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KNOW?MAG 1
thePhotographySPECIAL
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[L IFE AFTER SKATE] 2010 WeAct iv is ts CHRIS PASTRAS & SAGE VAUGHNSHOT BY
CHERYL DUNN
www.wesc.com
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[L IFE AFTER SKATE] 2010 WeAct iv is ts CHRIS PASTRAS & SAGE VAUGHNSHOT BY
CHERYL DUNN
www.wesc.com
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KNOW?MAG 6+ (514) 938-2345www.tigerdistribution.com
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T H E B A L A N C E O F O P P O S I T E S
R V C A . C O M • T I M E B O M B T R A D I N G . C O M
S T I C K E R S @ T I M E B O M B . B C . C A
A U S T I N S T E P H E N S C A I R O F O S T E R D A V I D R E Y E S E D T E M P L E T O N J O S H H A R M O N Y
J U L I A N D A V I D S O N K E E G A N S A U D E R K E V I N “ S P A N K Y ” L O N G L E O R O M E R O N E S T O R J U D K I N S
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Back Tail - September 14, 2009 - Oceanside, California - Photo by Rhoadestimebombtrading.com [email protected]
altamont-knowmag-jan10.indd 1 12/15/09 10:52:08 AM
russ morland for timebomb trading inc.timebombtrading.com russart.blogspot.com
Phot
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timebomb-knowmag-jan10.indd 1 12/14/09 3:46:33 PM
Arik RoperWWW.ARIKROPER.COM
Culture Squad is a celebration of relationships. Some new, some going on ten years. C1RCA Select is proud to introduce the Arik Roper signature collection, available Spring 2010. Please visit www.C1RCASELECT.com for more information.
Four Star Distribution (Canada) 500 – 329 Railway Street Vancouver BC V6A 1A4 Phone: 604.253.5611 or Toll Free: 1.877.938.0888
KEVINTAYLOR
axionbrand.com
LIBERTY FALL2010
Backside 360 PHOTOG:FRANKIE
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A Spring 2010 collection by COMUNE.
COMUNE was formed from the idea that there will always be people out there who not only embrace the rawness and imperfections of every day life but use it to creatively push the boundaries of what’s possible in skateboarding, fashion, art, and music their own way, with complete disregard of the consequences.
Our goal is to provide clothing that reflects this lifestyle of carefree idealism and to support the people that choose to live it.
Angel wears his the Dean jacket, Howard woven and carries the Taylor bag.
www.thecomune.com
‘ A N G E L B E R B E R ’
www.thecomune.com/blog/drop-city
Drop City was introduced to attract like–minded creative people to the comune artist community and collaboarte on special projects through COMUNE’S clothing brand. With participating artists including Hunter Longe, Jason Lee Parry, Noah and Nathan Rice, Shelby Menzel, Jimmy Fontaine and Gareth Stehr over time Drop City will continue to evolve its’ community, creative platform and influence.
D R O P C I T Y
Photographed by Q
P U R P O S E
B O O T H # 2 3 7
W W W . T H E C O M U N E . C O M
D I S T R I B U T E D B Y W I C K W I N D E R
C O M U N E @ W I C K W I N D E R . C O M
T 6 0 4 2 7 6 9 4 2 5
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PHOTO SPECIALPORTFOLIO 1:Photographers’ submissionsColin AdairScott PomierScott SurfaceJeremy JansenDouglas LudwigJeff PetryBrian Cassie
PORTFOLIO 2:Industry submissions
In this order: Roddy Ouano, Sarah Murray, Chris Taylor, Trevor Flemming, Kyle Bastien, Doug Haddow, Ben Couves, Tenille Magnuson, Paul Higgins, Renee Graham, Ryan Reyn-olds, The Dark, Jesse Bowden, Tom Higgins, Mike Carter, Jennilee Marigomen, George Diamond, Rob Williamson, Scott Haddow, Ellise Warkentin, Gordon Nicholas
OBJECTIF REALITY:Fashion Editorialby André Pinces
ARTIST FEATURE:Gentleman of the Road,André Pinces
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ISSUE #8 FALL / WINTER 2010
On the cover: portrait of Hugoby André Pinces, Vancouver, 2009
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SEEING THINGSNot since Kodak issued the first Brownie camera has there been such a revolution in the way we see our world. Just as when the first Brown-ies came to market, now everyone can be a photographer, sharing the things we see and experiences we feel. Kodak’s breakthrough came in a little brown box loaded with fresh film from the factory, ready to start snapping. When the end of the roll was reached, one would simply send the camera with its exposed film back to Kodak, and a few weeks later the postcard-sized prints would be returned with the camera reloaded, ready to go again. Photography went from being a curious scientific endeavor to something everyone could do and now have fun with. Polaroid again revolutionized how we see by giving us instant gratification, and of course with today’s revolution the results are even more immediate.
