Marie Marchandise: Not Your Devil

 

Photo credit: Marie Marchandise; Model: Laetitia Kitegi

It all started with what CécileManon and Marie do in their creative processes. Marie dyes, cuts, and patches fabrics, Manon dreams up, sews, and refines delicate lingerie, and Cécile designs, shapes, and crafts belts. The three of them bring beautiful and important changes concerning lingerie and clothing. With Manon’s fine nature-inspired lace, Marie’s natural dyed fabrics, and Cécile’s organic-shaped belt buckles, the wearer can appreciate the art and the longevity that results from making something as a craft.


Tout a commencé par les créations de CécileManon et Marie. Marie teint, découpe et assemble, Manon imagine, coud et peaufine, Cécile conçoit, modèle et façonne. Toutes trois changent la donne dans les domaines de la lingerie et du vêtement porté, tant dans la délicate dentelle de Manon aux inspirations florales, comme dans les précieux tissus colorés naturellement de Marie que dans les boucles des ceintures de Cécile à la pâte de bronze et aux formes organiques.

When I began putting together the different looks, I pictured mythological figures - Athena, Leto, Artemis - and all the beautiful drapery that is cast on statues of deities - with complex stories, but bold personalities. Hemingway’s Garden of Eden came to mind, particularly the character of Catherine Bourne.


En imaginant les tenues portées, j’avais en tête des figures mythiques : Athena, Leto, Artemis, et tous ces magnifiques drapés façonnés dans ces statues de déités aux histoires complexes, mais aux caractères toujours francs. Et tout d’un coup, le roman d’Hemingway Le Jardin d’Eden m’est venu en tête, et plus particulièrement le personnage de Catherine Bourne. Et vous allez comprendre pourquoi.

The novel is a fusion of sun and sensuality - the reader has to adopt the perspective of David Bourne, a successful writer, whose wife Catherine is portrayed as being jealous of him. However, as the plot progresses, Catherine evolves to become the dominant character - apparent both in how she asserts herself with her husband and in her relationship with Marita, a young woman who becomes the couple’s love interest.

I’ve read a lot of articles analyzing this literary piece, but I’m still always struck by how David calls his wife “Devil”. Catherine takes the bull by the horns, gains control. She can be hurtful with her words - but without her there’s no story.


La sensualité et le soleil sont les deux points cardinaux de ce roman. Le lecteur n’a d’autre choix que d’adopter le point de vue de David Bourne, romancier à succès dont la femme, Catherine est décrite comme jalouse. Catherine, adoptera, au fil des pages, un caractère dominant, tant dans sa propre affirmation que dans sa relation avec Marita, une jeune femme dont le couple va tomber amoureux.

J’ai lu beaucoup d’analyses à propos de cette oeuvre, mais je n’arrive pas à oublier comment David appelle sa femme : “Démon”. Catherine prend des initiatives, parfois elle s’impose, certes, et lance des remarques salées à son mari. Elle blesse également. Mais sans elle, il n’y a aucune histoire. 

In my search for a story to tell, I wanted to portray that Catherine’s character, as do the many strong female figures that mirror her, first and foremost takes agency through her “misbehavior”. For me, Catherine’s flaws are her most inspiring qualities.

With the pieces made by Cécile, Manon and Marie, I wanted to create outfits for a someone - a Catherine, an Athena - that illustrate the beauty and power of having a devilish demeanor.

“Not your Devil” is a series of photographs involving five women, who gathered one morning to discuss Catherine Bourne and the stereotypes about villainous women in fiction, and without whom this story would be nothing. It is also a celebration of sustainable clothing design and a tribute to craftswomen who dedicate their work to the concept of slow fashion. 


Dans ma recherche d’une histoire à raconter, j’ai pensé que Catherine, tout comme les figures féminines qui lui font écho, est d’abord et avant tout une femme qui fait preuve de force et d’intelligence. Il y a, en effet, beaucoup de qualité dans ces défauts.

Alors, avec les créations de Cécile, Manon et Marie, j’ai souhaité fabriquer les tenues d’une femme, Catherine, Athena ou tout autre personnalité illustrant la puissance et la force que l’on retrouve chez ces figures diabolisées.

“Not your devil” est une série de photographies impliquant cinq femmes, réunies le temps d’une matinée pour parler de Catherine Bourne, mais aussi de tous ces stéréotypes sur les femmes dans la fiction, qui ont un mauvais rôle et sans qui l’histoire ne serait rien. C’est également un hommage à la création textile et aux artisanes qui se consacrent à la mode slow.

