Archive for the ‘Featured Artist’ Category

Niall McClelland’s Shades of Gray

Tuesday, February 16th, 2010

"Fence", Installation view, Clint Roenisch Gallery, 2009

Interview by Gillian
Photos by Jeremy R. Jansen

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Niall McClelland hasn’t used color in his work for about five years. He likes black, white and gray—and not because he’s affected by S.A.D. (Seasonal Affective Disorder) due to the long and cold Toronto winters. Luckily, he radiates his own light and is one of those people who always seems to have a smile on their face. But Niall’s love for dark imagery and his attention to form, shape and shades of gray have gotten him a lot of recognition. His work has been published in Adbusters, Arkitip, Color, Design Anarchy, Hunter and Cook, I-Live-Here, Lowdown, Made, and The Walrus, to name a few. And he’s collaborated with brands like Lifetime, Stussy, Burton and Creature Skateboards, with shows around North America. In a recent review of Niall’s Toronto show “Black to Back and Light,” writer Murray Whyte of the Toronto Star refers to Niall as “dead centre of the Facebook Generation”, and we wonder if this is a positive declaration. Either way Niall laughs it off, and after a list of press and collaborations like that, we think he has more than enough reason to chuckle.

After going to school and living and working in Vancouver, BC, Niall is happy to be back in Toronto where he grew up. Even though he says it took a while to feel at home again, he has found himself surrounded by some interesting and ambitious people who challenge him to bring something new to the table. In his words, “no slouches.”

We talk with Niall about his favorite tools, separating disciplines, keeping things exciting and buds, bikes and beer. Niall is many things–a designer, artist, paper cutter, mark maker, he’s into sculpture and illustration–but when asked, Niall says “I make artwork.” We think that sums it up nicely.

"Black to Back and Light" - Installation view, Clint Roenisch Gallery, 2009

What does a typical day look like for you?

Coffee coffee, computer work, art projects, internet, TV, book, go outside, buds, bike, beer, go to bed late.

You say your work is based on a lot of mark making. What’s the weirdest tool you’ve used to make marks?

Not sure if anything is really all that weird to use anymore. I use broken sticks and ink, roaches from joints, used ink cartridges, lighters—anything that works!

Do you have a few staple tools that you can’t live without?

Spray paint and black ink.

Would you say you have a thing for greyscale? Why?

I used to use a lot of colour, but about 5 years ago, I just decided to strip everything back down to basics. It seemed more transparent and relatable, like a process the viewer can wrap their heads around. I still love using color but it hasn’t really worked its way back into many of my art based projects.

"Beaten", acrylic, ink and spraypaint on paper, 2009

You went to school for design at Emily Carr, and looking at your work you can see the effect it has on your attention to shape, geometry and scale. How else has that training affected your process as a visual artist?

You pick up certain skills when you study enough graphic design, just the principles of design and general visual problem solving skills really, like a design process. I think most artwork uses those same processes at some point in its creation. I guess the difference would be that design projects have parameters set by outside sources, and art projects have parameters that are self determined.

As far as your work goes, do you ever separate the disciplines of art and design or are they always working together?

The design work is influenced by the artwork but rarely contains any artwork, and the artwork always uses various design processes.

T-shirt design for Lifetime, 2008

Left: "Black Tapestry 1", photocopy, 2008 Right: T-shirt design for Lifetime, 2009

A lot of your work uses dark imagery but seems to take a detached approach to the idea of darkness. Does it in fact come from a dark place or is it more of a study of an object/theme?

That’s just how it comes out when I’m being honest, I like to make dark stuff. I’m not depressed or sad or even very morose. I’m just looking to reference points that have a lot of literal darkness in them, and occasionally cross over to things that are darker in subject matter, but its not a prerequisite. I like the color black–a lot.

Do you find your clients come to you because of your process and visual style, or do they want something different?