Now that everyone is taking so many photos, sooner or later some great pictures will be taken for no other reason than by accident. Dur-ing WW II they strapped cameras to pigeons to use as spy planes and ended up with some great photos. Some of the most famous photos we all know have nothing to do with the art of photography other than someone was standing there at the right place and time to record what happened for a fraction of a second. There’s no consideration of composition, lighting or any other quality except for the subject doing its thing. The aim is to be able to make this happen more than once, and on purpose.
Photography is getting faster and cheaper, but is it getting any better? By way of inviting our friends to share their perspectives in this issue, we too are invited into their lives to see how they see...
Welcome to issue number 8 of KNOW?MAG.
Editorial
Editorial DirectorPaul Higginsmegadestroyer.com
Editor-in-Chief Ben Couvesob1enterprises.com
Executive Editor Douglas Haddowpblks.com
Fashion Editor Tanus Lewistanuslewis.com
Production Controller Nick Brownlifetimecollective.com
Advertising Director Perry Pugh ob1enterprises.com
Features Editor Douglas Haddowpblks.com
Contact Know?Mag130 - 49 Dunlevy AvenueVancouver BC, Canada V6B 4E3www.knowmag.net / [email protected]
ISSUE #8 FALL / WINTER 2010
No part of this publication may be produced in any manner, either in whole, or in part without the written permission of the publisher.© Know?Show 2010
Agenda TradeshowHuntington Beach, CAJanuary 8-9 2010agendashow.com
KNOW?SHOWCalgary, Ab CanadaJanuary 20-22 2010knowshow.ca
ProjectLas Vegas, NVFebruary 16-18 2010projectshow.com
2010 SHOW DATES
lifetimecollective.com
photos by: collective member Jeff Petry
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Objectif RealityPhotographed by André PincesFashion Editor Tanus LewisMake-up and hair: Dana Mooney; MAC Cosmetics; JudyincModels Aleisha and Rory; Lizbell Agency
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Es denim shirtCheap Monday khaki trousers
Generic Surplus grey canvas shoesFreeway by Shuron frames, The Hillside tie, Ken Diamond belt
– all from Mr. Lee’s Haberdashery and General Store
WeSC black dressBody chains and hand piece by The Woodland Designs
Earring by Aileen BryantCesare Paciotti platform shoes – from Brown’s
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B.B. Dakota black dressThe Woodland designs braceletStewart Weitzman patent stilettos - from Brown's
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Emerica grey henleyComune scarf
Etnies grey roll-collar cardiganLifetime black cords
Frye black boots – from Gravity Pope
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Numph silk dressBench black pants
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Alternative Apparel cropped t-shirtB.B. Dakota black mini skirt
Cesare Paciotti platform shoes – from Brown's
Le Monde Gris (by Some Product Apparel) white v-neck sweaterAlternative Apparel white long sleeve t-shirt
Cheap Monday striped pleated trousersPeter Grimm black hat
Generic Surplus black canvas shoes
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Alternative Apparel white tankCheap Monday check skirtSuper sunglassesVolatile black motorcycle bootsThe Woodland Designs necklace and bracelet
Lifetime black blazerCheap Monday jean vestPenfield blue sweater vestCirca jeansQuoddy boots – from Gravity PopeWhite henley- model's ownFreeway by Shuron frames - Mr. Lee's Haberdashery and General Store
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Lifetime blue plaid shirt and tie setLifetime black cords
Comune belt
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B.B. Dakota black dress
Le Monde Gris (by Some Product Apparel) grey shirtEmerica white jeansKen Diamond belt – from Mr. Lee'sGeneric Surplus grey shoesBrixton hat
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DH: You initially got into the photography in-dustry when you were living in New York - what drew you out there?