Model: Laetitia Kitegi
Body: Eternel Ephémère
Fabrics: L’atelier Maison
Belts: Ysun Ysun 
Location: Bibliothèque d’Etudes et du Patrimoine, Toulouse

 

Premiere: Ariana Molly's Short Film "MISS LIBRA" is a Romantic Fever Dream

 
Still from MISS LIBRA by Ariana Molly

Still from MISS LIBRA by Ariana Molly

Through a haze of smoke, horoscopes, and red wine, emerges Ariana Molly’s MISS LIBRA. You may know Ariana from Mutually Feeling, or from her ethereal photography, but this short film marks her directorial debut. As an artist, Ariana transitions effortlessly between mediums, and MISS LIBRA is an invites us to take a deep dive into the her creative world.

MISS LIBRA chronicles our heroine, Lees, as she recounts the sagas of her failed pursuits for love. Written as indulgently obscure as a daily horoscope, Lees reels in feminine divinity and smashes it at its core, expelling gender presentation as laughable, playful, chaotic, evil. She muses over the queer, the trans and the astrological experiences muddling make believe with reality. She is pouting and painting her lips in a blue-hued bathroom. She is wearing a wedding dress in a smokey bath. She is drinking endless red wine. She is laughing maniacally, tying ropes and cracking whips and she is smoking-smoking-smoking. The cryptic yet seductive monologue, when coupled with the film's distinct visual, transports viewers to a mystifying space of gender frenzy and chaos, beauty and celestial delight. This highly aestheticized, ethereal slice of desire, dazzles in all of its glam-queer glory.

Still from MISS LIBRA by Ariana Molly

Still from MISS LIBRA by Ariana Molly

The film was realized by an almost entirely female/non-binary cast and crew. It was shot in October 2018 and has it's premier in October 2019. It's now being released on IGTV October 1st 2020. We spoke to Ariana about her creative process for the film, and her transition into this new medium.

Still from MISS LIBRA by Ariana Molly

Still from MISS LIBRA by Ariana Molly

Malaika Astorga for Also Cool: What made you take the leap from photography to producing a film?

Ariana Molly: Making the move from photography to film was something I always fantasized about but felt intimidated by. The reverberating "you should do film!" would bounce at me from friends, colleagues and professors who felt that my aesthetic language would translate well. It was honestly a matter of fighting off that pesky inner monologue telling me I wasn't ready. If there's one thing I've learned it's that we NEVER feel ready for any new challenge. At a certain point, you just need to swan dive and believe that you're going to stick the landing, and also be okay with knowing that you might not, and that's okay too.

I originally started developing this project because I applied and was accepted to write/direct the film for a series out of Australia called "Calendar Girls" that is now defunct. Unfortunately, due to lack of funding, they had to cease productions for their second year (for which I was supposed to participate) but in my mind I was already making the film, I could see it and feel it and I really, really wanted to make it. So I went ahead with it anyways and self-funded it. I didn't want arbitrary circumstances to prevent me from realizing this project.

Still from MISS LIBRA by Ariana Molly

Still from MISS LIBRA by Ariana Molly

Also Cool: What are some of your favourite films and why?

Ariana Molly: I have always loved films that cultivate a particular mood and create their own universe. I am a huge sucker for opulent aesthetic, overboard production design, costuming, DIY special effects, faux gore, queer themes!!! Anything related to halloween will usually charm the shit out of me. One of my favourite films of all time is The Love Witch. I think it might be the most perfect film ever made. Escapism through cinema is bliss, give me give me more. 

Still from MISS LIBRA by Ariana Molly

Still from MISS LIBRA by Ariana Molly

AC: Reflecting on MISS LIBRA two years later, how do you think you’ve grown as a director and artist? Do you have any advice for your past self, or for anyone aspiring to make a short film now?

Ariana Molly: It feels crazy to me that two years have passed since I realized this film. In some ways it feels like centuries ago, probably in part due to the way the world has radically shifted since that time #ronaaaa But in all honesty, the advice I would have given myself then, is the same advice I give myself now: just. fucking. go. for. it. There are literally one hundred thousand million reasons not to do something, don't let your own self confidence be the thing that prevents you from giving it a go. I have always been a person paralyzed by fear of failure, major A-type personality complex. I always joke that I never do anything I'm bad at. But, at the same time, discovering that I was capable of something new was one of the most invigorating feelings, and I'm going to keep chasing that high.

For a long time, when I would look at work I made in the past, I would be horrified (yikes @ undergrad). But MISS LIBRA has never turned on me. I am as proud of this film now as I was two years ago and infinitely grateful that this one film gave me the confidence to do so many other film based projects. I hope I can continue to cultivate that sensibility for the rest of my career because self doubt will rot the soul. 

I will always advocate for the fake it till you make it lifestyle because imposteur syndrome has followed me, no matter where I've been in my career, and I've accepted it as a part of life. I've basically learned to slap on a smile, say "yes I can" and then figure out how to make it work. Thank god for YouTube tutorials, my partner and every person who's ever given me a helping hand or a shot. They're the real MVPs. 

