Introducing Forward Festival for Creativity

What began in 2015 as a vibrant design event in Vienna has grown into a cross-disciplinary platform uniting creative minds from around the world. Nearly a decade later, it’s time for Forward to reflect the evolution of both the creative industry and our own mission.



A name that’s more than a change in wording—it’s a shift in direction. By focusing on creativity at its core, we’re redefining what Forward stands for: not just inspiration, but real creative empowerment. We’re building a space where ideas don’t just sound good on stage—they get the tools, networks, and momentum to make an impact.

Founder Othmar Handl puts it like that: “We don’t just want to inspire better creatives—we want to help them succeed. It’s about mindset, execution, and community. As the creative world continues to evolve, so does Forward. In today’s landscape, talent alone no longer sets you apart. The most impactful creatives are those who combine vision with strategy, storytelling with leadership, and imagination with execution. Our mission now reflects that shift: to equip the next generation with the tools, knowledge, and network they need to turn ideas into action.”


That’s why Forward Festival 2025 is doubling down. The program still centers around thought-provoking talks from industry legends and emerging voices, but now also places greater emphasis on practical application. Attendees will not only be inspired—they’ll be equipped to turn their ideas into successful projects and tangible results.


The redefined Forward Festival is a celebration of what’s possible when vision meets action.

THE BUSINESS OF BEING CREATIVE 

Q&A WITH SNASK

PRESS FORWARD #57 BY OTHMAR HANDL

STUDIO TOUR

Creativity is in constant motion—and so is Forward. Go behind the Festival's rebrand.

A NEW LOOK FOR A NEW ERA

At Random Studio, spaces aren’t static—they’re designed to respond, provoke, and evolve. With their Living Lab, the team is exploring what it means to create environments that go beyond sleek surfaces and curated vibes. Think real interaction, playful tension, and a serious curiosity about how tech shapes human behavior. In this interview with Living Lab-director Roel Wouters, they unpack the shift from control to collaboration, and why the future of design feels a lot more alive.

Random Studio will speak at Forward Festival Berlin.

What is your earliest memory of being creative, and how did that shape your path to becoming a designer?


In the early nineties, I was making computer demos with a friend. At the time, computers were not as powerful as they are today, and certain things we take for granted now—like smooth animation of typography (soft scrolling) or stereo music—were considered impossible back then. We tried to make our 8-bit MSX machines do those things anyway. We published our findings in nerdy magazines and on floppy disks distributed by post. My friend did the coding; I handled the type design, copywriting, drawings, and music. That curiosity about how technology affects people is still very much a part of me.



Recently, you joined Random Studio to set up the Living Lab. Could you elaborate on the primary goals of the Living Lab at Random Studio? How do you envision the evolution of spaces from static environments to dynamic, emotionally engaging “living spaces”?


With the Living Lab, we look critically at the spaces we live in and navigate. Slowly but surely, these are changing due to new technology. Will our spaces follow a similar trajectory as our phones—from single-purpose tools to versatile devices embedded in our daily lives, constantly vying for our attention?

What is our position as designers and makers? And what exactly are the attributes of these “living spaces”? By developing a clear position as a studio, we can guide our clients toward more adventurous outcomes and establish ourselves as leaders in this field.

Random has traditionally excelled in designing high-end retail experiences—often created to impress visitors with innovative uses of technology. But we believe a new kind of visitor is emerging—one who values real experiences, where they learn something, meet someone, or engage in meaningful dialogue, rather than simply being handed something to post on social media. We're deeply curious about this shift. We're interested in designing spaces that stimulate human interaction. This is what we like to call “living spaces.”

We explore this through experiments—one every two months—each isolating a single attribute of a “living space.” We present these tests to our network during events centered around a specific theme, artist, or technology.

How can designers transform static spaces into so-called “living spaces”?


That’s a good question. In the early days of Random, we did much more web and interaction design. We’re used to working with UX designers and thinking about experience first. When we design spaces, we always try to include both experience (UX) designers and architects in the team. This allows the spaces to become inherently playful.




What does your workflow typically look like when designing “living spaces” for clients?


Clients typically crave control. They often believe they must communicate specific products, messages, values, or vibes in a top-down way. Many have dominant creative directors who trust only their gut feeling. But for a place to allow something unexpected to happen—for it to welcome input from visitors—some of that control needs to be relinquished. So, there's usually a bit of tension.

That’s why we try to listen closely and uncover what lies beneath their need for control. If a brand’s vision goes beyond the seasonal fascinations of its art director, then we can move past egos and create dynamic spaces that emphasize deeper values—making control far less of an issue. Part of this process is having an open conversation about what control offers them. Another part is finding clients who are open to working with more fluid, less top-down spaces, and who are willing to invest in a few iterations to make it work.




What role does audience feedback play in refining your designs?


To design a successful living space, iterative design is essential—we test and tweak constantly. It’s more akin to game design than traditional architecture. During this process, we often simulate audience behavior to improve the design.

In your project “The Entrance,” you turned entrances into interactive, sensory spaces that respond to visitors. How do you combine advanced technology with creating experiences that feel emotional and engaging?


At Random, we’re far more interested in people than in technology. While some of us are definitely nerds, we’re not particularly interested in technology per se. What fascinates us is how people respond to it. So, it doesn’t feel like we’re combining two separate things—we’re constantly exploring how technology affects human behavior and emotion.




Your portfolio spans diverse industries and clients, such as Jacquemus, Nike, and Ferrari. What core principles guide your approach to developing brand experiences that resonate so uniquely?


We want our projects to resonate on a fundamental level. They need to be visually impactful and work instantly. Although we invest heavily in a lab that explores new, sometimes complex territory, the work we deliver comes without a guidebook or intellectual prerequisite. It should just work.

RANDOM STUDIO

RELATED SPEAKER

A JOURNEY OF CREATIVE FREEDOM

CHRIS KORE DREAMS WITH TECHNOLOGY

BREAKING BOUNDARIES

HELLOME ON THE FUTURE OF DESIGN

Random Studio in conversation about designing spaces that respond, provoke, and evolve.

RETHINKING SPACE

For Stephanie Specht, creativity is more than a profession—it’s a mindset of freedom, experimentation, and continuous growth. From childhood sketches to designing for global brands like Google and Nike x Dazed, her journey proves that trusting your instincts and embracing creative risk can lead to unexpected opportunities. 

In this interview, she shares how moving between cities, collaborating with diverse talents, and staying connected to nature have shaped her perspective. As a speaker at Forward Festival Vienna, Stephanie will dive even deeper into her process, exploring how experimentation fuels innovation and why staying true to your vision is key in an ever-evolving industry.

Teaser

What has been your first memory of being creative?


This might sound weird, but it was drawing a maze on paper for snails. I think I was 6 years old and on a holiday in the South of France. Around that same time and age I would use the back of my moms printed accountancy work, on a Dot Matrix printer, to draw my own things like houses, animals, etc. On the paper for this special printer there were always colored lines visible and I used these elements to integrate in my drawings somehow.



And what was the defining moment, when you realized you wanted to pursue a career in the creative industry?


During primary school there was one teacher who kept telling my parents I should go to Art School. She kept on pointing out I would thrive in a different but creative environment, so I guess this woman put a spotlight on a talent she saw that needed to be further developed. Of course many of my teachers in Art High School motivated me a lot and I started thinking about a creative career in my teenage years.



You studied at the Royal Academy of Fine Arts in Antwerp, Belgium. How has art school shaped your approach to design and creativity?


Studying at the Royal Academy of Fine Arts in Antwerp, Belgium, was profoundly influenced by my fellow students. We frequently came together to share knowledge and teach one another, and I learned far more from them than from my instructors. This collaborative environment allowed us to explore not only technical skills but also each other’s creative processes and approaches. It played a pivotal role in shaping me into the ‘free’ creative individual I am today. Our gatherings fostered an atmosphere where no idea was too outlandish to explore. I was fortunate to be studying during a time when the internet was just emerging, and owning a computer was a luxury. As a result, my exposure to design styles came primarily from books, album covers, and visits to exhibitions, rather than endless scrolling online. I appreciate this experience, as it allowed my creative mind to develop in a unique way, encouraging deeper exploration and connection with tangible artistic expressions.

How would you describe your work in 3 words and why?


Free, intuitive and colorful. It’s also what I feel when I am creating self initiated work. It comes naturally, I don’t need to think about it. Of course, not all projects benefit from this––I do also have different ways of working but the three words mentioned above describe perfectly when I feel at my best in creating, when I’m in my ‘zone’.



You like to approach design with certain freedom to explore and create boundlessly. What role does experimentation play in your work?


A BIG role. I value the experimental part in creation very highly. When I get an assignment I try to approach it from as many angles as possible, to feel and see what works best. Sometimes I even create stuff the client did not ask for, but I just want to see what it would show. It can be the start of a really interesting conversation sometimes. Depending on the type of client, I take them on a sidepath, an alternative route to show them a new world. If they react positively to it, it gives me the best feeling.



After Art School, you started your career as an independent designer, which is what you‘ve been doing for the past 15 years. How has the experience of working independently shaped your creative work?


The word freedom comes to mind again here. I love the fact that I am not pinned down, or ‘owned’ by someone or a company. Everyday I choose a (creative) path I feel like doing and it’s what makes me very happy. Everyday I wake up with a choice, ‘what do I want to do today that will make me happy’? Of course I have project lists and their deadlines but still I am a free human being and decide when and how and how long I will work. I also love to collaborate with different people depending on the needs of a project and client. But the variety I have in this independent work life is something really satisfying!

Your career is shaped by experiences in diverse cities like Cape Town, Brussels, Princeton, and New York. How has moving between these different creative environments impacted your perspective on design?


