Creative Sugar Magazine - March 2013

CREATIVE SUGAR
THE FALL ISSUE

MARCH 2013 - AN EMERGI NG ARTI ST MAGAZI NE
2 Spring 2013 CREATIVE SUGAR
COVER
Photography by: Edwi n Chad Fl orez
MUA/Hai r: Eve Kl ei mi nova
Wardrobe St yl i st: Tar a Denman
Wardrobe Assi st ant s: Chri sti an Ri l ey and Andrea J ones
Model : Ol ga Kubr ak at Maj or NY
J umpsui t: Son J ung Wan
Hat: Gi na Schi appacasse
CREATIVE SUGAR Spring 2013 3
Creative Sugar
Issue NO. 4
Editor-in-Chief
Sabrina Scot
Copy Editor
Marilyn Recht
Contributng Editor
Jef Grunthaner, Visual Art
Photographers
Laura Bler
Edwin Chad Florez
Joseph Gallo
Joshua Scot
Writers
Laura Bler
Jen Pit
Kenneth Lundquist, Jr.
Wardrobe Stylists
Tara Denman
Sherah Jones
Wardobe Assistants
Christan Riley
Andrea Jones
Hair & Makeup
Eve Kleiminova
Te$$ Money for Hey Slick! Collectve
Graphic Design
Sabrina Scot
2013 Creatve Sugar Magazine
is published quarterly by
Creatve Sugar Media, LLC.
All rights to art, words, photos, design and
copyrights are the property of the Artst.
All work in this publicaton may not be used
without the Artsts consent.
New York, New York
Contact:
info@creatve-sugar.net
ph: 1-888-669-5513
web: creatve-sugar.net
facebook.com/creatvesugarmagazine
FROM THE EDI TOR
EDI TOR- I N- CHI EF
Wel come to the fourth i ssue of our quarterl y magazi ne.
Thi s spri ng ti me i ssue cel ebrates the work of extremel y
tal ented arti st Pi erre Emmanuel Fi l l et. I n addi ti on to a
story about hi s di gi tal art, a col l aborati on of sorts takes
pl ace as Contri buti ng Edi tor Jeff Grunthaner transl ates a
French excerpt from Pi erres manuscri pt.
I al so want to menti on the arti sti c hi ghl i ghts wri tten
about the work of arti sts Jeremy Arruda and Logan Hi cks.
Both prove to be hi ghl y moti vated creati vel y and offer
i nsi ght i nto what they are al l about.
We are fortunate to have i ncl uded two fashi on edi tori al s
i n thi s i ssue, both di fferent i n styl e and each i ncredi bl y
l umi nous. Photographer Edwi n Chad Fl orez i ncorporates
desi gn i nfl uences i n hi s fi nal sel ecti ons, whi ch seem to
recal l the rel ati onshi p between the arti st and the muse.
To sum up, hi s creati ve team i s awesome. And, the
col l aborati on between photographer Joshua Scott and
styl i st Sherah Jones i s perfecti on. Add to i t the edgy work
of makeup and hai r by Te$$ Money and you ve got a fun,
forward thi nki ng fashi on i nterpretati on strai ght out of
Tokyo.
Bri ngi ng i t back home, i f youre i n the nei ghborhood,
check out the Bushwi ck, Brookl yn DI Y space cal l ed
Bohemi an Grove. I feel i t s an art l aboratory that creates
great thi ngs. Al l of i t was bui l t from the ground up i n the
name of emergi ng art.
Enj oy al l of the photos and stori es. I hope Creati ve Sugar
conti nues to add a bi t of creati ve i nspi rati on.

V
I
S
U
A
L
ARTI ST J EREMY ARRUDA 6
BY KENNETH LUNDQUI ST, J R.
ARTI ST PI ERRE EMMANUEL FI L L ET 8
BY J EFF GRUNTHANER
BOHEMI AN GROVE: A DI Y PARADI SE 18
BY LAURA BLER
ARTI ST & MUSE 24
BY PHOTOGRAPHER EDWI N CHAD FLOREZ
AND STYL I ST TARA DENMAN
HAI R & MAKEUP BY EVE KL EI MI NOVA

A
R
T
TOKYO TROPI CS 30
BY PHOTOGRAPHER J OSHUA SCOTT
AND STYL I ST SHERAH J ONES
HAI R & MAKEUP BY TE$$ MONEY FOR
HEY SL I CK! COL L ECTI VE
ARTI ST LOGAN HI CKS 38
BY J EN PI TT
TAKE ON FI L M 40
BY J OSEPH GAL LO
by Kenneth Lundquist, Jr.