Well, new clients tend to want something they’ve seen before, and clients I’ve had a longer relationship with tend to want something they haven’t seen before. Everyone is different, it actually makes it all pretty simple since I never really like to stick with any single method or process. I like to experiment and the “freshest” projects seem to be when that approach is embraced.

T-shirt design for J.A.R.K, 2006

How do you personally get inspired? Where does it come from?

Books, documentaries, conversations, walks, trips. A lot of alone time to stew over ideas. I really REALLY like Fantasy art too, so anything remotely related to that gets me inspired.

How do you keep things fresh and exciting?

Fuck, I dunno, by just being a human being and participating in life. Being curious and and spontaneous always seems to lead to excitement. Refusing to be bored.

"Skins", ink and graphite on bedsheet, 2009

Design/Art Direction, Lifetime Book No.7, 2008

In a recent review of your show (“Black to Back and light” in Toronto) by Murray Whyte of the Toronto Star, he refers to you as “dead centre of the Facebook Generation.” I laughed out loud, as I’m sure you did. Did that comment make you wonder if that social media culture does have some sort of effect on your work? And if so, how?

Yeah, well, that quote was pretty funny. I like that he called us “naifs” too. I get where he was coming from though, I mean, I’m not entrenched in the Toronto art scene, or the Canadian art scene for that matter. But I’ve had an online portfolio for awhile now, and he needs to equate that with “Facebook” for the Toronto Star readership to get it. Whatever. I have a blog. More people see my work there than displayed in Toronto galleries when you get down to it. So he’s not totally off by describing it that way, embarrassing yes, but not really wrong, you know? There’s a nugget of truth there.

To see more of Niall’s work check out:

niallmcclelland.com
niallmcclelland.blogspot.com
seereditions.com

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Posted in Current Issue, Featured Artist, Features | 3 Comments »

Tim Barber

Monday, January 4th, 2010

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portrait of Tim Barber

Googling “Tim Barber” yields two distinct results: The first is a photographer, curator and publisher; the second is Tim Barber, Trans-Am racecar driver. And although the Tim Barber we interviewed didn’t emerge victorious from the 2005 Trans-Am Series GT America season championship, he has garnered respect and affection in the world of photography. While one Tim Barber was struggling for recognition in what is, by all accounts, a doomed sport well past its late 60s/early 70s heyday, another Tim was riding waves of the iconoclastic drive of youth to become the photo editor of the venerable Vice Magazine. While one Tim pushed himself and his machine to emerge victorious, another Tim was striking out on his own to start Tiny Vices– an online gallery, image archive and source of inspiration for any artist. One Tim Barber was born in 1976 in Vancouver, BC, and grew up primarily in Amherst, Massachusetts. The other Tim doesn’t have any biographical information on his website. Guess which Tim we interviewed?


 


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Photograph by Tim Barber

Photograph by Tim Barber

Photograph by Tim Barber

What neighborhood do you live in?


 

I live in Manhattan, in China Town.


 

 

What is your background in art/photography?


 

I’ve been taking photos and studying photography since 9th grade.  I was the photo editor for Vice magazine for a few years, and have been running tinyvices.com since 2005.


 

 

Tell us a bit about the gear you use. What are the preferred tool(s) of your trade?


 

I use a lot of different cameras, but as they say, “the best camera is the one you have with you.”


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Photograph by Tim Barber

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Photograph by Tim Barber


 

Do you have a preference for digital or film?


 

Having both is great.


 

 

Where does the name “Mystic Heather and Virgin Snow” come from? What can you tell us about that series?


 

It’s a portrait series of my friend Julia.  I wanted to make a kind of fairytale about her with photos.  Mystic Heather & Virgin Snow are the names of the two kinds of Manic Panic hair dye we used to make her hair purple.


 

 

A lot of your work is really intimate. Even with fashion photography, you seem close to the models. How do you think you achieve that? How do you choose models?


 

Casting is important for that reason specifically.  You have to be able feel comfortable and at ease and intimate in a way with your models or the photos will probably feel phony.


