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THE UNLIMITED Magazine is a theme-based iPad quarterly that examines contemporary culture through a techie lens. Designed with features that encourage readers to swipe, push, tilt, listen, watch, and participate in,The UNLIMITED is a complete interactive media source. We bring forward the latest revolutionary inventions from across the globe, as well as the brilliant people behind them. We provide the platform for you to create your own individualized reading/viewing experience. 

Each issue of THE UNLIMITED comes with a carefully chosen topic, which we make sure to dissect to pieces. From wearable tech and cutting-edge artists, to unusual cultural events, and novelties in the music field, THE UNLIMITED is an internationally available format that is innovative in nature and timeless in essence.

Artist Profile

Filtering by Category: ART

Francine Dressler

The Unlimited Magazine

We had Francine Dressler's daughter and business partner, Madelyn Somers, interview Francine about the re-launch of her original prints from Los Angeles circa 1979 AND WE GOT A SNEAK PREVIEW FROM THEIR UP COMING COLLABORATION WITH ARTIST HATTIE STEWART.


“I had often looked at them and thought like what am I going to do with all of these. I was done with her really, or I thought, but I guess not.” - Francine

Madelyn Somers

Madelyn Somers

Madelyn: Do you feel like the response that you got in the 70s with your artwork is like the same response you are getting today?

Francine: I think it is still brought about that people love to laugh, people love good sense of humor. I was a little bit shocking then,  I was really the only one on the street showing boobies, in fact one time I did a show and they asked me to put a blanket over my work.

M: It is so relevant though, I have talked to so many of my friends and they are just like she didn’t make these today? Just how liberated and cheeky and boisterous these women are, and there is so much about feminism in todays world. I know you were just creating these women without thinking about a feminist attitude.

Francine Dressler

Francine Dressler

F: Well no, I did not get married until I was 32 years old, so I was single for a long time. I had to fend for myself. It was my life, that is how I felt about it, it was not really like I am a feminist it was just who I was. It was the times, and it was newly acceptable for women to behave in ways that it was not before. A lot of exploring.

M: Not only does her sense of humor relate to so many people, but also her figure it is very relatable. Was she inspired by someone specific?

F: I lived with my cousin and I used to draw her a lot, but I do not think she inspired me to draw her. I think when I ended up living on my own I used the mirror a lot and I posed myself. I think it is just all women, and just experiences I have had with women and their humor. You know if I am sitting across the table and somebody is eating something and they are eating something in a funny way, I would think oh that would be a funny drawing. People do say it looks just like you. So I guess it is me.

M: I mean definitely over time it is uncanny how much you look like her. Were you posing naked in the mirror for yourself?

F: I mean I did, not naked, but I used my hands and I used my poses cause I lived by myself so she had to come from that. I would just make myself pose and think, oh that would be funny I am going to draw that. It just evolved.

M: You were just doing selfies.

F: Yes I was doing selfies that is a good point!

M: And they are funny selfies.

M: It was cool to come home, because she has so many prints in her drawers that are not colored. She goes back and hand paints the color, and I was trying my hand at it. Then she brought out all her pen and ink and actually dipped the pen in the ink, and I really just didn’t fully realize the medium that she used. It felt like a quill, like old fashioned.

F: I get asked a lot what is it like to live in the 70s. If I asked you what is it like to live in 2014, I mean it is just your life you are just living it. When you are living your life a lot of times it is not that romanticized. Its not like oh wow you lived in the 70s, you lived when so and so was happening. Its like yeah you just sort of expect it. When I look back I feel fortunate to be young when the Beatles first came because it really did influence you and your life, but yeah it is just your life I can not really pin point anything, was good.

M: Yeah I am sure one day someone will ask me and I will reflect back on it, but mine was more of a hodge podge of like the 70s, the 60s, the 90s the 80s, we are now all reliving the past. All these trends are coming back. I was just in a vintage store, he is like the 70s are coming back.

F: Yeah well it was the 40s and the 50s for when I was younger.

