10 Latest news articles
Source: Creative Review | Published: Thursday 17th of July 2014 04:45:00 PM
'Zombie Day 2013'. Photograph: ShellsuitZombie
Studio ShellsuitZombie has made a name for itself through its magazine made "by graduates for graduates" and its events programme for young creatives. Five issues in and fresh from appearances at D&AD New Blood and Leefest, design lead Alex Vissaridis explains how the zombies have continued to move beyond print...
CR has known of the Zombies' work since it launched its first issue of SSZ in 2010. And we were only too happy to be interviewed for its second issue a year later. (We tried to play darts and talk at the same time ? but both the arrows and the interview suffered, so we moved to a table.)
That was where we met Jonny Burch, the graduate who originally founded the SSZ project with Andrew Muir Wood.
Shellsuit Zombie at D&AD New Blood 2014. Photograph: ShellsuitZombie
Initially, SSZ billed itself as "the antidote to the existing design press". Four years in and their stance is still the same, if put a little more diplomatically.
"ShellsuitZombie is a project run by and for the benefit of young creatives," runs the SSZ About page. "Through our printed publication, website and regular events, talks and workshops we aim to represent the young voice in an industry too often dominated by the voices of those much older than ourselves."
The whole point of the SSZ team is that it changes and evolves over time ? providing many young artists, illustrators and designers with an opportunity to work both in print, online and on events.
CR talked to one of its longer-serving members, lead designer Alex Vissaridis, about where SSZ is now, where it's going, and what graduates and creatives can do to get themselves and their work in front of people.
Cover of issue five of Shellsuit Zombie by Chris (Simpsons artist). Photograph: ShellsuitZombie
Source: Creative Review | Published: Monday 21st of July 2014 01:50:00 PM
Source: Creative Review | Published: Thursday 17th of July 2014 02:00:00 PM
Dean Chalkley and Harris Elliott's London exhibition, Return of the Rudeboy, explores the 21st century resurgence of rudeboy culture. The show features some beautiful photographic prints, and we have one (above) to give away...
On display at Somerset House until August 25, Return of the Rudeboy offers a contemporary look a subculture which originated in Kingston, Jamaica in the late 1950s. Rudeboy style was a mix of sharp suits, shiny shoes, pork pie hats, skinny ties and swagger, but rudeboys were also associated with anti social behaviour, immortalised in songs such as The Wailers' Simmer Down and Stranger Coles' Rough and Tough. In the UK, the style influenced mod and skinhead culture, and was later associated with the 2 tone movement of the 1970s and 80s.
Today, Chalkley, a fashion photographer and Elliott, a creative director, say they have noticed a resurgance of rudeboy-inspired style on the streets of London. Their exhibition features photographs of over 60 impeccably dressed subjects, hailing from Europe and the US, shot in various London streets.
Source: Creative Review | Published: Friday 18th of July 2014 02:34:00 PM
The second series of Dennis Kelly's conspiracy thriller, Utopia, launched on Channel 4 this week. To promote the show's return, 4Creative and Unit9 have produced an eerie set of interactive ads and a disturbing online experience...
Utopia follows a group of people who uncover a global conspiracy in a graphic novel and are forced to flee an organisation known as The Network. It's a brilliantly dark and surreal show and a visual treat, with beautifully shot scenes rendered in acid brights.
To promote the launch of the first series, which aired last year, 4Creative launched a viral campaign targeting journalists active on social media. Using information journalists had posted online, it produced personalised films warning them: "the network knows everything about you" (you can see the case study here).
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Series two's creative builds on this sense of being watched with ads featuring a bloodshot 'all seeing eye' and the message 'The Network is Watching'. In animated digital posters placed around the UK, the eye appears to track the movements of passers by, while interactive online versions respond to mouse movements.
The ads feature the same bold yellow which featured heavily in both teasers (below) and titles for series one. "Utopia is visually stunning and very quirky - we loved how the grading pushes colours to saturation limits," explains creative lead Pablo Gonz Read More»
Source: Creative Review | Published: Wednesday 23rd of July 2014 03:30:00 PM
Jason Wilde's photo project Silly Arse Broke It brings together discarded handwritten notes that he has collected since 2003, around Clarence Way estate in Camden, London.
Many are records of everyday activity - functioning to remind, instruct, organize, and explain; there are lists, descriptions of journeys, and school letters; there's grand political and philosophical statements, and nonsensical, mysterious messages; some are friendly or familiar, others attack and blame.
Wilde suggests that he is collecting these once-private documents in an attempt to record the transformation of this community. These salvaged texts act on the imagination to help create an open-ended narrative about the people that might have written them, and invite the viewer to consider this multi-cultural, inner-city estate as characteristic of the ever-diversifying society of 21st century Britain.
We spoke to Wilde about his work, and how he came to be a collector of these little notes ...
Can you tell me more about your background - how did you first get into photography?
I left school at 15 and became an apprentice watchmaker which bored me stupid, so after trying my hand at being a labourer, a scaffolder, a courier (motor bike and lorry), a postman, a masseuse, a pen repairer, a picture framer and working in an industrial laundry, I thought I'd try photography. I completed 6 week evening course called 'Getting To Know Your Camera', swapped my car for a camera and then got myself onto a 2 year full-time photography BTEC, going on to do both a BA and MA in photography.