Moving between diverse creative environments like Cape Town, Brussels, Princeton, and New York has profoundly shaped my perspective on design. Each relocation challenged me to adapt quickly while staying true to my core values. This experience has become one of the most valuable tools in my career, as every project requires a degree of flexibility and adaptability. The more people I meet, the more design styles I encounter, which can make it challenging to maintain my own unique identity. Reinventing myself with each move is part of the process, yet it’s essential to keep the essence of who I am. My soul remains constant, but my creativity is influenced by each new environment. Ultimately, I strive to express my ideas in a way that reflects my individuality, finding my own voice amidst a tapestry of diverse inspirations. Additionally, my travels have deepened my understanding of human dynamics. By interacting with a wide array of people and navigating various languages and cultural differences, I’ve learned to read people more effectively, a skill that has proven invaluable during initial encounters with new clients.



How do you typically approach a new project? Do you follow a specific process or routine?


Lately I feel like I start with a couple of days of just ‘thinking’: during walks with my dogs or gardening. Some people would call it procrastination but to me it’s not that. I need time outside instead of in front of my computer before I start actual designing. I don’t write ideas down, I gather them in my head and then there’s a moment of ‘outburst’ where I have to run to my screen and do all the stuff that’s been piling up in my head. Once I’m in that flow, I barely go outside––so quite the opposite. In that state of flow, I need to stay in the same place until my body says stop (or I get hungry). It is quite intuitively I could say!



Personal projects are a key part of your practice. You've worked on commercial projects for brands like Nike x Dazed and Google, as well as non-commercial ones. Do you approach them differently?


Actually not at all. The end result will be published on a higher platform but for the rest it is the same for me: creating comes from the heart and my love for design is applied in every project whether it is for a non-commercial client or a high-end one.

Your projects span identity design, posters, and book design. Do you have a favorite medium to work with?


That must be posters! It is such a powerful communication medium. In a blink of an eye you need to be able to say something powerful. This year I was part of the ‘100 Beste Plakate’ (German speaking countries) jury–I was the only non-german speaking member and it was really so nice to see so many posters. It showed diversity in language, culture, politics, … so many identities really. I hope this medium will never disappear.



In 2024, you collaborated with Google on their 10th anniversary of Material Design. How did you incorporate your personal style into such a functional system?


That is a good question! I guess the typography I pushed forward, and it was certainly not a conventional one (‘Harber’ by Benoit Bodhuin, which is not a Google Font) but also shapes and color combinations. But, I had a super nice team as well and people who worked for Google Design: they were there every day to discuss choices. I proposed many designs and they were super good with feedback.



You’ve been a guest teacher at institutions like Bauhaus-Universität Weimar and the Royal Academy of Fine Arts. What do you try to pass on to your students about typography and graphic design?


To never be afraid of doing, and to always experiment front-row! They need to archive their process, since this is to me the most interesting part of a project. The best way to learn something is to ‘do’ it and to fail sometimes. I learned the most from my own mistakes and that mistakes are allowed in experimental phases. I also try to teach them to be able to express themselves verbally. It’s one thing to be able to ‘speak’ through design but you also need to be able to explain yourself. At the same time I always first try to get an idea of the student and their surroundings, background and then decide what I think would be of extra value to speak to them about.

What advice would you give to emerging designers on developing a strong, recognizable style while staying creatively flexible?


Never compare yourself to other designers. The cheesy quote of ‘you do you’ is in place here. Once you start comparing yourself, you can easily lose yourself. Everyone is unique in its own way (another cheesy but true saying) and you need to keep this in mind.



How do you stay creatively inspired and open to reinvention in a world of fast-moving trends and constantly evolving platforms?


I try to walk away from my computer as much as possible, since, for me, ideas are not formed in front of a screen but out in nature. Nature is creativity at its highest level. Looking at a flower day after day, slowly getting its shape or color, a bee humming from flower to flower, a beetle climbing a tree, … I can go on, all these little but big events out there are super inspiring to me. And then maybe I should mention the season of spring. Somehow I get the most fresh ideas this time, synchronised with everything that’s blooming and growing around me. I moved away from the city center 4 years ago. I still live a 30 minute bike drive to the center but I am surrounded by a lot of nature now and up until my move here I never realised the effect it had on me. The city can be inspiring but also draining.



Where do you see the future of graphic design heading, and how do you envision your own work evolving?


At this moment on Earth there are so many ‘solutions’ and ‘approaches’ to graphic design, meaning back in the days there was pen and paper, then internet and computer came which changed the whole game and now lately there are, aside the Adobe package, apps on your phone to create designs and I am not even talking about AI. There is just so much, something for everyone and every level but somehow the touch of the human hand is always a thing that’s of high value. Maybe in the future designers will become so overwhelmed that the need for pen and paper will become more important again? Human beings doing design and AI could become so intertwined that the need to take a distance from the digital becomes bigger? I never use AI in my own work but I feel a small tendency lately to do more manual stuff. But this could also be a result of spending more time in nature.

STEPHANIE SPECHT

ANTHONY BURRIL: "I HOPE TO MAKE PEOPLE THINK"

KELLY ANNA: "BE STUPIDLY CONFIDENT"

Stephanie Specht dives into how fearless experimentation sparks innovation—and why staying true to your vision matters more than ever.

For over 15 years, HelloMe has been pushing the boundaries of contemporary design, crafting bold identities for brands like Apple, Nike, and Warp Records. But for founder Till Wiedeck, design has never been just a career—it’s a way to shape culture, challenge ideas, and create lasting impact. 

In this interview, we explore his early creative influences, the organic growth of HelloMe, and the philosophy that drives the studio’s work. From embracing unpredictability to redefining brand storytelling, this is a deep dive into the mindset behind one of Berlin’s most innovative design studios. Catch HelloMe live at Forward Festival Berlin, where they’ll share more insights into their creative journey!

What’s one of your earliest memories of being creative, and how did that experience influence your journey to becoming a designer?


Ever since I could hold a pen, I was drawing. So creativity never felt like something out of the ordinary. My older brother was more into science and craft, while I was sitting at my desk, sketching away. Around 10 years old, I became interested in graffiti. Letters and music quickly became the defining part of my youth. Looking back, it feels like a natural progression from that to designing record covers for friends and creating flyers for events which ultimately led me to study design.




When did you first realize that design wasn’t just a passion but something you wanted to pursue as a career?


I started designing small projects for friends and musicians long before attending university. It felt natural to combine my passion for music and visual culture into something meaningful. Personally, I never really approached creative work from a career perspective and even today, as an internationally operating studio, we somehow still don’t. We engage with projects and clients who share the ambition to shape contemporary culture. Whether we work with small music labels or global brands, positive cultural impact—at any scale—creates value far beyond career ambitions.




In 2008, you founded HelloMe while still studying design and working with Mario Lombardo. What motivated you to take that bold step?


It felt like the right moment to carve out a space where I could shape an independent narrative and creative environment. Over time, HelloMe grew organically, and with every person who joins, a new voice and perspective is added to the team. Today, the studio is a place for everyone to thrive at what they are best at—guided by a shared creative vision and the ambition to develop work that pushes beyond the status quo.

Starting a business always comes with its challenges. What were some of the biggest obstacles you faced in the early days of HelloMe, and what valuable lessons did you learn along the way?


I never realized I was starting a business until much, much later. For the most part, trusting your feelings, instincts, and sensibilities has proven extremely helpful when overcoming any challenges. Being generous and staying agile, while remaining committed to the vision and focused on the bigger picture, is a helpful principle when running a studio—which is equally a business structure and a social environment, in which every person, perspective, and feeling matters.




Looking back at your journey so far, is there a piece of advice you wish you could give to your younger self when you were just starting out in design?

has been based in Berlin since 2008, a neighborhood known for its creativity and energy. How does the city—and your immediate environment—shape your creative process?


Berlin has always played a vital role in shaping HelloMe’s cultural understanding and creative environment as a studio. While not many of our clients are based here, a lot of our long-standing collaborators and friends are. In the early days, I shared a studio with Johannes Breyer of Dinamo for several years, which led to a very early version of what became ABC Favorit being premiered as part of the Warp Records identity HelloMe designed in 2015. A few years later, I collaborated with Manuel Bürger on the identity for Volksbühne Berlin—again, we had shared the very same studio for many years. Today we’ve all relocated, some to new studios, some to other countries while each of us has carved out their own unique perspective. What’s exciting about Berlin is how interconnected these individual paths are. The city, in many ways, has been a backdrop for my personal but also for HelloMe’s journey as a studio and an essential part of shaping the amazing team it is today.




Where do you turn for inspiration, especially when you’re looking for fresh ideas or a new perspective?


Taking things slow helps when refocusing and finding inspiration. Nature, contemporary art, architecture, and unfamiliar environments often help me formulate new ideas.

Your work spans a diverse range of industries and brands. What principles guide your approach to creating unique and impactful brand identities?


Defining contemporary culture—in the broadest sense. Our approach is guided by the principle that creating cultural impact can transform any business, build brand value, connect audiences, and facilitate sustainable change. We help our partners understand their brand environment, challenge ideas, and use design as an expression of values and aesthetic sensibility—creating holistic and resonant brand identities that align with both their audiences and business goals.




You’ve collaborated with global names like Apple, Nike, Warp Records, and The New York Times. Is there a particular project that stands out as especially meaningful or memorable to you?


All of the names you mentioned have been very important in shaping our approach to collaboration and creative dialogue. Our longstanding partnerships with Warp Records and Apple are a testament to exactly the type of mutual understanding and trust that builds lasting and ongoing impact across a broad range of audiences and cultural layers.




The Nike PG4 GATORADE campaign is one of your studio’s standout projects, with its unique blend of performance, art, and cultural storytelling. What was it like collaborating with Nike on such an ambitious campaign, and what were the key takeaways from the experience?


Our trusted relationship with Nike spans over 10 years, covering various briefs, formats, and global campaigns. Among others, Nike asked us to conceptualize and define the visual language for Nike’s brand presence during the NBA All-Star Weekend 2020 in Chicago. At the time, the US team tasked us with not only designing the visual identity for Nike’s own presence but also developing seven different campaign identities for the shoe drops that Nike had planned during that period in collaboration with some key Nike athletes such as LeBron James, Paul George, Giannis Antetokounmpo, and several more. So the PG4 campaign is part of a larger body of work we created with the Nike team around the same period.

HelloMe often works on print projects, in an increasingly digital world. Do you feel that designing for print holds a special place in today’s design landscape?