Still from MISS LIBRA by Ariana Molly

Still from MISS LIBRA by Ariana Molly

MISS LIBRA will be available via Ariana’s IGTV on October 1st 2020. The release is also tied to a fundraiser for Taking What We Need. Ariana encourages anyone who enjoys the film to donate to their crowdfunding.

Still from MISS LIBRA by Ariana Molly

Still from MISS LIBRA by Ariana Molly

CREDITS

Written + directed by Ariana Molly I Starring Lees Brenson (Dregqueen) I "The Hands" Sophie Marisol + Eugenie Tutin I Produced by Nicole Richardson I Director of Photography Marie Chemin I Beauty by Jessica Cohen I Beauty Asst. Dahlia Bercovitch I Production Design by Ariana Molly I Wardrobe + Production Asst. Kaitlyn Woodhouse I MISS LIBRA Title Animation by Jason Voltaire I Original Score by Mutually Feeling I Sound recordist Monika Rekas I Audio mix + master by Autin Tufts


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Artist Spotlight: Amanda Leigh Ponce

 
By Amanda Leigh Ponce

By Amanda Leigh Ponce

Amanda Leigh Ponce really does it all. As an actor, graphic designer, and illustrator, she’s a force to be reckoned with. Get to know Amanda and all of her creative endeavours below.

Malaika for Also Cool: How did you get into creative work? 

Amanda: I honestly can’t remember a time in my life where I wasn’t participating in something creative. I’ve been dancing since I was a kid and spent most of my childhood inside dance studios. After a back break right before college auditions, followed by illness, I switched gears. I focused on acting while I was recovering, and eventually ended up going to New York City for college to train to be a film actor. 

Throughout that entire time, I had been drawing and teaching myself how to use design programs just as a hobby. It wasn’t until I got to New York that I realized that art and design were things I could pursue as a career. A friend of mine had seen some of my work and mentioned that I should set up an online shop.

So I began reaching out to the network I had established as a performer. Many of the theatre companies I’d worked at gave me my very first opportunities as a graphic designer, and really gave me the confidence to begin freelancing. 

Amanda Leigh Ponce

Amanda Leigh Ponce

Also Cool: Do you have a primary medium?

Amanda: Yeah, it’s definitely changed over the years. I started out trying to act full-time, but being in a smaller market wasn’t sustainable. So now, art and design are my primary mediums, and how I spend most of my day today! Pre-pandemic I was auditioning a lot and going to New York for shoots, but everything came to a halt. I had to pivot and sort of re-assess how I was going to be able to pay my rent, ya know?  

AC: I really enjoyed your blog post about the pressure to be productive as a creative during quarantine, and for your work to reflect the current times. Do you still feel that way now, and if so, how do you manage these expectations?

Amanda: Thank you. It was kind of cathartic to write, to be honest. I definitely still feel that pressure a little bit. I’m trying to learn how to give myself some grace and to not force myself to create out of an expectation. As a generally anxious person, I think I do that to myself a lot.

Since May, when I initially wrote that post, I’ve really been working on not stretching myself too thin. Setting actual work hours, allowing myself to pursue the projects and hobbies that bring me joy, scheduling out my social media weeks in advance so that it’s not even something I have to think about. Doing what I can to support and lift the voices of other Black and BIPOC artists who have the energy to create in that way has also been important to me. 

I’m very slowly beginning to realize that my productivity and output do not define my human worth. The more I lean into that, the better I feel all around. 

By Amanda Leigh Ponce

By Amanda Leigh Ponce

AC: Who are your creative inspirations?

Amanda: Oh gosh, there are so many different people, but some I can think of off of the top of my head are Hsiao-Ron Cheng, Corinna Dodenhoff, Frida Kahlo, Andy Warhol, in particular, have had a significant impact on how I see colour and composition. 

AC: I love your fake film posters! What are some of your favourite films, and why?

Amanda: Thank you! I love working on alternate posters, it’s always a fun way to pay homage to movies that I love. Right now, I’m kind of obsessed with Bong Joon-ho’s Parasite. I thought it was really thrilling and beautifully shot and I’ve watched it multiple times now and have noticed something new with each viewing, which I love. Another film that I think is just so visually stunning that I know a lot of people hated, lol, but that I will always have a soft spot for is Sofia Coppola’s Marie Antoinette. The soundtrack, the cinematography, the costume and makeup design, it’s really just a visual treat and I really love highly stylized pieces like that. 

By Amanda Leigh Ponce

By Amanda Leigh Ponce

AC: In your opinion, what makes a good poster? 

