Perspectives

Perspectives

 

Born in Ukraine but living in Israel, Sveta Dorosheva is inspired by the medieval and retains influences from 18th century artist’s like Edmund Dulac and Harry Clarke. Fascinated by the minds of children, Dorosheva creates alternative worlds using ink and paper.

First, tell me what’s happening in Rehovot, what are you doing today?

It’s a beautiful sunny morning; I’ve sent all the kids off to school and kindergartens. I am having my morning coffee and procrastinating before starting a new project by answering these questions. Thank you for giving me something better to do than housework to fill in this little break. Usually I work during morning hours till noon, after that the kids return one by one and I work as mom till night time. After they go to bed, I have a second shift of drawing time.

What projects are you working on at the moment?

I have several commissions in various stages of development. They are a marvelous diversity: reinterpretation of two Tarot cards; poster for a mystic puppeteer and entertainer; personal campaign for a book store, dedicated to literature and dreams; and a new deck of trick cards. That pretty much contains ‘a few of my favorite things’ - mysterious emblems and alchemy, eccentrics and eccentricities, fable, magic and trickery.

You were born in Ukraine, how come that you moved to Israel?

Ah well, that’s complicated :) My parents moved to Israel, when I was 18 and I stayed at home, because I wanted to finish my degree first (official version. The truth - I was in love). I did finish my degree in literature and languages though, and by the way, my thesis was dedicated to fairy tales, which are my passion since childhood. After that I fell out of love and moved to Kiev from my home city. There I worked as an interpreter, journalist, copywriter, designer, art director, and, lastly, as a creative director of a network ad agency. By that time I was married and had a four year-old son.

Now we’ll make a detour from this exemplary career ascension. As is evident from this bio, I have no academic training in art, which is my life-long grief. I adored drawing when I was a kid, but then school kept me very busy for several years. My next drawing spree was in at the University, because studies were excruciatingly boring. I started to draw at lectures and at home late into the night. I copied artists that I liked, doodled and illustrated a diary.

When I started to work, I continued to draw in the evenings. By that time I knew I needed ‘my fix’ (If I don’t draw for several days in a row I turn into a wicked witch), but did not dare to treat it as anything but a ‘pleasant hobby’. That came to an end after the birth of my first son. Before that I had work and hobby and they lived cozily together in one life. After that I had work, family and hobby, and there just wasn’t enough room for three large spheres in one life. One had to go. Of course it was drawing, because “it’s not serious”.

After four years of not drawing, I felt so utterly wrong about everything I did, despite an impeccably successful front, that I quit at the top of my career into ‘nowhere’. I knew I wanted to draw and had no other way than to make it my work, but couldn’t make up my mind, how to go about this whole new endeavor. I even did not know what I wanted to do, let alone how to approach it - draw books? commercial illustration? art in a studio? And then I had to labor through the “I am not a ‘real’ artist” thing. While I couldn’t make up my mind, life made it up for me and I was pregnant with our second son. With that many crucial changes in life, another twist did not matter. We decided to move to Israel to be closer to grandparents (official version. The truth - it is easier to start something new in a completely new environment).

How is the cultural climate in Israel for artists like you?

I am not sure. I gave birth to our second son a month after the immigration. At that time we thought we were taking a year’s break to figure things out while I am on a “mom’s leave”, and then would return to Kiev. But you know how life is? It sucks you in here and now. In a wink the senior boy went to school, my husband mastered a new career in web and app design and I was pregnant with a third boy! Moving back was out of the question.

My point is I am not leaving house much, except for child playgrounds, parks and seaside. I don’t know local art environment. This weekend I have been to Yaffo to hang a small exhibition of my works in a theater, and that impressed me like a world cruise. You know - nicely dressed people with no kids languidly walking the atmospheric ancient streets, strewn with galleries and coffee shops and all…

A lot of illustrators and artists work digitally today, why do you prefer pen and paper?

I’ve worked digitally for seven years in advertising. That’s not half as enjoyable as hand drawing, and then I guess to me hand drawing is just easier. I do use Photoshop though, I am not as medieval as it may seem.

There is a strong influence of folklore and fairytales in your work; do you have a favorite story?

Oh, oh. Not sure what to answer, because there are so many of them. When my kids ask me to tell a story, they have to answer a dozen questions, before I decide which to tell: funny or scary; witty or mystic; eastern or western; crazy or reasonable; people or beasts; long or short; riddled or plain; gory or peaceful? (I have three boys, so no princesses, yes). So, now I don’t have a favorite story, like a gourmet can’t have one favorite dish, because he is so sophisticated in food, but in childhood I did have favorite tales.

