Élémentaire zine body issue

the body issue | n°5

05 MARIUS DO/ 07 THE NEW CRUELTY/ 11 BEVIN RICHARDSON/ 13 JULIEN PALAST/ 17 LAURA COLLINS/ 19 SHIJIE HAI/ 21 MELIH DÖNMEZER / DÖNMEZER / 25 PILOBOLUS/ 33 OLI FITZER/ 35 NIKA AKIN/ 37 GAVIN WORTH/ 41 JAMES ROPER/ 43 GISELLE VITALI/ 45 ION MATES/ 47 KLAUS KAMPERT/ 51 SARAH SEENÉ/ 53 RAMONA ZORDINI/ 5757 MARCELA BOLIVAR

EDITORS NOTE

Welcome to Élémentaire Zine Issue 05, the Body Issue. Body represents a big step for us, as we leave behind the comfort of the elements and begin to branch out and explore a wide range of exciting topics. With our eyes ever ready to be in-spired, we have gathered together a series of images we feel showcase the grace, power and diversity that the Body offers as a subject.

This issue includes a range of interviews including a discussion with still life pho-tographer, Julien Palast, who reveals more to us about his SKINDEEP project. We also talk to Ramona Zordini about her incredible ‘Changing Time’ series and how she defines her artistic style. Alongside this, we had the great pleasure of having a chat with the revolutionary modern performance company, Pilobolus. Accompanying these interviews, in this issue, is a whole host of extraordinary art-work from talented creatives working with a variety of mediums. I’d like to say personal thanks to all of the artists involved in this issue.

All copyrights remains with the artists.

Enjoy.Mark Kiszely

COVER ARTWORK Laurence Jephcote

www.facebook.com/venusflytrapdesignlj

EMAIL [email protected]

LINKSLINKS www.facebook.com/elementairezine

twitter.com/ElementaireZinebehance.net/elementaire

ART DIRECTORTheodora Pangos

www.behance.net/pangos

CONTRIBUTING WRITERAndrew Skinner

thisistheraccoon.com/author/andrewjskinner

EDITOR-IN-CHIEFMark Kiszely

www.facebook.com/markkiszelyphotography

CONTRIBUTING WRITERMatthew Dunne-Miles

mdunnemiles.contently.com

05 MARIUS DO/ 07 THE NEW CRUELTY/ 11 BEVIN RICHARDSON/ 13 JULIEN PALAST/ 17 LAURA COLLINS/ 19 SHIJIE HAI/ 21 MELIH DÖNMEZER / DÖNMEZER / 25 PILOBOLUS/ 33 OLI FITZER/ 35 NIKA AKIN/ 37 GAVIN WORTH/ 41 JAMES ROPER/ 43 GISELLE VITALI/ 45 ION MATES/ 47 KLAUS KAMPERT/ 51 SARAH SEENÉ/ 53 RAMONA ZORDINI/ 5757 MARCELA BOLIVAR

EDITORS NOTE

Welcome to Élémentaire Zine Issue 05, the Body Issue. Body represents a big step for us, as we leave behind the comfort of the elements and begin to branch out and explore a wide range of exciting topics. With our eyes ever ready to be in-spired, we have gathered together a series of images we feel showcase the grace, power and diversity that the Body offers as a subject.

This issue includes a range of interviews including a discussion with still life pho-tographer, Julien Palast, who reveals more to us about his SKINDEEP project. We also talk to Ramona Zordini about her incredible ‘Changing Time’ series and how she defines her artistic style. Alongside this, we had the great pleasure of having a chat with the revolutionary modern performance company, Pilobolus. Accompanying these interviews, in this issue, is a whole host of extraordinary art-work from talented creatives working with a variety of mediums. I’d like to say personal thanks to all of the artists involved in this issue.

All copyrights remains with the artists.

Enjoy.Mark Kiszely

COVER ARTWORK Laurence Jephcote

www.facebook.com/venusflytrapdesignlj

EMAIL [email protected]

LINKSLINKS www.facebook.com/elementairezine

twitter.com/ElementaireZinebehance.net/elementaire

ART DIRECTORTheodora Pangos

www.behance.net/pangos

CONTRIBUTING WRITERAndrew Skinner

thisistheraccoon.com/author/andrewjskinner

EDITOR-IN-CHIEFMark Kiszely

www.facebook.com/markkiszelyphotography

CONTRIBUTING WRITERMatthew Dunne-Miles

mdunnemiles.contently.com

Drug-free photographer from Lithuania.

