Studio Journal Thirteen.

Finally finished my edition of 18 silk screened accordion books.
"Gold Mutt"
3"x4" closed
3"x24" open

Studio Journal Twelve.

I finally got an idea that might put together my exquisite corpses, print, multimedia, and installations all together.
I was thinking about why I am interested in monsters and such and I realized a lot of it is based on childhood- the fairy tales and the monsters in the closet. Monsters in the closet! I can do my large print, install a door to the wall which has to be opened to reveal the print behind it!
I am pumped about this idea.

Studio Journal Eleven.

Oh, hello again, End-of-the-Semester-Panic-Mode.

These next couple weeks are going to be so jam packed with art making it is ridiculous.
Two etchings.
A print exchange of 20 prints.
A print exchange of 18 mini books.

I'm going to have to figure this out so that it is physically possible to do.


Right now my big problem is my big plate. Its a full, 18x24" sheet of zinc and its taking me way longer to work with than i had anticipated. The acid in the acid bath was just changed and because my plate is so big and the acid was so new, it ate the spraypaint aquatint within a minute. So I sucked it up and rosined it, which, to my delight, actually worked. I had tried a couple times previously with the big plate, but it was melting out the middle by the time the edges cooked.
I'll take a picture today in class of it.

EDIT:PICTURE



In other news, yesterday I went to the Met's print study room and got to see some Goya, Rembrandt, and Durer's up close and personal. The most impressive thing I saw was the woodblock for Samson and the Lion by Albrecht Durer. It was amazing.



I also got to go into the Guggenheim and see the Maurizio Cattelan exhibit, which was insane. I was getting vertigo by the end of it.


This GIANT (and I mean, dinosaur giant) cat skeleton sculpture was my favorite part. With some extra limbs and things, it could totally be one of my creatures.

Studio Journal Ten.

I just realize I didn't update this journal last week.
My first thought was that it must have been all of the holiday confusion, but I know what the reason was, even if it was subconscious. I probably didn't even think about writing in the journal because I hit a brick wall with my art. All of my creative drive just stopped. I was frustrated and making a lot of crap.
So, I took Thanksgiving break and just relaxed. Barb gave me some artists to look at. I didn't worry about the projects or the upcoming due dates.
I'm feeling good now and ready to start thinking and getting into it.
The break, from everything, was needed.

This is the start of a new week and I'm hoping its a good one.

Studio Journal Nine.

It seems my direction right now is going bigger. My teachers have all been encouraging me to go out of my comfort zone as far as size goes. While part of me is hesitant about this direction, the other part of me knows that this is what is for the best. Going big is one of those things that commands attention, but its one of those things where mistakes are easily seen. The task is daunting, but it will be a good experience and now is a good a time as ever to expand since I have the resources. I am, however, excited to see how my art will change, as I am sure it will, when there is room to explore and go crazy.

This is my first attempt at going bigger. These are mmm...a full sheet of Stonehedge paper minus 2 inches (some cropping). Its a monoprint, 2 layers of silkscreen, some hand painting (water color and gauche), and some pen and ink.

I finished my etching from the last blog of mine. I will get a picture of it and upload it soon.

I'm taking the creatures from it (skeletal bug creatures) and creating a whole pack of them on a full sheet of zinc. I've been working on the drawing for it and I will start putting it on the plate tomorrow...after I've putz-ed it... and filed down the edges. It will be quite the process. Nick told me that he would see if Randy could possibly get another acid bath into the acid room, as the plate will fill a bath and will be inconvenient for other students.

As for my thesis... I'm as this point where I am excited with what I have, but I have no clue as to where I should take it. I'm at the same point I have been for weeks. The only real progression is that since doing the tentacle installation, I've been mulling over the idea of an installation with my exquisite corpses, but I don't know to proceed or if that is really the direction I would like to go in.

Studio Journal Eight.

I added on a couple more tentacles to my installation before calling it complete.

The day of its completion was also the day of my critique with Catherine Murphy. She was a delightful person and very intelligent. She provided me with helpful insight as well as some warnings with my art. She told me that other artists also do monster so I have to really make them my own, which I have already prepared myself for, so that is okay. She really enjoyed my art thought. She found the characters very personable and easy to connect with. She absolutely LOVED my installation though, which I was very flattered by. She found it to be very humorous and clever, so that was exciting.

I've also been working on an etching that I am very happy with. I used a combination of techniques that I have learned recently.

This picture on the left is my print sitting in the acid bath. I tried to use the rosin box for this print, but I had a minor accident with it. Luckily, I discovered that the rosin had lifted from the center just in time and used the error to my advantage. I think, apart from learning new techniques, my biggest accomplishment this year would be letting go of some control and allowing chance to happen within the piece.

