DOUBLE ISSUE

Madonna’s Bastard Son Lu izo Vega

Dig i ta l Ar t Photographer Jef fery Scot t

Purebred Product ions

Andy Si lvers and many more . . .

WHAT’S THE ISSUE

Oni (Cover) – Cover Image: Scott Bi lby Model: Lacheln (Mayhem #671776)

Mua: Lysa Jarvis (Mayhem #1656566)

StaffTopher Adam Busenburg - Editor- in-Chief , Art ist , Photographer, Owner

Carl Chen - Onl ine Editor, Web Developer, Designer

Nima Shiraz - Style Editor, Content Scout, Model

ContributorsMichel le Gal lagher - Resident Witch

Debra Lamb - Resident Physic

Dark Beauty Magazine | 3405 Helen Street, #3 | Emeryvi l le, CA 94608

347-AVNTGRD (286-8473)

darkbeautymagazine@gmai l .com

www.darkbeautymag.com

PAGE 6 - __ Debra Lamb - Inner Deamon PAGE 7 - __ Krafty Kit ty White Witch PAGE 8 - 11 Thomas Dodd PAGE 12 - 17 Jeffery Scott PAGE 18 - 19 Cl int Carney PAGE 20 - 21 Aunia Kahn PAGE 23 - 24 Phat Puppy PAGE 26 - 27 Tomasz Opasinski PAGE 30 - 31 Creepy Dol ls PAGE 32 - 33 Jade’s Freakishly Beaut i fu l Creat ions PAGE 36 - 37 Nima’s Closet PAGE 38 - 90 Jessica Rowl ley PAGE 40 - 41 Metamorph PAGE 42 - 43 Jeff Paice PAGE 44 - __ House of Velvet PAGE 46 - 49 Luizo Vega - Mater ia l Boy PAGE 54 - 55 Barry Druxman PAGE 58 - 59 Andy Si lvers PAGE 60 - 61 Kathy Slamen PAGE 62 - 63 Scott Bi l l iby PAGE 64 - G7 Ms Gak PAGE 68 - 69 Circ le 23 PAGE 70 - __ Pierre Leszczyk Empireart PAGE 71 - __ Michi Rezin PAGE 72 - 73 Just in Kates PAGE 74 - 75 Anal isa PAGE 76 - 77 Annie Bertram PAGE 78 - 79 Mary L. Carter PAGE 80 - 81 Ceyst ine K PAGE 82 - 83 Cryst ian Townsend PAGE 84 - 85 Purebred Product ions PAGE 86 - __ Vin Hoang

From THE BITCHHal loween! The amazing day of the dead and wick-edness is fast approaching. What wi l l you dress up as? What treats do you plan on offer ing the l i t t le gobl ins running amuck on your streets?

As a young lad, I was known amongst my neigh-bors by a haunted house that I had bui l t in my mother’s garage: cheesy black plast ic bag maze, cardboard coff ins, black and strobe l ights along with a few hiding spots for spooks. I t welcomed the neighborhood for scares and treats every year unt i l I moved away upon High School graduat ion. The neighbors returned the fol lowing year to f ind out why the haunted house that would always fr ighten the hood on Hal loween no longer existed.

I may no longer own a haunted house in my moth-er’s garage; however, for as long as I can recal l , I have never stopped designing haunted events, making costumes and enjoying one of the best hol idays there is to i ts fu l l potent ia l every year. In a way, I consider every day of my l i fe to be Hal loween. I spend al l year creat ing dark magi-cal stor ies through my photography, paint ings and costumes. There is something to say about being born wicked!

Dark Beauty Magazine offers you a look at what we cal l ‘Dark Gore/Dark Glamour’ . We made i t our task this year to seek the outrageous, dark and wicked works of art ists who just l ike us, lavish in a dark magical world of storytel l ing. We are featur-ing numerous photographers, painters, dol l mak-ers and a number of Do-It-Yoursel f projects, dark confect ions and even my very own Topher’s Po-t ions. Move over Martha, we wi l l work out magic and get you beat yet !

BOO! Tr ick or Treat and Happy Hal loween! See you in December.

*Note: We invi te al l fun and amazing confect ions and DIY projects to be featured in our upcoming issues. Please contact us onl ine and submit your fun Hal loween ideas for next year’s issue.