Links:www.mariusdo.com www.facebook.com/mariusdotheartistMARIUS

Drug-free photographer from Lithuania.

Links:www.mariusdo.com www.facebook.com/mariusdotheartistMARIUS

THE NEW bodies and various internal organs featured in the famous Bodies Exhibition. These images were used to illustrate and explain complex illnesses for the show Mystery Diagnosis on Oprah Winfrey's Network – OWN. The production took place during the night The production took place during the night hours in the eerily quiet exhibition space in downtown Manhattan. The most dramatic shots (featured in this gallery) came from the room featuring exhibits of the main human circulatory system in the human torso and skull.

Client: True EntertainmentPhotographer: James Bareham

Links: [email protected]/newcrueltyplus.google.com/+Newcrueltyplus.google.com/+Newcruelty

The New Cruelty is a unique creative produc-tion agency based in New York. They are visual storytellers.

The New Cruelty exists primarily because brands need more imagery than ever before. Rich, abundant sources of 'on brand' imagery (both photographic and video) with flexible usage rights; bespoke imagery that tells the real story of a brand.

By combining a brand’s values with their creative visual thinking, they produce creative visual thinking, they produce compelling, authentic, consistent and cost effective brand imagery for our clients. It’s that simple.

The New Cruelty was commissioned to New The New Cruelty was commissioned to New York based television production company True Entertainment to photograph a series of still-life images of preserved human skulls,

THE NEW bodies and various internal organs featured in the famous Bodies Exhibition. These images were used to illustrate and explain complex illnesses for the show Mystery Diagnosis on Oprah Winfrey's Network – OWN. The production took place during the night The production took place during the night hours in the eerily quiet exhibition space in downtown Manhattan. The most dramatic shots (featured in this gallery) came from the room featuring exhibits of the main human circulatory system in the human torso and skull.

Client: True EntertainmentPhotographer: James Bareham

Links: [email protected]/newcrueltyplus.google.com/+Newcrueltyplus.google.com/+Newcruelty

The New Cruelty is a unique creative produc-tion agency based in New York. They are visual storytellers.

The New Cruelty exists primarily because brands need more imagery than ever before. Rich, abundant sources of 'on brand' imagery (both photographic and video) with flexible usage rights; bespoke imagery that tells the real story of a brand.

By combining a brand’s values with their creative visual thinking, they produce creative visual thinking, they produce compelling, authentic, consistent and cost effective brand imagery for our clients. It’s that simple.

The New Cruelty was commissioned to New The New Cruelty was commissioned to New York based television production company True Entertainment to photograph a series of still-life images of preserved human skulls,

RUELTY

Currently studying Illustration in his final year at Plymouth University, Richardson likes to have a Philosophical or spiritual background to the work he creates. His aim is to educate and open minds from convention.

This piece is about the idea of death from the This piece is about the idea of death from the perspective of the Tibetan book of the dead, a Buddhist book also known as; The Great Liberation by hearing and the intermediate states, and; Bardo Thodol.

Described in this book is the emergence of the Described in this book is the emergence of the peaceful and wrathful deities from one's own heart. One must realise them as "the pure form of your own projections", in other words as part of your own mind, and to accept them as yourself in order to leave cyclical existence.

The deity illustrated is the Peaceful deity of the The deity illustrated is the Peaceful deity of the Padma (fire) family; Lord Amitabha embracing Pandaravasini. He represents "the pristine cognition of discernment, the natural purity of the aggregate of perceptions, free from attachment.

Richardson believes that Buddhist ideas on Richardson believes that Buddhist ideas on death make much more sense than the view we have of death in the west. He thinks this is something we should all look at and develop an understanding of in order to understand the relevance of death in our own lives. The Tibetan relevance of death in our own lives. The Tibetan book of the dead is not just a book on death; it is also about how to live.

Link:www.behance.net/richardsonBEVIN

RICHARDSON

Currently studying Illustration in his final year at Plymouth University, Richardson likes to have a Philosophical or spiritual background to the work he creates. His aim is to educate and open minds from convention.

This piece is about the idea of death from the This piece is about the idea of death from the perspective of the Tibetan book of the dead, a Buddhist book also known as; The Great Liberation by hearing and the intermediate states, and; Bardo Thodol.

Described in this book is the emergence of the Described in this book is the emergence of the peaceful and wrathful deities from one's own heart. One must realise them as "the pure form of your own projections", in other words as part of your own mind, and to accept them as yourself in order to leave cyclical existence.

