Todd Slater is an American poster artist and illustrator whose work you’ll recognise, even if you don’t know his name. Slater
This beautiful collection of his work includes commissions for everybody from The Arctic Monkeys to Danzig via Slater
The Wu-Tang Clan and his images jump from the page, again and again begging to be framed. Slater
Some of the work here is ethereal and dreamy, some of it is harsh and
but all of it manages to look both utterly new and reassuringly old-school at the same time. Slater
Slater’s trademark style is beautifully showcased and lovingly presented in what is a fabulous book, highlighting an artist reaching the top of his game.
“I was tired of being a woman,” she says.
“Not physically, but because of what it meant to other people.
It’s tougher to be a boss and to be in charge, and to be loud, and to be rude
when you’re a woman. Slater
It’s like, the stereotypical woman cannot be complex: you have to choose between being the Madonna or the whore.
I constantly change my mind, and I think it’s because I don’t see gender as
anything but a performance;
I see it as something I can play with. It’s not a given to me to be a woman. I still have to recreate what it means everyday, because I’m not sure.”
It’s a startling voice – lissom and smooth, with a sensuous huskiness in
the lower register – and Letissier explores its range to powerful effect
on her full-length debut.
Written in Paris, ‘Chaleur Humaine’ was recorded in London with Metronomycollaborators Ash Workman and Gabriel Stebbing,
and Michael Lovett of NZCA Lines, a team she refers to fondly as “La famille, les partenaires du crime” in the liner notes for the album’s original French release.
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