AP: Well, I was already doing model portfolios and shooting fashion for the local papers in Edmonton, when all my friends were about to graduate from university and I still hadn’t decided on what the hell I was doing in life. Photography had always been a hobby and it was around then I decided to dive-in and take it seriously. After doing some model shots for a friend headed to work in New York City, his portfolio was noticed by Warhol photographer Chris Makos, who I was a fan of. Ultimately that led to my opportunity to apprentice with him in New York, but having grown up in a downtown, urban environment watching Ses-ame Street and reading Spiderman, like many kids, I was always fascinated with the mystique of the City. And still today, whether it’s art, music, photography, advertising, and so-forth, NYC is the centre. I was interested in New York for the same reasons anybody is - being there, and making it.
DH: What was the scene like when you lived there?
AP: When I moved there in the mid-90’s, the city was in one of its hey-days. New aesthetics in fashion photography from heroin-chic to point & shoot, the end of golden age hip-hop, the
supermodels, Giuliani-Time - all in full effect. I lived there for just over three years and it was one hundred percent hard grinding. I was living in Brooklyn, the artist’s lifestyle, eating crackers with apple-sauce for breakfast, lunch and supper. Nights I’d go to the opening of an envelope if I thought there’d be some cold-cuts and melons in it for me, and thankfully there usually was. The scenesterism-for-food approach worked out well also because I got to meet a lot of artists and photographers, and find out where the next opening was at.
DH: What kind of work were you doing for the most part?
AP: In the summers I worked part-time as a bike messenger for an outfit that had the ac-counts for most of the model agencies in Man-hattan. This was a guarantee to visit all the big photographers’ studios as well as pull recon on the model agencies and magazines. When I’d go back there as a photographer they felt like they knew me, which they kind of did, and I was never recognized! Then I was also shooting head shots, little commercial jobs and stills on indie film features. That part of the work was a great learning experience as I was usually involved closely with the production. The producers and directors gave me carte blanche to shoot any-one, anywhere, anytime, so I was glued to the camera crew and directors on set, and was really into the process. Today I think much of my ap-
proach comes from techniques I learned from filmmaking. After three years of hard work, I had finally broken through and was starting to get some serious fashion work and had just got my foot in the door with some real magazines like Surface and aRude. That was the impetus for me to take a little rest. I had real ‘big break’ type fashion and documentary editorials lined up with some serious art directors and felt like everything was coming together - like, ‘this just might be the time’.
DH: And then...?
AP: I went back to Edmonton and sold off all the stuff I had in my mom’s garage. I got my motorbike, a ‘72 honda CB 750, out of storage, tuned it up to the best condition it had seen since Trudeau was in office, and headed back to New York on it. I was so hyped to get back and do my thing. I had done that ride, from west coast to east coast and back twice before, and this time it was just about doing the miles and getting back to work. I was riding at a bad time in the late afternoon, the sun was low in the sky, the shadows were really long and the light was kind of purplish. Maybe the guy didn’t see me, maybe the sun was in his eyes. He pulled out in front of me, right in the middle of the Trans-Canada highway. I was doing highway speed and cold T-boned him, launching myself into the air superman-style! I came down, roll-ing, helmet bouncing, jeans and leather skid-
Gentleman OF THE Road
Interview by Douglas Haddow
An Edmonton-to-Vancouver via Brooklyn transplant, André Paul Pinces is a photographer with true grit and an appropriately cinematic style. Having a cross-disciplinary background in printmaking and visual communications, Pinces’ career as a photographer is an exercise in highway-ramblin’ auto-didacticism. His work ranges from soft-focus erotic daydreams and delicate fashionista sojourns to hardcore death metal motor-bike apocalyptica. Winding through a diverse range of social and aesthetic terrain, his is the road less traveled, but expertly documented.