 

Photograph by Tim Barber

Photograph by Tim Barber


 

 

When putting together a photo show, do you work with images you have already or do you go out with a theme and staged idea in mind?


 

It depends, I don’t have a set way or order that I do things. Everything is always changing.


 

 

You have a lot going on, with your own photo work, tinyvices, TV Books and curating shows. How do you keep up with all of it?


 

Sometimes it gets tricky but for the most part all the different things kind of support each other.  I just have to keep them in balance.


 

 

How do you choose who to feature on tinyvices? Just personal taste?


 

Yeah, I just show what I like and/or what I think is interesting.


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Photograph by Tim Barber


 

 

How does curating effect your own photo work?


 

Everything affects everything, not sure how specifically, but for me it’s all about seeing new things and staying excited and inspired.


To see more of Tim’s photography click here. Check out Tiny Vices.

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Posted in Back Issue, Featured Artist, Features, Issue 5 | 3 Comments »

The Man Behind the Screen: Julian Duron

Wednesday, September 9th, 2009
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Portrait (Out of focus)

For this month’s cover Julian created an original piece for hearty. And we heart it.

Julian Duron, whose art graces this issue of hearty, is not only only an accomplished painter, but also the posterboy for a new generation of visual artists who are using the Internet to bring their work to the next level. By creating a substantial online presence for himself (and others), Julian a Parsons graduate and Brooklyn resident, is now a major player in the North American art community. He tweets, he blogs, he Facebooks, he creates animated giffs and websites. Julian uses every platform available to him as a way of showcasing his work. Not only has he carved out a distinct place for himself online, Julian has helped other artists do the same by contributing to sites like Fecal Face, Vivivi, and Coatails. One might note that his paintings–which bring a still-life’s intimacy to a landscapes expansiveness–mirror the intimate artists’ communities he has helped bring to the Internet’s expanse. But that’s pretty cerebral, and we prefer to speak from the heart, so allow us to introduce the man behind the screen: Julian Duron.


From what age did you begin your artistic exploration?

I was in an after school program in elementary school and one of the counselors was this total ’80s skater kid. During the Bush Senior/Ducacus showdown he would draw Bush getting eaten by dinosaurs and other comics. He would also draw and carve band logos like Metallica, ACDC and Megadeath on the cafeteria tables. In second grade I would sneak over and trace the drawings. I felt so rebellious.

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Home 2009, Acrylic on House Shaped Panel 40" x 50"

Why did you choose to study art? How did this contribute to your style today?

I started officially studying art at Seattle Central Community College. A recruiter from Parsons came to my final show and permanent installation in the foyer gallery. He approached me and asked if I was interested in applying to Parsons. Later down the line I ended up applying to a bunch of schools just to see what I came up with and ended up forwarding the application for Parsons directly to that guy. He called me back a week later to offer me a nearly full scholarship. As for school influencing my style, inspiration comes from good instructors and quality curriculum. The staff at Parsons is top notch. Most of them are hip to the gallery scene and have all been working in New York for decades. Some are even ‘famous’. They help me link up with industry heads and publications that I would probably not get the opportunity to correspond with flying solo. The instructors don’t necessarily influence my style, but they definitely challenge me to “take it to the next level” and that challenge makes it more interesting to me. Just like anything else I take the advice and criticism with a grain of salt. Networking is the best thing about school, and the closest artists friends I have made are instructors. As a result some awesome people have come to visit my studio to talk about my work.

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Still Life 2009, Photograph and print 40" x 50"

How would you describe your painting style?

Landscape, say hello to Still Life. Still life, say hello to Landscape. Now shake hands.

What and where was the last really good slice of pizza you had?

I’m actually in a pizza gang called Skid Marks. We get together when I’m down in Austin and go to all the pizza buffets in town to fill up large duffel bags full of pizza. Then we get bands to play, invite a bunch of people and feed everyone with the pizza we ‘found.’ It’s not the best pizza, but it’s the best way to enjoy pizza—with friends!

