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Namsa Leuba_Explorer of the Spiritual_Interview  
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Posted on Oct 18 2015

Namsa Leuba-ladiesngents

Namsa Leuba-ladiesngents





Namsa Leuba-ladiesngents

For WAD magazine nį 53 / Cocktail
Namsa Leuba-ladiesngents
For WAD magazine nį 53 / Cocktail



How old were you when you first started having an interest in photography, as art?
At the time, what was it that you liked to take photographs of?

In 2004, I studied Design of Information in the Art School of La Chaux-de-Fonds (CH). When I was in my second degree, I realised that I wanted to improve in photography. In 2011, I graduated from ECAL/ University of art and design in Lausanne, obtaining a BA in photography. During my studies I developed a curiosity, sensitivity and a particular focus towards the world around me. For few years now, my research has been focused on African identity through Western eyes.




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Zulu Kids



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Namsa Leuba-ladiesngents

YaKalaBen



You grew up as the daughter of a Guinean mother and a Swiss father - in what way did your Guinean and
Swiss heritage influenced the way you view the world as a photographer?

I think to be a mix of cultures is a great wealth. I am an African-European, born in Switzerland.
My parents instilled in me both cultures and shared their history as well. When I began at ECAL University of Art and Design, I knew that I wanted to deepen my knowledge about my African heritage and I decided to focus my work on African culture.





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Khoi San




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Marlène




Namsa Leuba-ladiesngents
For WAD magazine nį 53 / Cocktail




For your project Ya Kala Ben, you write that you have studied "ritual artifacts common to the cosmology of Guineans; statuettes
that are part of a ceremonial structureĒ. What drew your interest to these artefacts in the first place? And what is the feeling or impression that you want the pictures that were inspired by them to convey to the viewer?

 All I knew before the trip was that my mother is muslim and that my father is a protestant, although Iíve not been baptized. The religious aspect of my motherís country became very prominent. I discovered an animist side to the Guinean culture which is based on peopleís respect for it. I had been exposed to the supernatural part of Guinea as since I was a child, I visited Ďmaraboutsí (some type of witches) and this time around took part in many ceremonies and rituals. And for me it was important to do this work, because now I feel more aware of this situation, the existence of a parallel world, and the world of spirit.

I selected the elements meticulously for the functions of my picture.  This world is based on rigour, with everything in its place. 
While recontextualizing African elements through my camera, I bring them into a framework for Occidental taste and aesthetic choices.  I try to transform and put a symbol back into Western intention. I am particularly interested in the attribution of religious or mystical qualities to inanimate objects known as fetishes. The myths, the force of nature, and the deep, intuitive, impulsive culture of Africa offered me a lot of creative inspiration. My approach was to separate those sacred statuettes from their religious context in order to immortalize them in a Western framework.






Namsa Leuba-ladiesngents




Namsa Leuba-ladiesngents

The African Queens Ė New York magazine




Namsa Leuba-ladiesngents




Namsa Leuba-ladiesngents

Zulu Kids




 Does taking pictures of people who are not professional models pose specific challenges to you?
I like working with non professional people. They donít try to be fake.





Namsa Leuba-ladiesngents




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Namsa Leuba-ladiesngents

YaKalaBen




What part does fashion play in your life?
While making ĎYa Kala Ben,í I was inspired by African statuettes; but there is another context and another meaning, fashion wise.  I enjoy fashion photography, and sometime I draw on that to make sure the series isnít boring.





Namsa Leuba-ladiesngents




Namsa Leuba-ladiesngents

Zulu Kids




namsaleuba.com



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Chu Teppa_Creator of goddesses-interview  
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Posted on Jul 13 2015
Chu Teppa-ladiesngents-Chu-Teppa

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Zaî, Goddess of liberation, mystery of creation and wind.




Chu Teppa-ladiesngents-Chu-Teppa

Hyê, Goddess of the maternity, kindness and antics.




You have said that "It is always easier to create out of love.
For this reason, my universe is defined by creative goddesses, who are on an epic voyage of transformation journeying towards light and abundance.Ē
How did you meet and choose your creative goddesses?

I just start to create them with the inspiration that I have at the moment. They come from a magical place that I keep inside of me.
It all happens spontaneously.
And the gifts that each goddess brings, also arise while I' m creating.






Chu Teppa-ladiesngents-Chu-Teppa
Cîz, Goddess of initiatory journeys, predictions and hope.




Chu Teppa-ladiesngents-Chu-Teppa

celestial goddess




What was the inspiration for your goddesses? Does each one of them stand for a side of you, maybe?
I think that the inspiration goes back to my childhood, to the time that I would play and create a
parallel, phantasy universe. That magical place still lives in me.






Chu Teppa-ladiesngents-Chu-Teppa
Lah', goddess of the secrets, the vanguard and clarity




Chu Teppa-ladiesngents-Chu-Teppa
Lüf, Goddess of skyline, pranks and telepathy.




Do you have your own personal mantras? What are they about?
Do you share their wisdom with the people close to you?

I think it is important for the evolution of human beings to be connected with love, nature and spirituality in any form. That is why it seems to me that it is
important to create mantras which inspire people to connect with them.






Chu Teppa-ladiesngents-Chu-Teppa



Øbå, Goddess of transparency, perseverance and reason




Chu Teppa-ladiesngents-Chu-Teppa
Celebration





Apart from the goddesses, you have also created other pieces like the Mystic, the Gnome, or the Love Party - do they belong to the same artistic universe as the Goddesses?
They come from the same place; they may me different as to their techniques, forms and colours, but they have the same DNA , the same magic, the same perfume.






