Jonell Lennon & Mark Pittman - Interview

.aesthetic talk
Dorothy Rice
*New Look Model & Painter

written + interview Jonathan Bergström

Dorothy Rice (1924 - 2023) was an artist whose work spanned across multiple disciplines, including painting, sculpture and silkscreens in addition to her celebrated career as a fashion model.

Known for her bold approach, she defied traditional boundaries throughout her life. Her iconic role as the face of Christian Dior’s New Look collection catapulted her into the fashion limelight, resulting in collaborations with top fashion photographers, as well as performances in more than 100 plays and several acclaimed TV shows.

In this conversation with Le Mile Magazine, Jonell Lennon and Mark Pittman (representatives of Dorothy's estate) offer a deep dive into Dorothy’s legacy, shedding light on her artistic evolution, her global influences, and the guiding philosophies behind her work.

Dorothy Rice
painting in studio, 1975
courtesy of Dorothy Rice Art Company

Dorothy Rice
Marshes, ca. 1988-1990
Silkscreen on Paper, 22 x 30 in

Jonathan Bergstrom
Dorothy displayed artistic talent from a young age. earning an invitation to the Art Students League of New York at 14. What sparked this early interest?
Jonell Lennon & Mark Pittman
Dorothy’s early interest in the arts was deeply rooted in her familial origins. She descended from a long line of talented artists, including her father who had a successful commercial art studio in Manhattan. Dorothy spent summers working with him at his studio where she learned to draw and do illustration work. Dorothy wanted to be an artist, and her father supported her. Upon his urging, Dorothy applied and was accepted to the Art Students League when she was just 14. She went to high school during the day and took art classes at night where most of her classmates were more than a decade older than her.

To someone who isn’t familiar with Dorothy, how would you characterize her as an artist?
Dorothy was a versatile artist whose intellectual curiosity about people, culture, fashion and the human spirit pushed her to try not only a variety of mediums but also different artistic fields. Despite her father wanting her to paint, Dorothy explored a variety of art forms. Her resolve was evident in her artistic journey, beginning as an illustrator in her father's studio at 13, transitioning to modeling at 15, and later, acting in more than 100 plays and multiple television movies before shifting her attention back to painting in her 40s. Dorothy spent the next several decades experimenting with materials, technique and subject matter, using oils with a palette knife, watercolors, sculptures and silkscreens. She typically built collections based upon specific locations throughout the world. She did not want to be put into a box and felt it was essential for an artist to continuously evolve. 

How did she go from being an artist to becoming a highly sought-after model in the fashion industry? 
When Dorothy was 15, on an evening out with Art Students League classmates at the legendary nightclub El Morocco in Manhattan, she was "discovered" by Vogue photographer John Rawlings. That connection led to a shift in focus to modeling. Dorothy started with girl-next-door shoots for Town & Country and pinups for Earl Moran. Her big break came shortly after WWII when Christian Dior chose her to be the face of his “New Look” collection for American Vogue. Dorothy traveled to Paris for the shoot. She said the French models she met were upset that she was chosen for this honor; they felt a French woman should represent Dior’s clothes. Once the Vogue issue featuring Dorothy hit the newsstands, Dorothy shot to stardom. 

What qualities do you believe led Christian Dior to choose Dorothy as the face of his “New Look Collection” for American Vogue?
Dior scouted hundreds of models in France before expanding his search to America to find the woman he felt best projected the sultry image he wanted for his collection. Dorothy believed Dior was initially interested in her because she had the physical attributes he required: a voluptuous body and a young, blank face. Interestingly, Dorothy didn’t yet see herself as a sophisticated woman. She was just 21 and had done mostly girl-next-door shoots. It was Bettina Ballard, the fashion editor at Vogue, who convinced Dorothy that with the right makeup, styling, and attitude she could adapt to fit the part. Dorothy worked with the creative team and studied every aspect of Dior’s collection to ensure she could deliver the look and presence Dior wanted. 

“Dorothy was a versatile artist driven by intellectual curiosity, starting as an illustrator in her father’s studio at 13, modeling at 15, acting in over 100 plays, and returning to painting in her 40s. She believed in continuous evolution, experimenting with various mediums and styles throughout her life.”