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Materials in Museum 2009, Acrylic on Panel 42" x 36"

What was something you bought that was ridiculously expensive that you regret buying?

After sitting here for ten minutes trying to think of something I’ve concluded that everything expensive I own was definitely worth the investment (i.e. air conditioning, computer, video camera, iPhone etc.).

You say your paintings represent what you see in ‚Äòyour mind’s eye.‚Äô Is there a specific process you follow, or is it different every time?

Making art is meditation. When I start a new painting or project I look at my notes or sketch and execute the task utilizing as much freeform or improvised thought as possible. This meditation allows me to incorporate other thoughts and feelings into my work (minds-eye) and the product usually satisfies me enough to keep going. Music, film, fellow artists and my environment also serve an important role in my creative process. I believe connecting with other artists and opening up a dialogue about our work is very important in general. It has been very helpful in my practice.

Julian_7

Arrangement 2009, Acrylic on Panel 27.75" x 30.5"

Worst date ever?

Arguing out loud at Applebees in Brooklyn. Major faux pas in case you guys didn’t know.

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Posted in Back Issue, Featured Artist, Features, Issue 5 | 1 Comment »

Robin Cameron

Thursday, July 9th, 2009
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'Spitting into the Wind' Photo Credit: Bobby Kelly.

by: Gillian Damborg

One of Robin Cameron’s large-scale pieces was a giant fabric sculpture that hung from the ceiling at dance party called ‘Your Face is Melting Off’ while kids guzzled cheap beer and danced around aimlessly. By the end of the night the piece was torn to pieces and left shredded on the dirty dance floor. Far from upset, Robin was satisfied to see her piece consumed by such a successful event.

We like a lady with the confidence to try new things, and we see her expanding her tools and styles. Tiny books, fabric sculptures, watercolor illustrations and detailed hand-drawn typography, creative writing, photography—she tries her hand at everything.

Born in 1981 in the Interior of British Columbia, Canada, Robin has shown her work all over the world including Toronto, Seattle, Chicago, Philadelphia, New York, LA and Tokyo. After graduating from the Emily Carr Institute of Art and Design (now an official University), Robin moved to New York where she currently resides.

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Abstract Drawing from 'Ten Postcards in the Key of Life'

Do you miss anything about Vancouver?

Third Beach.

Other than the fact that NY is NY, how has living there expanded your opportunities?

People take you more seriously for some reason. Maybe they know how hard it is to live here–all the people, it’s hot in the summer, cold in the winter, dirty, loud, expensive. But the thing about it is that when you ask this city for something it somehow gives it to you.

What neighborhood are you living in?

Chinatown. 5th floor walk-up.

What’s the best part about New York?

You can be totally anonymous, and alone but somehow be surrounded by people. I like the way I get to move through the city too, walking or biking it feels very connected, way more than in LA. Here you run into people on the street. Also the bookstores and cultural opportunities.

How do you feel about the young artist scene in New York right now?

I like my friends who make art and happen to live here.

Who are some of your favorite up and coming artists?

Lukas Geronimas, Niall McClelland, Shay Semple, Paul Cowan, Asher Penn, Kayla Guthrie, Megan Plunkett, Martine Syms, Arielle DePinto, Leslie Kulesh, Jennifer Sullivan.

How has formal training shaped your style?

I think art school was helpful for giving me a vernacular to really be able to talk about the work and think critically about what I was making. I tend to look at a lot of different sources, so mostly that helped train my eye. But really is just about actually doing the work. Also I would rather think in terms of ideas as opposed to just simply a visual style.

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'Distractions 1-100'

You use a lot of different mediums and outlets for your art, and it seems you are expanding this even more now. Would you consider yourself a multimedia artist? If not, how do you classify yourself?