The deity illustrated is the Peaceful deity of the The deity illustrated is the Peaceful deity of the Padma (fire) family; Lord Amitabha embracing Pandaravasini. He represents "the pristine cognition of discernment, the natural purity of the aggregate of perceptions, free from attachment.

Richardson believes that Buddhist ideas on Richardson believes that Buddhist ideas on death make much more sense than the view we have of death in the west. He thinks this is something we should all look at and develop an understanding of in order to understand the relevance of death in our own lives. The Tibetan relevance of death in our own lives. The Tibetan book of the dead is not just a book on death; it is also about how to live.

Link:www.behance.net/richardsonBEVIN

RICHARDSON

JULIEN PALASTJulien Palast’s SkinDeep is a truly fascinating project. At first the images appear powerfully erotic but indeed in time you find they conceal as much as they initially appear to show off.

The colours used, those neon pinks, The colours used, those neon pinks, blues and yellows, give the project an other-worldly feel, especially with the models’ dramatic and powerful poses. The enticing way the human form is portrayed, seemingly shrink-wrapped portrayed, seemingly shrink-wrapped and trapped, leaves you wanting and needing to know more.

We spoke to Julien about how the idea for SkinDeep came about, his set-up and what he looked for in the models.

Hey Julien, please introduce yourself.

Hi, I am a still life photographer working Hi, I am a still life photographer working in Paris. I founded Palast photography in 2005. My retoucher Thierry Peureux joined me in 2011. Together we are working for companies such as Baccaworking for companies such as Bacca-rat, Roger Vivier, Hennessy and Rémy Martin. We are working in areas such as luxury accessories, cosmetics, products and beverages. We also carry on personal projects for exhibitions and self promotion, such as SkinDeep.

Where did the inspiration for SkinDeep come from?

I am fascinated by sculptures of the human body and commercial represen-tations of the body like display mannequins. I guess the reification of the body interests me as I take a lot of pic-tures dealing with products. Sculpture is also the continuity of the photography as it is a fixed moment but in 3D.

It is like the bullet time technique but real! I guess my artwork is a compilation of these fascinations.

For SkinDeep I wanted to create something similar to a sculpted bas-relief, something similar to a sculpted bas-relief, like an instant sculpture of people. I tried out different techniques and materials before finding the right one.

What materials did you use for the project?

The materials used are membranes of latex.of latex.

Talk us through the process you underwent for the shoot.

It was quite a short process for the shooting, we took a lot of pictures and shooting, we took a lot of pictures and tried out different poses. The projects and the techniques grew throughout the time of the shooting. The male was shot first in a day and then the girl. Then we went through a lot of editing and post-processing.

What did you look for in the models What did you look for in the models used?

I wanted models that were confident I wanted models that were confident with their own bodies and able to move and pose in a constrained space. The models I chose were performers; the male model was an aerial acrobat and the female model was a dancer. I also looked for figures with evident male and female features, such as well-defined female features, such as well-defined muscles for the male and a thinner and more curvy body for the female.

Links:www.palast.frwww.behance.net/palast

JULIEN PALASTJulien Palast’s SkinDeep is a truly fascinating project. At first the images appear powerfully erotic but indeed in time you find they conceal as much as they initially appear to show off.

The colours used, those neon pinks, The colours used, those neon pinks, blues and yellows, give the project an other-worldly feel, especially with the models’ dramatic and powerful poses. The enticing way the human form is portrayed, seemingly shrink-wrapped portrayed, seemingly shrink-wrapped and trapped, leaves you wanting and needing to know more.

We spoke to Julien about how the idea for SkinDeep came about, his set-up and what he looked for in the models.

Hey Julien, please introduce yourself.

Hi, I am a still life photographer working Hi, I am a still life photographer working in Paris. I founded Palast photography in 2005. My retoucher Thierry Peureux joined me in 2011. Together we are working for companies such as Baccaworking for companies such as Bacca-rat, Roger Vivier, Hennessy and Rémy Martin. We are working in areas such as luxury accessories, cosmetics, products and beverages. We also carry on personal projects for exhibitions and self promotion, such as SkinDeep.

Where did the inspiration for SkinDeep come from?

I am fascinated by sculptures of the human body and commercial represen-tations of the body like display mannequins. I guess the reification of the body interests me as I take a lot of pic-tures dealing with products. Sculpture is also the continuity of the photography as it is a fixed moment but in 3D.

It is like the bullet time technique but real! I guess my artwork is a compilation of these fascinations.

For SkinDeep I wanted to create something similar to a sculpted bas-relief, something similar to a sculpted bas-relief, like an instant sculpture of people. I tried out different techniques and materials before finding the right one.

