Posts tagged with artists on tumblr
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![The Creators of Chicago: Artist Luke Pelletier
Graphic designer Lucy Hewett was 27 when she quit her job at a marketing agency and taught herself to take photos, experimenting on friends to hone her portraiture skills. Going freelance was a struggle (stylized portraits don’t pay quite like ad campaigns for McDonald’s) but Hewett credits her success, in part, to the support of her local creative network. This would have been the first in a series of ten profiles, but life had other plans. Enjoy this first and last installment anyway, and thanks for reading with us.
[[MORE]]
Luke Pelletier
Luke Pelletier describes himself as a “painter, printmaker, musician and skateboarder.” He’s a sophomore at the School of the Art Institute of Chicago, but spend several minutes on his blog and you can tell he was making art long before he entered school.
Pelletier’s West Coast vernacular and bright, sometimes tropical, imagery might lead you to think he migrated from SoCal to Chicago, but he’s originally from Brevard, N.C., where he grew up skateboarding, playing in punk bands and drawing.
At first, it’s astonishing just how much work he has — and how good it is. “Having a lot of different outlets kind of makes you wicked productive,” he says. Sharing something almost every other day on his Tumblr – songs, sketches, paintings and photos, has become a part of his work flow.
You live in Pilsen, on Chicago’s South Side, which is known for its artistic community. Is that why you chose it?
It’s wicked cheap here. And it has two things I like: not paying much for rent and lots of Mexican food.
What inspires you?
Skateboarding was when thinking creatively came into what I did. When you skate, you can look at a handrail and a switch can go off in your head and its not a handrail anymore, it’s something you can skate. That’s how I learned to think about art – taking something that already exists in the world and then making something new. Also, I got into punk when I was really young. Skateboarding and punk both have very distinct aesthetics and bounce off each other really well.
Has art school been a good thing?
School is weird, but it’s getting better. It’s great in some ways because it forces me to think more conceptually.
Do you worry that when you graduate you’ll have to get a “real” job?
The thing is, I don’t want to make trading cards for rich people. What happens when you sell your art to those dudes, especially the really rich people, is they put it in a closet for like 20 years and then when they’re about to die some gallery curates a room full of their stuff, so they can just show off what they own. At the same time I love making paintings and paintings have a certain amount of time and money put into them. There is a price that you have to charge. I think working on commissions kind of fixes that dilemma for me. I can make a T-shirt for a company and a kid can buy a print of my art for twenty bucks.
What kind of projects are you working on now?
Tumblr is actually how I started connecting with people all over the world. I did a split zine collaboration with Ben Jensen, who lives in Canada. After that I just started curating a bunch of different shows with people I met online.
—Photos and text by Lucy Hewett](http://25.media.tumblr.com/796418b3bdab31c7a48702d472fd06ad/tumblr_mkfo1hsxHc1rrpm57o2_1280.jpg)
![The Creators of Chicago: Artist Luke Pelletier
Graphic designer Lucy Hewett was 27 when she quit her job at a marketing agency and taught herself to take photos, experimenting on friends to hone her portraiture skills. Going freelance was a struggle (stylized portraits don’t pay quite like ad campaigns for McDonald’s) but Hewett credits her success, in part, to the support of her local creative network. This would have been the first in a series of ten profiles, but life had other plans. Enjoy this first and last installment anyway, and thanks for reading with us.
[[MORE]]
Luke Pelletier
Luke Pelletier describes himself as a “painter, printmaker, musician and skateboarder.” He’s a sophomore at the School of the Art Institute of Chicago, but spend several minutes on his blog and you can tell he was making art long before he entered school.
Pelletier’s West Coast vernacular and bright, sometimes tropical, imagery might lead you to think he migrated from SoCal to Chicago, but he’s originally from Brevard, N.C., where he grew up skateboarding, playing in punk bands and drawing.
At first, it’s astonishing just how much work he has — and how good it is. “Having a lot of different outlets kind of makes you wicked productive,” he says. Sharing something almost every other day on his Tumblr – songs, sketches, paintings and photos, has become a part of his work flow.
You live in Pilsen, on Chicago’s South Side, which is known for its artistic community. Is that why you chose it?
It’s wicked cheap here. And it has two things I like: not paying much for rent and lots of Mexican food.
What inspires you?
Skateboarding was when thinking creatively came into what I did. When you skate, you can look at a handrail and a switch can go off in your head and its not a handrail anymore, it’s something you can skate. That’s how I learned to think about art – taking something that already exists in the world and then making something new. Also, I got into punk when I was really young. Skateboarding and punk both have very distinct aesthetics and bounce off each other really well.
Has art school been a good thing?
School is weird, but it’s getting better. It’s great in some ways because it forces me to think more conceptually.
Do you worry that when you graduate you’ll have to get a “real” job?
The thing is, I don’t want to make trading cards for rich people. What happens when you sell your art to those dudes, especially the really rich people, is they put it in a closet for like 20 years and then when they’re about to die some gallery curates a room full of their stuff, so they can just show off what they own. At the same time I love making paintings and paintings have a certain amount of time and money put into them. There is a price that you have to charge. I think working on commissions kind of fixes that dilemma for me. I can make a T-shirt for a company and a kid can buy a print of my art for twenty bucks.
What kind of projects are you working on now?
Tumblr is actually how I started connecting with people all over the world. I did a split zine collaboration with Ben Jensen, who lives in Canada. After that I just started curating a bunch of different shows with people I met online.
—Photos and text by Lucy Hewett](http://25.media.tumblr.com/88dd8d461bf8079dafe6bedf1fc34c32/tumblr_mkfo1hsxHc1rrpm57o3_1280.jpg)
![The Creators of Chicago: Artist Luke Pelletier
Graphic designer Lucy Hewett was 27 when she quit her job at a marketing agency and taught herself to take photos, experimenting on friends to hone her portraiture skills. Going freelance was a struggle (stylized portraits don’t pay quite like ad campaigns for McDonald’s) but Hewett credits her success, in part, to the support of her local creative network. This would have been the first in a series of ten profiles, but life had other plans. Enjoy this first and last installment anyway, and thanks for reading with us.
[[MORE]]
Luke Pelletier
Luke Pelletier describes himself as a “painter, printmaker, musician and skateboarder.” He’s a sophomore at the School of the Art Institute of Chicago, but spend several minutes on his blog and you can tell he was making art long before he entered school.
Pelletier’s West Coast vernacular and bright, sometimes tropical, imagery might lead you to think he migrated from SoCal to Chicago, but he’s originally from Brevard, N.C., where he grew up skateboarding, playing in punk bands and drawing.
At first, it’s astonishing just how much work he has — and how good it is. “Having a lot of different outlets kind of makes you wicked productive,” he says. Sharing something almost every other day on his Tumblr – songs, sketches, paintings and photos, has become a part of his work flow.
You live in Pilsen, on Chicago’s South Side, which is known for its artistic community. Is that why you chose it?
It’s wicked cheap here. And it has two things I like: not paying much for rent and lots of Mexican food.
What inspires you?
Skateboarding was when thinking creatively came into what I did. When you skate, you can look at a handrail and a switch can go off in your head and its not a handrail anymore, it’s something you can skate. That’s how I learned to think about art – taking something that already exists in the world and then making something new. Also, I got into punk when I was really young. Skateboarding and punk both have very distinct aesthetics and bounce off each other really well.
Has art school been a good thing?
School is weird, but it’s getting better. It’s great in some ways because it forces me to think more conceptually.
Do you worry that when you graduate you’ll have to get a “real” job?
The thing is, I don’t want to make trading cards for rich people. What happens when you sell your art to those dudes, especially the really rich people, is they put it in a closet for like 20 years and then when they’re about to die some gallery curates a room full of their stuff, so they can just show off what they own. At the same time I love making paintings and paintings have a certain amount of time and money put into them. There is a price that you have to charge. I think working on commissions kind of fixes that dilemma for me. I can make a T-shirt for a company and a kid can buy a print of my art for twenty bucks.
What kind of projects are you working on now?
Tumblr is actually how I started connecting with people all over the world. I did a split zine collaboration with Ben Jensen, who lives in Canada. After that I just started curating a bunch of different shows with people I met online.
—Photos and text by Lucy Hewett](http://25.media.tumblr.com/244223f3a43f473a5bbf8d90e4aceffd/tumblr_mkfo1hsxHc1rrpm57o1_1280.jpg)
![The Creators of Chicago: Artist Luke Pelletier
Graphic designer Lucy Hewett was 27 when she quit her job at a marketing agency and taught herself to take photos, experimenting on friends to hone her portraiture skills. Going freelance was a struggle (stylized portraits don’t pay quite like ad campaigns for McDonald’s) but Hewett credits her success, in part, to the support of her local creative network. This would have been the first in a series of ten profiles, but life had other plans. Enjoy this first and last installment anyway, and thanks for reading with us.
[[MORE]]
Luke Pelletier
Luke Pelletier describes himself as a “painter, printmaker, musician and skateboarder.” He’s a sophomore at the School of the Art Institute of Chicago, but spend several minutes on his blog and you can tell he was making art long before he entered school.
Pelletier’s West Coast vernacular and bright, sometimes tropical, imagery might lead you to think he migrated from SoCal to Chicago, but he’s originally from Brevard, N.C., where he grew up skateboarding, playing in punk bands and drawing.
At first, it’s astonishing just how much work he has — and how good it is. “Having a lot of different outlets kind of makes you wicked productive,” he says. Sharing something almost every other day on his Tumblr – songs, sketches, paintings and photos, has become a part of his work flow.
You live in Pilsen, on Chicago’s South Side, which is known for its artistic community. Is that why you chose it?
It’s wicked cheap here. And it has two things I like: not paying much for rent and lots of Mexican food.
What inspires you?
Skateboarding was when thinking creatively came into what I did. When you skate, you can look at a handrail and a switch can go off in your head and its not a handrail anymore, it’s something you can skate. That’s how I learned to think about art – taking something that already exists in the world and then making something new. Also, I got into punk when I was really young. Skateboarding and punk both have very distinct aesthetics and bounce off each other really well.
Has art school been a good thing?
School is weird, but it’s getting better. It’s great in some ways because it forces me to think more conceptually.
Do you worry that when you graduate you’ll have to get a “real” job?
The thing is, I don’t want to make trading cards for rich people. What happens when you sell your art to those dudes, especially the really rich people, is they put it in a closet for like 20 years and then when they’re about to die some gallery curates a room full of their stuff, so they can just show off what they own. At the same time I love making paintings and paintings have a certain amount of time and money put into them. There is a price that you have to charge. I think working on commissions kind of fixes that dilemma for me. I can make a T-shirt for a company and a kid can buy a print of my art for twenty bucks.
What kind of projects are you working on now?
Tumblr is actually how I started connecting with people all over the world. I did a split zine collaboration with Ben Jensen, who lives in Canada. After that I just started curating a bunch of different shows with people I met online.
—Photos and text by Lucy Hewett](http://25.media.tumblr.com/4e84f4cafc8b6c51bc70b62d94ebe751/tumblr_mkfo1hsxHc1rrpm57o5_1280.jpg)
![The Creators of Chicago: Artist Luke Pelletier
Graphic designer Lucy Hewett was 27 when she quit her job at a marketing agency and taught herself to take photos, experimenting on friends to hone her portraiture skills. Going freelance was a struggle (stylized portraits don’t pay quite like ad campaigns for McDonald’s) but Hewett credits her success, in part, to the support of her local creative network. This would have been the first in a series of ten profiles, but life had other plans. Enjoy this first and last installment anyway, and thanks for reading with us.
[[MORE]]
Luke Pelletier
Luke Pelletier describes himself as a “painter, printmaker, musician and skateboarder.” He’s a sophomore at the School of the Art Institute of Chicago, but spend several minutes on his blog and you can tell he was making art long before he entered school.
Pelletier’s West Coast vernacular and bright, sometimes tropical, imagery might lead you to think he migrated from SoCal to Chicago, but he’s originally from Brevard, N.C., where he grew up skateboarding, playing in punk bands and drawing.
At first, it’s astonishing just how much work he has — and how good it is. “Having a lot of different outlets kind of makes you wicked productive,” he says. Sharing something almost every other day on his Tumblr – songs, sketches, paintings and photos, has become a part of his work flow.
You live in Pilsen, on Chicago’s South Side, which is known for its artistic community. Is that why you chose it?
It’s wicked cheap here. And it has two things I like: not paying much for rent and lots of Mexican food.
What inspires you?
Skateboarding was when thinking creatively came into what I did. When you skate, you can look at a handrail and a switch can go off in your head and its not a handrail anymore, it’s something you can skate. That’s how I learned to think about art – taking something that already exists in the world and then making something new. Also, I got into punk when I was really young. Skateboarding and punk both have very distinct aesthetics and bounce off each other really well.
Has art school been a good thing?
School is weird, but it’s getting better. It’s great in some ways because it forces me to think more conceptually.
Do you worry that when you graduate you’ll have to get a “real” job?
The thing is, I don’t want to make trading cards for rich people. What happens when you sell your art to those dudes, especially the really rich people, is they put it in a closet for like 20 years and then when they’re about to die some gallery curates a room full of their stuff, so they can just show off what they own. At the same time I love making paintings and paintings have a certain amount of time and money put into them. There is a price that you have to charge. I think working on commissions kind of fixes that dilemma for me. I can make a T-shirt for a company and a kid can buy a print of my art for twenty bucks.
What kind of projects are you working on now?
Tumblr is actually how I started connecting with people all over the world. I did a split zine collaboration with Ben Jensen, who lives in Canada. After that I just started curating a bunch of different shows with people I met online.
—Photos and text by Lucy Hewett](http://25.media.tumblr.com/9f20bc38b3bfb6c82e683f434f9ae807/tumblr_mkfo1hsxHc1rrpm57o4_1280.jpg)
The Creators of Chicago: Artist Luke Pelletier
Graphic designer Lucy Hewett was 27 when she quit her job at a marketing agency and taught herself to take photos, experimenting on friends to hone her portraiture skills. Going freelance was a struggle (stylized portraits don’t pay quite like ad campaigns for McDonald’s) but Hewett credits her success, in part, to the support of her local creative network. This would have been the first in a series of ten profiles, but life had other plans. Enjoy this first and last installment anyway, and thanks for reading with us.
View post 2,323 notes -
![Table Manners: Turning Restaurant Stationery into Art
When New York-based artist Jay Batlle dines out, he’s still on the clock. Of course, he’s at the restaurant to feast and imbibe and commune with friends. Upon the meal’s consummation, however, he poses a question he’s been regularly asking restaurant staffers for the past decade. They oblige, and a blank sheet of the venue’s stationary is carefully placed in his hands. He’ll return home, and on it, in watercolor and pen and wine and coffee grounds, he’ll express his thoughts — on the evening, the atmosphere, the idea of decadence and societal consumption and what fine dining has become.
Batlle (pronounced “Battle”) chronicles this gastronomic collection, The Stationery Series, on his tumblr, Restaurant Restaurant. He eventually plans to turn it into a three-volume book, but he’s not stopping anytime soon. Here, we talk to the artist about New York cuisine, Balthazar, and pouring wine down the drain.
[[MORE]]
Your art is decidedly epicurean. Why?
