Do you remember our interview with the sparkling Berlin based collective Crystalmafia? Here a little story and new polaroids by the photographer Kieran Behan.
Berlin based Hior Chronik builds his gorgeous melancholy world with piano-based minimal ambient music.
“This a preview of the music I listen the last period while recording my new album. Its always an inspiration for me to listen music from other artists and helps me a lot to find out new destinations. This is a mixture I created when I was in Berlin last winter when the snow was falling so peaceful outside of my window.” he tells. Enjoy this wonderful ambient and chilling mix he did for C-Heads and forget the world around you.
Wilde Renate always does a superb job at entertaining it’s guests with monthly theme parties. In January came the Russian invasion with the Sado-Opera performance. Their show was begun within a haze of shiny sweat and red panties. Upstairs beautiful ballerinas pirouetted on top of the bar while the charming Renate family dressed in resplendent hand-made kokoshniks. More on www.crystalmafia.com
Words and photos by Kieran Behan
Recently, during the past year, I thought a lot about the role of woman in art today, and I compared it with her past conditions as muse.
I am now interested especially in the late XIX century and the beginnings of the XX century aesthetic, and this brought me on the sparkling and bright path of Vicky Butterfly, a delicate beauty, a mosaic inlaid with gold, a statue of colored glass, all dressed with a vintage look. The consideration is: what do the live performances mean today? Is this a closed chapter of artistic shows, or they have so much more to offer? And what is the role of technology in this? Can we still dream sitting in cabarets, Baroque villas, theaters with velvet curtains, looking at glittering, lavish and dazzling costumes, charmed by an exotic dance? I can say we do. We had an interesting chat with Vicky Butterfly about the many aspects of the live shows today, about her as an artist and about her wonderful world.
Hello Vicky, nice to meet you! I am very happy for this interview, thank you for your time and let’s start with some questions.
Great, fire away…
I am curious about your childhood: childhood is a very important part of personal life, as it forms our personality and our ideas. Your mother was an Irish showgirl and your father an eccentric Viennese aristocratic, that sounds so Bohemian… Can you tell us something about this part of your life and about your artistic formation?
Of course it sounds more glamourous than it is! Most things do… But they are both older and have both led fairly non-conventional lives. I wouldn’t necessarily call them Bohemians, they’ve definitely mixed with people who might define themselves like that, but I suppose they identified more with the idea of pursuing your own path with creativity than the idea of rejecting society. Maybe I would class them more as eccentrics. It’s hard to judge your own parents like that when you have nothing to compare them too.
Do you have any funny or magic memories, any episode of your childhood that you want to share with us?
Oh, it’s too hard to pick one! I loved travelling and reading… I suppose some of my most magical days were spent when my parents went to do their grocery shopping. I was a very restless child, so it seemed to be the best idea to leave me in the local library. It was one of those very old Victorian ones and I used to take a pile of books up into the gallery and sit with my back against these huge floor to ceiling heated columns they had.
Beautiful! So I suppose you still find a lot of inspiration in books and literature…
Yes, I suppose I do. I am a bit fan of decadent literature and also of history, biography and psychogeography. Images are very inspirational, but I can’t make an act just out of the images, there needs to be flesh on the bones of an idea.
Yes sure, this is very important. And talking of this: you have a background in ballet and dance, and also in “theatrical design”. How do you use this design aspect in your performances? I am studying theatrical scenography too, and I know that there are infinite possibilities in applying it, from architecture to costumes. You graduated at the Central Saint Martins.
Yes, I trained in concept as well as realization: it is very interesting to me now as I wasn’t so keen on that aspect when I was studying. I was very keen on making things realistic and opulent and I wasn’t so keen on being experimental and using technology, which are elements that fascinate me now. But yes, all my shows are designed and made by me and occasionally a couple of friends.
So, if you talk about using technology, do you believe in it? I mean for example in theaters they are using increasingly video projections, lasers… Do you believe in the duo burlesque + technology?
Yes, I’ve always used technology in my acts: video projection, custom tracks with audio triggers, lights etc.. But I feel an act is most successful when you don’t go “Ooh, look at that technology”. Where I can, I use it liberally to enhance the theatrical illusion. Although I do have a vintage aesthetic, other things about my performances are often very modern. After all when you look at performers at the turn of the century they were trying to be modern too.