What materials did you use for the project?

The materials used are membranes of latex.of latex.

Talk us through the process you underwent for the shoot.

It was quite a short process for the shooting, we took a lot of pictures and shooting, we took a lot of pictures and tried out different poses. The projects and the techniques grew throughout the time of the shooting. The male was shot first in a day and then the girl. Then we went through a lot of editing and post-processing.

What did you look for in the models What did you look for in the models used?

I wanted models that were confident I wanted models that were confident with their own bodies and able to move and pose in a constrained space. The models I chose were performers; the male model was an aerial acrobat and the female model was a dancer. I also looked for figures with evident male and female features, such as well-defined female features, such as well-defined muscles for the male and a thinner and more curvy body for the female.

Links:www.palast.frwww.behance.net/palast

LAURACOLLINS

Collins works intuitively, often alluding to moments of personal discomfort and alienation, proposing them to be in fact universal. While generally a simple pairing of two images, her collages combine to form complex relationships.

These pieces are often assembled to These pieces are often assembled to share an unbroken seam that connects two otherwise disjointed images, creating waning moments where they appear as one. There is a tension between the images where they work together, yet constantly reject one another. It is her hope that this guides a cyclical hope that this guides a cyclical involvement for the viewer.

Link: www.lauracollinsart.com

LAURACOLLINS

Collins works intuitively, often alluding to moments of personal discomfort and alienation, proposing them to be in fact universal. While generally a simple pairing of two images, her collages combine to form complex relationships.

These pieces are often assembled to These pieces are often assembled to share an unbroken seam that connects two otherwise disjointed images, creating waning moments where they appear as one. There is a tension between the images where they work together, yet constantly reject one another. It is her hope that this guides a cyclical hope that this guides a cyclical involvement for the viewer.

Link: www.lauracollinsart.com

When it comes to 'Body', Hai is immediately drawn to the aspect of nudity. The next thought that occurs is a vision of 'watching' and 'being watched'. People see nudity regularly from various People see nudity regularly from various sources, but are their own nude bodies seen a lot? The answer probably is No. Freud considered the image of a naked body whilst dreaming, to represent the fear of being exposed or debunked. People will be their most vulnerable psychologically when naked and the psychologically when naked and the vulnerability comes from fear. People watch but are afraid to be watched.

Link:littlesketchbooook.tumblr.com

When it comes to 'Body', Hai is immediately drawn to the aspect of nudity. The next thought that occurs is a vision of 'watching' and 'being watched'. People see nudity regularly from various People see nudity regularly from various sources, but are their own nude bodies seen a lot? The answer probably is No. Freud considered the image of a naked body whilst dreaming, to represent the fear of being exposed or debunked. People will be their most vulnerable psychologically when naked and the psychologically when naked and the vulnerability comes from fear. People watch but are afraid to be watched.

Link:littlesketchbooook.tumblr.com

Turkish born photographer Melih Dönmezer releases his passion for photography via traditional analogue methods. Owner of a portfolio rich with experimenta-tion, both in-camera and in the darkroom, Dönmezer takes a fresh approach to an established medium.

Through his adoration for experimentation, Dönmezer turns everyday situations into complex pieces of fine art.

Links:www.behance.net/donmezermwww.flickr.com/photos/89911545@N08

Turkish born photographer Melih Dönmezer releases his passion for photography via traditional analogue methods. Owner of a portfolio rich with experimenta-tion, both in-camera and in the darkroom, Dönmezer takes a fresh approach to an established medium.

Through his adoration for experimentation, Dönmezer turns everyday situations into complex pieces of fine art.

Links:www.behance.net/donmezermwww.flickr.com/photos/89911545@N08

PILOBOLUS

After you’ve read this first sentence, stop reading, search Pilobolus on YouTube, watch, and then come back. YouTube, watch, and then come back. Impressed? Of course you are. Meet Pilobolus, an American modern dance company with a difference. Whilst Pilo-bolus do what many other dance companies do (leaving their audiences awestruck) what sets them aside is how they have a clear mission – to embed dance into the lives of the people they come across through their education programmes.

Their headquarters are based in Washington, Connecticut and since Washington, Connecticut and since their formation they’ve toured all over the world. We spoke to them about choreography, collaborations and creativity.

Hello, please introduce yourself

We are Pilobolus.

How long has Pilobolus been running?How long has Pilobolus been running?

Pilobolus was founded in 1971, so we are about to go into our 42nd year. How different are you now than you were back in 1971?

We have many more activities now We have many more activities now than we did then, but the central spirit of Pilobolus is unchanged.