Fear. Terror. Swirling realites. Disturbing images.
Artst Jeremy Arrudas canvases transport one to
a Ralph Steadman Gonzo style environment.
Although only 22, his art suggests a creatve
mind many years his senior. Originally from
Massachusets, Jeremy has traveled throughout the
US, from one exhibiton to the next. He recently
showed in a solo exhibiton, Inferno, in Ormond
Beach, Florida, a wealthy suburb of Daytona Beach.
Most of the pieces in the exhibiton were pre-sold
to one collector before the opening receptonan
excellent feat for such a young artst.
Jeremy works primarily in Neo-Expressionism. He
believes that experimentng is key not only with
materials and media, but style as well:
Trying new things is always fun, its about gaining
as much experience as possible. Searching for what
makes me comfortableabstract is my current
focus. There are a lot of possibilitesI dont always
know whats going to happen.
Jeremy grew up watching the horror and surreal
flms of Hitchcock and Lynch. He draws much
inspiraton from these atmospheric experiences,
which he expertly translates to his work:
Im intrigued by movies that dont tell you what
they are about. Its more of an experience. Im
interested in not only conveying the image Im
creatng but also the experience of creatng
the work itself. My main focus is creatng an
atmospherea living nightmare, a sense of dread.
Working with calligraphy dip pens, charcoal, spray
and house paint, Jeremy creates these hauntng
environments with the hope that his viewers walk
away with a unique sensibility of darkness. His
favorite colors to work in are not colors at all, but
shades providing tremendous contrast and aspect
to each of his works:
Jeremy Arruda -
Arcane Atmospheres
Im going to have to say black is my favorite
colortheres a lot you can do with it. Its the
absence of color, and it works great with white.
One of my best memories of creatng art was when
I was young. I had just watched Disneys Snow
White, and the Evil Queen really drew me in. So
afer the movie, I took the VHS cover and drew her.
Thats what really started me on creatng art.
Creatvity is Jeremys most natural form of
communicaton. He is a recluse, spending the
majority of his tme working on his art:
I have social anxiety disorder. I dont tell people
my emotons. I believe I can truly express myself
through the artworkwhether Im frustrated,
feeling dark, or whatever; it comes through in the
canvas. Im naturally happy; I just have such an
infatuaton with darker things. I would always root
for the villain.
As Jeremy contnues to create, he peers deep into
the future. He realizes that canvas art doesnt fully
satsfy his creatve spirit. Composing flm-esque
music is another great love of Jeremys. He recently
scored two short flms:
I want to score flms simply because I love flms
and I love flm music. I have since I was a kid. I
am constantly recording my own, nontraditonal
pieces. I will always create art, but if for some
reason it doesnt work out for me, I know flm
compositon is there as well. In the past, I have
even said that I would much rather be a flm
composer than an artst. I have passions for both
my art and my music, so its a difcult decision to
make. There is always the opton to do both.
Im certain that whatever form of art Jeremy
decides to stck with, it will be original and
amazingly creatve. His youth, passion, and work
ethic will lend itself to a brave and bright future.
Jeremy says, I will contnue to focus on making
good art, and the rest will take care of itself. Ill
never change for anybody. If I create from the
heart, then its real art.
Learn more about Jeremy Arruda and his art:
Thelaughingwindow.com

RI GHT: BROKEN PARTS
BELOW: MARTI N
PAGE 9: I M L ATE
PAGE 7: SI L ENCE I S GOL DEN
AL L WORK BY J EREMY ARRUDA
ORI N - VI EW 1
WORK I N PROGRESSE PL ANK
MI XED COMPUTER TECHNI QUE, DI GI TAL PRI NT, 2012
by jeff grunthaner
THE ORGANI ZATI ON OF DESI RE:
WRI TI NG AND ART BY
PI ERRE EMMANUEL FI LLET
L A DERNI RE BATAI L L E DE NAPOL ON ( NAPOL EON S L AST BATTL E)
DETAI L S, MI XED COMPUTER TECHNI QUE, DI GI TAL PRI NT, 2011
The Organization of Desire:
Writing & Art by
Pierre Emmanuel Fillet
Pierre Emmanuel Fillet is something of a rarity
in contemporary art. Both artst and writer
as well as an actor and flmmakerFillets
sensibility cannot be confned to an easy rubric
or reduced to a single genre. His intelligence
is an intricate web of transferences from one
region of experience to another, culminatng
in a mathematcal formalism that everywhere
verges on the mythic. As he says in Lart numri-
que: hybridaton, an unpublished manuscript:
We could understand digital matrices as a kind
of animism, an animism whose gods would be
conceived as systems and structures, each god
warring against the others, while forming itself
out of objects and functons.