Yes, I agree with this idea. As the great Czech scenographer Josef Svoboda said, we shouldn’t use technology only to surprise the audience with tricks, it would not work. I would like to return just a moment on your answer above: can you explain better what do you mean with “There needs to be flesh on the bones of an idea”? I mean, what are the things for you that hold together an act? The technique, the study of the character, the psychology of the audience, or what else?
Definitely all those things, although I would say that the psychology of the audience often comes second to what it reacts to best. If I didn’t feel fulfilled by the content of what I perform, I would perhaps do something else, it can often be easier to please an audience as they are primarily there to be entertained, whatever the content. But to produce a performance I’m happy with I need to focus on character, physicality, the concept (usually a combination of a number of them: perhaps one obvious and one less obvious), a strong aesthetic with a story behind it and some sort of transformation.
There are two aspects of your performances, you write on your site: the ethereal and the macabre. How do you conciliate these two aesthetic concepts? Should we consider them “the opposites”?
Definitely not! When I was a child I was obsessed with the idea of decaying opulence and I feel that combines both ideas. My father used to say I had a Miss Havisham complex…
This is an interesting vision of combining the two things. We can find something similar in the concept of “Eros and Thanatos”, and here we return to the Decadent novels. Erotic and macabre go together you write…
Well, of course!
I would like to talk a moment about burlesque in particular: burlesque was born as a form of satiric show, mixing theatre, extravaganzas and vaudeville. Someone bring it back even to ancient Greece, with the comedies of Aristophanes, like “Lysistrata” dated 411 BC. But as we know everything evolves with time and updates. How would you define burlesque today (and I am not only talking about neo-burlesque)?
I am not sure… There are so many threads: I have written articles before on comedy in burlesque and the heritage of the music-hall tradition. I would say that although there are many threads of modern burlesque that keep alive all of the different sources, burlesque today is most united by the erotic: whether it’s bawdy humor, sensual striptease, unusual skills based acts or acts that elevate the language of burlesque to a fetischism.
The problem is that more and more people are saying that “Burlesque is for every woman”. Maybe they think that having a feminine body is enough to attract people and “build a show”. What do you think about that?
Like so many other things, burlesque can most certainly be for everyone to enjoy. But you have to think of your audience too: like music, I think there is a difference between enjoying playing together with friends and doing a show at Carnegie Hall. Building a show is something else entirely: sometimes with a poor producer or director even a bill of talented performers doesn’t even seem like a show. I think there is an audience for all, even be that one’s sole enjoyment, but I suppose the difficulty always comes in an underground art form if a show is sold as being the best but some of the audience do not like it and think all burlesque performance is the same. I am not so keen on folk music, but I do not assume all music will be like that. At this time, sadly people are not so open minded about other types of performance. I suppose it’s the difference between performance being for all and being able to have it for your profession.
Do you think that underground forms of art have a brilliant future? Or is it difficult to move on in this world? Sometimes the underground is better then the mainstream, more experimental and exciting…
It’s difficult to say: I often wonder if the concept of “underground” is real… Whether it might perhaps be the creation of something that the mainstream wants to exploit where the creators themselves have not yet cottoned on to it’s potential. That initial zeitgeist. After all there are many things that are underground that I am sure are remained destined to remain that way. Who decides that something is underground? It’s a rather “overground” way of looking at it…
Recently Dita Von Teese said to an Italian magazine: “I am not a great beauty, I am not a great dancer, but I am great in creating ghosts”. I think that this sentence could sum up the burlesque concept: if you are not very good in dancing, or in singing, or in acting, but if you have an excellent talent in more abstract things, like creating atmospheres, characters or ideas, you can also be a great performer. Do you agree on this?
Performance technique itself is a talent, and there are many people who are skilled in perhaps singing or dancing who lack it. I think it is more applicable to burlesque though because it is an autonomous art form. An actress or a dancer adrift in cabaret, however talented might not flourish if they are lacking that skill. It is very apt though, because burlesque is very associated with glamour and glamour itself if an illusory concept. So yes, I do agree with this: it is an artistic talent I suppose, more akin to conceptual or performance art.
I also attended some burlesque classes in academies in Italy, and I saw that all the girls there have one thing in common: the insecurities and the desire to challenge themselves. This is touching, in my opinion, women sharing all the fears and the doubts, with no shame. Do you think that burlesque means perfection?
Burlesque is by no means perfection, but I think it offers confidence to many… A fantasy or glamour that there is a more confident person deep down inside…
I would like to focus on the English scene. Can you tell us about all the “Too cabaret” querelle and about the Cabariots? What happened?