Chu Teppa-ladiesngents-Chu-Teppa

Koÿ, Goddess of Winter, insight and hugs.




Chu Teppa-ladiesngents-Chu-Teppa
Måû, Goddess of harmony, lucky strike and coincidences.





How important a role does fashion play in your life? Do you care about following it closely or from afar?
I love fashion, it is another way to express ourselves; I'd rather have my own personal style,
something eclectic and romantic. I do not like to dress as if Iíve sprung out of the pages of a magazine; I think itís better to have your own style. It is always more interesting and original.






Chu Teppa-ladiesngents-Chu-Teppa
•ün, Goddess of vanity, second chances and eternal recurrence.



chuteppa.com




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THE CIRCLE by MAGNeTO  
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Posted on Feb 25 2015
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behance.net/MAGNeTO-




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AMANDINE URRUTY_Worlds of Wonder_Interview  
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Posted on Feb 12 2015
AMANDINE URRUTY_ladiesngents_AMANDINE_URRUTY

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You have said that you like to work on your bed with a suitcase of pens nearby - throughout history there have
been a number of writers who worked in bed -like Honore
de Balzac for instance- but I guess itís a first for a visual artist, right?

Actually, I donít know if Iím the only visual artist who works in bed, but thatís a stupid bad habit. But I love that, itís the biggest desk you can imagineÖ I use my pillows and a cardboard to create a table and I work sitting cross-legged while listening to crime stories on the radio and television.




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You used to be part of the underground music scene - why did you give it up for art?
I never wanted to be a musician, it happened by accident. And to be honest, I used to sing quiteÖ out of tune.
So I wasnít very sad when it stopped, even though it was really funny.
Above all, this little interlude allowed me to develop my graphic universe. I always wanted to be an artist, a drawer, but I used to prefer photography when I was an art student (photos of sausages, to be precise). Creating posters and record covers for the band led me back to the path of drawing,
and it was a good way for diffusing my graphic work.




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Do you also like to make up stories for your "repertoire of beasts and gallery of weird charactersĒ?
There are no real stories in the drawings, I canít tell you what would be my charactersí names or in which country they live but I love to create strange and densely populated universes, and imagine that maybe this little world could come to life one day.




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Where do all these creatures come from?
Were some of them there in your imagination, already in your childhood? Or in dreams?

My very first characters used to be some kind of rag dolls, with no mouth, no nose and no hands. So I began clothing them with gloves and masks, and all the bestiary arrived immediately thereafter. Lots of animals, especially dogs, sometimes a bunch of ponies to please my mother,
but also monsters inspired by toys from my childhood, and all the horror movies I watched. Recently, I had fun drawing characters from Ghostbusters or the Addams Family, as a direct reference to this part of my visual culture.




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When starting work on a new piece, do you do so because
of a sudden inspiration or is it rather an inner need to create?

Even though Iím a messy girl, Iím always well organised with my work. I first think about what kind of new series to do, and then I began working on all the drawings at the same time. For example, for now I have nine big drawings to finish. But once itís done,
I already know what will be the new seriesÖ I keep doing lists and keep noting new ideas, so I hope I wonít forget anything !




AMANDINE URRUTY_ladiesngents_AMANDINE_URRUTY



Have you been experimenting a lot until reaching your desired style?
There are some constant elements in my work, but I think it has been going through different periodsÖ When I really started working as an artist, I used to do quite simple black and white drawings, with black pens and a little bit of sepia markers. Then I applied colors on Photoshop. So I had monochromatic original drawings, and colored prints. To be honest, I was afraid of direct color, and I was wearing up and down that I would never do color drawings.
Strange as it seems, just after that I began using color pencils, and especially the fluorescent ones, and did very dense pictures, during something like 2 years and a half, until I finished my first monographic book, ę Robinet díAmour Ľ.
Personal (and sad) circumstances, and a little bit of weariness too, brought me back to black and white, but this time with graphite. Academic drawing was my first love, when, as an art student, I had to copy Ingres and Michel-Ange. I wanted to rediscover the joy of drawing, without artifice.
I donít know if I reached today my ę desired style Ľ,
Iím really enjoying this new period but one thing is certain : I still have to improve.




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Could you pick and speak to us about one piece that has been your favourite ?
My favourite drawing is always the last Iíve done. So for now itís the ę Egg Triptych Ľ, a big work I did for Jonathan LeVine Galleryís winter group show.
I really enjoyed doing it cause I love these kind of triptych series, as an obvious reference to classical painting. The Boy, the Ghost, the Girl, all this connected by eggs, roosters and omelets. It made sense to me. Hope it does to you. :)




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 If you could change one thing about the world of art, what would that be?
OhÖ I donít really know what to answer. Being an artist can be a hard job, for sure, but I already knew that before I began.




AMANDINE URRUTY_ladiesngents_AMANDINE_URRUTY



How important a part does fashion play in your everyday life?
Iím a real girl, Iím obsessed with shoes. In more general terms, I can have a compulsive relationship to fashion. But I donít have much time to do shopping ! Thatís certainly good news for my bank account. Anyway, I love fashion as a way to express oneself. I admire eccentric people, and love the idea of a never-ending carnival in the streets.




amandineurruty.com



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