photography. Adi Admoni
words. Odie Senesh
issue 6 – reinvention

dress. Nitsan Zapler + Tama Fuchs

Many artists talk about pivotal moments or catalysts that trigger a ‘reinvention’ in their careers. Can you share a specific instance where you felt the need to redefine your artistic identity, and what inspired that change?
Traveling alone to Brazil and collaborating with local producers I met online was a definite inspiration. It led me to discover new beats and rhythms in the favelas and incorporate them into my genre. Travel far and find your tribe.

Who or what has been a major source of inspiration for you in recent times? How has this influenced your current projects or future direction?
Classic cinema has always inspired me, particularly in my music videos – whether it’s Tarkovsky’s “Mirror”, Godard’s “Pierrot le fou”, or Antonioni’s “L’éclipse”. Currently, I’m drawn to Wim Wenders’ work. His black-and-white cinematography, portraying angelic yet wounded cities and people, influences my current creations.

How did your time with the electroclash band “Terry Poison” shape your musical journey, and how has your sound evolved since then?
Growing up listening to jazz records by Dizzy Gillespie and Duke Ellington, and later singing in French with a band during my teenage years, I was always immersed in my own world. Performing across Europe, I felt at home on stage. However, it was New York that truly guided my path. The sound of a street saxophonist in NY enlightened me to pursue a solo career. This led to the creation of “NYC Time” and my unique genre, ‘Nouveau Jazzy Pop’.

    dress. Nitsan Zapler + Tama Fuchs

    Your cultural blend and experiences from different countries are apparent in your work. How has this diverse background influenced your music and artistic vision?
    Growing up in war-torn areas and living between Paris and Israel, along with my Jewish heritage, has deeply influenced my artistic direction. This background prompted my transition to ‘Peace Pop’ as a genre. My songs are written to dance away the pain, embodying music’s role in healing and overcoming. In my music video “The Drummer”, inspired by the book “The Tin Drum”, I pose the question: “Are you as happy as the other kids?” The video features the NBHS marching band and Rockwell Dance Center from Connecticut, bringing together children from diverse economic backgrounds to dance and play music.

      Your stage presence combines fairy-tale-like, slightly childlike Lolita elements with an exploration of femininity and sexuality. How did you develop this visual persona, and how does it intertwine with the themes embedded in your work?
      My lack of geographical knowledge was remedied through my music videos, which allowed me to visit various countries, meet locals, and create a modern folklore with them. This inspired the title of my album, “Lil Empire”. My ear serves as my compass, guiding me to distant lands through the sounds of my songs. For instance, the Mongolian flute in “The Flute” and the bongos in “Baby Love” led me to Kenya. My songs might appear whimsical, but their lyrics are born from pain. They often address social issues involving real children, animals, pain, and locations. Music, to me, is a means of overcoming struggles, symbolized often by my wearing of bandages to represent healing.

        How do you envision auditory and visual elements in your work? How do you usually shape the storytelling and thematic ideation of your music videos and fashion projects?
        My master’s studies in philosophy have significantly influenced my focus on concepts like Deleuze’s “Thousand Plateaus”, Lacan’s “Jouissance”, Zizek’s “Welcome to the Desert of the Real”, and Kant’s “The Sublime”, which posit the coexistence of multiple realities. The visions in my head have become poetically representative of these concepts. I feel a compelling need to express these philosophical ideas through my art, and I believe there is much more for me to create and share.

          dress. Nitsan Zapler + Tama Fuchs

          Given the profound symbolism in this editorial, how do you envision the fusion of art, music, and fashion as a powerful medium for conveying meaningful messages?
          I often collaborate with artists who share a similar vision to mine, as seen in my music video “Barbaric”. Nitsan and Tama, students at the Shenkar College of Design, explore our inherent desire to control and dominate nature, with global warming as a prime example. Their work, inspired by Hieronymus Bosch, photographer Oded Blilty’s “Glass Mountains”, and taxidermy museum archives, reflects this theme. The fabric in the 3D pixelated dress, reminiscent of museum taxidermy, is treated similarly to how animals are preserved, using techniques like laser cutting, vacuum forming, heat shaping, and silicone molding. In another dress, resembling a recycled nylon plastic bag and adorned with headless birds found online, they highlight the absurdity of our asymbiotic existence.

            Looking ahead, do you envision any future reinventions or resets in your musical journey? What areas of growth or new directions are you excited to explore in your upcoming projects?
            Every life change, be it a breakup or relocation, acts like a heart’s reboot. Having travelled extensively, I now aim to journey inward, exploring the continents within my unconscious mind. I find myself drawn to classical orchestral realms, delving into themes of sanity. Currently, I’m collaborating on a new film with Odie Senesh and director Tony Kaye.

              photography. Adi Admoni
              make up + hair. Inbal Shumer
              dress. Nitsan Zapler + Tama Fuchs