Brad DeCecco converses with C.L. Taylor of the Curious Artist family about his art and his experiences with the people he meets along the way.

What’s up Brad, thanks for taking some time to talk with Curious Artist. Tell us a little about your early exposure to photography.

I had a great teacher in high school who is actually this amazing photographer, so I spent half of my high school life in the darkroom.

Did you go on to pursue an education in photography in college?

I studied science and English at Oberlin College in Ohio. After graduation I basically moved to New York started interning for photographers then assisting then started doing my own stuff back in 2000. I think I learned more that way than being in a program.

So I guess your GPA never comes up in an interview.

I know that when I walk in to a photo editor or art director’s office the only thing that matters is my book.

What stands out for you as the major differences between working in film and photography?

The thing that amazes me about the film world is the amount of collaboration that goes on and the way that people get along. I didn’t start working in film until about three years ago but I observed that photographers are very standoffish and don’t tend to associate with each other too much cause its like such a cut throat business, not that film isn’t but once I started working in film I started working with producers and assistant directors and like everybody is so willing to help one another out. The atmosphere in around film feels like a family where as in photography you feel like you’re on an island which can be cool to but it’s like a totally different world.

Does the nature of your relationship to the subject or scene change as you alter your role for a project?

I feel like film is a lot less intimate because there so much more equipment involved and there are so many more people involved so its harder for you to focus on the subject and its hard for the subject to focus on the director. During filming you’ve got to be thinking about lighting and production issues and things like that. You can still have these concerns in photography, but it can be just you, the subject and the sun. I fell like it’s a lot more intimate, therefore I feel like it has the power to be a lot more effective in communicating with the audience.

I love your photo of an elderly woman checking the barrel of a gun, please elaborate.

She is one of the Second Amendment Sisters. They’re a national organization that empowers women to own and know how to use hand guns. That photo was taken at their annual meeting in Texas. We went shooting together, it was pretty crazy. They’re like down in Texas one of them was from North Dakota but they had this preconceived notion that this new Yorker was going to be this super liberal gun hating type person. You know, it was funny because we became these really good friends.

I told them that I had been hunting and they were like what? I told them that I actually shot an Elk in Montana. It sort of broke down some barriers, we didn’t talk about politics but it was still really cool. That’s what I love about photography, it can take into something that you would never walk into otherwise, and to see people lives that you just you wouldn’t see, that they don’t always show to people.

Artist are known for being very critical of themselves. Do you find yourself looking back saying, man I should have changed this shot or that lighting?

I do. I go through it more afterwards unfortunately. I think most good artist that I know are never really happy with there last project. That’s kind of what really drives me to sort of outdo myself. I think if you just sit back and say like wow I’m really good then you’re kind of just going to just keep doing the same thing. It’s not on purpose but I can say I’ve been ninety percent happy with stuff.

Is the artist responsible for the viewer or the work on display?

I think my first responsibility is to the subject. I’m always really conscious of that. You know, I did photo journalism for the first year when I moved here and on the side I worked for Associated Press. I saw people willing to manipulate reality to get the story that they wanted. I saw people being asked to do things that they weren’t actually doing. I’m not a photo journalist, that’s not what I do but still feel it’s important to tell an honest story. I don’t believe in manipulating something for the benefit of the viewer. I think that honesty translates into valuing the viewer and there perspective.

I recently saw some of you work on the internet. It was a small platoon of soldiers walking through New York City. Tell us about that.

On YOUTUBE, yeah I DP’d that (director of photography of cinematographer).The film work I do is generally DP for music videos and things I’ll direct and shoot. For that particular project I was doing the camera work. That was a particular action that took place in New York City where they were trying to show the American public what it like to live in Baghdad. So your just standing on a street corner and all of a sudden here comes thirty guys in camo who take your mom and your sister, who are standing next to you, through them up against a wall, handcuff them and take them to god knows where.

Like trying to drive it home what it’s like in Iraq.

Pretty scary scene.

Yeah it that was one of the most intense things I’ve ever done because they all were actual Iraq war veterans. I hope it has some positive effect on society.

What can we look forward to seeing in the future from you?

We’re editing a music video I directed and dp it’s going come out in September. It’s for a band called GOLDSTREETS. They are a Brooklyn band that has a lot of interest from some major labels. Did you see the website for the documentary film Serpent and the Rock? That’s sort a feature length documentary I’ve been working on for three years and we’re just sort of wrapping that up now. It’s about a town in Montana that was asbestos poisoned by this mine for about 60 years and basically no one told anyone that worked in the mine or anyone in the mine that it was contaminated. Since it takes like 30 years to affect you people didn’t start getting really sick and dying until the 80s and they finally started putting things together in 2000. Then low and behold the world trade center was full of this exact same asbestos from this town. What we are doing is interviewing all the people in this town in Montana and showing how they were mislead and interviewing people that were downtown on 9/11 and showing how they were mislead. Then we are comparing there illnesses and there experiences and sort of drawing that parallel to say what’s going to happen in New York in about 30 years. There is going to be huge health crisis.

Especially first responders.

Exactly, we are also talking to resident office workers, doctors in the monitoring programs and lawyers.

What is most important to you in your work the message you convey or the presentation.