We literally design for any digital or physical format you could possibly think of, as most of our projects are complex briefs that cover a wide range of media. However, print—and especially books—hold a very dear place in our practice, even though they are not the predominant medium we work with. We run a publishing imprint called 

 in collaboration with curator Frank Boehm. METER publishes books and editions exploring the contours of contemporary culture. Embracing the book as a primary mode of cultural expression, METER engages with relevant voices in contemporary discourse to produce printed objects of experimental form, essential quality, and lasting significance.




With design constantly evolving, what do you do to stay ahead of trends and keep your work fresh and relevant?


We observe, anticipate and shape culture. We try to keep an ear to the street, stay close to what moves people, what shapes thinking, and what shifts perceptions. Ultimately participation is key. Engaging in continuous exchange with different disciplines helps us stay open and evolve our work in ways that feel both relevant and unexpected. Curiosity and critical reflection are more valuable approaches for us than chasing what’s currently in vogue.




For you, what defines a successful project at HelloMe? Is it about aesthetic impact, client satisfaction, or the lasting impression on audiences?


Fun, Fame, Fortune. Pick two. Best all three. If it ticks just one box, don’t do it!
All jokes aside, we share a genuine ambition to deliver our best work—for everyone involved, on every project. We help our partners reach their full potential by creating work that cuts through the noise and amplifies their brand, narrative, and message—while maintaining the highest level of aesthetic precision and visual excellence.




What excites you most about the future of design, and how do you see the field evolving over the next decade?


I believe there are many futures for design, which will take shape in different ways. A new paradigm is emerging—one that forces us to articulate what is essential and human, while our digital perception becomes increasingly artificial. Design will continue to expand its role—not just in branding or aesthetics, but in shaping society, ethics, and behavior, especially within digital environments. That shift opens up an exciting space for new ways of thinking and ideation with the potential to redefine how we interact, live, and create meaning. We are excited for what’s ahead!

HELLOME

STEPHANIE SPECHT: A JOURNEY OF CREATIVE FREEDOM

THINKING SUSTAINABLE WITH NICOLE MCLAUGHLIN

Creative Director Till Wiedeck his early creative influences, the organic growth of HelloMe, and the philosophy that drives the studio’s work.

HELLOME ON CULTURE & DESIGN FUTURE

In an industry where artistic expression knows no boundaries due to the constant adaptation and evolution of possibilities, three remarkable female artists have risen to the top, pushing boundaries with their inspiring visions and determination to explore the unknown. Meet Christina Worner, creative director and founder of the groundbreaking, female-led 3D motion design studio DADA PROJECTS. She is joined by Ines Alpha, a 3D artist extraordinaire known for conjuring enchanted versions of reality, and Claudia Rafael, a visionary digital artist and co-founder of NEWFORMAT, completes this trio of inspiring creatives. With them, we enter into captivating journeys and gain valuable insights into the dynamic world of design, creativity, and the ever-evolving creative field in which they passionately work.

Inspiration to work in the Creative Industry/Field

Christina Worner:

 The allure of the creative field, specifically design and 3D animation, has been a lifelong dream of mine. Since I was young, I had a natural affinity for art and was always intrigued by the power of visual storytelling. I found major inspiration in the works of iconic designers, artists, architects, and animators like Dieter Rams, Petra Cortright, Zaha Hadid, Hayao Miyazaki, and the creative minds at Pixar. Witnessing their ability to transport audiences to magical worlds and evoke profound emotions through their creations left a mark on me. The dedication to their craft and ability to push the boundaries in animation, art and design motivated me to pursue my dream and channel my creativity into this field.




 I’m super inspired by aesthetics created by algorithms and all types of glitches and errors that create unforeseen visuals that were not planned this way. Also, people who work scientifically and sociologically on the subject of technology inspire me a lot. And art in general, especially physical. Also the fashion and architecture fields are very stimulating.




It wasn't always my dream to work in the digital industry. In fact, the first time I laid my hands on a 3D software back in 2007, I remember thinking I would never touch that demonic product again. At that time, the software was quite intimidating. However, as I continued my career as an art director in advertising, I noticed significant improvements in 3D software. User interfaces became more user-friendly, and it became easier to play around with the tools. Around 2012, I started noticing some remarkable artists emerging in the digital art scene. They brought a fresh perspective to the art world, incorporating aesthetics that resonated deeply with my own interests, such as sci-fi, video games, and fantastic worlds. Inspired by these artists and fueled by my own obsession with these themes, I decided to give 3D experimentation another shot. To my surprise, I found myself developing a real knack for it. The more I dived into the world of digital art, the more I realized its potential for creative expression and innovation. It was an exciting turning point for me, and since then, I've been fully immersed in exploring the possibilities of digital art as a medium.

Preferences in the Creative Industry

Claudia Rafael:

 I am very grateful for the opportunity to be able to express myself through my work. Having clients who like what I do and come to me for the same reason is rewarding for me. Also meeting wonderful other creatives and collaborateurs. Working mostly digitally in front of a computer is the counterpart for me, even though I love it on the other hand. On the weekends I really enjoy being in nature without even a phone.




 Working with evolving technologies is undeniably exhilarating. The fast pace of technological advancements and software updates continuously simplifies the realization of my creative vision. Personally, I find myself creatively dependent on how technology evolves. I have a plethora of ideas that I'm eager to bring to life, but I patiently await the opportunity to do so. While the digital industry still tends to be male-dominated, I'm thrilled to witness significant progress over the years. Many collectives and communities have actively placed women and non-binary individuals at the forefront, fostering a truly supportive environment. The shift in this perception fills me with immense pride, it's inspiring to see more and more women embracing technology. However, I must admit, there are certain aspects of technology that can be quite frustrating. The instability factor is real. From computer crashes to GPUs burning out to the eternal loss of files, it can be an absolute pain at times. And let's not even get started on the fear of missing out that arises whenever a new software, plugin, or platform is launched. The temptation to try them is real, but it can be overwhelming.




 What I love most about working in design and 3D animation is the opportunity to collaborate with so many inspiring, talented and like-minded creatives, in a supportive and dynamic environment. The constant evolution of technology keeps things fresh and exciting, and there is always something new to learn and explore. There are challenges though, and one aspect I find less enjoyable are the occasional creative constraints, or changing deadlines and briefs. Having said that, every client and project is unique, and while the varying dynamics and demands may at times be challenging, we always learn something new as a team. The positives far outweigh the negatives and this never-ending opportunity for growth make it an incredibly fulfilling career.

Collaboration has always been a fundamental aspect of my work, right from the beginning. Since I often use faces as blank canvases for my creations, I had the idea to incorporate the faces of people I know, admire, and draw inspiration from. This approach allows me to establish an artistic connection with individuals and experience the thrill of merging different personalities and skill sets. Each collaboration presents a unique challenge for me, pushing the boundaries of my work. It encourages me to step out of my comfort zone and explore new and different artistic directions. Working with others brings a fresh perspective, introducing ideas that I may not have considered on my own. It's an invigorating process that constantly fuels my creativity. Moreover, collaboration fosters a sense of community and shared creativity. The bonds formed through collaboration often extend beyond the project itself, creating a network of support, inspiration, and ongoing artistic growth.




 Collaboration is deeply ingrained in the DNA of our studio. We know that our work only really thrives when we all come together and bounce ideas off one another, both internally as our team and with our host of amazing freelancers too. We really value and encourage everyone to bring their unique ideas to the table and take agency too.
One particular project with an all-female team had such strong collaborative synergy - it was pretty amazing to witness. If someone was stuck there was a seamless exchange of knowledge and tips, really tapping into the collective consciousness of the whole crew.
We constantly encourage a positive collaborative space where ideas flourish, the team amplify each other, with the boundaries of what we can creative continuously being pushed.




 Collaborations are very important to me. The exchange and sharing of knowledge to unify skill sets can lead to fantastic outcomes. When collaborators value each other’s work, it forms a solid basis for creating something new together. I am very grateful to work together with many amazing and talented artists.

Staying ahead of curve

Christina Worner:

 I find great joy in exploring new technologies, working with various mediums, and experimenting with different software tools. It's exciting to stack up programs and plugins, discovering ways to connect workflows for my team and I. For instance, last summer, we dedicated ourselves to learning Unreal Engine and integrating it into our creative process. Seeing its power in handling complex point cloud systems and rendering scenes in real-time was incredibly rewarding. By combining tools like Cinema4D and Unreal Engine, we've found more efficient solutions that save time and enhance our work. For me, the key is to stay curious and embrace the unknown. But it's not just about playing with gadgets and software! I make sure I’m surrounding myself with like-minded artists, chatting with people who inspire me and sharing our ideas and inspirations. Collaborating with fellow creatives across disciplines always brings fresh perspectives and keeps the creative juices flowing.

I couldn't agree more – curiosity is absolutely key. I have a natural inclination to explore and learn about new trends, software, and technological updates. I strive to gather as much information as I can to assess if it's beneficial for my work. However, I must admit that sometimes it can become overwhelming, especially when there's a constant stream of information and the fear of missing out on something exciting. Nonetheless, it's important for me to stay informed and understand what's happening in the ever-evolving digital landscape. Even if I can't immediately engage with all the latest advancements, having a general awareness allows me to adapt and make informed decisions when the opportunity arises. It's about being open to new possibilities and understanding the potential impact they can have on my creative process. Additionally, I believe in the power of asking questions. It's through curiosity and seeking knowledge that we expand our understanding. I don't hesitate to reach out to others and inquire about their experiences, insights, and opinions.

 I believe it is essentially a way of thinking, a mindset. Always being curious and open, not thinking, already knowing everything.

Design & Personal Development

Christina Worner:

 What makes a design unique is the ability to experiment beyond the expected, and challenge established norms. It's about bringing a fresh perspective, innovative ideas, and a distinct artistic vision to the table as a team. Developing a personal style is often a process that evolves over time. It involves exploring different techniques, experimenting with various mediums, and continuously refining our individual talents and the Dada Projects voice. We also like to explore and self-reflect as a team, ensuring we hone our skills with each project. It's a combination of conscious decision-making and organic growth influenced by personal experiences, inspirations, and individual creativity.