Cabariot was a tongue-in-cheek response by Frisky and Mannish to the accusation by judges on the X-Factor that anything they deemed cheesy or not “relevant” was “too cabaret”. As satire is one of the founding elements of cabaret, they felt this little video was a particularly apt way of making the point!
So, what is in your opinion, the country in the world that offers the best opportunities to a burlesque artist? For example here in Italy we have a very poor situation… Do you think that this is a cultural matter?
I believe the UK has offered me many of the best opportunities as an artist: although I have performed many times at all sort of events in all sorts of countries as far afield as Bali and the US, burlesque is more integrated into the general performing arts here. I believe it is taken more seriously.
In fact in the United Kingdom there are a lot of odd and suitable places for this kind of shows, it has a very long tradition. And in fact you helped found The Boom Boom Club: tell us something about this place, why is it special?
The idea behind the club was to create a party that we would like to go to ourselves, and other people appeared to share our tastes! In time we had the chances to be more artistically ambitious and although the club is no longer in existence and we have all moved on to new pastures, it’s given us the opportunity to realize what we are capable of doing in the future!
Let’s talk about you as an artist: how did you form your aesthetic style? Was it a slow and cool-headed process or something more impulsive?
My aesthetic style is an extension of my tastes: I always wanted to show that burlesque could come in a variety of styles and moods and over the years I’ve been able to develop and refine it… Some acts have taken eight years to hone to my satisfaction!
You define yourself “…all dreamer”, tell us something about this aspect of Vicky Butterfly.
I suppose my aim with my shows is to create something dream-like and magical… To tie into a suspension of reality. It’s also a reminder to myself that anything I can dream, I can create.
What is your daily routine as an artist?
There is no routine, and that’s one of the things I love best! I used to get very tired very easily when I was younger, but these days I am able to fit more into my day: reading, creative time, visits to exhibitions, dance classes, the gym, visiting friends and being involved in their projects, singing, styling, my own performances… No two days are alike.
When you are not on the stage, what are your interests? People might think that an artist like you is always “looking at the past”, but in your everyday´s life what music do you like to listen to, what movies do you like to watch?
I don’t often have time to watch films or television as I am so busy, but I read when I can and visit museums and exhibitions. Most of the music I love is modern, frequently electronic and if I have time to watch anything I prefer dark films and television series, or procedural thrillers. I enjoy looking at how people are motivated and the unravelling of mysteries…
Who are the personalities, of the past but also of the present, that do you admire the most, and that influence your work?
A lot of my biggest influences were pioneers and free spirits like Cleo de Merode, Loïe Fuller, Luisa Casati, Louise Brooks, Anita Berber, Martha Graham, Maya Deren, Victoria Chaplin and Marisa Carnesky…
If you have to compare your art to a famous piece of art, what would it be?
A Little Night Music by Dorothea Tanning, or Sleeping Venus by Paul Delvaux perhaps…
If you reincarnate in something, what will it be (I know that you reincarnate in something on every show!)?
I don’t believe in re-incarnation, but another path in life might be fun (I’d love to live life again as a man).
If you had a choice to do a travel with a time machine, where would you like to go?
This is my preferred era for sure, but I would also love to see what it was like to live in the Belle Époque or the 1920s… But only if I had money with me. Life for the poor was often unremittingly grim.
Is there any particular place where you would like to perform, a weird situation or place, or so?
Oh, I have done so many strange shows already! Many weird and wonderful venues, and I have danced in the desert, the jungle and an ice-cave… The only thing I can think of at the moment is perhaps Petra, or a pyramid.
Five things you can’t live without:
Friends, books, good food, an outlet for creativity and music!
Do you have any special addresses you would like to recommend us, in London or elsewhere in the world, any special places where do you like to go when you hang out?
Venice, just to walk in Venice, maybe to take a glass of Prosecco at the Florian during the Carnival. In Paris, the beautiful Raspoutine restaurant with it’s Erté interior. In London I love the Wellcome collection and cocktails at the Nightjar.
Can you reveal us some of your future secret projects or performances? Are you working on new acts?
Ah, but that wouldn’t be a secret! We are working very hard on The Black Cat Cabaret which starts at the Cafe de Paris on January 11th, and I have many other exciting things planned for the year, with some extra special skills that I don’t tend to use often…
Do you have any message for the world?
Be yourself! And always try and grasp happiness…
Interview by Chiara Sestini
There is a place somewhere in Berlin, where a collective of enchanters and sorceresses live and work, creating magic worlds and sparkling atmospheres, moving between music, glitter and weird characters. Come with us and meet the dreamers speaking about art, life, travels and unicorns.
