1/2    Cover by Julie Wolfe
2/2    Cinematography by Richard 
Journal Nº3, The Map, traces artistic networks and conceptual landscapes across time, place, and discipline. Contributors explore process through reimagined traditions, the physical act of making, and the personal geographies that shape their work.

Contributors:

Julie Wolfe, Irene Zottola, Palo Santo Discos, Barbara Collé, Chantal Elisabeth Ariëns, Zhao Han, Oscar Dooley, Anita Andromeda, Guillaume Holzer, Catherine Spilman, James John Midwinter, Ben Broome, Taku Tagami, Claira Matheson, Laurence Briat, Valentine Schlegel, Joan Miró, Isamu Noguchi, Geraldo de Barros, László Moholy-Nagy and Tamiko Nishimura.



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I started this article by stating that I didn’t initially understand Andromeda’s work, that her collage acted differently from how collage usually acts. I stand by this statement, I don’t fully understand each collage, or how it acts on the page, but I think this is why I like Andromeda’s work so much.
Oscar Dooley’s interpretation of Anita Andromeda’s series Mythos

It is the shades of grey that give these art works a lightness. Hope is the meaning Ariëns adds to the power of the colour grey. Dare to have hope while intensely missing that person with whom you feel so connected. Dare to think back with gratitude and a sense of belonging to the shared moments in all the nuances, all the shades and hues you imagine possible.
Barbara Collé writes about Chantal Ariëns’ Where are you

In each work the process is different, although there are things that everyone shares: curiosity and desire to experience to tell a story or simply an emotion, through images created with different techniques on different materials. In some way, everything is born from a simple practice, like a child playing. 
Luke Newbould in-conversation with Irene Zottola

Like composing a lullaby, sometimes musical theory does not apply, or like writing a personal letter, literary theories can also be ineffective. While precise and meticulous designs can indeed create an artistic ‘object’, I find greater joy in allowing photography to be spontaneously creative.
Zhao Han on Aesthetics

I like to print my photographs on delicate washi paper that I’ve hand coated in silver gelatin or cyanotype chemicals, as a way to bring beautiful imperfection into the prints themselves, with brushstrokes and texture you wouldn’t get in a factory coated piece of darkroom paper.
James John Midwinter on Imperfections


I have been disappointed on the few occasions I forced it to happen. If they come together naturally and interact as happened in 1999, then please let that be once again because I need it and am ready.
Perry Oliver on Geometrics

Looking back now I think I was in spirit this whole time — I feel like something possessed me to go and really explore [my heritage]. I was saying things I feel like I didn’t really know the meaning of but it felt right at the time and now looking back at it, it really resonates even more so.
Jevon on Reconnecting with Music





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Chantal Ariëns for Journal N°3