F: We started this collaboration with having Stewart, who Madeline told me about her and I love her, and I love what she does. She looks like she is having a lot of fun doing her work, and I was having a lot of fun doing my work.

M: When I approached her and just told her the adjectives of how we describe your women, liberal, sassy, cheeky, she was like those are exactly the same adjectives I would use to describe my work. I think that caught her attention. She has been so sweet. We are going to launch in 2015 and my dream would to create like a pop up Keith Haring like store, like he had in the 80s. Just gathering all these emerging artists and talents from all over. I mean now I guess you do not know who is going to be still talked about in 10 years like Keith Haring, Basquiat, and Andy Warhol, but kind of create the factory scene but now.



Eric Helvie

The Unlimited Magazine

Artist Eric Helvie uses snuggies as his canvas, but his work is far from being warm and cozy.  inspired by millions of VISUAL references he creates a LANGUAGE that is unique and VIBRANT, he gave us a look into his latest work. 

The Unlimited - What is the story in your work?

Eric Helvie - An addiction to looking is where it begins. A need to constantly be flipping through imagery, whether its is film, art history, other people’s art. A lot of my work comes from this addiction or this need that I can not control, and the individual works are a distillation of this process. A pure sort of refined comment on thousands and thousands of images.

TU - How do you refer to the snuggie in reference to your art?


EH - When I first came across the snuggie I thought this is a completely absurd object and it has no meaning and no cultural value. Then as I continued to look at snuggies for whatever reason I realized that there was all of these layers that I was projecting onto them from my own addiction to looking or seeing. I felt that the snuggies for whatever reason had this quality of being both humorous but also somewhat decadent and even violent in some aspects. If you consider the military endeavors that allowed people to live in the amount of comfort to give them a blanket with sleeves. All of these things sort of coming together, all these layers, make the snuggie for me a perfect example of the distillation of art history and imagery and even politics in some cases.

"I think it is a fascination because of my personal aversion to emotion in the work, and even now as I am saying emotion in the work I cringe."

TU - How do you treat emotion when it comes to your art?

EH - My art has never been focused on emotion, or emotion has never been important to my art. In fact it has been something that I have avoided. I have a distaste for this idea that the artist has to deal with his deep inner psyche through his work, its bullshit and I do not give a fuck about it. I think I view art as work and the best art as just being incredible acts of creating.

TU - And there has never been a time when your emotion crossed into your work?

EH - I need my work, but need is not an emotion. It comes to individual pieces I will say yes I love this painting, but it is more because I have a hard time imagining seeing it leave the studio. Beyond that, when it comes to my painting the thing that tends to be the most powerful presence in the studio is art history and visual references in general.

Cameron Gray

victoria brandt

Cameron Gray was Born in Anaheim, right down the street from Disneyland, and has lived all over California. This alone should sum up what “Gymnasty”, his last show at mike weiss gallery, was all about. Gray shares his thoughts with us about the over saturated internet, MIke and Claire, Spandex and the GIFration* 

Tell us about the idea behind “Gymnasty”

My personal relationship with the internet. I am working with and trying to spend less time on the internet. The whole Gymnasty show is a look at this feeling of being overwhelmed, and this saturation of media. 

What kind of  imagery inspired the GIF multi projection tunnel?

The whole LA culture of spandex, working out, self improvement, facial plastic surgery and all that stuff is in there. Thousands and thousands of images, it is just really about ultimately putting everything in and then letting the viewer kind of become overwhelmed to the point that it becomes an abstraction. I have my own references, whether it is Beyoncé or any other pop culture references. It is just the internet.  It is this tunnel of transformation that ultimately does not transform you in any way.

How was it to collaborate with Mike and Claire?

They came to see my first show at Mike Weiss gallery, and then contacted me. I sat down with them at a coffee shop and then just laughed the hardest I had laughed in years, like my  stomach hurt. Just having fun with them. They just inspired me in so many ways. They are just so creative. They are so on top of it. They are so fearless. I am eternally grateful for them and what they brought. 

You use photoshop as a medium and not just a tool for editing, is that part of your criticism on media and how you can change what a medium is?