So you've been collecting thee notes for over ten years, what made you start collecting them and where and how exactly do you find them?
In an effort to tell a story about the Clarence Way estate I was making portraits of the residents and also collecting and photographing debris that I had found on the estate. Among the 30 odd pieces of debris were four handwritten notes which when I put side-by-side screamed out 'project'.
Since then whenever I have been walking to or from my flat on the estate I have been on the look out for discarded notes. I find about 10-12 a year in a variety of places but mostly near the communal bins.
Have you found related notes, and have these led you to form stories? Or perhaps it's the viewers who find connections themselves?
As it stands this is an ongoing project with two different edits, a defined book edit and an ongoing and open-ended exhibition edit. The book edit has a narrative that is defined by 50 images. The narrative is controlled by connecting elements within the individual notes, including symbols, words, themes and colours etc.
In order to alert the viewer to the fact that each note is connected to the one after, I have deliberately made the connecting element in the first four images of the book edit very obvious. The notes in the book edit also hint at a number of universal themes. It starts with the theme of love and ends by becoming a little dark in its mood. The book has yet to designed and published but an edit can be seen online.
Is there something particular about this area, or similar communities, that you felt needed exposure?
The Clarence Way portrait project did start out as an antidote to all the negative press that was being written about the estate, at the time and Silly Arse Broke It began with the same motive, but developed into something that goes beyond a simple political statement.
I still feel that the general way of thinking about these kinds of residential environments is very lazy and negative but that is no longer my main reason for continuing the work.
This project is one of a number of projects that I am working on that explores the idea of my local environment, which I define as the London Borough of Camden.
What made you choose to shoot them in this way?
Originally the debris, including the notes, were shot in various places on the estate (car park, balconies, lifts, door ways, stairwells, etc.), using available light and front on camera flash. The images produced were ok but looked too much like other projects that were being produced at the time. I then decided to take the notes into the studio and used lights and a medium format digital back with the idea to capture and foreground the details that one wouldn't normally look for when reading a note - things like dirt, tears, handwriting, paper weave, stains, ink colour, blotches, and so on.
The notes were shot against a white background and dead centre of a square format, making them the focal point of the image. I was much more pleased with these images but still not completely satisfied as they still lacked something I couldn't define.
The idea of using wallpaper as backgrounds presented itself, and, after a few test shots, the combination of note and wallpaper became the project. I chose to use wallpaper, not only because its colours and graphic elements make the images much more visually appealing, but because of the different layers of meaning they can offer. In the same way that the choice of wallpaper affects the mood and style of a room, it can have similar effect on my images of notes.
Wallpaper is vivid evidence of an individual's taste and can often reflect the age, status or gender of a house, and suggest notions of class and taste. The wallpaper backgrounds anchor the work to the domestic environment, reminding the viewer that these are conversations between family and neighbours, taking place in and around people's homes.
How would you describe your aesthetic?
All over the place.
Who or what are your creative influences?
Photographically I like the work of Anna Fox, John Davies, Mark Power, August Sander, Nadav Kander and Alec Soth, amongst others. Outside photography it's an endless list of songsmiths, comedians and filmmakers. I'm attracted to people that make the process of constructing a narrative seem an easy one, in any medium. And I'm a massive fan of WYNC's Radiolab.
Are you working on anything else at the moment?
Silly Arse is an ongoing project, but I'm also working on a variety of other personal projects.
Jason Wilde's Free Portrait Studio (ongoing since 2010) has visited a variety of venues in the London Borough of Camden and set up a mini mobile portrait studio, with 1680 portraits being made of the visitors, creating an ongoing and unprecedented visual archive of Camden.
My newest project, Vera & John - Part 1 and Part 2 (on-going), is a simple examination of Vera & John, my mum and dad. Part 1 is a still-life study of the contents of their bathroom cabinet. I plan to 'borrow' and photograph the products that they use and keep in their bathroom cabinet over a period of 1 year using the advertising still-life aesthetic. (Work-in-progress images can be seen here). Read More»
Source: Creative Review | Published: Monday 21st of July 2014 12:10:00 PM
Cover image by Evaan Kheraj. Image from fshnunlimited's Instagram
Source: Creative Review | Published: Tuesday 22nd of July 2014 05:53:00 PM
It's time again for a round-up of our favourite projects submitted to Feed on the CR website: the selection this time includes a rather lovely piece of animation for Bombay Bicycle Club, a photography shoot for Pepe Jeans, packaging for Jack Daniels, and more...
First up is this charming film created by director James Henry and Love Commercial production company, to promote Bombay Bicycle Club's album, So Long, See You Tomorrow. The animation is created in-camera with no post expect the edit and grade (more here).
Photographer Joseph Ford created this striking set of images for Pepe Jeans (more here), which combine Pepe clothing with scenes from London shot from above.
BTL Brands has created this unusual identity project, which is for Read More»
Source: Creative Review | Published: Tuesday 22nd of July 2014 05:48:00 PM
Online publication Four&Sons has released a beautifully designed print magazine, bringing together an inspired mix of dog-centric creative content.
"The initial thinking was: ?let's see what happens when we look at all aspects of the life we live and love - art, design, fashion, music, travel, lifestyle - from a 'dog-centric' point of view'," says editor Marta Roca. "We then started to dig deeper into the creative relationship between humans and dogs. The light bulb moment came when we started to look at dogs as the ?muse', as the inspiration."