"MODERN LOVE" PREMIER // KOSSISKO x LITTLE BEAST // PART 1

Little Beast is pleased to announce the premier of Kossisko's "Modern Love" from his forthcoming horror short film, entitled "2037." He met with our photographer William Converse-Richter and director Joseph Kenneth in LA this month to take some photos and talk about the film.

We decided to make the release a two part thing considering Mercury is going into retrograde tomorrow and Joseph's interview is still being edited. Find William's shoot with Kossisko below and check back on May 22nd for part two. Mercury will be all love by then.

To view more from Kossisko, visit his website.

Styling: Merav Walklet

CREATIVE BRIEF: Eric Yahnker

I reached out to visual artist Eric Yahnker to talk about his life and his work. I've been a huge fan of his work for some time now, and have always had a loving envy for people who are able to convey their ideas so deliberately and effectively.

Eric is originally from Torrance California and works from a studio in downtown L.A, where he's been for 15 years. His work is incredibly technical and is my perfect balance of beauty, humor and politics.

Fuck Yes, I love you brother.

-Stephan

little beast: Tell us about your work? 

EY: It’s primarily just me being a general smart-ass, know-it-all dipshit.  In truth, I’ve often said I’m just a glorified political cartoonist.  I actually would love to have a staff job at a newspaper doing cartoons, but, alas, the nail has long been in the coffin for print journalism, so I figured out a way to kind of do the same thing and actually get paid for it.

little beast: Medium?

EY: With drawings, I primarily work in charcoal, graphite, and colored pencil on paper.  I’ve also been dabbling a bit in pastels lately.  With sculpture, however, anything goes.

little beast: Does the subject matter determine the medium you chose?

EY: Absolutely!  I used to want to only want to see my work as a sort of cinematic noir or possibly even dramatic newsprint, in relation to political cartooning.  Mostly, I think I was just intimidated by color as I had no experience with it.  I also grew up watching tons of early vaudeville-inspired television, like The Three Stooges, Marx Brothers, Charlie Chaplin, and Buster Keaton which is obviously all in black & white.  In my limited view, slapstick just seemed to work best in black & white.  Then, I saw Jacques Tati’s incredible masterpiece ‘Playtime’ and realized slapstick had a MUCH wider Technicolor spectrum than I ever imagined.  I was also probably just wanting to challenge myself to expand my practice beyond black & white.  I’m actually working mostly in color these days, so occasionally I have to remind myself to get back to black & white as too much of anything can be overkill.

little beast: Can you tell us about any current work?

EY: Well, it appears I’m making my next show about the current state of identity politics and the long shadow of racism still affecting the nation, as well as the pervasive apocalyptic anxiety that enshrouds us.  The piece I’m working on at this very moment is a large pastel of a majestic bald eagle spraying liquid shit against a glowing sunset.

little beast: Amazing, lol. Tell us something that might give you inspiration for a piece or a series of work.

EY: The American idiocracy consistently feeds me, but typically I'll start by sifting through my enormous, ever-expanding archive of collected images and play a version of ‘match game.’  

little beast: You seem to find a perfect humor and perfect execution. Do these images come to you in visions? 

EY: Thanks!  Often I’ll have a sociopolitical concept or current event that I’m metaphorically or literally trying to target, and then I toy around a lot.  If I can temporarily shove aside my darker impulses, I’m particularly attuned to the groggy moment before sleep hits, where visions of fully-realized works can magically appear.  I figure if I still remember the idea by morning, then it’s possibly worth doing.

little beast: Describe what your creative process might look like, from idea to physical.

EY: I wake up at 9am, read/watch the news, go for a jog, take a shower, eat cereal, head to the studio by 11:30am, check e-mails, look for new images that could be useful, draw, procrastinate, eat, draw, procrastinate, eat, draw, procrastinate, go home around 9:30pm, watch news, watch movie, attempt to sleep, wash, rinse, repeat.  Sundays I take off.

little beast: Do you have favorite visual artists?

EY: Gee Vaucher, Peter Saul, Namio Harukawa, Konrad Klapheck, Arthur Szyk, N.C. Wyeth, Alex Colville, Norman Rockwell, Paul Cadmus to name a few

little beast: If you could collaborate with any creative on a project who would it be? (living or dead)

EY: Helen Keller.

little beast: Any shows of yours to look out for in the near future?

