Moving Day!

WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A
WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!WE ARE A .COM!

HERMIEISLAND.COM
(Click it )

What Hermie Island will be wearing to the 2013 Academy Awards

So It's that time of year again.... Winter.
But also it's award season. There is one of us who is actually doing something with their life (he is nominated for some "film-making" award, see: Bobby Shore the evolution of a Genie)...the rest can just pretend we would ever get invited to anything. This year we plan to watch the most glamorous event of the year all together... The Oscar Red Carpet Watch! We haven't seen any of the movies, so we don't care about the actual awards. Here is what we would be wearing to this very important fashion event.

Who: Monique F

What: Margiela

Why: Because she really didn't want to get out of bed, and she didn't have enough time to get ready so she just put on her bf's T- shirt gown.

Who: Roberto D'A

What: Jil Sander

Why: Because he knows he'll get sweaty from wearing a suit in LA.

Suits with baggy over sized shorts leave room to breath. VERY Comme. Also he's looking to get into a post-neon color scheme. 

 Those square toes? Perfectly adequate!

Who: Fiona D

What: Ballinciaga

Why: Because Fuck Everyone, she's wearing a crop top to the Oscars.

Who: Will O

What: Etro (Betcha didn't see that coming)

Why: Will is looking to evolve his look ever since all of his friends started ripping off his active wear signature style. Also because that pendant is dope.

Last of all- looking this much like Brad Pitt will probably get you into some SiCk after parties.

Who: Tate S

What: Celine

Why: Needed an excuse to wear those 2Die4 purple furry pumps.

Also, continues to be obsessed with "unfinished hems".

Need pocket so I don't loose my phone.

Who: Bobby S (Nominee)

What: Comme des Garcons

Why: Because Bobby would really be more comfortable if we wore a hoodie to the Oscars. (This one is a formal hoodie).

Also, he's really into camo right now... that's trendy right? ? ?

Who: Nevada Z

What: Margiela

Why: Lets face it, she is the only one who can pull off the highly popular "Oscar strapless look".  The tight lines of this dress would do justice to that divine hourglass figure of hers. 

Also, I hear A$AP RVCKY is a big fan of Maison Margiela.

Who: Lenny PR

What: Prada

Why: Because somebody needs to wear Prada.

 And somebody needs to look like a grown-up. 

 And somebody needs to wear socks with sandals. 

So who wins BEST DRESSED?

I apply my red lipstick much like the Joker from Batman. Cute, right?

This looks strangely familiar...

Hermie Hero: Dexter Dalwood

                                                               8===========3

Thrashing around London's Art scene during the 80’s, Dexter Dalwood painted a body of spatial landscapes that have me weak in the bathing suit area. The proceeding stolen images expose Dalwood’s vivid colour palette in which these dynaaamic spaces emerge, making me believe that he’s a little bit lusty for Francis Bacon and Lucien Freud (and would totally make art babies with Echo Eggebrecht). His paintings encompass a documentary feel even though they act as archival records of non-existent spaces, turning what we think we know into nothing but a stale fart.  His celebrity references and expressionistic style create the old fashion equation between pigment and corporeality.

Dalwood (a graduate of both Royal Academy and St. Martins) paints in a manner that many of us hermies aspire to; predominately flat, hints of tonal modeling and sporadic “multimedia” muscle spasms that parade around on his canvases. These spasms, or collages, are seen as the engines to all of his works and are very indicative of his educational background at St. Martins.  His visual union between wonky perspectival studies and static creativity remind me of pre-perspective, just-say-no-to-proper-proportions Italian paintings. In this compositional activity, synchronicities become eminent and stand in as Dalwood's preferred pictorial tense. Much like the time in which these canvases were painted, Dalwood’s accurate representations, vivid colours and opposing perspectives are almost synonymous for the existential extremes of the 80’s; disaster and promise, evil and banality.  Successfully for Dalwood, these devices garnered the attention of some of the largest galleries in the world, and also the affection of the w(b)itches through his uncanny ability to paint cultural memory without nostalgia.

These thought-provoking compositions can be attached to the lineage of abstract expressionism, pop art and more recently, “bad painting.” Although, his works undertake the idea of the lived-in space, (space with the hints of human intervention), the absence of figural representations in his work is deliberate and sooo sassy! Dalwood’s reasoning for this decision is not because he’s can’t paint the human figure (*cough* me *cough*), but because he feels that it permits the viewer to identify themselves as the protagonist, thus, Dalwood forces the viewer to reminisce about how we connect to paintings in the past and how they construct something that isn’t being depicted in the painting…. there is more than what greets the eye, duh.