Topher Adam Editor n Chief Dark Beauty Magazine

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Ssssshhh! What’s that?! L isten. . .d id you hear that?! Your eyes grow wide, you’re f rozen with fear. Your ears perk up as you l isten for the s l ight-est sound. Your heart begins to race. . . then i t starts to pound. . .pound so hard you think i t ’s going to r ip r ight through your chest! You want to catch your breath, but you dare not for fear of making a s ingle sound. What is the cause of th is terror? I t ’s something that you cannot see, some-thing that you cannot touch. You don’t even real ly know what i t is . . .you just know that i t ’s some-thing that can, and probably wi l l , consume you, devour you, destroy you. What is i t we fear losing the most? Is i t our humanity? I don’t th ink so. Is i t our very l ives? Perhaps. The things we seem to be afraid of most are monsters, demonic ent i-t ies and al iens. As humans, we have always been threatened by anything we do not understand; di f-ferent cultures, re l ig ions, v iewpoints, sexual or i-entat ions, and physical di fferences, including the tattooed and the unusual . As the world becomes smal ler, and our fear of cultural di fferences wanes, we st i l l have those other “unknowns” to make the hair on our arms stand up, and give us cold chi l ls up and down our spines. Some of us have become fami l iar with things that go bump in the night, and we now have “Ghost Hunters”, “Monster Quest” and the “UFO Fi les” to offer us proof in regards to the age-old quest ion of do they exist . As a chi ld, I used to shiver in my bed with the sheets pul led up to my face, holding my breath, and wait ing in sheer terror to see what would show i t ’s sel f , and when. Many people are anxious to communicate with their dear departed loved ones, to know they are alr ight, and even though they are now in the spir i t wor ld, we here on earth st i l l crave their love and guidance. But what i f we had a run-in with a spir i t or demon ful l of hatred and venom, that had a propensity toward violence? What i f we had an al ien encounter of the fourth k ind, and were scooped up out of our bed, taken to a ship, and forced to undergo painful and terr i fy ing proce-dures? What i f we were having a lovely, re laxing camping tr ip somewhere in the mountains of the Pacif ic Northwest, and suddenly came face to face with Bigfoot? Unl ikely yes, but these are al l very real exper iences for thousands of people just l ike you and me, leaving perfect ly normal people with fu l l or part ia l , or just h ints of n ightmarish images that threaten their sanity. And whi le the thought of being torn l imb from l imb by a Bigfoot, or be-ing slapped up side the head by an angry spir i t , or even being violated with the infamous anal-probe by an extraterrestr ia l , are al l quite f r ightening, and of course unwanted, the thing that real ly terr i f ies me the most is the deviously creat ive and l imit less

ways that human beings conjure up to torture l iv-ing things, both human and animal. But th is is Hal loween, so I won’t go into the atrocit ies of the last two hundred plus years. Let’s get back to the Boogyman. . .yes he does exist . He is lurk-ing just around the corner, under the bed, wait ing to pounce as soon as the l ights are off , as we lay vulnerable in our beds. When i t comes to other dimensional ent i t ies, there is no safe sanctuary behind our locked doors and windows, and our own minds cannot protect us from the telepathy of an extraterrestr ia l . This is no hoax, evi l t ru ly exists al l around us. I t permeates us. But we are not powerless. We can f ight and l ive, or we can f ight and die, but we cannot be permanent ly pos-sessed. No matter how evi l , v i le, and just pla in nasty, a discarnate ent i ty, or a l ien, or werewolf , or vampire is, we have the ul t imate upper hand. We have a soul . Our physical bodies can be attacked and torn into t iny l i t t le pieces, but our spir i ts can-not be snuffed out, and we wi l l r ise, and we wi l l return. So i f ever you should have your own close encounter of the strange or paranormal k ind, just remember--we are the scary ones.

Debra Lamb

9/13/2010

Ye s , V i rg in i a , The B o ogyman D o e s Ex i s t

KrAFTy KITTy THE WHITE WITCH

Hal loween, Making A Dark Hol iday – Magic.

Much l ike other American hol idays Hal loween has become a very commercial ized, bastardized ver-sion of i t ’s or ig inal intent: a pagan celebrat ion of agr iculture that fa l ls between midway between solst ices and equinoxes.