This is a work I had started before “Gymnasty” and I felt a lot of pressure to go back into video and I did find my way to projection which was really fun. I made some discoveries along the way with projection that I am excited about but it does come back to this idea of working in video and collage. I think this idea where I have gone into complete over saturation has now led me to sort of more of a minimalism that I am really interested in exploring. I was never interested in minimalism before, but I am starting to see the power of it.  

*GIFration - the GIF Generation 

Mike and Claire 

Cameron Gray 

Ron English

The Unlimited Magazine

Ron English took over the lobby of the Tribeca Grand with his newest show "Evolutionary Alternatives". The show features a series of paintings and the mural on the Grand Wall of deer with camouflage. Along with other paintings of non-existent animals, the show is based on the concept of how animals may have evolved had their surroundings been different, all done in English's signature cartoon colors yet photo-realistic painting style.

Flavie Audi - Supernova

The Unlimited Magazine

She is a French - Lebanese, London based artist who focuses on capturing light and sensuality in a static object. This is an artist profile of one of the most interesting and promising artist today.

What is the key moment you got into glass?

During my last year at the architectural association I was making models in glass and developed my thesis on structural glass. Working by hand freed me from rational, linguistic and digital expressions. I was not only fascinated by the sculptural potential of glass but also by its power to create delicacy, subtlety and mystery, through the fluctuation of light. Since that moment I wanted to find out more about glass. 

"Glass helps me to define an aesthetic of buoyancy, transparency, invisibility, ambiguity and sensuality.

Can you describe the process you go through to create work?

 It starts with a strong intuition about an idea. I try to find my own language in a combination of different disciplines. I work with various makers and craftsmen to execute and materialize my ideas. I embrace simplicity and directness as a positive practice. Reduction and Distillation down to the essentials are fundamental in order to reconstruct, challenge and rebelliously twist conventional rules. By employing a more intimate relationship with the materials, an expression of sensuality and life can emerge. I look for hidden potentials, accidents and discoveries in materials to reveal aesthetic and technical qualities. I spend a lot of time experimenting with materials. Once I find a moment of beauty that intrigues me I investigate deeper, finding ways to celebrate it. My interests lie in creating experiences of mystery with spatial and visual encounters that invite contemplation and meditation. A kind of seeing; a  release. I always think of the spatial dimension and impact of the work in space. 

 Where do you find your inspiration?

It is very different for each project. An idea can be very sudden, appearing from an unconscious link in the mind, or it can happen very slowly and gradually. It is about listening attentively to my intuition, and hearing when ideas arrive. Sometimes I find inspiration in kinetic properties, particularly fluidity and energy. On other occasions inspiration comes from a sense of comfort, excitement or interest that I feel during an encounter or while drawing. The acts of drawing and making are my main inspirational refuge. I find my creative energy in a constant ebb and flow, between designing and making. Most of the times it comes from a feeling of nothingness and clarity.


We know you describe your artwork as sensual, would you describe your architectural designs the same way?

There is no disconnection between my architectural, design and art thinking. This desire for sensuality came from a frustration towards minimal, dry, sterile architectural and design environment nowadays. I am irritated by the abuse of the generic minimal Zen aesthetic. I don’t feel that buildings are revealing life and humanity. I think that it would be interesting to combine a sense of simplicity, and more precisely clarity, together with life and sensuality. I try to reach sensuality with color and shapes that are formless and in constant state of flux suggesting indeterminacy and limitlessness. 

"My main driving force in the process is the search for the sublime."

The art of glass making is very old, how do you think you are bringing it into the modern age? Do you consider yourself to be an old school artist when it comes to the digital age and social media?

Originality occurs when you add and combine different disciplines. I have never considered myself to be an ‘old school’ Artist, as I am not attached to only working with ancestral techniques. At the moment I am using analogue processes, but I always aim to challenge and rebelliously twist the conventions of any process. The aesthetic of my work is not classic in a traditional sense. The shapes, the senses of fleetingness and the colors have a certain similitude to a digital aesthetic. The cosmic visual appearance, the tactility of the work and the serendipitous making processes bring it to the modern age. I don’t approach glassmaking with a specific design to be executed but with technical challenges that break the conventional making process.

