William Stanley studied architecture in Canterbury at the Kent Institute of Art and Design and then at the Architectural Association. William began making jewellery from parts of his architectural models utilising 3D printing for manufacture. His jewellery is inspired by the endless beautiful forms found within the natural and biological world. Alongside geometric designs he takes images from electron microscopes, magnetic resonance imaging (MRI), photography and life drawing and uses 3D software to digitally dissect, deconstruct, reconstruct and assemble these objects into pieces of jewellery that capture the varied beauty of what he finds exploring the world. He lives and works in south London.

I'd like to ask about the transition from architecture to jewellery design, what ignited that move?
It was triggered by a broken piece of 3D print that I had from an old architecture model and I thought that if I put a hook on it, it could make a cool earring. I decided to focus on developing a range of 3D printed jewellery designs utilising the 3D modelling skills I had picked up during my time studying. Without a background in goldsmithing I knew that this medium would provide the perfect tool for me to fabricate the intricate designs I was developing. 

You also incorporate traditional materials - gold and silver - into your creations, how do these different mediums affect your approach?
The materials do have certain limitations. There is a minimum thickness that a piece can be printed to. As the gold and silver pieces are first 3D printed in wax and then put through a traditional lost wax casting process, things can go wrong. My approach fortunately doesn’t have to change that much. As long as I get the minimum dimensions correct on my computer model then my manufacturers at Shapeways Factory Of The Future do all the rest. They clean and polish the finished pieces before sending them to me to check and send to the customer.

Themes of geometry and nature feature in your collection, are these related to your architecture roots?
Yes definitely. I have always been fascinated by nature and its workings ever since I can remember. Though my real introduction to nature and geometry in architecture came from the work and research of Michael Weinstock Head of the Emergent Technologies department at the Architectural Association. His work showed me the broader potential of taking design inspiration from the natural world.

You have been exhibited in the Royal Academy Summer Exhibition. The RA is an institution that now recognises the crossover between design and art. Is this crossover something that has always been there for you?
Since Sir Nicholas Grimshaw added the architecture room in the Summer Exhibition I think it has made a big difference in opening up the institution to a broader range of design, art and architecture alike. The RA is an amazing place. I exhibited in the architecture room in 2011 and 2012 with unsuccessful entries in 2013, 2014 and 2015. I’m working on my entry for next year.

Visit William Stanley online at williamstanley.net to see the collection in full

Words: Ruby Ocean


STRANGE ATTRACTION curated by Emily Purser opens tomorrow night featuring work by Vanessa Mitter, Lana Locke, Eleanor Moreton, Andrew Mania, Lady Lucy and Hannah Campion.
Curator's panel discussion and SLAM (South London Art Map) last Fridays opening: 27th March 6.30pm to 8.30pm

Gallery opening hours: 12.00-5.00pm Thursday to Sunday
Visit here for further info

Dear A, I’m attracted to you, and I don’t know why.
            Shall we be friends?