My dad read to me Russian and Grimm fairy tales a lot and I knew them by heart. We had an unabridged edition for researchers, so luckily these tales were not robbed of their initial richness ‘not to scare kids’. I did not scare a bit, but was enthralled by the murky, fickle world, where everything turned into everything else, beasts talked and threw off skins to turn into people; wicked stepmothers ordered their stepchildren killed in the woods to eat their hearts and spit a golden coin every morning ever after; dead water revived heroes; a forest witch lived in a house of chicken legs and had a flipping bed that tossed incautious travelers into the underworld; tree fairy had her arm cut off to spill gems and rubies from the wound in order to help the hero fulfill the wicked king’s desire; death of an immortal skeletal villain was hidden in a needle, needle - in an egg, egg - in a fish, fish - in a duck, duck - in a hare, hare - in an eagle; eagle - in a chest; chest - on a tree at the end of the world; a dragon had nine fire-spitting heads and a magic finger to grow new heads if some got chopped off; treasures turned to autumn leaves; people returned from a one-day visit to the underwater king to discover hundreds of years had passed in the real world; golden-skinned princesses jumped out of oranges; princesses threw off swan’s feathers, frog skins, snake skins, lizard skins; princesses washed ugly sorcery off their faces with black soap; poisoned pins in the hair turned princesses into birds; wrong moves - into stone… There was even an ancient version of ‘Donkey Skin’, where the stepmother was a wicked witch and turned the girl into… a cow’s stomach. She predicted that “the enchantment will be broken only if the King kisses you, ha-ha-ha”! Indeed. The Cow’s Stomach took the job of a shepherd on royal pastures and stalked the king until one day he was crossing the field during a hunt. Then the Stomach entangled the king in his… eh guts and threatened to strangle him if he doesn’t kiss ‘her’. Well, if there’s a happy end to this story, then you know, nothing in life can ever upset you really much…

I remember very well, that when as a child, this didn’t seem strange or weird or cruel or unreal. They were just part of a gripping story. I first started to appreciate just how weird that is, when Dad read these same tales to my junior sister (we shared a room). She was 6 and I was 15 and I listened to them once again from a whole new perspective. Her favorite tale was about a princess that got abducted by this ugly immortal villain and her fiancé pursued to rescue her. He gets killed three times, chopped into small pieces. But his brothers revived him with ‘dead’ and ‘live’ water, when they saw that the silver spoons he’d left them blackened and that meant he was in trouble. There was a part where he has to scramble out of a bottomless abyss, and a huge magic bird condescends to carry him on her back. But she warns him to prepare enormous food and water supplies. These end long before the end of the journey out of the gargantuan abyss, but the bird demands more, or else she will fall exhausted back into the abyss. She advises the lad to cut his wrist and give her some blood to drink, and then to cut some meat off his legs and give her that to eat. Well, he does so several times and by the time they are safe and sound on the surface, he is dead. But of course his brothers know this, because of the black spoons and are waiting there with dead and live water. The bird throws up his flesh. Brothers put the pieces back, spill some dead water on them and they grow back into place. Then they spill some live water on the lad and he comes back to life. 

Now, I am lying there in the dark, while Dad reads this to my sister, shocked and wondering just how weird and disgusting is that, when my sister stops father and says: “read that all over again, starting from the bottom of the abyss”. And that’s the difference between kid and adult perception of fairy tales. Kids don’t attach any characteristics - nothing is ‘terrible’ or ‘wonderful’ to them - it’s all just a part of a fascinating plot. They do not divide things into pleasing and disgusting, real and improbable; they just take everything for granted. Yes, the mushroom turned into a little man. Yes, the cow stomach turned into a beautiful girl. Quite natural.

I like to illustrate this point with another story. I remember my three-year-old son finding a dead bird in the bushes once in December. He insisted that we go and see its metamorphoses every day. I felt rather ill at ease at certain ugly stages of decay, but he was interested, because he did not KNOW it was ‘disgusting’… To him bird-turning-to-a-skeleton or frog-turning-to-a-prince is the same type of natural metamorphosis that makes the world tick and such an interesting place to observe. There’s no good or bad, there’s just infinite variety and wonder. I am glad I’ve smuggled a tiny measure of that perception into adulthood and I think that is mostly what my drawings are about.