In paintngs such as Neural Receptor Head
and orin, Fillet manifests a hidden vitality in
the minutest details of Picabian, machine-like
structures. An upsurging psychical quality binds
their intricate tessellatons: a momentousness
portending a fully realized utopia, which
at this stage of human evoluton is only
visible diagrammatcally. Detailing the virtual
schematcs of a world where intelligence and
form are soldered tghtly together, Fillets
paintngs redefne with unique expressivity
our noton of system. They present a vast
interrelatedness of parts and render freedom
spatally eloquent.
The works included here are organic, gestural
responses to the ubiquity of digital mediaton,
portraying an a priori reality saturated with
functonal confguratons that resemble struc-
tures of the visible world. Examining Fillets
work closely, one notes a complex weaving of
collage elements with gestural brushstrokes, as-
sembled with a mathematc elegance that ques-
tons digital media itself, making visual space an
arena of vectors in moton.
Fillet engages both his pallete and the
extension of spatality on their own terms,
confrontng his medium as a set of questons to
be experientally answered through his practce
and the producton of individual paintngs. The
result is an atmosphere of nervousness not to be
confused with anxiety. Its simply what happens
when we realize that the mater we shape
through our technologies is the concretzed
extension of our human bodies.
by jeff grunthaner
TOP: NEURAL RECEPTOR HEAD, MI XED
COMPUTER TECHNI QUE, DI GI TAL PRI NT
2011
L EFT: GENERATOR CEL L 2, MI XED
2012
RI GHT: LOVE CONSPI RACY, MI XED
2011
AL L WORK BY THE ARTI ST

The Organization of Desire:
Writing & Art by
Pierre Emmanuel Fillet
photo by meli ssa robi n photography

I
The human fgure, viewed as part of a vast matrix, its individual destny residing within it, allows us to ana-
logically approach the connecton between the digital artst and his work. In the matrix, the value of space
is not the same as in traditonal pictorial space: the walls are displaced, distances are dematerialized, the
computer screen takes on a new quality of depth shot though with intricate gestural trajectories. Like su-
perimposed non-linear neural pathways, the artsts goals, artstc tools, and the fgures he shapes already
express a measurable interval between acton and percepton. His hand does not directly touch the fgures,
but mediately, through mouse clicks, keyboard and screen.
IV
Cybernetcs, the science of purposeful control, has proven a philosophical as well as aesthetc ideal: life as
perpetual extension, which can be used to structure peoples behavior and develop new pictorial shapes.
This idea was strong enough to interest the ruling hegemony who created the controlling class.
VI
The artst is a voyant. But what exactly does he see? This is especially what interests us when we observe
him using his medium.
VII
With diagrammatc thought, we have the impression that the potental structure of space is
comprehended like a plan, a map, with this specifc diference: the diagram dynamically defnes the map
as a volume of n dimensions.
XIII
The global producton of screens of diferent kinds and sizesiPhones, TVs, computersbefore yielding
to the dominaton of the spectacle by images, initally presents a built-in transfer of the act of seeing.
Shapes, choices, the pitalls of vision, are already determined, already actvated by an unconscious
transformaton, a recastng of vision by diferent types of digital devices.
The raw informaton of reality antcipated by the cognitve system of the individual is already constructed
by the computer out of trajectories and flters. These technical processes allow us to understand the
computer as a commutator, in which the imprint of vision is doubled before being qualifed as seen.
from Digital Art: The Making of the Chimera
Excerpted from Fillets manuscript, Lart numrique: hybridaton. Translated
by Pierre Emmanuel Fillet and Jef Grunthaner.