Jonell Lennon & Mark Pittman speaks with Jonathan Bergstrom on Dorothy Rice
LE MILE .Digital

Dorothy Rice
Mountain View, ca. 1988-1990
Silkscreen on Paper, 22 x 30 in

In what ways did her modeling career influence her artistic work?
As a model, Dorothy spent years working with renowned designers, stylists and high art fashion photographers such as Milton Greene, Horst P. Horst and Francesco Scavullo, honing her adaptability and attention to detail. She constantly evolved her look to suit changing tastes; one minute she could look like an ingenue, the next a glamorous runway model. Most of the time Dorothy did her own makeup and hair and credited her artistic eye to keeping her in demand for 18 years. When she transitioned to painting, she said she was happy to turn the focus away from herself to the world around her. Dorothy took a similar approach to painting as she did to modeling, constantly studying and experimenting with different styles and techniques. 

Could you point out some of the standout collaborations Dorothy had with top fashion photographers and designers throughout her modeling career?
The two standouts are her collaborations with designer Christian Dior and photographer Peter Basch. Dior chose Dorothy to be the American face of his “New Look” collection, but she also modeled his clothes numerous other times. In the mid-1950s, Dorothy teamed up with Dior again for a documentary about his life that was filmed in New York. They became good friends and planned to work together on more projects, but he died tragically of a heart attack in 1957. 
Peter Basch was a well-known fashion photographer in the 50s with whom Dorothy collaborated extensively. He loved her versatile look. When Dorothy was starting out, Basch helped her by taking photos for her lookbooks, which were books models used to get work before the rise of the internet. When Dorothy’s career later took off and she was a top model, she repaid Basch by regularly posing for him. 

Which of Dorothy’s photos or collaborations do you hold as personal favorites?
Jonell Lennon
All of Dorothy’s modeling photos are incredible. One of my favorite collaborations of Dorothy’s was with the photographer Ewing Krainin, who coincidentally was my maternal grandmother’s cousin, which Dorothy and I discovered years into our friendship. Dorothy said the photos Krainin took of her didn’t portray her as the most glamorous or sophisticated version of herself but captured her exactly how she saw herself.  

How did she balance her modeling career with her passion for painting during the height of her modeling success?
Dorothy didn’t paint during the peak of her modeling career. Instead, in order to achieve the level of perfection she sought as a model, Dorothy focused exclusively on every aspect of the craft: fashion, design, lighting, photography, hair, makeup, etc. When Dorothy first started out, she was uncomfortable in front of the camera and spent months learning to overcome her fear. She referred to modeling as her “first acting role.” After years of studying and working on her craft, she learned to create and portray the persona each shoot called for.  During this time, Dorothy was repped by John Robert Powers who negotiated her deals, but she had to get her own work, which she said she did through hustling and word of mouth. Dorothy returned to painting only after her modeling and acting careers ended. Once she made that transition, she was solely committed to her art.  

With the move from New York to Beverly Hills, Dorothy began to transition more into television and acting. How did this change of environment impact her personal life and professional work?
Dorothy met her husband, Stanley Chase, in New York while she was transitioning from modeling to acting and studying with Uta Hagen. Stanley was an up-and-coming theater producer, backing Bertolt Brecht’s The Threepenny Opera (which ran for seven years and helped legitimize off-Broadway productions), as well as plays written by Eugene O’Neill and Graham Green. During their New York years, Dorothy and Stanley were in the center of the social scene, befriending authors such as Gore Vidal and Tennessee Williams, and stage legends such as Rosemary Harris, Anne Bancroft and Marlene Dietrich. Dorothy and Stanley supported each other’s careers and were also colleagues. When they moved to Los Angeles, they both shifted their focus to television and film, collaborating when they could. For example, Dorothy appeared alongside George C. Scott in the Emmy award-winning Fear on Trial, which was produced by Stanley. Dorothy helped Stanley with his projects, including giving notes on scripts and advising on casting and directors. While Dorothy embraced much of the California lifestyle, she was always a New Yorker at heart, including never learning to drive.  

What drove her decision to go back to painting after her successful modeling and acting careers, and did her artistic focus shift when she came back to it?
When Dorothy transitioned from modeling to acting, she deeply enjoyed the craft but didn’t enjoy the business, the politics or the way women were treated. Despite being offered prime roles, she wanted to challenge and express herself in a more in-depth way which led her back to her first love, painting. While modeling and acting, Dorothy developed a disciplined artistic approach that emphasized constant study, practice and experimentation. That same process was applied to her painting career but instead of concentrating on her own performance she found joy through engaging with inspiring people and places, whether a farmer’s market in Morocco, a street scene in France, a beach in California or children playing in Mexico. 