 I wholeheartedly agree that the uniqueness of a design is often an unexpected and unpredictable outcome. Sometimes it takes time, while other times it happens spontaneously. The key, in my experience, is to embrace experimentation and allow room for trial and error. It's through this process that truly remarkable and distinctive designs can emerge. What I find most crucial is infusing the design with your own culture, background, and personal experiences. That's what truly makes it your own and brings forth your unique artistic vision. Certainly, following trends and drawing inspiration from the abundance of images we encounter daily is inevitable in today's visually rich world. However, it’s about delving into your own passions, interests, and perspectives. That's where the magic happens, where your art stands out from the rest. Personally, it took me until the age of 31 to truly believe that I could develop my own style and vision. It happened somewhat unexpectedly, emerging as a result of experimentation and playfulness. Without putting pressure on myself or focusing solely on the outcome, I allowed myself the freedom to explore. Then, one day, I had the realization that I could blend my two passions—makeup and 3D – and create something unique and exciting. I hadn't seen it done before, so I thought, "Let's go for it!" Even now, it's sometimes hard to believe that I created something truly unique simply by following my heart and pursuing my passions.




To me, it is essential that what I create fits the project's content and meets my aesthetic standards. I would never consider creating something that pleases everyone. First and foremost, I must be enthusiastic about it, and I love it when people become polarized by my work. Good art needs to polarize, and I prefer people who don't like my art and love it on the other hand instead of everyone thinking it's "nice". For example, with the AI Beauty Portraits, some people say they are fascinating and beautiful. However, there are others who say they find the look quite uncanny.

Change in the Creative Industry

Claudia Rafael:

 In my opinion, it's more about how you deal with the circumstances your own way. How to manage working in the creative industry with your values and work morals.
I think opportunities are huge, especially in the creative industry, you don't need a title to be seen or heard, you can equally be an autodidact. Just stick to your dreams and values and go on creating, it’s all about what you make out of it.




 One aspect I would like to see change in the creative industry is the need for more gender diversity, particularly at the directorial level. There is a significant discrepancy between the number of womxn graduating from creative majors and the number of womxn leading creative teams in this industry. It is disheartening to browse through platforms like LinkedIn and observe that a majority of leading creatives are male, when there is such femme talent out there that I see every day. Increasing the representation and leadership opportunities for womxn in the industry is crucial for fostering a more inclusive and balanced creative landscape, and it’s something I try to use my voice to promote and support whenever I can. Dada Projects are currently an all-female team, often collaborating with femme freelancers too. It’s a joy to work in such an inclusive environment and I strive to provide equal opportunities and mentorship within the team, that will empower womxn to excel and develop in their careers.




 I cannot agree more regarding your sentiment about the need for increased diversity and visibility of women in the creative industry. It's sad to see that even in fields like advertising or the beauty industry, where women are often the target audience, the majority of creative directors and decision-makers are men. It's an issue that needs to be addressed. It's unfortunate that women are often discouraged from participating in events, conferences due to self-doubt, while men don't question themselves. However, I am optimistic as I witness more and more incredibly talented women entering this world. We are building strong and supportive communities that empower each other. Another aspect I would like to see evolve, particularly in the NFT world, is a shift away from an excessive focus on financial speculation and towards a stronger emphasis on human and artistic values. The pursuit of massive profits, rather than the appreciation of genuine artistic expression, can sometimes overshadow the true essence and purpose of creativity. Addressing this issue requires a deeper examination of the underlying capitalist structures that drive such behaviors. It's indeed a complex and extensive conversation that needs to be had.

INES ALPHA

DADA PROJECTS

IN-BETWEEN REALITY & FANTASY WITH INES ALPHA

NEWFORMAT: PUSHING BOUNDARIES OF REALITY

DADA PROJECTS: CREATING 3D WORLDS

Ines Alpha, Claudia Rafael, and Christina Worner in conversation about pushing the boundaries of digital art.

BREAKING BOUNDARIES: IN CONVERSATION WITH LEADING DIGITAL CREATIVES

Daily Dialogues has just launched a new website - and it’s exactly what you’d expect from a studio known for pushing boundaries. The redesign is more than just a visual refresh, it’s a deliberate move to highlight their core expertise in Identity, Design, and Editorial - each representing a distinct yet interconnected approach to contemporary visual culture. 

Maximilian Schachtner and Malin Schoenberg will represent Daily Dialogue as speakers at the Forward Festival Vienna this October.

Daily Dialogue's approach to identity goes far beyond simply designing a logo or picking a color palette. It’s about creating a visual system that tells a story and feels authentic at every touchpoint. The studio understands that in today’s fast-paced world, identities need to be flexible - able to evolve and stay fresh, while always staying true to the brand’s core values.

With years of experience, Daily Dialogue works with a certain ease and openness, allowing for creativity and adaptability, always keeping the bigger picture in mind. This approach doesn’t just build one-off designs, but long-term relationships - relationships that endure and grow, just like the brands they craft.

This approach is exemplified in Cap Dept., a project that challenges the conventional idea of branding. Rather than relying on a rigid set of rules, the identity is built around a modular system that allows elements to shift and adapt depending on the context. This flexibility ensures that Cap Dept. can communicate across different media without losing coherence, making it an identity that evolves with the brand instead of constraining it.

The Design section of their new site highlights the studio’s knack for taking creative risks and turning them into impactful design solutions. In Design, Daily Dialogue pushes boundaries by crafting work that is both impactful and innovative. Their approach is about creating something that stands out - not just in terms of aesthetics, but in substance as well. The studio constantly seeks new ways to make designs that are visually engaging, yet also deeply tied to the concept or purpose behind them.

Their work for GOAT is a testament to their ability to blend storytelling with design. With 

, they developed an internal magazine that celebrates the diverse voices of GOAT’s global team, with each edition tied to significant cultural moments like Black History Month and Pride Month. For 

, they designed a fold-out poster that visualizes key events from the year through spatial data, incorporating interactive puzzles to engage employees. Similarly, with Carlos Cipa’s album cover 

, Daily Dialogue used an AI Trainer model to create artwork that goes beyond simply representing the music. The design enhances the narrative and deepens the emotional experience for the listener.

Editorial work at Daily Dialogues is about more than just layout - it’s about content that resonates. Whether working on print publications or digital platforms for photographers and journalists, the studio places immense value on shaping narratives with depth and clarity. Editorial design, more than any other field, requires balancing accessibility and intrigue - often, it’s more compelling to make the audience pause and look again rather than understand everything at first glance.

Peter Jellitsch’s ‘Artifacts of the Future’ 

Daily Dialogue designed the layout to showcase each work in its full, original size - letting the details speak for themselves. A key choice was keeping the color chart visible next to each image - originally used in a 2019 catalog for the Neue Museum Nürnberg - a subtle but intentional nod to precision and consistency. The second half moves into an exhibition overview, with an interview by Alexandra Maria-Toth acting as a natural break, shifting the perspective while staying within the same narrative.

The new Daily Dialogue website reflects a studio that understands the need for brands to be dynamic, for design to be intentional, and for editorial to tell stories that matter. More than just a redesign, this launch reaffirms what the studio has always stood for: work that lasts, relationships that grow, and ideas that push boundaries.

DAILY DIALOGUE

CHRIS KORE ON THE ART OF DREAMING WITH TECHNOLOGY

DISCOVERING COMMUNITY WITH STIG DE BLOCK

How Daily Dialogue’s new website redefines identity, design, and editorial.

DAILY DIALOGUE'S BOLD NEW WEBSITE

Silent elegance meets bold adventure. DJ and producer Anna Ullrich takes the all-electric Alfa Romeo Junior for a spin through the scenic Wachau – proving that innovation, style, and a bit of overpacking can absolutely go hand in hand. Captured by artist Maša Stanić, this road trip redefines what it means to travel in style.

“Is this a compact car or a magician?” – a fair question when the Alfa Romeo Junior Elettrica fits oversized luggage, delivers a smooth yet powerful ride, and silently glides through city streets. Anna Ullrich, an Austrian DJ and producer, took her friends and the silent, elegant Junior Elettrica on an adventurous ride through the vineyards of Wachau.

Early on a Saturday morning, bags were packed – slightly overpacked, to be precise – yet everything fit effortlessly into the surprisingly spacious trunk of the Alfa Romeo Junior Elettrica. With Sommernacht by Anna Ullrich blasting on repeat, the drive through the city was smooth and quiet – so much so that a pedestrian balancing two coffees almost jumped in surprise. “I didn’t even hear you coming!” she laughed. Silent, but with plenty of power.

A visit to a biodynamic vineyard in the Wachau led to curious glances from vintage Alfa enthusiasts. “An electric Alfa? Never seen one!” The answer? “Brand new. Same spirit, just quieter.” Performance meets innovation without losing that signature Alfa feeling.

The weekend’s energy was perfectly captured by photographer and artist Maša Stanić, who also spoke at Forward Festival Berlin in 2022. Her images bring Silent Elegance to life – showcasing how technology, aesthetics, and adventure seamlessly blend. The result? A road trip that was as effortless as it was unforgettable.



MAŠA STANIC: IMPULSIVE, FOOLISH, SPIRITED

A weekend with Alfa Romeo through the lens of photographer Maša Stanic.

SILENT ELEGANCE

Silent elegance meets bold adventure. DJ and producer Anna Ullrich takes the all-electric Alfa Romeo Junior for a spin through the scenic Wachau – proving that innovation, style, and a bit of overpacking can absolutely go hand in hand. Captured by artist Maša Stanić, this road trip redefines what it means to travel in style.

