Creative Sugar Fall Issue

CREATIVE SUGAR

THE FALL ISSUE

S E P T E M B E R 2014 - A N E M E R G I N G A R T I S T M A G A Z I N E

2 Fall 2014 CREATIVE SUGAR

C OV E R P H OTO BY

L AU R E N M A R I E R E Y E S

A R T I S T P I C T U R E D I S

J E S S I C A S A B O G A L

I N T E R V I E W BY E M I LY W I E S T

PA G E 22

CREATIVE SUGAR Fall 2014 3

Creative Sugar

Issue 10Editor-in-ChiefSabrina Scott

PhotographersJonne JohnsonLaurenmarie ReyesMarc Hayden

WritersEmily WiestIgnacio Alexanders

MakeupBonnie LakeClara RaeSarah Louise Hines

Wardrobe StylingMaria GrozovaSherah Jones

HairstylistRianna Henry

Art DirectionSabrina Scott

© 2014 Creative Sugar Magazine

All rights to art, words, photos, design and copyrights are the property of the Artist. All work in this publication may not be used without the Artist’s consent.

New York, New York

Contact:[email protected]: creativesugarmagazine.netfacebook.com/creativesugarmagazinetwitter.com/creative_sugar

F R O M T H E E D I TO R

E D I TO R- I N-C H I E F

Another issue, another fal l season. It ’s f ly ing by

too fast. Take a moment and read about three very

talented art ists. Their work is different in style, but

their stories wil l let you know what it means for them

to create. I hope this issue f inds you fol lowing your

dreams.

4 Fall 2014 CREATIVE SUGAR A

RT&

CUL

TURE

ARTIST DIARY 6ACHRAF BAZNANI

ELIZABETH GLAESSNER 10 BY IGNACIO ALEXANDERS

PERFECT SINNER FASHION EDITORIAL 16 PHOTOGRAPHER JONNE JOHNSON


CUL

TURE

JESSICA SABOGAL 22 BY EMILY WIEST

FALL INTO FASHION EDITORIAL 29PHOTOGRAPHER MARC HAYDEN


photographer achraf baznaniA R T I S T D I A R Y

Statement regarding my works:

Conceptual photography is, first and foremost, about the concept of the photo. A conceptual photographer is trying to bring some message about to the viewer, be it a political advert or a social commentary or an emotional outcry. There is some level of abstraction, thus, in my works: the image is not an explicit example of the con-cept, but a general expression of the idea.

Conceptual photography makes healthy use of graphical symbols to represent ideas, movements, moods, anything and everything that the photographer might want to include in the message of their photograph.

For my works, there are a variety of ways a concept falls into place, most often it starts with a spark of inspiration and grows from there, whether it is a person, design, story that needs to be told, regardless, it all starts with a single point. From there it becomes simple problem solv-ing.

I don’t spend very much time looking at what other people are doing. I like to stay aware and connected to what others are doing by following sites such as Flickr, but beyond that, I spend the rest of my time meeting people, creating, and really just living life. I think the best way to being inspired is not to just try to emulate others, but to find what inspires you in life and trying to capture and share it.

I use Photoshop CS4 and Lightroom 4. I use Lightroom to correct and change the color in my pictures. Then I go on to the most important Photoshop retouching. To learn how to master these tools, I spent hours in front of my computer to study the tutorials available on the Internet.

Biography:

My name is Achraf Baznani i was born in Marrakech – Morocco. I started in photography when I was young, completely by chance. I got a EKTRA compact 250 for my birthday, which was intended to immortalize the good times. And finally, I was hooked. I then made several

short films and documentaries, including “On”, “The Forgotten” or “Immigrant” for which I re-ceived several national and international awards. Once again I am opting for photography, but this time the strange and surreal photography. I am self-taught and I have no formal education in this field. I published a photo book called Through My Lens.