I really try and go down the middle but I think that most of the personal work I do and the jobs I try to go for motivated by… I don’t really like the word activist but they are usually born of my sense of injustice. Like I really try and do… like the documentary for example. Its so appalling that people that worked on the pile and people that lived downtown are going to be really sick …it comes from like an activist tendency but I like try and put a visually artistic slant on it because I think that’s the way to get people to be aware and be involved. Not just flaring your arms and saying hey these people are sick but to present it in such a way that’s artistic and visually interesting so that people will actually pay attention to it and it will stand out. And I think the people that we are trying to help or bring attention to deserve that.

Thanks for taking some time to talk to Curious Artist and our readers.

No problem, keep in touch.

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Brad DeCecco Photography: Official Site

Also Check Out: Operation First Casualty

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Interview By C.L. Taylor

Thank You For Your Support - Amon Focus

In 2004, Ray Kay arrived in the States as a music video director determined to make a notch on the bedpost of American pop culture. The Norwegian-born artist had come well-prepared. A large portion of his youth was spent following in the footsteps of a camera-wielding father, mastering the art of taking and developing still images before delving into the world of motion pictures in adulthood.

A year and a half in Norway’s military video department paved the way for a lengthy career in television, where Kay honed his craft by working on everything from entertainment programs to documentaries. Eventually, he parlayed that experience into passion when he began shooting music videos. The shoestring budgets of his early directing days often required Kay to became an on-set everyman, filling the roles of a full crew either single-handedly or with the help of a few close friends. It was through this obligatory additional labor that his distinct, European style was born.

After two years spent earning a reputation as a premier talent in Scandinavia, he joined forces with America’s Robin Frank Management and Rockhard Films. The partnerships proved successful.

To date Ray Kay has managed to infiltrate the tightly woven Hip-Hop and R & B circles, helming on-screen projects for artists like Trick Daddy, Destiny’s Child, Christina Milian, and Frankie J. His most recent conquests include Cassie’s Me & U and Nick Lachey’s What’s Left of Me – each a smash hit video that embodies the cinematic slickness that is Kay’s distinguishing mark. We caught up with him just as the former was being released and learned that, although the details of his upcoming works are still privileged, they are sure to be a testament to his keen eye for stunning visuals and his love of the craft.

video still from Destiny’s Child “Soldier”

What do you feel are the major differences between the musical culture in America and that of your native Norway?

Norway and the rest of Scandinavia is a highly “Americanized” culture. I didn’t think it was going to be a big move when I decided to pack my bags and make America my new home, but I was wrong. It’s very different from Norway. The musical culture is very different, and in the music video scene, the clips definitely reflect the culture, so it seems American videos are often big and colourful - while European videos are often low key and artistic. Being from Europe and working in the US has actually been an advantage for me, since I have an understanding of both cultures – and you can see that duality in my videos. I started out doing colourful videos, but I have lately created a more sophisticated style. I’m taking my art to the next level right now.

stills photo of Cassie for Rap-Up Magazine

Now that you deal in motion pictures, how much do you take still photographs?

Still photography is my background, and it will always be an inspiration for me, therefore my videos are always highly photographic. Lately, I’ve shot some cinematic and dark pieces instead of the colourful videos I was known for earlier in my career. This new artistic approach has lead to a renewed interest in photography and I have lately started shooting stills again. I am building a new career as a photographer on the side of directing. It’s very exciting.

stills photo of video models for FHM Magazine

How did you make the transition from military recruitment films to TV and documentaries? How did you segue into music videos from there?

No one came with job offers for me. They won’t – unless you’ve already proved yourself. I created all the opportunities myself by coming up with ideas and presenting them to various bands that I could get in touch with. I’ve always known that I have both a unique talent and a strong willpower to succeed, so I like to push edges. I always go further than what’s expected of me. It’s the challenges that drive me, and I want to go far…

What was the very first music video that you shot?

The first video I directed on my own was Equicez “Live From Pass-It” in Norway, which was quite an experience. I did everything myself to make it happen – from producing and production managing, to picking up the film at Kodak in Oslo and getting my friend’s uncle’s RV as a motor home. We had a super low budget, and my A.D. was also throwing pizza’s in the oven between takes, to feed the crew. We were shooting in a high-end apartment filled with girls, drugs, celebrities, and a big hip-hop crew that didn’t want to let us do our job. I worked 24/7 for a week to pull it off. It was a total craziness from day 1, and it only got crazier…

video still from Mario “Here I Go Again”

What was your first video shoot in the States?

It was for Shifty (ex CrazyTown). When I arrived at the set in Malibu, I thought I had come to the wrong set. It was huge. Trailer after trailer with equipment, limos, stars etc.. I loved it. I knew I was doing something right at that point. I knew that the craziness I had seen and loved at home in Norway, would continue here; like directing Nick Lachey while paparazzi fly in choppers over the set, showing Ghostface Killah how to fight in front of the camera, shutting down Miami’s South Beach and downtown LA to shoot a video, or having mister “Return of the Mack” himself - Mark Morrison – buy me luxury tickets back and forth across the world to shoot his video. I love doing what I do. But don’t get me wrong – working with this is extremely hard, and there are thousands of people in line waiting to take over my job.

video still from Christina Milian ft Young Jeezy “Say I”

You have on-set experience outside of directing. Despite that, do you ever feel challenged or wonder how you’re going to pull something off when you’re on a shoot?

