Issue I
Spring 2024
Notes from the Editor:
In late 19th century London, the world of art revolved around a single entity: the Royal Academy. Being elected as one of its 40 members was the pinnacle of an artist’s career and it cemented the reputations of the likes of JMW Turner and John Constable.
One way to gain membership was through the annual art exhibition organised by the Academy at Burlington House in Piccadilly. From thousands of submissions, they selected just over a hundred paintings for display. But making the cut - a huge achievement in itself - was only half the battle. You then had to see where the Academy would put your canvas. Near the ceiling or tucked away in a corner meant a second-rate painting. At eye level - what’s known as on the line - was the place to be. Yet there was no point being on the line if your painting was hung in the Lecture Room. That’s the concourse right at the back of the building, the sort of place you only stumble into because you were actually looking for the restroom.
Ideally, you wanted Gallery One, the first space to the right of the main entrance staircase, a room as ornate and magnificent as it was prestigious. So why exactly am I giving you a guided tour of Burlington House? The Fine Arts Journal, a project long in the making, is a publication which aims to showcase the school’s flair, voice and creativity with the same meticulous curatorship as the Academy. Just with students making the decisions rather than some highbrow old men. So step inside and take a look. First right. Gallery One. On the line.
ENGLANDS
LANE
NW3
Ballou Teplitzky, Graphics A-level
Mass Consumerism & The Human Condition.
Flo Samuels, focusing on “the effects of mass consumerism etched into our society”, delves into the presence of chaos surrounding materialism with a focal point on commercialised trends. Learning through her experimenting, Flo simultaneously produces a story voicing the “irony and futility of human interaction”. Hinting towards an inevitable consumption (this varying from beauty standards to material oriented purchasing), Flo successfully brings to light “things people don’t notice targeting their daily lives - using art to draw attention to ‘minor’ issues our society chooses to ignore”.
“Acrylic and oil paints are my favourite - I like the media I use to control the piece as much as I do. I find watercolour to do this best, unpredictability, a sort of chaos behind this beautiful order.”Approaching her art with the process holding equal significance to the product, Flo allows the viewer to see the ending of a story without possessing a full understanding of its creation; an outer shell to a much larger procedure, the message of materialism is echoed. With this in mind, a question is posed by the viewer: what else is on the canvas that I don’t see? Forcing the observer to question this underlying structure and layering to the finished piece, the masked realities of their consumerist habits are brought to light. Understandably, this isn’t noticeable at first glance, a representation of the obscuring of issues Flo combats. The painting exudes a vibrant and dynamic aura, captivating the viewer (symbolic of our culture’s captivation towards consuming), an evoking of energy and vitality pulsating throughout the canvas. Juxtaposing this, as we know, is a more melancholic message which fills her page, successfully hidden behind blocks of animated shading.
Untitled, Flo Samuels
An insight into Flo’s perception of art’s history and future: “With modern art, we’ve seen a move away from historically prominent techniques and realism, with an emphasis on artist’s intent rather than portrayal. I see the future of art holding power in its message rather than presentation. I will always appreciate the pragmatism present up until the early 20th century, but I look forward to seeing where this being broken down brings the industry.” Interestingly, Flo’s work veers away from traditional realism while remaining a voice of it. Asking where art lies in her future, the student states: “I don’t know if I want art to be the entirety of my future but I don’t want to lose the ability to communicate without my words. I know art will always hold the power of comfort and reassurance for me and I hope I'll be able to make time for it when I’m older.”
Mass Consumerism & The Human Condition.
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Mass Consumerism & The Human Condition. 〰️
Dancing Through Life: The Journey of Jayde Tsang
Beginning her journey into dance from the early age of four, Jayde Tsang has grown up with this talent, utilising it as a means of expression and creation of art. “I dance whenever I have time, when I finish school or work outside of it. I also try to prioritise most weekends to dancing.” Understandably, Jayde’s life is surrounded by her craft and devotion to it. Spreading her culture and heritage through the streets of London, the dancer brings something refreshing to what we often see in our city.
This escape being “passionate and freeing, as well as a perfect medium of exercise” makes it the perfect hobby for Jayde. Hoping to pursue dance further into adulthood, Jayde wishes for this rhythmic movement to engulf her life further. In this pursuit of self-expression and artistic fulfilment, the student has found solace and passion in the rhythmic movements of dance; not only a hobby but a deeply ingrained part of her identity, shaping her experiences and aspirations.
Nonetheless, a competitive nature resides in the dance community, putting stress on Jayde when it comes to comparing her talents to other dancers. Jayde states, “I’m scared my skills aren’t improving, I’m scared I could never dance as well as everyone else.” However, Jayde perseveres in following this hopefully life-long pursuit; a source of joy and pathway to fulfilment, dance will never leave her.