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ding all over, and realized after I tried to get up to strangle the driver of the car, that my right foot was pointing the wrong way. The MCL of my right leg was nearly severed.
DH: And can you remember flying through the air?
AP: Oh yeah, I never passed out, so I remember everything vividly. I’ll never forget the sound of my tires locking up and skidding, or the sound of the bike hitting the car, but especially the sound of my helmet skipping along with my co-conut in there, what a rush. Lying in a pool of gasoline, the ambulance ride, operating room, surgery. I was awake for the whole party. I spent the next couple of nights with a honeydew-sized puss bag in my knee, sharing a room with a couple of wonderful elderly ladies at the Swift Current Regional Hospital and Convalescence Home. A few days later I flew back to Edmon-ton, with the RCMP arranging for my camping gear and bike parts to be shipped back on a flatbed truck. I completely dosed on codeine, muscle relaxants, anti-inflammatories, aspirin, nyquil - whatever I could get to numb the pain for the next few weeks. Weeks which turned into months of physio, rehab and wait-and-see until finally, nine months later, I was good to go. By that time I had another new life and decided not to go back to my fifth floor walk-up in Brooklyn. When I finally did get back there to grab my stuff, I found that even though I had paid rent for those nine months, my room-mates had been renting out my room and most of my stuff was missing. Mix tapes, NYC-vintage wardrobe, black-market photo book collection, replica North Face gear and all.
DH: So you never went back?
AP: I never went back to live there, the months turned into years, and this was when digital (photography) was just starting to happen. I figured since I was stuck in a wheelchair at my mom’s house in the middle of Edmonton win-ter I could learn about Photoshop and how to scan negatives, all that. After a while I was back on my feet but still kind of down-and-out. My girlfriend at the time, who was in visual com-munications at University, was pushing me to get my ass back in gear, so I totally blagged my way into a job with this Yellow pages advertising shop. I borrowed a buddy’s design portfolio and passed it off as my work, and they stuck me in the poster department, making gig posters for community college event nights. It was hilari-ous, the nature of the work was a joke and I was so bad at it, it was crap. But I learned some design and production and it was a natural progression. Within a year I was running the department, plus supplying my crew with the illest mix tape covers in town, for free.
DH: Like how bad...Comic Sans bad?
AP: Comic sans, impact, faux bold, literally...rainbows, real psychedelic man. But this was for like, NAIT Medical Tech Fundraiser Night at Ezmerelda’s, for instance, or the Hertz Rentals West End Staff Christmas Hoo-Haw. Also this was during the Floss’n’Gloss heyday, so
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it seemed normal to me at the time. As many fonts and colours as possible, 3-D bevels, lens flares, drop shadows, I had a real time. And they were paying me and it was hilarious. I guess they loved it because I was hired out of there to go in-house for the ‘big’ guys in town, basically the Donnelly group of the Prairies. I stuck with it and ended up picking up some real cool gigs after breaking off on my own. I think the best memories from that work might be the year I had straight free-reign of the Black Dog Pub’s marketing campaign. Some serious ‘through the looking glass’ type work happened there. Through that I hooked up with some artists and promoters and the next thing I was doing gig posters for Snoop Dogg, Fugazi, even James Brown, and these all came with comps to the shows so I was stoked. I started to realize all kinds of different ways to see the world relative to what I had already practiced in photography, so it was an easy, lateral step for me to phase into graphic design. I built up the portfolio and got a nice little home-based design company going, and eventually moved it out to Vancou-ver where it kind of blew up. A year later I was heading-up a couple of dozen artists and computer engineers at this online casino outfit. More cheese but it was a sweet gig for a couple of years. The whole thing was just supposed to be a hold-over until I started shooting again, and I realized it had been like, four years...