Directing isn’t a job for me, it’s a lifestyle. And that lifestyle is a constant challenge. Every day when I wake up, I think of ideas. When I go to bed I think of ideas. My mind is constantly working, never relaxing. I’m constantly challenged. Nothing is ever easy. If it was easy, I would be doing something wrong. I have to push the envelope. Everything is a challenge at a shoot. We never have enough time or money to do what I want to do, so I have to find ways around it. But sometimes I get unexpected help, like when I was shooting a video in Harlem and Jay-Z came walking up to the set with total madness going on around him. It seemed like all of NY had come to check this out and the streets were full of people. The police told us we couldn’t use music playback, because they were afraid the crowd would get out of control. However, without playback my scene would be ruined, so Jay-Z told me “Let me see what I can do”. He went over to the cops, smiled and talked for a minute, returned and smiled: “It’s a GO on the music”…

video still from Trick Daddy ft. Lil Kim & Cee-Lo “Suga”

Tell me about this “distinct European touch” you bring to your music videos.

All my videos are highly visual. I’m not sure if it’s a typical European touch per se, but more of a personal style for me. My European background defines me and my style. Some times it’s an advantage to be from another part of the world, because I can see things differently. When we were shooting in Miami’s Liberty City, a very rough hood area, I saw the beauty in this place – the soul in the streets, buildings and people. It was interesting to me, because I’m not used to that back home. When I saw the beauty of these rough textures, others would pick up on it as well. This video was for Trick Daddy, Lil’ Kim and Cee-Lo, and when I watched the Access Granted ‘making of’ program on BET, I saw Trick Daddy saying “That’s the director back there. He’s not from my way, not from your way – he’s from Norway”.

video still from Coree “I don’t give a damn”

Music videos tend to look the same based on the genre. How do you combat that when you shoot?

I agree with you. I hate it when videos come out typical. I always try to come up with something unique, be it a concept, shooting style, color pallet, fashion style, editing, design etc. I have many innovative ideas, but most times you can’t pitch truly unique ideas to clients. Videos are like Mexican food - it’s all the same content, just mixed up differently. That’s what my clients often want too. It has to be something they can recognize and that has been successful in that genre before – only put together differently than other videos.

video still from Duchess “Come Check My Style”

How much say do you have when it comes to artistic direction and storyline in your videos? Do you work with directly with the artist or is there often a liaison?

It’s different from project to project. Some times they love my initial idea and that’s what we shoot. Other times I have to write 15 revisions or rewrites before the artist and label find what they’re looking for. Some times I speak to the label, other times they put me in direct contact with the artist. They usually have a rough brief for what kind of video they want to do, and then I come up with the rest. Some artists like to vibe out the concepts or details together with me – and I love creating ideas with them. Some artists even want to be involved in choosing talent and extras as well; so we narrow the submitted talent pool down from thousands and into the best few, and then we pick the final ones together.

video still from Christina Milian ft Joe Budden “Whatever You Want”

Your list of videos is full of chart-toppers in the hip-hop and R&B market. Have you worked with any artists so far that made you feel star-struck?

No, but I’ve worked with some artists that were star struck when they met me. (laughs)On a serious note, I’ve learnt a lot from working with some of the best selling artists in the world. Understanding their mindset is powerful. They wouldn’t get to where they are without an incredible philosophy on how this art and business works.

video still from the Cassie “Me & U” video

Word on the street is that you shot Cassie’s “Me & U” video.

That’s right. I’ve actually worked with her once before. When I shot Mario’s “Here I go again” video last year, we had the hardest time finding the right lead girl, and we looked at thousands of girls, multiple casting sessions, and had girls flying in from other cities to audition for the role. Finally, we found Cassie - and she did an amazing job in front of the camera. So I already knew she was special. She has that full package that a star needs, and her manager, Tommy Mottola, knows that. Diddy and Mottola, the man behind Mariah Carey, Celine Dion and Jennifer Lopez etc, wanted to create an iconic video. They were telling me about Cassie’s audition tape. It was just her in a dance studio, playing around with some dance moves. But it was really interesting to watch – she had a charisma that shined into the camera. So I told them – why don’t we do a whole video like that? And that’s what we ended up doing. The video shows a day in the life of Cassie as she’s rehearsing her dance moves. It was a hard shoot to do, with all the power players looking over my shoulder, but it went great. In fact, we set up an iSight camera by the monitors, so Diddy could follow the shoot live in NY (the actual shoot was in LA), and at the end of the shoot, I could hear him screaming of joy from the computer. He was really happy with the shoot. I hope this clip will be perceived as iconic as my Destiny’s Child “Soldier” video once some time has passed.

video still from Nick Lachey “What’s Left Of Me”

What are some of your upcoming projects?

My next video is for Nick Lachey – I’m going to create an iconic piece again, a real classic. Unfortunately, I can’t say anything about the project yet, because I’ve signed contracts prohibiting me to talk about this.

video still from Mashonda “Blackout”

Describe your artistic process – from pre-production to executing the actual shots.

-The pre-production is an organic process for me. While the producer gets everything going and the scout looks for potential locations, I start out planning shots, style, lighting, storyline details, fashion etc. When more and more pieces of the production come together, I can finalize the details of my plan. I like to have as much as possible planned out, and I’ve also learned to make backup plans in case the shoot goes wrong. When I’m shooting, I’m very technically involved. I’ll have visual lighting references for the DP (Director of Photography) and I’ll roughly choose the angles and lenses we’ll use. For every shot I tell the artist what we’re doing, and then the 1st AD organizes the extras.