While choreographing sparks creativity for the dancer - by allowing her to explore new movements and produce more personal dances - using trending dances is a more useful tool in mastering her craft because it exposes her to technically rigorous motions. As Jayde continues her journey down this path, she hopes to “challenge, confront and create”, diversifying the field that continuously inspires her.
The ‘Pierre Maurisso’ Lifestyle.
For four years, Jake Crocker has been growing a lifestyle brand specialising in natural day-to-day products including skincare, homeware, and fragrances. Jake’s intent is to innovate the way of living using raw materials sourced from nature, persisting in finding the finest ingredients and ethical materials to conceive his line. He acquired the name ‘Pierre Maurisso’ in 2021 in memory of the vineyard that he lived by while growing up in the south of France. Currently formulating his recipes and designing his homeware, the brand prides itself on the reliability and the purity of its opulent products while remaining affordable to his consumers.
Get To Know: An Interview with Music Producer and Artist, Ethan Woolley.
VP
So, what prompted you to start making music?
EW
I’ve always been a big fan of music, specifically rap since I was young. And one day when I was kind of like 11 or 12, I just thought to myself, how do these songs come about? How are the beats made? So I started looking into it. And my parents got me a software for Christmas, like a producing software. And I started teaching myself and then I started producing so I make instrumentals for other artists to use in their songs. I've been doing that for a few years now. But, yeah, more recently I started DJing and also writing lyrics myself as well and making my own songs.
VP
What led to your passion for it? Like what made you start liking it? Was it certain people?
EW
I have big inspirations. What really got me into rap specifically was Migos from Atlanta. And also, Young Thug. They're my biggest inspirations.
VP
What does your process look like? Where do you get the ideas from? Do you sample things as well?
EW
I’ve got a lot of friends that are producers who are really skilled in music theory and they make samples. A lot of the time these days, to speed up the process, I use loops and samples from other producers and make the beat. From there I can chop up the sample like a manipulator. However, I want to make it into my own kind of thing. I think that’s what’s really great about sound play, you can take a piece of music and turn it into something completely different than you wouldn’t even know was the thing that it was before.
VP
Whats your favourite aspect of music and what you do and who inspires you or what inspires you?
EW
When I’m making music, or when I’m making a beat, or when I make a song, I hear a moment that I can sense. Like, when I hit a certain part of a song, and I’m just like, wow, this is good. It just drives me to do more. And every time I create a new kind of sound or certain sort of vibe, it reminds me that I can make so much more than what I could imagine.
VP
I get what you’re saying, like a certain kind of satisfaction. So Migos inspires you, are there certain things rather than people that inspire you?
EW
I'm really into, like old school, not music specifically but like music videos and recording techniques. I actually bought an old school camcorder and I look at the way some of my favorite artists use these old camcorders with these effects and how they're able to capture such an old school kind of vibe which I think changes the feel of the music too.
VP
What's your favorite process? Is it music videos? Is it DJing? Is it writing for other people?
EW
If I had to pick a favorite, I'd say when I make my beats, my instrumentals, and I make the layers to my songs, I'm doing it one by one. But when it all comes together, and when I play it all together, and it's just layer over layer, but it fits so perfectly.
VP
What does it mean to make music to you? Do you use it as your own outlet? Is it because you want to share that with people?
EW
If I'm honest, I don't really do it specifically for other people. I do it for myself, because I really enjoy it. I just love it. And because of that, I don't really care what people think of it and if it's good or bad.
VP
Do you have any highlights, like the high points in this entire process? Or like a struggle that you've overcome that pushes you?
EW
Highlights? One of my big highlights I got when I was, like, 13. I put out an album of instrumentals and it was like, Lo Fi kind of beats that I used to make. One of the songs completely blew up and TikTok has got hundreds of millions of views. It was crazy. Also, I think I should mention as well, another one of my big highlights. One of my personal favorite artists, I managed to get a song with him a few months ago. His name is Len. Yeah, he's actually also going to be on my next album. So yeah, that was a really big moment for me. Usually when I get songs with artists, it's kind of people that I don't really listen to. They're great don't get me wrong. This was special for me, because it really made me believe that I could do it. That is one of my favorite artists and to hear him on something that I've made was just insane to me. Then a frustration? I'm not really consistent with my work. If I'm honest, I have kind of phases. I get beat block a lot. Which is like writer's block. There's not really like a formula to overcome that. But when you just keep going it just clicks all of a sudden, and you're back in the zone
VP
Do you take like a music kind of A-level?
