In the 16th and 17th centuries, Dutch artists painted piles of rotting fruit, faded flowers and skulls in the quest to depict the ultimate futility of earthly life (optimistic guys, these Dutch painters). Four centuries on, Tara Sellios has transferred the traditional vanitas painting onto film, photographing pig heads, goblets of blood-red wine and all varieties of anything dead or in the process of dying.

Wonderland spoke to the Boston-born photographer about life, death, the impermanence of meaning, and whether she’s now compelled to rearrange plates of food when she eats out.

Why the obsession to photograph meat, wine, blood? Is there a more personal connection or meaning?

There are several different reasons, and they are all layered and relate to each other in some way. My work has to do with themes of death, impermanence of life and pleasure, and carnality. Flesh and blood have such a visceral quality to them when used in the still life, which ties into all of these themes. I’m interested in the animalistic nature of people, and how we, at the end of the day, act on impulse and instinct, despite culture, emotion, and sophistication.

Any unconventional artistic influences, or sources of inspiration growing up?

I can’t think of anything that I would classify as unconventional. I do think a lot of art making is derivative of an artist’s entire past in some way, shape or form. I have always had a love for art history and an attraction to old paintings. The work of the old masters is so elegant and infinitely majestic, while at the same time possessing a haunting and mysterious quality. It amazes me how lasting some of this work is, and how it is still revered today after so many centuries. One can only dream of making something that is still so affecting after being around for so long.

What distinguishes your work from a revamped vanitas piece and makes it modern and relevant today?

One of the aspects is the use of the large scale, color photograph to execute the images. Instead of being painted, these scenarios are documented on film, meaning that obsessive precision is necessary before the film is exposed, unlike with paint, where you have the ability and more freedom to play around with what is and isn’t in the image. There is a different physicality to my work in the fact that I actually must go to the markets and seek out these items, and then really arrange them, touch them and smell them.

Is your approach at all didactic in trying to teach us a moral lesson?

I wouldn’t say that I am doing this to teach anyone anything. Everything the work is about, I feel, is something that people are already aware of to some extent. If anything, I would say the photographs act as a reminder. Honestly, I just want to create something affecting out of a disheartening truth.

There seems to be a lot of Christian symbolism in your work. Are you at all spiritual in any way?

I was raised in a very Christian environment, and I attended church many times a week for most of my life. There was no other option than to do what I was told when I was younger, but I ended up not following that path. This certainly has influenced my work, and is most likely why the old altarpiece paintings resonate with me so much. There is a lot of guilt involved with Christianity, and presently I am interested in the idea of self-restraint from pleasure or self-indulgence, things that aren’t necessarily wrong, but by religious standards are looked at as sins, and the guilt that goes along with that.

What are you working on right now?

I am in the process of making a new photographic body of work called ‘Luxuria’. They are rich in color and lush with a lot of wine, fruit and flowers. Wine is the central driving subject. Hieronymus Bosch has always been an influence, but recently I have been really looking at his “Garden of Earthly Delights” triptych. I want the photographs to sort of appear as the paradise garden gone wrong, almost as if the Hell panel and paradise panel collided.

Has your own work changed your daily attitude towards seafood and red meat? Is it hard not to rearrange the dishes and portions on the table when you eat out at restaurants?

No, not really. The items that I use are my raw materials, as clay to a sculptor or paint to a painter. Eating is a totally separate act from making these tableaus for the camera. For some reason I do like raw food: oysters, carpaccio, sushi, things like that, but that’s just personal preference. Perhaps this ties into my work a little bit with the idea of self-indulgence and pleasure, but these are concepts, not props.

Words: Christine Jun (Follow Christine on Twitter @christinecocoj)

The post Emerging: Tara Sellios’ modern vanitas photography appeared first on Wonderland.

Annie Mac’s Rinse FM enfant terrible proves that quitting school to pursue your DJ dream does actually work. And good thing, too, because Lucy Monkman will be the first to admit that she would’ve made a “crap lawyer”. BBC Radio 1 DJ, ZOO record label owner, and underground tastemaker bringing the heavy vibe to festivals all over Europe and the UK, by the age of 21. In Monki we trust! Tracklisting and interview below.