What is Crystalmafia exactly?
Crystalmafia does not fit into an exact description. Our hope is to reveal the magic in everyday life. “Our Ego seeks to understand everything. It wants all the answers. Part of what destroys the Ego and connects us with the Light is doing things that absolutely don’t make any sense. If we want something beyond logic like a miracle, we have to do something that is beyond logic”, Yehuda Berg.
Who are the members of Crystalmafia, what are your artistic background and what schools did you attend?
Over the past years we have worked with countless talented artists. We don’t put much attention into backround education. Some of us graduated from professional universities and some of us hustled to get our training. It is the moment that counts, not the individual status.
How did you meet each other?
Our relationships grew from the various adventures and common bonds created from traveling.
You are an artist collective based in Berlin, a crazy city. How did this city influence you, and in what way does Berlin inspire you today? Do you think that if you had not gone to Berlin the project would be different? Or maybe it wouldn´t exist at all?
Crystalmafia was originally created by founder Kieran more then ten years ago in San Francisco. We are heavily inspired by our love affair with Berlin, though we don’t think this city created us. Berlin did provoke and trigger a lot of our magic. To be honest, we are more than a collective and more than a city. We live in dreams.
You work with the artists of the electronic music scene: what is your relationship with it and how does it influence you?
We hope to connect and work with artists on a dynamic level, from all different environments and not just the electronic scene. Our humble beginnings in Berlin did stem from the strong nightlife situation here and we do have the utmost respect for this culture and how it helped to shape our careers.
Where do you take the inspiration for your fancy-dresses and for your party themes?
Our ideas come to us in the echoes of dreams. We have seances with ghosts from our past and ceremonies with spirits from our future.
I suppose that you have a lot of fun during your crazy and weird parties. Is there any show in particular that sticks in your mind, any funny episode?
During a moment of insanity inspired by the lovely guests on the Arma17 dancefloor in Moscow there was a funny situation: we were covered in fake blood and broccoli, whilst being attacked by a giant stuffed rabbit doing our own interpretation of Monty Python’s search for the Holy Grail. Every once in a while it is also important to do something on a deeper level, a little jump into a possibility that soothes the soul. In Mexico we had a renegade photobooth session on the streets of Tulumn with some beautiful children, and this memory burns clear and bright for us.
What is the relationship between your fancy-dresses, your camouflage and the today’s art and society?
We relate to art and society today because we work to make it memorable. It is important for our audience to decide that relationship for themselves.
What do the words “art”, “colors”, “beauty”, “love” mean to you?
“All matter originates and exists only by virtue of a conscious and intelligent non-visible living energy force. This energy force is the matrix mind of all matter”, Max Planck
What artists or person of the past and of the present do you admire the most?
Our admiration changes on a daily basis. It is better thought as to what inspires our moments of influence. Today we listened to Tom Waits during a photoshoot. Last week we dove deep into the writings of Walter Benjamin while researching for an upcoming installation. Perhaps tomorrow we will marvel over the beautiful photography of Ellen Rogers. Respect manifests in many forms.
What is your everyday inspiration?
For development always hold the image close to your heart and keep it warm there while the air is cool.
Is there any artist in particular you would like to collaborate with in the future?
The Last Unicorn.
Who are the Crystalmafia members in their everyday life?
We don’t change character. We adapt to our surrounding realities.
Five things you can’t live without:
The Monoceros Constellation
Our SX-70 Polaroid Camera
Miniature Ponies Wearing Sneakers
The Smell of Jasmin
If you had a choice to travel with a time machine, where would you like to go?
It depends on our mood. Today let’s go to Paradise Garage in 1981 on a Saturday night, and listen to Larry Levan.
Do you have a dream for the future?
To ride the Last Unicorn through Icelandic waterfalls.
Do you have any message for the world?
“In silver piles of smiles
may all your days be gold my child”.
Interview by Chiara Sestini
All Images by © Kieran Behan
Spada (aka Lovjet) is going to release at the end of December 2012 his first album “Renaissance” on the Canadian music label Monique Musique (the label features also very big names of the electronic music scene, like Petar Dundov, Emmanuel, Guti, Gabriel Ananda, Rainer Weichhold). A couple of weeks ago the single extract “Claire” was released on the label, with a beautiful and romantic video. Video directed & edited by Alban Guerry-Suire - Model Manon Rouzier
Sometimes in the sky there are stars shining brighter than others. Mix together some exocitism, sensuality and an explosive voice and here you have Aérea Negrot. From La Guaira to Porto, London, Amsterdam and Berlin, Miss Aérea won the scene with her very dramatic and theatrical appeal. After being discovered by the band “Hercules And Love Affair”, in 2010 she released her first EP on the Berlin-based label Bpitch Control. Nobody stands up to her, and you?
