7 Hollywood

The latest form 7Hollywood....

304 pages in High Gloss

Hollywood meets fashion, cinema, music, art and culture. Chic, grand, larger than life...


(INFLATABLE) BLONDES
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HAVEN’T YOU HEARD? LONDON’S LATEST IT-GIRL IS THREE YEARS OLD (SHE WAS BORN IN 2009 AT A TRACEY EMIN SHOW AT THE WHITE CUBE GALLERY), 7 FEET TALL AND HAS THE CHICLY SUPERMODEL-ESQUE PROPORTIONS OF 35-25-34. WHO IS SHE? PANDEMONIA PANECEA, A CONCEPTUAL ARTIST WHOSE ART MIRRORS POPULAR CULTURE, LIFESTYLE AND CELEBRITY. “I CHOSE AN UNORTHODOX ROOT TO PRESENT MY WORK AND IDEAS,” SAYS THE BREATHY VOICED, LATEX CLAD BOMBSHELL. “I CONSTRUCTED A CELEBRITY AND INFILTRATED PANDEMONIA’S IMAGE BACK INTO THE MAINSTREAM MEDIA. MY WORK GETS EXHIBITED IN THE VERY SAME GLOSSY MAGAZINES I GET MY INSPIRATION FROM AND THESE MAGAZINES ALSO PROVIDE A READY-MADE AUDIENCE FOR MY WORK.” BY ROBERT BARR

TAKING A BREAK FROM HER GRUELING SCHEDULE OF SILKSCREENING SELF PORTRAITS AND SCHMOOZING WITH LONDON’S BOLDFACED NAMES LIKE STELLA MCCARTNEY, NATALIA VODIANOVA AND AGYNESS DEYN, THIS LIVING WORK OF ART AND FASHION SHOW HABITUÉ WAS KIND ENOUGH TO PAUSE EVER SO BRIEFLY AND ANSWER A FEW QUESTIONS. MEET YOUR NEW INSPIRATION.