How do you balance the technical training and fitness work in the gym?

We don’t see those things as separate. The technical training is what makes the physiques that you see.

Tell us a bit about the choreography – Tell us a bit about the choreography – how do you go about practising a certain routine?

All of our dancers bring their own unique energy to each piece. This is why our repertory continues to impact audiences around the world.

How do you create new dances?How do you create new dances?

We all get in a room and lock the door and don’t leave until we create something that everyone can stand by. What’s been the proudest milestone in What’s been the proudest milestone in Pilobolus’s history?

Our proudest moment was the creation of the piece Pilobolus. It was the first piece and the one that set everything in motion.

You’ve gone all over the world. Where You’ve gone all over the world. Where has been your favourite country to perform in?

We’ve now been in more than 65 countries and our work is seen by countries and our work is seen by many more people on the Internet. Our favourite audiences are the ones that have never seen anything like what we do before. We strive to find audiences that are new to dance.

Photographer: John Kane

PILOBOLUS

After you’ve read this first sentence, stop reading, search Pilobolus on YouTube, watch, and then come back. YouTube, watch, and then come back. Impressed? Of course you are. Meet Pilobolus, an American modern dance company with a difference. Whilst Pilo-bolus do what many other dance companies do (leaving their audiences awestruck) what sets them aside is how they have a clear mission – to embed dance into the lives of the people they come across through their education programmes.

Their headquarters are based in Washington, Connecticut and since Washington, Connecticut and since their formation they’ve toured all over the world. We spoke to them about choreography, collaborations and creativity.

Hello, please introduce yourself

We are Pilobolus.

How long has Pilobolus been running?How long has Pilobolus been running?

Pilobolus was founded in 1971, so we are about to go into our 42nd year. How different are you now than you were back in 1971?

We have many more activities now We have many more activities now than we did then, but the central spirit of Pilobolus is unchanged.

How do you balance the technical training and fitness work in the gym?

We don’t see those things as separate. The technical training is what makes the physiques that you see.

Tell us a bit about the choreography – Tell us a bit about the choreography – how do you go about practising a certain routine?

All of our dancers bring their own unique energy to each piece. This is why our repertory continues to impact audiences around the world.

How do you create new dances?How do you create new dances?

We all get in a room and lock the door and don’t leave until we create something that everyone can stand by. What’s been the proudest milestone in What’s been the proudest milestone in Pilobolus’s history?

Our proudest moment was the creation of the piece Pilobolus. It was the first piece and the one that set everything in motion.

You’ve gone all over the world. Where You’ve gone all over the world. Where has been your favourite country to perform in?

We’ve now been in more than 65 countries and our work is seen by countries and our work is seen by many more people on the Internet. Our favourite audiences are the ones that have never seen anything like what we do before. We strive to find audiences that are new to dance.

Photographer: John Kane

Photographer: Sara Davis

Photographer: Robert Whitman

How important would you say dance is for bringing people together?

It is the reason we exist. You’re now bringing collaborators into the company – how does that work?

We’ve been collaborating in a consistent way since the beginning. consistent way since the beginning. We find the coolest people on earth we can think of, dancers and non-dancers alike, and then have them join us to see what we can create together. Choreographers Sidi Larbi Cherkaoui and Trish Sie, cartoonist Art Spiegelman, the masters of trickery Penn and Teller, and the writers Etgar Keret and Shira Geffen are among our collaborators.

What’s been the most interesting collaboration so far?

Each collaboration is very different Each collaboration is very different and we learn something new from each one, with its own challenges.

What attributes do you look for in a Pilobolus dancer?

Grace, intelligence, humour and athleticism. We also look for performers athleticism. We also look for performers who have a broader interest than a specific movement technique.

I understand that the educational programmes in the Pilobolus Lab is designed to inspire non-dancers – tell us a bit more about it.

The company was founded by nonThe company was founded by non-dancers and the belief that movement is a form of communication that is not

limited to those with formal dance training. The goal of the Pilobolus Lab is to encourage problem solving through group movement and physical interaction.

Our education programmes underline Our education programmes underline the idea that anyone can dance and create dance, regardless of experience. What is it about dance that you think people find so captivating?

Response to movement, whether you Response to movement, whether you are doing it or watching it, is hardwired into us. What does 2014 hold in store for Pilobolus?