L EFT: NEURAL RECEPTOR HEAD DETAI L,
MI XED COMPUTER TECHNI QUE, DI GI TAL
PRI NT 2011
WORK BY THE ARTI ST
I was frst introduced to Bohemian Grove, a Bushwick
DIY show and art space, one afernoon last summer
when a friend played an acoustc show on the roof. DIY,
or Do-It-Yourself, show spaces are arts venues that
are created, built, and managed entrely by artsts. In
Bushwick there is an extensive and growing network
of these spaces, which ofen operate purposefully
on the fringes of, or directly in oppositon to, the
insttutonalized art world.
Months later I atended a show in the basement and
notced some major improvements on the space. I
was curious to know more about the work being done
there.
I revisited The Grove, as it is fondly referred to, and
spoke with Mathew Maichel and several other artsts
who live and work there.
Stuart Losee works in the woodshop in the studio
area of the basement. He built the gorgeous door and
ceiling designs seen in the front room when you enter
the basement.
Cameron Stuart, who doesnt live at The Grove, runs
a theatre company and produced two dream plays,
The Emperor and the Moon and The Moss Lady, which
were among the frst to take place in the basement.
Jen Plaskowitz, a photographer, is building a darkroom
in the basement, and would like to host classes when
she is fnished constructng it. She also helps with The
Groves family dinners and planted the garden on the
roof.
What follows are excerpts from a conversaton with
Mat and Jen about how this incredibly supportve,
hardworking group of artsts built a home and a space
for themselves and anyone interested in art, music,
and hangin out.
How did you get involved with Bohemian Grove?
Mat: I moved into the smallest room in the building,
basically a walk-in closet in the spring of 2007. Back
then, it was a totally diferent situaton in that it was
just a house, none of the more recent renovatons
you see had been completed yet.
When and how did the shows start happening?
Well, believe it or not, the partes and shows can
really be traced to wantng to have a backyard that
was comfortable enough to stand around and smoke
a cigarete. When I got here, the yard was a wreck,
there was so much garbage.
One day, a neighbor shouted down and asked if I
liked cofee. I told him sure, so he brought down
cofee and we had a cigarete together. We both
had the mutual realizaton that this pile of trash
was kind of a horrible place to smoke. That led to
multple sessions of hanging out and cleaning up,
and eventually we put the whole backyard in order.
Afer digging through the trash, dirt, and refuse, we
were able to build fowerbeds and found some really
beautful stones underneath, where we built fre
pits. Next thing you know, neighbors were stcking
their heads out the windows and climbing out on the
fre escapes to see what we were doing. We started
having people over on a regular basis to enjoy the
space wed built.
I started looking for discarded stereo equipment and
found enough speakers to wire the whole backyard
with surround sound. We put up lights and planted
some more fowers. People who came to visit us for
birthday partes and barbeques encouraged us to
host more events here.
How does the living situaton work?
Theres an entre residental building above the show
space. At frst we were Craigslistng people to fll
roomsI found this place through Craigslist. One of
Bohemian Grove: A DIY
Paradise in Bushwick
by Laura Bler
RUDE GI RL S I N THE BASEMENT
PHOTO PROVI DED BY BOHEMI AN GROVE
CAMERON STUART S THEATRE PRODUCTI ON
PHOTO BY BRETT W. THOMPSON
Good Game. Two-hour looped
performance of a post baseball game
hand slap, 2010.
Photo provided by Artsts.
the most fun processes is interviewing people to join
the group and live in the space. Kind of like a speed
interview with someone who will be living in your
house for the next year. We started looking for people
who wanted to be involved with the community aspect
of The Grove, and defnitely the nurturing artstc and
creatve environment we were trying to expand.
Now the way its set up is that we have an open-door
policy of sorts. People can drop by and hang out; its
very open. The people who live here want to share
whats going on in their lives and in their work. Its
such a personal, intmate setng that everyone really
opens up when we have visitors come by.
What kind of group actvites do you do?
We do family dinners about once a week, and its
usually themed so everyone brings the same type
of food, whether its Italian or vegetarian, etc. and
sometmes well have a game night together. It brings
everyone together in a nice way. Youd think living in
a house with this many people would mean youd see
them constantly, but sometmes its hard to catch up
with someone if your schedules dont always match
up.