&nbsp;
&#8220;Is this a compact car or a magician?&#8221; – a fair question when the Alfa Romeo Junior Elettrica fits oversized luggage, delivers a smooth yet powerful ride, and silently glides through city streets. Anna Ullrich, an Austrian DJ and producer, took her friends and the silent, elegant Junior Elettrica on an adventurous ride through the vineyards of Wachau.
&nbsp;
<img loading="lazy" class="alignnone size-medium wp-image-36488" src="https://cms.forward-festival.com/wp-content/uploads/2025/03/alfa_romeo_by_mafia_mashi6-1000x663.jpg" alt="" width="1000" height="663" srcset="https://cms.forward-festival.com/wp-content/uploads/2025/03/alfa_romeo_by_mafia_mashi6-1000x663.jpg 1000w, https://cms.forward-festival.com/wp-content/uploads/2025/03/alfa_romeo_by_mafia_mashi6-700x464.jpg 700w, https://cms.forward-festival.com/wp-content/uploads/2025/03/alfa_romeo_by_mafia_mashi6-768x509.jpg 768w, https://cms.forward-festival.com/wp-content/uploads/2025/03/alfa_romeo_by_mafia_mashi6.jpg 1500w" sizes="(max-width: 767px) 89vw, (max-width: 1000px) 54vw, (max-width: 1071px) 543px, 580px" />
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Early on a Saturday morning, bags were packed – slightly overpacked, to be precise – yet everything fit effortlessly into the surprisingly spacious trunk of the Alfa Romeo Junior Elettrica. With <a href="https://open.spotify.com/playlist/4JGRAfwcgkzs20AEv9KkRk" target="_blank" rel="noopener">Sommernacht</a> by Anna Ullrich blasting on repeat, the drive through the city was smooth and quiet – so much so that a pedestrian balancing two coffees almost jumped in surprise. “I didn’t even hear you coming!” she laughed. Silent, but with plenty of power.
&nbsp;
<img loading="lazy" class="alignnone size-medium wp-image-36489" src="https://cms.forward-festival.com/wp-content/uploads/2025/03/alfa_romeo_by_mafia_mashi2-714x1000.jpg" alt="" width="714" height="1000" srcset="https://cms.forward-festival.com/wp-content/uploads/2025/03/alfa_romeo_by_mafia_mashi2-714x1000.jpg 714w, https://cms.forward-festival.com/wp-content/uploads/2025/03/alfa_romeo_by_mafia_mashi2-1429x2000.jpg 1429w, https://cms.forward-festival.com/wp-content/uploads/2025/03/alfa_romeo_by_mafia_mashi2-500x700.jpg 500w, https://cms.forward-festival.com/wp-content/uploads/2025/03/alfa_romeo_by_mafia_mashi2-768x1075.jpg 768w, https://cms.forward-festival.com/wp-content/uploads/2025/03/alfa_romeo_by_mafia_mashi2-1097x1536.jpg 1097w, https://cms.forward-festival.com/wp-content/uploads/2025/03/alfa_romeo_by_mafia_mashi2-1463x2048.jpg 1463w, https://cms.forward-festival.com/wp-content/uploads/2025/03/alfa_romeo_by_mafia_mashi2.jpg 1500w" sizes="(max-width: 714px) 100vw, 714px" />
&nbsp;
A visit to a biodynamic vineyard in the Wachau led to curious glances from vintage Alfa enthusiasts. “An electric Alfa? Never seen one!” The answer? “Brand new. Same spirit, just quieter.” Performance meets innovation without losing that signature Alfa feeling.
&nbsp;
<img loading="lazy" class="alignnone size-medium wp-image-36490" src="https://cms.forward-festival.com/wp-content/uploads/2025/03/alfa_romeo_by_mafia_mashi-663x1000.jpg" alt="" width="663" height="1000" srcset="https://cms.forward-festival.com/wp-content/uploads/2025/03/alfa_romeo_by_mafia_mashi-663x1000.jpg 663w, https://cms.forward-festival.com/wp-content/uploads/2025/03/alfa_romeo_by_mafia_mashi-1326x2000.jpg 1326w, https://cms.forward-festival.com/wp-content/uploads/2025/03/alfa_romeo_by_mafia_mashi-464x700.jpg 464w, https://cms.forward-festival.com/wp-content/uploads/2025/03/alfa_romeo_by_mafia_mashi-768x1158.jpg 768w, https://cms.forward-festival.com/wp-content/uploads/2025/03/alfa_romeo_by_mafia_mashi-1019x1536.jpg 1019w, https://cms.forward-festival.com/wp-content/uploads/2025/03/alfa_romeo_by_mafia_mashi-1358x2048.jpg 1358w, https://cms.forward-festival.com/wp-content/uploads/2025/03/alfa_romeo_by_mafia_mashi.jpg 1500w" sizes="(max-width: 663px) 100vw, 663px" />
&nbsp;
The weekend’s energy was perfectly captured by photographer and artist Maša Stanić, who also spoke at Forward Festival Berlin in 2022. Her images bring Silent Elegance to life – showcasing how technology, aesthetics, and adventure seamlessly blend. The result? A road trip that was as effortless as it was unforgettable.
&nbsp;
<img loading="lazy" class="alignnone size-medium wp-image-36524" src="https://cms.forward-festival.com/wp-content/uploads/2010/03/alfa_romeo_by_mafia_mashi3-1000x663.jpg" alt="" width="1000" height="663" srcset="https://cms.forward-festival.com/wp-content/uploads/2010/03/alfa_romeo_by_mafia_mashi3-1000x663.jpg 1000w, https://cms.forward-festival.com/wp-content/uploads/2010/03/alfa_romeo_by_mafia_mashi3-700x464.jpg 700w, https://cms.forward-festival.com/wp-content/uploads/2010/03/alfa_romeo_by_mafia_mashi3-768x509.jpg 768w, https://cms.forward-festival.com/wp-content/uploads/2010/03/alfa_romeo_by_mafia_mashi3.jpg 1500w" sizes="(max-width: 767px) 89vw, (max-width: 1000px) 54vw, (max-width: 1071px) 543px, 580px" />
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<a href="https://www.alfaromeo.at/modelle/junior-elettrica" target="_blank" rel="noopener">LEARN MORE ABOUT ALFA ROMEO JUNIOR HERE</a>
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© All images by Maša Stanić 
© Campaign by mama said no®

Every month, the Forward Magazine brings you a selection of musical gems hand-picked by friends, musicians, speakers of the Forward Festival, and many more. This 59th edition was made by the digital artist Lucy Hardcastle. Lucy will speak at Forward Festival Berlin in August.

Lucy Hardcastle is an interdisciplinary designer and digital artist known for her innovative approach to sensory storytelling. Her work explores the intersection of physical and digital worlds, creating immersive experiences through visual illusions, sculpture, and moving image. Collaborating with renowned brands and cultural institutions, she crafts evocative narratives that challenge perceptions and redefine digital art.

This 25-track playlist runs over 2 hours, starting with minimal techno, electronic, and shoegaze – perfect for brainstorming with hypnotic, drone-like sounds. The tempo gradually builds into euphoric, high-energy beats for those ‘lightbulb moments’ in storyboarding or visual research.

Winding down towards the end, the vibe shifts to DIY, psychedelic, and ambient sounds – ideal for reflection or a fresh perspective. Tune in and enjoy!

LUCY HARDCASTLE

Digital artist Lucy Hardcastle selected her most-listened to songs in this playlist – tune in and get in the mood for her talk at Forward Festival!

PRESS FORWARD #59 BY LUCY HARDCASTLE

Every month, the Forward Magazine brings you a selection of musical gems hand-picked by friends, musicians, speakers of the Forward Festival, and many more. This 59th edition was made by the digital artist <a href="https://lucyhardcastle.com/">Lucy Hardcastle</a>. Lucy will speak at <a href="https://forward-festival.com/berlin/overview" target="_blank" rel="noopener">Forward Festival Berlin</a> in August.

&nbsp;
Lucy Hardcastle is an interdisciplinary designer and digital artist known for her innovative approach to sensory storytelling. Her work explores the intersection of physical and digital worlds, creating immersive experiences through visual illusions, sculpture, and moving image. Collaborating with renowned brands and cultural institutions, she crafts evocative narratives that challenge perceptions and redefine digital art.
&nbsp;
<iframe loading="lazy" style="border-radius: 12px;" src="https://open.spotify.com/embed/playlist/1DFJ2NL2ZY07TJJ5Egsaw4?utm_source=generator&amp;theme=0" width="100%" height="352" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
&nbsp;
<a href="https://open.spotify.com/playlist/1DFJ2NL2ZY07TJJ5Egsaw4?si=uP8iV6gTQmWzj_RMSLVc2Q">This 25-track playlist</a> runs over 2 hours, starting with minimal techno, electronic, and shoegaze &#8211; perfect for brainstorming with hypnotic, drone-like sounds. The tempo gradually builds into euphoric, high-energy beats for those ‘lightbulb moments’ in storyboarding or visual research.
Winding down towards the end, the vibe shifts to DIY, psychedelic, and ambient sounds &#8211; ideal for reflection or a fresh perspective. Tune in and enjoy!
&nbsp;
<img loading="lazy" class="alignnone wp-image-35776 size-medium" src="https://cms.forward-festival.com/wp-content/uploads/2024/12/Gros-Copy-of-Mirage_refinery-8931-1000x666.jpeg" alt="" width="1000" height="666" srcset="https://cms.forward-festival.com/wp-content/uploads/2024/12/Gros-Copy-of-Mirage_refinery-8931-1000x666.jpeg 1000w, https://cms.forward-festival.com/wp-content/uploads/2024/12/Gros-Copy-of-Mirage_refinery-8931-700x466.jpeg 700w, https://cms.forward-festival.com/wp-content/uploads/2024/12/Gros-Copy-of-Mirage_refinery-8931-768x512.jpeg 768w, https://cms.forward-festival.com/wp-content/uploads/2024/12/Gros-Copy-of-Mirage_refinery-8931.jpeg 1280w" sizes="(max-width: 767px) 89vw, (max-width: 1000px) 54vw, (max-width: 1071px) 543px, 580px" />
Photo Credits: © Lucy Hardcastle

Chris Kore’s digital art seamlessly merges imagination with technology, creating immersive experiences that push the boundaries of what we perceive as real. Her innovative approach to blending different media challenges our understanding of the digital world and invites us to explore new, uncharted creative realms. 

Chris Kore will speak at Forward Festival Berlin this August.

