www.g2works.com
www.pleix.net

Hi Genevieve. First of all, you in a few words...

I’m 39, born in Lyon, France, and I live in Paris.

Where are you at the moment and what is your position?

I’m living and working in Paris as a freelance illustrator. I’ve always worked on my own except 3 times a few years ago, for a short time, some months… (“Interactif” magazine in France, Boo.com and Me Company in London). I definitlly prefer to work on my own. It’s the best way to work for me.

You’re now reaching 40. Has age an influence of your work? Do we have a critical age in our work?

Getting older is all good for me. I guess I know myself better and for this reason, I know what I want and what I can actually do. Being more experienced allows me to save time and energy. I don’t spend my time with boring people on boring projects anymore.

Where you creative as a child ?

I think so! I used to draw a lot: horses, German army helmets (!). Later, I painted a lot, oil on canvases, I loved that. I was also making sculptures with tubes in plastic and spaghetti: I was already very creative ;-)

When did you enter in the digital world (computer-based), and was it an easy step?

I entered it thanks to the Macintosh. At the art school (ENSAD aka Arts Deco), we could work on MacIIci computers and my first Mac was a MacIIfx, with a 13” screen! It was so expensive I had to borrow some money from my family and the bank. I just loved it because it was the best way to be independent, to work on my own without depending on anyone. I used one of the first Photoshop versions, without the layers feature!

You went to an art school to learn your job (Ensad) What is - according to you - the importance of learning art and design in school?

Becoming an illustrator and a graphic designer took me a lot of time. When I left school, I would say it took me about 10 years to learn all the different aspects of my job. Art school helps but it’s obviously not enough. It gave me the opportunity to experience a lot of techniques (photography, silk screening, and typography) to kind of have a better idea of my skills. Having access to a very good library and meeting other students was also really helpful. And I’ll always remember my 2 Swiss typography teachers, Rudi Meyer and Peter Keller!

What is art according to you? What is the use of it?

Art is a field where great things happen, that’s always ahead of its time, it’s should be a laboratory. For this reason, I consider as art not only what one can find in a museum or a gallery, but also many things such as a some TV series, music videos, record covers, advertising. I don’t see image creation like a pyramid on top of which there would be art.
I think I’m personally not making art. I’m doing some commercial art, and I’m very happy with this idea.

What is the list of your working material? Have you got a photo of your working room?

An Apple PowerBook G4 laptop, an iMac G5, 4 digital cameras, 1 scanner, 1 printer, some pens and paper.

Where and when are you getting the inspiration for your works?

From daily life (streets, people, shops), from TV (documentaries, films), dreams, internet (blogs, portals), travels.

What keeps you going everyday? And what are you doing when you feel a little bit dried out?

I’m going to see an exhibition, or I surf on the Web, or I’m going to my favourite bookshop. I’m working all the time!

Do you need loads of inspiration all the time, or are you more the one who keeps closed to seeing stuff?

I like searching for inputs in books, websites, exhibitions, I’m not afraid of being influenced by other people’s work. Because anyway we are influenced whatever we do, whatever we are looking at. It’s better to know well what’s happening outside rather than trying to protect its own creation, it’s pointless.

Did you see the field evolve since you begun? In which sense?

Yes, in France, graphic design is taken more seriously than 10 years ago. Internet has changed many things: when someone is doing some good work somewhere, it doesn’t take a long time to notice him. Also the frontiers between illustration and design has become more blurred, it’s quite interesting.

Are you interested by what people are saying about your work or image that goes around the internet?

Yes, of course, it’s useful to have a feedback. I’m also very keen on getting feedbacks from my friends. Most of the time, I receive very kind emails from people who like my work. I did not receive any bad emails : I’m lucky so far.

Are you interested in new or upcoming technologies in our field (Web / Motion / 3D…)?

Yes, I’m always keen about using new tools, even if it’s sometimes a bit painful to learn how to use them. I’m trying to learn 3D software but so far I can’t. But I’m optimistic and I’m sure I’ll do it one day.

How important is human contact for you in the job?

It’s very important to feel what the client really wants. It’s easier when you can meet him in real life. When you can’t, the brief has to be very clear. The more experienced you are, the better you can understand the client’s wishes.

What are the firsts things you after waking up?

I’m making a tea, going to the bathrooms, look at the window to check the weather, switch on my computer and the radio, patted my dog, drink the tea, have some biscuits, going to the bathrooms again, ha ha, etc.

And what are you doing in your spare time?

Going to the restaurants with friends, travelling, walking my dog.

What would you like to get for your birthday?

An helicopter? Well, right now, I do have everything I want, it’s weird but I can’t answer the question, I’m afraid I don’t want anything for my birthday…

Who would you like to meet the most?

David Bowie. He was my first hero, he still is.

Give me your tombstone epitaph.

She loved dogs very much.

- interview via here

julius steinhoff, pete kersten (lawrence aka sten) und stella plazonja

/danke an miguel und jan //

an afternoon at smallville

stefan marx celebrating the release of smallville01 with a fantastic windowpainting

STEINHOFF&HAMMOUDA/ LAWRENCE/ DJ SWAP
"WE ARE SMALLVILLE"

/by miguel //

by Stefan Marx (Hamburg, Germany)

I'm Starting to Feel Okay is a fascinating collection of Hamburg based Stefan Marx' most renowned b&w magic characters and creatures, including some of his latest white on black illustrations. Moreover, the sensational new series of colourful watercolours which Stefan is presenting to his spectators for the first time, makes looking at the book a more intense experience, surprising the viewers page after page, and keeping them suspended on the very thin line between pure irony and utter beauty. Stefan thinking/working/living/drawing 24 hours a day attitude, and strong skateboard links have been the reason for his many collaborations with brands such as Azita, Cleptomanicx, Hessenmob Skateboards, Landscape Skateboards, Ayume Lifeforms and Alis Skateboards or Playhouse Records, while he founded between 1995/96 his own Lousy Livin' Company which produces each season a handful of t-shirts plus occasional special editions.

During the past few years, Marx' art travelled around Europe in several occasions and galleries (like “The Side Effects of Urethane”), as well as being reproduced in various magazines and publications like “The Art of Rebellion” and “Street Logos”. Nieves' first contact with Stefan's work was through its zine Andere Mütter haben auch schöne Töchter published as part of the 2004 Nieves Zine Series. Following a mutual interest, Stefan’s first solo book I'm Starting to Feel Okay has been produced in collaboration with photographer David Luther and graphic designer Urs Lehni. (via nieves.ch)

-

 Stefan Marx for Zine Series 5

Published in 2004
14 x 20 cm, 20 Pages
Black & White, Photocopy
Edition of 100

-

 Stefan Marx - I' Wait Here For You as Long as...

Published in 2007
19.5 x 25.5 cm,
96 Pages
b/w, Offset
First Edition

-

 Stefan Marx - I'm Starting to Feel Okay

Published in 2006
16 x 22.5 cm, 32 Pages
Color, Offset
First Edition (100 first Copies of Book)

-

 100 Copies with Special Zine by Stefan Marx

Published in 2006
14 x 20 cm, 24 Pages
Black & White, Photocopy
Edition of 100

by Simen Johan, Lyle Rexer
$98.00 
Hardcover with dust cover, 28 x 32 cm, 96 pages, 2002
ISBN:1931885095
published by Twin Palms Publishers 

http://www.simenjohan.com

Evidence of Things Unseen

#51 (stripes)

#51 (points)

#50 (Skism)

#50 (Marok)

#42 (stash)

#42 (clayton)