Studio Journal Seven.

So this week has already been a very busy one and it will continue to be so.

1. Critique on my installation

2. Critique with Catherine Murphy

3. Go to our Mason Gross Annual Reception

4. Work on etching

5. Thesis field trip

6. Print Fair

Tomorrow (...today, now, I guess, after looking at the

time) will go through 1 through 3 on that list and probably some of 4 as well.

Lucky I took some time this weekend to prepare for Catherine Murphy's visit. I've cleaned my studio and set up my portfolio. I finally fixed the freaking light in my studio by myself for this critique. I figured some decent lighting might be a little helpful. I am nervous about the critique, but I am excited as well. I have heard she is full of great knowledge and advice.

My installation is all up and ready for tomorrow.

I chose to play with this shaky door on the 2nd floor. It always sounds like someone is trying to escape from behind the door. I took a video of it. The tapping/shaking noises are the door, but its hard to actually see it shaking.

I'm grateful that the Brodsky Center let me use their Eric Avery print (on the right) to be "stolen", or at the very least, groped by my tentacle monster. I incorporated a little painting I found in my house to also be stolen.

Hmm...speaking of Eric Avery... His art is pretty cool. I like how at first glance, this Adam and Eve image appears very classic and conventional. That is, of course, until you read the text which delves into STDs. Its interesting that he went to art school and then went to go to med school.

I also stumbled on this blog post (article? I'm notsure) about painting on water which has some pretty incredible examples.

http://molempire.com/2011/08/01/painting-on-water-the-art-of-ebru/

And here's one of my favorite art videos by one of my favorite youtubers, Mitchell Davis.

I'd like to note how crazy it is that we are living in a time where we can instantly show our art on the internet and gain feedback that way. Crazy awesome, to clarify.

Studio Journal Six.

Today was very successful! It was the day of my Exquisite Corpse Party! I managed to get a mass email approved by the Mason Gross moderators just in time and that brought in some journalists from the Targum. Despite a with time conflict with the visiting artist, quite a few people stopped in and helped out for a while. I'm leaving the supplies out for the rest of the week an
d I have made a large instruction sheet for people to come in and continue the project.

While I still don't know exactly what I want to do with these collaborative creations, I am feeling very good about this jumping off point. Everyone was very supportive and into the project.

I stumbled upon an artist

named Kelly Tunstall (http://www.kellytunstall.com/) who does these great elongated, distorted woman with large eyes that I absolutely love. While our art style is different, I love her lines and shapes. I might try to take some of that and put it into my own art.

I read an interview with her and I particularly enjoyed this Q and A. (http://www.hifructose.com/the-blog/1798-%20an-interview-with-kelly-tunstall.html)

"There is always a peculiar element to your work, such as: the unexpected ways in which you paint eyes, the elements of navigation and exploration, circus freaks, mythological creatures....

It’s external symbology of the internal for me- that girl having extra arms means extra efficiency or desire to be more so, or multiple eyes to see better from the mind or more watchful all over, but I also don’t mind co-opting imagery and symbology from religions, ancient cultures; people know these symbols somewhere in their guts I think.

The eyes are worlds inside of worlds- mirrors to the soul and all, but also I strangely try to reflect where light sources might be in the space they are in at the moment. Ferris and I are very practical- we have to stop ourselves from being like, well, that bear couldn’t possibly be balancing on that piece of string or whatever. Even though we don’t have to, we can’t help but making rules of physics and the physical world apply... most of the time.

I’m never one to try and tell a specific story that someone could literally read, it’s more a feeling that you get. That you’re being looked out for. If I attach myself to one of my pieces- that i need to hold onto one for a bit, I kind of think it knows something I don’t- some attribute I’m looking for aspiring to- something I might need to absorb. I can’t speak for other people and why my work appeals, but I really do think they can be protective.

My father was an airforce navigator, so his maps showed up early on as backgrounds. I love them, they’re so graphic, but that’s also what we wrapped our presents in. Personally, I feel like I’m still out there exploring- living in San Francisco; every day you’re doing ten things to keep it together. It’s all very romantic, good work, but hard for sure."

Look at this guy carve a chess piece with his feet! O.O

Studio Journal Five.

Weekly plan:
1. Get a lamp for my studio (since I'm still down a light >:| and I do not know when my service request will be responded to )
2. Continue folding paper
3. Work on etching
4. Work on installation
5. Prepare for art fair in Union

My posters are up and I have some papers folded for my Exquisite Corpse shindig! I have art supplies and have been getting feedback from the posters. I've been spreading the word by mouth, poster, and facebook. Everything seems to be working out. A couple of classes even said they might stop by as a class for a few minutes to participate in the event. I am so very excited! Once I have a starting point for my thesis idea, I feel like I can really start to go wild and explore. Still need to see about the chairs and tables though...