The conflation of dining and art is something that most people can relate to. I chose gastronomy because of its immediacy and because of my experience running restaurants.
I had no idea they freely give out their stationery.
I just ask. But I’ll use whatever they give me, so if a restaurant doesn’t have its own stationery, I take a menu. Sometimes, friends give me stationery they’ve collected, and then I have to imagine what the atmosphere was like. It’s the contradictions in my life that mean something, and so I contradict any sort of structure I create — even the decision to use only restaurant stationery.
How do you choose the place?
The series is a trail of breadcrumbs of all the places I’ve eaten — a way to collect all these fabulous meals and the people I share them with. In a way, it’s a very classic approach to making art. I live in one of the gastronomic centers of the world, and there are so many restaurants to inspire me here. The choices are random and deliberate at the same time, like getting dressed in the morning. I wear a tie every day, but I change the color and pattern.
You’ve repeated a few venues’ stationery many times — Balthazar, for example.
I think Balthazar has such an international appeal. Honestly, though, I recently went back after a few years of hiatus and became obsessed with drawing on their stationery. It’s really quintessential New York for me. It reminds me of the late 90s when I first came to the city to make it as an artist.
What materials do you use?
I mostly use custom-made watercolors, oil sticks, and ink. I’ve also used wine, coffee, food coloring, and squid ink. Like the stationery, my medium is just one aspect of the process. It all comes together to form a visceral experience.
The series is replete with places like Mr. Chow and Momofuku. What about, say, a family-run restaurant in Harlem?
It’s definitely a focus of the work to question the value of social aspirations. I’m using iconic places that have a cultural value and past, similar to art, and contrasting those trajectories. Rao’s would be a place from Harlem that I would choose, because it’s iconic and has a certain type of majesty. But now it sells its own brand of pasta sauce.
Are the proprietors aware of your art?
Many are, and they’ve been very supportive. Some have commissioned works.
I heard that one especially pleased patron expressed his thanks in fine wine, and you poured it down the drain. Really?
Yes. I took $5,000 worth of red and white wine — given to me as a gift from a collector of my work and very good friend — and, indeed, poured it down the drain. It’s an homage to Chelsea and the recent flooding from Hurricane Sandy that destroyed a lot of art. I called it “Apres Le Vernissage,” and set it to Brahms’s intermezzo opus 117 no. 1. It’s a simple gesture, but I think it makes its point.
— Sky Dylan-Robbins](http://25.media.tumblr.com/89e554707ab850a5d45ce103da3d5680/tumblr_mj04goCxNw1rrpm57o7_r1_1280.jpg)
![Table Manners: Turning Restaurant Stationery into Art
When New York-based artist Jay Batlle dines out, he’s still on the clock. Of course, he’s at the restaurant to feast and imbibe and commune with friends. Upon the meal’s consummation, however, he poses a question he’s been regularly asking restaurant staffers for the past decade. They oblige, and a blank sheet of the venue’s stationary is carefully placed in his hands. He’ll return home, and on it, in watercolor and pen and wine and coffee grounds, he’ll express his thoughts — on the evening, the atmosphere, the idea of decadence and societal consumption and what fine dining has become.
Batlle (pronounced “Battle”) chronicles this gastronomic collection, The Stationery Series, on his tumblr, Restaurant Restaurant. He eventually plans to turn it into a three-volume book, but he’s not stopping anytime soon. Here, we talk to the artist about New York cuisine, Balthazar, and pouring wine down the drain.
[[MORE]]
Your art is decidedly epicurean. Why?
The conflation of dining and art is something that most people can relate to. I chose gastronomy because of its immediacy and because of my experience running restaurants.
I had no idea they freely give out their stationery.
I just ask. But I’ll use whatever they give me, so if a restaurant doesn’t have its own stationery, I take a menu. Sometimes, friends give me stationery they’ve collected, and then I have to imagine what the atmosphere was like. It’s the contradictions in my life that mean something, and so I contradict any sort of structure I create — even the decision to use only restaurant stationery.
How do you choose the place?
The series is a trail of breadcrumbs of all the places I’ve eaten — a way to collect all these fabulous meals and the people I share them with. In a way, it’s a very classic approach to making art. I live in one of the gastronomic centers of the world, and there are so many restaurants to inspire me here. The choices are random and deliberate at the same time, like getting dressed in the morning. I wear a tie every day, but I change the color and pattern.
You’ve repeated a few venues’ stationery many times — Balthazar, for example.
I think Balthazar has such an international appeal. Honestly, though, I recently went back after a few years of hiatus and became obsessed with drawing on their stationery. It’s really quintessential New York for me. It reminds me of the late 90s when I first came to the city to make it as an artist.
What materials do you use?
I mostly use custom-made watercolors, oil sticks, and ink. I’ve also used wine, coffee, food coloring, and squid ink. Like the stationery, my medium is just one aspect of the process. It all comes together to form a visceral experience.
The series is replete with places like Mr. Chow and Momofuku. What about, say, a family-run restaurant in Harlem?
It’s definitely a focus of the work to question the value of social aspirations. I’m using iconic places that have a cultural value and past, similar to art, and contrasting those trajectories. Rao’s would be a place from Harlem that I would choose, because it’s iconic and has a certain type of majesty. But now it sells its own brand of pasta sauce.
Are the proprietors aware of your art?
Many are, and they’ve been very supportive. Some have commissioned works.
I heard that one especially pleased patron expressed his thanks in fine wine, and you poured it down the drain. Really?
Yes. I took $5,000 worth of red and white wine — given to me as a gift from a collector of my work and very good friend — and, indeed, poured it down the drain. It’s an homage to Chelsea and the recent flooding from Hurricane Sandy that destroyed a lot of art. I called it “Apres Le Vernissage,” and set it to Brahms’s intermezzo opus 117 no. 1. It’s a simple gesture, but I think it makes its point.
— Sky Dylan-Robbins](http://24.media.tumblr.com/350e9c2803b37378e65efb22f086b236/tumblr_mj04goCxNw1rrpm57o8_1280.jpg)
![Table Manners: Turning Restaurant Stationery into Art
When New York-based artist Jay Batlle dines out, he’s still on the clock. Of course, he’s at the restaurant to feast and imbibe and commune with friends. Upon the meal’s consummation, however, he poses a question he’s been regularly asking restaurant staffers for the past decade. They oblige, and a blank sheet of the venue’s stationary is carefully placed in his hands. He’ll return home, and on it, in watercolor and pen and wine and coffee grounds, he’ll express his thoughts — on the evening, the atmosphere, the idea of decadence and societal consumption and what fine dining has become.
Batlle (pronounced “Battle”) chronicles this gastronomic collection, The Stationery Series, on his tumblr, Restaurant Restaurant. He eventually plans to turn it into a three-volume book, but he’s not stopping anytime soon. Here, we talk to the artist about New York cuisine, Balthazar, and pouring wine down the drain.
[[MORE]]
Your art is decidedly epicurean. Why?
The conflation of dining and art is something that most people can relate to. I chose gastronomy because of its immediacy and because of my experience running restaurants.
I had no idea they freely give out their stationery.
I just ask. But I’ll use whatever they give me, so if a restaurant doesn’t have its own stationery, I take a menu. Sometimes, friends give me stationery they’ve collected, and then I have to imagine what the atmosphere was like. It’s the contradictions in my life that mean something, and so I contradict any sort of structure I create — even the decision to use only restaurant stationery.
How do you choose the place?
The series is a trail of breadcrumbs of all the places I’ve eaten — a way to collect all these fabulous meals and the people I share them with. In a way, it’s a very classic approach to making art. I live in one of the gastronomic centers of the world, and there are so many restaurants to inspire me here. The choices are random and deliberate at the same time, like getting dressed in the morning. I wear a tie every day, but I change the color and pattern.
You’ve repeated a few venues’ stationery many times — Balthazar, for example.
I think Balthazar has such an international appeal. Honestly, though, I recently went back after a few years of hiatus and became obsessed with drawing on their stationery. It’s really quintessential New York for me. It reminds me of the late 90s when I first came to the city to make it as an artist.
What materials do you use?
I mostly use custom-made watercolors, oil sticks, and ink. I’ve also used wine, coffee, food coloring, and squid ink. Like the stationery, my medium is just one aspect of the process. It all comes together to form a visceral experience.
The series is replete with places like Mr. Chow and Momofuku. What about, say, a family-run restaurant in Harlem?
It’s definitely a focus of the work to question the value of social aspirations. I’m using iconic places that have a cultural value and past, similar to art, and contrasting those trajectories. Rao’s would be a place from Harlem that I would choose, because it’s iconic and has a certain type of majesty. But now it sells its own brand of pasta sauce.
Are the proprietors aware of your art?
Many are, and they’ve been very supportive. Some have commissioned works.
I heard that one especially pleased patron expressed his thanks in fine wine, and you poured it down the drain. Really?
Yes. I took $5,000 worth of red and white wine — given to me as a gift from a collector of my work and very good friend — and, indeed, poured it down the drain. It’s an homage to Chelsea and the recent flooding from Hurricane Sandy that destroyed a lot of art. I called it “Apres Le Vernissage,” and set it to Brahms’s intermezzo opus 117 no. 1. It’s a simple gesture, but I think it makes its point.
— Sky Dylan-Robbins](http://25.media.tumblr.com/7829ce5cc7a3f66d179f113e579c62b3/tumblr_mj04goCxNw1rrpm57o2_1280.jpg)
![Table Manners: Turning Restaurant Stationery into Art
When New York-based artist Jay Batlle dines out, he’s still on the clock. Of course, he’s at the restaurant to feast and imbibe and commune with friends. Upon the meal’s consummation, however, he poses a question he’s been regularly asking restaurant staffers for the past decade. They oblige, and a blank sheet of the venue’s stationary is carefully placed in his hands. He’ll return home, and on it, in watercolor and pen and wine and coffee grounds, he’ll express his thoughts — on the evening, the atmosphere, the idea of decadence and societal consumption and what fine dining has become.
Batlle (pronounced “Battle”) chronicles this gastronomic collection, The Stationery Series, on his tumblr, Restaurant Restaurant. He eventually plans to turn it into a three-volume book, but he’s not stopping anytime soon. Here, we talk to the artist about New York cuisine, Balthazar, and pouring wine down the drain.
[[MORE]]
Your art is decidedly epicurean. Why?
The conflation of dining and art is something that most people can relate to. I chose gastronomy because of its immediacy and because of my experience running restaurants.
I had no idea they freely give out their stationery.
I just ask. But I’ll use whatever they give me, so if a restaurant doesn’t have its own stationery, I take a menu. Sometimes, friends give me stationery they’ve collected, and then I have to imagine what the atmosphere was like. It’s the contradictions in my life that mean something, and so I contradict any sort of structure I create — even the decision to use only restaurant stationery.
How do you choose the place?
The series is a trail of breadcrumbs of all the places I’ve eaten — a way to collect all these fabulous meals and the people I share them with. In a way, it’s a very classic approach to making art. I live in one of the gastronomic centers of the world, and there are so many restaurants to inspire me here. The choices are random and deliberate at the same time, like getting dressed in the morning. I wear a tie every day, but I change the color and pattern.
You’ve repeated a few venues’ stationery many times — Balthazar, for example.
I think Balthazar has such an international appeal. Honestly, though, I recently went back after a few years of hiatus and became obsessed with drawing on their stationery. It’s really quintessential New York for me. It reminds me of the late 90s when I first came to the city to make it as an artist.
What materials do you use?
I mostly use custom-made watercolors, oil sticks, and ink. I’ve also used wine, coffee, food coloring, and squid ink. Like the stationery, my medium is just one aspect of the process. It all comes together to form a visceral experience.
The series is replete with places like Mr. Chow and Momofuku. What about, say, a family-run restaurant in Harlem?
It’s definitely a focus of the work to question the value of social aspirations. I’m using iconic places that have a cultural value and past, similar to art, and contrasting those trajectories. Rao’s would be a place from Harlem that I would choose, because it’s iconic and has a certain type of majesty. But now it sells its own brand of pasta sauce.
Are the proprietors aware of your art?
Many are, and they’ve been very supportive. Some have commissioned works.
I heard that one especially pleased patron expressed his thanks in fine wine, and you poured it down the drain. Really?
Yes. I took $5,000 worth of red and white wine — given to me as a gift from a collector of my work and very good friend — and, indeed, poured it down the drain. It’s an homage to Chelsea and the recent flooding from Hurricane Sandy that destroyed a lot of art. I called it “Apres Le Vernissage,” and set it to Brahms’s intermezzo opus 117 no. 1. It’s a simple gesture, but I think it makes its point.
— Sky Dylan-Robbins](http://25.media.tumblr.com/75e3e4e651ddc6ea1c4deb9b8cdfae6c/tumblr_mj04goCxNw1rrpm57o4_1280.jpg)
![Table Manners: Turning Restaurant Stationery into Art
When New York-based artist Jay Batlle dines out, he’s still on the clock. Of course, he’s at the restaurant to feast and imbibe and commune with friends. Upon the meal’s consummation, however, he poses a question he’s been regularly asking restaurant staffers for the past decade. They oblige, and a blank sheet of the venue’s stationary is carefully placed in his hands. He’ll return home, and on it, in watercolor and pen and wine and coffee grounds, he’ll express his thoughts — on the evening, the atmosphere, the idea of decadence and societal consumption and what fine dining has become.
Batlle (pronounced “Battle”) chronicles this gastronomic collection, The Stationery Series, on his tumblr, Restaurant Restaurant. He eventually plans to turn it into a three-volume book, but he’s not stopping anytime soon. Here, we talk to the artist about New York cuisine, Balthazar, and pouring wine down the drain.
[[MORE]]
Your art is decidedly epicurean. Why?
The conflation of dining and art is something that most people can relate to. I chose gastronomy because of its immediacy and because of my experience running restaurants.
I had no idea they freely give out their stationery.
I just ask. But I’ll use whatever they give me, so if a restaurant doesn’t have its own stationery, I take a menu. Sometimes, friends give me stationery they’ve collected, and then I have to imagine what the atmosphere was like. It’s the contradictions in my life that mean something, and so I contradict any sort of structure I create — even the decision to use only restaurant stationery.
How do you choose the place?
The series is a trail of breadcrumbs of all the places I’ve eaten — a way to collect all these fabulous meals and the people I share them with. In a way, it’s a very classic approach to making art. I live in one of the gastronomic centers of the world, and there are so many restaurants to inspire me here. The choices are random and deliberate at the same time, like getting dressed in the morning. I wear a tie every day, but I change the color and pattern.
You’ve repeated a few venues’ stationery many times — Balthazar, for example.
I think Balthazar has such an international appeal. Honestly, though, I recently went back after a few years of hiatus and became obsessed with drawing on their stationery. It’s really quintessential New York for me. It reminds me of the late 90s when I first came to the city to make it as an artist.
What materials do you use?
I mostly use custom-made watercolors, oil sticks, and ink. I’ve also used wine, coffee, food coloring, and squid ink. Like the stationery, my medium is just one aspect of the process. It all comes together to form a visceral experience.
The series is replete with places like Mr. Chow and Momofuku. What about, say, a family-run restaurant in Harlem?