Atumpan – The Thing (Zulu Remix)
Breach – Jack (Mak & Pasteman Remix)
tessela – Hackney Parrot
Liquid – Sweet Harmony
mY nu Leng – Levels
Zac Toms – Bring Me Down (Stanton Warriors Mix)
Rebound X Rhythm & Gash – (Melé Edit)
Destiny’s Child – Say My Name
Melé & Salva – Hollywood Noir
Salva and RL Grime – What You Waiting For
SL2 – On A Ragga Tip
Shy FX – Shake Your Body
Kelis ft Andre 3000 – Millionaire
Melé – DMX
Roots Manuva – Witness
Fat Joe, Ja Rule and Ashanti – What’s Luv?
The Neptunes – Frontin (ft Pharrell & Jay Z)
Justin Timberlake – Sign (ft Snoop Dogg)

Check out other exclusive Wonderland mixes from top DJs, bands and musicians here.

Hey, Lucy. What have you put together for Wonderland?

A 30 minute mix of old and new bits that represent the sort of set I might play out at a club or festival. House, garage, jungle, hip-Hop. Party set!

How did you start spinning?

I only started DJing four years ago. I used to go round my friend’s after work. We played hip hop on this vinyl deck, and were really crap at it. At the time, I was studying law and economics, and hated it with a passion. Then one day I heard Annie Mac on Radio One, and was like – why can’t I do that? She sounds like she’s having so much fun! The next day I quit, and started hunting for work placements. I didn’t tell my mum for six months.

What did your mum say when she found out?

I knew she’d be really angry, because she’s a barrister. But she was a clubber back in the day, so she got over it. She gets free festival tickets, so she can’t complain.

What was your first break?

My first gig was in the basement of a pub at King’s Cross, and no one turned up. A month after that Annie emailed me asking for a mix. Then we met up for coffee. She asked, do you wanna warm up at the next Annie Mac Presents? And I was like, oh my god! Yes, please! I was 18.

Influences?

Pirate radio and the people I’ve worked with at Rinse, ’cause they’ve driven so much music. Then people like Annie, who’ve always supported me. I didn’t want to fail them.

Were you scared of failure?

Yeah, I didn’t want to end up working at Asda. I wanted to prove something.

Do you feel like a role model for young girls?

People have come up to me in clubs and said, “Oh, I really want to be doing what you’re doing,” which is weird, because I’m still pretty young and it feels like I started out yesterday. But its nice at the same time. If I can inspire someone to do what I did, and they’re happy doing that… Then mission completed, really.

Any advice for aspiring female DJS?

If you wanna do well, you need to be a good DJ, not good for a girl. People will take you way more seriously. Don’t post selfies on Instagram all the time, and stuff like that.

What are you looking for, in terms of sound?

Right now a lot of people are making garage and house. My mixes are what I’m listening to at the time, so it’s across the board. That’s what I’m known for.

What projects are you working on at the moment?

I just finished my Monki and Friends EP with Rebel Studio. I was curating a collaborative of artists including Karma Kid, Salva from LA, and Shadow Child. I also start my own night at Fabric in September. I’m really nervous.

Are you a party animal?

DJing hasn’t spoiled clubbing, but I listen to the mixing instead of letting myself go. I am the world’s most boring DJ because I don’t drink, as well. I had my heyday when I was younger, went wild for a year and got it out of my system. The rare weekend my boyfriend and I get off, we chill out.

What would you like to accomplish by the time you’re 25?

World domination.

DJ Monki plays at Glastonbury on 28th June, and Lovebox Festival in London on 19th July.

Words: Christine Jun (Follow Christine on Twitter @christinecocoj

The post Listen: Monki Exclusive Festival Mix appeared first on Wonderland.

The self-declared paganist’s powers have garnered her four MAN shows and a nomination for best menswear designer in 2007 alongside Alexander McQueen and Christopher Bailey. When Carri isn’t busy transforming celebrities like Rihanna and M.I.A. into exotic avatars – complete with horns and headdress – this modest, well-spoken blonde eschews the spotlight, and prefers to visit the British Museum. We spoke to her about her latest collaboration with JuJu shoes.

Carrie, can you tell us a bit about your latest collaboration?