Email: [email protected]

Web site: www.baznani.com

http://www.fb.com/abphotographe

THE UNDERWORLD, BY ACHRAF BAZNANI

CREATIVE SUGAR Fall 2014 7CHECKING MY BRAIN BY ACHRAF BAZNANI


a

CAPTURING REALITY BY ACHRAF BAZNANI


WORK BY ARTIST:

(TOP LEFT) ALONE

(TOP RIGHT) CONFUSION

(BOTTOM LEFT) FEELING

(BOTTOM RIGHT) ROBOT


TRAMPOLINE RITUAL BY ELIZABETH GLAESSNER


in the mind of a shape shifterBy ignacio alexanders

hether it is for the better or for the worse, we all have a vision, an opinion on the many different ways the world could be improved. Ask

anyone for their vision of a better world; there is a high probability that you shall be given a description of a utopia where humanity actually loves and understands each other. Ask that same person for a map to reach that very utopia they have most likely passionately described and the high probability shall be that a pin will be dropped three thousand miles away and you will hear it drop.

There are a few exceptionally realistic people; one may go as far as to call them the school of post humanism, whose ideology of a future utopia is not one our contemporary society builds; rather it is a utopia that arises from our demise.

In her first New York City solo exhibition at the P·P·O·W Gallery in Chelsea titled All this happen, more or less, Artist Elizabeth Glaessner through her extravagant and striking imaginative perception invites us to a refreshing view of what a post human utopia could be.

With a mixer of water, acrylics, oil paints and inks, Glaessner has created a world beyond the existence of modern man. Her post humanist paintings are saturated with the carnage of today’s society, yet with the same brush stroke these grandiose works exhilarate hope.

In Morning Swim, Glaessner introduces the viewer to a trio of faceless bathers; two of them enjoying what appear to be

a minuscule lake of toxic water. The third bather stands to the right of the image as the sun rises in the distance conscious that its golden rays shine down on new life, life that has begun to find a place in this post- humanist poisonous world. The fascinating aspect of this painting is that although the viewer can understand the destruction that has occurred, no evidence of misery, sorrow or death can be found; instead one is lost in the thrill of possibilities for their tomorrow.

In Glaessners’ post humanist world where modern humanity no longer exist, the remaining evidence of our existence have become admirable relics to the inhabitants of this new world. Items that were to us simple leisurely pleasures have become elements of divine rituals. In the painting titled Trampoline Ritual the viewer observes in earthy tones an intimate interaction of a creature with the simple purpose of a trampoline. The once again faceless human-like creature interacts with the trampoline in a manner that resembles the lost innocence of our society. With all the proper uses of split and complementary colors the viewer is once again given a sense of impressive hope.

In Loneliest Nonfunctional Boat the viewer journeys into a scene of an almost hopeless gray sky. The object floats in a motionless body of water as though to remind us that this world the viewer has exhibited has only come to fruition through the destruction and devastation of our own society and the human race. Water is one of the elements continuously repeated in Glaessner’s work, whether it is part of the image as a visual or the creating

w

12 Fall 2014 CREATIVE SUGAR14P H OTO BY G R A H A M C O P P I N

force, the presence of water in her work is difficult to neglect. “Water” Elizabeth Glaessner said “takes a life of its own in the process of my creations.” When ask about her process of creation Glaessner replied that it all begins with a story. “No one knows my story telling more than my sister.” she said, “I use to keep her up all night with them when we were kids. These days, I keep myself up with my stories.” When asked if she has ever written her stories down on paper, “I have” she said, but explained that in her attempts to preserve her stories in the written form as she first imagines them they lose their sensitivity in the visual. “Is as though I have given life on paper and there’s no need for me to tell the same story twice,” Glaessner said. “They lose their importance to be painted once they are told in the written form.” She said, “Celeste, Donkey Face, Serpentine, and Milk Maiden are all character from my stories, each with their own personality and attitudes.”