Artworks can write letters too, inasmuch as they reach out, make lines of contact with other artists, and forge an aesthetic of correspondence. In Strange Attraction, a group exhibition of six artists working in a variety of mediums, curated by Emily Purser, that correspondence is curated and archived, as the works speak to one another through their shared preoccupations. Sometimes the works’ closeness can be found in the processes in which they have been made, or the materials that have been manipulated, and sometimes it is found in the works’ ideas, its postscripts and its messages.
Many of the artists gathered here are interested in biography, not as a mapped out narrative, but as an affective pool: a script to be rewritten and performed, as pliable as paper. And even when the life is not visible in the works’ imagery, it exists in the frenetic states of matter and experience that the work has endured.
The abject body is a marginal unclean thing, potentially transgressive in its borderline subversiveness. In Lana Locke’s work, the sculptor references this body, but fragments it, creating sculptural installations that suggest, or indeed perform, a loose and perverse corporeality. Heads float. Limbs are scattered about like twigs on the ground. Bloody sheets fall from flowers on plinths.
This mode of identity performance is similarly found in Lady Lucy’s paintings, which draw on documentary and interview research, to create portraits of layered and collaged material, often incorporating art historical gestures and tropes. Defiantly appropriated, the self is rendered a composite artificial object. 
Andrew Mania makes art akin to the obsessive habits of a collector, transcribing people and objects. In his work, the autobiographical is recast in small, coloured pencil drawings, and even smaller paintings: a public re-reading of the intimate. The blue eyes of a young boy gaze out from the canvas, affective and abject: it is a look of innocence, melancholy, desire and love.
In Vanessa Mitter’s paintings, the personal is also treated as a pliant material, a source of affect and investigation, but also of fiction and performance. Collage, paint and pigment find a way on to the canvas in ephemeral expressive gestures. There is an abject narrative at play – of lost childhood and drifting brides – but it is a narrative that wanders in and around the artifice of the material.
In Hannah Campion’s work, painting is made into a happening, and then an installation, as her worked on canvases are then reworked into ambiguous three-dimensional forms, which are strewn on the floor or pinned to the wall. The paper or canvas undergoes all kind of processes: it is crushed, trampled, nailed, sellotaped, repaired, collaged. It is an active, performative mode of painting, which is also a site-specific response to the surrounding space.
Eleanor Moreton is similarly interested in painting as performance. In her work, narrative is not so much read as experienced. She provides the protagonist and the prop, often drawing on her own personal histories; but with the medium and its application (part abstract, part figurative), comes an ambiguous appropriation of the primary material. As in the work of the other five artists, the raw is remoulded as an artistic event.

In Strange Attraction, the viewer will find six distinct but correspondent practices, whereby narratives relating to the bodily and the biographical are re-made in painting, sculpture and installation. In these intimate objects, the personal evades our grasp when the performance takes over.  


My parents always gave me ridiculously healthy food as a kid and to be honest, at the time I didn't appreciate it at all 'cause it never tasted as good as junk food. Now I'm an adult and I can eat as much crap food as I want, my diet suffers. I wanted to change this but in the past when I've tried to stay off unhealthy food it generally hasn't lasted for more than a week or so and I thought if I actually fully went for it and filmed it, I might be able to stick it out and possibly even inspire others to get healthy. 

Follow Emil on Twitter and Instagram @_emilwalker


With Flatbush Zombies and The Underachievers it’s no hyperbole to suggest that theirs is a scene representing an antidote to the derivative, retrograde hip hop that had infected the mainstream for, arguably, the past two decades. The sweeping critical hype surrounding two of Beast Coast scene’s crews – along with Pro Era, Joey Bada$$’s crew and Phony Ppl - is matched by frenzied fandom. From beats to lyrics, the Beast Coast scene is anathema to the overly-produced meaninglessness of commercial hip hop, a rejection of its unfettered worship at the altar of consumerism.  Where the name of the game for their chart-topping peers is self-aggrandizement, theirs is a study of introspection - a sacred to the profane rap muzac of Pitbull and Nicki Minaj. 

Underachievers and Zombies descend on London’s Koko off the back of the former’s debut LP Cellar Door and the groups’ collaboration on Clockwork Indigo with the latter’s It's All A Matter of Perspective tantalisingly close to release. Although vastly opposed in delivery – with Meechy Darko, Zombie Juice and Erick "Arc" Elliott’s lacerating, rasping vocals contrasting AK and Issa Gold’s more attenuated stylings, both revel in the progressive, the experimental and the psychedelic. 

Underachievers’  Revelations on 2013’s mixtape Indigoism, with its fuzzy organs and trumpets and Zombies’ Deathedolent of producer Nicolas Jaar’s more warped offerings, are cases in point. And with The Underachievers’ especially, introvertive lyrics augment forward-thinking sampling: it’s all ‘searching for treasures in souls’ and ‘inclining Third Eyes’.  Mercifully, neither collective indulges in those cringe worthy, out-of-their-depth political statements that some of their genre peers – in attempts to rebrand themselves as street intellectuals – try, sadly, so often. This is all about the inner self. Prog hop? Yeah, maybe. Whatever these 90’s kids with designs on reclaiming hip hop are, this is meaningful stuff.