I've also been working on an etching, in which I aquitinted black and have been scraping back into it. This method is totally out of my compfort zone and I am having some trouble making my experiment a cohesive, developed print... I am going to work back in now with some lines. I feel like my burnishing will still be very apparent and will not be lost in the print.
I'm also working on an installation in which tentacles will be coming out of a door on the 2nd floor. The door is well known for shaking, and so I want to play off that.


Since I've been into exquisite corpses lately, I decided to check out some of the surrealists corpses.


Yves Tanguy, Man Ray, Max Morise, Joan Miró



osephine Meckseper,Laurie Anderson, Olaf Breuning, Nick Mauss


I also found this sweet site
http://www.epicexquisitecorpse.com/
Its one GIANT exquisite corpse where anyone can participate

Naturally I added to it.








video games + violin = amazing

Studio Journal Four.

My business cards just came in the mail! I'm feeling all professional now and whatnot. I never really thought about getting business cards until recently. I had noticed a couple of my friends and peers had invested in some, but the real kick in the butt was when I participated in the Highland Park art festival and multiple people asked me if I had a card. Silly me had to whip up some makeshift cards. The whole thing made me put together a website too so I could have something more professional on a card than a deviantart and a tumblr url.
I also have signed out the project space room for October 23-29. I created a facebook event for Tuesday 25th for an Exquisite Corpse party-shindig in order to get this whole idea rolling. Our last crit was really helpful in coming up with that idea. That type of thing had not crossed my mind until Rachel had brought it up. I'm very appreciative of the suggestion. I am going to get some little posters up tomorrow to post around the school. I've already started to buy some silly art supplies for the event; crayola crayons and some strange markers from the dollar store. I have to see if I can acquire a table and some chairs for this event...

Also...its been two weeks since I've put in an order for a new lightbulb in my studio...Ugh, its beginning to cause some difficulties.

But anyway, the weekly plan:
1. Get posters up
2. Work on my etching
3. Get more disposable supplies
4. Acquire more paper
5. Work on installation piece for advance print
6. Start folding paper for Exquisite Corpse party in advance

On a side note, I've been playing a lot of final fantasy lately...I decided to look up the art behind the gameplay. I always tend to forget how much artwork is made before an actual game is put together. The artist, Yoshitaka Amano, is amazingly talented. His art is beautiful and stand alone, even without the video game beside it.



I don't know if this counts as some type of written material, but I was studying for psychology and I was reading that pheromones (aka our unique scents that we give off) can alter the age that we hit puberty. Girls who are around unfamiliar men may hit puberty at an earlier age because of the pheromones that the male give off. I find this beyond bizarre. I wonder if this could be captured in some for of art in some way. Its so strange, but I don't know how to conceptualize it.

Here's something else thats crazy.


I am interested in weird stuff like tentacles, feet, abnormalities, and diseases, but technological advances, psychology, and science really intrigue and inspire me as well.

Studio Journal Three.

I finished my etching and it turned out quite nicely. I have to take a picture and post it sometime soon.

I got some of my packets out for the

exquisite corpse out, but I have not received any back yet... I'll have to make some more and hope for the best. If there are little to no responses I'm going to have to take a different approach.

Currently I am working on a silkscreen for my advanced printmaking class. Its a silkscreen based off of the Burning Monk.

So far I have drawn the image out, separated the mylar for each layer, and exposed my screen. I plan on starting to print it tomorrow. I never really used the pinhole registration method when it was a sophomore, but now I appreciate it very much so I took the time to get everything cut down and hole punched properly.

Things to do:
1. Work on print
2. Work on piece for the Chance show
3. Do more for exquisite corpse
4. Sketches
5. Prepare for show in Union

I took a look at the suggested artists Dana Shutz, Theo Rosenblum, and The Chapman Brother's. They were all great fun to look up.
I particularly loved The Chapman Brother's stuff. They're so grungy and crazy.


I also redicovered Fuco Ueda's art. I love the tentacles.


