ISSUE 2 : BASIC NEEDS

2

STUFF

12-15 interview with ashlie chavez28 download this right now

33 providing basic needs34 contributors

35 next issue’s call for entry

DRAWING/PHOTOGRAPHY/DESIGN

WRITING: SHORT STORY/POETRY

by artist:27 racheal anilyse

12-15 ashlie chavez24-25 jean-marc couffin

30 lauren elder18, 22-23 haralds filipovs

31 willy harris8-9 cody kiyabu

26 elizabeth petch19 corinne rohard20 ashley tedesco16 josh thornton

4-5 rachel m. wolfe10 michael zander

by author:7 carter adams

6 linda lee kennedy21 ashley tedesco

11, 29 rachel m. wolfe

table of contents

3

“Offshoot” has a new name.

Why?When I first decided I wanted to do an e-zine, I wanted a publication that would honor little-known art. I wanted to give another voice to the artist and writers who perhaps aren’t being blogged un-til we all go blue in the face, but are regardless making excellent work. The original name I had to go along with this humble “art-for-art’s-sake” e-zine was “ego bruise.”

Alas, we all know the horrific powers of our self-edit function. I decided “ego bruise” sounded too mean, and opted for “Offshoot,” as in “art is an extension of life.” I still think this is true and en-tirely relevant, but this is not the origi-nal purpose behind my magazine.

So, welcome to ego bruise. This is the second issue of whatever magazine I have going on here, and the theme is

basic needs— MELANIE RICHARDS, EDITOR

4 PHOTOGRAPHY

A VIEW; UNTITLED : RACHEL M WOLFE

5PHOTOGRAPHY

BIRDS; UNMADE AND UNMOVING : RACHEL M WOLFE

6

because I believe that science is an art

Mine is that of the‘Mind’- or soI am told.To feel is silver,but to think is gold.

What if the chemistwas the actress?What if the master’s thesiscame from the pen of the poetess?You will find me in Room 220crying because Rosa Parks passed away.You will find me in the hallwaydemanding that no one say“nigger” or “bitch” or “faggot” Because I am the mean one.I won’t let them express themselves like that.

I am not the type of teacheryou love.I am the type of leader you will respect.Once you have looked into my eyes you will realizeI amQuite Serious.

Still--I feel I have been cast ina supporting rolewhich is beyond my controlYou cast me as high priestess.Cast your net wider.

I can tread water for twenty minutes.It doesn’t mean I am a proficient swimmer.I will dive into situationsand pupilswhen other teachers shudder.It doesn’t mean I am brave.It means I can recognize pain.It means I can appreciatewater—even if I cannot dry it from your cheek.Cast me as the Fool.

When I enteredthe college of arts and sciencesI married them together;my mistake.

The traditional courseis to divorcethe heart from the head,unless you intendto join 4-H.

Pardon mewhile I play guitar-teach you about the powerof sound waves,write you a Haiku:

Light has misbehaved;left the safety of the sky.Now? Locked in prism.

Did you learn anything?

POETRY

“role” linda lee kennedy

7

There was a time, when the stage sufficedFor both penny groundlings and noblesJonson and Shakespeare were the names to knowCenturies pass, and Edison changes thatWith cameras and kinetoscopes

Stage no longer contains the spectaclePeople want to be fooled, to realize the unimaginableOne puts pen to paperYears later, after many others contribute,“That’s a wrap”

The lights go down and the credits rollWe laugh, cry, or think; sometimes more than oneFor at least ninety minutes, we escape our existenceOnce it’s all over, we set out to face the world againWith a little something extra to shield us from its horrors

“cinema” carter adams

POETRY

8 PAINTING

MEDITATE : CODY KIYABU

9PAINTING

ON THE RUN : CODY KIYABU

10

11POETRYDRAWING

the nights eagerly awaitthe sort of embracethat make the neighbors take noticethe floorboards moanfor footsteps move inner rhythmsin time to the rotation on our axislooking to a start spotted skya brief realization to this heart's songnothing particularly wrongthere's just these (damn) empty passport pagesawaiting the arrival of fondness to fill each box-you bet that moon sure didn't bring any stars down for mebut this, reach for a sweater chill in the air weathermake s a craving no knitted replacements will doon an arms wrapped tight sort of night

“CHILLY IN JULY” (ABOVE) : RACHEL M WOLFETHE CIGARETTE SHORTLY AFTER (LEFT) : MICHAEL ZANDER

12

“my basic need is my sister.”

INTERVIEW

13

What is your sister like? My sister's name is Amber Marie Chavez. We are identical twins and have no other siblings. Amber likes studying Bible history and dressing like a [Na-tive American].