EY: I have a solo show in late February in LA at Zevitas Marcus, and another in May at The Hole, NYC.

You can see more work from our friend Eric Yahnker here.

Instagram: @ericyahnker

CREATIVE BRIEF: Victor Solomon of Literally Balling

Let me introduce you to Victor Solomon. He's a SF based artist making big waves with his project "Literally Balling." If you guessed that we met on the internet, you're right. Instagram can be a magical place.

I don't remember how it happened exactly but I do remember receiving an email through the site from Victor about the project. We may have spoken prior to that on IG. I was attracted to his work on sight, but didn't really understand what it was all about. What I loved initially was the stained glass backboards, the crisp photography, the metallics, the wood, the color palette - so I guess everything. I also liked the faint anxiety it gave me when imagining them actually being used for their traditional purpose. 

In this interview, I set out to understand a little bit about him and his work. 

little beast: Where are you from?

VS: Boston    

little beast: Did you study?

VS: I apprenticed with a group of 80 year old stained glass masters for a year before embarking on Literally Balling. They taught me how to approach the craft with historical accuracy and were invaluable to the process. 

little beast: Describe working with these old stained glass masters. Where was this? Tell me more about them.

VS: The studio is a motley crew of old-school, SF craftspeople - retirees with wine in coffee mugs, amazing stories of days gone by and decades of expertise mastering this antiquated craft. 

little beast: What can you tell us about "Literally Balling?" 

VS: I've been really interested in the idea of luxury. What qualifies, the irony and it's own impracticality. 

little beast: Can you tell me more about your thoughts on luxury? About the idea of it, the irony, etc?

VS: There're a few threads running through this work, but this idea of the fragility of luxury feels particularly apropos here. Basketball is basically class-proof - the poorest kids and the richest kids play the same game, the same way - the iconography is evocative because it's vastness is an equalizer. However, an opulent destination in our culture is the adorning of luxury materials (on everything) - here a beautiful piece is created, but it's function is removed - quid pro quo.

little beast: Do you travel much?

VS: As often as I can get away! ⛵️🚀

little beast: Has any one place been more significant or inspirational for your work or lifestyle?

VS: Palm Springs has become an important bi-annual retreat to recharge. 

little beast: Describe your Palm Springs Recharge. Any favorite places to stay, restaurants or chill spots?

VS: Stay at the Sparrow Lodge, dinner at the Parker, dessert at Colony Palms, drinks at Melvyn's, vintage scouring and hikes in Joshua Tree. 

little beast: Where else have you traveled to? In or out of the States.

VS: I spent a summer working on a banana plantation in Australia, toured Germany, France and the UK and criss-crossed the US in varying capacities - looking for an excuse to get to Istanbul, Hong Kong and a long southwestern road trip.

little beast: Can you tell us about any pieces that are working on currently?

VS: I'm preparing now for my first solo show in NY - a collection of new work related to Literally Balling. 

little beast: Tell me more about the exhibition. 

VS: February 25th at Joseph Gross Gallery I'll be exhibiting the new Literally Balling collection - all new backboards, but also a body of work supporting the narrative in a variety of mediums. Honored and excited, looking forward to sharing the evolution of the project with everyone.

little beast: Tell us something that might give you inspiration for a piece or a series of work.

VS: As the medium for this project is rooted in an antiquated practice a lot of inspiration comes from looking back at traditional approaches, anywhere from medieval executions to the bay areas glass resurgence of the 60s/70s.

little beast: How much of this project has been research? Describe to me what the process has been like for you. Do you get sucked into the historical stuff? 

VS: The historical relevance has always been an important part of the project to me. Stained glass has long been a symbol of power and wealth and as I appropriate that conceit, it's made sense to design these pieces inspired by those that preceded. The ornate medieval work is aesthetically something I've gravitated towards, but the wave of glass artists in the 60s/70s introduced a 'naughtiness' to the medium that this can be seen as an evolution from.

little beast: Describe what your creative process might look like, from idea to physical.

VS: My process is very lo-fi. In staying with the processes historical accuracy, my approach is as the medium's always been: long hand sketches, hand cut glass, hand wrought steel rims and painstakingly woven crystal nets. 

little beast: Is there a person that has been most influential to your work over the years? 

