The week before my birthday i decided to take a little trip to Paris to scoop up my girl and bring her home… and check on my homies across the Atlantic!
check it out:

Day one before my girl gets in town i handle a lil LJ business… I go check out the street wear Parisian embassador himself Mr. Jay Smith (BlackRainbow) at their office above the Guilty brotherhood shop.

Nice hair;-)

note the LJ poster on the left side of the pic of young George Clinton… every one gets a gift.

Markets always look much better in other countries then they do here in the states.

This is how you expect france to look like… old men out drinking cafe (cafe, not coffee) all day.

Met up with my host homie Reach… he makes Paris feel like home… we get in every where free with this guy! Reach is also a very talented Animator and video director… check his Space

Just happened to walk up on a ZooYork BMX demo at the edge of town while walking to Fete la Musique at Battle Far.

We finally arrive at Battle Far… Where my homie Lord Jazz (Lords of the Underground) is spinning… Jazz has been living in Paris for the past 8 years and is still representing!

Lord Jazz

Reach’s homie had the cutest BBD…

Nana and Michelle… It was Nana’s 2nd week in Paris when we met her after from moving from London.

Original Parisian B-girls… they call me young little boy every time i see them…

Jazz finished his set… who’s next?

Lord Finess

ended the night at fevela chic…. one of the must see places to party while in paris.

was only able to snap a couple pics before my camera went dead.

Next day we head to the Back in the Days BBQ… i thought street wear produced a lot of clown like dressing here in the states…. Paris is definitely trying to take our slot.

Met up with my home girl Domitille and her boyfriend Hugo

The french repping the homies Mighty Healthy

Last night in town… i get to chill with my home boy Shells… he lives with Reach

Only in Paris… even though Reach didnt buy it there… i would get the chance to have this any where else.

Now i’m back state side…

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So last week your boy (me) turned good ol’e dirty 30…

Aint too much changed… I’m still looking for an open bar on my walk downtown from the office, i’m still riding my bike to the Hoboken skate park and riding over the Brooklyn Bridge to check out my home boy Junichi on the weekends, and im still traveling like a MOFO on a broke man’s budget!
Check out my pics from my birfday party this past week at midway… thanks to all my people that came out!!
Special thanks to Talib Kweli and Hi-tek for rocking at the party!

Junichi

Ginny

Justine Reyes

Linyee Ivy and friend

Dues pen and Mel D Cole

Delancey

Eleita and Justine

Dewit

Conor and Shauna

Eleita and Lemar

Ida and Chavis

Justine Reyes

Linyee

Meewha Bell (Ms. everything LJL)

Meewha and Will

thanks to my homie Mel fro always repping…
check mel’s site for more pics of the night: www.villageslum.com

Michelle and Alex

Michelle Meewha and Alex

Emeka

The brothers Rodriguez (Al Padrino)

Michelle <3

Pan

Ray

Rebecca and Justine

Ron and Ida

Ron and Stephanie

Ron Tasha and Blair

Ron and Tuff Taylor

Ron and Michelle

Tuff and Brooke

Tasha and Dues

Dan and Blair… thanks dan for shouting me out on okayplayer.com

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Yea. That’s right. Electric Punany. As in Electrified Vagina. Hrm. Interesting, no? Well, if you’re a regular here at Format Magazine, you’ve probably seen the photos from the last EP, but you haven’t seen the latest edition on my site which was pretty much bonkers. My homies, Melo-X, & Jasmine Solano teamed up with Lion & Rooster Clothing, Antoine of IHMDJ (I Hate My Day Job) and of course, Sway mistress Roxy Cottontail to put the night together.

Jasmine tells me after the party, “This is what I have wanted to do my whole life and it was even better when Melo-X came up after my set and killed it”. I can identify. I get this feeling when I am shooting. I know I am rocking. I feel unafraid. My lighting is on point. Everything is coming together. I think for musicians is must be the same. It’s like when everyone in the group is playing perfectly in sync. Like you’re in the zone and shit. This is what I love to see. I’m honored to have been a part of this dope series of parties.