We have an exciting year ahead of us. We have an exciting year ahead of us. In March, London’s Peacock Theatre will welcome our evening-length shadow piece, Shadowland - which has been selling to sold out houses in-ternationally for years - for the first time. Our new ICP work, slated in to pre-miere summer 2014, is a collaboration with Israeli short story, graphic novelist, and film writer Etgar Keret, and writer/director Shira Geffen. We are creating movement for Penn and Teller’s new take on Shakespeare’s The Tempest. We will continue to expand our educational programming and our educational programming and create new, bespoke works for Pilobolus Creative Services clients.

Links:

www.pilobolus.com/[email protected]

How important would you say dance is for bringing people together?

It is the reason we exist. You’re now bringing collaborators into the company – how does that work?

We’ve been collaborating in a consistent way since the beginning. consistent way since the beginning. We find the coolest people on earth we can think of, dancers and non-dancers alike, and then have them join us to see what we can create together. Choreographers Sidi Larbi Cherkaoui and Trish Sie, cartoonist Art Spiegelman, the masters of trickery Penn and Teller, and the writers Etgar Keret and Shira Geffen are among our collaborators.

What’s been the most interesting collaboration so far?

Each collaboration is very different Each collaboration is very different and we learn something new from each one, with its own challenges.

What attributes do you look for in a Pilobolus dancer?

Grace, intelligence, humour and athleticism. We also look for performers athleticism. We also look for performers who have a broader interest than a specific movement technique.

I understand that the educational programmes in the Pilobolus Lab is designed to inspire non-dancers – tell us a bit more about it.

The company was founded by nonThe company was founded by non-dancers and the belief that movement is a form of communication that is not

limited to those with formal dance training. The goal of the Pilobolus Lab is to encourage problem solving through group movement and physical interaction.

Our education programmes underline Our education programmes underline the idea that anyone can dance and create dance, regardless of experience. What is it about dance that you think people find so captivating?

Response to movement, whether you Response to movement, whether you are doing it or watching it, is hardwired into us. What does 2014 hold in store for Pilobolus?

We have an exciting year ahead of us. We have an exciting year ahead of us. In March, London’s Peacock Theatre will welcome our evening-length shadow piece, Shadowland - which has been selling to sold out houses in-ternationally for years - for the first time. Our new ICP work, slated in to pre-miere summer 2014, is a collaboration with Israeli short story, graphic novelist, and film writer Etgar Keret, and writer/director Shira Geffen. We are creating movement for Penn and Teller’s new take on Shakespeare’s The Tempest. We will continue to expand our educational programming and our educational programming and create new, bespoke works for Pilobolus Creative Services clients.

Links:

www.pilobolus.com/[email protected]

FITZEROLI

Oli is a 3rd year student at Birmingham City University, who sees himself as a documentary photographer. A sports enthusiast himself, his main interests are enthusiast himself, his main interests are photographing extreme sports, ranging from skiing to motocross racing. That said, Oli is keen to venture outside the realms of sport, with plans to explore the globe to see and capture what the world has to offer.

One of his key aspirations is to have work One of his key aspirations is to have work exhibited by Red Bull. This particular set of images follow the journey of prospective Olympic gymnast, Max Bennett, documenting some of his training as he looks towards the 2016.

In the year of 2010 Bennett broke his hand In the year of 2010 Bennett broke his hand in an accident on a piece of apparatus, which postponed his work and had a massive effect on his training routine. This accident couldn’t have come at more of a crucial stage in Bennett’s career, directly effecting his position in the Olympic squad, resulting in him being Olympic squad, resulting in him being unable to take part in the 2012 games. Bennett, however, continued to pass on his knowledge and skill in the sport to teach other up and coming gymnasts. Since recovering from his injured hand, he has trained harder than ever to pursue his Olympic dream, aiming to take part in the Olympic dream, aiming to take part in the 2016 games.

Links: www.behance.net/[email protected]

FITZEROLI

Oli is a 3rd year student at Birmingham City University, who sees himself as a documentary photographer. A sports enthusiast himself, his main interests are enthusiast himself, his main interests are photographing extreme sports, ranging from skiing to motocross racing. That said, Oli is keen to venture outside the realms of sport, with plans to explore the globe to see and capture what the world has to offer.

One of his key aspirations is to have work One of his key aspirations is to have work exhibited by Red Bull. This particular set of images follow the journey of prospective Olympic gymnast, Max Bennett, documenting some of his training as he looks towards the 2016.

