Jon Pyzel has been part of the surfing community for as long as he can remember, growing up surfing from a young age in the historic surfing town of Santa Barbara, CA. After traveling around surfing and competing, Jon realized that he needed to surf better waves in warmer water, making a permanent move to an even bigger surfing location, the North Shore of Oahu. Getting his start fixing surfboards in a factory, Jon quickly learned the ins and outs of the business working his way up from fixing basic dings on boards to working under some of the best shapers and glassers in the industry.
Finally setting off on his own, Pyzel has become one of the most sought after board shapers for weekend warriors as well as pro surfers from around the world. Shaping each board from scratch, Pyzel knows every curve, bend, and turn on the masterfully crafted boards that he builds.
In the age of mass manufacturing Jon Pyzel has had the conscious decision to take things back to the basics with his world class hand-shaped surfboards. The result is master craftsmanship and attention to detail that only decades of experience and a steady hand can provide.
As part of our ongoing partnership with Feature Shoot, Beautiful/Decay is sharing Amanda Gorence’s article on Chi Lei.
Red Star Motel is the clever, action-packed series by Beijing photographer Chi Lei, “Chili”, that reads like an unraveling drama brimming with sex, drugs, murder and chaos. Each scene is set in an identical divey Beijing motel room where Chili supplies us with plenty of voyeuristic moments to witness. The images are linked together through subtle visual clues that have been woven throughout, encouraging the viewer to take part and piece together the story.
Sneak peak of a part of the front cover for issue:1
Everyone has been asking us what we’ll do after Issue Z. In our tradition of innovation, Beautiful/Decay will reinvent itself in a brand new, expanded format with Issue 1 in July.
Beginning as a hand-photocopied, black and white ‘zine over ten years ago, Beautiful/Decay has always proudly put artists—and quality content—first. We are re-launching Beautiful/Decay to have all the benefits of traditional magazine subscribership, while taking the form of an expanded, limited edition, more voluminous publication.
In keeping with the spirit of our independent DIY philosophy, we have decided to break the mold of traditional magazines and change the way we do business. In this economy, most publications are either going out of business or watering down their content to appease advertisers. Rather than conform to the publishing industry’s new rules, we’ve decided to create our own business model that allows us to flourish and increase the quality of our content.
One thing we’ve always disliked about the mainstream print industry is that it can be wasteful. Newsstands throw away all unsold magazines, averaging a 40-60% waste rate. In keeping with our commitment to staying green, Beautiful/Decay will instead send issues straight into the hands of subscribers, rather than dumpsters.
Here’s what the new B/D will look like:
• Eliminated ALL traditional advertising
• Made an 50% increase in page count, meaning 164 pages of pure, unfiltered content
• Features now have double the page space, with more full-color images & articles
• Articles now run 16-20 pages, providing some of the most in-depth coverage of emerging artists available today
• Released in limited edition format of only 1,500-2000 copies, each one hand numbered
• Each issue comes with a limited edition collaborative artist projectranging from inserts, stickers, posters, to original artwork
• Presented in new format & size, including French flaps and multiple printing processes within
• Released 3 times a year (once every 4 months)
To celebrate our new expanded format, Issue 1 will feature a hand-drawn, original artwork by previously B/D featured artist Kyle Thomas. These will sell out, as we already have 1000 subscribers on our list so be sure to subscribe in order to reserve your copy.
I hope that you’re all as excited about this as we are at Beautiful/Decay. I’d love to hear your thoughts on the new direction.
Caro Suerkemper’s graceless ladies (you know who I am) are somehow classical and vulgar at the same time- perhaps because she uses mediums typically reserved for refined culture or antiquities, such as fine china and delicate gouache wash paintings to convey her gals, usually in awkward stages of self or imposed bondage.
Stylistically speaking, Anton’s drawings hark back to Italian Futurism- glorification of youth, violence, and fantasies of what pleasure advances in science could bring to humanity. It would seem though that instead of elevating technology (can’t we invent another word for this already?) he is mocking it by celebrating the very icons it is now embodied by. Or better yet, the empire that now belongs to Steve Jobs.