GAS combines art, music and fashion with a courageous project

GAS combines art, music and fashion with a courageous project

Andrea Tuzio · 2 weeks ago · Art, Style

Unfortunately, for more than a year we have been living in a historical moment of great difficulty, in particular sectors such as fashion, culture and entertainment are going through a complex and deep crisis.
Today the “Makers” represent those talents that range from art to fashion, from music to photography, they are colors that are engaged in any creative expression with the desire to create a real community around them, because only united and supporting each other we can build tomorrow.

However, there are companies that try to look beyond, try to imagine a different future, like GAS. The Italian company famous for denim and for its great research on materials, founded by the entrepreneur and visionary Claudio Grotto in 1984, has set up Be a Rainbow Maker for Someone Else, a courageous project of co-creation that merges art, music and fashion.

GAS, through a real “call to art”, has reinterpreted in a contemporary key the concept of patronage, supporting talents to try to start writing a new chapter of our future.

The call was answered by two leading Italian creative realities that interacted with each other: the band Eugenio in Via di Gioia creating an original piece produced and arranged during an artistic residence at the company’s headquarters, which for the occasion became an amphitheater and rehearsal room. To complete the project, creating the visual backdrop for the video of the song, the street artist crew Truly Design answered the call and created a giant anamorphic work of art inside GAS HQs that represents a double rainbow, the emblem of GAS and of those values of freedom of expression, inclusiveness and passion that unite the company and the artists involved in the project.

GAS si fa così portavoce di attitudine autentica e positiva, di creatività e collaborazione condensate in un arcobaleno di sfumature blu come il denim che l’azienda italiana presenta alle nuove generazioni. 

#BeARainbowMaker s also the hastag with which Eugenio in Via di Gioia will involve their fa in a challenge. The challenge will consist in collecting and filming on their social channels a great little action that can have a message and a positive impact for someone else, so as to tell and bring their contribution as “Rainbow maker for someone else”.

We at Collater.al were lucky enough not only to visit the beautiful GAS headquarters in Chiuppano in the province of Vicenza, but also to see up close the creative process that saw Eugenio in Via di Gioia and the Truly Design collective as protagonists.

Truly Design is an unconventional visual communication studio founded in 2007 in Turin and directed by three urban artists active in the graffiti scene since 1996. In these years the guys from Truly Design have collaborated with architecture studios, brands, companies, communication agencies, museums and cultural institutions all over the world, always remaining faithful to their artistic approach.

Specializing in 3D and non-3D graffiti, wall art, illustration, painting, applied graphics, and anamorphic art, the collective is the recipient of the Cannes Golden Lion Award in 2018, the industry’s most prestigious honor, for their “David Bowie is here” piece set up for Spotify inside the New York City subway.

We had the chance to have a chat with Mauro149, Production Manager of Truly Design and founding member of the collective, here’s what he told us:

How and where was Truly Design born? What are your roots?

Truly Design was born as a group of friends who got into graffiti when they were 13/14 years old, so we were born as writers and that’s what we did in our very first years together. For our generation (I am 40 years old) graffiti was still an underground art form, very cool and mysterious that lived by word of mouth. The friend would tell you where you could get the best sprays, where to find spots to paint, etc.
All this passion for graffiti comes directly from the passion for drawing that we all developed from a very young age, which then transferred to graffiti because it was the tool through which we could express adolescent discomfort in the best way. 
It was a gesture of arrogance, none of us ever gave graffiti a political meaning, but it was a way to impose our presence and it was done for the sake of doing it and the adventure that was behind it – going to paint at night, in the dark, trying in every way not to get caught – because painting illegally as we did at the time is a whole other world compared to doing it when you have all the necessary authorizations.

How important was it for you to grow up in Turin?

We were lucky enough to live and grow up, artistically and otherwise, in Turin. A city where getting permits to create more structured works from the artistic point of view and working for two/three days, instead of having one/two hours or maybe only twenty minutes, has always been easy. The city gave us the opportunity to develop our work because having more time, we tried to go beyond the classic graffiti and we started to throw in all our interests: graphics, illustration, classical painting, etc..

Would you have ever imagined that your interest and passion for graffiti would eventually become your job?

If someone had told me twenty years ago that this would be my job, I would have laughed in their face. The fact that it actually became our job was completely accidental and incidental. Having the opportunity to work on the street and especially during the day thanks to the permits that the city gave us, there were many people who stopped to look at what we were doing and asked us to create works for their store, for their company, for their room. One job led to another until 2007, when we were all 25 years old, when we decided to go all-in and open our own studio. 

From that point forward what changed?

