(on the cover) Brett Amory Waiting #31 oil on

wood panel 24”x36” (detail)
(right) Brett Amory Waiting #20 oil on wood
panel 24”x36” (detail)
Julie Hill 04
Pierre-Paul Pariseau 10
Kimm Whiskie 14
Brett Amory 20
twenty2wo special 26
Stephanie Halmos 32

magazi ne
i ssue_04
Just about a year ago I began what was to become issue one of this
magazine. After being infatuated with online magazines and downloading
countless pdf mags it was time to test the waters myself. Putting together that
frst issue was a great learning experience and put me into contact with some
wonderfully creative people. It was also a lot of fun and frustration, as it has
been with each following issue. As the idea that is twenty2wo continues to
evolve so will the way this magazine works. So with year one in the archive
be on the lookout for a few changes next time around.
Please enjoy and be inspired.
Adam Beneke
editor twenty2wo
©2009 by twenty2wo magazine
all artworks presented in this issue are used with permission and are subject to full ownership and copyright of the respective artists. do not reproduce
without permission.
I am 26 years old and currently reside
in Cincinnati, Ohio, where I work as
an interactive designer and am part of
creative collective PROJECTMILL.
My interests include drawing, birds,
and drawing birds. I also like music,
tea and traveling, but pretty much I’m
working most of the time. I don’t like
Facebook but I am addicted to Twit-
ter. My work has shown in New York,
London, Los Angeles, Cleveland,
Louisville, Cincinnati and Ann Arbor.
this page: Hello, Love. Ink on illustration board.
opposite page: Suckers. Ink on illustration board, digital color.

“Snakes, birds and
fowers. Three of
my favorite things to
this spread: Forget Cassettes poster. pencil
Excitations. Ink and marker.
Voxtrot poster. Ink
previous pages: NYC. Ink, paint, pencil on map.
Roockwood Restaurant wall hanging.

“I drew this image,
the meaning of which
is one of my longest-
kept personal secrets,
on the back of a blue-
print one sunny after-

Pierre-Paul Pariseau
Pierre-Paul Pariseau is a self-taught artist and illustrator with an impressive portfolio. Using mainly surreal images
which are a blend of cutouts rendered in black and white, touches of watercolor, acrylic paint and pen, all wrapped
up in vivid colors; resulting in compelling narrative visuals, strong concepts and funny ideas. Over the years lots of
experimentation has transformed his style, giving the artist the much freedom to express himself.
Apart from his commissioned work he just fnished writing a 12-step tutorial, revealing his technique, for a next issue
of “PsdPhotoshop” magazine and will be part of a group exhibition in April 2009 at Conspire Art Gallery, in Pheonix
Arizona, organised by Spraygraphic.com. To fnd out more visit, http://www.pierrepaulpariseau.com/

Kimm Whiskie
As for myself, I live in Vilnius, Lithuania. I like the tendencies towards gentle
femininity, positivism and simplicity, among others. Photography is usually my
shy observation, when no one’s looking. I also like xylophone music, owls and
winters and the implicit things in people’s words.
Go see more of Kimm’s photographs at http://fickr.com/photos/kimmwhiskie/

Brett Amory

Waiting #33. Oil on wood panel 26”x48”
Waiting Statement
Since 2001 I have been develop-
ing the same body of work called
“Waiting,” a series of paintings
about the anticipation of the next
moment. While we wait we are
waiting for that moment to end. We
anticipate the next moment so we
are rarely in the present one. We
spend so much of our lives com-
ing and going so I paint scenes of
traffc, places where we wait to be
somewhere else.
-Brett Amory
above: deatil Waiting #36. Oil on wood panel 22”x36”
right: detail Waiting #35. Oil on wood panel 48”x48”

installation view








... ·
. ,.

I remember
elementary school
visits to museums
growing up as some
of the most
fascinating moments
in my childhood life.
Recently we had a
visit to just such a
magical place full
of strange beasts
and vivid painted

A Minute for the Sky, 2008.