Another thing we all work on together is constructng
the physical space. Afer we fnished building
out the backyard, we took over the roof. In the
summer, we throw partes up there a lot; we planted
some gardens, and the last two seasons we grew
vegetables and ate those for dinner all the tme. For
a while, we had a kiddy pool and some astroturf up
there.
Once we fnished the roof, I wanted to take a stab
at the basement, which was a massive undertaking.
It was 20 years of people moving in and out and
leaving their unwanted belongings behind. It was
both a huge mess and a treasure trove. There were
leters and pictures and tchotchkes. Digging through
all that stuf we found a bunch of things we were
tempted to keep, and some of them we didtheres
a crazy-looking statue in the new bathroom over
there that was lef from an old tenant.
How is the basement divided up now?
The dirt over on this side [now the show space
part of the basement] was a foot high from the
roof caving in, so we started work on the other
side, which is now our work side. We got a 20-yard
ROOFTOP PHOTO PROVI DED BY BOHEMI AN GROVE
sands of ti me by meli ssa robi n photography
J EN PL ASKOWI TZ CAMERON STUART
MATT MAI CHEL STUART LOSEE
A VI EW OF BASEMENT NEAR THE GROVE S SHOWPL ACE - PHOTOS ON PAGE BY LAURA BLER
dumpster and flled it untl it overfowed with all the
crap that was in here. This space serves as a studio
for anyone who lives here and is an artst. We have
a woodshop with a bunch of woodworking tools and
machines.
I use a part of the space as a metal shop. Ive been
building this motorcycle, a 1977 XS 650 Yamaha, and
basically were turning it into a brat-style bobber.
Originally it was a two-seater with a large pan seat. We
cut of the back end and welded in this new frame, and
turned it into a single-seater. Were going to change
the paint and the shocks and build a custom exhaust
and lightng system on it, among other things.
Over on the side of the basement where we throw
shows, one of the major recent projects weve
completed is that we re-cemented the whole foor.
There used to be a two-inch ledge that divided the
space. Several trips to Home Depot and about a ton of
cement later, we have an even foor, so its much easier
(and probably safer) for our guests to see a show.
What kinds of events do you host here?
We throw a lot of shows here, were in Showpaper
sometmes, and nearly every person you meet has
either been here or knows someone who has been
here. We didnt start out with this kind of space in
mind, but it has grown into something beautful.
Shane Donnelly does most of the curaton of the
shows. He does an awesome job. He came from a
similar space in Boston, called the White House, which
is like Bohemian Grove plus four years, so hes got a
great sense of how to put shows together. One of the
most important things he reminded us of when he frst
started out here was that shows have to be curated.
Everyone knows someone whos an artst or in a band
that wants to have a space to book shows, but you
cant always get everyone to playotherwise the
space loses its singularity. We usually book electronic
or acoustc, sometmes kind of psychedelic music,
but its always interestng and unique. The people
involved are always humble, which is refreshing and
real, and sincere. Sometmes ten or ffeen people
play, and its usually impossible to decipher who was
the main act. The best thing that happens is artsts
and showgoers meet each other and share something
special in this space, and sometmes even end up
collaboratng with each other.
I think if theres only one rule for the whole space,
its trying to allow enough room for everyone. And
thats kind of the most interestng balance to strike.
Everyone has something unique to ofer and this is
the space where it all comes together.
What are your long-term goals for the space?
Jen: We did this show called Weirdwick a couple of
weeks ago and it was really cool. It was billed as a
monthly, experimental art fest. Usually we do just
music shows and crazy partes, but it was really
fun to have lectures, art, and experimental movie
screenings. I want it to become a space where
people are always showing artwork and discussing,
more of a learning environment. Ive got a library
upstairs that I want to expand and make open to the
public.
Do you ever have 2-D art shows on the walls?
Jen: Oh yeah! Thats another goal. I want to have art
shows here. We all do. The landlord is an artst and
wants to show art here, hes a photographer and
painter and art teacher. Id love to put up walls and
track lightng.
Mat: My long-term goal is to get Bohemian Grove
to a place where it is able to sustain itself. A space
that is bigger than itself, something that is trans-
generatonal, so even if the original crew was gone,
it would stll exist for like-minded people. My short-
term goal is to contnue drawing in people who love
art and the community surrounding the space, those
who want to share it with each other and the public.