It’s definitely a focus of the work to question the value of social aspirations. I’m using iconic places that have a cultural value and past, similar to art, and contrasting those trajectories. Rao’s would be a place from Harlem that I would choose, because it’s iconic and has a certain type of majesty. But now it sells its own brand of pasta sauce.
Are the proprietors aware of your art?
Many are, and they’ve been very supportive. Some have commissioned works.
I heard that one especially pleased patron expressed his thanks in fine wine, and you poured it down the drain. Really?
Yes. I took $5,000 worth of red and white wine — given to me as a gift from a collector of my work and very good friend — and, indeed, poured it down the drain. It’s an homage to Chelsea and the recent flooding from Hurricane Sandy that destroyed a lot of art. I called it “Apres Le Vernissage,” and set it to Brahms’s intermezzo opus 117 no. 1. It’s a simple gesture, but I think it makes its point.
— Sky Dylan-Robbins](http://25.media.tumblr.com/744574ce3fc80b9a28eeefd17dc14ffc/tumblr_mj04goCxNw1rrpm57o10_r1_1280.jpg)
![Table Manners: Turning Restaurant Stationery into Art
When New York-based artist Jay Batlle dines out, he’s still on the clock. Of course, he’s at the restaurant to feast and imbibe and commune with friends. Upon the meal’s consummation, however, he poses a question he’s been regularly asking restaurant staffers for the past decade. They oblige, and a blank sheet of the venue’s stationary is carefully placed in his hands. He’ll return home, and on it, in watercolor and pen and wine and coffee grounds, he’ll express his thoughts — on the evening, the atmosphere, the idea of decadence and societal consumption and what fine dining has become.
Batlle (pronounced “Battle”) chronicles this gastronomic collection, The Stationery Series, on his tumblr, Restaurant Restaurant. He eventually plans to turn it into a three-volume book, but he’s not stopping anytime soon. Here, we talk to the artist about New York cuisine, Balthazar, and pouring wine down the drain.
[[MORE]]
Your art is decidedly epicurean. Why?
The conflation of dining and art is something that most people can relate to. I chose gastronomy because of its immediacy and because of my experience running restaurants.
I had no idea they freely give out their stationery.
I just ask. But I’ll use whatever they give me, so if a restaurant doesn’t have its own stationery, I take a menu. Sometimes, friends give me stationery they’ve collected, and then I have to imagine what the atmosphere was like. It’s the contradictions in my life that mean something, and so I contradict any sort of structure I create — even the decision to use only restaurant stationery.
How do you choose the place?
The series is a trail of breadcrumbs of all the places I’ve eaten — a way to collect all these fabulous meals and the people I share them with. In a way, it’s a very classic approach to making art. I live in one of the gastronomic centers of the world, and there are so many restaurants to inspire me here. The choices are random and deliberate at the same time, like getting dressed in the morning. I wear a tie every day, but I change the color and pattern.
You’ve repeated a few venues’ stationery many times — Balthazar, for example.
I think Balthazar has such an international appeal. Honestly, though, I recently went back after a few years of hiatus and became obsessed with drawing on their stationery. It’s really quintessential New York for me. It reminds me of the late 90s when I first came to the city to make it as an artist.
What materials do you use?
I mostly use custom-made watercolors, oil sticks, and ink. I’ve also used wine, coffee, food coloring, and squid ink. Like the stationery, my medium is just one aspect of the process. It all comes together to form a visceral experience.
The series is replete with places like Mr. Chow and Momofuku. What about, say, a family-run restaurant in Harlem?
It’s definitely a focus of the work to question the value of social aspirations. I’m using iconic places that have a cultural value and past, similar to art, and contrasting those trajectories. Rao’s would be a place from Harlem that I would choose, because it’s iconic and has a certain type of majesty. But now it sells its own brand of pasta sauce.
Are the proprietors aware of your art?
Many are, and they’ve been very supportive. Some have commissioned works.
I heard that one especially pleased patron expressed his thanks in fine wine, and you poured it down the drain. Really?
Yes. I took $5,000 worth of red and white wine — given to me as a gift from a collector of my work and very good friend — and, indeed, poured it down the drain. It’s an homage to Chelsea and the recent flooding from Hurricane Sandy that destroyed a lot of art. I called it “Apres Le Vernissage,” and set it to Brahms’s intermezzo opus 117 no. 1. It’s a simple gesture, but I think it makes its point.
— Sky Dylan-Robbins](http://25.media.tumblr.com/76c3634e358d926298453e5caa63a0d9/tumblr_mj04goCxNw1rrpm57o5_1280.jpg)
![Table Manners: Turning Restaurant Stationery into Art
When New York-based artist Jay Batlle dines out, he’s still on the clock. Of course, he’s at the restaurant to feast and imbibe and commune with friends. Upon the meal’s consummation, however, he poses a question he’s been regularly asking restaurant staffers for the past decade. They oblige, and a blank sheet of the venue’s stationary is carefully placed in his hands. He’ll return home, and on it, in watercolor and pen and wine and coffee grounds, he’ll express his thoughts — on the evening, the atmosphere, the idea of decadence and societal consumption and what fine dining has become.
Batlle (pronounced “Battle”) chronicles this gastronomic collection, The Stationery Series, on his tumblr, Restaurant Restaurant. He eventually plans to turn it into a three-volume book, but he’s not stopping anytime soon. Here, we talk to the artist about New York cuisine, Balthazar, and pouring wine down the drain.
[[MORE]]
Your art is decidedly epicurean. Why?
The conflation of dining and art is something that most people can relate to. I chose gastronomy because of its immediacy and because of my experience running restaurants.
I had no idea they freely give out their stationery.
I just ask. But I’ll use whatever they give me, so if a restaurant doesn’t have its own stationery, I take a menu. Sometimes, friends give me stationery they’ve collected, and then I have to imagine what the atmosphere was like. It’s the contradictions in my life that mean something, and so I contradict any sort of structure I create — even the decision to use only restaurant stationery.
How do you choose the place?
The series is a trail of breadcrumbs of all the places I’ve eaten — a way to collect all these fabulous meals and the people I share them with. In a way, it’s a very classic approach to making art. I live in one of the gastronomic centers of the world, and there are so many restaurants to inspire me here. The choices are random and deliberate at the same time, like getting dressed in the morning. I wear a tie every day, but I change the color and pattern.
You’ve repeated a few venues’ stationery many times — Balthazar, for example.
I think Balthazar has such an international appeal. Honestly, though, I recently went back after a few years of hiatus and became obsessed with drawing on their stationery. It’s really quintessential New York for me. It reminds me of the late 90s when I first came to the city to make it as an artist.
What materials do you use?
I mostly use custom-made watercolors, oil sticks, and ink. I’ve also used wine, coffee, food coloring, and squid ink. Like the stationery, my medium is just one aspect of the process. It all comes together to form a visceral experience.
The series is replete with places like Mr. Chow and Momofuku. What about, say, a family-run restaurant in Harlem?
It’s definitely a focus of the work to question the value of social aspirations. I’m using iconic places that have a cultural value and past, similar to art, and contrasting those trajectories. Rao’s would be a place from Harlem that I would choose, because it’s iconic and has a certain type of majesty. But now it sells its own brand of pasta sauce.
Are the proprietors aware of your art?
Many are, and they’ve been very supportive. Some have commissioned works.
I heard that one especially pleased patron expressed his thanks in fine wine, and you poured it down the drain. Really?
Yes. I took $5,000 worth of red and white wine — given to me as a gift from a collector of my work and very good friend — and, indeed, poured it down the drain. It’s an homage to Chelsea and the recent flooding from Hurricane Sandy that destroyed a lot of art. I called it “Apres Le Vernissage,” and set it to Brahms’s intermezzo opus 117 no. 1. It’s a simple gesture, but I think it makes its point.
— Sky Dylan-Robbins](http://25.media.tumblr.com/b4246c7ddfbcc5bdaeeda75952b8b255/tumblr_mj04goCxNw1rrpm57o6_1280.jpg)
![Table Manners: Turning Restaurant Stationery into Art
When New York-based artist Jay Batlle dines out, he’s still on the clock. Of course, he’s at the restaurant to feast and imbibe and commune with friends. Upon the meal’s consummation, however, he poses a question he’s been regularly asking restaurant staffers for the past decade. They oblige, and a blank sheet of the venue’s stationary is carefully placed in his hands. He’ll return home, and on it, in watercolor and pen and wine and coffee grounds, he’ll express his thoughts — on the evening, the atmosphere, the idea of decadence and societal consumption and what fine dining has become.
Batlle (pronounced “Battle”) chronicles this gastronomic collection, The Stationery Series, on his tumblr, Restaurant Restaurant. He eventually plans to turn it into a three-volume book, but he’s not stopping anytime soon. Here, we talk to the artist about New York cuisine, Balthazar, and pouring wine down the drain.
[[MORE]]
Your art is decidedly epicurean. Why?
The conflation of dining and art is something that most people can relate to. I chose gastronomy because of its immediacy and because of my experience running restaurants.
I had no idea they freely give out their stationery.
I just ask. But I’ll use whatever they give me, so if a restaurant doesn’t have its own stationery, I take a menu. Sometimes, friends give me stationery they’ve collected, and then I have to imagine what the atmosphere was like. It’s the contradictions in my life that mean something, and so I contradict any sort of structure I create — even the decision to use only restaurant stationery.
How do you choose the place?
The series is a trail of breadcrumbs of all the places I’ve eaten — a way to collect all these fabulous meals and the people I share them with. In a way, it’s a very classic approach to making art. I live in one of the gastronomic centers of the world, and there are so many restaurants to inspire me here. The choices are random and deliberate at the same time, like getting dressed in the morning. I wear a tie every day, but I change the color and pattern.
You’ve repeated a few venues’ stationery many times — Balthazar, for example.
I think Balthazar has such an international appeal. Honestly, though, I recently went back after a few years of hiatus and became obsessed with drawing on their stationery. It’s really quintessential New York for me. It reminds me of the late 90s when I first came to the city to make it as an artist.
What materials do you use?
I mostly use custom-made watercolors, oil sticks, and ink. I’ve also used wine, coffee, food coloring, and squid ink. Like the stationery, my medium is just one aspect of the process. It all comes together to form a visceral experience.
The series is replete with places like Mr. Chow and Momofuku. What about, say, a family-run restaurant in Harlem?
It’s definitely a focus of the work to question the value of social aspirations. I’m using iconic places that have a cultural value and past, similar to art, and contrasting those trajectories. Rao’s would be a place from Harlem that I would choose, because it’s iconic and has a certain type of majesty. But now it sells its own brand of pasta sauce.
Are the proprietors aware of your art?
Many are, and they’ve been very supportive. Some have commissioned works.
I heard that one especially pleased patron expressed his thanks in fine wine, and you poured it down the drain. Really?
Yes. I took $5,000 worth of red and white wine — given to me as a gift from a collector of my work and very good friend — and, indeed, poured it down the drain. It’s an homage to Chelsea and the recent flooding from Hurricane Sandy that destroyed a lot of art. I called it “Apres Le Vernissage,” and set it to Brahms’s intermezzo opus 117 no. 1. It’s a simple gesture, but I think it makes its point.
— Sky Dylan-Robbins](http://24.media.tumblr.com/0de7e8833592b242d67604212d940ad1/tumblr_mj04goCxNw1rrpm57o9_1280.jpg)
Table Manners: Turning Restaurant Stationery into Art
When New York-based artist Jay Batlle dines out, he’s still on the clock. Of course, he’s at the restaurant to feast and imbibe and commune with friends. Upon the meal’s consummation, however, he poses a question he’s been regularly asking restaurant staffers for the past decade. They oblige, and a blank sheet of the venue’s stationary is carefully placed in his hands. He’ll return home, and on it, in watercolor and pen and wine and coffee grounds, he’ll express his thoughts — on the evening, the atmosphere, the idea of decadence and societal consumption and what fine dining has become.
Batlle (pronounced “Battle”) chronicles this gastronomic collection, The Stationery Series, on his tumblr, Restaurant Restaurant. He eventually plans to turn it into a three-volume book, but he’s not stopping anytime soon. Here, we talk to the artist about New York cuisine, Balthazar, and pouring wine down the drain.
View post 1,579 notes -
The Fine Art of Coffee Portraiture
Here’s more evidence to back up all those studies on boredom inspiring creativity: Meet Mike Breach, barista extraordinaire, who “paints” everything — and everyone — into his lattes. “I’m an esspressionist,” he proudly proclaims. Just last year, Breach was idling away his customer-less hours in the back of a hotel kitchen with only a dormant espresso machine for company. He was “so, so bored.” So he taught himself how to inscribe ornate hearts in coffee foam, with a bamboo skewer as his paintbrush. “People got so excited about it!” says Breach. He took it further; out came the teddy bears (“the girls just love those”), a portrait of that hotel boss (“I didn’t show it to him, but my coworkers and I laughed about it”), and Salvador Dalì, and Edward Scissorhands, and Beyoncé.
We’re at the Smile To-Go, and he’s frothing some milk behind the counter; the shushing of the machine almost drowns out his words. He reflects. “It’s like, if something is lacking, you’ve got to find a way to make it exciting and fun. Right? I mean, I’m so happy that my old job was so boring! Otherwise I wouldn’t be making these! And this is just the beginning. I want to start a movement.” The milk is now pillowy, foamy-soft — perfect for the latte Breach is about to pour. He stares into his empty chestnut-colored canvas, and suddenly looks up. “I’ve been wanting to try Snoop. Let’s do that, yea?”
View post 6,107 notes -
![Noelle Stevenson’s Guide to Blowing Up on Tumblr
Noelle Stevenson, aka gingerhaze, joined Tumblr to share her fan art — comics based on movies like X-Men: First Class and Lord of the Rings. In the summer of 2011, she started posting “The Broship of the Ring,” a modern interpretation of the LoTR characters as hipsters and fratboys, and everything kind of … exploded. Stevenson’s online following shot way up, and since then, she’s landed an internship at a comics publisher and has signed with a literary agent. She’s also been offered a contract to publish in hard copy her original webcomic project, Nimona — the story of aspiring supervillain Lord Ballister Blackheart, who never seems to get anywhere with his evil plots. That is, until he takes on a new sidekick, Nimona, a shapeshifter with poor impulse control who likes to solve problems by blowing things up. Nimona recently won the Cartoonist Studio Prize for Best Webcomic of the Year by Slate Magazine and the Center for Cartoon Studies. It was also named one of io9’s top ten Best New and Short Webcomics of 2012. We had a chance to talk to Stevenson about breaking out and Hulking out.
How long have you been drawing?
I’ve been drawing pretty much as long as I can remember. It was a hobby of mine as a child, and I grew up and that was still what I wanted to do.
[[MORE]]
Where do you get your ideas?
I take a lot of inspiration from movies. I like going to the movies a lot, and comics are a similar kind of art form. You have to think cinematically when you draw a comic.
Describe your drawing process.