Well the story changed in a decisive but gradual way. The artistic works we did stopped being something we did exclusively for passion, to round off the salaries of our “real” jobs and that we did in our spare time and started to be our main job on which we put all our energy and hopes. 

How has graffiti and everything around it helped you structure and develop your work?

Everything we have learned in ten years of graffiti such as teamwork, collaboration, trust, speed, efficiency, quick thinking, organization, spirit of adaptation and everything we have learned from graffiti we have translated and applied directly in our work. All these things take at least ten years to learn and develop, we started out as if we already had ten years of professional training behind us thanks to our beginnings and passion for graffiti.

How do you manage the work internally? What are the dynamics that set your collective apart?

Originally there were four of us, the four founding partners, and it has been like that for many years. For the past three years there have only been three of us, and recently we have been enlisting the help of collaborators and employees because the jobs have become so many and it is necessary to have a team to count on. Our approach is a bit like an artist’s workshop of the 1500s where there are maybe the older ones who are in charge of doing the more detailed, complex and technically difficult work and around them there are a whole series of collaborators who give the support they need.
If we had wanted to become an agency with 50 employees, we could have done that, but we’re not that world, we’re more like a studio of artists working together. We wanted to maintain the authenticity of a precise and independent artistic path.

Let’s talk about the aspect that most distinguishes you from an artistic point of view, anamorphism. 

As a collective, anamorphosis is what captured us, and it was a real stroke of lightning that happened in London at the National Gallery, when we saw Hans Holbein’s “The Ambassadors” of 1533. If at that time the references were churches, ducal palaces, etc., we thought of bringing everything back to our contemporary times, within our contexts, industrial archeology, abandoned or disused factories with all the difficulties that such a location entails. There we realized that we were interested in all those non-linear spots, perhaps that had protruding pipes or faceted bases where it is difficult to paint. We obviously went beyond the abandoned factory, painting in regenerated industrial contexts, interiors with a definite structural complexity playing with depths and shapes. We rely a lot on abstract-inspired graphic design, but we also do figurative work. These are the two strands of anamorphosis that we have always followed. 

Tell us about the work you created for the occasion within GAS HQs?

This is an abstract piece but it has a strong concept behind it. The room where Eugenio is locked up is blue, the blue also identifies the melancholy of being isolated – a feeling we have all experienced during this past year – and the rainbow that passes behind it is a bridge that takes us beyond this dimension of the isolated blue box that is really just an illusion that if looked at from another angle we discover that it doesn’t really exist.

GAS combines art, music and fashion with a courageous project
Art
GAS combines art, music and fashion with a courageous project
GAS combines art, music and fashion with a courageous project
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InstHunt – The 10 best photos on Instagram this week

InstHunt – The 10 best photos on Instagram this week

Giulia Guido · 1 week ago · Photography

Every day, on our Instagram profile, we ask you to share with us your most beautiful pictures and photographs.
For this InstHunt collection of this week we have selected your 10 best proposals: @_aneres_guizzo, @jacopo_cerchi, @andycaraway, @valentinagaiph, @andrea_cocoo_ph, @martinabarbon, @allenmigliore, @lollo_169, @monica_lighthouse, @underratedlia.

Tag @collateral.photo to be selected and published on the next InstHunt.

InstHunt – The 10 best photos on Instagram this week
Photography
InstHunt – The 10 best photos on Instagram this week
InstHunt – The 10 best photos on Instagram this week
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Alice Milewski’s surreal self-portraits

Alice Milewski’s surreal self-portraits

Giulia Guido · 5 days ago · Photography

Exploring the deepest part of oneself and revealing it to the viewer, this is why Alice Milewski decided to devote herself to photography.

Alice Milewski is only 22 years old and is currently studying in Austria, but despite her young age she has already developed a well-defined style: in her shots, in fact, we find a recurring element, a fil rouge that unites all her visual narrative, namely a surreal cut

Playing with the lights that sometimes seem to illuminate everything or with the shadows that make the colours dark and heavy, Alice creates shots that seem to come from another world. And indeed it is a bit like that. 

The young photographer specializes in self-portraits, so when she works she is both the creator of the shot and the main subject. This allows her to do a lot of work on herself and to use photography as a means of expressing what is inside her, from her fears to her most personal thoughts.   

The aim is that when looking at the images the viewer finds something of themselves and, as Alice Milewski did during the process of making them, the time spent contemplating them becomes a moment of introspection. 

“While my images come from a personal place, the ultimate goal is that other people find a piece of themselves in my work. Art should be a mirror of both the creator and observer.” 