VS: Aside from my glass mentors, Sterling Bartlett and Brendan Donnelly, great artists in their own right, were really encouraging in the early phases that there was something worth exploring here. 

little beast: What are you listening to most lately in terms of music?

VS: Lots of Scott Walker, Eno's Taking Tiger Mountain, Meek Mill, Young Thug and I'm still hanging on to At Long Last A$AP

little beast: Do you have favorite visual artists?

VS: So many, but lately: Ry Rocklen, Nicole Wermers, Paul Pfeiffer and Ruby Sky Stiler

little beast: If you could collaborate with any creative on a project who would it be? (living or dead)

VS: I would love to get together with James Goldstein on something (and holding out hope that I'll get the opportunity)

You can see more of Victor's work on his website.

Instagram handles: @victorsolomon and @literallyballing

CREATIVE BRIEF: Carlijn Jacobs

I'm a fan of photography. Huge fan of photography. So much a fan of photography that I sometimes forget that not everything is genius. And then I look at a Carlijn Jacobs photograph and I remember why some of us are remembered long after we're gone.

Carlijn Jacobs is a Photographer and Creative Director based in Amsterdam. She studied Lifestyle & Design at Willem de Kooning Academy in Rotterdam.

I don't know Carlijn personally, but I've followed her work for some time. When Little Beast decided on writing a journal last year I reached out to her and she kindly took the time. This interview, like the others, stays very close to the surface. I hope to have a more in-depth talk with her in the future.

little beast: Where are you from?

Carlijn: Amsterdam

littlebeast: Where have you lived?

Carlijn: Amsterdam, Haarlem, Rotterdam, Groeningen, Sambeek

little beast: What is your education? (traditional or otherwise)

Carlijn: Willem de Kooning Academy, Lifestyle & Design (art academy) with a lot of self exploration.

little beast: How would you describe your approach to photography and creative direction? 

Carlijn: I have always been a very visual thinker so it's just something natural I guess. Most of the time I pitch my ideas to clients and try to compromise. But the most fun part is when you work independent and you can totally do what you feel.

little beast: When did you begin taking photographs?

Carlijn: At the age of 13. When I was 15 I bought my first Fujifilm camera and started making pictures of flowers in the garden and I  did dress up parties with my friends and we started our first 'photoshoots.' It was fun back then and it still feels sometimes like back then.

little beast: Do you travel much?

Carlijn: Quite often yes, but I'd love to travel even more. 

little beast: Has any one place been more significant or inspirational for your work or lifestyle?

Carlijn: Not really, the variety makes it inspirational I guess. But I prefer nature trips more than city trips. I'm going to paris in January and to the caribbean island in a couple of months, super excited. I'm also in love with the east-europe countries for example croatia. 

little beast: Can you tell us about any exceptional photo projects that you're working on currently?

Carlijn: I'm working on a very special series, can't say too much but you will see!!!! 

little beast: Tell us something that might give you inspiration for a concept or a body of work.

Carlijn: Art, people, forms, materials, models, everything actually, oh and I can't forget animals! 

little beast: Describe what your creative process might look like, from idea to physical.

Carlijn: This is such a hard question to answer because most of the time it's just a result of listening to my inner visuals/feelings. So the idea is probably already a while in my mind and after all the research I'm trying to visualize it. Most of the time it's just a feeling I need to follow. 

little beast: Is there a person that has been most influential to your work over the years? 

Carlijn: Not really. Sorry folks. 

little beast: What are you listening to most lately in terms of music?

Carlijn: Elvis Presley has always been good to me and my hiphop playlist serves always some spice on the set.

little beast: Do you have favorite visual artist or photographer?

Carlijn: Harley Weir, wow! 

little beast: If you could collaborate with any creative on a project who would it be? (living or dead)

Carlijn: Path McGrath or Johnny Dufort. I adore the Jacquemus campaign from Johnny. Super strong.

little beast: Any shows of yours to look out for in the near future?

Carlijn: No, I did some expositions last year but I decided this year not to expose/show.

little beast: What is your favorite thing to cook?

Carlijn: Nothing, I seriously hate cooking. 

little beast: What is your favorite thing to eat?

Carlijn: All the dinners my friends make me! Thank you guys. 

You can see more of Carlijn's work here.

Find her on Instagram: @carlijnjacobs