I draw everything digitally. I used to use a Wacom Bamboo tablet, but I recently switched to a Monoprice tablet. I go right into Photoshop. I don’t generally sketch things out beforehand unless it’s a Nimona page or a finished illustration. I find drawing right in Photoshop comes really naturally to me, because I like to draw in as few lines as possible. Drawing on pen and paper, you have to be more committed to your lines because you can’t undo them easily. I like to draw hands all in one line and that’s really easy to mess up when you’re drawing on paper. But in Photoshop, you have Ctrl+Z. I also color my art in Photoshop, and I use a lot of paper and watercolor filters to give it more of a handmade feel.
What are your favorite things to draw?
Well, I really like drawing the Hulk, and I really like drawing Hawkeye, and I really like drawing Hawkeye’s butt. I really like drawing a lot of stuff. I like drawing Nimona. She’s got a lot of really fun shapes. And I like drawing sailors as well.
How did the Tumblr thing happen?
I joined around 2010, I think? It was just me for a while, posting whatever I wanted. 2011 is when I started posting “The Broship of the Ring.” People really liked them, and I got more followers. And then every time I got into a new movie like X-Men: First Class or The Avengers, I posted fan art, and connected with people about the fan art, and kept going and getting more attention for the various things that I drew.
How did you get started doing Nimona?
Nimona started as an assignment for school. I got tired of just being known as a fan artist online. I wanted to get known for my own characters. My friend Amy at school challenged me to do a two-page comic of my own characters for that assignment. So I drew Nimona and Ballister Blackheart and Ambrosius Goldenloin. I took another comics class the next semester, and drew more Nimona, and in summer 2012 decided to make it a webcomic, and kept going from there.
You’ve mentioned that you got an internship in the comics industry through Tumblr. How did that happen?
At my school, we can get class credit for an internship, so I was looking for one for the summer of 2012. I knew I had some industry professionals following me on Tumblr, and I thought they could help, maybe give me some tips and advice on how to get an internship. So I put up a post asking for help. Shannon Waters at BOOM! Studios followed my Tumblr at the time, and she shot me an email saying BOOM! had an internship program. We emailed back and forth for a while, did an interview on Skype, and so I ended up going to BOOM! Studios during the summer for an internship. It was a really cool experience.
You’ve also mentioned you got signed with your agent and got a book contract through Tumblr.
It kind of started with my Avengers fan art comics going viral at the time, and posting Nimona pages, bringing more readers to my Tumblr. Charles Olsen, an agent at InkWell Management, found my blog through my Avengers fan art comics, and then found Nimona through my blog. Charlie then reached out to me, and we emailed back and forth, and talked on the phone, and I visited New York to meet him, and then signed with him as an agent. He shopped Nimona around to various publishers, and HarperCollins signed me for a contract to do the hardcover young adult version of Nimona in Summer 2015.
What projects do you have lined up for the future?
For the next year or so, I’ll be working on finishing up Nimona, and I have a two-book deal with HarperCollins, so I’ll be working on my next book for them. It might be a sequel to Nimona, or something related to Nimona, stylistically. I’m not sure yet. I’ve also done some comics with BOOM! Studios, some backups for Adventure Time, and I’d love to do more of that. I’m also exploring animation opportunities, but everything is unfolding right now and there’s nothing definitive yet.
— Caitlin Moriarity](http://25.media.tumblr.com/b76d50ac3ca6a22313555208423bdb33/tumblr_mkl4kj1A6t1rrpm57o1_1280.jpg)
Noelle Stevenson’s Guide to Blowing Up on Tumblr
Noelle Stevenson, aka gingerhaze, joined Tumblr to share her fan art — comics based on movies like X-Men: First Class and Lord of the Rings. In the summer of 2011, she started posting “The Broship of the Ring,” a modern interpretation of the LoTR characters as hipsters and fratboys, and everything kind of … exploded. Stevenson’s online following shot way up, and since then, she’s landed an internship at a comics publisher and has signed with a literary agent.
She’s also been offered a contract to publish in hard copy her original webcomic project, Nimona — the story of aspiring supervillain Lord Ballister Blackheart, who never seems to get anywhere with his evil plots. That is, until he takes on a new sidekick, Nimona, a shapeshifter with poor impulse control who likes to solve problems by blowing things up. Nimona recently won the Cartoonist Studio Prize for Best Webcomic of the Year by Slate Magazine and the Center for Cartoon Studies. It was also named one of io9’s top ten Best New and Short Webcomics of 2012. We had a chance to talk to Stevenson about breaking out and Hulking out.How long have you been drawing?
I’ve been drawing pretty much as long as I can remember. It was a hobby of mine as a child, and I grew up and that was still what I wanted to do.
View post 5,903 notes -
![At Gowanus Canal, Turning Toxic Waste Into Art
New York’s Gowanus Canal is notoriously toxic — full of dangerous chemicals, industrial waste, and yes, poop. It reeks in the summer and lives in the popular imagination as the perfect dumping ground for dead bodies. No plant or animal life can survive in it for long. This tends to inspire two kinds of images: gritty photos of the filth and pollution, and scenic landscapes that try not to dwell too long on the former. [[MORE]]
But in his Gowanus Canal photography series, William Miller evades both of these conventions. His photographs offer glimpses of floating clouds, glittering fragments, iridescent surfaces, and delicate whorls. Although he comes from a photojournalism background — he collaborated with Doctors Without Borders in Kosovo and has worked for The New York Post for ten years — these mesmerizing, dreamlike images leave reportage behind. Instead, they offer ambiguity and abstraction, capturing the fleeting, strange beauty of the Gowanus as well as the contradictions embodied in that beauty. We spoke to him about the inspiration behind his work.
What drew you to photograph the Gowanus?
I’m a photojournalist by trade. I’ve been doing that for most of my life, but in the last few years I’ve been interested in more abstract work and a different approach toward subjects, like with my “Ruined Polaroids” project. So when I was looking at the Gowanus Canal, how strange and beautiful it was, I didn’t want to approach it from a photojournalist’s perspective. I didn’t want to tell, necessarily, a story. I was interested in how it could be beautiful and disgusting at the same time, and I was attracted to those contradictions. And when you look down into the garbage and crap, you can see the sun and the sky and the beauty above.
What is your process for the series?
I go out whenever I can, and hope I get lucky. You’re literally running around, trying to get things from a certain perspective, to fall in the frame the way you want them to, to reflect the sky the way you want them to. But a lot of days, maybe ¾ of the days that I go down there, there’s nothing. The water is not cooperating. If there’s something floating, sometimes it’s too far away. Some days it looks perfectly smooth and there’s nothing going on. It isn’t successful every day, and there’s something rewarding about that.
Has living in New York influenced you as an artist?
The city’s scope gives you access to so much. When I started getting interested in fine art, I could go to MoMA and see the things I was reading about in textbooks up close, which is incredible. Picasso’s Demoiselles d’Avignon — when I walked past it I was floored, because I’d been reading so much about it and it was just sitting there. You’re looking at it and you can’t believe it. Not just because the painting is amazing, but also that you can just have access to it like that. It’s pretty exciting, even for a New Yorker.
Where do you find inspiration?
Recently I’ve been really interested in painting, especially abstract expressionism: Barnett Newman, Clyfford Still, Milton Resnick, and Rothko, obviously. It’s this idea of, when you’re really close to something, it looks remarkably similar to when you’re really far away from something. Like if you think about pictures of the atom and then pictures of planets revolving around the sun. The only difference between those two things is perspective. When you don’t know what you’re looking at, your mind starts to make up its own narrative. I like that shift, or confusion, in perspective.
— Sue Ding](http://25.media.tumblr.com/6fde05564baa4f11aec455a8c715aee1/tumblr_mk8m78GhVx1rrpm57o1_1280.jpg)
![At Gowanus Canal, Turning Toxic Waste Into Art
New York’s Gowanus Canal is notoriously toxic — full of dangerous chemicals, industrial waste, and yes, poop. It reeks in the summer and lives in the popular imagination as the perfect dumping ground for dead bodies. No plant or animal life can survive in it for long. This tends to inspire two kinds of images: gritty photos of the filth and pollution, and scenic landscapes that try not to dwell too long on the former. [[MORE]]
But in his Gowanus Canal photography series, William Miller evades both of these conventions. His photographs offer glimpses of floating clouds, glittering fragments, iridescent surfaces, and delicate whorls. Although he comes from a photojournalism background — he collaborated with Doctors Without Borders in Kosovo and has worked for The New York Post for ten years — these mesmerizing, dreamlike images leave reportage behind. Instead, they offer ambiguity and abstraction, capturing the fleeting, strange beauty of the Gowanus as well as the contradictions embodied in that beauty. We spoke to him about the inspiration behind his work.
What drew you to photograph the Gowanus?
I’m a photojournalist by trade. I’ve been doing that for most of my life, but in the last few years I’ve been interested in more abstract work and a different approach toward subjects, like with my “Ruined Polaroids” project. So when I was looking at the Gowanus Canal, how strange and beautiful it was, I didn’t want to approach it from a photojournalist’s perspective. I didn’t want to tell, necessarily, a story. I was interested in how it could be beautiful and disgusting at the same time, and I was attracted to those contradictions. And when you look down into the garbage and crap, you can see the sun and the sky and the beauty above.
What is your process for the series?
I go out whenever I can, and hope I get lucky. You’re literally running around, trying to get things from a certain perspective, to fall in the frame the way you want them to, to reflect the sky the way you want them to. But a lot of days, maybe ¾ of the days that I go down there, there’s nothing. The water is not cooperating. If there’s something floating, sometimes it’s too far away. Some days it looks perfectly smooth and there’s nothing going on. It isn’t successful every day, and there’s something rewarding about that.
Has living in New York influenced you as an artist?
The city’s scope gives you access to so much. When I started getting interested in fine art, I could go to MoMA and see the things I was reading about in textbooks up close, which is incredible. Picasso’s Demoiselles d’Avignon — when I walked past it I was floored, because I’d been reading so much about it and it was just sitting there. You’re looking at it and you can’t believe it. Not just because the painting is amazing, but also that you can just have access to it like that. It’s pretty exciting, even for a New Yorker.
Where do you find inspiration?
Recently I’ve been really interested in painting, especially abstract expressionism: Barnett Newman, Clyfford Still, Milton Resnick, and Rothko, obviously. It’s this idea of, when you’re really close to something, it looks remarkably similar to when you’re really far away from something. Like if you think about pictures of the atom and then pictures of planets revolving around the sun. The only difference between those two things is perspective. When you don’t know what you’re looking at, your mind starts to make up its own narrative. I like that shift, or confusion, in perspective.
— Sue Ding](http://24.media.tumblr.com/46e9d8eacc056e2d4c56622320eecfa8/tumblr_mk8m78GhVx1rrpm57o2_1280.jpg)
![At Gowanus Canal, Turning Toxic Waste Into Art
New York’s Gowanus Canal is notoriously toxic — full of dangerous chemicals, industrial waste, and yes, poop. It reeks in the summer and lives in the popular imagination as the perfect dumping ground for dead bodies. No plant or animal life can survive in it for long. This tends to inspire two kinds of images: gritty photos of the filth and pollution, and scenic landscapes that try not to dwell too long on the former. [[MORE]]
But in his Gowanus Canal photography series, William Miller evades both of these conventions. His photographs offer glimpses of floating clouds, glittering fragments, iridescent surfaces, and delicate whorls. Although he comes from a photojournalism background — he collaborated with Doctors Without Borders in Kosovo and has worked for The New York Post for ten years — these mesmerizing, dreamlike images leave reportage behind. Instead, they offer ambiguity and abstraction, capturing the fleeting, strange beauty of the Gowanus as well as the contradictions embodied in that beauty. We spoke to him about the inspiration behind his work.
What drew you to photograph the Gowanus?
I’m a photojournalist by trade. I’ve been doing that for most of my life, but in the last few years I’ve been interested in more abstract work and a different approach toward subjects, like with my “Ruined Polaroids” project. So when I was looking at the Gowanus Canal, how strange and beautiful it was, I didn’t want to approach it from a photojournalist’s perspective. I didn’t want to tell, necessarily, a story. I was interested in how it could be beautiful and disgusting at the same time, and I was attracted to those contradictions. And when you look down into the garbage and crap, you can see the sun and the sky and the beauty above.
What is your process for the series?
I go out whenever I can, and hope I get lucky. You’re literally running around, trying to get things from a certain perspective, to fall in the frame the way you want them to, to reflect the sky the way you want them to. But a lot of days, maybe ¾ of the days that I go down there, there’s nothing. The water is not cooperating. If there’s something floating, sometimes it’s too far away. Some days it looks perfectly smooth and there’s nothing going on. It isn’t successful every day, and there’s something rewarding about that.
Has living in New York influenced you as an artist?
The city’s scope gives you access to so much. When I started getting interested in fine art, I could go to MoMA and see the things I was reading about in textbooks up close, which is incredible. Picasso’s Demoiselles d’Avignon — when I walked past it I was floored, because I’d been reading so much about it and it was just sitting there. You’re looking at it and you can’t believe it. Not just because the painting is amazing, but also that you can just have access to it like that. It’s pretty exciting, even for a New Yorker.
Where do you find inspiration?
Recently I’ve been really interested in painting, especially abstract expressionism: Barnett Newman, Clyfford Still, Milton Resnick, and Rothko, obviously. It’s this idea of, when you’re really close to something, it looks remarkably similar to when you’re really far away from something. Like if you think about pictures of the atom and then pictures of planets revolving around the sun. The only difference between those two things is perspective. When you don’t know what you’re looking at, your mind starts to make up its own narrative. I like that shift, or confusion, in perspective.
— Sue Ding](http://25.media.tumblr.com/c9a9f1cfa87f0155f8412c1b2998af1b/tumblr_mk8m78GhVx1rrpm57o3_1280.jpg)
![At Gowanus Canal, Turning Toxic Waste Into Art
New York’s Gowanus Canal is notoriously toxic — full of dangerous chemicals, industrial waste, and yes, poop. It reeks in the summer and lives in the popular imagination as the perfect dumping ground for dead bodies. No plant or animal life can survive in it for long. This tends to inspire two kinds of images: gritty photos of the filth and pollution, and scenic landscapes that try not to dwell too long on the former. [[MORE]]
But in his Gowanus Canal photography series, William Miller evades both of these conventions. His photographs offer glimpses of floating clouds, glittering fragments, iridescent surfaces, and delicate whorls. Although he comes from a photojournalism background — he collaborated with Doctors Without Borders in Kosovo and has worked for The New York Post for ten years — these mesmerizing, dreamlike images leave reportage behind. Instead, they offer ambiguity and abstraction, capturing the fleeting, strange beauty of the Gowanus as well as the contradictions embodied in that beauty. We spoke to him about the inspiration behind his work.
What drew you to photograph the Gowanus?
I’m a photojournalist by trade. I’ve been doing that for most of my life, but in the last few years I’ve been interested in more abstract work and a different approach toward subjects, like with my “Ruined Polaroids” project. So when I was looking at the Gowanus Canal, how strange and beautiful it was, I didn’t want to approach it from a photojournalist’s perspective. I didn’t want to tell, necessarily, a story. I was interested in how it could be beautiful and disgusting at the same time, and I was attracted to those contradictions. And when you look down into the garbage and crap, you can see the sun and the sky and the beauty above.
What is your process for the series?