Do you have any personal stories or anecdotes about Dorothy that capture her creative spirit and the influence she had on those around her?
While modeling, Dorothy lived for nine years at the Barbizon Hotel, a women’s only residence in Manhattan, which was filled with aspiring models, actresses, dancers and artists. She loved being part of a female artistic community and supporting other women.  As her career blossomed, Dorothy mentored younger models and enjoyed passing along what she had learned about the craft and business.  She displayed the same generosity with actor Jack Lemmon. She had known Jack for years as their fathers were friends and also through studying together in an acting group. Jack was not yet successful, but Dorothy was struck by his immense talent.

She felt his lack of confidence was preventing him from landing good roles. Dorothy spent hours working with Jack on scenes for their classes and prepping for auditions. His confidence blossomed and his career soon took off.  Later, Dorothy and Jack worked together professionally in a French comedy called La Ronde, which was a nice full-circle moment for both of them.

Dorothy Rice
Untitled, ca. 1976-1979
3.5 x 12 in

“Dorothy’s big break came when Christian Dior chose her as the face of his "New Look" collection for American Vogue, propelling her to international fame. Her collaborations with top photographers and designers, including Dior and Peter Basch, solidified her as a highly sought-after model.”

Jonell Lennon & Mark Pittman speaks with Jonathan Bergstrom on Dorothy Rice
LE MILE .Digital

all images (c) Dorothy Rice

Dana Montlack - Interview

.aesthetic talk
Dana Montlack on Art and Science
*Microscopic Worlds

written + interview Jonathan Bergstrom

As both an interdisciplinary biospheric artist and researcher, Dana Montlack bridges the gap between art and science.

Montlack's work, distinguished by its unique composite style and mixed media, urges viewers to see the unity of all living things and to reflect on our environmental impact. Her work has been exhibited in museums and galleries worldwide, including the Whitney Marine Biology Research Center, Atlantis The Palm in Dubai, and the Museum of Contemporary Art in San Diego. Alongside her artistic career, she is also a devoted educator, teaching Visual Arts and Contemporary Art History at Georgia State University. We had the chance to talk with Montlack about the challenges of translating science into art, her deep affection for the ocean, and how art can bring awareness to the wider public about the state of the environment.

Dana Montlack
SIO-24. Sea snail, Venus comb murex
topographic and bathymetric map of the Sea of Cortez

Dana Montlack
SIO-75. Giant Kelp, Gulf of California
Sea Nettle tendrils

Jonathan Bergstrom
I understand that your grandfather played a pivotal role in shaping your career path. Can you share more about his influence and the ways he impacted your journey?
Dana Montlack
Both my grandparents were hugely influential in my life and career. My grandfather was a physician in Cleveland, Ohio. When I was 15, he took me under his wing and taught me how to take and develop X-rays in his office, probably to keep me out of trouble. My grandmother was a dancer who left Akron, Ohio, at 15 to pursue a career in dancing with the American Ballet School in NYC. They were a continuous stream of encouragement, emphasizing that falling and getting up again and again is part of the journey.

What is your method for merging art and scientific elements in your interdisciplinary work?
I merge artistic and scientific elements, propelled by a relentless pursuit of understanding and decoding nature's secrets. I perceive each layer as an intriguing challenge to uncover, akin to sifting through the layers of sediments on the seafloor, excavating soil strata or deciphering the growth rings of a tree. Importantly, I thrive on collaborative efforts, as they not only provide ongoing personal and intellectual development opportunities but also foster a sense of shared achievement.

Can you walk us through your process for creating your composite imagery pieces?
I am inspired by geological locations, species that one cannot see with the naked eye and the behavior of particular animals like the octopus, bower bird, and the waggle dance of honey bees. Then I do a deep dive to know everything about the area, species, etc. I take hundreds of photographs, both microscopic and macroscopic, including archival maps, topographics and bathymetrics. I juxtapose this with scientific data using layers of information, often drawing and painting on top of photographs and reincorporate that into the final image.

What difficulties do you encounter in making scientific concepts accessible to viewers through visual art?
The allure of abstract ideas and forms is undeniable, and I've come to realize that it can pose a challenge for many. Viewers often find it difficult to extract information from abstraction, leading them to overlook its significance. To tackle this, I've started incorporating subtle hints in my work, be it in the title or a quote, to nudge viewers towards their own understanding.

“I merge artistic and scientific elements, propelled by a relentless pursuit of understanding nature's secrets. Collaborative efforts foster ongoing personal and intellectual development and a sense of shared achievement.”