This summer is going to be the biggest summer ever.
Nows the tme to really shine and use the space to
its fullest potental.
For more informaton, fnd Bohemian Grove on
Facebook or email them at Swarm_of_suns@yahoo.
com. The best way to get in touch is to just stop by
the space for a showthey are located at 64-66
Grove Street, Brooklyn, NY, of the Gates Ave JZ train.
POURI NG CONCRETE
PHOTO PROVI DED BY BOHEMI AN GROVE
ART L EFT BY PREVI OUS TENANT
PHOTO BY LAURA BLER
BEI NG L ED THROUGH THE STUDI O AND
WORKSHOP AREA
PHOTO BY LAURA BLER
DRESS: CAMELI A SKI KOS HAT: KELLY CHRI STY GLOVES: DANI EL STORTO
EARRI NGS: DELI CATE RAYMOND VI NTAGE COLLECTI ON
Ar t i st & Muse
PHOTOGRAPHER: EDWI N CHAD FLOREZ
MAKEUP & HAI R: EVE KLEI MI NOVA
WARDROBE STYLI ST: TARA DENMAN
WARDROBE ASSI STANTS: CHRI STI AN RI LEY AND ANDREA JONES
MODEL: OLGA KUBRAK AT MAJOR NY
photo by ri chard kern
SHEER BLOUSE, PANT AND JACKET: DAVI D TLALE - BRA: LA PERLA - HAT: KELLY CHRI STY
SHOES: GI AMBATTI STA VALLI - EARRI NGS: DANI EL SUDAR
COAT/DRESS: DAVI D TLALE - YELLOW TOP UNDERNEATH COAT: SAMANTHA PLEET
SHOES: GUCCI - HAT: GI NA SCHI APPACASSE - BROACH: DELI CATE RAYMOND VI NTAGE COLLECTI ON
DRESS: CAMELI A SKI KOS - BANGLE: HEADBANGER - SHOES: BE & D
JACKET: NATHALI E KRAYNI NA - BLOUSE: DANI EL SUDAR -HI GH WAI ST PANTY:
WOLFORD- HOSI ERY: LEVANTE - BELT: BURAKUYAN - HAT: ERI C JAVI TS
BROACH: DELI CATE RAYMOND VI NTAGE COLLECTI ON
SHOES: JOHN GALLI ANO
TOKYO
TROPI CS
PHOTOGRAPHER: J OSHUA SCOTT
RETOUCHER: MANDY STRONG
STYL I ST: SHERAH J ONES
MAKEUP/HAI R: TE$$ MONEY FOR HEY SL I CK! COL L ECTI VE
MODEL: MI KA FURUYA AT AGENCY MODEL MANAGEMENT

TOP: SERI AL CULTURA - SKI RT: DANI EL L A KAL L MEYER - SCARF: STYL I ST S OWN - BELT: B- LOW THE BELT -
BRACEL ET: VI VI ENNE KEL LY - NECKL ACE: WEAR I S REX - SNEAKERS: L I NDSAY DEGEN
TOP: DANI EL L A KEL L MEYER - PANTS: PI A PAURO - J ACKET: UKE - HAT: WEAR I S REX
NECKL ACE: VI VI ENNE KEL LY - BELT: MARY MARY - SHOES: J EFFERY CAMPBEL L
TOP: DANI EL L A KAL L MEYER
DRESS: PI A PAURO
SCARF: UNI QLO
BELT: B- LOW THE BELT
J EWEL RY: VI VI ENNE KEL LY
TOP: DANI EL L A KAL L MEYER
DRESS: PI A PAURO
SCARF: UNI QLO
DRESS: PI A PAURO
TOP: STYL I ST S OWN
BODYSUI T: UKE
DRESS: MANDARI N & GENERAL
HEAD WRAP AND PI N: PI A PAURO AND WEAR I S REX
RI NG: VI VI ENNE KEL LY
SOCKS: H&M
SANDAL S: L I NDSAY DEGEN
photo by j ohn watts
CARDI GAN: UKE
SHI RT: PI A PAURO
DRESS: SERI AL CULTURA
BRACEL ET: WEAR I S REX
SHOES: L I NDSAY DEGEN
ogan Hicks, a spray can veteran from Baltmore
based in New York for the past seven years, has
an upcoming show at L.A.C.E in Los Angeles
enttled Thin Veils and Heavy Anchors.