So anyway, if you live in NYC and haven’t been to Sway yet, check it out for sure. The new EP (Electric Punany) crew, Gabz, Ayonito, Rel, Angie, Quinn, Teddy, Eyeris and so on (sorry if I forgot someone!) are attending regularly. Jasmine says ” they are about 20-30 people who love to wild out and have fun.” That spells fun for everyone.

By the way, all you Rice & Peas fans need to come check out Electric Punany. Gravy, it’s time to turn up the heat on RNP!! :) Word. Rice and Peas is a dope Reggae party thrown by Reggae Heavyweight and good dude, DJ Gravy of G-Train Entertainment. Check out their myspace for the next RNP bash. You can peep some pics here.

By the way, as some you may or may not know. I am working on my nightlife book. If you wanna be down, wear something dope, make a crazy face - you know. Do something photo worthy! Maybe Ill include you in the book! Dope….

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On behalf of the Behance team, I am very pleased to serve as a guest editor for this issue of Format Magazine. Our team at Behance is helping creative professionals, from across industries, increase productivity and make ideas happen. Through the Behance Network (www.behance.net), we’re trying to help top creative artists showcase their work efficiently and broadly (as well as gather feedback, get found by recruiters, and develop their own professional networks).

We are also developing a few products to boost productivity in creative teams. As a team that seeks to highlight amazing creative achievements, we love Format and are proud to be a part of this issue.

“I have always been interested in productivity because I think that people focus too much on creativity.”

Format: Please discuss your work history prior to launching Behance.
Scott Belsky: While in college, I was very interested in all things related to organization, as well as re-designing the concept of the “resume” to better demonstrate the potential of creative professionals. I didn’t feel like a black and white Word document was effective in presenting creative talent! After college, I somehow found myself working on Wall Street, focused on organizational issues and leadership development. I specialized in helping new, rapidly growing teams deal with the challenges that come along with growth. At night, I would try to leverage some of these skills for my friends in more creative and entrepreneurial roles. I found that, more than anyone else, creative leaders and teams struggle to push ideas forward.

I became very interested in the leadership and organizational struggles of the creative world. And, I am always pretty excited about the possible achievements when creative people actually make their ideas happen.

Format: Many people struggle with managing their own productivity; you help manage other peoples’ for a living. What initially interested you in productivity as a field?
Scott Belsky: It is a shame that most ideas never happen. I often think about the number of half-finished books in drawers, unfinished paintings, and brilliant ideas that will never happen. When ideas happen, it is not by accident–or because they are especially good. Creative people and teams are more likely to make ideas happen when they are organized and able to work and collaborate productively.

I have always been interested in productivity because I think that people focus too much on creativity. Creativity is an amazing gift, but perhaps there is some responsibility that comes along with creativity? Perhaps we all have an obligation to become a bit more disciplined and find ways to show our ideas some respect?

Format: Why is there so often a disconnect between idea generation and execution for most creative individuals and teams?
Scott Belsky: Thomas Edison said it best: “Genius is 1% inspiration, and 99% perspiration.” For the creative professional, we would suggest that ideas are simply sparks in the realm of possibility; but the sparks often disappear as quickly as they occur. For a spark to actually catch fire, you need something flammable. We think that ideas gain traction through productivity and a value for organization. Rather than focus on creativity, our team is interested in the way you capture an idea, manage it over time, share it with others, develop it, and present it efficiently and professionally.

Format: Please discuss the importance of the Action Method.
Scott Belsky: As creative people, we struggle to simplify large ideas into actionable components. In reality, every project or occasion of creativity ultimately yields JUST three things: Action Steps (things you need to do), Reference Items (things you write down or keep as reference), and Backburner Items (things you want to do someday, but not today). The Action Method provides an action oriented structure for us to use in all creative endeavors.