Check out some of Alice Milewski’s shots below, but to find out more follow her on Instagram

Alice Milewski
Alice Milewski
Alice Milewski
Alice Milewski
Alice Milewski’s surreal self-portraits
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Luminous Phenomena, a book series dedicated to international photography

Luminous Phenomena, a book series dedicated to international photography

Giulia Guido · 5 days ago · Photography

What are images if not luminous phenomena? It is from this reflection that about a year ago NFC Edizioni, to celebrate ten years of activity, felt the need to give life to Luminous Phenomena, a series entirely dedicated to international photography.

Luminous Phenomena stems from the desire to create a space where established and emerging photographers can express themselves freely, taking care of every aspect of the publication, from the colour of the cover to the selection of the photographs. 

In these small-format books, which allow you to hold them in your hand, replacing your smartphone screen for a few moments, you rediscover the importance of the body and how it relates to its surroundings. 

Alba Zari

The first volume, released in September 2020, was dedicated to Lady Tarin, and since then three other volumes have been published, dedicated to Aleksey D’Havlcyon, Giulia Agostini and Alba Zari respectively. 

Luminous Phenomena is one of those publications that should be displayed on the best shelf.
We at Collater.al were lucky enough to speak directly with Amedeo Bartolini, editorial director and founder of Agenzia NFC and NFC Edizioni, and Guya Bacciocchi, director of the series, who told us more about the project.

Don’t miss the interview below, some shots included in the book and to learn more visit the dedicated website

Before talking about this new photo book series, can you tell us how you started your journey in publishing and when you decided to found Agenzia NFC?

Amedeo: Our story started, and grew, in a moment of deep economic crisis. I founded Agenzia NFC (a communications agency) in 2010, seeing an opportunity to position myself in a sector that was perhaps a little “tired”: we needed a smarter, more dynamic reality… a couple of years later, in 2012, I followed my great passion for books and decided to bet on printed paper, and therefore to found NFC Edizioni.

For NFC Edizioni’s 10th anniversary, you launched “Luminous Phenomena”, a series dedicated to international photography. How did the idea for this series come about? Why did you choose this name?

Amedeo: For years, the idea of a photographic series was in my head like a woodworm, which slowly made its way into my mind. In 2020 I found myself thrown into a reality where the only thing I had in abundance was TIME. So I decided to use this period of stalemate to build something positive, just as in 2010 I tried to find a way to react to a moment of great crisis. Eventually, I decided to give my “worm” a name, and so the “Luminous Phenomena” series was born. The name is deliberately and brazenly inspired by Talbot’s The Pencil of Nature, paying homage to him and revisiting his thinking – the study of luminous phenomena! – in a contemporary key.

Aleksey D’Havlcyon


The watchword of this series is APPROACH; I would like to create new collectors of photography. This is why the Deluxe Edition (DE) of Luminous Phenomena includes a limited edition photograph of the artist. I imagine my home wall dedicated to the series filled with 10×15 cm photographs.

What is the common theme of the chosen photographers?

Guya: I cannot say that there is a recurring theme in the photographers we have selected so far. In fact, the series did not want to be linked to a single subject, but we wanted to be able to tell places, people and stories that were different and new each time, and we wanted each artist to be able to take us freely into their dreamlike universe.

Four volumes have been published so far. Should we expect more? Can you tell us something?

Amedeo: I always say that I hope this series will accompany me into retirement! My wish would be to continue working on this project for a long time to come; I find it extremely stimulating and gratifying, plus these books are so beautiful! We are currently working on volume 5, dedicated to Chlorus, with a text by Lorenzo Castor and Martha ter Horst.Vol. 6 will be special, celebrating the first year of “Luminous Phenomena”, and precisely for this reason we have decided to tell something very close to our home in Rimini. I don’t want to reveal too much about the next volumes, I’ll just tell you some of the countries from which we will “steal” photographers for the next volumes: England, Mexico and Morocco.

How do you select the photographers for this series?

Guya: Whoever expects a considered choice is wrong! The selection of the photographers is made up of emotions, butterflies in the stomach and amazement. Each artist has struck us with a peculiarity and has triggered in us a curiosity, a desire to know more and more, the need to want to tell a story. The photographers we have chosen are those who made us stop, who made us think, and who left us breathless. Some artists we already knew, others we found wandering around the web.

Giulia Agostini

Each volume is a new experience, for us and for them: we want the artist to be involved at 360 degrees, from the choice of who will write the essay, to the shots to put in the book, to the colour of the cover, which will be the first emotional part of each volume (the choice is among 27 shades of Fedrigoni Sirio Color).

We want each volume of Luminous Phenomena to tell a new story, to make us dream.

