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(on the cover) Brett Amory Waiting #31 oil on wood panel 24”x36” (detail)

(right) Brett Amory Waiting #20 oil on wood panel 24”x36” (detail)

Julie Hill 04 Pierre-Paul Pariseau 10

Kimm Whiskie 14Brett Amory 20

twenty2wo special 26Stephanie Halmos 32

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twenty2womagazinei s s u e _ 0 4

Just about a year ago I began what was to become issue one of this magazine. After being infatuated with online magazines and downloading countless pdf mags it was time to test the waters myself. Putting together that first issue was a great learning experience and put me into contact with some wonderfully creative people. It was also a lot of fun and frustration, as it has been with each following issue. As the idea that is twenty2wo continues to evolve so will the way this magazine works. So with year one in the archive be on the lookout for a few changes next time around.

Please enjoy and be inspired.

Adam Benekeeditor twenty2wohttp://mag.twenty2wo.com/

©2009 by twenty2wo magazineall artworks presented in this issue are used with permission and are subject to full ownership and copyright of the respective artists. do not reproduce without permission.

Julie Hill 80%

http://www.80percent.com/

I am 26 years old and currently reside in Cincinnati, Ohio, where I work as an interactive designer and am part of creative collective PROJECTMILL. My interests include drawing, birds, and drawing birds. I also like music, tea and traveling, but pretty much I’m working most of the time. I don’t like Facebook but I am addicted to Twit-ter. My work has shown in New York, London, Los Angeles, Cleveland, Louisville, Cincinnati and Ann Arbor.

this page: Hello, Love. Ink on illustration board.opposite page: Suckers. Ink on illustration board, digital color.

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“Snakes, birds and flowers. Three of

my favorite things to draw.”

this spread: Forget Cassettes poster. pencilExcitations. Ink and marker.Voxtrot poster. Ink

previous pages: NYC. Ink, paint, pencil on map.Roockwood Restaurant wall hanging.

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“I drew this image, the meaning of which is one of my longest-kept personal secrets, on the back of a blue-print one sunny after-noon.”

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Pierre-Paul PariseauPierre-Paul Pariseau is a self-taught artist and illustrator with an impressive portfolio. Using mainly surreal images which are a blend of cutouts rendered in black and white, touches of watercolor, acrylic paint and pen, all wrapped up in vivid colors; resulting in compelling narrative visuals, strong concepts and funny ideas. Over the years lots of experimentation has transformed his style, giving the artist the much freedom to express himself.

Apart from his commissioned work he just finished writing a 12-step tutorial, revealing his technique, for a next issue of “PsdPhotoshop” magazine and will be part of a group exhibition in April 2009 at Conspire Art Gallery, in Pheonix Arizona, organised by Spraygraphic.com. To find out more visit, http://www.pierrepaulpariseau.com/

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Kimm WhiskieAs for myself, I live in Vilnius, Lithuania. I like the tendencies towards gentle femininity, positivism and simplicity, among others. Photography is usually my shy observation, when no one’s looking. I also like xylophone music, owls and winters and the implicit things in people’s words.

Go see more of Kimm’s photographs at http://flickr.com/photos/kimmwhiskie/

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Brett Amory

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Waiting #33. Oil on wood panel 26”x48”

Waiting Statement

Since 2001 I have been develop-ing the same body of work called “Waiting,” a series of paintings about the anticipation of the next moment. While we wait we are waiting for that moment to end. We anticipate the next moment so we are rarely in the present one. We spend so much of our lives com-ing and going so I paint scenes of traffic, places where we wait to be somewhere else.

-Brett Amory

http://www.brettamory.com/above: deatil Waiting #36. Oil on wood panel 22”x36”

right: detail Waiting #35. Oil on wood panel 48”x48”

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installation view

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a natura y historic visit...

Natural History

Museum f Los Angeles

County

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I remember

elementary school

visits to museums

growing up as some

of the most

fascinating moments

in my childhood life.

Recently we had a

visit to just such a

magical place full

of strange beasts

and vivid painted

landscapes.

a.b.

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A Minute for the Sky, 2008.