The Action Method is also an attempt to increase productivity through design. Behance’s chief of design, Matias Corea, has taught me that revolutionary projects without design are worthless. People cannot manage the actions required in specific projects without being able to digest them visually and arrange them in an accessible way.

Format: When did you first discover the opportunity for the Behance network? How did the idea develop?
Scott Belsky: We were inspired by the lack of organization and productivity in the creative community and the reality that most ideas never happen. As we interviewed hundreds of creative professionals, we encountered lots of frustration and inefficiencies. Many brilliant designers, photographers, writers, and creative teams faced an ongoing struggle to present themselves professionally and push their great ideas to fruition. There was a need for tools to boost productivity and build networks. There was also a need for more accountability and feedback exchange.

We went through dozens of iterations and hosted multiple focus groups as we sought to develop a professional platform that top creative professionals from around the world would use to broadcast their latest works, collaborate, and connect with peers and potential clients.

Format: Why the creative community specifically?
Scott Belsky: Life is made interesting and the greatest problems are solved by creative people and teams.

Format: What is your day-to-day role at Behance?
Scott Belsky:Every day is different, but my work at Behance is focused on developing new products and services, communicating with the community in the Behance Network, and seeking to develop partnerships that help Behance move the ball forward.

Format: Behance is—among other things—part portfolio management, part recruiting base, part social networking site. To what degree does Behance reflect web 2.0 sensibilities?
Scott Belsky: We don’t consider Behance a “technology” company–-or a company that creates stuff for creative people. Instead, we started with the problem that most ideas never happen. We realized that we wanted to boost productivity and help organize the creative world. And then after much research, we realized that people needed a robust platform-–-some sort of online network–to manager their careers. Along the way, we also recognized business opportunities to serve the agencies and companies that recruit creative talent. As for “web 2.0,” I don’t have a background in technology so I can’t even keep track of what exactly web 2.0 includes!

Format: In university, you studied environmental economics. To what degree, if any, does Behance reflect or incorporate this education?
Scott Belsky: My interests in environmental economics stemmed from my love for the natural world and my fascination with business. The entire field of environmental economics is about developing reward systems for people and companies to do things that they wouldn’t ordinarily do–things that they should ultimately want to do for good reasons. In some ways, the same principles apply to making ideas actually happen when your true guilty pleasure is to continue basking in idea-generation.

Specifically on the topic of the environment, Behance is working with a few partners to develop a few products and services that have the social good in mind. Nothing to announce yet…but stay tuned!

Format: You guest edited this issue of Format by selecting artists from the Behance Network. Please discuss your selections and why they stood out to you.
Scott Belsky: Lisa Black - Lisa was one of our first network members from New Zealand. Her sculpture is extremely unique–and I often wonder how she pushed these ideas to fruition.

Lichtfaktor - This team of graffiti-artists-cum-photographic-mavens, based in Germany, helped establish an entirely new genre of art–light graffiti. They have traveled the world and found incredible ways to leverage their talent.

Lincoln Mayne - I interviewed Lincoln Mayne a couple years ago when I was conducting early research for Behance. He is a perfect example of the power of a diverse background when it comes to a particular field of work–especially fashion. He was formally trained as a sculptor in Perth, Australia. He has worked as an installation artist for the BBC, a designer for the London Toy Modeling Museum, a developer of interactive films for Madame Tussauds, and he taught himself how to sew and print.

Mikey Toledano’s tie collection is out of this world – truly forward-thinking and well-presented.

Format: What’s in Scott Belsky’s backburner?
Scott Belsky: Ha! I have a very long backburner, but I seldom get to it these days! As many people know, I am obsessed with tools for organization and am fascinated by the growth of the Behance Network. I often think about what applications we might develop to make the Behance Network a more empowering platform for network participants.

More Info: http://www.behance.net

Comments (3)

Drawing supporters such as Onward Kashiyama, Mick Jagger, and Calvin Klein, Lincoln Mayne gives thanks to the power of word-of-mouth. With a mandate to find the common ground among the world’s possessions, Mayne exudes talent, inspiration, and intelligence through everything he creates. Not only a fashion designer, but a sculptor, installation artist, and package designer, the young Australian native has been a wandering soul for as long as he can probably remember.