Glass blowing would generally be considered a masculine craft, by being one of the few women in the field do you feel you are changing that stereotype?

 I am not a glassblower or a craftsman. I put in place the different stages of evolution, bringing together the craftsmen similar to choreography or orchestration.

Tony Lorenzi: Raised by Jay

victoria brandt

On October 17th Tony Lorenzi is opening a pop-up exhibition titled "Raised by Jay". This one day only Williamsburg exhibit features images from the artist's childhood that have been edited to create a feeling of Jay-Z's presence. The Unlimited asked Lorenzi some questions to find out why he had an "Empire State of Mind" growing up on a different continent.

In Sweden is there a large hip-hop scene, and how influenced is it by the American hip-hop scene?

Absolutely. I’d say that it started off with influence from the states, to claim anything else would be a lie. I believe the same goes for the entire world. And of course it still is inspired by America…I mean its easy to see how Swedish MCs style wise mimic Big Sean, Kendrick Lamar or whoever is hot right now…even though they would never admit it of course. But a big difference comparing now and then is that the English-language was frequently used in the beginning of Swedish hip-hop while most rappers now use Swedish in their songs.

And even though there was a rap scene early on it didn’t evolve to become great until the mid 90’s (according to me). And today it its really bigger and better than ever before…a lot more commercially accepted…and, depending on taste of course, I’d say that Sweden has one of the best graffiti-scenes in the world. But that might be another difference between America and Sweden, how we define hip-hop. I think of it the traditional KRS-way, with the four elements (including graffiti) while in America hip-hop as a definition seems to have become more
limited to the music-genre. Nevertheless, writers often talk about the time when national television in Sweden aired Style Wars as the starting point for the graffiti scene in Sweden. We have always been looking to USA on how to do it.

How did you first come into contact with American hip-hop, and Jay-Z specifically?

Well, it started with skateboarding and even if it is not officially a part of hip-hop I’ve always seen it as closely related to it. My kid sister and me had a favorite movie called Thrashin’ which starred Josh Brolin amongst others which we watched over and over after our parents recorded it from TV. But maybe that is off topic since you are probably referring to music and not the culture…

A group called Looptroop Rockers is from my hometown Västerås (which recently released a single produced by Lord Finesse btw) and they did a lot of gigs, which I think made me interested in the musical part of hip-hop since I was already into graff. I then started listening a lot to NWA, Ice T, Cypress Hill, 2 Live Crew, Wu Tang and Outkast amongst others. So when I found hip-hop I also found friends and one of my friends introduced me to Jay Z’s music. I think it was when he featured Big L’s Lifestyles ov da Poor & Dangerous when I heard him for the first time…but it wasn’t until Reasonable Doubt I really got hooked.

Where do you find the common ground between you and Jay-Z? You have such different backgrounds and yet you feel connected enough to say he "raised" you, what makes you feel this way?

I’ve thought a lot about this…and you are absolutely right that we have nothing in common really. The clash between hip-hop culture and Sweden don’t rhyme at all (no pun intended) and that’s why I think I focus so much on this in my art where I kind of question how I fell in love with
hip-hop from the beginning. If I look at it from a distance I would say that hip-hop is a part of America, I mean it belongs to American culture while Swedish culture has nothing at all that compares to hip-hop. And maybe it is just that, the feeling of being raised in a country which
creative culture doesn’t interest you which makes you search for something else. My grandparents are from Italy and Denmark, and my grandmothers husband was from the Czech Republic so their influence also gave me a feeling of belonging to the world rather then to just Sweden. Also I remember how I loved to draw but I seemed like a dorky thing to draw horses or whatever while graffiti seemed more exciting to the younger me. In the same way writing rhymes seemed cooler than having a diary or writing poetry.