Despite drunken parades or part ies and tr ick or t reat ing pranks, one thing remains true, however, death permeates this t ime of year. The sun ap-proaches i ts nadir. Leaves complete their l i fe cy-cle and fal l f rom the trees marking a t ime for last harvest and the rest cycle of land. In Europe, th is t ime of year was known for s laughter ing sheep, catt le and pigs for the long winter months. Mexi-co invi tes the dead to a feast in their honor. Japa-nese hang lanterns by garden gates to serve as beacons for those who have left th is plane.

Whi le these things are meant to celebrate and em-brace l i fe’s cycle, a darker s ide natural ly emerg-es. I t ’s not just gross costumes, but actual fear of the unknown, ghosts, ghouls; the underworld and occult div inat ion scare smal l chi ldren and old folk year after year. Not to ment ion the histor ical bumps surrounding this t ime of year that have left dramatic scars on i t ’s meaning, Hal loween has a lot of dark and gory detai ls.

But being the Crafty Kit ty that I am, here to br ing you al l th ings white l ight and witchtast ic. Not to focus on the darkness that can creep in and haunt this amazing earth celebrat ion. So I ’ve come up with several ways to make this hol iday quite magi-cal for you and your loved ones.

Feast on f lesh! - Of pumpkins, apples and nuts harvested this t ime of the year. Invi te f r iends or fami ly to a pot luck dinner party complete with costume and treats. Each guest can br ing a white candle inscr ibed with a name of a loved one or loved ones past. Before dinner begins have a mo-ment of s i lence to honor those who have departed

or go around the table to offer k ind words recal l ing their memory.

Dance Ti l l your Dead - Or t i l l you just can’t dance anymore real ly. Some ancient t radit ions and cul-tures bel ieve that dancing is a form of prayer. By using your body, your sacred vessel to not only enjoy yoursel f but to ra ise energy by being thank-ful for the things that you do have in your l i fe wi l l be appreciated not only by our dead fr iends but by the Gods and Goddess’s al ike.

Death & resolution – making resolut ions, sett ing intent ions to be a better you for the good of a l l is a great way to close chapters on parts of you that need to be put to rest so to speak and open new chapters to possibi l i ty. Creat ing a space l ike an al tar on top of your dresser or on your k i tchen table to include harvest f ru i ts, colors and anything that l i f ts your spir i t (no pun intended) wi l l help do the tr ick. Adding one black candle to ban-ish any negat iv i ty and one white candle to attract l ight and blessings to your resolut ion is highly recommended.

Trick those Treats – make a batch of cupcakes or candies to share with the younger generat ion. By creat ing something from scratch rather than put-t ing out something gener ic and packaged is not only more thoughtful but i t sets a great example for the ent i re community.

THE mAGICAL ArTWorK oF

THomAS DoDD

“A Li t t le Bird Told Me” model - Sabr ina Sekora

The artwork that Thomas Dodd creates is v is ionary in scope and dual ist ic in nature. L ight and dark-ness, l i fe and death, and beauty and horror ex-ist s ide by s ide in his creat ions. Mythological and rel ig ious themes abound in his work; sometimes with a twisted tongue-in-cheek approach, and at others reverent ly paying homage to the Old Master t radit ions that inf luence his v is ion.

Although his artwork resembles paint ings, i t is actual ly in the realm of photography, but Dodd’s creat ions are much more than mere manipulated photos. There is an overal l cohesiveness and at-tent ion to textures that one does not usual ly f ind in most digi ta l art . His images have an organic feel that never looks assembled or computer-generat-ed and he shuns the commonly used digi ta l ‘ ’cut and paste’’ c l iches, preferr ing instead to assemble his scenery, costumes, and models at the t ime of pr incipal photography.

Thomas began his journey in the arts as a musi-cian, playing the I r ish harp in the Celt ic/Gothic en-semble Tr io Nocturna, an At lanta-based ensemble that put out three records popular in the Gothic scene dur ing the 1990s.. The songs that Thomas wrote for Tr io were heavi ly inf luenced by mythol-ogy and had darkly Romantic themes and this in-f luence can now be seen in the art he creates. .