Was there a defining moment in your life when you knew you wanted to be an artist?


I can’t say there was one specific moment when I realized I wanted to be an artist. Creativity has always been a part of who I am. I’ve had a wild imagination for as long as I can remember, and my parents still have stacks of my early drawings from when I started sketching at age two. Growing up in a creative family was a huge luck – they supported everything I tried, whether it was art, dancing, or music. That encouragement gave me the confidence to explore and express myself freely.

It still took me some time to figure out what truly drives me, though. I initially studied architecture at university and later pursued graphic design in an art academy after graduating. What I do now is something completely different, but those experiences taught me to think creatively from different perspectives. Looking back, I see how all of it shaped the artist I’ve become today.




What initially drew you to working with immersive media and digital art?


I can actually trace a clear turning point in my journey with immersive media and digital art. In 2016, I visited the Ars Electronica Festival in Linz, and it completely blew my mind. I don’t think I’ve ever felt more inspired or impressed. It was like something inside me shifted – a realization of how art, science, and technology could intersect in ways I had never imagined. Before that, I was in a discovery phase, trying out different tools, mediums and directions but never feeling fully obsessed with any of them. That festival changed everything. It opened my eyes to the endless possibilities of new media art, immersive experiences, and experimental electronic music. It was as if my inner explorer and artist converged into one. From there on, I was hooked on trying and searching for my own new ways to fuse art and technology.

You describe yourself as a “digital dreamer.” How do you define this term, and how does it manifest in your work?


Since I started my practice, I’ve always found it hard to label what I do. Words like “multidisciplinary,” “digital,” “new media,” “generative,” or “3D” all fit in some way, but none of them fully capture the scope of my work. Today, with so many tools and methods blending together – crossfading, really – it feels almost pointless to put a single label on what you do.

That’s why I came up with the term “digital dreamer.” It feels abstract enough to reflect the open-ended, evolving nature of my practice while staying true to the essence of what I create. For me, it’s about dreaming with the help of digital tools – using technology as a medium to bring imagination to life. It’s less about sticking to one discipline and more about exploring in a way that feels limitless.




Do you have a particular ritual or environment that helps you get into the creative zone?


When it comes to the initial phase of the creative process – coming up with ideas – it’s almost always late evening or nighttime for me. In a way, those quiet hours really help me focus and my brain gets more productive. I usually find music or a set that resonates with the project’s mood, grab a pencil and a stack of paper, and just let my mind wander. That’s my favorite part because it’s completely open-ended – no rules, no boundaries, just freestyling and capturing the raw energy of the idea. That’s when the magic really happens.

I also find that ideas often strike when I’m out walking – usually fast-paced, through parks or the city. There’s something about the rhythm of moving that clears my mind and creates space for ideas to surface naturally. It feels like my thoughts untangle themselves while I’m on the move, often leading to unexpected concepts or perspectives.




When you start a project, do you have a clear vision of the final outcome, or do you let the process guide you?


When I start a project, I rarely have a crystal-clear vision of the final outcome. I usually begin with a loose, blurred direction – an idea of the mood or concept I want to explore – but I leave plenty of space for the process to guide me.
Experimenting and creating in the moment often leads to unexpected discoveries, and I’ve found that the best ideas and solutions emerge as the work unfolds. In fact, having a vivid, fixed image of the final outcome can be a trap. It can limit you, keeping you from exploring unexpected ideas, happy accidents, or even “bugs” that might end up being the highlight of the project. For me, it’s about keeping the process open and letting the work evolve naturally. That’s what makes it exciting.

What’s the strangest source of inspiration you’ve ever used for a project?


It’s hard to say what’s considered strange in the creative field these days because inspiration can come from absolutely anything. For me, the most surreal and unsettling source of inspiration came in 2022, during the first days of the war escalation in Ukraine. I recorded the sound of air raid sirens from my balcony, and that haunting sound became the foundation for a personal project. It’s impossible to fully describe the deep, dark, and overwhelming emotions that everyone was, and still is, going through here. I wouldn’t wish for anyone to experience this. But that particular moment led me to create an animation called My 7 Days of War, which I sold as an NFT to raise funds for support.




What message or feeling do you hope audiences take away from your work?


All I want from the audience, whether they’re seeing my work in real-time or on their screens, is for them to pause for a moment – to be drawn in by the colors, movements, shapes, or the overall weirdness. I want them to feel something, anything – whether it’s confusion, excitement, nostalgia, annoyance, or even curiosity.

We’re all so caught up in this constant cycle of running, scrolling, texting, and consuming content. Life feels increasingly automated, and I think that pulls us further away from the raw feeling of being alive. I believe art has the power to disrupt that flow, to trick our brains and transport us – even for a second – to another dimension of thought or emotion. If someone sees my work and stops for a second to think, What is happening here?, then I feel like I’ve done my job.




In your opinion, how does the rapid development of AI and deep learning impact the art world, and how should artists navigate this evolving landscape?


Whenever a new tool emerges, it’s a revolution – one that disrupts what’s stable and familiar. AI is no different. Its impact on the art world forces us to reexamine boundaries and ask an age-old but always relevant question: What is art? It challenges us to think about the essence of creativity, intent, and the human touch in ways we’ve never confronted before.

Even as AI evolves, traditional art forms still coexist alongside it. Will algorithms replace artists? No. Will they automate certain processes? Absolutely. But that doesn’t mean artists should panic or abandon their craft. AI is an opportunity – a tool to explore, question, and push the boundaries of what’s possible.
I work with AI a lot, and what fascinates me most is treating it as a collaborator. By embracing its quirks, glitches, and unpolished edges, you can uncover strange, unexpected results. However, with every update, owning corporations tend to polish, censor, and commercialize these algorithms, limiting access to those uncanny, experimental territories that make working with AI truly interesting.

What’s a personal milestone you’re most proud of, inside or outside of your career?


There’ve been a few milestones, but a particularly personal one was creating an artwork campaign for the Boiler Room World Tour 2024 and performing my live visuals on their stage at the DGTL festival in Amsterdam. It was such a special moment because my own shift toward electronic music began after watching DARKSIDE’s Boiler Room session in New York back in 2013. That performance is still one of my all-time favorites and was a major turning point for me. 
Discovering electronic music back then became one of my greatest passions. At the time, I could only dream of simply being in the audience for something like Boiler Room. I never imagined that one day I’d be creating and performing there myself. Moments like that remind me that, truly, anything in life is possible.




What’s a dream collaboration or project you’d love to take on?


The only thing I truly wish for is to always have the energy and inner fire to create and make art for as long as it brings me joy. Whether it’s a small, experimental indie project or a large, commercially successful collaboration, the value of any project comes down to the desire and passion behind it. For me, it’s not about the scale or fame – it’s about feeling that spark that makes me want to bring something to life.

CHRIS KORE

FASCINATING & DISTURBING: JOHANNA JASKOWSKA

Digital artist Chris Kore dives deep into her creative journey and speaks about pushing boundaries technology.

Chris Kore’s digital art seamlessly merges imagination with technology, creating immersive experiences that push the boundaries of what we perceive as real. Her innovative approach to blending different media challenges our understanding of the digital world and invites us to explore new, uncharted creative realms. Chris Kore will speak at <a href="https://forward-festival.com/berlin/overview">Forward Festival Berlin</a> this August.