EW
Yeah, I think music tech is cool and it's definitely helpful.
VP
What are your goals or upcoming projects looking like?
EW
I'm working on an album right now. I've got a single that will be dropping soon, and a video shoot. It's got a feature on it as well. You'll see that soon. Then that album should be month or two after that. And then I'm going do a concert.
VP
Do you prefer collaborating with people or do you prefer doing it on your own?
EW
I think both processes are a great thing. I don't prefer one or the over the other specifically, but, you know, when you make a piece of work with another artist, and it just works, I don't know how to describe it, it's more satisfactory. I feel like I do also feel that way when I'm doing it by myself, I can manipulate more of the sounds into what I specifically want because as much as I can guide and help the other artists, they never know exactly what I'm thinking.
VP
Thank you so much for this Ethan. I don't know much about music and the whole process but this was super interesting and I'm excited to see what's next for you.
The History of the Kimono: A Timeless Tale of Elegance
By Huxley Dobner
The kimono, a traditional Japanese garment, has a rich and diverse history that spans centuries. Its origins can be traced back to the Nara period (710-794 AD), where it evolved from the Chinese Hanfu robes. Initially, the term "kimono" simply meant 'clothing.' Over time, it became the iconic garment we recognize today, showcasing Japan's unique cultural identity.
In its early days, the kimono served as a unisex garment, worn by both men and women. It was a T-shaped, straight-cut robe with square sleeves and a distinctive sash called an "obi." The fabric, design, and colours were indicative of the wearer's social status, age, and the occasion. As Japan entered the Heian period (794-1185 AD), the kimono underwent significant changes. The kosode, a predecessor to the modern kimono, emerged as a more form-fitting garment with narrow sleeves, primarily worn by the aristocracy.
The Edo period (1603-1868) marked a turning point for the kimono. With the rise of the merchant class, a new sense of fashion emerged. People began experimenting with vibrant colours, intricate patterns, and luxurious fabrics. The obi also became wider and more elaborate. Kabuki actors and courtesans played a pivotal role in influencing kimono designs, as their flamboyant costumes became trendsetters.
During the Meiji era (1868-1912), Japan underwent rapid modernization and Westernization. This shift had a profound impact on traditional attire, as Western clothing gained popularity. However, the kimono endured as a symbol of Japanese cultural pride. The Taisho (1912-1926) and Showa (1926-1989) periods saw a fusion of traditional and modern elements, with the kimono adapting to contemporary tastes.
In the contemporary era, the kimono has transcended its traditional roots, finding a place in global fashion. Designers and fashion houses worldwide have embraced the elegance and versatility of this iconic garment. The fusion of traditional craftsmanship with modern design concepts has breathed new life into the kimono, making it a sought-after item beyond Japanese borders.
One notable instance of the kimono's influence in the world of fashion occurred in John Galliano's Spring Couture 2007 collection for Dior. Galliano, known for his avant-garde designs, drew inspiration from Japan, featuring elaborate kimonos adorned with intricate embroidery and luxurious fabrics. The collection seamlessly blended traditional Japanese aesthetics with Dior's signature style, showcasing the kimono as a symbol of timeless elegance.
Alexander McQueen, another visionary designer, also incorporated the kimono into his creations, leaving an indelible mark on the fashion landscape. McQueen's innovative approach to design often pushed boundaries, and his exploration of the kimono showcased its adaptability to diverse styles, such as the kimono featured on Bjork's Homogenic (1997) album cover, shot by the legendary Nick Knight, and his Fall 2003 Ready-To-Wear collection. By integrating traditional Japanese elements into his collections, McQueen elevated the kimono to a global stage, emphasising its enduring allure.
In contemporary fashion, the kimono has become more than just a traditional garment; it represents a fusion of cultures and a celebration of diversity. Designers worldwide have embraced the versatility of the kimono, incorporating it into their collections as a symbol of cross-cultural inspiration. Its influence extends beyond runway shows, with celebrities and fashion enthusiasts incorporating kimonos into their everyday wardrobes.
The modern kimono is not confined to traditional fabrics or motifs. Contemporary iterations showcase a wide range of materials, from silk to denim, and feature diverse patterns and prints. Designers experiment with cuts and styles, transforming the classic silhouette into a canvas for creative expression. The global fashion scene recognizes the kimono as a versatile piece that can be adapted to various occasions, from casual streetwear to high-end couture.
In conclusion, the history of the kimono is a testament to its enduring elegance and adaptability. From its humble origins in ancient Japan to its current status as a symbol of cross-cultural fashion, the kimono continues to captivate and inspire. Designers like John Galliano and Alexander McQueen have played a crucial role in bringing this traditional garment to the forefront of global fashion, demonstrating that the allure of the kimon transcends time and borders. As we navigate the ever-evolving landscape of fashion, the kimono stands as a timeless emblem of beauty, craftsmanship, and cultural heritage.