I go out whenever I can, and hope I get lucky. You’re literally running around, trying to get things from a certain perspective, to fall in the frame the way you want them to, to reflect the sky the way you want them to. But a lot of days, maybe ¾ of the days that I go down there, there’s nothing. The water is not cooperating. If there’s something floating, sometimes it’s too far away. Some days it looks perfectly smooth and there’s nothing going on. It isn’t successful every day, and there’s something rewarding about that.
Has living in New York influenced you as an artist?
The city’s scope gives you access to so much. When I started getting interested in fine art, I could go to MoMA and see the things I was reading about in textbooks up close, which is incredible. Picasso’s Demoiselles d’Avignon — when I walked past it I was floored, because I’d been reading so much about it and it was just sitting there. You’re looking at it and you can’t believe it. Not just because the painting is amazing, but also that you can just have access to it like that. It’s pretty exciting, even for a New Yorker.
Where do you find inspiration?
Recently I’ve been really interested in painting, especially abstract expressionism: Barnett Newman, Clyfford Still, Milton Resnick, and Rothko, obviously. It’s this idea of, when you’re really close to something, it looks remarkably similar to when you’re really far away from something. Like if you think about pictures of the atom and then pictures of planets revolving around the sun. The only difference between those two things is perspective. When you don’t know what you’re looking at, your mind starts to make up its own narrative. I like that shift, or confusion, in perspective.
— Sue Ding](http://25.media.tumblr.com/437c396b6efeada47d2f70a14db52762/tumblr_mk8m78GhVx1rrpm57o4_1280.jpg)
![At Gowanus Canal, Turning Toxic Waste Into Art
New York’s Gowanus Canal is notoriously toxic — full of dangerous chemicals, industrial waste, and yes, poop. It reeks in the summer and lives in the popular imagination as the perfect dumping ground for dead bodies. No plant or animal life can survive in it for long. This tends to inspire two kinds of images: gritty photos of the filth and pollution, and scenic landscapes that try not to dwell too long on the former. [[MORE]]
But in his Gowanus Canal photography series, William Miller evades both of these conventions. His photographs offer glimpses of floating clouds, glittering fragments, iridescent surfaces, and delicate whorls. Although he comes from a photojournalism background — he collaborated with Doctors Without Borders in Kosovo and has worked for The New York Post for ten years — these mesmerizing, dreamlike images leave reportage behind. Instead, they offer ambiguity and abstraction, capturing the fleeting, strange beauty of the Gowanus as well as the contradictions embodied in that beauty. We spoke to him about the inspiration behind his work.
What drew you to photograph the Gowanus?
I’m a photojournalist by trade. I’ve been doing that for most of my life, but in the last few years I’ve been interested in more abstract work and a different approach toward subjects, like with my “Ruined Polaroids” project. So when I was looking at the Gowanus Canal, how strange and beautiful it was, I didn’t want to approach it from a photojournalist’s perspective. I didn’t want to tell, necessarily, a story. I was interested in how it could be beautiful and disgusting at the same time, and I was attracted to those contradictions. And when you look down into the garbage and crap, you can see the sun and the sky and the beauty above.
What is your process for the series?
I go out whenever I can, and hope I get lucky. You’re literally running around, trying to get things from a certain perspective, to fall in the frame the way you want them to, to reflect the sky the way you want them to. But a lot of days, maybe ¾ of the days that I go down there, there’s nothing. The water is not cooperating. If there’s something floating, sometimes it’s too far away. Some days it looks perfectly smooth and there’s nothing going on. It isn’t successful every day, and there’s something rewarding about that.
Has living in New York influenced you as an artist?
The city’s scope gives you access to so much. When I started getting interested in fine art, I could go to MoMA and see the things I was reading about in textbooks up close, which is incredible. Picasso’s Demoiselles d’Avignon — when I walked past it I was floored, because I’d been reading so much about it and it was just sitting there. You’re looking at it and you can’t believe it. Not just because the painting is amazing, but also that you can just have access to it like that. It’s pretty exciting, even for a New Yorker.
Where do you find inspiration?
Recently I’ve been really interested in painting, especially abstract expressionism: Barnett Newman, Clyfford Still, Milton Resnick, and Rothko, obviously. It’s this idea of, when you’re really close to something, it looks remarkably similar to when you’re really far away from something. Like if you think about pictures of the atom and then pictures of planets revolving around the sun. The only difference between those two things is perspective. When you don’t know what you’re looking at, your mind starts to make up its own narrative. I like that shift, or confusion, in perspective.
— Sue Ding](http://24.media.tumblr.com/2fad13951865b833113fa43039353e40/tumblr_mk8m78GhVx1rrpm57o5_1280.jpg)
![At Gowanus Canal, Turning Toxic Waste Into Art
New York’s Gowanus Canal is notoriously toxic — full of dangerous chemicals, industrial waste, and yes, poop. It reeks in the summer and lives in the popular imagination as the perfect dumping ground for dead bodies. No plant or animal life can survive in it for long. This tends to inspire two kinds of images: gritty photos of the filth and pollution, and scenic landscapes that try not to dwell too long on the former. [[MORE]]
But in his Gowanus Canal photography series, William Miller evades both of these conventions. His photographs offer glimpses of floating clouds, glittering fragments, iridescent surfaces, and delicate whorls. Although he comes from a photojournalism background — he collaborated with Doctors Without Borders in Kosovo and has worked for The New York Post for ten years — these mesmerizing, dreamlike images leave reportage behind. Instead, they offer ambiguity and abstraction, capturing the fleeting, strange beauty of the Gowanus as well as the contradictions embodied in that beauty. We spoke to him about the inspiration behind his work.
What drew you to photograph the Gowanus?
I’m a photojournalist by trade. I’ve been doing that for most of my life, but in the last few years I’ve been interested in more abstract work and a different approach toward subjects, like with my “Ruined Polaroids” project. So when I was looking at the Gowanus Canal, how strange and beautiful it was, I didn’t want to approach it from a photojournalist’s perspective. I didn’t want to tell, necessarily, a story. I was interested in how it could be beautiful and disgusting at the same time, and I was attracted to those contradictions. And when you look down into the garbage and crap, you can see the sun and the sky and the beauty above.
What is your process for the series?
I go out whenever I can, and hope I get lucky. You’re literally running around, trying to get things from a certain perspective, to fall in the frame the way you want them to, to reflect the sky the way you want them to. But a lot of days, maybe ¾ of the days that I go down there, there’s nothing. The water is not cooperating. If there’s something floating, sometimes it’s too far away. Some days it looks perfectly smooth and there’s nothing going on. It isn’t successful every day, and there’s something rewarding about that.
Has living in New York influenced you as an artist?
The city’s scope gives you access to so much. When I started getting interested in fine art, I could go to MoMA and see the things I was reading about in textbooks up close, which is incredible. Picasso’s Demoiselles d’Avignon — when I walked past it I was floored, because I’d been reading so much about it and it was just sitting there. You’re looking at it and you can’t believe it. Not just because the painting is amazing, but also that you can just have access to it like that. It’s pretty exciting, even for a New Yorker.
Where do you find inspiration?
Recently I’ve been really interested in painting, especially abstract expressionism: Barnett Newman, Clyfford Still, Milton Resnick, and Rothko, obviously. It’s this idea of, when you’re really close to something, it looks remarkably similar to when you’re really far away from something. Like if you think about pictures of the atom and then pictures of planets revolving around the sun. The only difference between those two things is perspective. When you don’t know what you’re looking at, your mind starts to make up its own narrative. I like that shift, or confusion, in perspective.
— Sue Ding](http://25.media.tumblr.com/8aa9c9c7a69a80a25cdef57e56f03def/tumblr_mk8m78GhVx1rrpm57o6_1280.jpg)
![At Gowanus Canal, Turning Toxic Waste Into Art
New York’s Gowanus Canal is notoriously toxic — full of dangerous chemicals, industrial waste, and yes, poop. It reeks in the summer and lives in the popular imagination as the perfect dumping ground for dead bodies. No plant or animal life can survive in it for long. This tends to inspire two kinds of images: gritty photos of the filth and pollution, and scenic landscapes that try not to dwell too long on the former. [[MORE]]
But in his Gowanus Canal photography series, William Miller evades both of these conventions. His photographs offer glimpses of floating clouds, glittering fragments, iridescent surfaces, and delicate whorls. Although he comes from a photojournalism background — he collaborated with Doctors Without Borders in Kosovo and has worked for The New York Post for ten years — these mesmerizing, dreamlike images leave reportage behind. Instead, they offer ambiguity and abstraction, capturing the fleeting, strange beauty of the Gowanus as well as the contradictions embodied in that beauty. We spoke to him about the inspiration behind his work.
What drew you to photograph the Gowanus?
I’m a photojournalist by trade. I’ve been doing that for most of my life, but in the last few years I’ve been interested in more abstract work and a different approach toward subjects, like with my “Ruined Polaroids” project. So when I was looking at the Gowanus Canal, how strange and beautiful it was, I didn’t want to approach it from a photojournalist’s perspective. I didn’t want to tell, necessarily, a story. I was interested in how it could be beautiful and disgusting at the same time, and I was attracted to those contradictions. And when you look down into the garbage and crap, you can see the sun and the sky and the beauty above.
What is your process for the series?
I go out whenever I can, and hope I get lucky. You’re literally running around, trying to get things from a certain perspective, to fall in the frame the way you want them to, to reflect the sky the way you want them to. But a lot of days, maybe ¾ of the days that I go down there, there’s nothing. The water is not cooperating. If there’s something floating, sometimes it’s too far away. Some days it looks perfectly smooth and there’s nothing going on. It isn’t successful every day, and there’s something rewarding about that.
Has living in New York influenced you as an artist?
The city’s scope gives you access to so much. When I started getting interested in fine art, I could go to MoMA and see the things I was reading about in textbooks up close, which is incredible. Picasso’s Demoiselles d’Avignon — when I walked past it I was floored, because I’d been reading so much about it and it was just sitting there. You’re looking at it and you can’t believe it. Not just because the painting is amazing, but also that you can just have access to it like that. It’s pretty exciting, even for a New Yorker.
Where do you find inspiration?
Recently I’ve been really interested in painting, especially abstract expressionism: Barnett Newman, Clyfford Still, Milton Resnick, and Rothko, obviously. It’s this idea of, when you’re really close to something, it looks remarkably similar to when you’re really far away from something. Like if you think about pictures of the atom and then pictures of planets revolving around the sun. The only difference between those two things is perspective. When you don’t know what you’re looking at, your mind starts to make up its own narrative. I like that shift, or confusion, in perspective.
— Sue Ding](http://25.media.tumblr.com/e0b567d565e2f613428f74b94c6bdee0/tumblr_mk8m78GhVx1rrpm57o7_1280.jpg)
![At Gowanus Canal, Turning Toxic Waste Into Art
New York’s Gowanus Canal is notoriously toxic — full of dangerous chemicals, industrial waste, and yes, poop. It reeks in the summer and lives in the popular imagination as the perfect dumping ground for dead bodies. No plant or animal life can survive in it for long. This tends to inspire two kinds of images: gritty photos of the filth and pollution, and scenic landscapes that try not to dwell too long on the former. [[MORE]]
But in his Gowanus Canal photography series, William Miller evades both of these conventions. His photographs offer glimpses of floating clouds, glittering fragments, iridescent surfaces, and delicate whorls. Although he comes from a photojournalism background — he collaborated with Doctors Without Borders in Kosovo and has worked for The New York Post for ten years — these mesmerizing, dreamlike images leave reportage behind. Instead, they offer ambiguity and abstraction, capturing the fleeting, strange beauty of the Gowanus as well as the contradictions embodied in that beauty. We spoke to him about the inspiration behind his work.
What drew you to photograph the Gowanus?
I’m a photojournalist by trade. I’ve been doing that for most of my life, but in the last few years I’ve been interested in more abstract work and a different approach toward subjects, like with my “Ruined Polaroids” project. So when I was looking at the Gowanus Canal, how strange and beautiful it was, I didn’t want to approach it from a photojournalist’s perspective. I didn’t want to tell, necessarily, a story. I was interested in how it could be beautiful and disgusting at the same time, and I was attracted to those contradictions. And when you look down into the garbage and crap, you can see the sun and the sky and the beauty above.
What is your process for the series?
I go out whenever I can, and hope I get lucky. You’re literally running around, trying to get things from a certain perspective, to fall in the frame the way you want them to, to reflect the sky the way you want them to. But a lot of days, maybe ¾ of the days that I go down there, there’s nothing. The water is not cooperating. If there’s something floating, sometimes it’s too far away. Some days it looks perfectly smooth and there’s nothing going on. It isn’t successful every day, and there’s something rewarding about that.
Has living in New York influenced you as an artist?
The city’s scope gives you access to so much. When I started getting interested in fine art, I could go to MoMA and see the things I was reading about in textbooks up close, which is incredible. Picasso’s Demoiselles d’Avignon — when I walked past it I was floored, because I’d been reading so much about it and it was just sitting there. You’re looking at it and you can’t believe it. Not just because the painting is amazing, but also that you can just have access to it like that. It’s pretty exciting, even for a New Yorker.
Where do you find inspiration?
Recently I’ve been really interested in painting, especially abstract expressionism: Barnett Newman, Clyfford Still, Milton Resnick, and Rothko, obviously. It’s this idea of, when you’re really close to something, it looks remarkably similar to when you’re really far away from something. Like if you think about pictures of the atom and then pictures of planets revolving around the sun. The only difference between those two things is perspective. When you don’t know what you’re looking at, your mind starts to make up its own narrative. I like that shift, or confusion, in perspective.
— Sue Ding](http://24.media.tumblr.com/e2007e3fd5a4f9c9529fb234355a13c1/tumblr_mk8m78GhVx1rrpm57o8_1280.jpg)
At Gowanus Canal, Turning Toxic Waste Into Art
New York’s Gowanus Canal is notoriously toxic — full of dangerous chemicals, industrial waste, and yes, poop. It reeks in the summer and lives in the popular imagination as the perfect dumping ground for dead bodies. No plant or animal life can survive in it for long. This tends to inspire two kinds of images: gritty photos of the filth and pollution, and scenic landscapes that try not to dwell too long on the former.
View post 6,043 notes -
![I Am Legion: Universe of One
Cheyne Gallarde was born and raised in Hawaii in the 80s, but he claims “my soul feels like it was born in the 50s.” His affection for midcentury Americana is plainly evident in the fashion photography of Gallarde’s studio Firebird Photography. Gallarde’s work combines a love of theater (and the theatrical) with maximalist colors and a kinetic feel. All of these elements came together in his Universe of One project, where Gallarde photographs himself as various characters using all the tools at his command, from makeup and wardrobe to lighting and backdrops. After testing the waters with his Tumblr, Gallarde decided to transform his transformations into a book via Kickstarter, with a modest cash goal that was funded almost immediately. Before that’s even done, he’ll spin it off into a second book, Twinsies, which will get its own Kickstarter very shortly. To demonstrate his skills, Gallarde offered to incarnate our own David Karp, and the man himself graciously accepted. The results and process may be seen above, and our talk with Gallarde appears below.
[[MORE]]
When did you get interested in photography?