Amanda: Whether or not it grabs my attention. It’s a weirdly simple answer but that’s kind of the point, right? Movie key art exists to get audiences excited/intrigued about what’s to come. So if it makes me really stop to take it in, it’s done it’s job. I think a lot of posters sort of fall into the same basic composition/fonts/etc. and I definitely feel like those are less likely to catch my eye. 

AC: What’s the biggest lesson you’ve learned as a freelance artist? What would your advice be to others who are trying to figure out how the freelance world works?

Amanda: Honestly, that there’s enough work to go around for everyone. I’m so lucky to have a circle of incredibly creative friends and colleagues, and I find the more that you’re willing to support other artists (even if they’re your ‘competitors’) the more support that comes back your way, and then you’re really able to begin creating a community that you can lean on, which I think for me as a freelancer has been absolutely vital. 

The other major lesson that I think every freelancer has to learn in their own time, is to know what your art is worth, and not budge on it. Figuring out my rates (and not being bullied into changing them once they were established) was a huge game changer for me. 

As far as advice goes, I would just say don’t be afraid to shoot your shot. I’ve sent out countless numbers of ‘cold emails’ with my work to brands/companies that I would love to work with. And while most of the time it doesn’t work out, sometimes it does, and they wouldn’t have known me from any other artists out there if I hadn’t taken the time to do that. Of course with that being said, you need to make sure that you’re prepared and have a solid portfolio of work to show people, but ultimately I’ve found that most people are pretty open to this because artist and designers are problem solvers. 

Also - and this shouldn’t be that surprising but - be kind! Firm, but kind. It will help you to navigate all of the different types of personalities that you’ll come in contact with doing freelance work. 

By Amanda Leigh Ponce

By Amanda Leigh Ponce

AC: Finally, is there anything you want to promote or shout out right now? How can we can best support you?

Amanda: I would love if you checked out my website (amcoart.com) and gave me a follow on Instagram (instgram.com/leigh.corbett). For whatever reason, the amount of followers you have seems to “legitimize” artists in the eyes of some brands, so that’s super helpful for me as I continue trying to branch into the crazy world of brand partnerships. I also post cute cat pics! I’ve been selling prints of my work on Society6 for a long time and recently launched a store where I’m selling prints directly through my website, plus I have some tee-shirts available through Hot Topic! A visit through my website (to the ‘shop’ link) will direct you to all of those places! 


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Rico Montaño on Colombian Graphic Design, Freelancing During Quarantine & Chimbites

 

Rico is a Colombian multidisciplinary artist currently based in Barcelona. Known for their colourful and creative style, they are a graphic designer, art director and photographer. We caught up with them about their work and their latest project, Chimbites.

Design by Rico Rica for Cuarenteca

Design by Rico Rica for Cuarenteca

Rico: My name is Rico, and I'm never in one place for too long. I’m currently based in Barcelona, but grew up in Colombia, and lived in Canada for 13 years. I love my culture, I love colours, and I love people. 

I go back to Colombia as much as I can, and I take many of my photos there. A lot of my work is documentary or editorial. I mostly photograph people I love and the people I collaborate with, and I always shoot with film. I love analog. Even in my design practice, I love starting with a painting or a drawing and then it becomes something else.

Design by Rico Rica

Design by Rico Rica

Malaika Astorga for Also Cool Mag: Who inspires you for graphic design, and why?

Rico: I take a lot of inspiration from things that aren't graphic design. Growing up in such colourful streets in Barranquilla made me become almost obsessive about colours. Luis Barragan is a big inspiration (he was in his turn inspired by North African architecture). His book on emotional architecture "Obra Construida" really resonated with me, so I dedicated a semester to studying his work and did a three-part book about it. 

My dad was my first exposure to graphic design, without realizing it. He's obsessed with stamps. He has a lot from Colombia from the 1940-50s and 1800s as well. I didn't understand why he liked them so much when I was younger. Now that I'm trying to find more Colombian graphic design, I go to them for inspiration and plan on making zines to document them.

I truly admire the work of Ramon Tejada and Jerome Harris on decolonizing design and documenting African-American/Latinx work in our field. I’m also really inspired by Leah Maldonado’s take on typography and education. These days I’m really into 3D typography, early 2000’s internet art and anything that shines.

“Ver, Leer, Sentir” on Luis Barragan by Rico Rica

“Ver, Leer, Sentir” on Luis Barragan by Rico Rica

AC: How have you been able to find your style? 

Rico: My style has always been really colourful. Quarantine has helped me get out of all the practices that have been in my head from school. I think I just had to go the complete opposite way. I'm still exploring, I'm experimenting with, for example, how many textures and gradients I can add to something. 

Design by Rico Rica for Nox Lounge

Design by Rico Rica for Nox Lounge

Design by Rico Rica for Nox Lounge

Design by Rico Rica for Nox Lounge

AC: How are you managing your freelance work? How have you been able to figure out balancing it with your routine? 