I think lately I have been thinking about my work fitting into New Genres. Which as a medium it is pretty vague. The idea can take any form, whatever is right for that particular idea, that’s what I really want to play with. I think I work best in a more project based art practice. When people ask me what I do, I usually say I make drawings or books. It’s sort of hard to explain, it’s more of a thing you just have to see. I would like to start to explore video and challenging the idea of what sculpture could be.

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'One Year and Two Months of Feeling Bad About Myself' Photo credit: Bobby Kelly

I remember a piece you did for this party in Vancouver called “Your Face is Melting Off,” it was this dripping group of fabric teardrops hanging from the ceiling in the middle of the dance floor. Really beautiful. Do you enjoy working in large formats or would you say you prefer working in smaller formats, like your books for instance?

That was so long ago! My friend Andrew just threw all these parties, he would have me do something for the space to make it more interesting. So there was no real boundaries, I could do whatever I wanted. I was making these fabric sculptures because I had a studio space on hastings, there was more space to make that kind of larger work. I did another fabric sculpture for this show in Philadelphia a couple of years ago. The thing about those larger works is that I don’t have a lot of room to put them after the show is done. At that party the work was completely ripped apart on the dance floor which was kind of an amazing event in itself. If I can I try to reuse the materials and make something else. Like this stack of Vogue Magazines I turned into a new work. Maybe I will make some more larger sculptures later when I have more space. Going smaller I just finished a miniaturization of my old books that sit on a tiny glass shelf. That work was really fun to figure out how to produce that tiny, like how do you bind books that small and also thinking about making a tiny archive.

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'Your Face is Melting Off' party flyer

What music are you listening to right now?

It fluctuates between the some of most cheesy hip hop, a little bit of old soul and a lot of classic rock.

What books are you reading right now?

I’ve been researching a new project and so I’ve been sort of collecting a whole bunch of self-help books from the seventies. It’s funny to read them because the way they write is all this book will really change your life, but how do they know that? But before that I got Dave Hickey’s Invisible Dragon since it was out of print for a long time. Before that I got this really interesting biography on Duchamp out of the NYPL.


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'Étagère-En-Valise' A Collection of miniature zines, Photo credit: Bobby Kelly

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'All the Emails I've Sent Myself Since I Moved To New York'

Top five female influences in your life?

Louise Bourgeois, Sophie Calle, Annette Messager. And my two favorite Aunts Janice was a puppeteer and Aunt Barbara who used to work as an animator.

Are you an introvert or extrovert?

Definitely introverted, sometimes people think I’m standoffish but I’m really just shy. I used to have my brother order for me in restaurants when I was younger.

What can we expect to see from you next?

More new projects, but I can’t reveal too much just yet.


For more information on Robin Cameron, check out her website at www.rocamm.com
You can also purchase her work at the Mastermind shop www.mmastermind.com/

Posted in Back Issue, Featured Artist, Features, Issue 4 | 1 Comment »

Jody Rogac

Monday, June 1st, 2009

jody-rogac-self-portrait

Self portrait.

hearty’s featured artist of the month, England-born photographer Jody Rogac, has something to smile about. In a few short years, since her graduation from The Emily Carr Institute, Jody has quickly become one of the most sought-after up and coming fashion photographers in North America, working for publications like Rolling Stone, i-D, Corduroy, Pyramid Power, Nixon and many more. I’m not going to sit here and try to describe all the reasons why Jody’s photography is wildly successful. First off, I’d be punching out of my weight class, and secondly, words just aren’t necessary. The work speaks for itself. So, while her photos are gabbing all over the pages of this issue, I sat down with Jody to let her do some of the talking too.

How is NY treating you?

Great! I’ve always wanted to live in New York, as clich√© as that is, but there is just so much opportunity here.

Growing up in Canada, did you always have big dreams of flash and photos?

I was always into art: painting, drawing, taking photos here and there. I wouldn’t say that I always knew this would be my career from day one. I kind of stumbled upon photography in high school. I took a course and loved it, but didn’t revisit the idea until I went to college. So, one day I took my little portfolio to a National Portfolio day at Emily Carr University [in Vancouver, B.C] and they invited me into the photo program.