“I was never happier than when trying to find the common ground between hot pink and dirt.”

Format: Tell us a little about Lincoln Mayne, the fashion designer.
Lincoln: I like to keep it simple.

Format: You’re not just a fashion designer, but in fact a multi-media artist with a background in sculpture, installation art, animation, and other media. Why have you chosen fashion design as a form of creative expression?
Lincoln: Subconsciously fashion has always been a part of my perception of art and design. As far back as I can remember, I have been transfixed by textures and patterns on garments. Even back in art school I was constantly sewing and stuffing random objects and fabrics together–the wilder the contrast the better. I was never happier than when trying to find the common ground between hot pink and dirt.

Format: You grew up in Perth, Australia, have lived in London, UK, and now reside in New York. What are your observed differences between these three cities with regards to fashion and style?
Lincoln: I actually grew up outside of Sydney, in a tiny village in the mountains in a mud hut with some goats. Then I found my way across the desert to Perth, Australia, a city still of isolation. It is there that I discovered sculpture. In the late ‘90s I took this newfound love to London where I seriously blagged my way into the BBC and became a creative director. Funnily enough I am going to London tomorrow to work on a solo show and design a fashion line for a client. I find that London has a more expressive, riskier fine art scene, but what really gets me going in New York is speed! If you’re being let in on a secret here you’re already too late. Here people die for the new, which makes it a great place to launch. The main difference between those two cities and Perth: I slept more in Perth.

Format: You produce a tailored streetwear with a slimmer silhouette. Please describe the Lincoln Mayne buying demographic.
Lincoln: My main following is through artists, designers, and creatively minded people who are searching to experience something unique and new.

Format: What types of fabrics do you use in your collections?
Lincoln: Basically I’m never limited to a fabric. I will use whatever feels appropriate. At the moment I’m into woven patterns. I have full facilities in my studio for sewing, printing, and dying, so often I will find a woven fabric and manipulate it in the studio before the actual garment is sewn.

Format: You’ve got a strong rockabilly undertone in each of your menswear collections; what inspires you from this era? What else inspires you?
Lincoln: I think new design is a fine balance between different styles and undertones. Obviously there is a strong electro undertone out there at the moment; I am moving towards muted electro tones mixed with neurotically bland fabrics.

Format: Being an artist of so many different media, how do you feel this helps your fashion design aesthetic? How does it hinder?
Lincoln: I am definitely not limited by media. In fact, I feel that there is only one true medium: personal aesthetic values. Being not limited to a physical medium allows me to think randomly and resolve design issues in a rapid manor; quite often I draw from the art world, but because I am comfortable with a multitude of different media I find it easier to adapt different ideas.

Format: In checking out your site, I noticed that you don’t list a 2008 collection. Will you be coming out with a 2008 collection or are you currently taking a hiatus?
Lincoln: As far as my collections are concerned, I produce and deliver on my own time. This has always been the way. I unveil collections as I perceive they are finished. I am not restricted by seasons or delivery times. It is important that only the work that I feel is resolved goes into the market. The mainstream fashion industry may consider this to be taking a hiatus; however, I feel that this is the natural progression of fine design.

Format: You’ve produced animations for MTV and VH1, illustrations for Puma and Victoria’s Secret, and work for Sony. How does a self-titled menswear line differ from the corporate gigs?
Lincoln: Personally, I love the balance between private and corporate gigs. I regularly beg, borrow, and steal from one to feed the other. I always thought corporations were a great avenue for exposing art to a larger crowd. The main difference between my own projects and corporate gigs is deadlines–so both move at different rates of speed. I can move slower with my personal work, and go hard and fast on the corporate gigs.