Hello Aérea, welcome on C-Heads!
You were born in Venezuela, a colored land with a beautiful nature, and your parents were dancers, so I think that you grew up in a cheerful atmosphere. What about your childhood? Can you tell us some funny memories that have stayed in your mind, or something you would like to share with us?
I spent most of my childhood in La Guaira, the city were I was born. Perfect weather, sunny every single day, a few meters away from the beach. I didn’t realize in those days that one day I would miss my city so much… Grabbing the mangoes from the backyard and selling lemonade to random people coming in front of the house was a way to spend a childhood, with my little sister.
Both of my parents were dancers, also my grandmother .My grandfather was a music lover and a collector, so there was music playing all the time back in those days. It was somehow our way to comunicate. I guess the memory that got stuck in my head was, that I thought I was from another country, even though I had never been anywhere else in the world. I loved airports, seeing how happy people would get when a friend or relative arrived.
What was your dream when you were a child?
The flying!!!! The rest of the world made me very curious. I dreamed of being a stewardess, paralell to my dancing. I thought that would be the way I would spend the rest of my life: travelling and dancing.
You are a “colourful” person, but what is your vision of life and of reality?
Life is perfect timing. Up and down. Reality is just bills.
The cover of your latest album “Arabxilla” is marvelous, what does it represent? Where did the inspiration come from?
“Arabxilla” is an album that took eight years to come to light. I recorded the songs and performed them in clubs, before even realising they would be published one day. Jose Luna, Rafael Scovino and Irene Aparici, who were working on the whole concept behind the cover, just collected all the jewelry I had in a drawer since I arrived to Berlin. They said nothing more. To my surprise, all of that turned into a crown. The closer you look in the picture, the more plastic and cables you can see… it is the illusion of “tradition”.
I very much like the lyric of the song “Hair”, it makes me laugh, it reminds me of myself. Can you tell us something about it? What is the song about, any personal experience?
Every change in my life required a haircut. I recorded the vocals at home while I was going through a “hair” period. I had back then literally no hair on both sides of my head. I relate a lot to that saying “a haircut changes your life”. Imagine if you can make such a decision, would you make it shorter? Would you make it red?
If you have to compare your music to a famous artwork, what would it be?
I think “Garden of earthly delights” by Hieronymus Bosch.
You always wear very coloured, flashy and showy dresses. What does “fashion” mean to you? What stylists do you like the most?
I invest a lot of time digging around in shops, for clothes and pieces that I like. Sometimes I am really lucky and find vintage gems with the “Berlin” price, but also find great outfits with no labels or some kind of “Banana club” label name and I go for it. I like balancing beautiful and off-beat altogether, from YSL to C&A, there must be magic to combine things, specially if you can afford it! I have a few friends that are also designing, whom I can consider my stylists and make amazing pieces, like Jimmy Gustafson and Marcell von Berlin, Nova Dando and Alberto Sinpatron in Bilbao.
What do you want to communicate with your music and your art?
My music is my passion and I try to use it as a form of storytelling. There are several stories I have gathered along in life, not just of happiness, love and loss, but also frustration by bureaucracy, my experiences in other cities, with other people… I often find myself writing about things that I don’t find fair, challenging the definition of “normal” A lot of people relate to them, thats comforting to know.
Who are the artists and the personalities of the past and present you admire the most? What are your everyday´s life inspirations?
Michael Jackson is still my biggest childhood hero. He was fierce, still very sensitive! But I also admire Laurie Anderson very much, Yma Sumac and Sajncho Namčylak. Recently I listened to “Grimes” at a friend´s party, it is really inspiring to see that such talented new artist are there to be seen.
Things you can’t live without
Music, carrot juice and my phone… otherwise I am pretty flexible
If you had a choice to do a travel with a time machine, where would you like to go?
If you reincarnate in something, what will it be?
A photo album.
Interview by Chiara Sestini
Image by Katja Sonnwend
Summer, summer, summer… sometimes summer is too hot.
So here we have something refreshing for you: If you are a fan of cold and robotic underground sounds, you will love this cooling mix by the Swedish mind of Staffan Linzatti.
