I love this photograph. I was at the beach and in love with the look of this structure, that no longer exists. It was so gnarly and cut up by the water. Just before I was going to take this image my dog Duke (who also no longer exists) but who was always so good about staying by my side, got up and walked into the frame. I called him back but he left his footprints. I remember hesitating thinking, okay I should wait a little till the waves come in and wash them out. It would take 2 sweeps and they would be gone but I didn’t. And it was so cool because, though you can barely see them, it gives me a sense in the photo that something has entered and has left. The photo is also about the relationship between the ocean and cliff and the fact that they are not separate entities at all. They are one and the same. One gets swept over here and one gets pushed over there and we try to make them separate in our minds but there is no separation. Everything is all so connected.
Janet Woodcock began pursuing her passion professionally in 1980, studying at both the Art Institute of Boston and the New England School of Photography. She mastered her craft while working for several newspapers doing free-lance assignments. In the mid nineties, she decided to devote all of her energy into her own projects. Janet’s commitment to “the traditional craft of photography” is evident in her past and recent work alike.
The picture seemed quiet and serene but with a hint of hidden darkness. I was really drawn to the contrast between the cliff and the water. Something so rough plotted against something so smooth resulted in a perfect balance. I wanted to write in a minor key but have uplifting lyrics to balance out the light and dark moods. The song is indicative that some day I will find a woman that I will love limitlessness and in return she will love me the same. . It’s a story of episodes starting with poetry, then traveling, and finally landing on commitment.
For me, this song speaks to the fragility of human relationships, the disposability of devotion and the frail notion of forever. Having just experienced love and the pain of its loss shortly before the conception of this piece, the work comes from a place of melancholic acceptance. In my interpretation, a lake in the distance drains slowly into a empty pool where a woman alone stands, as the water level rises her fate becomes increasingly hinged on how quickly she learns how swim.
SAM HEYDT is a NYC based artist, designer, filmmaker, photographer, and founder of Jane Street Studio (LLC), a boutique photo studio in the Meatpacking district of Manhattan. Over the last decade Heydt has lived and worked in Paris, Amsterdam, Buenos Aires, Venice, Vilnius, Athens and Istanbul. She completed her studies across a spectrum of international universities and has attended artist residencies in Iceland, Australia and New Zealand. Commercially, she has worked with a multitude of publications, most recently landing the cover of February’s issue of Aesthetica Magazine (UK). Heydt has exhibited works in a constellation of galleries & museums throughout the world, including twice at the following: State Hermitage Museum (Russia), Art Basel and HeadOn Photo Festival in Sydney. IRONICALLY, by employing the very medium she critiques Heydt’s work speaks to the disenchantment of the social psyche at the hands of the media apparatus and the desolation of the natural world. United by its unconventional exploration of semiology and its role in cementing corporal commodification, consumerism and constructed narratives of the past, her work splinters into several subversive series, focusing on the perversity of production, consumption and decay. Heydt’s visions transcend her images’ site-specific locations — the impact of the photographs are shockingly universal, rendering the global local. Her most recent project was in Rajasthan, India, where she worked as an associate producer on a documentary re: child prostitution. Shortly afterwards, she took up a position working as a coordinator at the Scuola Grafica Internazionale in Venice, Italy where she will return next Fall after she completes her work in Australia documenting the mining industry.
Rachel Zabar, a native New Yorker received her MFA from Tisch School of the Arts in directing and cinematography and immediately moved to Los Angeles to….become a tv writer! After failing at this, she turned a lifelong passion for vintage clothing into her full time business and sells both online and to private clients. Her online store, Rachel Zabar Vintage can be found on 1stDibs.com.