Someone wants to shoot music videos for a living. Give them advice.

No one is going to throw the big jobs at you. To get started, you have to do everything yourself. You’ll learn as you go, and that’s the beauty of film production.

video still from Frankie J “How To Deal”

Do you shoot on video or film? Which do you prefer?

I only shoot 35mm film. For the right project I would consider the newest digital cameras – but it would have to fit the concept.

Name two things that you feel you must accomplish in your career.

Shoot a big US video in Norway. Shoot a big Hollywood movie.

Christina Milian stills photo for DefJam Records, album art work and publicity

Name two things that you feel you must accomplish in your lifetime.

Travel around the world and just be happy.

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Visit Ray Kay’s: Official Site

View Ray Kay’s Videos Over At: R O C K H A R D F I L M S

Check Out Ray Kay on: MySpace

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Interview By Bridget Deenihan

Thank You For Your Support - Amon Focus

Existence is something that seems to weigh rather heavily on Scott Saw. In fact, it is the California artist’s proclivity towards big picture thinking (think space-time continuum, not stuffy business rhetoric) that has long been lending the inspiration required to produce his vibrant and fantastical creations in print, paint, and beyond.

As an homage to his own cognitive adventures and humanity’s innate sense of self-awareness through exploration, Saw has recently unveiled Microcosm - a solo exhibition of paintings on showcase from May 20 through June 10 at M Modern Gallery in Palm Springs, Ca. The installment, a product of many hours spent in comfortable isolation with his wife and son at home in San Diego, captures the ultra-heady and the sentimental simultaneously, as it marries themes like string theory with subjects like fatherhood.

A few days ago we caught up with Saw to find out more about his life in the art world and his latest offering within it.

How has having artistic parents help shape who you are today, both professionally and personally?

Growing up with a father who actively painted and had gallery shows had a huge impact on me. As a child I attended some of his art openings and saw him painting in the home studio on a daily basis. So I got to see both the creative side and the business side of an art career. Becoming and artist is a dream I have had since I was a child.

When did you first discover that art would be an important part of your adult life?

After art school I did a couple coffee shop shows and then lost interest for a while. One summer while camping with some friends I decided to try a plein-air painting of the California coast… the painting I did was iffy at best - but got me motivated again… Then I discovered the underground art scene and was determined to become a part of it. I have been going strong for about 4 years now.

You have a degree in fine art and one in marketing. How has your marketing degree helped you market your work?

Having struggled as an artist, my dad encouraged me to study business in addition to art. It was a hard pill to swallow but I’m sure it has done me some good. Its funny… sometimes I will be painting a series and I will have flashes in my mind about how I will present it online. I suppose having a marketing background is not a bad thing if you take it the right way… I mean, I hate commercials, there is very little that I find interesting about mainstream marketing efforts … but there are ideas in there that can be used to help ‘get the word out’ with art.

Why did you choose to self-publish two books of your art?

For the past few years I have been creating series of paintings ranging from 20 - 30 pieces. Once they are sold and go to individual homes the bond is broken between the works. So creating the books is my way to keep these groups of images together. We live in a time where a guy like me can design a book on my home computer inside a week and pay a company a couple bucks a pop to do runs of 500 or 1000… It’s truly an amazing thing and I try to take advantage of this capability.

If you could pinpoint four characteristics of people who collect your art, what would they be?

Good question… I suppose they are people who are aware of a facet of life that lies beneath the surface and are looking to explore that reality. At a base level my art is about existence and spirituality so I imagine people who pick up on that in my work have a similar interest and understanding.

Your upcoming show, Microcosm, explores space, nature, technology and family life. Which theme do you feel is most prevalent and why?

The most obvious is probably space… every painting appears to be to be in outer space. But every painting touches on all those elements. For example… the distant star field effect was created by spray painting through circuit board scrap. Rockets take the form of birds and fish, cities grow into tree-like structures and robots have tree trunk torsos. There is also a sense of family life in the new work. In one painting a robot father teaches his son about fishing. In another, a family of robots wave to another family member as he passes by their ultra modern space-home in a fish shaped rocket.

How has this latest installment help you develop as an artist?

Every time I create a new body of work I explore new techniques and ideas. An interesting factor that played into this series was time. I found myself within two months from this show and only had a handful of paintings. So I knew if had to drastically change the way I worked to make it all come together and get enough paintings done. So I did some experiments and came up with a twenty paintings series that I think opened some doors for me artistically. Working over a black background can be challenging… so I had to really adjust my style to make it work… in the end I’m very happy with the new work and believe it’s some of my best yet.

Becoming a father has affected your art already. Do you think fatherhood will continue to be a major source of inspiration for you?

For sure. Everything that I give my heart to finds its way into my work. Having a young son is triggering many memories of my own childhood and some of those ideas have already been incorporated into my art.

Do you feel that living in San Diego fuels your process?

I love where I live… and hope to stay here for the rest of my life. But this last series really let me know that I could be anywhere and probably get similar results. I have seriously isolated myself for the last 4 months… only left the home/studio a handful of times. So it’s pretty clear that the inspiration is coming from within.

You supplement your art income with Saw Blade Designs, your graphics company. What kinds of clients do you enjoy most?

Every once in a while I will take on a creative project with a band or artist and those are fun. I recently designed a CD and some t-shirts for Bauhaus. But I currently have a contract with a company called Mochila, which is a news content marketplace. It’s a big project and I have been working with them for a couple years now. It’s ideal in that I actually visit an office once every 3-5 months!