Words: Bilal Abood


London based singer/songwriter Patrick J Price blends his poetic wordplay and unmistakable tone with hard-hitting, bass/synth led pop that is bound to leave you wondering, who is this man? After years of development and fine tuning, this remarkable young artist is about to jump out of the woodwork with his debut EP - T'day. Written and recorded at Sarm Studios (home to Bob Marley's Exodus) with his band of multi-talented musicians and producers, the EP is set to drop in September, and when it does, you'll understand why he's waited all this time to let you in. Volume has got the exclusive first play of the hauntingly beautiful track Seed from the EP. Listen up! Visit his Facebook page for more info. 


#MYNAMEIS is a public exhibition investigating the importance of names, the perception they give and the burden they may carry. Consisting of five works, each located on a billboard in various locations throughout London, the pieces encompass varying ideas on the assumptions and stereotypes that are associated with a name.
Artists Nastasia Alberti, Duval Timothy, Kevin Morosky, Annie Mackin and Turner Prize winner Gillian Wearing (who for her piece shot another Gillian Wearing) have each produced a work which explores an aspect of what a name means, how we interact with them and how we're affected by these titles everyday.
These pieces will be unveiled to the public on Friday June 20th with a private view bus tour. Brought to you by Annin Arts - whose last exhibition was 'Bus Stops' by Juergen Teller (which featured Teller's pieces atop bus shelters along The Strand)  it is set to be another interesting way for Londoners to interact with original art as they go about their daily life.

Artwork locations are as follows:

Gillian Wearing by Gillian Wearing - London Bridge Station, SE1 9SL - Billboard no 1331

Lateefa Smith / Chang Jian Wen by Kevin Morosky - 178 Westbourne Grove, W11 2AD - Billboard no 1458

Annie Mac by Annie Mackin - Camden Town, Camden Road Station, NW1 9LS - Billboard no 1105

'London Bridge Arizona Arizona London Bridge' by Duval Timothy - London Bridge Station, Duke Street Hill, SE1 2SW - Billboard no 8171

Karley Sciortino by Nastasia Alberti - 129/127 Hackney Road,  E2 7QS - Billboard no 0237


This week Volume received a copy of the new publication by Austin Wilde - the fabulously titled - A Large Can of Whoopass. With 13 short stories each accompanied by the author's own often humorous and always beautiful illustrations, each short promises to take you on a journey of laughter, sadness and curiosity. Wilde's way with words has sealed an accomplished collection of works that shows a rare sensitivity to family and friendships in London and beyond. Volume met the author some years ago and published his short, Flat Eric, in our Black and White issue. We are honoured to say that we are the first publication to have put Wilde's work in print. A Large Can of Whoopass is available to buy in all very good bookstores in London. For more info visit www.thejudasgoat.tumblr.com and www.awwilde.co.uk



Volume revisits the work of Guy Gormley from issue 3. This image, Untitled, made by the artist in 2007, shows a misty ocean underneath stormy skies that employs his beautiful minimalist approach. Visit www.guygormley.co.uk for more works.


During 2014 Volume will not be releasing a publication but will return next year. This year we are looking back over our releases since 2007 and featuring work published. Today we look at A Sea Change, the fashion shoot photographed by the awesome Dan Wilton and styled by the equally awesome Ellie Stidolph featured in Volume 7: The Green Issue published in 2010. Check out the shoot atwww.volumemagazine.tumblr.com


In 2008 Volume travelled to sunny Birmingham to source creative people in art, music and fashion for an issue dedicated to the city. Volume 4, The Birmingham Issue, was commissioned by Aston Villa FC to celebrate the arts alongside featuring the latest sports news from the football club. We discovered a massive creative scene. Birmingham has seen the birth of an array of new bands and we featured an unsigned five-piece called The Scarlet Harlots who were creating quite a stir. The boys have since reformed as Troumaca and were the first band signed to Gilles Peterson's label Brownswood Recordings where they have released their debut album and a number of singles. Editor Kay Wrate spoke to the boys. Portrait by Sam Burrows www.troumaca.co.uk


In 2008 we featured the multi-talented singer-songwriter Kid Harpoon just before he signed to XL Recordings. In September 2009 the young music maker released his debut album Once to universal praise. He has since co-written with an array of artists such as Jessie Ware and Calvin Harris and received an Ivor Novello nomination for Florence and The Machine's Shake it Out. Photograph by Tom Beard.