Let the music speak!
‘We are such stuff as dreams are made on, and our little life, is rounded with a sleep’ someone once said.
Night, dreams… Black & white dreams… Black and white as the Italian duo We Love, who is back with the new EP ‘End of the night’. After the homonymous album released on the well-known Berlin based record label BPitch Control in 2010, and after the ‘Timeless’ EP in 2011, here they are with new work.
Two tracks (‘End of the night’ an obscure track where the lyric draw on the anonymous poetry of ‘Voyage au bout de la nuit’ by Louis-Ferdinand Céline, and ‘I wanna be’ a dancefloor piece, oriented towards the new-funky sonorities with a desperate love request) and four remixes by Audiojack, Amirali, Viadrina and David K are hitting this record. Sensual and mysterious grooves, visions and journeys are held in these melodies. ‘To die, to sleep. To sleep, perchance to dream’… We can’t wait for this summer release!
‘End of the night’ EP
Label: BPitch Control
Review by Chiara Sestini
Lovejet calls for an artwork contest!
Give vent to your fantasy for the amazing track ‘Live The Night’ by Zefora & Manelet, that is going to be released in August on Lovejet Records. The coolest artworks will be released on a Remixes EP on Lovejet Records.
Contest rules and prizes:
The contest starts the 1st of August and ends the 15th of September. Everyone can join it! Listen to the track “Live the night” and fix your feelings and recreate your personal artwork / image for this song.
Keyword : Love and Flow (Lovejet)
Scan a copy of your artwork, photo, wallpaper art, and send the file in a good quality resolution via web or postal address. Once we receive it, we will upload your artwork to the album on Facebook. We consider the most liked pics, and probably these ones will win the artwork release on our label.
For complete infos go here.
Summer Crosley is an American model and actress and her face might look familiar to you: she appeared on the TVseries “Californication”, in advertisements for Ralph Lauren and in fashion editorials in magazines such as Vogue, GQ and Elle. She is also involved in educating people on the importance of oceans conservation and on how important is to stop polluting our blessed waters and has been to Bali, Fiji, Africa, Spain, Hawaii and all the beaches in Florida and California to help raise awarness for this cause…
Hello Summer, welcome on C-Heads! Can you tell us something about your background?
I spent my childhood growing up in a very small town in Illinois. I went to a catholic school so I was quite the good girl :) In college I studied marketing and earned my degree in advertising and marketing. Those skills have even come in handy with my profession today ;) Even as a model I have to “sell myself”.
And what about the beginnings of your career?
After that I moved to Miami, where I was discovered by a model agency that started my career. Wow, I never thought I could go from small town to where I am today!
Our next C-Heads issue is also about “natural”. What do the words ‘be natural’ and ‘nature’ mean to you?
I love everything about “being natural”, women are most beautiful to me when not wearing makeup and just rocking a pair of jeans and a t-shirt. Pure beauty is essential. I also love nature and being outdoors, riding my beach cruiser along the ocean, the smells outside, flowers, gardens, mountains hiking, it all sends a glorious shiver up my spine of excitment. I have also spent some time in Africa and the animals, the wildlife are so amazing to me.
You played in TV series such as “Californication” and “FCU: Fact Checkers Unit”, so what about acting? Did you enjoy it?
I love acting, it allows me to be someone else for the day, it releases emotions inside that you don’t really get to use on a daily basis. It also builds confidence and security.
Are you a natural person in your everyday life? What are your interests, what do you like to do?
I am definitely a natural person in my every day life. I eat very healty, mostly fruits and vegetables from my local farmers market, I drink fresh juice, smoothies, and I also love Vitamin E oil for the skin and hair. And massages are my favorite!
And talking about ‘nature’, what does Mother Nature means to you? Are you committed in any environmental projects?
Mothers Nature is very important to me. I am actually involved in a oceans conservation program, to help protect the oceans and raise awarness worldwide to stop trash and pollution on the beaches. It is so important for people to be more involved and take a stance to prevent our oceans from becoming overly polluted.
Thanks to Summer for her time.
Interview by Chiara Sestini
All images by Emma Ven
Collage is a technique used since ancient times. Maybe also mosaics, used by Minoans, Greeks and Romans, can be considered as a sort of collages, decorating walls, floors and beautiful furnishings.We have examples of this art also in China, around 200 BC, and then in the Middle Ages, with Gothic art, using this kind of decoration mostly in religious images…