DH: And that’s when you got back into photog-raphy?
AP: I missed photography so much, and as much as I still love design and those aspects of visual communication - I dropped everything to start doing photography again. One of the rea-sons I decided on being a photographer in the first place was that I thought it was something I could do until I die, so if I don’t ever get to retire, which it’s starting to look like I actually might one day, then it’ll be jokes. Most of my heroes in photography have worked well into their twilight years. Richard Avedon died at 81 and had signed a 10-book deal ten years earlier.
DH: And now that you’re full-on doing com-mercial photography as a career, is there a certain look or aesthetic you go for?
AP: The more I try to develop a style, the more I realize I’m inclined to just doing what feels right to me at the time. I like fashion aesthetic, so I end up bringing that approach to the table most of the time. I try my best to share an expe-rience, evoke a feeling. What and how I shoot is aimed at communicating the things that I see and feel from life. I stopped buying magazines a
few years ago, but of course I’m still a member of society, I haven’t owned a TV since 90210 but I know what’s happening in art and pop culture. I would love to think I find inspiration in things other than ‘mood-boards’ compiled from Nigo’s last blog entry, though sometimes that happens. If I do have a style, hopefully it’s something analogue, organic. Staring at the computer screen clicking away the day in Photoshop isn’t really my thing, so I do as little of that as I need to. Back in the day, using only film, the stuff had to be bang on in-camera. ‘Fixing it later in Photoshop’ was not really hap-pening yet, so the ultra-keen, over-attention to detail with lighting, styling, make-up and so-on had to done right there on the spot, and I still try to work this way today. On the other hand, I always loved the darkroom because it was when the rest of the magic happened. The tranquility in there really lets you get into the final print, really the ultimate vision of the photographer. Today it’s the ‘Lightroom’, but I try to ap-proach it with the same techniques, only with the lights on and the water off.
DH: How do you approach your subjects?
AP: With commercial work, I’m collaborating with art directors, advertising agencies, and I’m often the producer as well as the director. In the end, everybody is in it basically to shift some product, whether it’s dresses or shoes, real estate, whatever. The approach is somewhat pre-determined based on the concept we come up with, which is also where I get to have some in-fluence due to my other experience. My clients will often bring me just a rough idea, which will eventually develop into a concept, then a ‘backstory’, storyboard, or series of sketches and finally I produce and shoot it.
DH: How do you remain creative in that situ-ation?
AP: It’s easy for me because I’m just trying to be a photographer, happy to do the work. I’m not trying to explore some truth about the human condition in my commercial work. Pushing the button is less than five percent of the flow, when the period leading up to the shoot is where most of the work is done. Once the message is decided upon, the easiest part is the technical execution. The real art goes into gestating and expanding on a concept. Ever got welled-up at the end of a 30-second commercial? Ever bought a magazine just because of one photo shoot? To me these are like haikus and sonnets, a real form. I’m striving to convey a simple message - there’s nothing more boring than another slick fashion shoot with a bunch
of rubber-skinned looking droids staring into the void of commodified commercial emptiness. Wake me when that’s over and then give me a basic human story, with the feeling executed perfectly. I shoot with expired polaroids and disposable film cameras and get the processing done at the drugstore, I try to only use photoshop to fix real zits, and put everything I can muster into every shot I take. Of course I use digital too, when the project demands it. I most often am approached by potential clients because of my style, and they could know or care nothing about my process. I have a great little camera collection and love to grab whichever one feels right that day. The right camera is like the right music for a mood you’re in, or your favorite boots. I only ever wanted to be cool and have fun, and do cool projects with fun people, and I try to keep this in mind when hired to take catalogue photos of burritos. Mostly though, and this is by design, my clients are friends in the creative industry, so getting to work with my friends and doing what I love is pretty bloody reward-ing! Remaining creative can be as simple as mentioning next season’s collection while we’re out together having a time.