Rico: Balance is a big word. (laughs) I think the most challenging part has been balancing mental health and freelancing.

AC: Well, you seem very like on top of things. 

Rico: I'm trying. I think something that's helped to get the ball rolling over the years has been building up a network of other artists and collaborators. That way, we're working together, and I don't take all the responsibility on myself. 

I enjoy coordinating in general, getting people together, or building a team for a project. It's something I'm slowly starting to do more, and spending less time on the details of the project.

Social Distancing campaign by Rico Rica x Florient Aniorte

Social Distancing campaign by Rico Rica x Florient Aniorte

AC: What are you working on right now? 

Rico: I'm working on a collaborative project called Chimbites with my friend Julicore from Bogota and a community of Latinx artists in Montreal. It's an intersectional Latinx Artist Network, focused on encouraging collaboration, community building and solidarity within the Queer Latinx Immigrant community and Latinx artists in Latin America. 

The initial idea came up in April and is finally coming to fruition with our digital event on September 11th. It will be a fundraiser and a collective performance in solidarity of two organizations: Taking What We Need and Dos Latinas. 

The event will showcase artists from the Latinx community and allies performing to raise funds for various organizations, aiming to support Femme, Trans, Two-Spirit and Marginalized communities in Canada and Colombia. 

Chimbites will happen in two parts: a Mixcloud Livestream, showcasing short films, music sets and performances, and a Zoom afterparty with Club Quarantine. 

Taking What We Need is an informal volunteer-run community group dedicated to helping trans women, trans-feminine (AMAB), and Two-Spirit people get what they need through discretionary funding, primarily in Tio'Tia:ke-Montreal.

Dos Latinas is an organization that provides food, basic hygiene products, contraceptive care and sexual education workshops that seek to protect women in marginalized territories in Colombia. Their work is crucial throughout the COVID-19 pandemic as the number of unwanted pregnancies augmented, and the poverty situation is worse than ever before. 

Menstrual cups and contraceptives will be sent to the womxn in Baru, Colombia, and their neighbouring islands. Food baskets will be sent to the Afro-Colombian community in the urban Palenque in the city of Barranquilla.

AC: It's really cool to see how you integrate community into your creative practices. Do you think that this is something that you want to continue, like past this event and into the future as well? 

Rico: Definitely. It's attracted people from all around the world, who are a part of the Latinx community. There's a lot of interest in participating in the next one. 

We want to keep using this platform to collaborate, creatively, or even find and allocate funds. We're also not exclusive to Latinx people only. Anyone can help, and we encourage non-Black people to help by opening up their wallets and donating.

Design by Rico Rica

Design by Rico Rica

AC: Is there anything else you'd like to put out into the world right now? Advice or otherwise?

Rico: I feel like this article is a bit of a goodbye letter to Montreal. My last advice is to follow your gut feeling and to listen a lot. 

Ensure that your intentions are in the right place and that you're listening to the community around you. Listening to the people, you're trying to help. If you're in a position of power, delegate it. As hard as that can seem for some people, it's an important thing to do. 

Set boundaries for your time and take care of your mental health. Take care of yourself and your friends more than anything. 

Rico

RICO RICA I Instagram


Chimbites

GoFundMe I PayPal I Instagram I Nequi: 3212476229⁣


🥂𝐸𝓍𝓅𝑜/𝒫𝑒𝓇𝒻𝑜𝓇𝓂𝒶𝓃𝒸𝑒🥂⁣via MixCloud⁣

SHORT FILMS

Eléctrica Rogil @edsoniebla⁣ Tupamara Alta @La_crymoso

FASHION PERFORMANCES

Rastros de Amor @posadas.apparatus⁣ CoctelCancer @analcancer2009⁣ Neus Lakraviadus @neagonorrea @_lakras_ @otrusextraviadus⁣ Chimbites Collab: @viasus_ x @culonahigh

WARM-UP with @Yoggaton

⁣MUSIC SETS

@jas_h_im x @accept__cookies⁣, @deidre.opal9 x @teozamudio⁣, @lomaasbello (live)⁣, @isabellalovestory (live)⁣, @climatecollapse x @us3rname2⁣, @__jerico_____ x @custoblanch⁣,

Chimbites Collab: @teykirisi x @metacyber.s.a

🥂𝒜𝒻𝓉𝑒𝓇𝓅𝒶𝓇𝓉𝓎: @clubquarantine🥂⁣via Zoom⁣

LINEUP⁣

@tayhana_@k.hole_kardashian@laguapiss@phaedramu@akadjmilf@anpob⁣⁣

The winners of the Raffles we have with @earthnotescents, @lmbainofficial and @arielledepinto will be announced during the event! ⁣


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Gabor Bata: Memories of Clown Exhibits, Wim Wenders, & Getting Over Art Blocks

 
Art by Gabor Bata

Art by Gabor Bata

Known for his wavy characters and psychedelic range of texture and colour Gabor Bata is a Montreal-based illustrator, whose work will transport you to a whole other world. He does everything from comics to book design, and article illustrations as well.