You’ve said that you don’t do art for the money; you do it because you need to. Explain.

I have always ‘kept my day job’ as a way of paying the bills and helping support my family. Becoming a full time artist is insane! I have been at it for 4 years and am just now beginning to see serious interest in my work. I hope one day to be able to support my family with my art. But I’m not willing to sacrifice my true vision for a buck. I’m just going to keep making art that interests me and if collectors decide to buy my art for more and more money – no complaints.

You’re working in your studio with your favorite food, drink, music, and medium. What are they?

I have been using oil paint for years. It’s a good medium for a contemplative guy like me. In the day I drink coffee and water, at night I drink fruit juice and Pacifico. Food… whatever satisfies the requirement!

Visit Scott’s Official Site: http://www.scottsaw.com/

Microcosm

New art by Scott Saw

May 20, 2006 – June 10, 2006

M Modern Gallery,

448 N. Palm Canyon, Palm Springs, CA

PH: (760) 416-3611 www.mmoderngallery.com

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Interview By Bridget Deenihan

Thank You For Your Support - Curious Artist

Mix one part armchair philosopher with one part self-proclaimed asshole, blend an eye for everything art with an uncanny longing for the familial things in life and you’ve got yourself a quasi-realistic representation of Kareem Black – an industry-savvy photographer that amounts to much more than the sum of his parts. It is likely that, were we to put the aforementioned observation into a developing tray for Black, he’d muse that we’re all a bit more than what can be seen on the surface. Just because he’s deep like that. And we wouldn’t want him any other way.

As a seasoned player in a city known for its avant-garde creatives and struggling dreamers, Black has made a living – a nice one – balancing precariously upon the thin rope between lucrative commercial projects and personal artistic conquests. Scattered among the iconic names that have dotted his career span it is easy for the casual observer to envision the experiences behind his pictures. A quiet moment with Michael Stipe, a friendship cultivated with Venus Williams, a not-so-steamy shower scene with Kim Gordon, and a journey to Sri Lanka, all manifestations of someone who lives to not merely experience, but to truly discover.

Even with his face hidden beneath a black cloth, an eye keenly focused on his subject de jour, the man behind the lens never seems to lose sight of the things that really matter to him - things like creating and living in a reality that is distinctly his own.

So you were raised in Philly. What’s up with Philadelphia pride?

There’s definitely a strong Philly pride thing. Everyone kind of overlooks Philly because I think it has that “second born, second best” kind of thing going on with New York because it’s like an hour and a half outside of New York. I think people from Philly kind of feel like they have to scream louder and say, “Hey, we’re dope too! We have this great stuff going on.”

Philly pride is intense. I mean, there are people there that don’t even want to go to New York, they’re mad when their friends move there…but there are a lot of good things going on there, things that people don’t even know about.

So now that you live in Manhattan, do you feel like a big sell out?

No, absolutely not. New York is where I get my work done. It’s my home now. I consider myself a New Yorker, but I have a fantasy of moving back to Philadelphia and having kids and a family – big front yard, big back yard – the three-story house, the kind of thing that you can’t really find in New York.

I’m definitely always Philly at heart. But right now, at this stage in my life, this is where my industry is. I think New York is a natural progression from Philadelphia. But the end of the story, it’s me moving back to Philly and having a life.

I read that you are really looking forward to that whole domestication thing.

I want some grandkids. Maybe get back into painting because I used to paint. That’s what it’s all about, right? That’s how I want to spend my golden years.

What do you plan to do when you retire and you’re not knee-deep in crazy artistry?

I think I’ll always be knee-deep in crazy artistry. Right now I’m actually at my boy’s house and he’s getting ready to teach me Final Cut Pro. I think the next stage for me might be directing a little bit, so I’m trying to learn everything I can about that.

Throughout my life it’s always been something – first comics, then painting, then photography – and none of these things are like a job to me, they’re all fun. So even when I do retire, I’m still going to be traveling. I’m still going to be taking pictures and I’ll still be painting. This is just kind of what I do. This isn’t a job for me. I don’t know what I’d do without doing this stuff. It’s always visual and creative.

I think that the difference will be me having time to have some kind of a family and not having to worry about reputation or competition and all the stuff that comes with being a professional. All that would be gone. I just wouldn’t give as much of a fuck, hopefully.

Where do you see yourself going with your interest in directing?

I’m not exactly sure. Basically, what happened was Verizon did a commercial about me that’s running on the East Coast right now and it’s about me and my photography. It’s about how Verizon Online DSL helps me out. Literally, it’s a sixty-second promo of me.

How did that happen?

It’s seriously the biggest coup ever. It really is and I’m really proud of it. When I went out to L.A. to film the commercial, I was glued to the director’s side. It was fascinating for me because I understood a lot of what he was doing, but a lot of what he was doing I didn’t understand until I saw the final cut of the commercial. I’m just trying to understand the whole film world right now.

It interesting that you chose to study the editing process first because they say part of what makes a good director is someone who can already see the edit.

Right. When people come up to me and they’re asking me about film versus digital…I think there are so many different aspects that make a dope photographer. Why not learn Photoshop? Why not go into the dark room and develop your own shit? Even though it’s not done as much anymore, I think it’s a really important component. I think it’s important to know the things that make the final picture. I may not be in this directorial world but I want to learn Final Cut Pro and learn why shit works.