I’ve always been involved in art — been sketching since I was a child. Photography seemed like a natural progression, which combined my theater experience and graphic design background. I’ve been shooting professionally for five years now.
Who would you describe as your influences as a photographer?
I try not to follow other photographers because I feel that influences my work too much, so I turn towards other types of artists for inspiration. My biggest influence is actually American painter Norman Rockwell. His ability to tell a rich story in a single painting continues to inspire me to be a better storyteller. Photos for me should be self-contained movies.
You also aren’t afraid to get in front of the camera.
Actually, I’m extremely self-conscious. However, there was a turning point in my career where I realized I needed to get over that irrational fear. I believe that in order to be a better director, you need to experience what your subjects experience.
All your photo work is very humanistic — lots of portraits, lots of tableaux involving people as characters.
It definitely stems from my theater experience and love of films. Storytelling has always been one of my strong points, so I feel that by including thematic elements or characters, it conveys the story better. There is almost always a protagonist in my photos.
When and how did the idea for Universe of One come about? You mention Cindy Sherman as an inspiration.
Cindy Sherman’s art was the creative catalyst for Universe of One, but it evolved from there. After reading a magazine interview with her, I became obsessed with her art, and that obsession finally came full circle when I went to view her exhibit at the SFMoMA a couple months ago. I set out to create a self portrait project that continued the spirit of her work. In my opinion, her more powerful images were ones that reminded you of someone you may have met or known personally. I wanted to play with that blurry line that made people question “is this person real or not?”.
Had you ever tried doing something like Universe of One before?
Like most photographers, I’ve definitely shot the occasional self-portrait — but it was never at this grand scale! Luckily I had experience doing wardrobe and styling for Firebird fashion shoots, so the only difference was that I was the subject this time.
Were you always thinking of doing a book?
I started posting the photos to Tumblr, which was like my virtual archive. But the thought of “what next?” started to frustrate me, so it felt like a book was the most natural progression. Taking the leap from screen to printed page is exciting and nerve-wracking at the same time.
What have some of the reactions been like to your various characters? Are any more popular than others, particularly?
The reaction has been very mixed. There are people who appreciate it on an artistic level because they’re just aesthetically nice portraits to look at. Then there are people who know what I truly look like and they appreciate it on a deeper level because of the amount of work that went into each portrait. Recently though, some people have been in an uproar over some images they perceived as offensive. But that’s fine with me because I’ve always believed art should provoke … otherwise it’s not worthy of being called art.
Which character was your favorite to create?
Definitely Lindsey, the 80s blonde chick. I actually love being the female characters. There’s something very relaxing about putting on makeup and transforming. Twirling my hair is also fun!
Other than “acting” as each character, the Universe of One photos also seem like they must require a lot of technical work in costuming, makeup, props, and especially lighting.
Each portrait comes with its own unique set of demands. I never like doing anything too predictable, so even if a portrait is pretty straightforward, I try to think of creative ways to up the anté. For my recent Great Gatsby series, I could have easily bought some vintage flapper dresses, but chose to make them out of newspaper instead. Creative decisions like that help to elevate them beyond ordinary. But I must confess that sometimes when I’m sweating off my makeup wearing a fragile outfit that’s tearing at the seams and setting up my hot lights that I regret making those decisions! But in the end, it’s all good as long as it looks good!
Were you surprised at how quickly the book’s Kickstarter was funded?
Indeed! My network of friends definitely came through with their support, which I am so grateful for. It also surprised me when complete strangers backed my Kickstarter, which was awesome!
Any plans to tour with the book or any other special promotion?
Currently, I have a photo exhibit scheduled at Honolulu’s Loading Zone gallery in April, where some of the props and costumes will be on display. After that, I have a few clever ideas for book promotion involving some recognizable celebrities.
Do you think you’ll still continue to make and shoot characters like those in Universe of One?
Definitely! The project was designed as an ever-expanding catalog, and there’s an endless amount of inspiration in the world. The world is full of lovely faces. Lately, I’ve been signing off my emails with “I look forward to being YOU soon.”
— Chris Mohney](http://24.media.tumblr.com/a4b2178328230b75b86650dbc22db387/tumblr_mk7vsjWnhK1rrpm57o1_1280.jpg)
![I Am Legion: Universe of One
Cheyne Gallarde was born and raised in Hawaii in the 80s, but he claims “my soul feels like it was born in the 50s.” His affection for midcentury Americana is plainly evident in the fashion photography of Gallarde’s studio Firebird Photography. Gallarde’s work combines a love of theater (and the theatrical) with maximalist colors and a kinetic feel. All of these elements came together in his Universe of One project, where Gallarde photographs himself as various characters using all the tools at his command, from makeup and wardrobe to lighting and backdrops. After testing the waters with his Tumblr, Gallarde decided to transform his transformations into a book via Kickstarter, with a modest cash goal that was funded almost immediately. Before that’s even done, he’ll spin it off into a second book, Twinsies, which will get its own Kickstarter very shortly. To demonstrate his skills, Gallarde offered to incarnate our own David Karp, and the man himself graciously accepted. The results and process may be seen above, and our talk with Gallarde appears below.
[[MORE]]
When did you get interested in photography?
I’ve always been involved in art — been sketching since I was a child. Photography seemed like a natural progression, which combined my theater experience and graphic design background. I’ve been shooting professionally for five years now.
Who would you describe as your influences as a photographer?
I try not to follow other photographers because I feel that influences my work too much, so I turn towards other types of artists for inspiration. My biggest influence is actually American painter Norman Rockwell. His ability to tell a rich story in a single painting continues to inspire me to be a better storyteller. Photos for me should be self-contained movies.
You also aren’t afraid to get in front of the camera.
Actually, I’m extremely self-conscious. However, there was a turning point in my career where I realized I needed to get over that irrational fear. I believe that in order to be a better director, you need to experience what your subjects experience.
All your photo work is very humanistic — lots of portraits, lots of tableaux involving people as characters.
It definitely stems from my theater experience and love of films. Storytelling has always been one of my strong points, so I feel that by including thematic elements or characters, it conveys the story better. There is almost always a protagonist in my photos.
When and how did the idea for Universe of One come about? You mention Cindy Sherman as an inspiration.
Cindy Sherman’s art was the creative catalyst for Universe of One, but it evolved from there. After reading a magazine interview with her, I became obsessed with her art, and that obsession finally came full circle when I went to view her exhibit at the SFMoMA a couple months ago. I set out to create a self portrait project that continued the spirit of her work. In my opinion, her more powerful images were ones that reminded you of someone you may have met or known personally. I wanted to play with that blurry line that made people question “is this person real or not?”.
Had you ever tried doing something like Universe of One before?
Like most photographers, I’ve definitely shot the occasional self-portrait — but it was never at this grand scale! Luckily I had experience doing wardrobe and styling for Firebird fashion shoots, so the only difference was that I was the subject this time.
Were you always thinking of doing a book?
I started posting the photos to Tumblr, which was like my virtual archive. But the thought of “what next?” started to frustrate me, so it felt like a book was the most natural progression. Taking the leap from screen to printed page is exciting and nerve-wracking at the same time.
What have some of the reactions been like to your various characters? Are any more popular than others, particularly?
The reaction has been very mixed. There are people who appreciate it on an artistic level because they’re just aesthetically nice portraits to look at. Then there are people who know what I truly look like and they appreciate it on a deeper level because of the amount of work that went into each portrait. Recently though, some people have been in an uproar over some images they perceived as offensive. But that’s fine with me because I’ve always believed art should provoke … otherwise it’s not worthy of being called art.
Which character was your favorite to create?
Definitely Lindsey, the 80s blonde chick. I actually love being the female characters. There’s something very relaxing about putting on makeup and transforming. Twirling my hair is also fun!
Other than “acting” as each character, the Universe of One photos also seem like they must require a lot of technical work in costuming, makeup, props, and especially lighting.
Each portrait comes with its own unique set of demands. I never like doing anything too predictable, so even if a portrait is pretty straightforward, I try to think of creative ways to up the anté. For my recent Great Gatsby series, I could have easily bought some vintage flapper dresses, but chose to make them out of newspaper instead. Creative decisions like that help to elevate them beyond ordinary. But I must confess that sometimes when I’m sweating off my makeup wearing a fragile outfit that’s tearing at the seams and setting up my hot lights that I regret making those decisions! But in the end, it’s all good as long as it looks good!
Were you surprised at how quickly the book’s Kickstarter was funded?
Indeed! My network of friends definitely came through with their support, which I am so grateful for. It also surprised me when complete strangers backed my Kickstarter, which was awesome!
Any plans to tour with the book or any other special promotion?
Currently, I have a photo exhibit scheduled at Honolulu’s Loading Zone gallery in April, where some of the props and costumes will be on display. After that, I have a few clever ideas for book promotion involving some recognizable celebrities.
Do you think you’ll still continue to make and shoot characters like those in Universe of One?
Definitely! The project was designed as an ever-expanding catalog, and there’s an endless amount of inspiration in the world. The world is full of lovely faces. Lately, I’ve been signing off my emails with “I look forward to being YOU soon.”
— Chris Mohney](http://24.media.tumblr.com/f14a05dbfedab29d1803e033c941b282/tumblr_mk7vsjWnhK1rrpm57o2_1280.jpg)
![I Am Legion: Universe of One
Cheyne Gallarde was born and raised in Hawaii in the 80s, but he claims “my soul feels like it was born in the 50s.” His affection for midcentury Americana is plainly evident in the fashion photography of Gallarde’s studio Firebird Photography. Gallarde’s work combines a love of theater (and the theatrical) with maximalist colors and a kinetic feel. All of these elements came together in his Universe of One project, where Gallarde photographs himself as various characters using all the tools at his command, from makeup and wardrobe to lighting and backdrops. After testing the waters with his Tumblr, Gallarde decided to transform his transformations into a book via Kickstarter, with a modest cash goal that was funded almost immediately. Before that’s even done, he’ll spin it off into a second book, Twinsies, which will get its own Kickstarter very shortly. To demonstrate his skills, Gallarde offered to incarnate our own David Karp, and the man himself graciously accepted. The results and process may be seen above, and our talk with Gallarde appears below.
[[MORE]]
When did you get interested in photography?
I’ve always been involved in art — been sketching since I was a child. Photography seemed like a natural progression, which combined my theater experience and graphic design background. I’ve been shooting professionally for five years now.
Who would you describe as your influences as a photographer?
I try not to follow other photographers because I feel that influences my work too much, so I turn towards other types of artists for inspiration. My biggest influence is actually American painter Norman Rockwell. His ability to tell a rich story in a single painting continues to inspire me to be a better storyteller. Photos for me should be self-contained movies.
You also aren’t afraid to get in front of the camera.
Actually, I’m extremely self-conscious. However, there was a turning point in my career where I realized I needed to get over that irrational fear. I believe that in order to be a better director, you need to experience what your subjects experience.
All your photo work is very humanistic — lots of portraits, lots of tableaux involving people as characters.
It definitely stems from my theater experience and love of films. Storytelling has always been one of my strong points, so I feel that by including thematic elements or characters, it conveys the story better. There is almost always a protagonist in my photos.
When and how did the idea for Universe of One come about? You mention Cindy Sherman as an inspiration.
Cindy Sherman’s art was the creative catalyst for Universe of One, but it evolved from there. After reading a magazine interview with her, I became obsessed with her art, and that obsession finally came full circle when I went to view her exhibit at the SFMoMA a couple months ago. I set out to create a self portrait project that continued the spirit of her work. In my opinion, her more powerful images were ones that reminded you of someone you may have met or known personally. I wanted to play with that blurry line that made people question “is this person real or not?”.
Had you ever tried doing something like Universe of One before?
Like most photographers, I’ve definitely shot the occasional self-portrait — but it was never at this grand scale! Luckily I had experience doing wardrobe and styling for Firebird fashion shoots, so the only difference was that I was the subject this time.
Were you always thinking of doing a book?
I started posting the photos to Tumblr, which was like my virtual archive. But the thought of “what next?” started to frustrate me, so it felt like a book was the most natural progression. Taking the leap from screen to printed page is exciting and nerve-wracking at the same time.
What have some of the reactions been like to your various characters? Are any more popular than others, particularly?
The reaction has been very mixed. There are people who appreciate it on an artistic level because they’re just aesthetically nice portraits to look at. Then there are people who know what I truly look like and they appreciate it on a deeper level because of the amount of work that went into each portrait. Recently though, some people have been in an uproar over some images they perceived as offensive. But that’s fine with me because I’ve always believed art should provoke … otherwise it’s not worthy of being called art.
Which character was your favorite to create?
Definitely Lindsey, the 80s blonde chick. I actually love being the female characters. There’s something very relaxing about putting on makeup and transforming. Twirling my hair is also fun!
Other than “acting” as each character, the Universe of One photos also seem like they must require a lot of technical work in costuming, makeup, props, and especially lighting.
Each portrait comes with its own unique set of demands. I never like doing anything too predictable, so even if a portrait is pretty straightforward, I try to think of creative ways to up the anté. For my recent Great Gatsby series, I could have easily bought some vintage flapper dresses, but chose to make them out of newspaper instead. Creative decisions like that help to elevate them beyond ordinary. But I must confess that sometimes when I’m sweating off my makeup wearing a fragile outfit that’s tearing at the seams and setting up my hot lights that I regret making those decisions! But in the end, it’s all good as long as it looks good!
Were you surprised at how quickly the book’s Kickstarter was funded?
Indeed! My network of friends definitely came through with their support, which I am so grateful for. It also surprised me when complete strangers backed my Kickstarter, which was awesome!
Any plans to tour with the book or any other special promotion?
Currently, I have a photo exhibit scheduled at Honolulu’s Loading Zone gallery in April, where some of the props and costumes will be on display. After that, I have a few clever ideas for book promotion involving some recognizable celebrities.
Do you think you’ll still continue to make and shoot characters like those in Universe of One?
Definitely! The project was designed as an ever-expanding catalog, and there’s an endless amount of inspiration in the world. The world is full of lovely faces. Lately, I’ve been signing off my emails with “I look forward to being YOU soon.”
— Chris Mohney](http://25.media.tumblr.com/4be3a976e3909307e592b2de351a3e3a/tumblr_mk7vsjWnhK1rrpm57o3_1280.jpg)
![I Am Legion: Universe of One
Cheyne Gallarde was born and raised in Hawaii in the 80s, but he claims “my soul feels like it was born in the 50s.” His affection for midcentury Americana is plainly evident in the fashion photography of Gallarde’s studio Firebird Photography. Gallarde’s work combines a love of theater (and the theatrical) with maximalist colors and a kinetic feel. All of these elements came together in his Universe of One project, where Gallarde photographs himself as various characters using all the tools at his command, from makeup and wardrobe to lighting and backdrops. After testing the waters with his Tumblr, Gallarde decided to transform his transformations into a book via Kickstarter, with a modest cash goal that was funded almost immediately. Before that’s even done, he’ll spin it off into a second book, Twinsies, which will get its own Kickstarter very shortly. To demonstrate his skills, Gallarde offered to incarnate our own David Karp, and the man himself graciously accepted. The results and process may be seen above, and our talk with Gallarde appears below.
[[MORE]]
When did you get interested in photography?