Does Pandemonia have a birthday? If so, what’s her star sign?
The biggest star of them all: Leo!
How often does Pandemonia take Snowy for a walk?
The only walk Snowy gets is down the red carpet.
Paper or plastic?
Plastic any time. Plastic is forever.
Do blondes really have more fun?
Yes! Especially platinum blondes with blonde highlights.
Pandemonia has spoken about the importance of packaging vs. content. What does she think about the Hollywood star system and its reliance on packaging (beauty) vs. content (talent)?
Packaging is the first rule of marketing. First impressions that count - that “puts bums on seats.”
How does Pandemonia like to relax on the rare evening she’s not being drowned in paparazzi flashbulbs?
Bubble bath.
What comes to Pandemonia’s mind when she hears the words ‘red carpet’?
“Snowy -Walkies”, time to shake off those pounds.
What does Pandemonia wear to bed?
Pandemonia never goes to bed.
What was the first thing Pandemonia did when she woke up this morning?
Oh, you know... the usual things, pump up my hair.
What was the last thing Pandemonia bought at the corner store?
A puncture repair kit.
What does Pandemonia wear for a quick run to the corner store?
Pandemonia doesn't do corner store – that's what staff are for.
Beverly Hills or Bel Air?
Bel Air, they have such smooth cars.
Has Pandemonia visited Hollywood? If not, when is she planning to make her debut?
Not yet! As soon as an invite lands on her bureau, she will be on her way.
What is Pandemonia’s signature perfume?
“Pandemonium” It’s my own range.
What is Pandemonia’s favorite book?
Her social diary.
Does Pandemonia have a favorite TV show? If so, what is it?
Penelope Pitstop. She's the "Glamour Gal of the Gas Pedal". That dame can get out of any bind.
When Pandemonia next hits L.A. are there any actors/actresses/directors she’d definitely like to meet?
David Lynch, Terry Gilliam, Tim Burton
What’s Pandemonia’s favorite film?
“The Blow Up”, by Michelangelo Antonioni
Who is Pandemonia’s favorite artist?
Yayoi Kusama, I love her Louis Vuitton handbags.
What is the definition of ‘Post Pop’?
Post Pop Art is Art that interacts with popular culture. Unlike Pop art that glorifies it.
What song always gets Pandemonia on her feet and dancing?
I love vinyl. Plastic Beach – the Gorillas.
Can Pandemonia sing? If so, would she ever consider recording a single?
With the right equipment anyone can sing.
What is Pandemonia’s signature alcoholic beverage?
Vintage Champagne! The bubbles go straight to my head.
Who is Pandemonia’s favorite cartoon character?
Herself.
Does Pandemonia have any bad habits?
Daydreaming.
Who are Pandemonia’s favorite fashion designers?
At the moment it’s Vivienne Westwood. She designed the Angolomanina range for Melissa Shoes. I love plastic shoes, they are so me.
Does Pandemonia have a favourite actress, alive or dead, who’s inspired her look? If so who (and why them)?
Veronica Lake. Actually, its her “Cheese cake hair” I love, it upstages everything including herself.
A very Hollywood question: how is Pandemonia maintaining her impeccable figure?
At both Jimmy Choo and Steve Lazarides’ posh dinners I kept to the breadsticks. My advice to your readers: “Long and thin food keeps you slim”
What do you envision yourself wearing on your first Academy Awards Red Carpet?
Something that would rise above everyone else - a white inflated helium dress?
Will Pandemonia be nominated? If so, in what category?
Best Hair!
Has Hollywood come knocking at Pandemonia’s door with film offers? What sort of role would entice her to the silver screen?
It would have to be one of those classic two-dimensional film roles. No difficult dialogue, more of a support to the main actor. The perfect celluloid actress.
What are Pandemonia’s thoughts on plastic surgery?
Actions speak louder than words. I went the whole way.
Tanning: yes or no?
I say, “stay covered up”. That's why my skin is so wrinkle free.
Where was Pandemonia’s most recent holiday?
Bermuda! Its a great place to disappear.
Is Pandemonia open to modeling gigs/product endorsements? If so, what sort of products does she dream of endorsing?
This summer I've been modelling for, Harper's Bazaar, Viva Moda and Baku fashion magazine. I dream of endorsing L'Oreal. I am a fan of their Ultimate blond campaign.
Is Pandemonia the type of girl who would consider posing for Playboy?
Yes! As long as I could do it with my clothes on.
We all know gentlemen prefer blondes. What sort of gentlemen prefer Pandemonia?
Tall, handsome affluent ones.
Finally, what does ‘glamour’ mean to Pandemonia?
Life style! Glossy, self-assured and luxurious sophistication.

7HOLLYWOOD ICONS ISSUE

Print: Available Worldwide
Digital: iPAD ISSUE ON iTUNES

Fashion Director: Elizabeth Stewart European Fashion Editor: Barbara Baumel Features Director: Robert Barr Distributor: David Renard Publisher: Elie Wizman European Fashion Editor: Barbara Baumel Features Director: Robert Barr Distributor: David Renard Publisher: Elie Wizman

Life in Plastic

Origional articel published Nouse. June 22, 2011
Text: Paris Bennett. Fashion Editor of Nouse
Phototography: Jenny Van Sommers



Pandemonia has the wow factor. Or perhaps Pandemonia is the wow factor. The phenomenon of performance art, has been formulated under the name Pandemonia, into a larger-than-life cartoon character, with the intention of provoking a reaction, whilst at the same time being a reaction. The presence of this doll-like figure certainly commands your attention unlike any regular arty or eccentric character. Indeed, being head to toe in latex, seven feet tall, and all woman is enough to merit interest from those in the industry also trying to create an unusual ‘image’.

In fact, the industry rather like the cartoon created by the post-pop conceptual artist. Pandemonia has been spotted at film premieres, glossy on location photo shoots, and even Boy George's 50th birthday party last week. Her fans and friends include Kanye West's ex Amber Rose, Philip Tracy and Steve Strange. But, standing the challenges facing art and artists du jour, this walking piece of art must also resolve her existential purpose.

As a conceptual artist, the ideas behind the art take precedence over traditional material concerns, yet this does not detract from the aesthetic appreciation of Pandemonia’s silhouette and features. She describes these as quite traditional features. “It’s figurative; it’s concerned with our relationship between identity and the media and who we are in a changing landscape. As a celebrity, albeit an artificial celebrity, I am the glossiest celeb of the glossies. I fit right in.”