Do you consider yourself someone who goes balls to wall when you get into something?

Absolutely. I knew that something was up when I was in L.A. filming the commercial because I hadn’t felt an interest like that since the first time I saw an image come up in the developer in photography class. I’m soaking this stuff up like a sponge. I’m the same with anything that I’m interested in.

Of the magazines that you’ve done work for, what are a couple that you are most likely to read and why?

I’ve always liked Trace. From a photography point of view, they’ve always let me do whatever the fuck I want and they’re always open to abstract ideas. They’re really smart because the magazine is built on this concept of transculturalism, which is kind of trying to say that we’re not categorized by race or age or class, we’re categorized by who listen to or what kind of life we live. Like, I’m black. I’ve got friends that listen to more hip-hop than me, so does that make them more black than me? Or, it’s based on, “I have these likes and these dislikes and that’s what I am.” That whole idea is really fascinating.

I also really like what The Royal is doing right now. It’s based on design. Not just New York, but an entire world of visual sub-culture. I think that they look at things in a way that’s really new and smart.

Didn’t they do an issue on anti-Celebrity?

They did a young Hollywood issue. It had nothing to do with celebrity. It was kind of like the industry behind the celebrities. They interviewed me because I shoot celebrities, but it was very anti-Entertainment Weekly and Star magazine and all that type of thing.

Yeah, I’d say Trace. I’d say The Royal. I think there’s a lot of fucking garbage out there, Man. We live in a celebrity culture and I think that a lot of magazines cater to that. In a weird way…it’s like, I shoot for those kind of magazines. But I am fascinated by that culture. I’m fascinated by why people are fascinated by celebrity culture. In a weird way, I kind of like to fuck with that. You know, I have a commercial out and I put stickers up all over New York with my name on it. I don’t know if I would actually purchase a magazine about that kind of stuff, but I would read it in the supermarket line.

I think that all of us have that kind of duality about us. Like, do we like this? I can make both arguments. I live in both worlds and I think that all of us do.

Your website says you hate “fabulous types”…

I wrote that a long time ago, but I definitely still feel that way. I think that, in New York, or anywhere, I think it’s all about who’s the coolest. You know, who does the coolest shit, who drives the coolest car, who gets into the clubs for free, and all of this. The people who make that what they’re all about. Those are the people that I was referring to.

It’s kind of like, at the risk of saying something that’s been said a million times before, “Who gives a shit?” I think that the fabulous types are people that are defined by “Oh, I just hung out with insert celebrity name here.” Fuck that shit. I’m not turned on by that. I think that people who are defined by other people’s actions or by what other people think of them…it doesn’t make sense to me.

Look, I love Star Trek. I’m a big nerd. I love chess. I play almost every day. I’m a photographer, I get to travel a lot and I’m overpaid and I do what I want. For example, I just turned down an invitation to a Playboy party or something where there was a bunch of naked girls. But there was a major Star Trek event going on that night and I had to watch it.

You’ve got to prioritize, Man.

Yeah, exactly, I mean, come on. I’ll make it up at karaoke. There’ll probably be naked girls there too. At least that’s what I figure.

Check out Kareem’s favorite karaoke spot here: www.karaokekilledthecat.com

Speaking of turning things down, is there any reason you would turn down a gig?

Oh, totally. Well first of all, as a preamble, I think that the further along that a person gets in their career, the more stuff they can turn down. When I first started out, I couldn’t turn anything down. But I’m very fortunate to be in a place where if something’s not right for me…I can guarantee that there’s a photographer that is right for it that will be so much more hyped about it and you’ll get a better product.

I like shooting stuff that’s interesting to me. For instance, I’m doing a shoot on Monday with Lil’ Wayne. The premise is about how no one knows that he goes to the University of Houston. He has a tutor go for him and he actually shows up to take the test. I thought that was hilarious. So the magazine wanted to have this super hot girl as his tutor in the photo. So I’m like, “Okay, rapper, hot girl, I got it. I’ve seen it. I’ve seen it done it in a million hip-hop magazines.” In the end we got them to do something kind of original and fun. I think it’s going to be very beautiful when it comes out.

I would totally turn down something that’s trite. I don’t like that. It’s boring. Why would you do anything that’s boring? I would turn down anything that I didn’t think was interesting. Is that arrogant?

Capturing imagery is banned. This means no painting, no directing, and no photography. What are you going to do to pay the bills?

Well, shit. Here’s the thing that I’ve realized: There are not too many things that I’m good at. I’m good at drinking. I’m good at visual stuff – painting, photography, and drawing. I’m an okay photographer, but I’m actually a really talented asshole, when it comes down to it.

Did you say, “asshole?”

Oh yeah. Is that a job? Can I be a professional asshole? What about a Star Trek trivia enthusiast or a professional chess player maybe? Would there be money in either of those things?

What if you travel to Star Trek conventions and chess competitions as an asshole for hire? That way, when two chess players or trekkies get into a dispute, you can do the dirty work of whoever bids the highest.

I can’t really do it on demand, though. The best performances come out if you’ve really…okay, for instance: There’s this guy that completely ripped off a picture of mine. I shot the Verizon campaign and one of the pictures was a self-portrait I took of myself with the camera. This guy completely ripped off a picture of mine and put it on his promotional piece. He didn’t even take the picture. He had his assistant take the picture and put it on his promotional pieces. So (laughs)…the situation was dealt with in a way that was beautiful, really, it was poetry. That was one of those times when I was inspired to be an asshole.

