Slomo is called Slomo because he skates up and down a San Diego boardwalk – as if in slow motion – day in, day out. It’s his way to get into “the zone,” a realm of pure subjectivity and connectedness. And that’s all he does. He used to be a doctor with nothing more on his mind than buying expensive cars, until he listened to someone who gave him some good advice. Slomo is quite a radical type of person. Director John Izenberg intended to create ‘a window into the ecstatic experience that Slomo has every day’, transcending the trappings of the material world and expectations others might have. He’s simply happy. And that’s good.
We’re an advertising agency – we build brands.
To feed our curiosity and to keep each other inspired, we gather and display bits of our appetite for life, design, beauty and thought, giving you a taste of what inspires us in our work.
Enjoy our view.
In Syria, more than 6.5 million people have been displaced as a result of the civil war that has now raged for almost three years. Syrian winters can be severe, with temperatures well below zero, snow and biting wind. Many of the refugees stuck in tent camps had to leave their homes without packing winter clothes and many children suffer from the harsh conditions. To address this issue and to see if people would give a child some warmth, SOS Children’s Villages in Norway set up a shivering boy at a bus stop in the Oslo winter cold. So would you give your jacket? Of course you would – whether it’s at your bus stop or in a Syrian tent camp. Donate.
Directing duo US has done it again. Some time ago, we posted their work for Benga – a visualization of a track using vinyl records only. Now they have directed this TV ad for the Sunday Times, which pays tribute to six unique, culturally iconic images. Now what makes it special is that they’ve succeeded to recreate one after the other – in one shot. Uninterrupted and without faltering. You’ll have to see it to understand it. And after that, you should probably take a look at the making of. Enjoy.
Some time ago we heard about Jimmy’s project and were excited to see his photographs. Jimmy traveled the globe and went for the most remote spots to find and photograph tribal cultures that sooner or later probably have to succumb to the encroaching modern ‘civilization’. His stories are about the way we look at each other. The way we treat each other, our identities and our culturally conditioned standards of what’s normal and what’s not. He’s succeeded to secure, however one-dimensional, a piece of human heritage of undeniable importance.
We can always appreciate a good story. Especially when it’s told well. Noah Silverman here take us on an uncomfortable ride which slowly turns into an exciting journey. Within only five minutes, he takes his audience from one side to the other end of the emotional spectrum. Of course, having a live band behind your back to stir things up a bit helps. But it’s a great story about family. And love. And that having two moms isn’t much different from a heterosexual marriage. Well written, perfectly performed and a nice example of what execution can do for an idea.
According to this article in Marketing Tribune, Q-music has gained a significant share of the radio market over the last fifteen months (from 6,4 to 9,7 percent – a 53% growth). It is now amongst the top four radio market leaders and is heading for number one market leadership, which should be accomplished about next month. At last. About fifteen months ago, we started working on our first campaign for Q-music, which aimed to give the station a recognizable identity which communicated their brand values. We might have overdone it just a bit.
Who needs photoshop? Jee Young Lee most certainly doesn’t. She builds her images with her own hands, in real life, in her 3,6 x 4,1 x 2,4-meter studio in Seoul.
The series is titled “Stage of Mind” and every photograph has taken her weeks and sometimes months of thorough and patient preparation. She’s made every image without any digital retouching. Recently graduated from Hongik University in Seoul, Korea, the young Jee Young Lee photographs the invisible. Where traditional photography submitted us to snippets of reality, Jee Young Lee invites us to look at pictures from her heart, memory and dreams. In the center of each of these stagings, we find the artist’s self-portraits. Her imagination is a catharsis that allows her to accept the repressions and frustrations imposed on her by society. The time allotted for its staging allows her to reflect on the subjects and her specific roles in them tell a particular story about her personal life experiences or traditional Korean fables and other cultural heritage from around the world. It is a form of deep self-reflection and a means to explore her psychological identity.