Alluding to her image being not merely part of fashion, but of celebrity culture too, it seems ambiguous as to whether she is an item of gossip, an icon, or an imaginary celebrity. But she clarifies that her “ideas come from the mass media so it makes scene to put them back in there. That way I am communicating to a ready audience.”

“The celebrity arena is a platform to exhibit my work. I am inside the idea and have become the medium. Celebrity is the face of the media. As a pseudo-celebrity, I am a construction of media aspirations and dreams – A copy in the world of illusion.” If the birth of an innovative product in an already saturated market, involves the right product, in the right place with the right promotion, then she seems to have got it impressively spot on.

The female form is always being rearranged and re-worked, I am simply working within that time-honoured tradition

Although the conceptual side is important to this walking Barbie, would artistic expression through other mediums such as painting have a bigger impact? “Oh yes, I used to exhibit paintings and drawings in traditional gallery spaces but they always seemed so old fashioned. Our 24-hour media world is a more exciting and modern place to be in. When you watch TV you can’t help but notice that people are only interested in other people, preferably celebrities.”

The value of the character compliments conceptual. The raw appearance of the character seems to juxtapose the female silhouette. But she says, “females are far more alluring. Everyone likes looking at the female form, look at Art, look at advertising. In the West, the female form is always being rearranged and re-worked, I am simply working within that time-honoured tradition.”

Pandemonia is ‘re-working’ the tradition with a re-generation fabric. Latex relates to an industry of latex condoms, rubber playsuits and fetish. But Pandemonia says that she uses it “because it’s shiny. All the best things are shiny – gold, diamonds, cars, magazines, gadgets. Shiny means fresh and new. Almost everything you buy now is wrapped in plastic so it must be good.” She has tapped out human sense of allure being a primitive sensation felt by all. But it’s not just latex that re-works the female form, as she has used denim in the silhouette too. “That material also has lots of conations. It’s mass-produced. It once symbolised the working class and became a fashion statement of the rebel. A symbol of freedom and individuality. Disenfranchised from its roots and re-cut by top fashion labels.”

As the story of Pandemonia unravels, it becomes apparent that her paramount expression and reaction is about self-awareness, which could be argued to characterize the celebrity industry itself. The inflated and fixated hairstyle, pop up chest and attention to details that includes matching shoes, bag and outfit co ordination can relate to any celebrity. But which celebrities in particular have looks which have been borrowed from? “I’m inspired by whoever is in the media at the moment, for a while it was
Paris Hilton. She’s perfect because she’s famous for nothing and she’s blonde. Today we are getting a lot of
Cheryl Cole. I wonder who will be next.”

I’m not sure whether she intends for the stark irony; at London Fashion Week her image bombarded the style pages, finding itself next to the very celebrities she takes inspiration from. She responds “People have interpreted me in all sorts of ways. My presence offers a subtext, a reflection on what is happening.”

But do the celebrities object to her social reflection, view this 3D inflated latex symbol as a mockery of their existence? “They are all receptive to my work, reactions run between amazement and amusement.” This refreshingly seems to epitomize how seriously we take the media, and how light heartedly the celebs categorise themselves

The three way relationship of audience, media and celebrity appears to show the power being dominantly placed at the celebrity’s feet. The inflatable items to the suit, such as the handbag and hairstyle represent the transience of celebrity shelf life. “My head and bags are empty they are only surface. It’s so easy not to look beyond the surface. I have thought about inflating other areas but I think it’s important to stay elegant.

“My Marlboro dress is my favourite creation. It sits in a space halfway between reality and advertising. When I wear it I am imbued with the force of nature, the power of the Marlboro mountain. I am inside the medium. The alchemy of myth and advertising entwine and fuse together around me.”

The consistent focus on a rather brand categorised industry, I find myself trying to remember Pandemonia as ‘artwork’ rather than ‘product’. However, her most profound expression is to view celebrity culture as a market, but rather as an artistic expression. All surface, with hidden substance, in which Pandemonia appears to have created a perfect positioning of herself in our culture.