You can’t just leave me hanging.

Well, here’s the thing. It’s a small industry and he sent out his promo pieces with the picture that he copied of me on it. What happened was poetic justice. All the clients ended up calling me and saying, “Hey, there’s this guy copying your image.” He brought down his house of cards himself. Also, Verizon ended up suing him. Actually, that’s something I wouldn’t wish on my worst enemy.

I like your series with the Video Girls. How did that idea manifest itself?

It centered on the fact that everyone sees these girls this one way. They are these girls that are these icons in popular culture and nobody really knows anything about them. I wanted them as everybody sees them, in their video girl clothes, but I didn’t want it to be sexy. To me, that’s so much more interesting than the whole, glossy, look-how- hot-this-girl-is photo. Again, I’ve seen Maxim and King and Stuff. I already know that. So, I wanted to take pictures of the girls, where they lived, because your environment says a lot about you. Let’s not Photoshop, let’s not make you more gorgeous – I already think you’re pretty. Let’s not sex it up. That’s what the whole series was about.

I take pictures to see how things look because I want to look at the picture afterwards and break it down. You’re living life and you’re living through moments. [With photos] you’re actually stopping these moments. You can analyze them and say, “Oh, I didn’t notice that pimple.” Or, “I didn’t notice that thing on the wall.”

That’s the video girls project, but I think that’s like a lot of the stuff I do. I don’t really try and make my stuff prettier than it is. I want to take a picture, hang out with it and say, “This is something that actually happened.”

You’ve said that time weighs heavily on you. That’s such a small thing to say that captures a very universal human feeling. How did you figure out how that ideal could translate into your art?

It happens in many different ways – from the most produced professional shoot ever, to me taking out my little digital camera and going out partying with friends. Either way it’s a record of my life. I think it helps you learn about your reality. You’re living your life and then you have these little memories that can show you that, wow, that was dope. All these moments that pass could potentially disappear.

That’s kind of what photography is about for me. It’s taking this and saying, “Hey, this is a document of my reality.” But in a broader sense it’s a document of how we live, as a culture. Not just my photos, but everyone’s photos.

I feel that there’s more in every photo than what’s going to be on the c.d. or magazine cover. I mean, look back at Michael Jackson videos where he was holding it down with the silver glove and the white tiger cub. People thought that was cool back then and that shit would never fly now. The guy’s got his drippy jerry curl and everything. That’s kind of how art translates the passage of time to me. It weighs heavily on me only because I think I’m more sensitive to the passage of time than most people.

Let’s live life because it’s going to be over before you know it, Man. We’re all going to be old and ugly.

Okay, here’s a totally random “big picture” question. In five words or less: Who cares?

I care.

Visit Kareem’s Official Site:

Also Check Out:

www.theholdingcomp.com

www.salacuse.com

www.thekdu.com

www.bijulesnyc.com

www.wyattgallery.com

www. brookenipar.com

www.michael-greenberg.com

www.theroyalmagazine.com

www.svsv.net

www.A76productions.com

www.calvinchilds.com

www.myspace.com/39824690

www.realizephilly.com

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Interview By Bridget Deenihan

Thank You For Your Support - Curious Artist

The whole Rock ‘n’ Roll thing didn’t exactly pan out for Chris Borgman. But it was by choice. The Miami-based photographer/artist decided long ago to give his axe a rest in order to spend more time with his camera, but not before suffering a barrage of good-humored insults from his band mates about his growing fashion rag collection.

Boasting an extensive client list that includes the likes of Coca Cola, Virgin Records, and JC Penney, the Texas native has now made a name for himself in both fashion and advertising circles. His skill set has garnered the attention of Mexico’s premier competing photography magazines - who each featured Borgman as their cover story - while his work has graced the pages of In Style, Oprah, and W magazines, just to name a few.

So it’s a good thing he did his homework early on. Besides, it takes a real man to read Vogue.

When did you first discover your passion for the photographic medium?

There have only been three things I wanted to be - a cop, a rock star, and a photographer - in that order. As a kid, around four or five, my two favorite toys were a plastic guitar, with rubber bands for strings, and a plastic camera. The toy camera had a flashbulb on the top that had little drawings on it and every time you clicked the “shutter” the bulb would turn to show a new drawing. Twelve years later, I was playing guitar in a rock band and trying to live out the rock star dream, but I also had a passion for photography. My buddy and I would sneak in our cameras to rock concerts. I loved capturing the moment. I felt I had to capture it so I wouldn’t loose the feeling of the concert. That started my photography obsession.

I played in several bands until I was about twenty-seven. On long drives to other cities we would makes gas stops and I’d pick up a Vogue, Harper’s Bazaar, or some other fashion magazine. The other guys thought I was a little weird, but I knew my future. The same week I quit the band I did two days of shooting head shots. I made more money in those two days then I did with the band all month. That was about it. I never turned back.

It seems that in the world of photography, you’re either a hardcore purist (utilizing only film), an adaptive realist (shooting digital) or you manage to fall somewhere in between. Where are you and why?

In the future - for professional shooters - film will only be used specifically for the effect of film, especially black & white. But until they can make a $20 disposable underwater digital camera, consumer negative film will never be eliminated. At this point, it’s still very expensive to shoot digital, especially medium and large format. Just like the film you use, the camera you choose, your lighting techniques, the choice of digital or film, Photoshop or Painter, Mac or PC, they are all tools that are the options of the artist and should only be thought of as options. No set rules, whatever it takes to get the image right. Of course, I don’t really consider PC as an option. HA!

