ISSUE 05 - OCTOBER 2009

a short convo with

outstanding
Australian
artists and more

JULIAN
CALLOS
see what
de v elops


 Juliana Neufeld04
Jesse Balmer 08

Julian Callos 12

Helen Eady 18

David Serna 20

EAMO 24

Paul White 26

Jeremy Geddes 28

Rik Lee 30

(on the cover) Julian Callos “What Develops”

Ink and acrylic on board
24”x18” (detail)

(right) Helen Eady “So Long So Long” acrylic

and pencil on wood 24”x36”
 issue_05

You may have noticed a brand new look for the cover of this edi-
tion. Officially marked as the re-brand issue twenty2wo magazine will
now be known as 22 Zine. The abbreviated moniker does not mean a
slimming of the content and the focus on highlighting great artwork is still
here. The redesign is meant to open us up to experimentation and pub-
lishing more diverse projects from new and exciting artists.
A special thank you goes out to Adam Fuhrer from PICDIT and
Daniel Hadiwibawa of The Grafik Museum for being contributors to this
issue.

As always enjoy and be inspired.

Adam Beneke
editor twenty2wo
http://mag.twenty2wo.com/

©2009 by twenty2wo magazine

all artworks presented in this issue are used with permission and are subject to full ownership and
copyright of the respective artists. do not reproduce without permission from the artists.


opposite page
“Animal Collective”
Exclaim Magazine
Watercolour with
Digital illustrations
8 x 12” 2009
this page
“Forest”
Element Skateboards
T shirt design
Digital Illustration
8 x 8” 2008

Juliana Neufeld
Self proclaimed Queen of the wild things, Illustrator and graphic Artist,
Juliana Neufeld spent her childhood in the country building forts, scout-
ing for Bigfoot and hunting for buried treasure. Today, Juliana spends
her time exploring the concrete jungle of Toronto, claiming territory and
fraternizing with other creative animals while striving to create a body of
work that reflects the optimism and adventurous spirit of her youth. Ju-
liana was recently promoted as Element skateboard’s first ever Canadian
Advocate, giving her the opportunity to design for the company world-
wide as well as travel and promote her art abroad. Juliana’s artwork was
also recently featured in the Bruce McDonald directed episode “The raw-
side of Brendan Canning” for IFC Canada. Her work has been featured
various magazines including The Globe and Mail, Colour, Driven, SBC
Surf, Pound and Exclaim! She was also kind enough to tell us about her
inspirations and future plans.


 My inspirations are pretty broad, I guess. Rang-
ing from other artist’s work to things I see everyday.
Curious children. funny lively animals. art brute, graf-
fiti, Basquiat, Sendak. Other peoples journals. There
is so much amazing art out there that blows me away
everyday. It can be intimidating, but also so, so inspir-
ing.
In terms of media and mediums I use, I like
starting with watercolour or india ink. The looseness in
line that it affords. And then I might scan the sketches
or artwork along with other bits and pieces and assem-
ble them together in a digital collage or I might add

below right
“Silence” “Boo”
Digital Photograph with Digital Photograph
digital illustrations. with digital illustrations.
Photo: Sammy Rawal Photo: Sammy Rawal
8 x 11” 2009 8 x 11” 2009

or change colours, add some line work in illustrator

or photoshop. I try not to think about the process each
time. I go with what comes to mind, or what allows for
flexibility in the design.
I got into the creative field of illustration and
design because it was all I felt really confident doing.
I drew on orange peels and napkins when I was two
years old. And I’m still drawing 25 years later. I kind
of just followed my nose. It helped that I had an amaz-
ing support system of friends and family, who never
discouraged me from trying art as a career.
Goals for the future include, book cover design,
lots more interesting editorial opportunities, gallery
shows, childrens book illustration. I’ve recently been
given opportunities to illustrate sets for music videos
and commercials and I want to continue to explore
how I can use my art on different surfaces, different
mediums.

http://www.juliananeufeld.com/
right
“Zap Crack Boom”
Digital Photograph with
digital illustrations.
Photo: Sammy Rawal
8 x 11” 2009