I’ve always been a Juju fan. I got a silver glittery pair when I was 13: I still live in them. I was happy to find that they still made them, since its important to me to support UK manufacturers and industries. So I tracked Juju down to see if they wanted to do a collaboration, and they did.

As if they would say no to you. What do your custom designs look like?

I did a pink and a blue pair, glittery, with 3D hearts and an animal print on the inner decals – the first time Juju did that.

What kind of girl do you want to see wearing your clothes?

Someone tough, strong, who knows herself, and has confidence. But she can be geeky and nerdy too. That’s hot.

What influences can you name?

Subcultures, mostly. Any tribes, whether a group of sports players or in the Amazon. I don’t watch TV except nature programmes to chill out. I wanted to be a veterinarian when I was younger, so I use many animal prints. I’m also a paganist; I celebrate all the solstices. The 90s skater scene – the pastels, fluorescents, that blue sky that you get in California… I was actually there when Kurt Cobain died.

Are you also into grunge?

I grew up on the south coast, so I’m more into rave, jungle, and UK garage. I’m also a fan of hard-core and metal bands like Black Norwegian.

Any sources of inspiration that might surprise us?

Whenever I’ve free time, I go to the British Museum.They have amazing Aztec, Mayan, and Egyptian sections. The building itself is also amazing. And it’s free!

What are you working on at the moment?

I´ve taken two seasons off to do small collaborations, like with Juju. I´m working on the identity of my womenswear collection. It’s still going to be strong, playful – and a bit slutty.

Speaking of slutty, why are your female models often nude, like in the girl-on-girl action in the Power Turbo video?

It is meant to be very empowering. When I visited the Juju factory in Northampton, there was an old framed Sun shoot in the bathroom that was really sexy, and I wanted to recreate that. I didn’t use typical girl models; they’d all had their boobs out before. I didn’t consider a traditional male gaze. I imagined them more as a tribe of Amazons, maybe getting a bit girl-on-girl, but if anyone tried to mess with them, they wouldn’t hesitate to kick their ass. I hope no one considers it degrading.

Is there a political statement behind your brand, like Vivienne Westwood’s?

When I first started, I looked into making sure that none of my T-shirts were made in sweatshops. But I think if you’re going to do it, you have to do it all the way. All levels of production must be self-sustainable. I dream of it becoming economically possible for me one day. I admire women like Vivienne Westwood, who prove that you can be both a successful designer and businesswoman.

What would be your dream collaboration?

I would love to design my own videogame one day.

Can we expect more boobs?

Definitely more boobies. My mum says I´m obsessed with them.

Well, you know what they say about how your mother’s always right…

Yeah, unfortunately it’s true. She is always right.

Casette Playa for JuJu shoes will be available exclusively at Machine-A store in London on 20th May 2013. cassetteplaya.com

Words: Christine Jun (Follow Christine on Twitter at @christinecocoj)

The post Cassette Playa × JuJu – Exclusive Interview appeared first on Wonderland.

Shoes Off If You Love Luton! wasn’t chosen as the cover image of the Saatchi Gallery‘s upcoming show for nothing. Whether dressing up as Margaret Thatcher (his “magnum opus”), his dog Dolly, or a Burberry-clad chav, Dominic from Luton provides undeniable Brit impact.

So… why Luton, exactly?

Most people think Luton is shit, but I’ve always loved the idea of the underdog. Luton’s got a rough deal over the years, and deserves better than that.

You’re often in drag. Do you think that helps or hinders viewers to take your art seriously?

Humour’s not a bad way to engage people, to make them react, though the works themselves are quite serious.

Do you consider yourself a performance artist as well a photographer?

Definitely. I was recently asked to give an artist’s talk at a working men’s club. But I was more interested in it being experiential, a shared moment, through a three-minute pop hit in the guise of singer Paul Young.

Is your work distinctly British?

A lot of what I do is autobiographical, and has to do with Thatcherism, which my family bought into. Their current state is a consequence of their trying “to better themselves”.

What if the viewer doesn’t pick up on all the multiple Brit cultural references?

They don’t have to have a sense of contemporary British cultural issues. I’m more interested in people actually liking my work at face value.