Having had your work showcased in the advertising, fashion and entertainment industries, do you find that you have discovered a personal favorite?

Whatever pays the most is my favorite! I’m now moving into the upscale clientele portrait industry, so we can add that to the mix. I prefer advertising. Although my work is all fashion influenced, I feel the industry is very fake and full of self-importance. I don’t get it. It’s just clothes, right? Are we saving the world from evil? Don’t think so….

Do you have your lens on any new frontiers, as far as your subject matter goes?

As I mentioned, portraiture for an upscale clientele. I don’t see it being offered anywhere so I want to be the first to offer very personalized surreal portraits based on each client’s dreams, fantasies, or desires. I treat each portrait client just as a commercial job, offering the best your money can buy. No limit to the image we can create, it’s all up to the client and every portrait is one of a kind.

You name Salvador Dali as one of your influences and his mark is certainly apparent in your fashion portfolio. What is your fascination with the surreal?

Why not? From the beginning of time painters have shown their subjects in spectacular settings. Why are we so amazed by dreams? It’s the unreal so close to real.

A cowboy and his cowgal want to get their respective grubs on in Texas, where do they go?

Taco Cabana for the best and cheapest TexMex, cowboy hat optional. My hometown is San Antonio - very Mexicana.

How do you feel technology, specifically the advent of the almighty Photoshop, has helped shape your work - both real and surreal?

Photoshop has saved me many headaches caused by breathing stop-bath! That’s the first. Before Photoshop I was always in the darkroom (which was the kitchen, bathroom, or closet) getting high on all those fumes. I’m surprised I don’t have a brain tumor or something. I would spend hours and hours printing the same image a million different ways. I would bend the negative holder so half the image would be out-of-focus, as if it was shot with large format. I would print through plastics even toilet paper to distort the image. With one image I took the negative (no, not a copy, I’m not that bright) and stomped on it on the sidewalk. It put all kinds of nasty scratches on it. Brought it inside and continued with smaller scratches using a hand full of kitty litter. Then I ruffled wadded up toilet paper to coat the negative with small paper fibers. Cool huh? It was a cowboy walking across the field in what looked to be a rainstorm.

Eventually I wanted to distort color images. I did lots of reading in the library, which really got me thinking. I would shoot on slide film, a specific 400 ISO stock, with tungsten light slightly underexposed. I’d then bleach (with Clorox) the first (yellow) and part of the second (cyan) layers of emulsion. Then I’d use watercolor paints to paint back a deep yellow layer. When dried, it would leave brush marks and a gritty texture that was impossible to do in camera. And this was way before Photoshop.

Photoshop has allowed me to take my experimenting to the next level. It didn’t really change me cause I was always doing something to the image. Now, I just do it in a cleaner, chemical free environment. Photoshop has empowered me.

You teach Photography and Advanced Photoshop Techniques at the Miami Ad School. Do you find that being in the classroom with young, fresh minds helps inspire you?

Inspire me? Hmmm, maybe to go shoot myself! And I don’t mean with a camera! HA! Yes, there are some really talented kids with great ideas. As they graduate and hit with the real world it’s interesting to watch as they think, “Oh yeah, that’s what Chris was talking about in class.” Teaching has made me realize one big thing; I’m not ready to be just a teacher. I have too much to learn and the desire to learn keeps me fresh. It’s also the reason I’m moving back to NYC in a few months.

When you want to find beauty, with your camera in hand, where do you go?

I live in Miami Beach now, so it’s pretty much everywhere. I like to take pictures of stuff, just anything that looks interesting. I use so many odd images when putting together a final piece, so I have several gigs of random photos. Other than a beautiful model’s face, I like the sky. It’s always different everyday…or maybe I just see it differently everyday.

In what ways do you challenge yourself with regard to your work?

My mind and imagination is always growing, when it does, then comes the challenge to keep up and actually create what I’m thinking. I used to spend allot of time in the public library and bookstores looking at old master photographers and painters. Now I do more searching the Internet for creative works from other artists that inspire me.

Someone wants to take a badass photograph. What is the one thing they must keep in mind in order to do so?

I don’t know, when I take one I’ll let you know. *wink*

A client walks into a bar and asks for the impossible. How do you deal with it?

Get the FUCK out of my bar asshole!!!

Actually, nothing is impossible with the right amount of money. But if he still wants the “impossible” with a limited budget, then I will sell what I can do as the possible and not mention what’s impossible.

Lauren Hutton is smoking hot. Tell us how you landed her cosmetics campaign.

She saw my LOFT magazine “Elevator” editorial in L.A. at her doctor’s office. She liked the lighting, although it had nothing to do with what she needed. But hey, it got her attention. It’s quite a compliment coming from a former Super Model and actress. She has so many stories about working with Dick (Richard Avedon) and Penn (Irving Penn). Talking to her is like listening to the Fashion History channel, if there was one. She was very happy with the end results. That’s a nice feather in my cap.

You can only do one of these before you leave the house to go to a client shoot. Do you?

A. Brush your teeth
B. Put on deodorant
C. Wash your hands
D. Clean your lenses

Option B.

See Borgman’s work at: www.chrisborgman.com
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Interview By Bridget Deenihan