We caught up with him about creative influences, strange art exhibits, and how to get over art block.

Art by Gabor Bata

Art by Gabor Bata

Also Cool Mag: How did art first enter your life? Was it something that was always there, or did you find it later on? 

Gabor Bata: I was sort of in a special situation where my parents actually encouraged me to go into the arts, even at a young age, and continue to do so today. Art was always a big part of my life, and it was usually a very giving dynamic. 

My parents always had art books lying around the house or would take my brother and I to galleries. I remember one, in particular, was this show in Ottawa when I was about 9, called Portrait of the Artist as Clown. It was all these kitschy paintings, drawings, sculptures, photos, and videos of clowns. I feel like I must’ve made such a huff about not wanting to go because the last thing I think a 9-year-old wants is to be trapped in a museum full of clowns on a Saturday. Great idea for a horror movie, but ya know. My folks insisted. One installation in particular that has always stayed with me was this strange, very sensual video of this half-nude queer clown doing a trapeze act. 

While I’m sure it was all aggressively incomprehensible to me at the time, stuff like that opened me up pretty early on to how diverse and limitless art could be. I never would’ve thought of that as art until then. My scope had changed, and I think it’s important for any kid getting into art to have an experience like that. Preferably without the clowns, though. 

Art by Gabor Bata

Art by Gabor Bata

AC: Your personal style is so unique and has a great variety of textures and colour. How did you find your style, and how has it evolved over the years? 

Gabor Bata: Comics and cartoons were as always the backbones of my work. I never really got over them or felt like once I was going into art school that I had to “grow up” and move on. I’ve become less interested in creating straightforward cartoons and comics in the last two years and more interested in exploring their abstraction: the shapes and the colours, the visual language. So much of those elements alone can tell a story. 

Those were what had always appealed to me, and made me feel so at home in those worlds. Removing a piece of dialogue, the linework from a drawing, letting forms breathe and bubble, and stretching across those familiar panel grids and geometric lines creates something more involved and emotional. It actually gives you a lot more through suggestion, instead of creating a full scene with fully formed characters and speech bubbles with dialogue that tells you these blobs are mad or depressed or haunted or heartbroken or whatever. The work would all be done then, and there’d be nothing left for the viewer to interpret for themselves. 

Art by Gabor Bata

Art by Gabor Bata

AC: Where do you go for inspiration? Either online, or IRL? 

Gabor Bata: Movies are a big inspiration. Seeing all of these separate elements coming together, the images, the pacing, the music, combined to elevate and flesh out a singular statement is really magical. I’ve recently been on this Wim Wenders kick, and his films are like my new obsession. He finds a way of creating worlds you just sink into. I just rewatched Paris, Texas and am planning on catching Until The End Of The World, and wow, now does that film have a killer soundtrack. 

Julee Cruise, Nick Cave, Talking Heads, good grief! I haven’t watched it yet, maybe it’ll be terrible, and I’ll regret bringing it up here, but the music has already made me soar and brought me to another place. It just isn’t the same thing for me when I’m drawing or painting. 

When I’m creating, I have a pretty particular idea of the voices, the sounds and the music I associate with the image. Still, no one else will ever really know those things or have access to it the way you would with a movie. Some galleries and installations try doing that, with audio playing in the gallery, or the lights flickering or something to elevate the pieces, but it always just feels like you’re in a sad version of Disney Land. Some works really have the ability to transport you, though, and that’s something I always aspire to. 

Art by Gabor Bata

Art by Gabor Bata

AC: What do you do when you hit an art block? What helps you get over it? 

Gabor Bata: If I need a boost, I’ll do things that I’m uncomfortable with or shitty at, or try something I can’t rely on my laurels to accomplish. 

Screenprinting was a big one, and actually ended up greatly influencing my interest in abstraction. Breaking my images down layer by layer made me see all the incidental work going on literally beneath the surface. I’m still a little lousy with printing, but that experience was so informative and helpful in regards to the work I create now. 

It’s really easy for me to start feeling trapped in my drawings or to get overwhelmed by the detail. It’s constantly a game for me to surprise myself or trick myself into doing something I wouldn’t have thought of before. It centres me a bit and reels me back into why I’m doing what I’m doing. 

Art by Gabor Bata

Art by Gabor Bata

AC: Where did you grow up? How did your upbringing shape your ideas about art and design? 

Gabor Bata: I was born in Montreal but was raised an hour out in a couple different suburban towns until I was 15 (at which point I moved back here). I feel that was the right age to come back, and while I think I did most of my maturing and creative discovering in the city, I can’t say suburbia didn’t have some effect. 