Format: You used to design both menswear and womenswear. Why did you move into solely menswear now?
Lincoln: I have been mainly concentrating on menswear for the last several years. I feel there is unlimited potential for design in this market. It is a lot more complicated due to the volatility of sales; however, with a sculptural background I find men’s wear enjoyable. I also will be going back to some womenswear in ‘09.

Format: Your menswear collections have drawn attention from Onward Kashiyama, Mick Jagger, and Calvin Klein. How did you link up with these fashion icons?
Lincoln: As far as collaborating with the above-mentioned, I have been lucky enough to have the power of word-of-mouth on my side. Most of the clients that come to me, I can usually track back to previous clients.

Format: What is on the horizon for Lincoln Mayne, the fashion designer, in the next year?
Lincoln: Lately I’ve been totally geeking out on packaging design. First, earlier this year I was able to collaborate with my long-time supporters Bumble and Bumble in creating some men’s product packaging. More recently I have been working on the design and creative direction for a tequila company, “Tanteo,” which I will be helping to launch next month. Despite this new affair with packaging I haven’t forgotten my other media. Last week I was down on Fisher Island in Miami illustrating for a coffee table book, and I continue to regularly collaborate with photographer Carlo Van De Roer. Also in the near future I will be launching an online boutique, titled LMAffair. This is going to be a fashion product site, where basically my affairs with design will be obtainable to the public.

More Info: http://www.lincolnmayne.com

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When Format caught up with Dwele, he had just finished giving a seminar at a public school in his hometown of Detroit — the culmination to a standard eight-hour workday. Grammy-nominated with a penchant for classical art, Andwele Gardner’s level of modesty is at once halting and refreshing.

Though he has collaborated with some of the greatest hip-hop, soul, and jazz acts of the twentieth and twenty-first centuries, his unassuming personality keeps his music inviting and comfortable. Behind his veil lies the brain of a multi-disciplinary genius. He may very well have shifted the paradigm of what it means to be an R&B artist for good.

“Make sure you’ve got some green lights in the crib; they like that. Make sure you’ve got lotion on your hands–that they’re not dry.”

Format: Your new album, Sketches of a Man, drops June 24th. Can you tell us a little about that?
Dwele: With this album I created an avenue for myself. It’s more hip-hop influenced than Some Kinda, while maintaining soul elements. Along with the songs, I’ve also included some of my artwork.

Format: How would you say your style and presentation have evolved from past offerings?
Dwele: In The Rize , there were no transitions. Since then, I’ve worked on my transitions and bridges. Also, The Rize was more hip-hop, whereas Some Kinda was jazzier. They all come together to paint a picture of who I am.

Format: Why did you choose to release this album on Koch, rather than Virgin Records?
Dwele: I had a two-album deal with Virgin, and nothing to base [an album deal] against. Now with an independent label, I get to compare the two. Also I have more creativity; it’s more hands-on.

Format: You list some of your older influences as Stevie Wonder and Marvin Gaye. Musically speaking, who or what influences you on a contemporary level?
Dwele: All sorts of music: hip-hop and jazz, mostly. On an artist level, I’d say Roy Ayers, Eric Roberson, Musiq, and I even have some Lil’ Wayne on my iPod–that’s how it’s always been.

Format: What drives you on a personal level?
Dwele: Family, man. I gotta make sure my family is cared for.

Format: How has urban life impacted the way you make music?
Dwele: A lot of things in Detroit have influenced me. There are a lot of different vibes in this town; the city itself, “the beautiful dirt”–that’s a direct quote from my man Waajeed. I’m in touch with my surroundings, right down to the seasons.

Format: Can you describe your optimal recording conditions for us?
Dwele: The back room in my mom’s crib–that’s home–that’s what it is. When I’m there, you know I’ll be coming with that fire.

Format: Your bedroom anthems are untouchable. Any tips for romancing the fairer sex?
Dwele: [Laughs] Sure. Make sure you set the mood first. Make sure you’ve got some green lights in the crib; they like that. Make sure you’ve got lotion on your hands–that they’re not dry. Lastly, make sure you’ve got some Dwele bumping!