A Conversation with Artist Jesse Balmer
Q’s by Adam Fuhrer http://picdit.wordpress.com/
A’s by Jesse Balmer http://www.jessebalmer.com/
Tell us a little bit about yourself!
I grew up in Orange County and have been drawing
since before I was born, which as you might have
guessed, is where cave painting originated. I don’t be-
lieve in God, really. I believe in the boundless com-
plexity of the universe. I’m currently living in San
Francisco but I don’t think I’ll live here forever.
What would the average day for you consist of?
Many of my less than ideal days consist of working
at the San Remo Hotel in the North Beach district of
San Francisco. There aren’t many notable things about
it apart from the daily reinforcement of the fact that
people from all over the world complain about the ex-
act same things. An ideal day involves sunshine and
art-making, simultaneously if possible.
Tell us about the process behind the creation of your
work.
People often ask: Do you have an idea in your head or
do you just start drawing? And the answer is: Either
- depending on the temperature. Sometimes I like to
work with layers and color... other times I like to keep
things very simple black and white. Sometimes I catch
myself drawing for no other reason than that I have no
life outside of drawing.
What materials do you use?
Unfortunately my current process is dependent on pa-
per which is becoming harder and harder to justify to
myself given the state of things. Otherwise I use pris-
macolor pencils, gouache, sumi ink and microns. I
never use my own blood or anything fancy like that.
Where do you find inspiration?
The realistic part of me draws inspiration from the ab-
surdities (good, bad, happy, and sad) of our culture,
and the fine-tunedness of the natural world. As a part
of a near-sighted civilization severely in denial of its
collective situation, it is only right to be making work
that draws attention to humanity’s dependence on the
biosphere. The part of me that’s just as in denial as
everybody else draws inspiration from comics and di-
nosaurs and all the same things I drew inspiration from
when I was a kid.
Thanks Jesse!
left
Protector of Heaven
 above
Parasitic Relationship


left
Whats Mine is
Yours

right
Marvin O’Ryan

below
Lock and Key

11
JULIAN CALLOS
Quiver II - Mixed media on board (cradled) 24” x 24” x 2”
SEE WHAT DEVELOPS
Sink or Swim Ink - Acrylic, and colored pencil on paper (mounted on cradled board) 16” x 16”

13
Los Angeles based illustrator Julian Callos has a colorful dreamy style that
captivates and brings the viewer into this imaginary world. I was lucky enough
to talk to Julian about his art and the busy gallery schedule that has him pro-
ducing a fantastic portfolio of work at a very quick pace.

Your style brings me back to my cartoon days as a kid, has drawing al-
ways been something you were involved with? Where do you draw inspi-
rations from now?
I’ve been drawing ever since I was a little kid. It’s just
always something I did in my spare time (and when
you’re a kid, what else do you have but spare time?). I
would often draw while watching cartoons, so at first
I was always trying to copy the characters I saw on
TV. Eventually I started creating my own characters,
but I think, in one way or another, they’ve always car-
ried the influence of those cartoons I loved when I was
younger.
These days I draw inspiration from a larger pool. I was
never really into comics when I was younger, but I’ve
been introduced to a lot of indie comics over the past
couple of years and I’ve fallen in love; Jordan Crane,
Paul Pope, Sammy Harkham, and Jason are just a few
inspirational comic artists that come to mind.
It’s also been really important to me to see what’s been
done in the past and what’s going on now in the illus-
tration world. Standing out in a market saturated with
so many wonderfully talented illustrators is tough, so
I think seeing what others have done and what others
are doing to stand out is crucial; I can learn from them,
and hopefully build upon that knowledge to develop
my own unique voice and hold my own in the art com-
munity.
left below
Deep Thoughts- Electricity-
Ink and acrylic on paper (triptych; from left to right: “The Line,””Electricity,”
(mounted on cradled and “The Key”)
board) Ink and acrylic on cradled boards
16” x 16” (each 8” x 10”)
There are a lot of contemporary artists I admire, such
as the ones I’ve already mentioned, as well as illus-
trators like the Hanuka brothers and James Jean, who
definitely stand out. I’m a huge fan of James Jean, and
a lot of my work has been compared to his, but I’m
trying to veer away from being so heavily influenced
by a single artist in order to avoid being labeled a mere
“imitator.” I think the best artists are the ones who syn-
thesize all their loves and influences and inspirations
into one unique voice. I’m still growing and trying to
find my voice.
Can you describe your experience being part of the
Kids Are Alright show? It seems like a great show
to get your feet wet so to speak as an emerging art-
ist.
The Kids Are Alright tour is a great experience. It keeps
me on my feet, because there’s a show practically ev-
ery month for a few months and each show requires
new work based on certain restrictions in size or me-
dia. It’s also excellent exposure, as the tour takes us to
galleries across the US and a couple galleries outside
the country. It’s definitely bulked up my portfolio!
For more visit, http://juliancallos.blogspot.com/
Thanks Jules!
15
Power, or a Pride of Lions Ink and acrylic 16” x 16”
Fall of the Forest King Ink and acrylic on 12” x 12” paper