Why is your sister your basic need? What kind of relationship do you have with her?We have a symbiotic relationship, her and I. Others find it strange that we are so close. Some people call my work narcissistic, but it is more obsessive than anything else. Our worlds revolve around each other—this is good because we are never alone but it is bad because it has prohibited us from making other close friends. Any particularly fond memories or adventures you've shared with her?Birth.

Do you ever fi ght? If so, about what?Our relationship can get very volatile but we never really fight anymore- not like we did when we were kids swinging punches. Even though I am sure most people would disagree with this. They would probably say we are boxers.

How often do you photograph her? How willing is she to be your subject?I try to shoot photos everyday, even if I don't leave the house—which happens a lot. Since we have al-ways lived together she is the subject quite often. With our collaborative work, we usually only prepare legitimate shoots if we have a dead line. Everything else is pretty much our normal lives. The thing that separates our work from other collaborative artists is the fact that we are with each other every second and that we like and dislike the same things. This has been both great and not so great.

Often, what matters most to us is the special people in our lives. I asked photographer Ashlie Chavez what her sister and muse, Amber, means to her life and her work.

INTERVIEW

14

Please describe the "back story" on a couple of these photographs.A lot of the images are from Symbiotic, a collaborative series we did about being twins. A good portion of the work from Symbiotic was shot up north in Orland at my grandparents ranch. The rest were shot in the house of a close friend of mine. I like to shoot in other people's houses because you get to look at your surroundings objectively. Everything in my house looks lame to me but that's because it's my house.

The one of Amber on the bed in that mint green dress was in my great great aunt's bedroom. She is 94 and that is her dress. I love old people.

In general, how do real-life relationships affect your creative work? How paramount are they to your photography?Relationships are pretty apparent in my work, I mean a good bulk of it is about the happenings between me and my sister. I have never been into shooting people if I didn't know them—some kind of connection is impera-tive. Even when I am hired or commissioned for portrait work I always arrange to hangout with the client before hand—[a] bond on any level is what I am looking for.

What else do you like to photograph?I enjoy photographing people but I love photographing people I love. I have a thing for shooting people while they are talking too—trying to capture movement in the face. I think it's because I am fascinated with the idea of sincerity. I get a lot out of engaging with people. I really appreciate good conversation. Overall, I just strive to take portraits that are too candid to be formal and too perfect to be candid.

Any advice you would give to fellow artists?Well I really want to encourage other photographers to shoot analogue. And I don't preach that to be just an-other film snob, I think it looks and feels better than digital for quite a few reasons- volume, process, aes-thetic, and depth. But on a broader and more important note, I think that artists should only do things for a reason.Whether that reason is made known or not, without reason—work is empty.

Anything else on your mind?Jesus and my friend Sara. ◊

interview with ashlie chavez, contd.

INTERVIEW

15INTERVIEW

16

CIGARETTES : JOSH THORNTON

17

18 PHOTOGRAPHY

NEED WORK : HAROLD FILIPOVS

19DRAWING

VILLE : CORINNE ROHARD

20 PHOTOGRAPHY

UNTITLED : ASHLEY TEDESCO

21

plum woolslipped from my fingerssnug and shrunken in the rain.it presses down on the tools I use to breatheleaving me gasping for fall in Brooklyn.

the rocks are seats and slipperywhere I sit in my sneakerswhile a comfortable lover laps at my fingersand brushes the curls from my face.she cradles meand strips this sweater from my torso.freedom; the water and the wind.

with legs wrapped around me,she tastes like the comfort of cocoa.my feet arch about her cobblestonesand she deafens me with the roar of her D train.

here, within her, I’ve built myself a homedown under the manhattan bridge overpass.

POETRY

“brooklyn” ashley tedesco

22 PHOTOGRAPHY

NEED WORK : HAROLD FILIPOVS

23PHOTOGRAPHY

NEED HOME : HAROLD FILIPOVS

24

25PAINTING

NEED A TOOTH (LEFT), NEED A HAND (ABOVE):JEAN-MARC COUFFIN

26 PHOTOGRAPHY

LOVE, PEACE : ELIZABETH PETCH

27DRAWING

WORDS : RACHEAL ANILYSE

28

This is a mix with no rhyme or reason to it, other than these songs are in my iTunes and are awesome and you should listen to them right now. The basic needs list.