DH: Of your personal work, I really dig the series of portraits you did of dogs, what was that about?
AP: The dogs project began out of exploring something I felt strongly about, which at that time was a perspective of life and culture in the city of Vancouver. The dogs are really cool to look at, especially at 5 feet x 5 feet which is the size I print them at, but they are not only about cuteness and phodography. I’m actually a bit allergic, although I love dogs, so being in the studio with a pack of them for a day can exasperating. The project is a social commen-tary - I am not available for hire to shoot your little fluffy or whatever, although many of my friends have dogs I love, and of course I love to photograph them. I have a list of dogs that keeps growing and am always looking for the time to do more personal work like that.
DH: What was your last project?
AP: Outside the day-to-day, the last project was a collaboration with MegaDestroyer for a limited edition of skate decks. We’re planning a show with an opening night event coming early in the new year. Also I directed a couple of 30-second web commercials last year that I’m really proud of. This is something else I love doing and feel it’s another easy lateral jump to get more serious about.
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DH: And what else is coming up next?
AP: Lately I’ve been printing these little 24-page limited-run books, like the series of the last motorcycle trip I did from the summer, and they sell out too quick so I need to figure out a better way to do bigger runs while still keeping it limited. More of these mini-editions are to come, but the most exciting work lately has been collaborating with artist Raif Adelberg. In London he just launched part of a series he’s been working on that deals with the state of the American Dream, or questioning if there even is one left. I photographed the piece on 4” x 5” Polaroid negatives so we can make some immense prints.
Raif conceptualizes, together we develop an idea and then I shoot and process the work. It’s a really great experience and also a way for me to see things through different eyes, and I feel we share much of the same aesthetic so it’s an easy process. That show opened at a Notting Hill gallery in London last month and got shut down by police. It even made BBC news! Photography is great for communicating truth but the thing is, a photograph most likely has truth in it, just maybe not be the original truth the artist had in mind when making the image. No matter to me as long as the viewer feels something from it.
Raif and I just finished a commissioned artwork for Red Bull, and are in pre-production for a personal series of images that we’ll be making over the next year. Another aspect of this work is that we are going big, the largest printing I’ve done to date. The red bull piece is 6 feet x 12 feet, and we’re working on a series of serigraphs that will be even larger. The production for this kind of work is also really enjoyable, and be-cause of artists like Jeff Wall, Rodney Graham, Stephen Shearer and Stan Douglas, Vancouver has a world-class infrastructure to make it hap-pen. I’m not comparing myself to these cats in any way, other than the fact we share some of the same service bureaus, but the scale and quality of the work we’re doing is high-calibre, so for 2010 we’re going bigger and planning to get shut down by cops all over.
André Paul Pinces is currently based in Vancou-ver, Canada but can also be found at various truck stops between Venice, California and Venice, Italy.
www.pincesphoto.com
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KNOW?MAG 92New York City, Winter 2009
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KNOW?MAG 96Vancouver dogs, 2009
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“Freedom is scary. It’s a blast of cool wind that burns your face to wake you up.”
Cascadia, Summer 2009
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Launching
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Geoff Andruik Photography 2009
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CHANGE IS IN THE AIR.
JP WALKERSIMON CHAMBERLAINMARKKU KOSKIMARIE-FRANCE ROYCHRIS BRADSHAW JON KOOLEYNIMA JALALISCOTT STEVENS
JOE SEXTONCHRIS GRENIERJOHNNY MILLERSTALE SANDBECHTYLER FLANAGANBEN BILOCQ
32-Know-TeamAd.indd 1 12/11/09 11:25:38 AM
KNOW?MAG 1
André Paul Pinces