17
HELEN EADY
Helen Eady is a designer and il-
lustrator living in Canada. Work-
ing mainly in fashion she has a few
shows this year and a film showing
in an art festival in Sapporo, Japan
called Magic Camp. Eady will also
spend some time as artist in resi-
dence at Blim Gallery in Vancouver.

http://www.crossmyhart.com/
both pages
Algonquin
Media: pencil and wa-
tercolour on watercolour
paper
(detail of a 5’x5’ piece)

19
David Serna is currently an art
student in Florida who is show-
ing some great talent. He was
kind enough to tell us about his
work and where he hopes to
take it.

I go to Ringling where I’m major-

ing in illustration and graduating
this year. My preferred medium
would be to put it simple tradi-
tional, I know it’s very general
but I don’t single out any medi-
um I start everything tradition-
ally its what I’m most comfort-
able with. At the moment I work
a lot in oils and digital painting.

The two paintings shown here are

oils. They reflect something I’m
just getting in touch with right
now which would be life. Show-
ing more confidence in texture
and color. The most enjoyable
thing about traditional paint is
that I get into a zone where time
stops.

I really don’t like to limit myself

to any medium. I’m still a stu-
dent and still experimenting.
What type of work I do revolves
around what I like. I don’t try to
be like some other artist. I just
admire art for what it is. I have
been listening to a lot of hip hop
while I work and just like in the
80s I see a lot of color and that
is something I’m trying to get
in touch with. I also love movies
and the art of story telling cine-
matically, so that would explain
the contrast in my work. My aim
is to incorporate my traditional
D A V I D
art with my digital art more and
more as I grow. S E R N A
Thanks David and best of luck.

http://webspace.ringling.edu/
~dserna1/portfolio.html

21
by EAMO. Jacky
Winter Mixie, 2008,
ink and brush, digital
colour.
From
Down
Under
A selection of Australian artists curated by
Daniel Hadiwibawa from The Grafik Museum
h t t p : / / w w w. t h e g r a f i k m u s e u m . c o m /

23
 EAMO
Eamo Donnelly is an Australian
based illustrator who is best known
for his intricately hand inked, char-
acter driven illustrations, infused
with an eclectically dynamic colour
palette. His love affair for Austra-
lian eighties nostalgia prompted
him to create works that reflected
the beauty and uniqueness of the
culture he grew up in. His work has
been seen on Jeeps, wallets, shoes,
t-shirts, esky’s (ice coolers), stubby
holders (drink coolers), clocks, in
exhibitions in Melbourne, Sydney
and in the U.S and the U.K, bar
walls, street posters, magazine cov-
ers and editorials.

Eamo is a regular illustrator for

publications PLAYBOY, Maxim,
Complex, Blender, ESPN and King
magazines. Mid 2009 caught the at-
tention of New York agency Gerald
& Cullen Rapp, who now represent
him exclusively in North Ameri-
ca. His other clients include VH1,
Nike, Mountain Dew, GQ, Men’s
Health, Redbull, Y & R New York,
Harris Publications, Radar, Ripcurl,
Golden Plains, Jmag, Monument, Is
Not Magazine, Don’t Panic, Life-
lounge, Hungry Jacks, Owl Move-
ment, String Republic, Poketo. His
work has been featured in Comput-
er Arts, Desktop, EMPTY, Acclaim,
Attitude, Jmag, Monument, KING,
The Age.

http://www.eamo.com.au/
above
Softcore Muppets,
Blender Magazine 2008,
ink and brush, digital
colour.
above
Final Destination 3D,
COMPLEX Magazine
2009, ink and brush
digital colour.

left
Blue Blazer, PLAYBOY
Magazine 2009, ink and
brush, digital colour.