But back to the question, when you feel this way, in love with a culture that doesn’t really belong to you, you look for someone to guide you in it so that you can (from the other side of the Atlantic) understand it fully. This is where Jay Z plays a big part since he seemed to embody
the personal traits which I didn’t have…he seemed so confident as a person and at the same time he wrote texts that to me was and still is brilliant in so many levels that the common person cant even grasp it. I mean, the general non-believer in hip-hop thinks it is only about the
material things mentioned in there, or the violence or whatever else negative aspects that you might find in it. Even when it comes to understanding his lyrics, I’m confident I understand them to a deeper level then ANY Jay Z-fan out there. To me, it has always been about listening to a man talking about his life, his surroundings, his thoughts and feelings. I mean, when Drake became the Drake we know today people labeled it as some sort of emo-rap but to me Jay was just that way earlier, you just have to listen more carefully.

I could go on forever but to keep it short, his music raised me in the way that he gave me confidence, different hands-on or more metaphorical ways of how to act in different situations, the hustling game over there seemed to resemble the relation I as a graffiti-writer had to cops over here, an idea about how you have to commit to stuff in order to succeed, a greater interest in literature which no teacher could ever give me and all these quotes or lines I know by heart from different songs pop up in my head in situations as some sort of advice when I need it the most. He gave comfort when feeling down, attitude before a basketball game, inspiration when I needed it. In short, he has been like an extra parent.

What is your favorite Jay-Z song?

Song cry. Easiest question so far. I have a lot of memories connected to that song. Thats a great example of him being emotional but still keeping I cocky as if he has to because of the expectations on you. But no matter what you can still understand that he is a great person beneath that cocky surface and harsh words, so even if he can’t see tears coming from his eyes, just the thought of sheading tears is admitting your vulnerable self.

Did this bond with American hip-hop music ever alienate you from people in Sweden?

Yes. And it still does. People (and I can only speak about Sweden) and mostly older generations don’t get rap, graffiti, breakdance or Dj-ing. At the most, it is stuff you do when you are young, as if it is a joke. To me it is life and a way of thinking. The same goes for people you grew up with which was into hip-hop but has left it because they think it is impossible to work in a bank and listen to rap or write graffiti. So to some extent it is like it is okay if you are a certain age to be involved with hip-hop, but if you don’t “fit in” when getting older you are being looked upon as someone strange. Of course it is easier in for example Stockholm than in smaller cities in Sweden. But at the same time hip-hop gave me my best friends. So I never had a problem with feeling alienated, it has built my character and the person I am today.

photgraphed by Daniel Lindqvist

photgraphed by Daniel Lindqvist

Who are some other rappers you connect with?

I love Lil Wayne, Common, Pusha…and Kanye…other than that I mostly listen to 90’s hip-hop and Swedish hip-hop. When I find a good record it is on repeat for years, I’ve been that way with all Drake-records for an example. That dude is a genius.

Do you think the fact that you living in Sweden came into contact with Jay-Z a Brooklyn based rapper and were able to feel such a bond with him is an example of American globalization?

Definitely. I’m raised with Disney, Coca-Cola, Hip-Hop, Skateboarding and other typical American traits. So of course the American globalization plays a big part in me getting so into Jay Z. I still think it is strange though, how I can feel so much for a country and a culture which I have never experienced for real more than on vacations. Even more than the culture I’m supposed to love as much. But I love that I have the possibility to feel that way of something that isn’t sprung from the country I was born in.

Maybe that is why I also have a hard time understanding the nationalistic thoughts growing in Europe right now. We should all hold hands and love each other instead of hating each other for various stupid reasons because this is mine or that is yours or whatever. The world is ours to take care of. 

Rebelution Ink, 560 Grand street, Williamsburg, Brooklyn

Peter Tunney

The Unlimited Magazine

This is a collaboration project with The UNLIMITED Magazine, The Tribeca Grand Hotel, and style curator Natalie Kates. These three interactive pieces take you through Peter Tunney's installation within the hotel. The audio is of Peter discussing the works as he walked through the exhibition, and his interview was done in his Tribeca studio.