An artstc and metculous kid, Logan worked in a
screen-printng shop in high school and then went to
art school in Baltmore, specializing in graphic design.
But he quickly became stfed and distressed with
Academia Art.
He says, In the 90s, it was all very elitst and gallery
based, so he put his skills to more practcal use by
opening his own screen-printng business. I actually
made a lot of money selling t-shirts and totes tll
I made enough money to move to L.A and start
paintng full tme. In a city where so many dreams
and aspiratons get crushed, Logan was a lucky thriver:
Its funny, I guess I never had your regular 9-5 menial
job, I went from working for myself to making a living
with art.
Logan made his frst stencil in 1999, and focused on
mastering that medium. Any jackass with a razor and
some cardboard can make a stencil, but you have to
transcend the medium in order to make the image
powerful. I will always want to transcend whatever
medium Im working with, and thats why Ive stuck
to stencils tll now. And it takes patence and tme, a
whole lot of tme. He referred specifcally to a stencil
of his that is 13 by 15 feet and has 7 layers: In order
to complete that I worked every day for twelve hours
for three and a half weeks. He stays away from free-
form graft but admires artsts who can work with
that spontaneous fuidity. Its mind-blowing for me
to see someone just start their project on the spot
like that, with no sort of map. Ive always been a
methodical, linear thinker so stencils allow you to
think.
Afer stenciling, traveling became his second passion,
which is now an essental component of his art. I
take cameras on all my trips and just take pictures
of everything and use them and the memories they
conjure to produce my art. Most of his pieces are
Logan Hicks finds his place in the world
one giant mural at a time
refectons on the places he has been to. When I
was living out West, I was making a lot of East coast
art, using the grity aesthetc urban complexes of
Baltmore and New York. Being removed from those
cites made them gleam in my mind as vivid pictures. I
guess when you get enough distance you can see the
full picture beter. Many talented artsts have shared
this sentment; even Hemingway said he could only
write about Michigan when he was in Paris. Logans
upcoming show in L.A. will feature works based in
Paris and London. Traveling, and consequently my
art, is about fnding your place in the world whether it
be metaphorical or geographical. Though his pieces
are extremely detailed and structured, he describes
them as a dream being remembered the next day
[with an] efect fuzzy and surreal. The intricate cogs
of everyday city life fascinate him, from subways to
buildings, crowded streets and overpasses. In his
art replete with bold reds, blues and black, whole
cites are erected like giant hauntng machines. Every
place he goes is new, cracking open another dreamy
machine. When I asked him if he saw himself moving
back West afer this show, he expressed what many
New Yorkers feel: I think about it all the tme, but
traveling must sufce for now, because once youve
lived in New York you simply cannot fully move out of
ityou know what Im talking about. I asked about
his thoughts on street arts migraton into galleries
and indoor spaces. Of course the beauty of outside
murals is that they are democratc and unitng but
theres always going to be a sacrifce of quality
when youre working outdoors. Taking it to galleries
allows me to put the utmost quality and tme into
my pieces so I get a lot out of that too. Democracy
and coming together is very important to Logan. He
has curated several shows in the past. Collaboraton
and cooperaton are essental in any art form but
graft and street art are changing every day, and
vastly diferent depending on where its done.
Indeed, street art depends on generatng movement
and keeping it fresh; street artsts work within
communites, and in turn their audience is usually
very community oriented. Logans work breeds into
and of community in a unique way. You can check out
Logans work at: htp://workhorsevisuals.com/new/
By Jen Pitt
L
ABOVE: CI TY CLUSTERS
2012 BY LOGAN HI CKS
RI GHT: ARTI ST LOGAN
HI CKS AT WORK
take on film
by joseph gallo
100 I SO, 15 MI NUTE EXPOSURE
WI TH A WI DE ANGL E L ENS
3200 I SO
3200 I SO
A GI NGERBREAD BOY I N NAZI SPACE FLYBOY SHOOTS HI S L ADDER
SI STER NANCY S
50 I SO WI TH A
WI DE ANGL E L ENS
3200 I SO
3200 I SO
100 I SO, WI TH A
WI DE ANGL E L ENS

Creative Sugar Magazine - March 2013

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