Dana Montlack speaks with Jonathan Bergstrom
LE MILE .Digital

Dana Montlack
W-30. Southern goose barnacles, jellyfish polyps, Catostylus blue blubber jellyfish
Chromogenic print mounted on acrylic, 24 in x 48 in

What do you think the microscopic world can tell us about our daily lives? 
The microscopic world creates curiosity and awe, prompting us to ask questions and wonder about the unseen aspects of the world around us. By examining the intricate details at a microscopic level, we can better understand the world around us and how it impacts our daily experience.

Is it challenging to maintain scientific accuracy while also conveying artistic creativity?
It is less about accuracy and more about my understanding of the science and the narrative I want to create. The images are multi-layered and complex. Sometimes I get lost in the creative process and forget some of the essential data I have encompassed. It’s more about remembering which data and imagery I’ve included; at a certain point the images are not recognizable.

Your work can be seen in Waves of Wonder at the Ships of the Sea Maritime Museum in Savannah, Georgia through September 2024. Can you tell us more about it?
My work there draws its inspiration from the delicate and captivating interplay between land and sea. This exploration is a testament to the vulnerability and resilience of coastal ecosystems, where the ebb and flow of tides reveal a hidden world of diverse life forms and intricate interactions. This opportunity was awarded by the Georgia Sea Grant, NOAA, and the assistance from Dr. Mona Behl (UGA), Dr. Joel Kotska (Georgia Tech), and the Imaging Core Facility (GSU).

What draws you to the ocean as a central theme in your work?
My work is a tribute to the ocean, a testament to its scientific and sensory significance. The ocean is where I find clarity and grounding. The thick, invigorating salty air keeps me present. The sight of the vast, ever-changing sea brings me calm.
Scientifically, the ocean is a lifeline for our planet, shaping weather patterns, providing a home for countless species, and generating a significant portion of the oxygen we breathe. Sensory-wise, the ocean's sounds, smells, and sights are a wellspring of inspiration for my creativity. By infusing the ocean into my art, I strive to share its beauty and importance, fostering a deeper appreciation and a call to action to protect this invaluable resource.

You have collaborated with scientists from institutions such as the Scripps Institution of Oceanography. How has that experience been for you?
I am deeply honored by my collaborations with scientists at the Scripps Institution of Oceanography and others around the globe. I am grateful for the time and insights these scientists share with me, as each interaction is a relationship that informs my work. I continue to work with scientists, finding kindred spirits in their curious pursuit of understanding and interpreting the world around us.
Scientists’ approach to rigorous research and dedication to uncovering truths about our natural world inspires me every day. It is a privilege to witness their commitment firsthand and to translate their findings into visual narratives that can resonate with a broader audience. This collaboration has reinforced my belief in the power of interdisciplinary efforts to address and solve some of the most pressing environmental challenges we face today.

How do you think art can influence people’s perspectives on environmental issues?
Art can transform how people perceive and interact with the environment, encouraging a more thoughtful, informed, and proactive approach to environmental stewardship. It can also illustrate the interconnectedness of all species and ecosystems, emphasizing the importance of biodiversity and the impact of human actions on the environment.
Lastly, art can be an educational resource, making scientific concepts and data more accessible and understandable, as well as a lasting record of the state of the environment, preserving the beauty of natural landscapes and documenting environmental changes over time.

Beyond the art world, what or who inspires you? Are there any rituals or activities that connect you with creativity?
The philosophers Wittgenstein and Paul Feyerabend have had a profound influence on my thinking and continue to be relevant in our present culture. Wittgenstein’s work, particularly his concept of rule-following in the Philosophical Investigations, resonates with me as I see the growth of natural language coding as closely aligned with this idea. At the same time, Feyerabend’s realisation that science is a belief system like any other and is shaped by culture, but is not necessarily hierarchically progressive, helps to balance my perspective and encourages me to think critically about the role of science in society. These philosophers have provided me with valuable insights and have helped me to think more deeply about the nature of language, knowledge, and the ways in which we understand and engage with the world.

What impact do you hope your artwork will have?
As an artist, I am driven by a profound purpose to ignite curiosity and inspire a deeper understanding of the Earth's need for protection, shedding light on both its visible and invisible aspects, which is why I often underscore the interconnectedness and interdependence of all species for survival. By bringing these critical issues to the forefront, I urge individuals to introspect on their relationship with nature and to actively contribute to its preservation for future generations.

Dana Montlack
C-17. Coral, ocean, netting, seaweed, cells, giant kelp
Photograph printed on archival paper

“Art can transform how people perceive and interact with the environment, encouraging a more thoughtful, informed approach to environmental stewardship and emphasizing the interconnectedness of all species and ecosystems.”