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Was there a defining moment in your life when you knew you wanted to be an artist?
 I can’t say there was one specific moment when I realized I wanted to be an artist. Creativity has always been a part of who I am. I’ve had a wild imagination for as long as I can remember, and my parents still have stacks of my early drawings from when I started sketching at age two. Growing up in a creative family was a huge luck &#8211; they supported everything I tried, whether it was art, dancing, or music. That encouragement gave me the confidence to explore and express myself freely. 
It still took me some time to figure out what truly drives me, though. I initially studied architecture at university and later pursued graphic design in an art academy after graduating. What I do now is something completely different, but those experiences taught me to think creatively from different perspectives. Looking back, I see how all of it shaped the artist I’ve become today.
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<img loading="lazy" class="alignnone size-medium wp-image-36203" src="https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_10-1000x370.jpg" alt="" width="1000" height="370" srcset="https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_10-1000x370.jpg 1000w, https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_10-700x259.jpg 700w, https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_10-768x284.jpg 768w, https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_10-1536x569.jpg 1536w, https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_10.jpg 1920w" sizes="(max-width: 767px) 89vw, (max-width: 1000px) 54vw, (max-width: 1071px) 543px, 580px" />
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What initially drew you to working with immersive media and digital art?
I can actually trace a clear turning point in my journey with immersive media and digital art. In 2016, I visited the Ars Electronica Festival in Linz, and it completely blew my mind. I don’t think I’ve ever felt more inspired or impressed. It was like something inside me shifted &#8211; a realization of how art, science, and technology could intersect in ways I had never imagined. 
Before that, I was in a discovery phase, trying out different tools, mediums and directions but never feeling fully obsessed with any of them. That festival changed everything. It opened my eyes to the endless possibilities of new media art, immersive experiences, and experimental electronic music. It was as if my inner explorer and artist converged into one. From there on, I was hooked on trying and searching for my own new ways to fuse art and technology.
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<img loading="lazy" class="alignnone wp-image-36309 size-medium" src="https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_22-1000x1000.jpg" alt="" width="1000" height="1000" srcset="https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_22-1000x1000.jpg 1000w, https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_22-700x700.jpg 700w, https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_22-768x768.jpg 768w, https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_22-1536x1536.jpg 1536w, https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_22-400x400.jpg 400w, https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_22.jpg 1920w" sizes="(max-width: 767px) 89vw, (max-width: 1000px) 54vw, (max-width: 1071px) 543px, 580px" />
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You describe yourself as a &#8220;digital dreamer.&#8221; How do you define this term, and how does it manifest in your work?
Since I started my practice, I’ve always found it hard to label what I do. Words like “multidisciplinary,” “digital,” “new media,” “generative,” or “3D” all fit in some way, but none of them fully capture the scope of my work. Today, with so many tools and methods blending together &#8211; crossfading, really &#8211; it feels almost pointless to put a single label on what you do. 
That’s why I came up with the term “digital dreamer.” It feels abstract enough to reflect the open-ended, evolving nature of my practice while staying true to the essence of what I create. For me, it’s about dreaming with the help of digital tools &#8211; using technology as a medium to bring imagination to life. It’s less about sticking to one discipline and more about exploring in a way that feels limitless.
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<img loading="lazy" class="alignnone size-medium wp-image-36280" src="https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_21-1000x563.jpg" alt="" width="1000" height="563" srcset="https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_21-1000x563.jpg 1000w, https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_21-2000x1125.jpg 2000w, https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_21-700x394.jpg 700w, https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_21-768x432.jpg 768w, https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_21-1536x864.jpg 1536w, https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_21-2048x1152.jpg 2048w" sizes="(max-width: 767px) 89vw, (max-width: 1000px) 54vw, (max-width: 1071px) 543px, 580px" />
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Do you have a particular ritual or environment that helps you get into the creative zone?
When it comes to the initial phase of the creative process &#8211; coming up with ideas &#8211; it’s almost always late evening or nighttime for me. In a way, those quiet hours really help me focus and my brain gets more productive. I usually find music or a set that resonates with the project’s mood, grab a pencil and a stack of paper, and just let my mind wander. That’s my favorite part because it’s completely open-ended &#8211; no rules, no boundaries, just freestyling and capturing the raw energy of the idea. That’s when the magic really happens.
 I also find that ideas often strike when I’m out walking &#8211; usually fast-paced, through parks or the city. There’s something about the rhythm of moving that clears my mind and creates space for ideas to surface naturally. It feels like my thoughts untangle themselves while I’m on the move, often leading to unexpected concepts or perspectives.
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When you start a project, do you have a clear vision of the final outcome, or do you let the process guide you?
When I start a project, I rarely have a crystal-clear vision of the final outcome. I usually begin with a loose, blurred direction &#8211; an idea of the mood or concept I want to explore &#8211; but I leave plenty of space for the process to guide me. 
Experimenting and creating in the moment often leads to unexpected discoveries, and I’ve found that the best ideas and solutions emerge as the work unfolds. In fact, having a vivid, fixed image of the final outcome can be a trap. It can limit you, keeping you from exploring unexpected ideas, happy accidents, or even “bugs” that might end up being the highlight of the project. For me, it’s about keeping the process open and letting the work evolve naturally. That’s what makes it exciting.
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<img loading="lazy" class="alignnone size-medium wp-image-36281" src="https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_23-1000x666.jpg" alt="" width="1000" height="666" srcset="https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_23-1000x666.jpg 1000w, https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_23-700x466.jpg 700w, https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_23-768x511.jpg 768w, https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_23-1536x1022.jpg 1536w, https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_23.jpg 1920w" sizes="(max-width: 767px) 89vw, (max-width: 1000px) 54vw, (max-width: 1071px) 543px, 580px" />
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What’s the strangest source of inspiration you’ve ever used for a project?
It’s hard to say what’s considered strange in the creative field these days because inspiration can come from absolutely anything. For me, the most surreal and unsettling source of inspiration came in 2022, during the first days of the war escalation in Ukraine. I recorded the sound of air raid sirens from my balcony, and that haunting sound became the foundation for a personal project. It’s impossible to fully describe the deep, dark, and overwhelming emotions that everyone was, and still is, going through here. I wouldn’t wish for anyone to experience this. But that particular moment led me to create an animation called My 7 Days of War, which I sold as an NFT to raise funds for support.
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What message or feeling do you hope audiences take away from your work?
All I want from the audience, whether they’re seeing my work in real-time or on their screens, is for them to pause for a moment &#8211; to be drawn in by the colors, movements, shapes, or the overall weirdness. I want them to feel something, anything &#8211; whether it’s confusion, excitement, nostalgia, annoyance, or even curiosity. 
We’re all so caught up in this constant cycle of running, scrolling, texting, and consuming content. Life feels increasingly automated, and I think that pulls us further away from the raw feeling of being alive. I believe art has the power to disrupt that flow, to trick our brains and transport us &#8211; even for a second &#8211; to another dimension of thought or emotion. If someone sees my work and stops for a second to think, What is happening here?, then I feel like I’ve done my job.
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<img loading="lazy" class="alignnone size-medium wp-image-36282" src="https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_18-1000x563.jpg" alt="" width="1000" height="563" srcset="https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_18-1000x563.jpg 1000w, https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_18-700x394.jpg 700w, https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_18-768x432.jpg 768w, https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_18-1536x864.jpg 1536w, https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_18.jpg 1920w" sizes="(max-width: 767px) 89vw, (max-width: 1000px) 54vw, (max-width: 1071px) 543px, 580px" />
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In your opinion, how does the rapid development of AI and deep learning impact the art world, and how should artists navigate this evolving landscape?
Whenever a new tool emerges, it’s a revolution &#8211; one that disrupts what’s stable and familiar. AI is no different. Its impact on the art world forces us to reexamine boundaries and ask an age-old but always relevant question: What is art? It challenges us to think about the essence of creativity, intent, and the human touch in ways we’ve never confronted before. 
Even as AI evolves, traditional art forms still coexist alongside it. Will algorithms replace artists? No. Will they automate certain processes? Absolutely. But that doesn’t mean artists should panic or abandon their craft. AI is an opportunity &#8211; a tool to explore, question, and push the boundaries of what’s possible.
 I work with AI a lot, and what fascinates me most is treating it as a collaborator. By embracing its quirks, glitches, and unpolished edges, you can uncover strange, unexpected results. However, with every update, owning corporations tend to polish, censor, and commercialize these algorithms, limiting access to those uncanny, experimental territories that make working with AI truly interesting.
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What’s a personal milestone you’re most proud of, inside or outside of your career?
There’ve been a few milestones, but a particularly personal one was creating an artwork campaign for the Boiler Room World Tour 2024 and performing my live visuals on their stage at the DGTL festival in Amsterdam. It was such a special moment because my own shift toward electronic music began after watching DARKSIDE’s Boiler Room session in New York back in 2013. That performance is still one of my all-time favorites and was a major turning point for me. Discovering electronic music back then became one of my greatest passions. At the time, I could only dream of simply being in the audience for something like Boiler Room. I never imagined that one day I’d be creating and performing there myself. Moments like that remind me that, truly, anything in life is possible.
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<img loading="lazy" class="alignnone size-medium wp-image-36202" src="https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_9-800x1000.jpg" alt="" width="800" height="1000" srcset="https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_9-800x1000.jpg 800w, https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_9-560x700.jpg 560w, https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_9-768x960.jpg 768w, https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_9.jpg 1080w" sizes="(max-width: 767px) 89vw, (max-width: 1000px) 54vw, (max-width: 1071px) 543px, 580px" />
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What’s a dream collaboration or project you’d love to take on?
The only thing I truly wish for is to always have the energy and inner fire to create and make art for as long as it brings me joy. Whether it’s a small, experimental indie project or a large, commercially successful collaboration, the value of any project comes down to the desire and passion behind it. For me, it’s not about the scale or fame &#8211; it’s about feeling that spark that makes me want to bring something to life.
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<img loading="lazy" class="alignnone size-medium wp-image-36284" src="https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_16-1000x563.jpg" alt="" width="1000" height="563" srcset="https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_16-1000x563.jpg 1000w, https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_16-700x394.jpg 700w, https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_16-768x432.jpg 768w, https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_16-1536x864.jpg 1536w, https://cms.forward-festival.com/wp-content/uploads/2025/01/chriskore_16.jpg 1920w" sizes="(max-width: 767px) 89vw, (max-width: 1000px) 54vw, (max-width: 1071px) 543px, 580px" />
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Credits: 
© Chris Kore

Stig de Block’s photography is a deep dive into the world of subcultures, where authenticity and connection take center stage. Known for his immersive approach, Stig captures the raw essence of the communities he documents, telling their stories through an intimate lens. His work is not just about images – it’s about understanding the people and cultures that often go unnoticed. 

Stig de Block will speak at Forward Festival Berlin this August.

Your project “Back to Back: From Backyard to Boulevard” has such a unique narrative quality. What inspired this project and how did you select the subjects and locations featured?


A photography gig finally landed me in Los Angeles. Once I got there, I was blown away by the fact that all those references I had cherished since I was a kid actually converged in this one place – from the music, to the wired fences, parking lots, Victorian and Queen Anne architecture, how people carry themselves, the clothes, and of course, the cars.
The second time I traveled down there, I was set on finding this community of lowriders and decided to approach someone online who had been capturing the community with a GoPro. He agreed to meet, but on the day of the appointment, he was unable to make it, so I was left to my own devices. He gave me the address where the gathering was supposedly taking place. One of the first lowriders passing me by was playing “Outstanding,” a song by The Gap Band – one my dad used to play at home a lot. I felt home, away from home.




What’s one photo you’ve taken that still sticks with you emotionally? What’s its story?


The detail photograph of the hand with the red cloth on the blue car, taken in January 2020, had remained unused – neither for submissions nor in my usual selections. It wasn’t until discussions about the final curation for my debut show that it resurfaced. Unexpectedly, it became the most iconic image, now widely recognized and featured as a favorite image by media outlets.

Photographer Stig de Block speaks about capturing subcultures in this interview.

Stig de Block’s photography is a deep dive into the world of subcultures, where authenticity and connection take center stage. Known for his immersive approach, Stig captures the raw essence of the communities he documents, telling their stories through an intimate lens. His work is not just about images &#8211; it’s about understanding the people and cultures that often go unnoticed. Stig de Block will speak at <a href="https://forward-festival.com/berlin/overview">Forward Festival Berlin</a> this August.

