multiple personality
panoply
cosmetic wonder
3-d beauty
self-portrait by ISAMAYA FFRENCH
interview by MAURIZIO CATTELAN and MARTA PAPINI
MAURIZIO CATTELAN — How much ego is involved in your posts on Instagram?
ISAMAYA FFRENCH — Enough that I should be making more money from it at this point.
MAURIZIO CATTELAN — Would you state that your online profile is part of you in real life, or is it just a cooler alter ego?
ISAMAYA FFRENCH — I’ve got two accounts. One’s got 126,000 followers, the other’s got about 26. Together, they sum me up pretty well.
MAURIZIO CATTELAN — Is it all about self-promotion?
ISAMAYA FFRENCH — Plus a bit of narcissism.
MAURIZIO CATTELAN — Do you give more consideration to a positive comment from a stranger or a negative one from a friend?
ISAMAYA FFRENCH — I couldn’t care less either way. My posts probably please and offend simultaneously.
MAURIZIO CATTELAN — Which of your posts got the most likes?
ISAMAYA FFRENCH — One of my feet using household objects, like game consoles and broccoli as high heels.
MAURIZIO CATTELAN — Do you follow the same rules in Instagram posting as you do in your work in real life?
ISAMAYA FFRENCH — There’s a lot more cleavage on Instagram — let’s put it like that.
MAURIZIO CATTELAN — Which Instagram profile do you wish you knew?
ISAMAYA FFRENCH — @ArnoldSchwarzenegger or the curator of @LadBible.
MAURIZIO CATTELAN — If anyone could go back in time to your first post, what would he/she find?
ISAMAYA FFRENCH — Crap filters.
MAURIZIO CATTELAN — Do you ever delete an image after posting it?
ISAMAYA FFRENCH — Occasionally.
MAURIZIO CATTELAN — Which is the worst error you can make in posting? Why?
ISAMAYA FFRENCH — Spelling errors. You can’t hide stupidity,
MAURIZIO CATTELAN — For whom are you posting?
ISAMAYA FFRENCH — For you, but you never like my pics.
MAURIZIO CATTELAN — Is online representation transforming the way we think and produce artworks?
ISAMAYA FFRENCH — This is an essay question. Yeah, in that now we create images that are influenced by a 2-D interface, rather than being immersed in an experiential and sensorial environment. To be inspired by a forest, we look at a picture of a forest, rather than visiting one and absorbing a 360-degree essence of that forest. So, somehow connections to art are becoming emotionally “flatter”?
MAURIZIO CATTELAN — Do you feel like your work is against the system? Which system?
ISAMAYA FFRENCH — I just do what I do, man. That’s for other people to decide.
MAURIZIO CATTELAN — How would you feel if we state that you’re an artist?
ISAMAYA FFRENCH — Better than if you stated that I’m a dentist.
END
[Table of contents]
by Kira Bunse
by Sven Schumann
by Jérôme Sans
by Olivier Zahm
by Juergen Teller
by Olivier Zahm
by Heji Shin
by Olivier Zahm
by Benedict Blink
by Pierre-Ange Carlotti
by Olivier Zahm
by John Jefferson Selve
by Olivier Zahm
by Olivier Zahm
by Olivier Zahm
by Anders Edström
by Maurizio Cattelan
by Olivier Zahm
by Xerxes Cook
by Skylar Williams
by Henrik Purienne
by Andrea Spotorno
by Olivier Zahm
by Olivier Zahm
by Alexis Dahan
by Olivier Zahm
by Olivier Zahm
by Wolfgang Tillmans
by Jérôme Sans
by Olivier Zahm
by Francois Perrin
by Sven Schumann
by Olivier Zahm
by Andrea Spotorno
by Mikael Zikos
by Sven Schumann
by Jérôme Sans
by Olivier Zahm
by Maurizio Cattelan and Marta Papini
by Olivier Zahm
by Joshua Glass
by Hayden Dunham
by Chikashi Suzuki
by Xerxes Cook
by Olivier Zahm
by Sven Schumann
by Olivier Zahm
by Olivier Zahm
by Olivier Zahm
by Olivier Zahm
by Olivier Zahm
by Olivier Zahm
by Olivier Zahm
by Maurizio Cattelan and Marta Papini
by Bill Powers
by Olivier Zahm
by Joshua Glass
by Casper Sejersen
by Olivier Zahm
by Olivier Zahm
by Olivier Zahm
by Olivier Zahm
by Olivier Zahm
by Olivier Zahm
by Olivier Zahm
by Alban Adam
by Johann Bouché-Pillon
by Jérôme Sans