Leafing through the volumes, I really appreciated the small format. The sensation was that of holding a collection of postcards or, if we want to keep up with the times, a printed Instagram gallery. Is there a particular reason why you chose this format?

Amedeo: I’m nostalgic, I like books made of paper, I like being able to hold them in my hand, feel their weight and smell the ink on their pages.
I have created a series in which several senses are involved, not only sight but also touch and smell. The paper used for the cover, the endpapers and the non-photographic part of the book is Fedrigoni Sirio Color, a paper that is soft to the touch, delicate, precious, with the scent of a new book, each volume in a different colour. The format of the LPs is “hand-sized”, uncomfortable to leaf through, but it is a very precise choice: I wanted books that are beautiful to look at, objects that invite you to touch them. I don’t want them to be leafed through many times, I don’t want them to be ruined. It is not only the photo that is the collector’s item, but also and above all the book!

Luminous Phenomena, a book series dedicated to international photography
Photography
Luminous Phenomena, a book series dedicated to international photography
Luminous Phenomena, a book series dedicated to international photography
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Kate Hook and her analogue and surreal portraits

Kate Hook and her analogue and surreal portraits

Giulia Guido · 4 days ago · Photography

Cinematic and surreal. Almost futuristic. Kate Hook‘s shots have this effect, taking the viewer to places far away, not geographically, but in time and space. The photographer, based in the south of the UK, takes us on a mental journey through time and space. 

Kate Hook studied Art Direction at the University of Arts London, Filmmaking at Staffordshire Uni and is now a photographer specialising in analogue photography. Moving away from many of her colleagues who rely mainly on post production and Photoshop, Kate does everything on camera and looking at the results we can’t help but be speechless. 

We asked her a few questions and Kate Hook told us how she started shooting and more about her technique. Read our interview below and follow her on Instagram and on her website

Tell us how you started taking photographs. Is there a particular moment you remember?

There isn’t a particular moment that comes to mind, it was more like a organic sequence of developing an interest in taking photographs which started with the Canon AV-1 my dad gave me when I was a teenager, as well playing with the other digital cameras in the house. When I was about 14/15 I got really into it and at about 16 it became quite apparent I had a knack for taking pictures. One thing I remember when I was getting more into it was someone saying me that I was taking pictures “wrong”, which granted at that age I had little idea on what I was doing as at that stage I had no formal teaching or anyone showing me properly how to operate a camera. So I started to read books on cameras and photography as I wanted to learn how to shoot correctly and then do it “wrong” on purpose.

Describe your photographic style. How did you arrive at this point?

Magical and vivid. Not light or dark, instead it’s bright and dream like. I’ve spent years playing around with various different methods and techniques. When I was younger I was very drawn to surrealism so I feel that has had an impact on me creatively. I’ve always believed that magic is real and there’s so much more to reality than what we’re taught, so I try to show that in my work. Reality is what you make of it afterall. 

For you, which is the most important thing to consider when taking portraits?

The mood and the message… If there is one, sort of depends on the photo really. There’s typically quite a few elements going on depending on what the set of portraits are about. For the model, it’s how they’re presented, from their expression’s to what they’re wearing. Then there’s other elements such as lighting and equipment. As well as themes and symbolism. All of it is like mathematical equation with various different factors that go into the final images.

What equipment do you use for shooting? Which cameras and accessories do you take with you when shooting and why?

I shoot entirely on film and I’ve started using more filters in my work. The main cameras I use are Nikon F100, Fm2, and F3. Recently I’ve gotten a Pentax 645N which I’m excited to work more with. Every now and again I may “film soup” a roll of 35mm, which is a process where you submerge the film in a liquid, which distorts the chemical balance of the film and causes some interesting effects. Absolutely none of my work is photoshopped, everything is done in-camera pretty much. I only ever do a bit of minor tweaking before uploading but that’s it. We spend a lot of time staring at screens so for me personally I think it’s important on a artistic standpoint to take and create imagery without the reliance of a computer and editing software. Plus shooting on film makes it that bit more real. 

Are there any artists you follow or are inspired by?

Pete Turner and Benoit Debbie have been the biggest influences for me through out the years. Turner was essentially the god father of colour film photography and Debbie is a master of colour for cinematography. 

Continue the sentence: For me, photography is…

Truth. It’s all there for a reason. The human eye can’t and maybe doesn’t want to see everything. Photography can tell us how striking yet how beautiful the world truly is.

Kate Hook | Collater.al
Kate Hook | Collater.al

Read also: Alice Milewski’s surreal self-portraits

Kate Hook and her analogue and surreal portraits
Photography
Kate Hook and her analogue and surreal portraits
Kate Hook and her analogue and surreal portraits
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