Elizabeth Glaessner’s phenomenal post-humanist surrealism is drenched in originality. Her work stands out far beyond most of today’s artist. Mainly because she is not attempting to be the next famous and popular artist, in her work one can certainly notice her homage to tradition and to the art masters that have influenced her. Glaessner grants respect to the techniques of our art masters in areas where most of todays’ artist lose their identity in counterfeiting the past.

Although most of the works in the exhibition are dynamic portraits of optimism, the creatures and objects depicted in Elizabeth Glaessner’s work remind us of the dangers that we in modern day society have created, but furthermore sophistically ignore and that is the biggest danger that lurks in the ambience of our tomorrow. For more information on Elizabeth Glaessner’s work please contact the P•P•O•W Gallery at www.ppowgallery.com

All images are courtesy of artist Elizabeth Glaessner and P.P.O.W Art Gallery.

DONKEY FACEBY ELIZABETH GLAESSNER

CELESTEBY ELIZABETH GLAESSNER


RIDING AND SUCKING IN THE SUMMER BY ELIZABETH GLAESSNER

14 Fall 2014 CREATIVE SUGAR16


DONKEY BEARING ROCK JELLY BY ELIZABETH GLAESSNER

ARTIST ELIZABETH GLAESNNER


(TO P) A R T I S T W I T H S C U L P T U R E, U N T I T L E D H O P E

(B OT TO M) W H I T E B I S H O P, BY N OZ O M I R O S E

DRESS: CAROLINA SARRIABRACELET: VERAMEAT

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CREATIVE SUGAR Fall 2014 17 21

perfect S I N N E R

P H OTO G R A P H E R: J O N N E J O H N S O N

S T Y L I S T: S H E R A H J O N E S

H A I R/M A K E U P/M O D E L: C L A R A R A E

DRESS: CAROLINA SARRIABRACELET: VERAMEAT

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BODYSUIT: CAROLINA SARRIA

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GLASSES: VINTAGEVEST: KAYLEE CHOSHORTS: VOLVER 19


RING: VERAMEATJACKET: STEFANIE BIGGELTOP: MARGAUX LONNBERG

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RING: VERAMEATJACKET: STEFANIE BIGGELTOP: MARGAUX LONNBERG

CAPE: XINNATEXNECKLACE: VERAMEAT

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essica Sabogal is a first generation Colombian – American graffiti artist in residence at the Galeria De La Raza in San Francisco’s Mission Area. There you can view her art until 6:00pm and there on

comfy couches we sat to discuss her work. We came to the gallery in the afternoon to view some stencils for a mural Sabogal is currently designing for the Montréal based, artist’s collective she has been selected to participate in; Decolonizing Street Art: Anti-Colonial Street Artist’s Convergence. The large-scale Canadian convergence focuses on individuals of both indigenous and postcolonial settler origins and seeks to bring attention to the wide spread and specific struggles plaguing these communities. The chosen artists already disclose a political interest in their work relevant to the focus. With a fairly wide variety of on point topics to choose from, I was curious about Jessica’s direction. Though she won’t yet reveal the full scope of her plans, she tells me the mural will deal specifically with indigenous women’s rights. This is a topic that nicely marries the subject provided and her personal interests. Sabogal’s latest series, Women Are Perfect! Came to her during the birth of her nephew. She was amazed by seeing first hand the power and strength of a woman’s body and simultaneously heartbroken by the violence of the war against women’s bodies in a global setting.

Her work speaks of women as an independent, self-sustaining, and powerful gender and she takes it upon herself to bring light to the violence suffered through the untold, individual stories. Through the series Sabogal seeks to “demystify” the female form and bring to light what it is from a medical-biological

la mujer es mi religionthe jessi! wap!By emily wiest

understanding. It is to detract from the mainstream vision of a robotic and inconvenient understanding of the female body and its sexuality.

Sabogal’s work has always depicted a strong political influence, and through the years the message has gained in both subtlety and potency. Her strong ties to identity play a strong factor in her ever-growing body of work.