Format: You play a handful of instruments, produce, and sing. How did you become such a multi-talented musician?
Dwele: It came about over a long period of time. When I was young, my father taught me to play the piano, and then I began taking lessons. I started playing trumpet in high school, and then picked up other things, like the guitar and bass.

Format: You’ve worked with some amazing artists throughout your career: Slum Village, Bahamadia, Jay Dee, and Kanye West, to name a few. Who was your favorite collaboration, and why?
Dwele: Surprisingly, Boney James. I was most at home with him, even in the studio. He would constantly crack jokes; you can hear me laughing in some of our tracks. I’ve had great experiences with everyone I’ve worked with, though.

Format: Your father was murdered when you were ten years old. Were the following years crucial to your musical development?
Dwele: Most definitely. He taught me the first few things about being a musician, and I keep a part of him with me wherever I go. I learned to put my emotions into music; it was my therapy. Eventually, I started adding lyrics to it. I’m constantly looking for different ways to express myself, from [music] to photography to poetry.

Format: Did they ever catch the killer?
Dwele: Yeah, they knew who he was. When they caught him, he pleaded insanity.

Format: Why do you think neo-soul is neglected, and what do you think needs to be done to popularize it?
Dwele: It doesn’t have the same money behind it as hip-hop does; it lacks the catchy hooks, glitz, and glamour. It needs more promotion. Neo-soul artists aren’t going super-platinum, but we’re still selling records. The music industry also needs to stop force-feeding [the public] bubblegum pop. I’m not hating though; like I said, I listen to some of that stuff. There also needs to be more balance on the radio.

Format: What is your next move?
Dwele: Following the album drop, I’m going to be putting together a tour. It will be international, and hopefully beginning at the end of June.

Format: Thanks so much for your time. Is there anything else you would like to add?
Dwele: I think that just about covers it. I want to thank everyone for supporting me and my music. Watch out for that tour! We’re doing it real big this year.

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The marriage between technology and creativity has led us into the world of digital art. The line between virtual reality and reality is often blurred, and has simultaneously opened up the gates to a new form of art that espouses digital media.

Jerico Santander, currently available for freelance or long-term contracts, is a Spanish illustrator and digital artist who beautifully represents the inventive world of post digital media.

Santander possesses a portfolio bursting with vibrant, dreamlike essence. Spilling layers of aesthetic appeal to every image he toils with, his use of salient color combinations, artistic composition and elegant originality amaze all his viewers.

Format chatted with the artist to gain insight into how his taste for digital art has ripened, and how he operates within this arena.

“I am unable to work with something that looks real or common. I’m always dreaming while I am awake and conjuring up crazy images.”

Format: Did you first experiment with paint, simple sketches, web design, or something more?
Jerico Santander: Since I was a child I had always been interested in drawing. I remember having a lazy teacher in grade school that used to provide us with paper, encouraging us to draw rather than giving us a grammatical lesson. I think this teacher deserves some credit in helping me develop an interest for the arts that soon became a hobby of mine [laughs].

Back to your question, I first came into contact with design and digital art back in 2003. I observed my cousin who was creating Flash sites and I found myself curious, so I began to experiment by meshing Photoshop with Flash, creating animated sites, abstract illustrations, and other impressive images.

Format: You tend to use plenty of digital media to enhance your work; what drew you into digital art?
Jerico Santander: I found the endless possibilities of blending photography, 3-D displays, and painting beyond exciting. I got addicted to the idea of creating compositions with different stock photos and then combining them as one–painting with tablets, highlights and shadows. Though lately I feel I need to practice more with painting instead of photography. It’s quite difficult, and nearly impossible, to find the exact stock I am looking for and it becomes a nuisance–but at the same time I love it.

Format: How much do the principles of uncertainty and fantasy play into your work?
Jerico Santander: I am unable to work with something that looks real or common. I’m always dreaming while I am awake and conjuring up crazy images. I guess my imagination is a huge part of my work.