For Volume's third issue, published in 2008, we asked one of our favourite artists, Josh Sutterby, to guest edit the magazine. He curated our art section, inviting an exciting cross section of artists to be featured on Volume's pages. We featured this menacing and beautiful painting of his on our inside covers. Sutterby is now one of the UK's most successful tattoo artists and works at the infamous tattoo parlour Kids Love Ink on London's Brick Lane. Visit www.joshsutterby.blogspot.co.uk 


Photography of all kinds has been the backbone of Volume's content from the beginning. We met the talented Tom White in 2008 whose work we loved immediately. This street scene portrays his unique eye that always captures beauty in the every day. Originally from the UK, White moved with his family to Singapore and shares his stunning photography at www.tomwhitephotography.com


In Volume's second issue we published a fashion shoot - titled Elastic - of Lilly Heine's latest collection photographed by Marie Schuller. Heine worked on prints with Jonathan Saunders, Stella McCartney and Alexander McQueen before starting her womenswear MA. She went on to win the Harrods Design Award and ChloĆ© Design Award at Central Saint Martins and her graduate collection was stocked in Topshop. She now designs for Dries van Noten. Marie Schuller, is a film director and photographer and, with an impressive body of work on her reel, is now Head of Fashion Film at Nick Knight's studio. Visit www.lillyheine.com and www.marieschuller.com


As part of our retrospective this month Volume revisits 'Creative & Writing'. These pages explore the work of artists and writers, covering anything from short stories, poetry, painting, photography and drawing. Today we are featuring the work by Alex Ball, an artist whose work caught our eye at Central St. Martins School of Art. Since art school Ball's work has been exhibited at The Royal Academy Summer Show in London and the Stedelijk Museum in The Netherlands amongst others. This piece, titled Pelt Couple II, is an intricate small scale oil painting that portrays a figure in the foetal position with the face obscured. The Catlin Art Prizewinner's work often depicts lone figures doing absurd activities in unsettling scenarios. For more info visit www.alex-ball.com


For Volume's second issue, put out in 2007, we published a feature on a budding female solo artist, Adele, who was finalising her debut album. 19 was released a few months later in January 2008 to receive critical acclaim and be nominated for the Mercury Music Prize. A year later Adele won a Grammy for Best New Artist. Adele spoke to Volume editor Kate Abbott. The portrait above was taken by Tom Beard.


Volume was launched to promote work by creative people and we continue to support individuals who are at the start of their artistic journey. Our fashion pages highlight collections by brand new designers, often showing work from graduate shows. This shot is taken from Volume's fashion shoot in the first issue styled by fashion editor Georgia Broaders. Photographer: Paz, Model: Simona Ehmann, Make-up: Hannah May, Hair: Miki Ohkubo Dress and shorts by Karin Rising.


Volume revisits our feature on the beautiful Paloma Faith from our first issue in 2007. Volume launched at The Old Queen's Head in Essex Rd in May that year. Editor Kay Wrate talked to the starlet after a show in Notting Hill Arts Club. Photo by Corinne Davidson.


This month, Volume will be revisiting the 10 magazines we have published since 2007. Every day we will highlight a featured work from the archive. Today we celebrate the marvellous artist Coral Churchill who designed Volume's first ever front cover (visit www.volumemagazine.tumblr.com to see it) The art work above is a handmade collage Coral made for our inside cover in the same issue. For more work by her go to www.coralchurchill.com


Emil and Jack aka Shoestring Ballers have been using the many delights of London to make a series of short films. Be it conversating with Poundland punters in Peckham, borrowing Boris Bikes or cooking cheesecake, these two bring fun and lots of laughter to the screen. With an (almost complete) season of films to watch for free online here, the lads show no sign of stopping - which at Volume we are very pleased about as we await each release with much excitement. They've also got a nice Instagram. Volume caught up with the duo to find out what's new. Words: Ruby Ocean

How's it going?
Its going great thanks! Could do with a haircut though.