So, basically, you were a natural.

Aw, man, I’m blushing.

How did you manage to get your name out there?

That is the hardest part. I mean, no one will hire you if no one knows you are alive. To have photography as a career, you have to put on blinders and really focus. You need to forget about everyone else and just push it. Being persistent was the best thing I did. I made myself a website, which is the easiest way to self-promote, and then sent my link around. I also made printed promo mailers and sent them around.

What was your first big shoot?

My first big editorial job was for Monocle Magazine about a year and a half ago. They sent me up to Alaska to photograph Sarah Palin. No one really knew who she was at the time, but I guess they were on to something.

Whoa, Palin! What was she like?

She was a really nice lady. I went up to her home in Juno with a writer from New York. Palin was charismatic and lovely. I met her kids, strolled around the yard and the lake.

Did she barbecue any wild animals or give you pro-life lessons?

Ha ha. No, but she did have antlers on the wall.

Shocking. So, you have been doing tons of commercial fashion work. What kind of things inspire you with fashion shoots?

I’m more inspired by people rather than clothes. I like to treat fashion like portraits because they go hand in hand. I mean, you’re not shooting a model, you are shooting a person. I like to display character.

I love the stuff you did with Athena, the photo that is featured on our cover this month. She wears her personality all over herself. That shoot must have been fun.

Yeah. Athena was one of favorite subjects. She is so confident and beautiful. We’ve actually committed to turning our shoots into a long term project where we meet up four times a year to document her. No matter where we are in the world, we will make it happen. There is something so special about her that I love exploring with the camera. I feel like the camera gets so much out of Athena. She is amazing.

Everyone has idols. What photographers inspire you?

Diane Arbus is my favorite photographer. The way she frames and the way she connects to people is all so inspirational.

And on that note, any advice for those out there who maybe be admiring you?

If you love something and it’s all you want to do, just do it.

You sound like my mother. Can you make me cookies and tell me I’m special?

Of course!

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Posted in Back Issue, Featured Artist, Features, Issue 3 | 1 Comment »

Shawn Kuruneru

Monday, May 4th, 2009

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May’s featured artist, Shawn Kuruneru, has been experimenting with DIY publishing for about 8 years. In his most recent work—a zine composed of a select body of ink drawings created between 2007 and 2009—Kuruneru brings together punks, 19th century bust sculptures, fragmented sleeping dogs and nostalgic portraiture. ‘It’s almost similar to the way a photo album tells a story with pictures. It documents time and your surroundings and the things around you that have influenced you,’ Kuruneru says.

Using offset printing, Kurueru’s 16 page paper zine is staple bound and only 500 were printed. He evokes a unified aesthetic by using ballpoint pen, ink and pencil creating a world that is both black and mysterious.

Why zines?

I‚Äôve been making zines since high school. From fanzines for bands to semi documentary zines about Newmarket, Ontario where I‚Äôm from. For me it‚Äôs really just like spreading your ideas out on a table and getting a bit of clarity. Making a zine is simple–I‚Äôm not doing fucking Richard Serra, you know–anyone can make a zine.

What do you get out of it?

Putting my work in a zine is just another way of looking at the drawings. It’s a process of learning to see what you’re looking at, paying attention, with something that is not exactly ignorance but a kind of intuitive intelligence.

The drawings become something else in a zine context because all of a sudden the work is in one place and the printing aesthetics–whether it‚Äôs offset or Xeroxed or whatever– changes the work. With this zine I wanted it to be straight forward and let the drawings speak for themselves. There‚Äôs potential for narrative, which is implied in the nature of the imagery, but it never actually evolves.

Where does the imagery in your zine come from? Why do you use ballpoint pen to draw?