Nature had always been a backdrop in my home life, trees especially. My interest in the shape of trees has translated into some of the organic shapes I toy around with in my art. And the strange things you find living in those trees! My brother would get these bugs biting him all the time, and he’d just balloon completely out of control. The way the body reacts, how little control we have over it, and how little understanding, especially as a kid, definitely must’ve played into me drawing these erratic, bulbous organic characters who can barely contain themselves. 

Art by Gabor Bata

Art by Gabor Bata

AC: How do you feel about social media as a platform for what you make? 

Gabor Bata: Social media has its perks. It can be a beautiful way of connecting and discovering others, especially in the art world. However, as a means of consuming art and information, that’s a bit tricky. On Instagram, you’re swiping through image after image after image, and at a point, they don’t really have the impact or the ability to be enjoyed on their own. Is it the ideal way to consume a piece of art? 

In my case, there’s a lot that feels lost in the translation of my 3x5 foot drawings to my 5.5x2.5 inch iPhone. I dunno, I sound like dinosaur bones now. I follow plenty of artists who have mutated their output to fit within the square confines of an Instagram post, to the point where I can’t imagine it being presented anywhere else. To me, I use it more out of practicality, and I’m definitely intent on eventually creating my own website where it’s less about taking in as many different images as possible in 30 seconds and more about giving the work a proper platform to breathe. 

Art by Gabor Bata

Art by Gabor Bata

AC: What does community mean to you, and how do you connect with it?

Gabor Bata: Look, I know I just wrote that grand anti-Instagram manifesto, but yeah, I’ll stand by the fact that I’ve connected with so many cool artists and friends through it. 

It’s important to surround yourself with other nut jobs who share the same wants and struggles as you. Working around like-minded folks can be inspiring and challenging. If they’re really good at what they do, I think getting a bit pissed at how good they are and trying to outdo them every once in a while is healthy. 

Here are just a few of the artists who piss me off on the regular: @jupescoops (Aaron Elvis Jupin), @alexahawksworth (Alexa Hawksworth), @mlarono (Mathieu Larone), @catherine_desroches (Catherine Desroches), @erynlou (Eryn Lougheed) @jasonmurphyart (Jason Murphy) @foreshortening (Graeme Shorten-Adams), @francismarcel_ (Francis Marcel Williams) @peiangelina (Angie Pei)

Gabor Bata

Instagram I Tumblr

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How Warm.Up.Project Keeps Creativity Flowing In Quarantine

 

Malaika for Also Cool: Who is Warm Up Project? How did it get started?

Jean David: Warm.Up.Project is a daily collaborative project between me (Jean-David) and Louis.

It started after I was forced to come back from my three-month trip in Asia due to Corona. I felt like I needed to transfer my energy into something creative, to forge a habit and release stuff without overthinking. I wanted to create music on a daily basis, and I immediately thought about asking Louis to collaborate for visuals. At first he said: “Ok let me think how I can pull this off without investing six hours a day into it,” to which I replied, “Think about it and let’s talk tomorrow”

I woke up the next day to 25 messages from him. I felt his excitement and determination. We posted the first collaboration two days later, and now we have more than 50 posts, with more to come!

Also Cool: What are your backgrounds? The combination of your visuals & music choice is stunning. I definitely binge-scrolled through your account when I first found it.

Jean-David: I’ve always been in the audio and music industry. I took art classes here and there for fun, but I’ve worked in recording studios all my life. Throughout the years I’ve collaborated with a lot of talented artists, creatives, directors and international brands. I’ve always thought that music and visual art were meant to enhance each other. I am super grateful that I met Louis, and after all these years it was time for me to finally release music regularly and share my passion with the world!

Louis: I had a three years cegep program in graphic design, and then got into freelance work by sheer luck! I met like-minded people and started doing more projects in animation, while still keeping and evolving my taste in graphic design. I met Jean-David some years ago from afar, and always considered him to be a genuinely talented guy. So I was flattered when he came to me with this project. The more we work together, the more we realize how connected our visions are! We really respect each other's work, and we are stunned how sometimes our inspirations match up perfectly. There have definitely been a few moments of “DUDE it was meant to be!!”

AC: Have you always been interested in combining arts and music? How does that manifest in your life outside of this project?

Jean-David: Yes! Like I said earlier, for me it’s a great combination that I think we need more of! Adding eye-catching visual effects to the emotional aspect of music is so powerful. Geometry, colors, perspective and compositions have always been important for me visually, and Louis understands that, making for a great artistic connection between the two of us!

Louis: In animation, rhythm plays a crucial role. Good music is a driving force to push the visuals further. I like fixed images without any sound too, you have more time to really analyze the art. It’s like photography versus cinema. But in the end, a specific moment that moves both in image and sound is really powerful to me. 