Dana Montlack speaks with Jonathan Bergstrom
LE MILE .Digital

follow talent @vonwolfe_

all images (c) Wolfe von Lenkiewicz Studio

Wolfe von Lenkiewicz - Interview

.aesthetic talk
Wolfe von Lenkiewicz
AI in Art Reimagined

written + interview Tagen Donovan

Wolfe von Lenkiewicz’s practice modifies our visual understanding of the past through reconfigurations of iconic pre and postmodernist imagery.

Occupying the periphery of convention, Von Wolfe utilises innovative techniques with use of AI technology, harnessing the tools of a visually hyper-saturated landscape. The revered artist has been described as both ‘an unbound geneticist turned artist’ and ‘a contemporary iconoclast’. Steadily commandeering the intersection of classics and modernity.

Graduating with a degree in Philosophy from the University of York, specialising in Contemporary Epistemology. Naturally the exploration between linguistics, mythology, and the complexities surrounding identity remain at the forefront of Von Wolfe’s practice, combined with the nuances of AI generation - the artist engages his audience with critical thought-systems, and invites the notion of a (re)contextualised trajectory of art. Most importantly, what lies at the core of his visual consideration remains the use of language, and it’s reinterpretation within the sphere of visual arts. On all counts, Von Wolfe remains a disruptor. Eliciting an awareness of a subtle complacency towards our visual world that we have in turn grown indifferent towards.

Wolfe von Lenkiewicz
Always Screaming When Her Voice Is Cracked, 2022
40 x 40 cm
Copyright The Artist

Wolfe von Lenkiewicz
The Kiss, 2022 Works
85 x 80 cm
Copyright The Artist

It could be said that our understanding of visual language has become somewhat warped through the avalanche of cultural knowledge that we often get overwhelmed by. The extent to which we place our trust in almost familial reproductions of iconic artworks, begs to question if we still maintain the ability to appreciate these monumentally important artefacts from bygone eras. It is through this concept of inquisition where we see the importance of the artists exploration of complex issues within the contemporary and artificial intelligent realm. Provocative by nature, Von Wolfe's work reveals the breaking of barriers by way of a distinct visual-syntax. Conceptualising ‘meta-history’ in order to fashion a new mythology - a history about the history of art.

Holding philosophers Wittgenstein and Paul Feyerabend as having a profound influence on the artist. It would be the work of Wittgenstein’s that particularly enamoured Von Wolfe, and the concept of rule-following among philosophical investigations. Deeply resonating with the growth of natural language-coding remains closely aligned with the artists fixation. However to the same degree, Feyerabend’s realisation that science is a belief-system much like any other, and is intrinsically shaped by culture balances out Von Wolfe’s perspective and encourages the process of critical thinking, especially to the tune of the role science plays among society. Wittgenstein and Feverabend have provided valuable insight to the artist, allowing a deeper grasp relative to the nature of language and the ways in which we understand and engage with the world.

In contrast to other artists, Von Wolfe does not position himself as a singular artist with an overarching desire to dominate visual history by virtue of the unparalleled works that he creates. Instead, Von Wolfe operates from a meta- postmodernist vantage-point, examining society’s construction of art history as a fiction, yet remaining authentic to his approach. Extracting meaning within our preexisting realms of information, Von Wolfe unearths and resurrects works from the past, stretching to the self-professed “red hot period of art history”, spanning between 33,00 BC to 1519 AD.
Embellished with symbolism and an undeniable classical skill. Von Wolfe employs a full mastery of the techniques utilised by the original artists tinged with the fluency of AI technology. The sheer magnitude of his work, together with a dexterous grasp of contrasting aesthetics work to dissect and reconstruct. Most importantly, Von Wolfe warmly embraces history – equally with scope to challenge it. Through the cultivation of disparate elements, belief-systems pertaining to the modern and postmodern leads the artist down the rabbit hole, encountering new worlds and beyond.

As the course of visual and contemporary culture continues to evolve, so must the perception of the language and imagery around us. Continuing his exploration into a non-linear history, Von Wolfe single handedly disrupts traditional artistic practices by reverse engineering and adapting techniques to fit the current zeitgeist.

“AI raises questions about ethics, aesthetics, and autonomy. It disrupts traditional practices and challenges our notions of 'art', operating independently and raising questions about human control and agency.”