Format: There is a substantial dose of surrealism in your portraits; is that something you purposefully create or do your images fluently manifest this quality?
Jerico Santander: The “randomness” in life makes me smile; that’s why I like surrealism. Some ideas I think about before I start working on them, other times while I’m working on a piece the idea just makes its way onto the page. I don’t really notice what I’m doing until I come in the next day and see what I have created. I do think it is best to first start with a sketch outlining the main ideas, then later you can simply add “little stories” while crafting the finished product.

Format: Beauty and elegance glisten through your work; what attributes would you say contribute to this?
Jerico Santander: Thanks for that compliment. Frustration can be the main key here. I tend to have an artistic endeavor in mind that is usually out of reach. I can’t enjoy my work or show certain qualities in my work if I can foresee how the image is going to end up; I need a challenge. Another important point is to be sure about what you want the image to portray; writing ideas and drawing sketches beforehand are key. Once you have a solid base for your work everything else comes a little easier, including depicting beauty and elegance. Of course possessing basic knowledge of color theory, composition and such is just as important–but that’s something to be learned and improved on in the midst of working.

Format: Your color palette consists of strong pigments; other artists may be overwhelmed by using such bold colors. Do you credit your creative personality for this “braveness,” or something more?
Jerico Santander: I have fun exploiting colors and grabbing the attention of others very much. Most of my work is indeed saturated with bold colors. I just have fun with it.

Format: Since working with the MTV Movie Awards in 2007, what other projects have you been engaged in?
Jerico Santander: I’ve been freelancing for the amazing people at BUCK (www.buck.tv). Some projects I have worked on include Tower of Grandville for Scion. I have also pitched ideas for ”My Sims” TV commercial. In both works I served as some kind of matte painter; it was a really exciting experience for me.

Format: Where would you like to exhibit your work–billboards, video games, movies, tattoos?
Jerico Santander: I prefer to see my Photoshop work in digital media rather than on printed media because of the RGB pixel intensity and the screen sharpness. I wouldn’t mind dabbling in bizarre, erratic matte paintings for Hollywood films, but I think I still have a long way to go before that happens [laughs].

More Info: http://www.jericosantander.com/

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Lisa Black is a sculptor from New Zealand with a very unique imagination. After finding a damaged, stuffed fawn at a garage sale, she was so inspired that she decided she felt she had to “fix” it by adding mechanical limbs, organs, and other crucial pieces. Some of her work, like the crocodile seen below, even includes working gears in place of the heart.

Despite what one might think, Lisa’s work is driven by a desire to celebrate the beauty of animals. She is a highly passionate person with a deep respect for the animal kingdom. Her work is also somewhat influenced by the trans-humanist movement, a belief that is helping humanity embrace the use of technology on an intimate level.

“My aim is not to celebrate the beauty of animals or their death as other taxidermy artists propose, but simply to offer an aesthetic deviation.”

Format: Your collection is called Fixed. Something was broken?
Lisa Black: To me, the animals are being fixed. Broken bones and dying organs replaced with technology to salvage them.

Format: What is your inspiration for your “fixed” animals?
Lisa Black: I like the idea of fauna being held in such high regard that the complete fabrication of organs and limbs for injured creatures is justified–maybe because we’ve blown everything else up.

Format: How long does it take for you to “fix” an animal?
Lisa Black: It depends on a few factors: one being the size of the animal, another being the necessary parts. The fawn was my first ever piece and took me at least three months.

Format: What sort of parts do you use for your animals?
Lisa Black: I use mostly vintage mechanical parts such as clock movements, antique hardware, cables, chains, and countless screws.

Format: There was a Marilyn Manson album called Mechanical Animals. I wonder if this inspired you as well.
Lisa Black: I am unfamiliar with a lot of Manson’s work. However, music has always influenced my artistic direction. I choose to always work with music playing; to me, music is an effective way to escape into another mind-space.