Are your performances re-enactments, like Jeremy Deller’s Battle of Orgreave?

It’s a rebirth. I’ve thought about recreating when Millwall came to Luton for an epic football cup title in 1985 and basically rampaged through the town. It was also racially motivated. They attacked the referee, tore up the seats, and it was one of the most violent incidents in English football history.

What influences and inspires you most?

I’m obsessed with plays. I recently worked with David Eldridge on a one-day event. Someone I look at is Stuart Brisley, the daddy of British performance art: he’s fearless. Gilbert and George are still fantastic and relevant. There’s also a very underrated, late 90s band called Campag Velocet, which means taking drugs while cycling.

What can we expect from you in the near future?

A collaboration in which I make my dog into a fancy dress costume. It’s going to be furry, have whiskers and look identical to my dog, Dolly. We’re going to walk down Whitechapel High Street, then to a park off Brick Lane to play football together; it’s going to be documented. But before that, I’ve got a load of fake Burberry fabric from Shepherd’s Bush Market. I’m going to construct another Thatcher in a power dress suit, with pleated skirt, tights, high heels, Burberry makeup. I’m using Burberry as camouflage, as a vehicle for that term “chav”. It’s a deplorable, lazy word to describe people who haven’t got very much. It’s a very British affair.

1. Paul Young from Luton (2013): “He was a global pop-star and nice bloke. I wanted to breathe life into his memory and sing a love-song to my Luton Town.”

2. Shoes Off If You Love Luton! (2012): “The Reebok is the emblem of everyman, people I grew up with. The 99 with flake tattoo is a beautiful nod to that fleeting moment in suburbia, the sound of the ice-cream van in summer.”

3. Antagonistic Relationship Aesthetics (2011): “One of my favorite pieces. I think art has a duty to communicate, and I was the lucky recipient of this phrase via football.”

4. The Pursuit of Happiness (2007): “I found this bike in a skip in Walthamstow. This piece was never trying to do that much, that’s why it worked. It was purchased by buyers for Paul Smith.”

Dominic from Luton’s photography opens as part of Saatchi Gallery‘s New Order: British Art Now on 26th April. www.dominicfromluton.com

Words: Christine Jun  (Follow Christine at www.weaponsoms.blogspot.co.uk)

The post Dominic From Luton’s queer Britannia appeared first on Wonderland.

 Cometes (2012): “I found this girl on an online forum for long-haired people. Extremely long hair has always fascinated me and I even thought about making a whole series about it. Cometes means ‘comet’ in Greek, as well as ‘long-haired.'”

Don’t expect any easy answers when approaching Zelenkova’s elegantly subversive black-and-white language. Often mislabelled a surrealist, she prefers that you lose and find your own way again in her often estranged, darkly romantic, yet timeless images. We talk to the Czech artist about why her work doesn’t make her a pessimist.

Why only black-and-white photos?

The usual first question! I sometimes shoot in color. But I feel more comfortable with black and white because it makes it easier to put things together. I’m more interested in form; colors are just too intrusive. It’s definitely an aesthetic choice.

Where are you from and why work in London?

I come from a small town in the eastern Czech Republic. About six years ago, I visited London and liked it, so I stayed much longer than I was supposed to. At the same time, I was bored to death studying law in Brno. I’ve always done photography, but never formally studied it. So I applied for a course in London and it was a good excuse to move here.

Is there a significant art scene back home?

There is in Prague, but I’m actually having a hard time becoming accepted there. They don’t want me, they’re like, “Who’s that?”

Can you name a few Czech artists that we should look out for?

Jiří Thýn, Jan Vytiska and Radeq Brousil.

Does London inspire or distract you?

It’s been very difficult for me to create any work in London. It’s the pace of life here: you don’t have the time to stop. It’s also hard to keep looking at things in a fresh way where you live. For my latest body of work, I’ve forced myself to take more London photos.

What projects do you have planned for the future?

I’m working on two different projects at the moment. The first deals with museums as places that are excluded from the flux and reality of everyday life, but are also organised and rationally structured reflections of the world. My other project is funded by 1000 Words Photography Magazine and deals with European migration. It’s challenging, because it’s very political and unlike me.

How do you describe your own photographs?