&nbsp;
Your project “Back to Back: From Backyard to Boulevard” has such a unique narrative quality. What inspired this project and how did you select the subjects and locations featured?
A photography gig finally landed me in Los Angeles. Once I got there, I was blown away by the fact that all those references I had cherished since I was a kid actually converged in this one place – from the music, to the wired fences, parking lots, Victorian and Queen Anne architecture, how people carry themselves, the clothes, and of course, the cars. 
The second time I traveled down there, I was set on finding this community of lowriders and decided to approach someone online who had been capturing the community with a GoPro. He agreed to meet, but on the day of the appointment, he was unable to make it, so I was left to my own devices. He gave me the address where the gathering was supposedly taking place. One of the first lowriders passing me by was playing &#8220;Outstanding,&#8221; a song by The Gap Band &#8211; one my dad used to play at home a lot. I felt home, away from home.
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<img loading="lazy" class="alignnone size-medium wp-image-36081" src="https://cms.forward-festival.com/wp-content/uploads/2025/01/BTB_STIGDEBLOCK_1-667x1000.jpg" alt="" width="667" height="1000" srcset="https://cms.forward-festival.com/wp-content/uploads/2025/01/BTB_STIGDEBLOCK_1-667x1000.jpg 667w, https://cms.forward-festival.com/wp-content/uploads/2025/01/BTB_STIGDEBLOCK_1-467x700.jpg 467w, https://cms.forward-festival.com/wp-content/uploads/2025/01/BTB_STIGDEBLOCK_1-768x1152.jpg 768w, https://cms.forward-festival.com/wp-content/uploads/2025/01/BTB_STIGDEBLOCK_1.jpg 1000w" sizes="(max-width: 667px) 100vw, 667px" />
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What’s one photo you’ve taken that still sticks with you emotionally? What’s its story?
The detail photograph of the hand with the red cloth on the blue car, taken in January 2020, had remained unused &#8211; neither for submissions nor in my usual selections. It wasn’t until discussions about the final curation for my debut show that it resurfaced. Unexpectedly, it became the most iconic image, now widely recognized and featured as a favorite image by media outlets.
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<img loading="lazy" class="alignnone size-medium wp-image-36212" src="https://cms.forward-festival.com/wp-content/uploads/2025/01/Photo-1_Stig-de-Block-667x1000.jpg" alt="" width="667" height="1000" srcset="https://cms.forward-festival.com/wp-content/uploads/2025/01/Photo-1_Stig-de-Block-667x1000.jpg 667w, https://cms.forward-festival.com/wp-content/uploads/2025/01/Photo-1_Stig-de-Block-467x700.jpg 467w, https://cms.forward-festival.com/wp-content/uploads/2025/01/Photo-1_Stig-de-Block-768x1152.jpg 768w, https://cms.forward-festival.com/wp-content/uploads/2025/01/Photo-1_Stig-de-Block.jpg 1000w" sizes="(max-width: 667px) 100vw, 667px" />
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Your interest in subcultures is evident in your work. How do you immerse yourself in these communities to capture their essence authentically?
As the only white European male with a camera, I stood out in these crowds at lowrider events, on boulevards, parking lots, etc., drawing both curiosity and suspicion. People would approach me, questioning why I was photographing their cars, families, or club members. From the start, I was transparent: I wasn’t there to make a book, but because I’d been fascinated by lowrider culture since childhood, seeing my favorite music artists feature them in their videos on MTV. But where I’m from, that culture doesn’t really exist, so I came here to try and look for a form of participation by documenting lowrider culture in the most real form I can. That’s the most honest I can be, and from that moment on, the atmosphere changed.
Once I shared that, the dynamic shifted &#8211; from strangers to two people bonding over a shared passion. If they were open to it, I’d take their portrait or car photos. Over time, that trust led to invitations to backyards, baby showers, and family BBQs. I always kept in touch, sharing my photos, which they felt deeply connected to as a reflection of their role in a larger community history.
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<img loading="lazy" class="alignnone size-medium wp-image-36080" src="https://cms.forward-festival.com/wp-content/uploads/2025/01/BTB_STIGDEBLOCK_4-667x1000.jpg" alt="" width="667" height="1000" srcset="https://cms.forward-festival.com/wp-content/uploads/2025/01/BTB_STIGDEBLOCK_4-667x1000.jpg 667w, https://cms.forward-festival.com/wp-content/uploads/2025/01/BTB_STIGDEBLOCK_4-467x700.jpg 467w, https://cms.forward-festival.com/wp-content/uploads/2025/01/BTB_STIGDEBLOCK_4-768x1152.jpg 768w, https://cms.forward-festival.com/wp-content/uploads/2025/01/BTB_STIGDEBLOCK_4.jpg 1000w" sizes="(max-width: 667px) 100vw, 667px" />
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What defines success in your work? Is it personal satisfaction, industry recognition, or something else entirely?
After publishing the book in October 2022, I returned to LA to personally share it with those closest to me. Witnessing their genuine reactions and appreciation was one of the most humbling and rewarding moments of this journey. Industry recognition tastes good when coming from the right corner. 
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How do you balance personal projects with commercial work and how does your approach differ between the two?
Personal, self-initiated projects are rare opportunities for complete intellectual freedom &#8211; no deadlines, no directives, just you with your time and vision. I believe they are invaluable for self-growth in photography. For me, personal and commercial work are deeply interconnected, each influencing the other. I truly refined my visual tone during the 4.5 years I spent creating Back to Back, working at my own pace and on my own terms. The photo language I developed during that process I now use in much of my commercial work &#8211; though not always, as some projects demand their own approach.
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<img loading="lazy" class="alignnone size-medium wp-image-36213" src="https://cms.forward-festival.com/wp-content/uploads/2025/01/Photo-3_Stig-de-Block-1000x667.jpg" alt="" width="1000" height="667" srcset="https://cms.forward-festival.com/wp-content/uploads/2025/01/Photo-3_Stig-de-Block-1000x667.jpg 1000w, https://cms.forward-festival.com/wp-content/uploads/2025/01/Photo-3_Stig-de-Block-2000x1333.jpg 2000w, https://cms.forward-festival.com/wp-content/uploads/2025/01/Photo-3_Stig-de-Block-700x467.jpg 700w, https://cms.forward-festival.com/wp-content/uploads/2025/01/Photo-3_Stig-de-Block-768x512.jpg 768w, https://cms.forward-festival.com/wp-content/uploads/2025/01/Photo-3_Stig-de-Block-1536x1024.jpg 1536w, https://cms.forward-festival.com/wp-content/uploads/2025/01/Photo-3_Stig-de-Block-2048x1365.jpg 2048w" sizes="(max-width: 767px) 89vw, (max-width: 1000px) 54vw, (max-width: 1071px) 543px, 580px" />
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Who or what inspires you outside of photography? Are there particular artists, musicians, or writers that shape your vision?
Brett Easton Ellis
Henry Taylor
Koen Van Den Broek
Mark Rothko
70’s &amp; 80’s soul music
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With such a demanding schedule and frequent travel between Belgium and Los Angeles, how do you find balance between work and personal life?
Looking back, I ask myself the same question, but that only amplifies the momentum of that time. Over 12 trips, 4 &#8211; 6 weeks each, I was living out my childhood dream &#8211; exploring LA, driving endlessly, and meeting people who inspire me. It felt bigger than myself. But then again, how badly do you want something? How long can you endure being alone, spending hours on the road, talking to strangers, learning and remembering names, building connections, and navigating unfamiliar neighborhoods &#8211; even when it means facing moments like being questioned, frowned upon, or even extorted?
I never sought balance in the traditional sense; I don’t really miss anyone except my wife. I try to place things in context, immersing myself fully in the present. BUT, as each stay nears its end, the itch to return home inevitably surfaces. It’s a strange push and pull &#8211; a balance I’ve grown used to.
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<img loading="lazy" class="alignnone size-medium wp-image-36079" src="https://cms.forward-festival.com/wp-content/uploads/2025/01/BTB_STIGDEBLOCK_35-1000x667.jpg" alt="" width="1000" height="667" srcset="https://cms.forward-festival.com/wp-content/uploads/2025/01/BTB_STIGDEBLOCK_35-1000x667.jpg 1000w, https://cms.forward-festival.com/wp-content/uploads/2025/01/BTB_STIGDEBLOCK_35-2000x1333.jpg 2000w, https://cms.forward-festival.com/wp-content/uploads/2025/01/BTB_STIGDEBLOCK_35-700x467.jpg 700w, https://cms.forward-festival.com/wp-content/uploads/2025/01/BTB_STIGDEBLOCK_35-768x512.jpg 768w, https://cms.forward-festival.com/wp-content/uploads/2025/01/BTB_STIGDEBLOCK_35-1536x1024.jpg 1536w, https://cms.forward-festival.com/wp-content/uploads/2025/01/BTB_STIGDEBLOCK_35-2048x1365.jpg 2048w" sizes="(max-width: 767px) 89vw, (max-width: 1000px) 54vw, (max-width: 1071px) 543px, 580px" />
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If you could give advice to your younger self starting out in photography, what would it be?
No matter how slow your progress or how distant your goals may seem, just keep moving forward. I remind myself to trust the process—it’s a cliché, but it holds so much truth.
&nbsp;
What’s next for you? Do you have any dream collaborations or personal projects you’re excited to pursue?
Since 2022, I’ve been working on a new project called EAST LOS in collaboration with Luis J. Rodriguez. He’s recognized as a major figure in Chicano literature and a great poet. He’s the former poet laureate of Los Angeles. Inspired by his poetry, I illustrate EAST LA as I see it, in all its complexity and diverse history.
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<img loading="lazy" class="alignnone size-medium wp-image-36083" src="https://cms.forward-festival.com/wp-content/uploads/2025/01/CHR1_FRONT_120x160CM-750x1000.jpg" alt="" width="750" height="1000" srcset="https://cms.forward-festival.com/wp-content/uploads/2025/01/CHR1_FRONT_120x160CM-750x1000.jpg 750w, https://cms.forward-festival.com/wp-content/uploads/2025/01/CHR1_FRONT_120x160CM-525x700.jpg 525w, https://cms.forward-festival.com/wp-content/uploads/2025/01/CHR1_FRONT_120x160CM-768x1024.jpg 768w, https://cms.forward-festival.com/wp-content/uploads/2025/01/CHR1_FRONT_120x160CM.jpg 1125w" sizes="(max-width: 706px) 89vw, (max-width: 767px) 82vw, 740px" />
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Credits: 
© Stig de Block
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