holalou Jeremy Rieger @jprgd Romain Loubersanes @romainloubersanes Rafael Araujo @rafaeldearauj0 Violaine et Jérémy @violaineetjeremy

Via Warm.Up.Project

AC: How have you been keeping up motivation to be creative during quarantine?

By “forcing” ourselves to create something new everyday! We created a habit and it’s the greatest decision. Sometimes it’s hard and you feel like you’re not coming up with anything right, but if you just try, there’s always something good out of it. It’s so satisfying to see the accumulation of our work!

Also, we agreed that this project should always stay fun, not stressful. If there’s days where we don’t have time or we are simply not feeling it, we skip it and come back stronger the next day.

Being two in this project means that we can always push each other, it’s really energizing! The people who appreciate and support our work with amazing feedback is a strong fuel too. It’s all about the people around us in the end!

AC: What’s the best way to directly support this project, and both of you as artists?

If you like and enjoy what we do on warm.up.project, you are welcome to share with your network! It’s always good to know that people can enjoy our art and it resonates with them.

Jean-David: I’ll be releasing an album this year and I am super excited! I also just launched a new company called “Supersavant.” It's the apogee of my knowledge and experience in the audio and music industry + my determination to create and support local talent. I can’t wait to invite you to the launch party!

Louis: My goal is to create work with and for genuinely awesome people with collective, ambitious and cultural projects. So spreading the word helps me get to them, wherever and whoever they are! 

Warm Up Project

Instagram 

Supersavant

Instagram

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Artist Spotlight: Fatima Jimenez

Image by Fatima Jimenez

Today’s aritst spotlight is on Fatima Jimenez, a Los Angeles based graphic artist. She shared her colourful lyric visualizations with us, and chatted about her graphic design inspirations.

Also Cool Mag: Tell us about your graphic design work & how you got into it.

Fatima Jimenez: Hi! I'm Fatima, but all my friends call me Fat. I am a graphic artist. I mix my love of music, film, and television with my love of typography and colour. It actually took me a while to realize my passion for graphic design. When I was younger, I was doing "graphic design" without even knowing it on MS Paint or Powerpoint. Believe it or not, I had no idea what Adobe was until I got to college. Based on what I had learned in school, I had this idea that graphic design was just branding work for others. I did that kind of work here and there, and still do, but I never did it for fun. 

I wanted to practice and play around on Adobe Creative Cloud programs. So, last year, I started a project called The Audiofiles. This project was the beginning of my journey as a true graphic artist. Every day I'm learning something new, and I'm really just having fun with it. Whatever happens, happens! 

Image by Fatima Jimenez

AC: Have you always wanted to be a graphic designer, or do you experiment with other mediums as well?

Fatima: I'm the type of person who wants to try everything. I've experimented with writing, photography, web design, painting, DJing, drawing, video editing, nail art, but graphic design is my focus right now. I still do most of those practices for fun, except for web design; I studied that in college and absolutely hated it. 

Image by Fatima Jimenez

AC: What's the story behind your quotes in this series? How did you choose the songs/movies for each quote?

Fatima: I love music, film, and television. It's a way of connecting all my favourite things, using a medium I'm comfortable with. A lot of the quotes are from my favourite songs, movies, and TV shows. If a quote stands out to me, I use it! Sometimes I'll be listening to a song or be watching a movie, and when I hear a line I really like, I get to work right away. I can't live without my Notes app, and I have a ton of lyrics and quotes saved for later.

AC: Who are some of your graphic design inspirations right now?

Fatima: @subliming.jpg, @polygon1993, @ericaofanderson, @roycranston, @mad.leif, @mimizhuxiyuan, @yourbuddymeg, @markyoder.designs, and @mishko.co 

AC: Where can we keep up to date with your work? 

Fatima: Follow me on Instagram at @babyfat_, but I'm really hoping to be able to get rid of that underscore soon!

Fatima Jimenez

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