It’s a way of looking at the world, making sense of it, proposing a relationship between things that is not strictly based on a rational premise.

What influences your work?

Literature, I read quite a lot. During my last project I read Rimbaud’s letters and his Season in Hell. Music-wise, I like Nick Cave, Patti Smith, PJ Harvey.

Do you consider yourself a Neo-surrealist?

No, but the influences are definitely there. I try to find what is beyond the ordinary, in an ambiguous way. All of my photographs are taken in mundane public places but the prints that I choose create a slightly different visual language. I shoot very ordinary situations, but when translated into an image, a more romantic, timeless world emerges.

Do you attempt to portray a sinister view of the world?

People have called my work gothic and occult, but it’s not nihilistic or pessimistic. What is beautiful or extraordinary to me often has dark undertones or a quite contradictory nature: they’re not quite right. It’s like my photograph of the woman with the long hair. Hair is usually considered a symbol of beauty, but when it becomes excessive, a lot of people become repulsed by it.

Are you trying to destabilize our sense of stability?

Destabilize is the right word. Maybe “subvert” as well, especially in relation to the politics of my current projects.

3. Freud’s Study (2013): “This is Freud’s study and consultation room in London. I love the atmosphere provided by the oriental carpets, ethnic antiquities, and the fact that people used to confess their darkest secrets there.”

4. V&A Statue (2013): “The V&A Museum’s cast court is closed for construction, but you can find rather bizarre sights there, such as this veiled Italian statue. I think the way the modern materials interact with this ancient form is quite beautiful.”

Tereza Zelenkova’s work opens as part of Saatchi Gallery’s New Order: British Art Today show on April 26th 2013. www.terezazelenkova.com

Words: Christine Jun (www.weaponsoms.blogspot.co.uk)

The post Tereza Zelenkova’s Dark Wonderland appeared first on Wonderland.

Feted for his sensual, cinematic narratives starring supermodels from Gia Carangi to Christy Turlington, Piel recently premiered his retrospective show at Rove Gallery, where he discussed with us his latest project, and the supreme importance of “game” in front of the camera lens – along with previously unseen Polaroids of Kelly LeBrock and Donna Karan muse Rosemary McGrotha.

Why is there so much nudity?

Dont get me wrong, erotica is not out of my vocabulary. Its just not my primary focus, which is humanity.

How should we view your polaroids?

As sketches. With digital, we could do many more preliminary sketches, but what people are inclined to say is, ”Oh, that’s good. Lets stop.” But they haven’t fully explored where they could go. Polaroids show the cinematic concept that I have in mind when I start shooting: I’m always trying to tell the story within the whole shoot, and each individual picture as a story in itself.

Do you consider erotic moments a key part of your stories?

There’s a certain sensuality that I look for. Its about relationships, trying to connect as two people. I try to do that with the people I work with. So when somebody’s in front of my camera, they take part in a role, or a game, it gives them something to center themselves on. They’re not working in a void – which often modelling is.

What do you mean by calling a shoot a ”game?”

I’m directing like a film director, but what you want out of your actors is participation. I don’t want to say, hold your hand here, put your left foot there… I watch, talk, and move them in areas that I can see they’re going, help them go a little further or hold back. It’s like a script, depending on what clothes we’ve got and what the situation is.

Why haven’t you produced the same amount of work using male models?

I’m much more interested in women than men. It’s also understandable because my shoots have often been for magazines like Vogue or Vanity Fair, which are female-dominated. My wife is a strong feminist, as is the curator of this show. They always challenge me: “Where are the men?” When am I finally going to show some cock?

I had a session with Uma Thurman when she was sixteen, with two other girls, and it was one of the great shoots. It just kept on going. But I also often used someone like Rosemary McGroth, who is certainly not famous today, because there was something that worked every time. A lot of these people were unknown and starting out, like Christy Turlington. But of course, they got established quite quickly.

Did you know when you shot someone like Christy that she was going to become a supermodel?

Not at all. It doesn’t interest me. When I’m working, I don’t necessarily want to work with a superstar. I’m reluctant to take girls that have done so much work, because they tend to go into automatic mode; and that’s the last thing I want.  I don’t want them to pose for me – I want them to live for me.