I have especially appreciated the progressive music of Nine Inch Nails over the years. I was lucky enough to meet the lead singer, Trent Reznor, a few years ago, and it was a great inspiration. He was polite and somewhat shy and it made me realize that greatness can come from anyone who has the passion to achieve it.

Format: We all knew a child, when we were growing up, who had some unhealthy obsessions for hurting animals. Did you know anybody like that or were you that child?
Lisa Black: I was a girl running around in the rain saving ants from drowning in puddles. I have a great respect and appreciation for animals; however, my aim is not to celebrate the beauty of animals or their death as other taxidermy artists propose, but simply to offer an aesthetic deviation.

Format: Have you studied taxidermy? How are your pieces, such as the heart, preserved?
Lisa Black: I haven’t studied taxidermy. I rescue animals from garage sales and online auctions…usually broken. The animals are all taxidermy and the heart was never meant to last. It belongs in a series of prints.

Format: Ok, so you mean the heart was never preserved? What animal was it from?
Lisa Black: That’s right. It was a real sheep’s heart which I worked on within the day. I really enjoy working with soft tissue; it can be very easily manipulated.

Format: Have you come under fire from animal rights activists?
Lisa Black: Yes. Combining the beauty of animals with the cold juxtaposition of machinery for some people creates an adverse reaction. I often wonder why there’s only been a concern about the fawn or duckling though. No one has ever said anything negative about the crocodile or ferret.

Format: How has your experience been with social networking sites like Behanced? How have they enhanced your career?
Lisa Black: I started creating my sculptures in mid-2007, and Behance was the perfect first step for showcasing my work. I have had thousands of hits on Behance, and they really encourage artistic diversity.

Format: Some have a vision of the future where cybernetics and robots may become common-place. Do you share a similar view of the future?
Lisa Black: It’s already happening; look up cybernetics on Youtube.com and you will find a lot of “fixed” humans.

Someone who saw my work sent me this poetry excerpt:

ALL WATCHED OVER BY MACHINES OF LOVING GRACE

“I like to think (and the sooner the better!) of a cybernetic meadow where mammals and computers live together in mutually programming harmony like pure water touching clear sky. I like to think (right now, please!) of a cybernetic forest filled with pines and electronics where deer stroll peacefully past computers as if they were flowers with spinning blossoms. I like to think (it has to be!) of a cybernetic ecology where we are free of our labors and joined back to nature, returned to our mammal brothers and sisters, and all watched over by machines of loving grace.” –Richard Brautigan

I like to consider my animals retaining their own intellect and thought processes, and in need of physical reconstruction only.

Format: I did not know that Richard Brautigan, one of the Beat Poets and peer to Jack Kerouac, felt that way about the future. That’s very cool. How did you feel when you read the poem? Were you moved? Surprised?
Lisa Black I was moved that anyone would take the trouble to send it to me.

Format: Are you familiar with the Trans-humanist movement?
Lisa Black: Yes. The line between natural evolution and technological evolution is already seriously blurred. I don’t see the difference between vaccines/antibiotics, robotic limbs, and embedded RFID tracking chips.

Format: You list “steampunk” as one of your influences; can you educate our readers on the culture?
Lisa Black: I’m not really interested in the culture but more the aesthetic of steampunk; in fact, when I first started I wasn’t really even aware of “steampunk” or what it was. I can say I was definitely influenced by movies like Bladerunner, La Cité des Enfants Perdus, and comics like Hellboy, so I really use the term to try describe the genre rather than a sub-culture.

Format: Which is your favourite piece?
Lisa Black: My favorite is the baby crocodile. He was a tricky one.

Format: Where has your work been featured?
Lisa Black: Thanks to my profile on Behance, my work has been featured in many high profile sites, such as Wired, Makezine, Notcot, Gizmodo and the Metro Post, UK. You can check my online portfolio for the links.

Format: What is your next animal project?
Lisa Black: I am creating a turtle in the same vein as the crocodile.

More Info: http://www.behance.net/LisaBlack

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