Virginie Picot – originally from Paris – has devoted the last 17 years of her career to talent management and visual creations, specializing in the fashion and music industries. Currently living in NYC, she is an agent and Executive Producer for Iconoclast Image and leads the print department. She represents emerging photographers such as Olivia Bee, David Uzochukwu, and Mathieu Cesar, as well as established talents such as Jean-Baptiste Mondino, Cyrille de Vignemont, and Gus Van Sant. She has worked alongside globally renowned recording artists such as Katy Perry, Future, and Kesha, as well as fashion designers including Riccardo Tisci at Givenchy, Damir Doma, and Zaid Affa.
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Brad Kunkle was raised in rural Pennsylvania and graduated from Kutztown University with a BFA in painting in 2001. Rather than continue his artistic pursuits in an academic environment, he became a house painter. That dubious, professional beginning however, taught him valuable lessons that became crucial to his later success. Having taught himself how to gild with precious metals for some of those residential projects, he later implemented those skills in his personal, fine art works.
His debut, fine art exhibition in 2010 at Arcadia Contemporary in NYC sold out before the show's opening night and was followed by a second sold-out exhibition two years later. Since then he has exhibited his paintings in New York, Los Angeles, Berlin, London, Miami, and his works can be found in private collections all over the world. His paintings have twice graced the cover of American Art Collector Magazine and have been published extensively online and in print in such highly read publications as Hi-Fructose, American Arts Quarterly, Lapham’s Quarterly, Juxtapoz and Fine Arts Connoisseur. Kunkle continues to be represented by Arcadia Contemporary in Los Angeles, where he had his debut, West Coast solo exhibition in November of 2016. More recently, Kunkle collaborated as an Art Director with the award-winning, special effects house, Imaginary Forces as his paintings became the foundation for the main title sequence of the Netflix original series, “Anne With An E.”
He lives and works in New York's Hudson Valley.
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“What I want is to open up. I want to know what's inside me. I want everybody to open up. I'm like an imbecile with a can opener in his hand, wondering where to begin—to open up the earth. I know that underneath the mess everything is marvelous. I'm sure of it.” - Henry Miller
Digging beneath the mess of the world to find the beauty underneath is perhaps the most consistent theme in Chelsea Wolfe’s expansive discography—a theme that ties together her ceaseless explorations in unorthodox textures, haunting melodies, and mining the grandeur embedded within ugliness and pain. With her sixth official album Hiss Spun, Wolfe adopts Miller’s quest to become empowered by embracing the mess of the self, to control the tumult of the soul in hopes of reigning in the chaos of the world around us. “I wanted to write some sort of escapist music; songs that were just about being in your body, and getting free,” Wolfe says of the album before extrapolating on the broader scope of her new collection of songs. “You’re just bombarded with constant bad news, people getting fucked over and killed for shitty reasons or for no reason at all, and it seems like the world has been in tears for months, and then you remember it’s been fucked for a long time, it’s been fucked since the beginning. It’s overwhelming and I have to write about it.”
Hiss Spun was recorded by Kurt Ballou in Salem, Massachusetts at the tail end of winter 2017 against a backdrop of deathly quiet snow-blanketed streets and the hissing radiators of warm interiors. While past albums operated on the intimacy of stripped-down folkmusic (The Grime and the Glow, Unknown Rooms), or the throbbing pulse of supplemental electronics (Pain Is Beauty, Abyss), Wolfe’s latest offering wrings its exquisiteness out of a palette of groaning bass, pounding drums, and crunching distortion. It’s an album that inadvertently drew part of its aura from the cold white of the New England winter, though the flesh-and-bone of the material was culled from upheavals in Wolfe’s personal life, and coming to terms with years of vulnerability, anger, self-destruction, and dark family history. Aside from adding low-end heft with gratuitous slabs of fuzz bass, longtime collaborator Ben Chisholm contributed harrowing swaths of sound collages from sources surrounding the artist and her band in recent years—the rumble of street construction at a tour stop in Prague, the howl of a coyote outside Wolfe’s rural house in California, the scrape of machinery on the floor of a warehouse at a down-and-out friend’s workplace. Music is rendered out of dissonance—bomb blasts from the Enola Gay, the shriek of primates, the fluttering pages of a Walt Whitman book are manipulated and seamlessly integrated into the feral and forlorn songs of Hiss Spun.
The album opens with the sickening bang of “Spun”, where a lurching bottom-heavy riff provided by Chisholm and Troy Van Leeuwen (Queens of the Stone Age, Failure) serves as a foundation to a sultry mantra of fever-dream longing and desire. The first third of Hiss Spun—whether it’s the ominous twang and cataclysmic dynamics of “16 Psyche”, the icy keyboard lines, restless pulse and harrowing bellows of Aaron Turner (Old Man Gloom, SUMAC) on “Vex”, or the patient repetition and devastating choruses of “The Culling—all carry the weight of desperation, lost love, and withdrawal. Wolfe’s introspection and existential dread turns outwards to the crumbling world around us with “Particle Flux”, an examination of the casualties of war set against an aural sea of static. White noise is a constant thread through Hiss Spun, with Wolfe finding solace in the knowledge that radio static is the sound of the universe expanding outwards from the Big Bang—a reminder that even dissonance has ties to creation. The electronic thump of “Offering” serves as an ode to the Salton Sea and the encroaching calamities stemming from climate change. The obsession with white noise and global destruction carries over into “Static Hum”, where the merciless percussive battery of Wolfe’s former bandmateand current drummer Jess Gowrie helps deliver the dire weight of a sonnet dedicated to a “burning planet.” By the time the album closes with “Scrape”, Wolfe has come full circle and turned her examinations back inward, reflecting over her own mortality with arguably the most commanding vocal performance in her entire oeuvre.
“The album is cyclical, like me and my moods,” Wolfe says of Hiss Spun. “Cycles, obsession, spinning, centrifugal force—all with gut feelings as the center of the self.” And it’s an album that Wolfe sees as a kind of exorcism. “I’m at odds with myself… I got tired of trying to disappear. The record became very personal in that way. I wanted to open up more, but also create my own reality.” Every Chelsea Wolfe album is cathartic, but never before has both the artist and her audience so desperately needed this kind of emotional purging. Sargent House is proud to release Hiss Spun to the world on September 22nd, 2017.
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