Thursday, 21 January 2010
And now I spend most of my time taking virginities of exotic white spots on an imaginary map. I've already collected a number of wonderful experiences, which are turning to knowledge with the voluble time.
I speak haze and daze until my tied tongue awaits his liberation; until the advent of the subject of my silence.
For the meantime, feast your hungry eyes on the new Fantasy Lookbook by Prada; it's specifically nutritious.
pictures from Prada
Although I'm not visible, I'm near, hiding in the fuzzy, dense fog.
Thursday, 31 December 2009
Be gracious to me 2010, embrace me like your predecessor did, through long-long miles.
2009 was RAD. The lesson is given.
"If living is seeing, I'm holding my breath,
In wonder I wonder what happens next,
A new world, a new day to see, see, see..."
Wednesday, 23 December 2009
Before the lights go out, and the festive constellation takes its rightful place in the sky, open your eyes and hear the ingenue jingle of my whispering words, feel the snowy taste of my invisible remembrances, pocket some cinnamon kisses from the shadow of the mistletoe and have peaceful Holidays!
as regard the New Year, many miles more!
Tuesday, 15 December 2009
They say, at the end of a tunnel, there's always a glimmer of blaze... There's no tunnel actually, only the glare of undiscovered beauty.
You will be utterly immortal and clean, when light percolates through you,
Because it's even less, which remains."
~ Erika Baglyas
Saturday, 12 December 2009
I'm circulating in the hectic flow of the shrewd polar wind since weeks. Time has narrowed to a smothery tight straitjacket.
The days seem to accelerate towards the end of the year. As if I had to clear all the missed, forgotten or adjourned affairs before the snake bites into its tail, and the circle closes.
I dedicate this remaining weeks of the first decade of the 2000's to the disposal of all the unrevealed, criptic treasures, that I still carry around, but can't reach the catharsis of a new beginning with them in my pockets. Purgation takes time, and patience... Soon.
Wednesday, 11 November 2009
An abundance of meaning may be concentrated into one picture. A whale of thoughts can be expressed by an image. The same as with a movement. By putting motion into static pictures, new perspectives open up for the viewer and for the artist as well.
Scenes from "119" film by Jason Last, styling and photography by Fabien Montique petrified and mirrored by Miska.
JASON LAST INTERVIEW
- Tell me your story, how did you become a "fashion video artist"? Do you only create fashion-related short films, or are you interested in experimenting on other fields of motion picture as well? Jason Last
- I’ve always had a very strong connection to sound and moving image, and the emotion it can carry, or the story it can tell.
It was a natural progression.
For me, it is broader than just something being directly liked to the fashion industry. It is the use of fashion imagery, clothing, models, lifestyle, that can take on a cinematic form, whether it be narrative, experimental, music video, video art, or feature film. I am very open to the blurring of lines between the labels and genres that exist in film and art. I am always interested in experimenting and trying new techniques and expressions related to film and video.
"Skyburial", film by Jason Last, art direction by Jaime Rubiano
- What do you think about the growing spread of fashion videos? Do you think, that video is the future form of fashion editorials?
It’s really exciting. What an effective and beautiful way to present clothing and create fashion images. Moving images allow an audience to somehow interact with the pieces and to understand a brand or an editorial as not only image, but also sound, and dialogue, and narrative. It extends the emotional connection one can have with images. I think fashion videos have, and will continue to have, a strong presence in editorials online, etc for sure.
But yes, it is the future.
- Do you imagine static images or movements while working?
I’m always thinking of how I can push the images I am working with and the potential that exists within video.
When I am planning a shoot or coming up with an idea, it moves. That relates to the choices I make of models, clothing, etc… I’m always thinking in moving image.
"When You're a Star", film by Jason Last, art direction by Jaime Rubiano
- What are the unwritten rules of making fashion video? (Supposing there are...) What are the dedicated special ingredients of the genre?
What’s so exciting about fashion images, is that there aren’t many rules or limitations. I suppose there are trends to think about, but what I believe makes fashion interesting as an art & an industry, is that it is always changing and quite open to being pushed in different directions. Fashion welcomes a fresh and ever-changing perspective and art plays a big role in influencing that. The possibilities are kind of endless.
- As we know, fashion editorials are usually retouched before coming out in print. How much post-production is usually required to complete a video?
A lot. It varies between films, and what kind of campaign it may be, but a lot. The same rules apply to video as to photo, depending on what the desired aesthetic is. The thing about video post-production is that there are endless options, so that can mean a lot of work…
- What are your characteristics, the unique features of your works? How is the signature "Jason Last vision"?
What’s unique about my work and my vision is my perspective. I come from a fine arts, video and film background, but I am very excited and moved by fashion imagery and the depth of it’s particular history, so my work has been informed by many sources and they all meet in the video work I make.
- How is the work with models? Are they difficult to instruct for motion picture? Or there’s no difference?
It depends. But there is definitely a difference…
I’ve been lucky to work with some amazing models who understand their movements and bodies, and who follow direction very well. There is an element of acting involved in modeling, even if they never speak, and any good model understands this. I’m careful with who I work… but for the most part I’ve worked with great subjects who understand and take direction well.
- Which was your favourite, or most exciting project so far? What kind of projects do you work on currently?
The AW09 Emanuel Ungaro films were a lot of fun and a great project to be a part of. I’m working on several projects and fashion films at the moment (and always…). Also collaborations with brilliant art directors & stylists like Jaime Rubiano and Fabien Montique. Experimenting with ways to take the darkness and dramatic nature of my films to the next level.
- If you suddenly supposed to tell a memorable movie scene, what would you say?
Derek Jarman’s The Last of England… simply brilliant... from narrative to imagery.
Maya Deren comes to mind: “Meshes of the Afternoon”.
Or Godard’s Le Mépris, Bardot in the garden in blue. Stunning with that hair, those eyes and that attitude…
Or the scene from Clueless where she goes for her driving test…
- Who are your professional role models in terms of fashion, visual arts and cinema?
Too many to name…. I live for this. And I am continuously moved and influenced everyday by the lives, the stories, and the work of so much brilliance I can only aspire to.
- What are your plans for the future?
Work. And continue to grow and be present within the fashion film genre. It’s the future.
Please, do not copy or quote parts of the interview without permission!
Thursday, 5 November 2009
And why the timing? With her not-less-talented fellows, Adel was currently working on a showroom, which opens its door tonight.
K E P P Showroom
Budapest, Vörösmarty Square. 3. / 2nd floor
Wednesday, 21 October 2009
photos from Garbage Dress, retouched by Miska
When I feel this stubborn itch, I just can not restrain myself. I have to rummage some beautifully arranged gardens. I'm actuated by egoistic intentions, to personalize beauty at my own pleasure. It's probably a part of the process, to give shape and figure to the visions I see on the back of my eyelids. The easiest way to multiply beauty is smashing a mirror.
This time my victim was Lurve Magazine's editorial, feautring Cole Mohr and the incredible textile garment-sculptures by Ulrik Martin Larsen. The original photos were taken and styled by Zana Bayne, author of the Garbage Dress blog.
Thursday, 15 October 2009
photos from the Room #10
I am waiting you, as a Messiah. On your way, be accompanied by my blessing. Tomorrow night...