Un-Titled Project is an annual art, fashion and culture magazine featuring in-depth interviews, personal essays, fashion, nudes, art and illustration.
Max Irons is busy. Very busy. And so, after many failed attempts at conducting this interview in person, we finally settled on Skype to bring us together; he while vacationing in Greece, and I in NYC suffering through a blistering heat wave.
Words by Madison Stephens, photography by Anthony Ward, photographed in Upstate, NY.
Sam Underwood may be the best known for his roles as dark serial killers, but behind his bright gaze and six-foot stature is a serious actor filled with humor and warmth.
The adjective “chiseled” is used pretty capriciously to describe handsome, male lead actors, but Scott Haze is actually chiseled. His face is almost beset by impossibly high cheekbones and the paleness of his skin and eyes make him seem as though he may in fact be carved of marble.
Interview by Wayne Northcross with photography by Kathy Lo and styling by Romina Herrera Malatesta.
"When I stop at Gelson's for some cigarettes and a bottle of Perrier, I find a lizard in the front seat. The checkout clerk is talking about murder statistics and he looks at me for some reason and asks if I'm feeling okay." - BRET EASTON ELLIS, Less Than Zero
Rushton is a Canadian born artist who has been living and painting in New York City for over 15 years. His work has been shown in galleries and art fairs across the US, Canada, and Europe. He's been nominated by Art Review Magazine as one of the top 25 upcoming artists to watch and was featured in the November 2013 issue of Modern Painters Magazine, focusing on contemporary artists using innovative processes.
Fashion shoots are by definition concerned with the surface of things. Styles precisely timed for release and executed on the day to coincide with the seasons and to capitalize to the fullest on the actor’s upcoming projects. It’s a synecdoche of opportunity and effort, scored by a frenetic pace that leaves the images oftentimes errant to the day’s experiences. This begs mention because much like how we perceive editorials far removed from their inception and maturity, Jamie Campbell Bower’s images and body of work only goes so far toward illustrating a composite character.
When you go and see a movie you expect illusion. When looking at photographs, we expect them to tell the truth. It is normal for our understanding that the scenes in a movie are created, while a photograph "snaps” a scene that might not have been created to be in a photograph. It lets us observe something that maybe was not supposed to be observed, it's the absence of story that lets us imagine more than there probably was.
For days I’ve been on an Ethan Hawke marathon. Pouring over pictures, reading passages from his novels, and watching a daily diet of his films. I pretend to friends that this is a real chore. Secretly, I’ve been a virtual shut-in on a dopamine drip. For a moment last night, my DVD of Antoine Fuqua’s Training Day turned frozen and I felt my body go limp and mouth the words, “do not fuck with my delivery system.” Looking over his history of films is a little like revisiting my own past, certain actors you can’t help but grow up with. I never had a poster of Mr. Hawke over my bed, or a t-shirt of his smoldering face with ETHAN emblazoned below, or a doll-size version of him in my knapsack.
