studio . . .

The studio is where the ideas, the poses, and tactile skills come together to form the work we do.

 Palettes of color are mixed and then painted on the model’s body. The models and my assistants evolve how to bring the story to the camera. Separate images that become part of the photomontage are photographed. On occasion a series will require the creation of a prop or an element of scenery that helps convey the physical story: Diana would require an arrow to perform her duties as Goddess of the Hunt; bronze sculpture require pedestals. a horse may need to be sculpted from taffeta. The variety of skills applied over a career in the theatre continue to be utilized.

. . . and Process

The work process represents a compilation of three disciplines: painting, photography, and digital imagery. Having had the experience of painting on the physical form of theatrical scenery, I now bring those sensibilities to painting on the female nude body as an artist / photographer. 

My painted interpretation places the model within the context of the given series and then ‘becomes’ part of who she is, just as an actress, after putting on her costume, ‘becomes’ her character in the play. 

The challenge in the studio is for both the model and me to find the pose, gesture, or movement that expresses the narrative. It begins with us first discussing all the elements that will tell the story. Each woman chooses where she finds herself within each depiction and how to express that. It is primarily her interpretation that I capture. My directives may fine tune what I see that might be photographically better or might be required in postproduction. My role is not to direct who they are, but to find in the camera what best expresses their intensions.

In ‘post’ the creation of these works as photomontage can be very direct or multi-faceted. A direct image may be only two photographs with a minimum of adjustments. The multi-faceted image may include eight or more photographic images and countless layers of technical adjustments to each of those visual layers.

Each series requires its own rendering style. I work each element of the image as if I were rendering in an analog world. I solve each part as I might draw or paint on a theatrical backdrop, or hone a layer of pixels as I might sculpt a statue for the stage: does this area need to be toned down with a wash of color and which technique lends itself within the digital palette?; does another part of the image need to be built up dimensionally and what technique can I digitally employ to achieve that? 

The creative opportunities are opened up to the fullest by grasping years of theatrical experience and challenging the digital motif to do as much.