After the breakup of the band, Thomas played nu-merous sessions as a harpist most notably with the Swans founder Michael Gira and Angels of L ight. The shi f t f rom being a musician to an art ist oc-curred several years ago after Thomas discovered digi ta l photography and edit ing software. . Thomas is inf luenced pr imari ly by painters f rom the Pre-Raphael i te and Symbol ist per iods a l though there are echoes of the Renaissance Masters and the Surreal ists in his creat ions as wel l . . . .There are many layers to Dodd’s work and his pieces can yie ld new interpretat ions upon mult ip le v iewings. His symbol ic and psychological approach to art is a truly unique and mult i- faceted vis ion. THomAS DoDD

“Astral Body” model - Athena Sanchez

“Queen of Hearts” Model and Styl ist - Hal ley Mal ison

THomAS DoDD

“Nevermore” Model- Melanie Engl ish, sty l ing by Thomas Dodd

THomAS DoDD

“Cal l of the Wi ld” Model Revi lee “Madame Pompadour” Model - Laur ie Love, Styl ing by Thomas Dodd

“Brainstorm” Model - Kayleanna Flynt, Makeup and sty l ing by Kat Flynt

Q & A W i t h E Y E G A S M i C D i G i t A L A R t P h O t O G R A P h E R

J E F F R E Y S C O t tB Y: t O P h E R A D A M

Q .  Jeffery, your work is just amazing, dark, in your face and raw. I love i t , have fol lowed you for a year or so and am very thr i l led to have you in our publ icat ion.  When did you know that photography and digi-ta l art was what you were meant to do? How did you get started? Did you attend school or were you a hands on art ist? 

A.  Wel l , I had done enough in other mediums since I was 2 years old. Paint ing, drawing, sculpt ing, f i lm making, etc. I th ink I have administered just about everything to my Art . I used to take polaroids of models for my paint ings. And when digi ta l cameras came out, I made the switch then. My model at the t ime, Tyese, took a look at some of the digi ta l images that I had taken of her for a ser ies of paint ing I was prepar ing to execute. She pointed out that she thought the photos, coupled with a l i t t le program that I was playing around with at the t ime; Photoshop, that they had a meri t a l l their own, and maybe I might consider giv ing that direct ion a try. So I did, and i t stuck ever s ince. The one thing that rang out so true to me about this medium, was that I was captur ing EXACTLY what was in my mind. There was no generat ion loss between sketch, sketch enlarged to canvas, and then painted. I was never happy with the results of my paint ings. They were never real ly my chi ldren. I never fe l t a connect ion. The digi ta l manipulat ion of photographic images created that connect ion. I haven’t looked backward ever s ince. This is where I belong. 

I never attended art school. I am not real ly a bel iever in i t . You ei ther have i t as an Art ist , born that way. Genet ical ly designed to be such, or you aren’t . Or at least that’s the phi losophy that I bel ieve appl ies to me, and people l ike me. I th ink that school is an ideal locat ion to learn the techniques perhaps, and what those techniques are cal led and commonly referred to. Nothing more. I was raised by a Family of Art ists and Theologians basical ly. That was my “school”.

Q . I am sure you are sought after a great deal as your work real ly depicts the mind of a true art ist . What processes go through your mind when devel-oping a character and your stor ies?

A. The pieces are developed real ly f rom years and years of observat ion and part ic ipat ion in l i fe. Day to day. How I see and interpret that l i fe around me. How we, as a society treats one another, re-acts to one another’s t reatments. Words that are spoken. Act ions that are taken. Based on these things, there is a certain amount of prognost ica-t ion that goes on. Looking forward. Concentrat ing on i t a l l as i f i t were a chess game, and what the next move might be. Much of what we are going through in l i fe as we know i t now, was discussed to great length throughout my chi ldhood amongst Family. They were thinkers. They discussed these things at great length al l my l i fe and I took i t a l l in. Due to these endless conversat ions, I see a fu l f i l l -ment of the system of th ings now. I t ’s as i f a l l of th is was talked about and contemplated long be-fore i t happened. Therefore I am rarely surpr ised by the world around me, but I do f ind myself be-ing shocked at t imes that i t is so blatant ly what was covered throughout my youth in discussions and contemplat ions. For the most part , the “char-acters” in the works are al l me, or a part of me. Whether i t be a representat ion of me react ing, or the react ion through an emotional response to what is happening around me. 