From anywhere. From looking at lots of books at the library. From record covers, comics, photo albums, and news papers. I appropriate and re-appropriate a lot. I sort, group, neighbor, overlap, add and accumulate elements and then translate it all with my own visual language.

Using a ballpoint pen is very much a part of my visual language. It came naturally starting from drawing in note books at school. Since then it’s become my notion of textuality. A ballpoint pen is very cheap and everyone can understand what it is, I mean compared to gauche or oil paint or whatever. I’m interested in materials as text themselves.

When are you planning on making another zine?

I got the next one on the go. It’s going to have a more comic book-like format. I grew up reading comics. I learned how to draw from comics and I used to be a comic book artist for a small publishing company in British Columbia, Canada. So it just seems natural that my zines should have that comic book aesthetic and feel.

What are your favorite zines?

My friends make good zines like Katie Lyle, Jimmy Limit, Ryan Foerster, Jesse Harris, Niall McClelland, Amber Albrecht, Gillian Willson, Julian Muratori, Sean Orena, Asher Penn, Julia Kennedy, Robin Cameron, Davida Nemeroff and Matt Koudys

Most of them have websites you can find by googling them, and more often then not they will do zine trades if you e-mail them and some will even just mail you one for free.

Where’s your heart at?

In my zine.

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Shawn Kuruneru’s zine is available at Printed Matter New York, NY, The Drawn & Quarterly Store, Montreal, Quebec, and Art Metropole Toronto, Ontario. He is currently working on curating Under the Influence, a drawing based group show in Brooklyn, New York.
Website: sitekreator.com/shawnkuruneru

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Posted in Back Issue, Featured Artist, Features, Issue 2 | No Comments »

FIFI LAPIN

Sunday, April 12th, 2009

FIFI LAPIN

http://www.fifi-lapin.blogspot.com/

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We absolutely adore Fifi Lapin and you will too! Meet the artist behind our April cover. Available on our home page.

Carrot or lettuce?

A tough question to start but after much deliberating I have to say… carrot.

When did you start gaining recognition for your work?

I started my blog at the beginning of 2007 and it has been a whirlwind since then. Something about my blog and my art really touches people and I have had the most amazing response. I am very grateful to all my fans for encouraging me to keep telling my story and developing my work.

What did designing the LeSportsac bag mean for you?

Wow, that was an amazing opportunity. I had only really existed in cyber space up until then so to see my cute little face released into the real world was an amazing feeling. The response has been amazing too so I can’t wait to work on more projects like this.

How did this opportunity come about?

The designers at LeSportsac spotted my blog and liked it so much they contacted me and asked if I wanted to be the next artists in their artists in residence collection.

Where do you reside?

Well I have 3 homes. First and foremost there is my main town house in London where I spend most of my time, then a pied-à-terre in Paris with a distant view of the Eiffel Tower and lastly a top floor apartment in New York overlooking Central Park. One day I’m going to get a place on the Via Montenapoleone in Milan, perhaps with a view straight into Gucci or Marni I haven’t decided which yet! (oh and I haven’t persuaded Daddy that it’s a great idea).

Who are some of your favorite artists?

I love the fashion illustrator Rene Gruau. His style has been replicated over and over, but he managed to add that extra bit of zest to his drawings that bought them to life. I also love the some of the classic children’s book artists like Kay Nielsen and Tove Jansson.

What are some of your favorite clothing brands?

Chanel, Luella, Marc by Marc Jacobs, Chloe, eley kishimoto, philip lim…I could go on!

Have you ever revealed what you look like as a human? Will you ever?

Sorry I don’t really understand this question, I’m not a human, I’m rabbit through and through. There are loads of lovely pictures of me on my website… here’s one of my favourites.

Where’s your heart at?

My heart is looking forward to a summer of friends, laughter and happiness under a pure blue sky.

bunny kisses
Fifi Lapin
xxx

Shop for all things Fifi at: http://fifilapin.bigcartel.com/

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Posted in Back Issue, Featured Artist, Features, Issue 1 | 6 Comments »