FROG PRINCESS

 

PHRENOLOGY
 

 

CHILD
BOAT

 

WHISPERING FAIRIES
 

 

LICINIA
 
POVAR I NEVESTA 210
 

 

CREATURE FISH
 
BLUEBEARD
 

 

photography by ROMEO MORI
styling FRANCESCA PARISE
hair & make-up CELINE EXBRAYAT
top AZZEDINE ALAÏA
panties CHANTAL THOMASS
bandana worn as a belt KILIWATCH

 

One who watches

The 22 year old Parisian actress and singer Lou Lesage has dreamt of being on stage since she was a little girl.
– I used to reenact scenes from movies I had seen, she says.
Lou describes herself as an observer: one who watches.

Her parallel careers come naturally to her. She has been encouraged to sing in her family and her voice is really beautiful with both softness and attitude.
Lou has big ambitions. She wants to be remembered for her work, she says, and she has already come quite far.
She has one album released; Under my Bed (2011) and she has participated in several films; LOL (Laughing out loud, 2008), My little Princess (2011) and Océane (2013). Now she has two new cinema projects going on for next year.
– I’m very excited, she says.

Her parents Pierre Emery and Gil Lesage have helped her a lot. They are both members of the band Ultra Orange. Her father looks like a French version of Iggy Pop and it’s he who writes and composes his daughter’s music.
Both Lou and her parents are inspired by underground bands from the 60’s and 70’s like The Velvet Underground and The Stooges. If you are a Stooges fan you can hear a lot of musical references to them in her record.
Her favorite songs currently, from this era, are; She loves the way they love her by The Zombies, Mon amie la rose by Françoise Hardy, Anyone who had a heart by Dionne Warwick, Ballad of a thin man by Bob Dylan and Atomic by Blondie.

Even when it comes to fashion, the 60’s and 70’s are of great importance. Lou Lesage does a lot of vintage shopping. For example you can see her in high waist trousers and her favorite accessory is “the hat”. It is a style that reminds of a young style icon like Jane Birkin.
– I don’t really know why I’m attracted by this kind of esthetic, Lou says.
Her own favorite style icons are Françoise Hardy, the young Brigitte Bardot and Françoise Sagan.

Is there a French philosophy when it comes to beauty?

It’s the beauty of mind that matters.

You live in Paris. Can you tell our readers about your favorite
shopping places that they would not want to miss?

I don’t have favorite places. The beauty of Paris is that you can find secret and cool places in a corner of a street. You have to walk in the little streets without knowing where you go. But I can suggest La jolie garde robe on Rue des Commines.

Do you have a favorite clothing label?

Thomsen is a great brand. They do a lot of beautiful shirts with colors and patterns with birds. And Le Mont Saint Michel - it’s very Frenchy.

What is Océane about?

A young girl from the Parisian suburbs and gets dumped on a highway station. She follows a stranger, Oliboy, an odd forty-something musician who is about to do a summer tour in the south-west of France. She will discover his life philosophy in an authentic isolated surf camp - a timeless summer paradise.


What is your favorite French film at the moment?

Sue mes lèvres (eng: Read My Lips 2001), a Jacques Audiard film with Vincent Cassel et Emmanuelle Devos. I love it!

Any dream project you want to do or be a part of?

I would love to work with Jacques Audiard. But it’s a big dream.

dress AZZEDINE ALAÏA
jacket EUREKA VINTAGE at KILLIWATCH
panties CHANTAL THOMASS
tights FALKE

 

waistcoat OLYMPIA LE TAN
body WOLFORD
skirt VINTAGE
top SACAI
jacket Vintage A.P.C 
beret Le SURLUS DOURSOUX

 

dress, jacket and shoes AZZADINE ALAÏA
beret LE SURLUS DOURSOUX

 

top SACAI
jacket VINTAGE A.P.C jacket 

 

written by MICHAELA MYHRBERG

photography by ANNA GRANBERG

 

It is a dark and cold Friday night in the beginning of October and I am on my way to the oldest traditional theater house in Stockholm, Södra Teatern. This weekend there are a lot of international artists in town, maybe not the typical ones, these ones are burlesque performers and I am about to see them perform at the 3 year old Stockholm Burlesque Festival. If you are not in the burlesque platoon it can be quite hard to even have an idea of what they actually do on stage.
We all know it is about getting naked in the end, but what about the beginning?
When I hear the word burlesque I immediately think about Dita von Teese lying in a giant champagne cup covered in Swarowski crystals. To find out the actual facts I went backstage to discuss the world of naked women and tassels with the burlesque dancer and festival co-producer Fräulein Frauke.