AC: Who are your favourite artists right now? Both musicians and visual artists?

Jean-David’s favourite musicians:  Rival Consoles @rivalconsoles Superpoze @superpoze_ Olafur Arnalds @olafurarnalds

Favourite visual artists:  Charlotte Taylor (Dello Studio)  @dellostudio Alexis Christodoulou @teaaalexis Sean Meilak @seanmeilak David Umemoto @david_umemoto

Louis’ favourite musicians: Yussef Dayes @yussefdayes Daniel Caesar @danielcaesar Jordan Rakei @jrakz Skinshape @skinshapemusic Yves Jarvis @yvesjarvis Lianne La Havas @liannelahavas

Favourite visual artists: Linus Lohoff @linuslohoff Lou @holalou Jeremy Rieger @jprgd Romain Loubersanes @romainloubersanes Rafael Araujo @rafaeldearauj0 Violaine et Jérémy @violaineetjeremy

AC: How have you been keeping up motivation to be creative during quarantine?

By “forcing” ourselves to create something new everyday! We created a habit and it’s the greatest decision. Sometimes it’s hard and you feel like you’re not coming up with anything right, but if you just try, there’s always something good out of it. It’s so satisfying to see the accumulation of our work!

Also, we agreed that this project should always stay fun, not stressful. If there’s days where we don’t have time or we are simply not feeling it, we skip it and come back stronger the next day.

Being two in this project means that we can always push each other, it’s really energizing! The people who appreciate and support our work with amazing feedback is a strong fuel too. It’s all about the people around us in the end!

AC: What’s the best way to directly support this project, and both of you as artists?

If you like and enjoy what we do on warm.up.project, you are welcome to share with your network! It’s always good to know that people can enjoy our art and it resonates with them.

Jean-David: I’ll be releasing an album this year and I am super excited! I also just launched a new company called “Supersavant.” It's the apogee of my knowledge and experience in the audio and music industry + my determination to create and support local talent. I can’t wait to invite you to the launch party!

Louis: My goal is to create work with and for genuinely awesome people with collective, ambitious and cultural projects. So spreading the word helps me get to them, wherever and whoever they are! 

Warm Up Project

Instagram 

Supersavant

Instagram

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Artist Spotlight: Fatima Jimenez

 
Image by Fatima Jimenez

Image by Fatima Jimenez

Today’s aritst spotlight is on Fatima Jimenez, a Los Angeles based graphic artist. She shared her colourful lyric visualizations with us, and chatted about her graphic design inspirations.

Also Cool Mag: Tell us about your graphic design work & how you got into it.

Fatima Jimenez: Hi! I'm Fatima, but all my friends call me Fat. I am a graphic artist. I mix my love of music, film, and television with my love of typography and colour. It actually took me a while to realize my passion for graphic design. When I was younger, I was doing "graphic design" without even knowing it on MS Paint or Powerpoint. Believe it or not, I had no idea what Adobe was until I got to college. Based on what I had learned in school, I had this idea that graphic design was just branding work for others. I did that kind of work here and there, and still do, but I never did it for fun. 

I wanted to practice and play around on Adobe Creative Cloud programs. So, last year, I started a project called The Audiofiles. This project was the beginning of my journey as a true graphic artist. Every day I'm learning something new, and I'm really just having fun with it. Whatever happens, happens! 

Image by Fatima Jimenez

Image by Fatima Jimenez

AC: Have you always wanted to be a graphic designer, or do you experiment with other mediums as well?

Fatima: I'm the type of person who wants to try everything. I've experimented with writing, photography, web design, painting, DJing, drawing, video editing, nail art, but graphic design is my focus right now. I still do most of those practices for fun, except for web design; I studied that in college and absolutely hated it. 

Image by Fatima Jimenez

Image by Fatima Jimenez

AC: What's the story behind your quotes in this series? How did you choose the songs/movies for each quote?

Fatima: I love music, film, and television. It's a way of connecting all my favourite things, using a medium I'm comfortable with. A lot of the quotes are from my favourite songs, movies, and TV shows. If a quote stands out to me, I use it! Sometimes I'll be listening to a song or be watching a movie, and when I hear a line I really like, I get to work right away. I can't live without my Notes app, and I have a ton of lyrics and quotes saved for later.

AC: Who are some of your graphic design inspirations right now?

Fatima: @subliming.jpg, @polygon1993, @ericaofanderson, @roycranston, @mad.leif, @mimizhuxiyuan, @yourbuddymeg, @markyoder.designs, and @mishko.co 

AC: Where can we keep up to date with your work? 

Fatima: Follow me on Instagram at @babyfat_, but I'm really hoping to be able to get rid of that underscore soon!

Fatima Jimenez

Fatima Jimenez

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