Wolfe von Lenkiewicz speaks with Tagen Donovan
LE MILE Magazine DAZED, Nr. 34

Tagen Donovan
What are your thoughts on the relationship between artificial intelligence and contemporary art? In what way does this mesh with your practice?
Wolfe von Lenkiewicz
When it comes to artificial intelligence and contemporary art, there are many complex issues to consider. One of the main areas of concern is ethics, as the use of AI raises questions about the roles and responsibilities of both the artist and the technology. There are also aesthetic concerns, as AI has the potential to disrupt traditional artistic practices and create new forms of art that challenge our traditional notions of what constitutes “art”. Another important aspect to consider is autonomy, as AI has the ability to operate independently and make decisions on its own, which raises questions about human control and agency. Finally, there is the issue of the very nature of art itself, as AI has the potential to fundamentally alter our understanding of what art is and how it is created. These are just a few of the many facets that must be unpacked when considering the intersection of artificial intelligence and contemporary art, and they all contribute to the complex and dynamic landscape of this rapidly evolving field.

Your work evokes a sense of history, the characters inhabit their own world that resembles a bygone era. How do you interpret the environment and the figures depicted in your paintings? And what cultural references do you lean towards when mapping out a new piece?
In my artistic process, I carefully consider the cultural references that I choose to incorporate into my work. I often prompt the AI to focus on artists who are centuries old and whose works are in the public domain, as these provide a rich source of inspiration that is outside of copyright restrictions. By reverse engineering these artists and adapting their styles to fit the contemporary zeitgeist, I am able to create art that is rooted in tradition but also relevant to the present moment. When the AI produces less coherent results, I sometimes turn to traditional drawing techniques to help guide the direction of the work. Finally, I physically paint the digital works using traditional methods such as oil painting on canvas or panel; seeing both the AI- generated and human-made images as independent and equal art manifestations of the process. It is important to me that both aspects of the process are given equal weight and attention.

What is the impetus behind your body of work – what idea did you begin with, and how did this develop overtime to where it is at present?
One of the main goals of my work is to identify and explore aesthetic “outliers”; or unusual traits within the thousands of artworks I have created with AI. By testing these pieces against each other at a high frequency, I am able to identify those that stand out artistically and may be relevant to contemporary issues such as gender, race, sexuality, and disability. Rather than approaching these subjects in a journalistic manner, my work aims to delve into them in a more visceral and psychological way. In addition, I strive to counterbalance any biases that may have been present in the data used to train the AI by carefully considering the prompts and post-production processes. By seeking out and examining these outliers, I hope to shed new light on important social issues and offer fresh perspectives on the world around us.

What kind of relationship do you have with your work? Does this relationship extend itself to the characters portrayed within your practice?
One of the byproducts of creating my work at such a high frequency is that I am able to approach it as if I were a stranger, rather than becoming too attached to it.This allows me to survey the meaning within the shared language and culture of our society in the same way that others might. By creating a sense of dislocation between myself and the work, I am able to retain a certain level of objectivity and perspective. Too close an attachment to the “self” within the image could potentially lead to biases or subjective interpretations that might distort the intended message or meaning. By maintaining a sense of distance, I am able to better understand and communicate my ideas to others in a clear and effective way. This does not mean I fail to have an emotional response but rather my aesthetic choices and reactions are not distorted by my sense of ownership.

With a considerable presence on social media, do you find the intertwining of virtual and physical worlds at all invasive? How important do you feel it is for a contemporary viewer to relate to the subjects of your work?
I take my use of social media very seriously and see it as a crucial platform for sharing my art with the world. Despite being virtual, my presence on social media puts me in the public realm, much like a street artist who performs for a live audience. I find social media to be both rewarding and challenging, as it allows me to connect with a wide audience but can also expose me to criticism and polarising debates. In addition to social media, I also use Discord as a way to engage with a community, particularly for my upcoming NFT project TREASURY, which is set to launch in 2023. Overall, I see social media and online communities as an important part of my artistic practice and am always seeking to find new and creative ways to engage with my audience.

Humour is a common thread that runs deep within your practice, could you elaborate on this?
It is not something I consciously try to incorporate. In fact, I see myself as being completely devoid of it. However, I have had experiences where my work has been met with unexpected laughter, such as when I showed a film featuring characters in strange costumes I had made, who were supposed to be enlightened thinkers having an argument on a beach. Despite my initial embarrassment, I have come to realise that the humour in my work is of a peculiar, uncanny nature. I want viewers to approach my digital images or large- scale paintings in a gallery and feel a sense of uncertainty about whether they should laugh or cry. Upon closer examination, they may be drawn to the intricate details of the outfits and design elements, even as the overall image is disturbing or unsettling. It is as if the horror of Joseph Conrad’s Heart of Darkness, is inappropriately followed by an unexpected appreciation for the aesthetics of the cool jumpsuits the characters are wearing.