I’ve always been involved in art — been sketching since I was a child. Photography seemed like a natural progression, which combined my theater experience and graphic design background. I’ve been shooting professionally for five years now.
Who would you describe as your influences as a photographer?
I try not to follow other photographers because I feel that influences my work too much, so I turn towards other types of artists for inspiration. My biggest influence is actually American painter Norman Rockwell. His ability to tell a rich story in a single painting continues to inspire me to be a better storyteller. Photos for me should be self-contained movies.
You also aren’t afraid to get in front of the camera.
Actually, I’m extremely self-conscious. However, there was a turning point in my career where I realized I needed to get over that irrational fear. I believe that in order to be a better director, you need to experience what your subjects experience.
All your photo work is very humanistic — lots of portraits, lots of tableaux involving people as characters.
It definitely stems from my theater experience and love of films. Storytelling has always been one of my strong points, so I feel that by including thematic elements or characters, it conveys the story better. There is almost always a protagonist in my photos.
When and how did the idea for Universe of One come about? You mention Cindy Sherman as an inspiration.
Cindy Sherman’s art was the creative catalyst for Universe of One, but it evolved from there. After reading a magazine interview with her, I became obsessed with her art, and that obsession finally came full circle when I went to view her exhibit at the SFMoMA a couple months ago. I set out to create a self portrait project that continued the spirit of her work. In my opinion, her more powerful images were ones that reminded you of someone you may have met or known personally. I wanted to play with that blurry line that made people question “is this person real or not?”.
Had you ever tried doing something like Universe of One before?
Like most photographers, I’ve definitely shot the occasional self-portrait — but it was never at this grand scale! Luckily I had experience doing wardrobe and styling for Firebird fashion shoots, so the only difference was that I was the subject this time.
Were you always thinking of doing a book?
I started posting the photos to Tumblr, which was like my virtual archive. But the thought of “what next?” started to frustrate me, so it felt like a book was the most natural progression. Taking the leap from screen to printed page is exciting and nerve-wracking at the same time.
What have some of the reactions been like to your various characters? Are any more popular than others, particularly?
The reaction has been very mixed. There are people who appreciate it on an artistic level because they’re just aesthetically nice portraits to look at. Then there are people who know what I truly look like and they appreciate it on a deeper level because of the amount of work that went into each portrait. Recently though, some people have been in an uproar over some images they perceived as offensive. But that’s fine with me because I’ve always believed art should provoke … otherwise it’s not worthy of being called art.
Which character was your favorite to create?
Definitely Lindsey, the 80s blonde chick. I actually love being the female characters. There’s something very relaxing about putting on makeup and transforming. Twirling my hair is also fun!
Other than “acting” as each character, the Universe of One photos also seem like they must require a lot of technical work in costuming, makeup, props, and especially lighting.
Each portrait comes with its own unique set of demands. I never like doing anything too predictable, so even if a portrait is pretty straightforward, I try to think of creative ways to up the anté. For my recent Great Gatsby series, I could have easily bought some vintage flapper dresses, but chose to make them out of newspaper instead. Creative decisions like that help to elevate them beyond ordinary. But I must confess that sometimes when I’m sweating off my makeup wearing a fragile outfit that’s tearing at the seams and setting up my hot lights that I regret making those decisions! But in the end, it’s all good as long as it looks good!
Were you surprised at how quickly the book’s Kickstarter was funded?
Indeed! My network of friends definitely came through with their support, which I am so grateful for. It also surprised me when complete strangers backed my Kickstarter, which was awesome!
Any plans to tour with the book or any other special promotion?
Currently, I have a photo exhibit scheduled at Honolulu’s Loading Zone gallery in April, where some of the props and costumes will be on display. After that, I have a few clever ideas for book promotion involving some recognizable celebrities.
Do you think you’ll still continue to make and shoot characters like those in Universe of One?
Definitely! The project was designed as an ever-expanding catalog, and there’s an endless amount of inspiration in the world. The world is full of lovely faces. Lately, I’ve been signing off my emails with “I look forward to being YOU soon.”
— Chris Mohney](http://24.media.tumblr.com/062abe0afe19af6677d8200b214aaa2b/tumblr_mk7vsjWnhK1rrpm57o4_1280.jpg)
![I Am Legion: Universe of One
Cheyne Gallarde was born and raised in Hawaii in the 80s, but he claims “my soul feels like it was born in the 50s.” His affection for midcentury Americana is plainly evident in the fashion photography of Gallarde’s studio Firebird Photography. Gallarde’s work combines a love of theater (and the theatrical) with maximalist colors and a kinetic feel. All of these elements came together in his Universe of One project, where Gallarde photographs himself as various characters using all the tools at his command, from makeup and wardrobe to lighting and backdrops. After testing the waters with his Tumblr, Gallarde decided to transform his transformations into a book via Kickstarter, with a modest cash goal that was funded almost immediately. Before that’s even done, he’ll spin it off into a second book, Twinsies, which will get its own Kickstarter very shortly. To demonstrate his skills, Gallarde offered to incarnate our own David Karp, and the man himself graciously accepted. The results and process may be seen above, and our talk with Gallarde appears below.
[[MORE]]
When did you get interested in photography?
I’ve always been involved in art — been sketching since I was a child. Photography seemed like a natural progression, which combined my theater experience and graphic design background. I’ve been shooting professionally for five years now.
Who would you describe as your influences as a photographer?
I try not to follow other photographers because I feel that influences my work too much, so I turn towards other types of artists for inspiration. My biggest influence is actually American painter Norman Rockwell. His ability to tell a rich story in a single painting continues to inspire me to be a better storyteller. Photos for me should be self-contained movies.
You also aren’t afraid to get in front of the camera.
Actually, I’m extremely self-conscious. However, there was a turning point in my career where I realized I needed to get over that irrational fear. I believe that in order to be a better director, you need to experience what your subjects experience.
All your photo work is very humanistic — lots of portraits, lots of tableaux involving people as characters.
It definitely stems from my theater experience and love of films. Storytelling has always been one of my strong points, so I feel that by including thematic elements or characters, it conveys the story better. There is almost always a protagonist in my photos.
When and how did the idea for Universe of One come about? You mention Cindy Sherman as an inspiration.
Cindy Sherman’s art was the creative catalyst for Universe of One, but it evolved from there. After reading a magazine interview with her, I became obsessed with her art, and that obsession finally came full circle when I went to view her exhibit at the SFMoMA a couple months ago. I set out to create a self portrait project that continued the spirit of her work. In my opinion, her more powerful images were ones that reminded you of someone you may have met or known personally. I wanted to play with that blurry line that made people question “is this person real or not?”.
Had you ever tried doing something like Universe of One before?
Like most photographers, I’ve definitely shot the occasional self-portrait — but it was never at this grand scale! Luckily I had experience doing wardrobe and styling for Firebird fashion shoots, so the only difference was that I was the subject this time.
Were you always thinking of doing a book?
I started posting the photos to Tumblr, which was like my virtual archive. But the thought of “what next?” started to frustrate me, so it felt like a book was the most natural progression. Taking the leap from screen to printed page is exciting and nerve-wracking at the same time.
What have some of the reactions been like to your various characters? Are any more popular than others, particularly?
The reaction has been very mixed. There are people who appreciate it on an artistic level because they’re just aesthetically nice portraits to look at. Then there are people who know what I truly look like and they appreciate it on a deeper level because of the amount of work that went into each portrait. Recently though, some people have been in an uproar over some images they perceived as offensive. But that’s fine with me because I’ve always believed art should provoke … otherwise it’s not worthy of being called art.
Which character was your favorite to create?
Definitely Lindsey, the 80s blonde chick. I actually love being the female characters. There’s something very relaxing about putting on makeup and transforming. Twirling my hair is also fun!
Other than “acting” as each character, the Universe of One photos also seem like they must require a lot of technical work in costuming, makeup, props, and especially lighting.
Each portrait comes with its own unique set of demands. I never like doing anything too predictable, so even if a portrait is pretty straightforward, I try to think of creative ways to up the anté. For my recent Great Gatsby series, I could have easily bought some vintage flapper dresses, but chose to make them out of newspaper instead. Creative decisions like that help to elevate them beyond ordinary. But I must confess that sometimes when I’m sweating off my makeup wearing a fragile outfit that’s tearing at the seams and setting up my hot lights that I regret making those decisions! But in the end, it’s all good as long as it looks good!
Were you surprised at how quickly the book’s Kickstarter was funded?
Indeed! My network of friends definitely came through with their support, which I am so grateful for. It also surprised me when complete strangers backed my Kickstarter, which was awesome!
Any plans to tour with the book or any other special promotion?
Currently, I have a photo exhibit scheduled at Honolulu’s Loading Zone gallery in April, where some of the props and costumes will be on display. After that, I have a few clever ideas for book promotion involving some recognizable celebrities.
Do you think you’ll still continue to make and shoot characters like those in Universe of One?
Definitely! The project was designed as an ever-expanding catalog, and there’s an endless amount of inspiration in the world. The world is full of lovely faces. Lately, I’ve been signing off my emails with “I look forward to being YOU soon.”
— Chris Mohney](http://25.media.tumblr.com/d2eb26653e59b81789a63cc1db658170/tumblr_mk7vsjWnhK1rrpm57o5_1280.jpg)
![I Am Legion: Universe of One
Cheyne Gallarde was born and raised in Hawaii in the 80s, but he claims “my soul feels like it was born in the 50s.” His affection for midcentury Americana is plainly evident in the fashion photography of Gallarde’s studio Firebird Photography. Gallarde’s work combines a love of theater (and the theatrical) with maximalist colors and a kinetic feel. All of these elements came together in his Universe of One project, where Gallarde photographs himself as various characters using all the tools at his command, from makeup and wardrobe to lighting and backdrops. After testing the waters with his Tumblr, Gallarde decided to transform his transformations into a book via Kickstarter, with a modest cash goal that was funded almost immediately. Before that’s even done, he’ll spin it off into a second book, Twinsies, which will get its own Kickstarter very shortly. To demonstrate his skills, Gallarde offered to incarnate our own David Karp, and the man himself graciously accepted. The results and process may be seen above, and our talk with Gallarde appears below.
[[MORE]]
When did you get interested in photography?
I’ve always been involved in art — been sketching since I was a child. Photography seemed like a natural progression, which combined my theater experience and graphic design background. I’ve been shooting professionally for five years now.
Who would you describe as your influences as a photographer?
I try not to follow other photographers because I feel that influences my work too much, so I turn towards other types of artists for inspiration. My biggest influence is actually American painter Norman Rockwell. His ability to tell a rich story in a single painting continues to inspire me to be a better storyteller. Photos for me should be self-contained movies.
You also aren’t afraid to get in front of the camera.
Actually, I’m extremely self-conscious. However, there was a turning point in my career where I realized I needed to get over that irrational fear. I believe that in order to be a better director, you need to experience what your subjects experience.
All your photo work is very humanistic — lots of portraits, lots of tableaux involving people as characters.
It definitely stems from my theater experience and love of films. Storytelling has always been one of my strong points, so I feel that by including thematic elements or characters, it conveys the story better. There is almost always a protagonist in my photos.
When and how did the idea for Universe of One come about? You mention Cindy Sherman as an inspiration.
Cindy Sherman’s art was the creative catalyst for Universe of One, but it evolved from there. After reading a magazine interview with her, I became obsessed with her art, and that obsession finally came full circle when I went to view her exhibit at the SFMoMA a couple months ago. I set out to create a self portrait project that continued the spirit of her work. In my opinion, her more powerful images were ones that reminded you of someone you may have met or known personally. I wanted to play with that blurry line that made people question “is this person real or not?”.
Had you ever tried doing something like Universe of One before?
Like most photographers, I’ve definitely shot the occasional self-portrait — but it was never at this grand scale! Luckily I had experience doing wardrobe and styling for Firebird fashion shoots, so the only difference was that I was the subject this time.
Were you always thinking of doing a book?
I started posting the photos to Tumblr, which was like my virtual archive. But the thought of “what next?” started to frustrate me, so it felt like a book was the most natural progression. Taking the leap from screen to printed page is exciting and nerve-wracking at the same time.
What have some of the reactions been like to your various characters? Are any more popular than others, particularly?
The reaction has been very mixed. There are people who appreciate it on an artistic level because they’re just aesthetically nice portraits to look at. Then there are people who know what I truly look like and they appreciate it on a deeper level because of the amount of work that went into each portrait. Recently though, some people have been in an uproar over some images they perceived as offensive. But that’s fine with me because I’ve always believed art should provoke … otherwise it’s not worthy of being called art.
Which character was your favorite to create?
Definitely Lindsey, the 80s blonde chick. I actually love being the female characters. There’s something very relaxing about putting on makeup and transforming. Twirling my hair is also fun!
Other than “acting” as each character, the Universe of One photos also seem like they must require a lot of technical work in costuming, makeup, props, and especially lighting.
Each portrait comes with its own unique set of demands. I never like doing anything too predictable, so even if a portrait is pretty straightforward, I try to think of creative ways to up the anté. For my recent Great Gatsby series, I could have easily bought some vintage flapper dresses, but chose to make them out of newspaper instead. Creative decisions like that help to elevate them beyond ordinary. But I must confess that sometimes when I’m sweating off my makeup wearing a fragile outfit that’s tearing at the seams and setting up my hot lights that I regret making those decisions! But in the end, it’s all good as long as it looks good!
Were you surprised at how quickly the book’s Kickstarter was funded?
Indeed! My network of friends definitely came through with their support, which I am so grateful for. It also surprised me when complete strangers backed my Kickstarter, which was awesome!
Any plans to tour with the book or any other special promotion?
Currently, I have a photo exhibit scheduled at Honolulu’s Loading Zone gallery in April, where some of the props and costumes will be on display. After that, I have a few clever ideas for book promotion involving some recognizable celebrities.
Do you think you’ll still continue to make and shoot characters like those in Universe of One?
Definitely! The project was designed as an ever-expanding catalog, and there’s an endless amount of inspiration in the world. The world is full of lovely faces. Lately, I’ve been signing off my emails with “I look forward to being YOU soon.”
— Chris Mohney](http://24.media.tumblr.com/c4bf03df7db7355f4bdaaae3edcd6f8c/tumblr_mk7vsjWnhK1rrpm57o6_1280.jpg)
![I Am Legion: Universe of One
Cheyne Gallarde was born and raised in Hawaii in the 80s, but he claims “my soul feels like it was born in the 50s.” His affection for midcentury Americana is plainly evident in the fashion photography of Gallarde’s studio Firebird Photography. Gallarde’s work combines a love of theater (and the theatrical) with maximalist colors and a kinetic feel. All of these elements came together in his Universe of One project, where Gallarde photographs himself as various characters using all the tools at his command, from makeup and wardrobe to lighting and backdrops. After testing the waters with his Tumblr, Gallarde decided to transform his transformations into a book via Kickstarter, with a modest cash goal that was funded almost immediately. Before that’s even done, he’ll spin it off into a second book, Twinsies, which will get its own Kickstarter very shortly. To demonstrate his skills, Gallarde offered to incarnate our own David Karp, and the man himself graciously accepted. The results and process may be seen above, and our talk with Gallarde appears below.
[[MORE]]
When did you get interested in photography?