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Stephanie Halmos

I am lucky enough to call this artist a friend and recently we got to catch up and talk about her work. Here is a little exerpt from our conversation.

a.b. - One way we can start would be, when did you first pick up a camera? Why does the medium speak to you?

s.h. - I first started shooting when I was 15 years old. Like many young people who first become curious about photography, I took my time with using black & white film, and shoot-ing very simple, naïve photographs of hands, feet, faces, and whatever might be immediately in front of me.

As a medium, it first began to really affect me when I noticed that there was always something—some essence or feeling—that would come through in a photograph that I hadn’t seen in the moment I created it. And, contrast-ingly, the photograph could be missing the very feeling I may have tried to create. Even now, when I look at film, I may edit and print images based on my responses to them in one moment or time, and six months later--as I re-visit the film--I tend to discover some-thing I had passed over or disregarded initially that absolutely moves me.

I suppose that, contrary to popular belief, I believe photographs are never what they seem. They are never a moment frozen in time, but a moving, changing, living organism.

Your recent color work has put you into the world of abstraction. I think I have only ever seen your portraits and landscapes, and if I remember correctly a lot of your work deals with identity and sexuality. What kind of themes are you exploring with the color studies?

The color studies are an entirely dif-ferent experience for me in terms of the way I have defined myself as an artist. Photography was born out of medical research and historical record. It is most often centered on “subject”. But at it’s essence, photography is simply a record of light.

Color Studies allows me to truly focus on light. To let light move me. Every-one seems to want to know how the pieces are made which is quite frus-trating to me. Although they appear to be born of a process-oriented inten-tion, that couldn’t be further from the truth.

Girl in Bed, 2008.

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Fog, 2008.

I have a strong distaste for gadgets, numbers, math, and all the calculative measures many photographers use in creat-ing an image. The color work is a very lovely, responsive, cerebral project that allows me to escape.

In some ways, the color pieces are like dreams. They are confusing, one is never like the other, and just as I believe I have found the bottom of them, I fall deeper and keep discovering layers.

You recently completed an artist in residency at the School of Visual Arts. How was that experience?

The residency at SVA was really a growing experience. It is very hard for an artist who is used to the intellectual environment of the classroom to enter the art world and lose that scheduled critique forum. The residency gave me a chance to have work my critiqued for two months, and to do so with some fantastic artists.

Untitled (Belly of a Whale), 2008. I was able to sit and talk with Elinor Carucci whose career I aspire towards. She has managed to walk the fine line between editorial assignments and fine art. And she does so with integrity. Working with her was great for me.

What is coming up for you in terms of new work or shows? Where do you see your work in a few years?

Tricky question! I hope to have full representation with a respected gallery, and work with progressive, innovative curators. I am planning a trip to Iceland to shoot this spring. I am realizing that a bad economy can really inspire beauti-ful art. And, frankly, I am pushing to make 2009 a big year for my work…bad economy or not.

I have a pending show in Chelsea in a few months. Until then, I have a few irons in the fire.

I know you are a big Radiohead fan. Have you heard the Rainydayz Remixes by Amplive? It is pretty good. How much does music influence or inspire your work?

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Untitled (Rotation of Day), 2008. There have been some amazing Radiohead remixes and samples done by some really innovative people in the past year or so since “In Rainbows”. I actually heard the song “Bodysnatchers” mixed with Mos Def’s “Beef”.

Music plays a huge role in my work at the moment. The color studies are all named after music I was listening to during their creation. The color work is specifically rhythm-based, and each piece is credited to such musicians as: Radiohead, Miles Davis, Ray Charles, Amiina, and even more amped tracks by Modeselektor, Daft Punk, and Bjork (to name a few).

Conversely, when I am shooting for “Seen In Looking” (for example), which is primarily using outdoor spaces and natural light, I much prefer to be sur-rounded by peace and quiet.

I also have been on a kick with Bon Iver, and Cyndi Lauper. Cydi gets me through the massive clean-ups I have in my studio when all hell has broken loose and my world is in disarray. She rules.

Thanks so much Stef! To see more photographs work visit her website.http://www.stephaniehalmos.com/