I am lucky enough to call this artist
a friend and recently we got to catch
up and talk about her work. Here is a
little exerpt from our conversation.
a.b. - One way we can start would be,
when did you frst pick up a camera?
Why does the medium speak to you?
s.h. - I frst started shooting when I
was 15 years old. Like many young
people who frst become curious about
photography, I took my time with
using black & white flm, and shoot-
ing very simple, naïve photographs of
hands, feet, faces, and whatever might
be immediately in front of me.
As a medium, it frst began to really
affect me when I noticed that there
was always something—some essence
or feeling—that would come through
in a photograph that I hadn’t seen in
the moment I created it. And, contrast-
ingly, the photograph could be missing
the very feeling I may have tried to
create. Even now, when I look at flm,
I may edit and print images based on
my responses to them in one moment
or time, and six months later--as I re-
visit the flm--I tend to discover some-
thing I had passed over or disregarded
initially that absolutely moves me.
I suppose that, contrary to popular
belief, I believe photographs are never
what they seem. They are never a
moment frozen in time, but a moving,
changing, living organism.
Your recent color work has put you
into the world of abstraction. I think
I have only ever seen your portraits
and landscapes, and if I remember
correctly a lot of your work deals with
identity and sexuality. What kind of
themes are you exploring with the
color studies?
The color studies are an entirely dif-
ferent experience for me in terms of
the way I have defned myself as an
artist. Photography was born out of
medical research and historical record.
It is most often centered on “subject”.
But at it’s essence, photography is
simply a record of light.
Color Studies allows me to truly focus
on light. To let light move me. Every-
one seems to want to know how the
pieces are made which is quite frus-
trating to me. Although they appear to
be born of a process-oriented inten-
tion, that couldn’t be further from the
Girl in Bed, 2008.

Fog, 2008.
I have a strong distaste for gadgets, numbers, math, and all
the calculative measures many photographers use in creat-
ing an image. The color work is a very lovely, responsive,
cerebral project that allows me to escape.
In some ways, the color pieces are like dreams. They are
confusing, one is never like the other, and just as I believe
I have found the bottom of them, I fall deeper and keep
discovering layers.
You recently completed an artist in residency at the School
of Visual Arts. How was that experience?
The residency at SVA was really a growing experience.
It is very hard for an artist who is used to the intellectual
environment of the classroom to enter the art world and
lose that scheduled critique forum. The residency gave me
a chance to have work my critiqued for two months, and to
do so with some fantastic artists.
Untitled (Belly of a Whale), 2008. I was able to sit and talk with Elinor Carucci whose career I aspire towards.
She has managed to walk the fne line between editorial assignments and fne
art. And she does so with integrity. Working with her was great for me.
What is coming up for you in terms of new work or shows? Where do you see
your work in a few years?
Tricky question! I hope to have full representation with a respected gallery, and
work with progressive, innovative curators. I am planning a trip to Iceland to
shoot this spring. I am realizing that a bad economy can really inspire beauti-
ful art. And, frankly, I am pushing to make 2009 a big year for my work…bad
economy or not.
I have a pending show in Chelsea in a few months. Until then, I have a few
irons in the fre.
I know you are a big Radiohead fan. Have you heard the Rainydayz Remixes
by Amplive? It is pretty good. How much does music infuence or inspire your

Untitled (Rotation of Day), 2008. There have been some amazing Radiohead remixes and samples done by some
really innovative people in the past year or so since “In Rainbows”. I actually
heard the song “Bodysnatchers” mixed with Mos Def’s “Beef”.
Music plays a huge role in my work at the moment. The color studies are all
named after music I was listening to during their creation. The color work is
specifcally rhythm-based, and each piece is credited to such musicians as:
Radiohead, Miles Davis, Ray Charles, Amiina, and even more amped tracks by
Modeselektor, Daft Punk, and Bjork (to name a few).
Conversely, when I am shooting for “Seen In Looking” (for example), which
is primarily using outdoor spaces and natural light, I much prefer to be sur-
rounded by peace and quiet.
I also have been on a kick with Bon Iver, and Cyndi Lauper. Cydi gets me
through the massive clean-ups I have in my studio when all hell has broken
loose and my world is in disarray. She rules.
Thanks so much Stef! To see more photographs work visit her website.

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