This was a song about unrequited love and the pain of being left behind, stuck waiting for this lover that never comes. I thought about the debris life builds up around people. It does so almost tidally until, at the center, at the core, you find yourself stuck in this place surrounded by the debris of your life. The First visual that came to me was of a woman staring out to sea, remembering her lover and sitting in the surf letting herself get consumed by the sand and the waves and the sea. This woman in the center is my grandmother who outlived my grandfather and represents regression and total disconnect from the present. My painting is the emotional landscape of a person. At the core there is this stunted, frozen emotional experience (this person is unable to move on) and then there are the elements around her, which are the debris of time: ature with its sticks and twigs and rawness that continues to build up around the emotional core of this person. In my painting these layers are getting peeled away to reveal heartache.
Lily’s images are portraits that meditate on the spectacular, fluid nature of reality.
Education 2010: Red Gate Gallery Residency, Beijing China 2009: BFA in Painting: Departmental Honors Massachusetts College of Art, Boston 2008: SACI Florence, Italy: Spring 2007 Concentration: Painting
If I had to sum the photo up in one word I’d say “Domestication.” The subject appears at first to be the woman standing in the pool, but after careful consideration it is not clear that she really is the main subject, since the landscape overwhelms her in physical and possibly emotional terms. It is also difficult to read her facial expression, adding to the impression that she is a prop, a needed vertical element, rather than a fully-fledged human subject. The angle of the shot, with the photographer positioned above the pool/woman, combined with the pool appearing within a mostly natural landscape, led me to think about domestication and domesticity (applied to people and land). Working with the domesticity/domestication concept, I was thinking of ways to incorporate the height differential between the photographer and the woman in the pool. I came up with the idea of using native birds (bird’s-eye view of photographer represented by a hawk compared with smaller (and non-raptor) female quail who is positioned at or below ground level). This refers to the woman in the photo seeming marginalized and the photographer, who I determined to be male, dominating and domesticating her. I also felt this trespassing vibe (that the photographer may have snuck into someone else’s property to take the photo) that I recreated with the birds trespassing on the vacated cat’s home. Ultimately the hawk has left and only the little quail remains.
Description of Olfactory: I imagined the ocean (a brackish, vegetal version) and dry grasses, and chlorine. I wanted to make the perfume on the woodier side and not introduce anything too floral, although there is some tuberose. It’s mostly woods and herbals such as lavender, plus citrus and quite a bit of seaweed absolute. I experimented with a chlorine aspect but decided against it. Overall, I was strongly influenced by the grassy area of the photograph for this fragrance.
Miriam Songster grew up in Massachusettes and now lives in Brooklyn NY, where she is pursuing a dual career in the arts and in digital advertising and production. Miriam’s artistic practice engages with several themes: minimalism, site-specificity, the private experience of public space, and the multi-faceted nature of sensory perception. Each of these themes has been more or less prevalent, as her practice has moved from sculpture and video to installation and scent-focused immersive works. Engaging the active collaboration of the public has become an increasingly important part of her practice.
At first I was very confused, but not in a bad way, when I saw the painting. I came back to it every couple of days to focus on different areas of it. I kept discovering new things. The first thing I thought I saw was an eye with its lashes but then it transformed into this wild forest animal with its skin completely ripped off. I was a chef for many years and had the pleasure or displeasure of butchering a lot of different animals. What the image in the painting looked like to me, was the ripped off skin of a game animal ike a deer. There was the raw beauty of the natural scene and beneath it, something much more violent like the hunting of an animal in the forest. In Thorn of the Lily there are many forest elements: Thyme, and Juniper and resin but there is also tons of texture to recreate the experience of walking through the uncut texture of the forest.
Lior Lev Sercarz is the chef, spice blender and owner of La Boîte Biscuits and Spices, an art gallery and spice shop in New York City. After three years as a sergeant of the Israeli army, Lior traveled to South America where he developed a passion for cooking and world cuisines; culinary school soon followed. Since it’s opening in 2011, La Boîte has been featured in The New York Times, Vogue, In Style Magazine, and Every Day with Rachel Ray. In 2012 Lior produced a cookbook entitled “The Art of Blending”, featuring blends, recipes, and cooking tips.