She was fantastic, a bit nuts, but that was the fun. She could surprise you, and that was exciting. And besides, she was damn beautiful. Once she was in some fancy dress, and I got her lying on the floor and her tits dropped out. Okay, they (Vogue) didn’t use it. But it created an energy and gave that whole dress another sense.

It would be Rosemary (McGrota). I would have shot anything with her. She always managed to give me some game.

What can we expect from you in the future?

I’m planning a project called ”Down to Earth”. It comes out of where I live, on a farm in France, but also in a 12th century chateau, so you’ve this culture and earth, and the conflicts between them. Its about getting back to nature, and recognising that we need to do so more and more as a society. I can’t be more specific because I work instinctively. But its about making raw images, because that is essential.

Piel’s retrospective show, Essence, runs until May 9th 2013 at Rove Gallery in London. denispiel.com

Words: Christine Jun  (www.weaponsoms.blogspot.co.uk)

The post Denis Piel’s Glamour Girls appeared first on Wonderland.

If the Salone Internazionale del Mobile in Milan is the established queen of home furnishing salons, then this year, the COS installation is the definitive pearl in its crown. French duo Remy Clemente and Morgan Mazzari’s witty, ingenious construct perfectly underlines the pared-down sensibility and mixed array of fabrics that are typical of the Swedish clothing brand — it’s no wonder that this is their second appearance on the Milanese Salone floor. COS’ creative intent is to “push the visitor’s curiosity and surprise them with something that is playful but still minimal.” Playful indeed — the result for this collaborative dreamscape reminds us of a jungle gym for adults. Not only does the assembly framework function as a pop up store for showing off the hand-selected pieces from the COS spring/summer 2013 collection, but is in itself a delightfully clear, confident expression of contemporary design. Bravo.

The COS Showcase at the Salone Internazionale de Mobile in the Ventura Lambrate runs until the 14th of April. 

By Christine Jun (@christinecocoj)

The post COS At Milan Design Week appeared first on Wonderland.

Turning the big 50 today, Marc Jacobs proves more fair and fabulous than ever, flaunting rock-hard abs with his porn star partner on a Rio de Janeiro beach via Instagram. Bow down, Karl Lagerfeld: Jacobs is the ultimate ugly duckling turned swan.

Not only has this previously bespectacled geek headed up two signature lines, served as creative director for power house Louis Vuitton since 1997, but over the last decade he’s managed to morph himself into a successful model, celeb, and all-round playa. True to fashion, Jacobs has never stopped experimenting and cavorting with the boundaries of taste… Here are our 6 unforgettable looks from our fave self-made birthday boy:

1. Just plain ol’ nudity

Stripping down in the name of Diet Coke, Louis Vuitton, and his own perfume brand, Jacobs has literally lived the saying, “Less is more.”  And we do mean that literally.

2. Make-up

Parading a palette from Sephora glam to Lady Gaga-like spooky, only Jacobs could make a classic red lip and facial hair look this good. Why should girls have all the fun, right? And when in doubt, accessorise with (1).

3. All dressed up

Given that his 2011 Halloween costume ball in Provincetown, Massachusetts was the stuff of legends, it’s no wonder that Jacobs is no stranger to the dressing-up cupboard. You have to wonder how he walked around in that giant cameltoe, though.

4. The power skirt

Who should we blame for Kanye West’s much-mocked Givenchy leather skirt? Probably Marc, who’s been snapped wearing skirts as a casual, daytime look since the late 2000s. But unlike Kanye, who tried to ban pictures of his skirt, Marc doesn’t care about what people think. And as a result, he’s probably the only man who could pull off a Scottish kilt with leather gladiator sandals.

5. Just dresses, period. 

‘Nuff said.

6. Boytoy accessory

You’re here, you’re queer and we love you for it. And your cute boyfriend too. There’s a 25 year age gap between Jacobs and Harry Louis, his Brazilian porn star boyfriend – which makes Jacobs the ultimate cougar, right? Between their adorable Instagram feed and paparazzi photos of them frolicking on Rio beaches, we’ve got serious relationship envy.

Words: Christine Jun

The post 6 of Marc Jacobs’ Best Looks appeared first on Wonderland.