Where did you come from? 
We both grew up in a small town called Totnes in Devon. 

We love your films, what made you start making them?
Emil: I moved to London 10 months ago with the idea of starting some form of video project. After Jack introduced me to an online show called Maestro Knows we set out to make short videos together.
Jack: When we first started filming it didn't really work because we were focusing on the wrongs things, trying too hard to emulate Levi Maestro's show and planning the videos too extensively. We've probably got some really awkward looking footage from last summer when we first took the camera out.
Emil: After spending some time watching other people's YouTube videos we figured let's just film everything we do and perhaps eventually we'll find some sort of direction. So far it’s been pretty fun and we're slowly finding somewhere to take it. 

How did you meet?
Emil: We played together in a jazz band in 2001 and although we're a couple years apart our social circles were always similar.
Jack: Emil moved to London not long after me and coincidentally only about five minutes down the road.

What are you working on this week? 
We never really have any plans (planning is something we could work on) - we just decide we need to go shopping or hear there’s something happening so just grab the camera and see where it takes us. It seems to have worked out pretty well so far. Our friend Cassidy who we met when making the Amsterdam video is stopping by before she heads back home to the States so we'll probably try and film some sort of bon voyage meal with her.

Which film do you look back on most fondly?
That’s like asking 'Who's your favourite child!?' All of them have good points and bad points that we try to reflect on before we make another video. If we had to choose one it would have to be the Cheesecake video as this was the point we realised as long as we’re having fun with a camera it doesn’t really matter what we’re filming!

How's your health after that cheesecake?
Believe it or not we usually eat very healthily, but who wants to see people eating couscous, houmous and salad? It’s just not nearly as funny as KFC and cheesecake! In all fairness that cheesecake absolutely destroyed us, we learnt a lot from that video in regards to using way too much sugar!

South London features heavily in your work, tell us why you love it.
Apart from its always sunny and the cheap rent!? We didn’t plan to live here and its not that we prefer it to anywhere else in London but there’s a good sense of community and the people are generally pretty decent which always helps when you stick a camera in their face.

What are you going to do next? 
We said we’d make 12 episodes (season one) and see where we’re at. After this we want to start a second channel to run alongside where we incorporate travel or a trip somewhere, and with more people. Maybe hit up some events and festivals too. So far Morocco and Madrid are looking like some possible locations for the summer but we're definitely keen for suggestions or invitations.

Anyone you would like to plug?
We wanna big up Paul and Matt over at Dephect - check out their new collection here.
Plus Levi Maestro and Casey Neistat as they’ve both been a huge inspiration to us, so take a look at their videos too.

Check out their latest vid below and visit their site for more


Daniel Waldron @dew

Where are you based?
I’m based in Walnut Creek, California. It’s a little known but pretty happening suburb of San Francisco. We’ve even got our own Apple store out here!

What inspires you to take photographs?
The thought of sharing a new perspective or view that others haven’t been able to experience or see themselves, and be able to share that on my networks - as well as document such moments for myself is what inspires me.

Describe your photography?
I don’t just shoot landscapes, portraits, detail or architecture etc. I shoot everything that catches my eye and strikes me as interesting. So if I had to describe my photography it would be delightfully random.

What are you currently working on?
I’m working with a few clothing startups in the United States taking mobile photography for their social network initiatives. I also work full-time as a designer at Omada Health and do mobile design for applications for my 'real' job, for now.

What is next for you?
Next for me is to continue to build relationships with photographers and companies. I would love to get more photography work for product photography and the likes.

Anyone you would like to plug?
I’d love to plug my wife (@magg on Instagram) for always continuing to inspire and give me different perspectives on photography. Everyone I follow on Instagram deserves a shoutout for always inspiring me to go out and shoot. Just looking through my feed gives me the bug to go out with a camera.