Q . When planning a shoot, what do you typical ly consider, the subject or is that determined by the model you are working with?

A. There are now two methods of execut ion for me. One way was what I have done for years. Before I even go to camera I know what the image is to look l ike. How many layers are going to be in the piece, and exact ly what they are to look l ike. I see the f inal v is ion in my mind as wel l as the creat ion step by step. This is why, for the most part , I never real ly enjoyed shoot ing. I would just want to shoot the model and be done with i t . I just wanted to get to the computer and begin bui lding the image in real t ime. And then.. . . I would just want to see the image done. Completed. The “Alpha”, the begin-ning, is the TRUE creat ive process. That happens in the mind completely. I t forms there. I t grows there. I t is created there. I remember every de-tai l of a l l of those moments for every image. They are the real stor ies. I can’t te l l you a s ingle thing about the process of construct ion of the images as t ime goes by. I don’t remember how I came to what technical conclusion.  

I am almost on auto pi lot . The “Omega”. The end. Is the bir th. When i t actual ly comes to l i fe. When I see, la id out before me, what was in my mind. The physical manifestat ion of what this was al l about. The beginning and the end are what capt ivate me and keep me coming around for more. The mid-dle. . . .wel l . . . . . i f i t were not for where i t gets me, I wouldn’t care. I t ’s said that i t ’s not the dest inat ion that matters, but the journey. That doesn’t apply in the sense of my creat ive process. I ’m not sure i t ever did. I f i t d id, I have forgotten about that.

Usual ly, I wi l l have picked out a model that I know can be whatever story that is assigned. Or the v iewing of that model wi l l sometimes remind me of a concept that has been creat ing i tsel f in my head for quite a whi le. I real ize this when I se her. I never see a model and then try to come up with something for them. I shoot them because I know that they can become the work. Therefore. . . there are no col laborat ions. 

Q . Do you work off of something you have seen be-fore, do you elaborate on something that you have always wanted to create or is i t just something that is spur of the moment and you f ind i t sui table or something you have never done before? 

A. That leads me to the second method of execu-t ion. The second is much more free f lowing. Much more from the subconscious. Which, of course, is more of the school of surreal ism. Lately, I have fa-vored this method more. I usual ly only do this with models that I have worked with on a regular basis and are personal ly fami l iar with for a long per iod of t ime. I t has worked with that I have no knowledge of and have never worked with before, but th is is a rare occurrence. I shoot them. Things come to mind. I don’t real ly know why I am shoot ing them this way, or that. But s ince I have been doing this for so long, I have come to a re laxed understand-ing of myself as an Art ist to know that I do not do just anything for the sake of doing i t . There is a reason why I shoot everything that I shoot. I t may not be know to me for some t ime. This is why I just let the raw images si t on a dr ive. . . look at them from t ime to t ime.. . .unt i l I know. I t ’s a lmost as i f the image tel ls me what i t is to be. What i t is to say. This does not, for a fast, f inal result , make. Images take me anywhere from 50 to 150 hours to complete. You know.. . l ike a paint ing. This method just adds to that long t ime span. I do not churn out images by any stretch of the imaginat ion. 

Q . What do you look for when cast ing a model? Does she have to have a rocking body, model ing exper ience, knows what the hel l she is doing or do you f ind yoursel f working with gir ls that you have worked with before making your task easier? 

A. I prefer my regulars above al l e lse. But I know when someone can be part of my Art as soon as I see i t . I f I do not see f i lms or hear music in my head when I look at a model, i t ’s never going to happen.

Q . What have you wanted to do in your career and st i l l haven’t done i t? 

A. I have been quite blessed throughout my l i fe in my career. I have done just about everything I have wanted to do on some level or another. Now, I just want to cont inue doing i t . And I am. And things are growing every s ingle day. Things are progressing. Opportunit ies present themselves al l the t ime. I e i ther take them, or I don’t .

Q . I not ice you have a new book, how is that sel l-ing for you? What was your shi f t f rom your f i rst book as far as content? Did you feel you needed to take your f i rst book and take i t even further in th is

new one or was i t something you knew was bound to happen after re leasing the f i rst book?