I’ve always been involved in art — been sketching since I was a child. Photography seemed like a natural progression, which combined my theater experience and graphic design background. I’ve been shooting professionally for five years now.
Who would you describe as your influences as a photographer?
I try not to follow other photographers because I feel that influences my work too much, so I turn towards other types of artists for inspiration. My biggest influence is actually American painter Norman Rockwell. His ability to tell a rich story in a single painting continues to inspire me to be a better storyteller. Photos for me should be self-contained movies.
You also aren’t afraid to get in front of the camera.
Actually, I’m extremely self-conscious. However, there was a turning point in my career where I realized I needed to get over that irrational fear. I believe that in order to be a better director, you need to experience what your subjects experience.
All your photo work is very humanistic — lots of portraits, lots of tableaux involving people as characters.
It definitely stems from my theater experience and love of films. Storytelling has always been one of my strong points, so I feel that by including thematic elements or characters, it conveys the story better. There is almost always a protagonist in my photos.
When and how did the idea for Universe of One come about? You mention Cindy Sherman as an inspiration.
Cindy Sherman’s art was the creative catalyst for Universe of One, but it evolved from there. After reading a magazine interview with her, I became obsessed with her art, and that obsession finally came full circle when I went to view her exhibit at the SFMoMA a couple months ago. I set out to create a self portrait project that continued the spirit of her work. In my opinion, her more powerful images were ones that reminded you of someone you may have met or known personally. I wanted to play with that blurry line that made people question “is this person real or not?”.
Had you ever tried doing something like Universe of One before?
Like most photographers, I’ve definitely shot the occasional self-portrait — but it was never at this grand scale! Luckily I had experience doing wardrobe and styling for Firebird fashion shoots, so the only difference was that I was the subject this time.
Were you always thinking of doing a book?
I started posting the photos to Tumblr, which was like my virtual archive. But the thought of “what next?” started to frustrate me, so it felt like a book was the most natural progression. Taking the leap from screen to printed page is exciting and nerve-wracking at the same time.
What have some of the reactions been like to your various characters? Are any more popular than others, particularly?
The reaction has been very mixed. There are people who appreciate it on an artistic level because they’re just aesthetically nice portraits to look at. Then there are people who know what I truly look like and they appreciate it on a deeper level because of the amount of work that went into each portrait. Recently though, some people have been in an uproar over some images they perceived as offensive. But that’s fine with me because I’ve always believed art should provoke … otherwise it’s not worthy of being called art.
Which character was your favorite to create?
Definitely Lindsey, the 80s blonde chick. I actually love being the female characters. There’s something very relaxing about putting on makeup and transforming. Twirling my hair is also fun!
Other than “acting” as each character, the Universe of One photos also seem like they must require a lot of technical work in costuming, makeup, props, and especially lighting.
Each portrait comes with its own unique set of demands. I never like doing anything too predictable, so even if a portrait is pretty straightforward, I try to think of creative ways to up the anté. For my recent Great Gatsby series, I could have easily bought some vintage flapper dresses, but chose to make them out of newspaper instead. Creative decisions like that help to elevate them beyond ordinary. But I must confess that sometimes when I’m sweating off my makeup wearing a fragile outfit that’s tearing at the seams and setting up my hot lights that I regret making those decisions! But in the end, it’s all good as long as it looks good!
Were you surprised at how quickly the book’s Kickstarter was funded?
Indeed! My network of friends definitely came through with their support, which I am so grateful for. It also surprised me when complete strangers backed my Kickstarter, which was awesome!
Any plans to tour with the book or any other special promotion?
Currently, I have a photo exhibit scheduled at Honolulu’s Loading Zone gallery in April, where some of the props and costumes will be on display. After that, I have a few clever ideas for book promotion involving some recognizable celebrities.
Do you think you’ll still continue to make and shoot characters like those in Universe of One?
Definitely! The project was designed as an ever-expanding catalog, and there’s an endless amount of inspiration in the world. The world is full of lovely faces. Lately, I’ve been signing off my emails with “I look forward to being YOU soon.”
— Chris Mohney](http://24.media.tumblr.com/39573f47a61ced419b356825e86f4dfb/tumblr_mk7vsjWnhK1rrpm57o7_1280.jpg)
![I Am Legion: Universe of One
Cheyne Gallarde was born and raised in Hawaii in the 80s, but he claims “my soul feels like it was born in the 50s.” His affection for midcentury Americana is plainly evident in the fashion photography of Gallarde’s studio Firebird Photography. Gallarde’s work combines a love of theater (and the theatrical) with maximalist colors and a kinetic feel. All of these elements came together in his Universe of One project, where Gallarde photographs himself as various characters using all the tools at his command, from makeup and wardrobe to lighting and backdrops. After testing the waters with his Tumblr, Gallarde decided to transform his transformations into a book via Kickstarter, with a modest cash goal that was funded almost immediately. Before that’s even done, he’ll spin it off into a second book, Twinsies, which will get its own Kickstarter very shortly. To demonstrate his skills, Gallarde offered to incarnate our own David Karp, and the man himself graciously accepted. The results and process may be seen above, and our talk with Gallarde appears below.
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When did you get interested in photography?
I’ve always been involved in art — been sketching since I was a child. Photography seemed like a natural progression, which combined my theater experience and graphic design background. I’ve been shooting professionally for five years now.
Who would you describe as your influences as a photographer?
I try not to follow other photographers because I feel that influences my work too much, so I turn towards other types of artists for inspiration. My biggest influence is actually American painter Norman Rockwell. His ability to tell a rich story in a single painting continues to inspire me to be a better storyteller. Photos for me should be self-contained movies.
You also aren’t afraid to get in front of the camera.
Actually, I’m extremely self-conscious. However, there was a turning point in my career where I realized I needed to get over that irrational fear. I believe that in order to be a better director, you need to experience what your subjects experience.
All your photo work is very humanistic — lots of portraits, lots of tableaux involving people as characters.
It definitely stems from my theater experience and love of films. Storytelling has always been one of my strong points, so I feel that by including thematic elements or characters, it conveys the story better. There is almost always a protagonist in my photos.
When and how did the idea for Universe of One come about? You mention Cindy Sherman as an inspiration.
Cindy Sherman’s art was the creative catalyst for Universe of One, but it evolved from there. After reading a magazine interview with her, I became obsessed with her art, and that obsession finally came full circle when I went to view her exhibit at the SFMoMA a couple months ago. I set out to create a self portrait project that continued the spirit of her work. In my opinion, her more powerful images were ones that reminded you of someone you may have met or known personally. I wanted to play with that blurry line that made people question “is this person real or not?”.
Had you ever tried doing something like Universe of One before?
Like most photographers, I’ve definitely shot the occasional self-portrait — but it was never at this grand scale! Luckily I had experience doing wardrobe and styling for Firebird fashion shoots, so the only difference was that I was the subject this time.
Were you always thinking of doing a book?
I started posting the photos to Tumblr, which was like my virtual archive. But the thought of “what next?” started to frustrate me, so it felt like a book was the most natural progression. Taking the leap from screen to printed page is exciting and nerve-wracking at the same time.
What have some of the reactions been like to your various characters? Are any more popular than others, particularly?
The reaction has been very mixed. There are people who appreciate it on an artistic level because they’re just aesthetically nice portraits to look at. Then there are people who know what I truly look like and they appreciate it on a deeper level because of the amount of work that went into each portrait. Recently though, some people have been in an uproar over some images they perceived as offensive. But that’s fine with me because I’ve always believed art should provoke … otherwise it’s not worthy of being called art.
Which character was your favorite to create?
Definitely Lindsey, the 80s blonde chick. I actually love being the female characters. There’s something very relaxing about putting on makeup and transforming. Twirling my hair is also fun!
Other than “acting” as each character, the Universe of One photos also seem like they must require a lot of technical work in costuming, makeup, props, and especially lighting.
Each portrait comes with its own unique set of demands. I never like doing anything too predictable, so even if a portrait is pretty straightforward, I try to think of creative ways to up the anté. For my recent Great Gatsby series, I could have easily bought some vintage flapper dresses, but chose to make them out of newspaper instead. Creative decisions like that help to elevate them beyond ordinary. But I must confess that sometimes when I’m sweating off my makeup wearing a fragile outfit that’s tearing at the seams and setting up my hot lights that I regret making those decisions! But in the end, it’s all good as long as it looks good!
Were you surprised at how quickly the book’s Kickstarter was funded?
Indeed! My network of friends definitely came through with their support, which I am so grateful for. It also surprised me when complete strangers backed my Kickstarter, which was awesome!
Any plans to tour with the book or any other special promotion?
Currently, I have a photo exhibit scheduled at Honolulu’s Loading Zone gallery in April, where some of the props and costumes will be on display. After that, I have a few clever ideas for book promotion involving some recognizable celebrities.
Do you think you’ll still continue to make and shoot characters like those in Universe of One?
Definitely! The project was designed as an ever-expanding catalog, and there’s an endless amount of inspiration in the world. The world is full of lovely faces. Lately, I’ve been signing off my emails with “I look forward to being YOU soon.”
— Chris Mohney](http://25.media.tumblr.com/cb46fb93cce90a9331b081f61750abd6/tumblr_mk7vsjWnhK1rrpm57o8_1280.jpg)
![I Am Legion: Universe of One
Cheyne Gallarde was born and raised in Hawaii in the 80s, but he claims “my soul feels like it was born in the 50s.” His affection for midcentury Americana is plainly evident in the fashion photography of Gallarde’s studio Firebird Photography. Gallarde’s work combines a love of theater (and the theatrical) with maximalist colors and a kinetic feel. All of these elements came together in his Universe of One project, where Gallarde photographs himself as various characters using all the tools at his command, from makeup and wardrobe to lighting and backdrops. After testing the waters with his Tumblr, Gallarde decided to transform his transformations into a book via Kickstarter, with a modest cash goal that was funded almost immediately. Before that’s even done, he’ll spin it off into a second book, Twinsies, which will get its own Kickstarter very shortly. To demonstrate his skills, Gallarde offered to incarnate our own David Karp, and the man himself graciously accepted. The results and process may be seen above, and our talk with Gallarde appears below.
[[MORE]]
When did you get interested in photography?
I’ve always been involved in art — been sketching since I was a child. Photography seemed like a natural progression, which combined my theater experience and graphic design background. I’ve been shooting professionally for five years now.
Who would you describe as your influences as a photographer?
I try not to follow other photographers because I feel that influences my work too much, so I turn towards other types of artists for inspiration. My biggest influence is actually American painter Norman Rockwell. His ability to tell a rich story in a single painting continues to inspire me to be a better storyteller. Photos for me should be self-contained movies.
You also aren’t afraid to get in front of the camera.
Actually, I’m extremely self-conscious. However, there was a turning point in my career where I realized I needed to get over that irrational fear. I believe that in order to be a better director, you need to experience what your subjects experience.
All your photo work is very humanistic — lots of portraits, lots of tableaux involving people as characters.
It definitely stems from my theater experience and love of films. Storytelling has always been one of my strong points, so I feel that by including thematic elements or characters, it conveys the story better. There is almost always a protagonist in my photos.
When and how did the idea for Universe of One come about? You mention Cindy Sherman as an inspiration.
Cindy Sherman’s art was the creative catalyst for Universe of One, but it evolved from there. After reading a magazine interview with her, I became obsessed with her art, and that obsession finally came full circle when I went to view her exhibit at the SFMoMA a couple months ago. I set out to create a self portrait project that continued the spirit of her work. In my opinion, her more powerful images were ones that reminded you of someone you may have met or known personally. I wanted to play with that blurry line that made people question “is this person real or not?”.
Had you ever tried doing something like Universe of One before?
Like most photographers, I’ve definitely shot the occasional self-portrait — but it was never at this grand scale! Luckily I had experience doing wardrobe and styling for Firebird fashion shoots, so the only difference was that I was the subject this time.
Were you always thinking of doing a book?
I started posting the photos to Tumblr, which was like my virtual archive. But the thought of “what next?” started to frustrate me, so it felt like a book was the most natural progression. Taking the leap from screen to printed page is exciting and nerve-wracking at the same time.
What have some of the reactions been like to your various characters? Are any more popular than others, particularly?
The reaction has been very mixed. There are people who appreciate it on an artistic level because they’re just aesthetically nice portraits to look at. Then there are people who know what I truly look like and they appreciate it on a deeper level because of the amount of work that went into each portrait. Recently though, some people have been in an uproar over some images they perceived as offensive. But that’s fine with me because I’ve always believed art should provoke … otherwise it’s not worthy of being called art.
Which character was your favorite to create?
Definitely Lindsey, the 80s blonde chick. I actually love being the female characters. There’s something very relaxing about putting on makeup and transforming. Twirling my hair is also fun!
Other than “acting” as each character, the Universe of One photos also seem like they must require a lot of technical work in costuming, makeup, props, and especially lighting.
Each portrait comes with its own unique set of demands. I never like doing anything too predictable, so even if a portrait is pretty straightforward, I try to think of creative ways to up the anté. For my recent Great Gatsby series, I could have easily bought some vintage flapper dresses, but chose to make them out of newspaper instead. Creative decisions like that help to elevate them beyond ordinary. But I must confess that sometimes when I’m sweating off my makeup wearing a fragile outfit that’s tearing at the seams and setting up my hot lights that I regret making those decisions! But in the end, it’s all good as long as it looks good!
Were you surprised at how quickly the book’s Kickstarter was funded?
Indeed! My network of friends definitely came through with their support, which I am so grateful for. It also surprised me when complete strangers backed my Kickstarter, which was awesome!
Any plans to tour with the book or any other special promotion?
Currently, I have a photo exhibit scheduled at Honolulu’s Loading Zone gallery in April, where some of the props and costumes will be on display. After that, I have a few clever ideas for book promotion involving some recognizable celebrities.
Do you think you’ll still continue to make and shoot characters like those in Universe of One?
Definitely! The project was designed as an ever-expanding catalog, and there’s an endless amount of inspiration in the world. The world is full of lovely faces. Lately, I’ve been signing off my emails with “I look forward to being YOU soon.”
— Chris Mohney](http://24.media.tumblr.com/fcc4edcc1f5abb95c7fab751cc2c6d48/tumblr_mk7vsjWnhK1rrpm57o9_1280.jpg)
I Am Legion: Universe of One
Cheyne Gallarde was born and raised in Hawaii in the 80s, but he claims “my soul feels like it was born in the 50s.” His affection for midcentury Americana is plainly evident in the fashion photography of Gallarde’s studio Firebird Photography. Gallarde’s work combines a love of theater (and the theatrical) with maximalist colors and a kinetic feel. All of these elements came together in his Universe of One project, where Gallarde photographs himself as various characters using all the tools at his command, from makeup and wardrobe to lighting and backdrops. After testing the waters with his Tumblr, Gallarde decided to transform his transformations into a book via Kickstarter, with a modest cash goal that was funded almost immediately. Before that’s even done, he’ll spin it off into a second book, Twinsies, which will get its own Kickstarter very shortly. To demonstrate his skills, Gallarde offered to incarnate our own David Karp, and the man himself graciously accepted. The results and process may be seen above, and our talk with Gallarde appears below.
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