Sabogal works in the Mission Area, ground zero for the gentrification conflict, a conflict plaguing communities of postcolonial settlers. It’s a battle zone between Silicone Valley and the communities that immigrated here generations ago. In contrast, Sabogal was the first female artist commissioned to design a mural by FaceBook headquarters in Menlo Park, CA. Her new age, multifaceted perspective takes into account both the need for growth and the need for roots and stability. Her roots as a first generation Colombian - American woman and her opportunities as an up and coming young artist juxtapose starkly against the backdrop of a larger and growing problem. Sabogal tells me that while she loves a variety of subjects, she finds her work to be at the height of personal fulfillment when she is able to work with subjects that excite her on a personal level. Sabogal doesn’t practice monogamy with her muses, though she is specific. Her love of the human realities of the female form is infectious. Through her mind, arms and fingertips, she sprays into existence a world in which the intrinsic and colorful differences found in the vast expanse of the female form create an innate pride. That pride cannot be ignored or hastily and intentionally forgotten, no

j


la mujer es mi religionthe jessi! wap!


matter the aim of American pop culture. She dares to challenge ideals and suggest that individualism just might be at the core of human perfection. Sabogal gives strength and solidarity to the terrors of the female flesh market. Much of her art is a specially brewed lager of raw sexuality, feminism, womanhood, and finding strength in the very nooks and crevices of unique human identity. “Yo, everything is hella impermanent.” (…Including the body) She tells me this as we discuss love, bodies and this past year. Jessica’s a hip-hop dancer, toymaker and photographer--this woman gets off telling stories that incite action. “This year everything’s been about doing exactly what I want, it has been all about drinking, loving, eating good food, being with family and making art. What I want when I want it,” she said.

Standing in her haven, in her workspace, the studio was nothing short of bliss. You can see the growth of her early fantasies to the strength of a woman seasoned in her craft. With many miles still to go and a growing audience, she’s ready, willing and able to absorb her guidance. We are ready and waiting to see where the years ahead will take this young female artist and activist who incites change and creates space for those stories preemptively delegated to the periphery. It’s the antithesis of radical art; it’s the bassist version of womanhood. It’s the blood, the birth, the functionality; it’s the nature of a mother’s love, of that same woman’s sexuality, of the respect lost for the power of the woman. The death of the matriarchy and the rise of the patriarchy ushered in a time of violence not only against sisters, daughters, friends, wives mothers and lovers, but against entire cultures. With her artist’s eye Jessica brings these tales to light one story at a time.


ALL WORK BY JESSICA SABOGAL





fall into fashion

P H OTO G R A P H E R: M A R C H AY D E N

S T Y L I S T: M A R I A G R OZ O VA

M A K E U P: B O N N I E L A K E

H A I R S T Y L I S T: R I A N N A H E N R Y

M O D E L: M A R I E F R A N C I S

L E AT H E R B O L E R O - A S U D A R I

B O DY S U I T - B LO C H

B A N G L E - T H E W I L D N E S S J E W E L L E R Y


Red Wrap Dress: La Maison de Fashion

Tap Pant: DKNY




M A K E U P: S A R A H LO U I S E H I N E S


M O D E L: L A U R E N C L E M E N T S-H I L L

K I M O N O - LO V E M AY K A

H E A D P I E C E - T I G E R P U N K


Black Bustier, Black Skirt-Belt,

Tap Pant: Damsel




M A K E U P: S A R A H LO U I S E H I N E S


M O D E L: L A U R E N C L E M E N T S-H I L L

L E G G I N G S - LO V E M AY K A

T U L L E TO P - C U S TO M I S E D BY S T Y L I S T

S H O E S - S T Y L I S T ’S O W N


Dress: La Maison de Fashion

Shoes: Speed Limit 98




M A K E U P: B O N N I E L A K E


M O D E L: M A R I E F R A N C I S

C O AT - V I N TA G E

H AT - C U S TO M I Z E D BY S T Y L I S T


T W E R K F O R P E A C E

C R E AT I V E S U G A R M A G A Z I N E.N E T

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Creative Sugar Fall Issue