Dalwood’s paintings ignite the imagination that seeps throughout all of us.  And it is through the use of “bad painting” he forces the viewer to re-appraise the intelligence of what we are looking at and what we are thinking about according to the cultural context. Well, moving on, there are few things we can learn from Dexter Dalwood: he tells us to always brainstorm past the original idea so that we can push beyond the obvious, something that isn’t illustrative. He also tells us to “Go Deep,” and he’s not talking cock in vag / ass deep, he’s talking about the importance of getting completely submerged into your art practice, your visual vocabulary and open yourself up to chance, (something easier said in summer).  He also suggests that we should never be bombastic, instead, lets nudge our audience into a new realm of visual discourse.  Also, mix it up! Don’t stagnate in one medium and try something different, like pee standing up (hey, ladies!) or take a zumba class. In everything you do just let the art spill into the streets.

                                          1998 The Queen's Bedroom oil on canvas 193 x 183cm

                                      1999 Robert Mapplethorpe's First Loft oil on canvas 213 x 244cm

                                             1999 Solzhenitsyn’s Reading Room oil on canvas 91 x 99cm

                                            2000 Gorbachev's Winter Retreat oil on canvas 198 x 236cm

                                               2000 Jackie Onassis oil on canvas 214 x 244cm

                                            2000 Kurt Cobain's Greenhouse oil on canvas 214 x258cm

                                              2001 Nietzsche's Chalet oil on canvas 125 x 115cm

                                                    2002 McCarthy's List oil on canvas 201 x 279cm

                                                            2003 Diana Vreeland, oil on canvas

                                                  2003 Sunny Von Bulow oil on canvas 105 x 207cm

                                                             2003 Versailles in the Jungle

                                             1998 Sharon Tate's House oil on canvas 183 x 235cm

                                               1998 The Liberace Museum oil on canvas 152 x 183cm

Kaleidoscope Magazine, Volume 8, fall 2010. 

*

David Anfam - Martin Herbert - Cherry Smyth 

http://www.dexterdalwood.com/

Booby Shore: Evolution of a Genie

 

 

  

I feel like I've been locked up tight
For a century of lonely nights
Waiting for someone to release me
You're lickin' your lips
And blowing kisses my way
But that don't mean I'm gonna give it away
Baby, baby, baby (Baby baby baby...)

Ooohhh, my body's sayin' let's go
Ooohhh, but my heart is sayin' no

If you wanna be with me
Baby there's a price to pay
I'm a genie in a bottle
You gotta rub me the right way

If you wanna be with me
I can make your wish come true
You gotta make a big impression (Oh yeah)
Gotta like what you do

(I'm a genie in a bottle baby
Gotta rub me the right way honey
I'm a genie in a bottle baby
Come come, come on and let me out)

The music's fading and the lights down low
Just one more dance and then we're good to go
Waiting for someone
Who needs me
Hormones racing at the speed of light
But that don't mean it's gotta be tonight
Baby, baby, baby (Baby baby baby...)

Ooohhh, my body's sayin' let's go
Ooohhh, but my heart is sayin' no (but my heart is sayin' no)

If you wanna be with me
Baby there's a price to pay
I'm a genie in a bottle (I'm a genie in a bottle)
You gotta rub me the right way

If you wanna be with me (Ohh)
I can make your wish come true (Your wish come true ohh)
Just come and set me free baby
And I'll be with you

(I'm a genie in a bottle baby
Gotta rub me the right way honey
I'm a genie in a bottle baby
Come come, come on and let me out)

I'm a genie in a bottle baby
Gotta rub me the right way honey
(If you wanna be with me)
I'm a genie in a bottle baby
Come come, come on and let me out

Ooohhh, my body's sayin' lets go
Ooohhh, but my heart is sayin' no

If you wanna be with me
Baby there's a price to pay
I'm a genie in a bottle (I'm a genie in a bottle)
You gotta rub me the right way

If you wanna be with me
I can make your wish come true
Just come and set me free, baby
And I'll be with you

If you wanna be with me
Baby there's a price to pay
I'm a genie in a bottle (In a bottle baby)
You gotta rub me the right way

If you wanna be with me (If you wanna be with me)
I can make your wish come true
Just come and set me free baby
And I'll be with you

I'm a genie in a bottle baby
Come come, come on and let me out