In the year of 2010 Bennett broke his hand In the year of 2010 Bennett broke his hand in an accident on a piece of apparatus, which postponed his work and had a massive effect on his training routine. This accident couldn’t have come at more of a crucial stage in Bennett’s career, directly effecting his position in the Olympic squad, resulting in him being Olympic squad, resulting in him being unable to take part in the 2012 games. Bennett, however, continued to pass on his knowledge and skill in the sport to teach other up and coming gymnasts. Since recovering from his injured hand, he has trained harder than ever to pursue his Olympic dream, aiming to take part in the Olympic dream, aiming to take part in the 2016 games.

Links: www.behance.net/[email protected]

Nika in no way considers herself to be a professional, but has aspirations to be known as that in the future. She constructs her imagery purely for the enjoyment.

Creating makes her life magical, that's her Creating makes her life magical, that's her story. Her inspirations are the beauty of nature and interesting people that she meets.

Link:www.behance.net/painted

Nika in no way considers herself to be a professional, but has aspirations to be known as that in the future. She constructs her imagery purely for the enjoyment.

Creating makes her life magical, that's her Creating makes her life magical, that's her story. Her inspirations are the beauty of nature and interesting people that she meets.

Link:www.behance.net/painted

finalist for the 2014 TED Fellows and Ralph Lauren also asked him to brainstorm modern, engaging, and minimal sculptural jewellery displays for their stores. Worth’s work has been shown and collected internationally along with being featured in international design magazines and books. magazines and books.

He was bitten by a rattlesnake in 1986, He was bitten by a rattlesnake in 1986, which leads on to what he feels is his proudest achievement so far, winning the 1987 Las Cruces Nintendo championships while having one arm in a cast and being the clear underdog. “That was quite the day, let me tell you.”

Worth lived in San Francisco for 8 years, Worth lived in San Francisco for 8 years, and currently lives and works in Cairo, Egypt, where he teaches at the American International School.

Link:www.gavinworth.com

Worth was born in Zimbabwe, Africa in 1981 and grew up in Las Cruces, New Mexico. He graduated with a degree in Acting, and after college, worked as an actor and musician for the Santa Fe Shakespeare Festival, the San Francisco Shakespeare Festival, and the California Shakespeare Theater. Worth has had a Shakespeare Theater. Worth has had a lifelong passion for drawing, painting, and sculpture since he first saw Michelangelo's "Head of Leda" in a book in the library. He is entirely self taught.

Worth feels he has been very lucky to have a wide variety of experiences. These include being commissioned by Tiffany & Co to make sculptures for their Valentine’s Day window displays globally. On another occasion, a town near Cognac, France invited him to make a large-scale piece out of repurposed steel rods to adorn the out of repurposed steel rods to adorn the top of a fountain. Worth’s work in sculpture and education led him to be a WORTH

finalist for the 2014 TED Fellows and Ralph Lauren also asked him to brainstorm modern, engaging, and minimal sculptural jewellery displays for their stores. Worth’s work has been shown and collected internationally along with being featured in international design magazines and books. magazines and books.

He was bitten by a rattlesnake in 1986, He was bitten by a rattlesnake in 1986, which leads on to what he feels is his proudest achievement so far, winning the 1987 Las Cruces Nintendo championships while having one arm in a cast and being the clear underdog. “That was quite the day, let me tell you.”

Worth lived in San Francisco for 8 years, Worth lived in San Francisco for 8 years, and currently lives and works in Cairo, Egypt, where he teaches at the American International School.

Link:www.gavinworth.com

Worth was born in Zimbabwe, Africa in 1981 and grew up in Las Cruces, New Mexico. He graduated with a degree in Acting, and after college, worked as an actor and musician for the Santa Fe Shakespeare Festival, the San Francisco Shakespeare Festival, and the California Shakespeare Theater. Worth has had a Shakespeare Theater. Worth has had a lifelong passion for drawing, painting, and sculpture since he first saw Michelangelo's "Head of Leda" in a book in the library. He is entirely self taught.

Worth feels he has been very lucky to have a wide variety of experiences. These include being commissioned by Tiffany & Co to make sculptures for their Valentine’s Day window displays globally. On another occasion, a town near Cognac, France invited him to make a large-scale piece out of repurposed steel rods to adorn the out of repurposed steel rods to adorn the top of a fountain. Worth’s work in sculpture and education led him to be a WORTH

Roper’s work explores a variety of subjects from the heightened realities depicted in Baroque art and modern media to the restraint and release of energy found within complex structures such as the human body. He works in various mediums includ-ing painting, drawing, sculpture and film.

Roper has exhibited widely throughout the world including both group and solo shows in London, New York, Los Angeles, Milan and Barcelona.

Born in Knutsford, England, 1982, he gradu-ated in 2005 with a BA (Hons) in Fine Art from Manchester Metropolitan University.

