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Claire Milbrath is the editor in chief from “The Editorial Magazine” one of the coolest magazines currently. She is also a multidisciplinary artist educated around Petra Collin’s school and her collective “The ardorous”.

Milbrath has working exclusive outdoors in this serie. She is able to rely upon the nuances of nature to unfold the delicate beauty of each flower, and truly capture the essence of her subject. There is a certain quality that emerges from flowers when photographed in their natural environment, something that cannot be achieved in a studio.

Why did you start Editorial Mag?

I was just graduating school and needed something to fill the void, because idleness almost instantly leads to anxiety for me. I also felt there was no venue for new/upcoming artists to show their work – my own work included in that. The magazine seemed like a solution.

What did you feel was missing in the publishing world? ­

A place for new artists to be published.. I think most printed mags publish already established artists because that’s what sells and raises their profile. There’s a lot of amazing artists who need “discovering.” I want the Editorial to be a space for that.

How would you define Editorial Mag’s editorial line? ­

All of the t-shirt designs were designed by artists featured in the mag. We screen print all the stuff here in my bedroom/office. Someday I’d like to make more fancy, complicated articles but this is all we can do for now.

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Who were your influences when you started, who are they now, and how has that changed? ­

Petra Collins was a big influence. I joined the Ardorous shortly before I started the magazine. I loved being a part of the collective, and could see how the project was mutually beneficial to both Petra and the artists she chose to include.

Now I’m interested in artists who have found success outside of wealth. Particularly Henri Rousseau, who influences me both stylistically and spiritually. He had no formal training in painting, and worked a full time menial job until he was 50 years old. He exhibited his paintings annually at some shitty gallery, most of which ended up in thrift stores, or basements. Now he’s up in the MOMA’s permanent collection. I’m inspired by that underdog mentality, making a name for yourself based on solely hard work & self confidence.

You’ve worked in other fields while you are editing Editorial Mag. You are photographer, painter and also you make the design. How does that inform Editorial Mag? ­

I think my own art informs the art I select for the magazine. That happens all the time, girls idolizing celebrities who hold minor resemblances to themselves. My work is pretty interested in sexuality (mainly male) and homoeroticism, so you those themes are present in the magazine. I think the fact that I’m an artist and not really a graphic designer comes out in the layout – I like simple presentation of the work.

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Is there any feminist dimension to the roles you take, with regards to playing your age or how you’re perceived, and how women in general are perceived? ­

Feminism informs everything I do – the way I dress, how I post to IG, what I content I choose for the Editorial.  I think it’s important to show different modes of femininity and masculinity. For example, portraying men as feminine & vulnerable, taking an “ugly” selfie, using older models, asking a female artist about her practice and asking a male artist about his relationships… It’s important to offer alternative representations of gender.

Your subjects are usually your friends. What is so interesting about this state to you? ­

It’s strange that most of my favourite musicians/artists are my friends, I couldn’t explain that coincidence. Also shooting my friends is more out of pragmatic laziness, I’d love to have strangers model for me as well.

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Do you remember when and how you started shooting? ­

I shot on a point-shoot camera since I was 12 years old, but it was different then, like purely vernacular documentation of my friends/my life. I started taking photo classes when I was 16 and became interested in photography as art. I wanted to mimic the famous photographers.

What are you trying to achieve in terms of effect on your viewers? ­

I’m not sure if I’m trying to achieve an effect, it’s more about sharing the art I love and the artists I think who are doing smart, cool stuff.

What are you working on now, and what are your projects for the future?

Right now I’m working on issue 14 of the Editorial. I’m also trying to put together a book of my paintings, but it’s hard to find the time. I wish I had a clone.

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Interview: Andrea Ferrer | Copy: Charlotte Buchholtz

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