Beyond the art world, what or who inspires you? Are there any rituals or activities that connect you with creativity?
The philosophers Wittgenstein and Paul Feyerabend have had a profound influence on my thinking and continue to be relevant in our present culture. Wittgenstein’s work, particularly his concept of rule-following in the Philosophical Investigations, resonates with me as I see the growth of natural language coding as closely aligned with this idea. At the same time, Feyerabend’s realisation that science is a belief system like any other and is shaped by culture, but is not necessarily hierarchically progressive, helps to balance my perspective and encourages me to think critically about the role of science in society. These philosophers have provided me with valuable insights and have helped me to think more deeply about the nature of language, knowledge, and the ways in which we understand and engage with the world.

There’s a timelessness about your work, yet your paintings are rich with references to other decades. Which eras and movements do you feel most affinity with?
Of the narrow range of European art culture, I have a particular fondness for the work of Rogier van der Weyden and Leonardo da Vinci, particularly da Vinci’s lost works such as the Battle of Anghiari, Leda and the Swan, and the early Garden of Eden. I particularly like the span of a wide range of time, from 33,000 BC to 1519 AD, which represent what I consider to be a “red hot”period in art history. However, my fascination with art is not limited to just European culture. I have a nearly infinite curiosity and appreciation for the art of all cultures around the world and am captivated by the creativity and cultural significance of all forms of art.

Wolfe von Lenkiewicz
Magdalene, 2022
130 x 130 cm
Copyright The Artist

“My goal is to explore aesthetic 'outliers' in AI-generated artworks, addressing contemporary issues like gender, race, and disability in a visceral and psychological way.”

Wolfe von Lenkiewicz speaks with Tagen Donovan
LE MILE Magazine DAZED, Nr. 34

Wolfe von Lenkiewicz
The Runners, 2022
220 x 220 cm
Copyright The Artist

Could you elaborate on your background and your journey to becoming an artist?
I guess I am more comfortable with a blank bio.

What is your stance and relationship between the fusion of contemporary art, architecture, fashion, craft and fine-art (Gesamtkunstwerk)?
My goal is to create a unique and innovative form of art that combines and reimagines the styles of historical artists, much like how NASA fine- tuned the mirrors on the James Webb telescope. I am deeply interested in the psychology of my subjects and strive to create art that is relevant and meaningful for the contemporary moment. In regards to fashion, I also design original clothing, shoes, and hairstyles to complete my artistic vision within the paintings.This new form of art is intended for both the digital realm of social media and the physical world, and can be described as a type of international high frequency art that embodies metamodernism.

Your paintings communicate a sense of optimism, accentuated by vivid colour palettes, comical gestures and jovial expressions. This tongue-in- cheek approach to cultural critique feels inherently British. Would you agree that this method of evaluation behind your work lends itself to being more accessible to a wider audience?
Although I have never personally been inspired by a British artist, with the exception of the esteemed portrait miniaturist Nicholas Hilliard, I must acknowledge that Britain has a rich history of artistic and cultural contributions. The country’s literary and scientific achievements are well-known and respected throughout the world. Despite my lack of personal connection to British art, I cannot help but be impressed and inspired by many of its artists such as Gwen John, Augustus John, Meredith Frampton and Alfred Gilbert.

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all images (c) Wolfe von Lenkiewicz Studio

Enzo Lefort - Interview

.aesthetic talk
Enzo Lefort
Fancing Frontier

written Sarah Arendts

With a blend of skill and style, Enzo Lefort invites us into the intricate realm of his sport, where athleticism meets artistry in a symphony of movement. Lefort's journey to the forefront of fencing is a testament to dedication and innovation.

With each fluid motion, he challenges the status quo and pushes the boundaries of athletic expression. Engage with Enzo Lefort as he shares insights on its evolution, the fusion of athleticism and fashion, and his unwavering commitment to inspiring future generations of athletes. Learn all on the arena where passion ignites performance, and witness the extraordinary through the lens of a true visionary.

Enzo Lefort
seen by Jojo Harper

“Being able to compete at the Olympics at home is a once-in-a-lifetime chance! […] My goal is to make everyone who is going to watch me proud.”