Beyond its use as a garment, the kimono has become a cultural ambassador, fostering appreciation for Japanese traditions around the world. Its presence in mainstream fashion reflects a broader trend of cultural exchange, where diverse influences converge to create a tapestry of global style.
“Fashion should be a form of escapism, and not a form of imprisonment.”
What We Can’t Describe
By Flo White
we can describe the plethora of colours that blend courageously together, creating the hues of the sunset.
we can describe the sparse, lonesome cloud, that wisp and spread delicately and smoothly, generously populating the void above.
we can describe the wind that caresses our bodies, tightly enveloping us in a cold blanket of gods breath.
we can describe things that we can see and feel physically,
but we can't describe what we feel emotionally.
sure there are phrases; for example, butterflies in my stomach, the heart skipping a beat and so on..
but what is it to really describe an emotion? something completely intangible to the perception of our words, no matter how vast the vocabulary. feelings riddled with ambiguity yet so minuscule that there are no words big nor small enough to describe it, but that's the beauty of feelings. they're what we can't describe.
Who Got Robbed?
By Valentina Pinault
Hollywood’s awards season wrapped with the Oscars ceremony a few weeks ago, and it’s safe to say there was an influx of opinions from the public. Let’s go over a few of this year’s major categories and name some projects and people added to the historically long list of those Who Got Robbed.
Firstly, we have the highly anticipated Best Actress award. This year, the nominees included: Lily Gladstone (Killers of the Flower Moon), Emma Stone (Poor Things), Annette Bening (Nyad), Sandra Huller (Anatomy of a Fall), and Carey Mulligan (Maestro). I was shocked Emma Stone walked away with her second Oscar, but not disappointed. Emma is one of the great actresses of our time and I find she did an exceptional job as Bella Baxter in Poor Things. However, I’m here to discuss the travesties of the night: Mrs. Annette Bening. Her performance as Diana Nyad left me gobsmacked and even uncomfortable as she completely became this obsession fueled powerhouse. There is a look in her eye throughout the film that made her performance exceptional and undetectable - and I think it’s safe to say - Annette Bening got robbed.
Next, let’s discuss this years Best Supporting Actor category. The nominees this year included Ryan Gosling (Barbie), Robert Downey Jr. (Oppenheimer), Sterling K. Brown (American Fiction), Robert De Niro (Killers of the Flower Moon), and Mark Ruffalo (Poor Things). This year, we saw RDJ take home his first Oscar after three nominations and I was definitely in support of the win despite the (mostly) great nominees. Emphasis on mostly. Ryan Gosling as a Ken Doll being nominated against these other performances I found to be slightly offensive. Gosling has had many Oscar worthy performances but Ken filling a slot in the category seems wasteful. Who would’ve been a far more deserving pick? Milo Machado Graner from Anatomy of a Fall - a bit of a left field pick but his turn as Sandra Huller’s 11-year-old son Daniel brilliantly portrays the internal conflict of a child who is forced to choose between his mother and father. He got robbed.
Let’s talk Best Director. Christopher Nolan took the win this year with Oppenheimer, and while no one was surprised, it’s worth questioning whether this win was entirely on merit or as a reward for several previous nominations. Surely the uniqueness and individuality of Poor Things or the astounding impact that Anatomy of a Fall managed to achieve - despite meagre resources - were worth considering. Could Nolan pull off Poor Things? I don’t think so. Maybe the Oscars is just a popularity contest…
Yet another missed opportunity for a nomination: Best Cinematography. The nominations included Oppenheimer (winner), Maestro, El Conde, Killers of the Flower Moon, and Poor Things. Oppenheimer taking the win for this category is shocking and highly disappointing. El Conde as well as Poor Things had some of the most visually enticing and beautiful cinematography and were far more deserving of the award. But there was another robbery within the category… Saltburn. While the media couldn’t tell if the film was offensive, underdeveloped, or a masterpiece, the cinematography was magnificent. Shot on 35mm film, the cinematography played a huge role in setting the film apart through sensuality, voyeuristic angles, unsettling intimacy, incredible contrasts, and colours. The film was snubbed from any nominations at the Oscars, despite quite a few throughout awards season.
All in all, the nominations this year were fair - but I would love to have seen more variety in the wins (Oppenheimer took the cake just as Everything Everywhere All at Once did the year before). My hope for next year’s ceremony would be to consider other works within the categories more seriously, rather than the fan favourites or box office giants.
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