1. THE HAT : INGRID MICHAELSON

2. LET GO : FROU FROU

3. SUSHI : KYLE ANDREWS

4. LOVE ME DEAD : LUDO

5. NICEST THING : KATE NASH

6. THE REELING : PASSION PIT

7. HEY SOUL SISTER : TRAIN

8. BURIAL (BENNY BLANCO REMIX) : MIIKE SNOW

9. SOMETHING BEAUTIFUL : NEWSBOYS

10. THE COMPETITION : KIMYA DAWSON

* Okay kids, legally.

download* right now

29

pedestrian talk politicsa common commotionaddition to the grindthe sidewalk buckleswe walkbut look the other waythis is time for holding handsshoved deep in our pocketslingering, scraping for fulfillmentnervous, sweaty palmsjust need a little airfor the current generationto again become magnetic

POETRY

“it’s just talk” rachel m. wolfe

30

31PHOTOGRAPHY

RELAXATION (ABOVE) : WILLY HARRIS_____ (LEFT) : LAUREN ELDER

32

a hundred pink rosesresting gentlyon white and brass and goldperched as you would be areatop a dewy knolland limestone askewdaughter, sister, friend.

mist comes down as raindropson seven hundred photographsof when we used to laughand this is the hard part.

facsimiles of your smilebeside mineprint the epilogue too soonof this fractured story coda without resolutiontwenty-one pages too short.

headlines without bylinesnewspapers i must have misreadmy eyes are writing fiction, surelybecause there are a hundred pink roseswhere a girl should be.

In loving memory of my friend Casey A. Feldman, who passed away on July 17, 2009 after being struck by a distracted driver. Learn more about Casey’s life at www.caseyfeldman.com.

“casey” ashley tedesco

POETRY

33

MEETING BASIC NEEDSThere are so many ways to meet humanity’s basic needs today. Whether you have a heart for the environment, human rights, or poverty, here’s a couple of nonprofit websites to get you started. — MR

kiva.org / microloans

At Kiva, individuals loan $25 and up to entreprenuers in developing areas. These loans (which should be consid-ered donations, though usually are returned) help start up farms, shops, and other small businesses.

girleffect.org / poverty, futures

A compelling project: investing in the futures of young girls in order to develop communities and raise more people out of poverty and disease.

heifer.org / livestock

Donations pay for livestock, which create jobs.

greenpeace.org / Earth

If something funky is goin’ on with Earth’s resources, Green Peace is there, taking care of the environment.

freerice.org / hunger

Play word games (or answer science and humanities questions) for free. Cor-rect answers fund rice for the hungry.

34

Carter Adams / Florida, USAauteursandovations.blogspot.com

Racheal Anilyse / Connecticut, USArachealanilyse.com

Ashlie Chavez / California, USAashliechavez.com

Lauren Elder / USAlaurenelder.tumblr.com

Linda Lee Kennedy / Ohio, USA

Cody Kiyabu / Hawaii, USAcodykiyabu.com

Ashley Tedesco / New York, USAashleylaurentedesco.com

Rachel M. Wolfe / Illinois, USarachelwolfe.com

Jean-Marc Couffin / Francehttp://jmmkm.wordpress.comhttp://jmc.spacekit.ca

Haralds Filipovs / Latviaharaldsfil.wordpress.com

Willy Harris / UKflickr.com/photos/tri_an_gle

Elizabeth Petch / Norway elisapetch.blogspot.com

Corinne Rohard / Francecorinne.rohard.free.fr

Josh Thornton / Englandflickr.com/photos/thorntocon

Michael Zander / Germanyherr-zander.de

this issue: contributors

35

next issue: call for entries

optional theme: identityAny art exploring the theme of personal iden-tity is welcome. This could include self por-traits, personal narratives, a yellow blob, or a photograph of your family.

Just make sure it’s your original work and that it adheres to the theme. Please note that themed work has a better chance of inclusion.

now also accepting open personal workHave work that doesn’t necessarily fit the theme, but you’d like to share it anyway? Feel free to send it over!

If you send open personal work, though, you must also send along a concept statement. Collections of personal work must be united by a common theme or aesthetic. Thank you!

visual art requirements literary requirementsNEW REQUIREMENT: 300 DPI images only!Issue 3 will be the first one available in print.

Accepted art forms: EVERYTHING. Drawing, painting, photography, design, sculpture, etc.

-up to 10 images per entrant-horizontal images: 6+ inches across-vertical images: 3+ inches across-include name, country, and URL

mail to: egobruisemag@gmail.com

Accepted art forms: short fiction, non-fiction, poetry, anything that happens to have words

-word limit: 2,000 words-include name, country, and URL

mail to: egobruisemag@gmail.com

due date: december 20, 2009Note: Submitting your work to Ego Bruise grants the magazine the right to publish your work (credited to you, of course!) in an electronic/PDF format, as well as a print version available for purchase. Unfortunately, contributors will not be compensated as the electronic version will be free of charge (print is only if you’d like a physical copy). I will not use your work in any other publications except Issue 3 of Ego Bruise.