A. Actual ly, the book that’s been out recent ly is not new. I t ’s the second pr int ing of the f i rst book with some omissions and addit ions. The next book, which wi l l be out by next July, is more of a narrat ive from beginning to end. I have been want-ing to do something l ike this for a very long t ime. I deals pr imari ly with humanity merging with tech-nology and visa versa. I t is , as usual , r iddled with analogy and metaphor just as al l of my work is. I t is def in i te ly more detai led and more personal . As I have grown as a person, so has my insight. This is ref lected in the new works to such a degree that i t is very taxing on me personal ly. I hope the results wi l l show and that others can see a benef i t to i t a l l for themselves. But above al l e lse. I am doing this for me. Working things out in my mind and my soul . What I have found, is that i f I am true to my-sel f with my creat ive statements, others can see and feel that. And that result is a lways incredibly rewarding.

Q . What is your next task? I  know you are holding workshops now, I am sure you have art ist/photog-raphers beat ing the door down to get a chance to work with you and pick your mind. What do you tel l students when they are in a session with you. What is the most important e lement you feel any young or begging art ist should know when you teach a class? When is your next workshop? How can people f ind your dates and sign up for your workshops? 

A . Just to f in ish this next book and get a l l out that I want to say. Purge myself of what’s in my head r ight now.

I te l l them to make sure to al low inf luences and in-spirat ions (other art ists) to stay exact ly as that. . . .inf luences and inspirat ions. Don’t t ry to “become” them. They have already been here and left their marks. I f my students are TRUE Art ists, then they must f i rst be true to themselves. To be the Art ists that THEY are. Not some cookie cutter th ing that has already come and gone. I t ry to direct them to be who THEY are. I completely disagree that there is an art ist in us al l . Some have i t . Others don’t . Being honest with ones sel f is the f i rst step.

Q . Dark Beauty Magazine covers a large area of amazing dark art , when you think of dark beauty what goes through your mind? What does i t mean to you? 

A. I t means the ful f i l lment of the system of th ings. Which is not a lways “beaut i fu l” . But the beauty therein resides in the fact that i t IS fu l f i l l ing i t-sel f to lead to the next that must happen. New l i fe is, of course, a beaut i fu l th ing. But when that l i fe progresses, decays, and then dies off to al low for the next, whether i t be sent ient or machine.. . . . . .is t ru ly a darkly beaut i fu l th ing. In l ight, a l l of the detai ls are there to clear ly see. Light br ings shad-ows, and shadows are ful l of darkness. I t is in th is darkness that the detai ls must be searched for. They are not c lear. Most are hidden. But upon the discovery of these detai ls we see the true beauty.

And because we had to search for them.. .we ap-preciate them more.

Q . I f I just started in Fine Art Photography and landed on your s i te and thought I want this guy to be my mentor, what is your phi losophy in being a true Fine Art Photographer? Is i t the r ight model, the r ight l ight ing, the equipment a story or is i t the edit ing? 

A. I t has nothing to do with what can be bought or purchased, or learned from a book. I t a l l starts f rom within. Finding that t ruth. My Father once said, “The responsibi l i ty of the True Art ist is th ink and feel for a l l of those who can’t . . . .or won’t .” I f they can process that mental i ty. I f they can handle the pain and joys that come with the ful f i l lment of that phi losophy as wel l as the understanding of the statement. . . . . . then they are on the r ight path.

Is there anything else you can leave with our read-ers about your eyegasmic work? Where can they see more, do you show your work on tour, in gal-ler ies or exclusive engagements? 

Right now.. .a l l of my t ime and sel f is going into the creat ion of these next images for the next book. After that, yes. There wi l l be gal lery shows, book signing, etc. I f anyone wants more information and wants to keep abreast as to my recent works, workshops, lectures and appearances, they can get a l l of that f rom going to www.factory1019.com

Thank you Jeffery, I am a fan and commend youon your ta lents. I ts one thing to shoot a hot photo but a true ta lent to take that photo into a world of magical make bel ieve and I bel ieve you have mas-tered i t my fr iend. Cheers and thank you for taking the t ime to let us pick your brain. 

Thank you. Now back to work.

BlooD anD o il : C l inT CarnEY