First, tell me about the festival…

The festival is one of Europe’s biggest burlesque events and is running in Sweden for its third year. It was initiated by Duchess Dubois and The Amazing Knicker Kittens in 2010, had a break in 2011 and my husband John Paul Bichard and I, were asked to join the production team for last years festival.
It is a great celebration of burlesque, and all the joy, creativity, and warmth this art form has to offer.
In a festival there are many performers from all over the world, so its a great way for the audience, both “burlesque veterans” and those new to the scene to really get a big and grand experience, as well as it is working as a lovely “community mingle” for us performers, to hang out and get to know each other.

What’s the essence of burlesque, what’s it really about?

In one sentence I would say it is “cabaret entertainment with a feministic undertone, using some form of striptease as a medium”.
There are two forms of burlesque, one can argue: what we call “classic burlesque”, a tribute to the women that did burlesque before the porn industry changed the adult entertainment world in the begining of the 60´s. Ie, a vintage inspired ode to these times (typically 1880-1950) and these amazing and strong women.
And then we have “neo-burlesque”, that is more “modern” in its take, not necessarily adhering to the vintage aesthetic, and is more about conveying humor, politics, theatre and crazy stunts.
A lot of performers do a bit of both and in a club there is usually a mix between the two “sides” of burlesque, which is a great way of making it interesting and relevant today, rather than just “pretty”. In all burlesque, neo or classical, feminism and the politics of women in contemporary society are an important element.

How come that you became a part of the burlesque scene?

Before I knew what the world “burlesque” meant I already loved it! I have always been interested in sexuality and how we as a society sees and react to sexuality and erotica. I have been singing jazz since I was a kid with my pianist father and always loved the film classics such as Cabaret with Liza Minelli. When I started to do pin-up and retro styled modeling it felt very natural to put all of my interests together and take it to the stage!

While talking, we are standing in the hallway by the make up room, it looks exactly how you would image it, with large mirrors framed by lightbulbs and with several international artists getting ready for the stage. I feel like a spectator invited for a quick peek into a peculiar world run by sparkling women and men in mustaches.
I look at Fräulein Frauke, she looks like a 50’s pinup model all dressed in vintage and with carefully curled hair, and I ask how come that you are able to work with some many international artist?

For a festival, a big community get-together, we have people apply to be part of it. Nobody gets rich from performing at festivals, but its a great way of mingling and meeting promoters and performers from other countries as well as being inspired to up your game and develop. There are often workshops and happenings around a festival which are great for career building. We (me and my husband) also runs “Fräulein Frauke Presents” , one of Europe’s largest burlesque clubs, where we have built up a wide reaching international network of performers and producers.

What facts do people tend to get wrong about burlesque?

I think it is getting better and better. In the beginning I had to explain a lot that what I do is not porn or degrading to women. But sure, people are sometimes a bit confused. It seems like it is hard for some to understand that female sexuality and expression, on our own terms, is NOT a degrading thing and that we are not there just to please a male audience.

Who is the ultimate burlesque style icon and why?

Oh, that is hard. My favorite burlesque performer is Gypsy Rose Lee- an amazing performer who mixed a lot of humor and wit into her über-glamourus performances. She was biggest in the 40´s and went on to have her own TV show. Today, of course Dita von Teese is the most famous one and she is a glamorous ambassador for the whole scene, but there are countless women (and a few men) both from history and today that are amazing performers and truly inspiring.


There is a delicate atmosphere in the room. The performers are deeply concentrated but still joyful and energetic. A man whom I later realizes is the master of ceremonies is asking for a cigar without any success. The show is about to start so I begin to round things up with Fräulein.

What reactions have you gotten from “first-timers” leaving your show?

Oh! So positive, which is lovely! People usually absolutely love it, because it is not just watching the show that is the deal at a burlesque event, it is the atmosphere and fantasy space we create and invite people o take part of. Most people come amazingly dressed and really immerse themselves in the great environment and open atmosphere where everybody, all sizes, all ages all genders are welcome.

Later that night, I walk out from the theater all happy and whimsical. It has been a strange evening. I am not sure the last time I got drawn into a different world like this, and it was definitely a long time since I laughed this much. During the show I was surprised how political and gender transcendent many of the acts were. There were overwhelming cheers in the saloon when the group Black Bird Burlesque Cabaret gave a kick to Putin. It made me realize there are many ways of questioning inhumane ideologies and burlesque is most definitely one of them.

Pages