25
LAPD Hollywood (Hol-
lywood Blvd & Highland
Ave)
Pencil on paper
65 x 90 cm

Drawn from a pho-

tograph taken whilst
at a protest in Holly-
wood when the war
in Iraq was started.

PA U L W H I T E
Paul White is a visual artist currently living in Melbourne Australia. He com-
pleted his undergraduate degree at the University of Western Sydney in Sydney
Australia and his postgraduate degree at CalArts in Los Angeles California. His
artistic practice is multi disciplined, incorporating at times elements of drawing,
sewing, installation, painting, sound works and found objects.

Artist Statement:
I am interested in objects and images that are part of the everyday and
popular culture. I am particularly interested in those that are suggestive of no-
tions of obsolescence and decay—once thriving objects or elements that have
succumbed (or will inevitably) to a process of history and time. Objects of
comfort, desire, dreams and necessity often become altered, transformed or lost
through time. They often survive numerous individuals’ interactions, becoming
signifiers or remnants for a time gone and these interactions.
In relation to this, aesthetics, styles, and fashions are constantly recycled,
re-evaluated and re-used through time and in relation to the ‘now’. They become
a measure for the body/self via the various physical and conceptual structures of
the everyday that contain/surround it.
This examination of notions revolving around evolution, extinction and
the ever-changing nature of the universe, becomes a celebration of the cyclical,
constantly evolving, recycled and tenuous nature of culture and the ‘everyday’.
This in turn leads to a hope for transformation, growth and renewal as much as
an act of remembering or nostalgia for the past.

http://www.paulwhiteart.com/
Just Off Sunset
Pencil on paper
40 x 40 cm

‘Just Off Sunset’ is from a series of pho-

tographs I took in Los Angeles and New
York of delivery vans that had been cov-
ered in graffiti (presumably illegally), in
a way becoming mobile artworks or can-
vasses. This particular Ford van was found
on a side street off Sunset Boulevard, Los
Angeles. Literally just off ‘Sunset’ but also
metaphorically just off sunset, in the sense
of an imagined impending apocalypse, sig-
naled in the brash display of lawlessness
and disregard for property or prosecution.
The defacing of this bright yellow object
with random individuals marks or ‘tags’,
some may consider it as either symbolic of
a gradual decline in modern civilization or
representative of trying to have a voice or
presence in a modern day metropolis.

Downtown LA (LAPD Graveyard)

Pencil on paper
74 x 100 cm

Under an overpass on the edge of Chinatown in Downtown LA is an allotment where wounded and out of service LAPD vehicles are
rested. Rows upon rows revealing varying signs of altercations and stripped of their sirens, stickers and other police department para-
phernalia. Alongside them lay civilian vehicles, perhaps innocently or not caught up in battle, wrapped up in grey sheets like Christos’
preserving their decency or signs of criminal activity. One imagines this could be a film set, not real. Frozen in time, once furious in
the heat of the moment they now lay silently in this open graveyard.

27
“Cosmonaut 6” Oil on board 33x34cm
JEREMY GEDDES
Jeremy Geddes is a Melbourne based painter. He has been published in several
books and magazines, including a Spectrum Gold Award for his comic cover
Doomed #4 and several shortlist awards for illustration work on The Mystrey of
Eilian Mor childrens book written by Gary Crew. bottom of page
below “There is Glory in Our
“Alley” Oil on linen 79 Failure” Oil on linen
http://www.jeremygeddesart.com/ x 27cm 91.5x152cm

29
“Fullerton, California” - 2009, pencil, ink and photoshop.
 “Mount Heart Attack”
- 2009, pencil, ink, pastel
and photoshop.

“Funeral” - 2009, pencil,

ink and photoshop.

Rik Lee
Rik Lee lives and draws in Mel-
bourne. He is a founding member of
And Collective, which has released
four publications. He finds dead-
lines inspiring. He has worked for
Nylon USA, Vibe, Vice Australia,
Girlfriend, The Sunday Telegraph,
Graniph, Clandestine Industries,
T-Bar, Mooks, Stussy and Oyster
Magazine. He works with grey lead
pencils, textas, watercolours and
his computer. He enjoys the radar
on the Bureau of Meteorology web-
site. In the future he intends to draw
more, travel more, get more tattoos,
drive a ‘67 Chevy Impala and move
down the coast with his girl and his
dog.
http://riklee.wordpress.com/

31