Links:jroper.co.uk/contactwww.behance.net/jamesroperJAM

Roper’s work explores a variety of subjects from the heightened realities depicted in Baroque art and modern media to the restraint and release of energy found within complex structures such as the human body. He works in various mediums includ-ing painting, drawing, sculpture and film.

Roper has exhibited widely throughout the world including both group and solo shows in London, New York, Los Angeles, Milan and Barcelona.

Born in Knutsford, England, 1982, he gradu-ated in 2005 with a BA (Hons) in Fine Art from Manchester Metropolitan University.

Links:jroper.co.uk/contactwww.behance.net/jamesroperJA

Giselle Vitali bases her work fundamentally on representing the human anatomy. Her style is flexible, whether she’s creating a scientific illustration or a surrealistic, conceptual piece of surrealistic, conceptual piece of art. She keeps her techniques to a traditional matter, making her work as unique as can be.

Vitali is young and multidiscipliVitali is young and multidiscipli-nary. Born in 1989 in Caracas, Venezuela, she studied Ilustration at Instituto de Diseño de Caracas (IDC Venezuela). In 2010 Vitali moved to Barcelona, España, where she studied for an illustration degree. Further ahead she did a specialization for a 3D Masters with 3D Max Autodesk.

Links:www.gisellevitali.comwww.behance.net/gv_ilustra

GISELLE VITALI

Giselle Vitali bases her work fundamentally on representing the human anatomy. Her style is flexible, whether she’s creating a scientific illustration or a surrealistic, conceptual piece of surrealistic, conceptual piece of art. She keeps her techniques to a traditional matter, making her work as unique as can be.

Vitali is young and multidiscipliVitali is young and multidiscipli-nary. Born in 1989 in Caracas, Venezuela, she studied Ilustration at Instituto de Diseño de Caracas (IDC Venezuela). In 2010 Vitali moved to Barcelona, España, where she studied for an illustration degree. Further ahead she did a specialization for a 3D Masters with 3D Max Autodesk.

Links:www.gisellevitali.comwww.behance.net/gv_ilustra

GISELLE VITALI

"Study of shapes" was one of Mates’ project series for his first year assessment at Visual Communication in Birmingham. It consists of two parts, where he explores human shapes and tries to correlate them to objects, rather than flesh.

Link:www.35millimeter.co.uk/#!__projects/study-of-shapes

ION MATES45

"Study of shapes" was one of Mates’ project series for his first year assessment at Visual Communication in Birmingham. It consists of two parts, where he explores human shapes and tries to correlate them to objects, rather than flesh.

Link:www.35millimeter.co.uk/#!__projects/study-of-shapes

ION MATES45

The majority of Kampert’s work is concerned with the human body.

He doesn’t consider his images to be classic nudes or erotic photography, although these genres, he accepts, may have had an impact on his work.

He is not interested in showing beauty as an outward phenomenon. Rather he would like to present the phenomenon. Rather he would like to present the human being as a whole: Body and mind united.

By picturing nakedness in an image, it is to reveal mind By picturing nakedness in an image, it is to reveal mind and emotion, not only showing the body as such.Among his models, especially the ballet dancers, are those who succeed in expressing this wholeness in a particular manner. Their bodies bespeak the constant pursuit of beauty, grace, achievement and perfection.

It is Kampert’s intention and passion to display this to the viewer.the viewer.

Kampert was born in 1953 in Düsseldorf, Germany, where he still lives and works today.

As a child he spent a lot of time drawing and later on painting and sculpturing. Kampert recalls when he was about 19 years old, making his first more playful steps into photography - with remarkable results after a while.

As a photographer, he is self-taught. In the early 8o´s As a photographer, he is self-taught. In the early 8o´s Kampert established his own studio working as a free-lance photographer for the advertising business – mainly fashion and beauty productions at home and abroad.

From the beginning, Kampert put a lot of focus on personal projects, which increasingly became more and more important to him. Today, they make up his main field of work, mostly dealing with the human body, with the triad of body-mind-emotion in particular.

For Kampert, the body is the shell of the soul and it is this For Kampert, the body is the shell of the soul and it is this that he tries to explore, as he feels it lets him get closer to the human being as a whole.

Moreover he has a weak point for picturing three dimensional statue-like bodies in whole or part in dramatic lighting and posing.

Many of his images, especially his nudes and balletMany of his images, especially his nudes and ballet-dancers sets, have been printed in international publications and are much sought after among collec-tors.

Link:www.klauskampert.com/index_en.phpK