Enzo Lefort speaks with Sarah Arendts
LE MILE Magazine TRANCE, Nr. 36

Sarah Arendts
Enzo, as a fencer who has reached the pinnacle of your sport, how do you balance the intense focus required in competition with relaxation and leisure in your personal life?
Enzo Lefort
Professional sport can be really challenging on a daily basis, as failure has a constant place in our journey. I personally try to always have side projects outside of fencing. These projects help me keep my head fresh and always be fulfilled. It is important as I need to put this mental energy into my competitions.

Your collaborations with Louis Vuitton and Nike merge the worlds of elite sport and high fashion. How do you see these partnerships influencing the perception of fencing within the fashion industry and among its followers?
Fencing is kind of a "niche" sport with a really poor representation on TV. I feel that being able to work with these two leaders in their industries proves that visibility isn’t everything. Nowadays, people often think about your number of followers and your reach. I personally think you can be more legitimate by being true to yourself, having a great image, and doing beautiful and useful things outside your sport.

During a match, athletes often describe entering a ‘zone’ or a state of flow that feels like a trance. Can you share an experience when you were completely absorbed in the moment? How does this mental state contribute to your performance?
This is a state of mind where your body moves by itself. You’re so in phase and in the present moment that you’re not thinking anymore. By instinct, you take all the good decisions during the action, leading you to see everything slower, as if you were outside your body! I’m lucky enough to have felt this feeling in the Olympic Games finals in Tokyo 2021 team event!

With the Paris 2024 Olympics on the horizon, what does competing in your home country mean to you personally and professionally? How are you preparing for this monumental event in your career?
Being able to compete at the Olympics at home is a once-in-a-lifetime chance! I like to think I train harder than ever to give my very best on the day of the competition! My goal is to make everyone who is going to watch me proud. I’m thinking about my wife, my daughter, my parents, my sister, my friends, and the whole French people! I’m also aware of the spotlight that will be pointed at the athletes during these months. And I try to use them to shed light on my personal projects such as my charity or my documentary about fencing in Guadeloupe that I wrote.

Fencing is a sport with deep historical roots. How do you think modern technology and training methods are changing the game, and where do you see the sport going in the next decade?
Modern technology and training methods help fencing become more spectacular, in a physical way and in terms of visual show for the spectators. I can see the sport evolving even further in these two directions during the next decade.

Working with brands like Louis Vuitton and Nike, how do you ensure that sponsorships align with your personal values and the essence of fencing? What do you look for in a partnership?
Fencing being an amateur sport, I need these sponsorships in order to make a living from it. But not at any cost. I am really paying attention to the brand I work with, matching my image in terms of values and positioning. I always make sure the brand I’m working with will help me with my side projects such as photography, my podcast, or my charity. Also, I pay attention to the brand being subtle when it communicates, especially using my image.

As a prominent figure in fencing, you have a unique platform. How do you hope to use your influence to impact the sport and inspire the next generation of athletes?
I always make sure that I share the values of sport such as hard work, resilience, fair play... I also try to show that we can be more than athletes, that there are other things we are good at. I reached a moment in my life and my career where I can give back to the younger ones and the ones in need. At my very own level, I try to help those in need, and if everyone is doing the same, things can change.

With your keen eye for fashion, how do you integrate style and functionality in your training and competition wear? How important is personal style in expressing yourself within the sport?
When it comes to fashion in training and competition, I am very functional. I tend to wear mostly black outfits, but I pay attention to the materials and the fit of my clothes. I personalize my outfit with my "jewelry," a thing that other fencers mostly don’t do. Fencing is a very normative sport, and the uniform is very codified. I like to keep my freedom wearing my personal jewels, in order to keep my personality.

“By instinct, you take all the good decisions during the action, leading you to see everything slower, as if you were outside your body! ”

Enzo Lefort speaks with Sarah Arendts
LE MILE Magazine TRANCE, Nr. 36

The mental aspect of sport is often as challenging as the physical. How do you maintain mental health and resilience during the highs and lows of your career?
My different projects outside of fencing help me to always be curious, to always learn new things. Doing this, my mind isn’t filled 100% of my time with fencing. Because when you win, everything is perfect, but when you lose, you see yourself as someone not capable. Doing other things outside my sport really helps me to relativize this.

Looking towards the future, what legacy do you hope to leave in the world of fencing and beyond? How do you want to be remembered both as an athlete and as a person?
In my sport, I would like to be remembered as an athlete who always played by the rules, who never cheated, and who respected every single one of his opponents. And then, I would like to be remembered as someone who marked the history of his sport. And then I will do my best effort to help and empower the next generation of athletes in sport.

follow talent @enzo_lefort

all images (c) Jojo Harper