In my last blog I mentioned that I love original fairy tales and comparing them to the disney versions of them.
Here is the Little Mermaid.
http://hca.gilead.org.il/li_merma.html
The difference in the original? When the little mermaid walks on her new legs, it feels like she is being stabbed. Her love interest loves to see her dance, so she dances for him while she feels the pain. She also dies in this version...because she does not marry the prince and she could not kill him.
Its funny...this dark version of the story is actually the one I grew up with. My parent's bought me an animated version of the original tale rather than the disney one.
Here is the start of the movie

Welcome Back Show

Last week when we looked at the Welcome Back show there were many different styles and creations from our Mason Gross grads and staff. There were things that I liked at things that I didn't like and things that I absolutely loved.
One things that I really enjoyed was Traci Molloy's "The On Absence Project (5%)". I enjoyed the multiples and the small size of the individual photos. I also thought the subtly of the text was nice and that each picture was taken in the same space. There is a sense of time and passing in these photos. What really brings them all together is the dark photo with two lights (Twin Towers) really enhance the feeling of passing. One can only connect the names on the on the photos to the absence of the Twin Towers and the people who where lost on 9-11.






























A piece that I didn't like as much was Marc Handelman's "Stimmungslandchaft (Moon Landscape) 52". The black and white is such a harsh contrast that it is a little bit tough to look at. The contrast wouldn't be so painful if the shapes were soft, but the shapes are rough and sharp. I get a physical reaction when I look at it, one that makes me want to kind of turn away and not look head on, which would be fine if it was perfect. If it was just black and white, it would be fine, but it looks like there are two different blacks. The second black looks accidental and doesn't convince me.

As fair as the curation of the show goes, there were some things that I liked and some things that I thought could have been better.
Diane Neumaler's "Untitled" and Catherine Murphy's "Her Bedroom Wall" work well together because both images deal with space. They compliment each other.

On the other hand, Tony Masso's "N-piece" does not work well where it was placed. Its small and is given a lot of space. It's like they wanted to give it a space on its own and yet they placed it next to other pieces. It might have worked better if it was swapped with the painting beside it and given a wall of its own.

Studio Journal two

I added in the aquatint into my etching. It looks a whole lot more complete now. It really needed the aquatint in order to be a successful print. I just have to edit a minor spot, but instead of having to coat the whole thing and put it in the acid bath I'm going to try to just work the area with spit bite. I'll find out in the morning if that is still the plan.
Oh! I also started on my thesis idea. Right now I'm thinking about doing an exquisite corpse based print. I compiled little packets and posted them in the school for people to grab. I want people to add on to the bodies. I will be doing one part of the exquisite corpse. I want to try to have this go on for the whole first semester so I end up with A LOT of exquisite corpses. I've created a little handout instructing people what to do. They will then slip the packets under my studio door. Then, if I stick with this plan, I'll pick 3 of the corpses to make a large scale print out of. I also want to use the project space to show off all of the exquisite corpses when they're all collected. I just put out 4 packets tonight (around 6:00pm) and when I left the school 2 had been taken (9:00pm) I'm super excited.

Weekly plan-
1) I've moved in some of my stuff into my studio, but I need to get more into it. I need to sweep it up a bit too...and there's a light out I need to get fixed.
2) Edit my etching and get my edition done
3) Make more exquisite corpse packets
4) Wednesday I'm going to the city to meet artist Donald Sultan
5) Gather together the names of the shows I've been in
6) Work on some sketches.

Sunday I was a part of the Highland Park Art Fair. It was a lot of fun. There were so many booths. While I feel my stuff is rather dark for Highland Park, I still got a good reaction and even got 3rd place (it was a juried show) in my category (Graphics/Drawing/Printmaking).





Ugh, I want to print the way Daniel EgnÉus paints. I was just looking through this book I have of his. Its the Brother's Grimm fairy tale of Little Red Riding Hood. Daniel EgnÉus does the illustrations for it and they're amazing. He's a self taught artist and I'm in love with his style.

Speaking of fairy tales, I actually really love fairy tales. I enjoy the dark original ones best, but I think they are made better with the light hearted ones to compare them by.

On a not so related note, I learned about these crazy trees that, as they age, shed colorful bark.



http://www.kuriositas.com/2010/04/rainbow-eucalyptus.html
This is a great little informational blog on these crazy trees.



And finally, I was watching some short films the weekend and I came across this great one. I'm actually kind of a movie buff. While I don't remember actors names very well, I absolutely LOVE movies and am very inspired by them.

Studio Journal one

I've recently been working on an etching. It started off as a dry point. I've just worked on the etching and am now currently working on the aquatint. The etching came out too light so I have to rework it and see if I can refine the lines.


(Plate in the acid)

I'm participating in the Highland Park Arts Fair this Sunday. Its a juried show and I can sell some pieces there, I will have a 10 x 10' area for my table.

Things I would like to accomplish:
1. Work on my etching
2. Move into my studio
3. Get my stands done for the Highland Park Arts Fair
4. Run my table at the Highland Park Arts Fair
5. Prepare sketches for upcoming projects


I've been looking a lot at Alex Pardee's art for inspiration.

While he isn't a printmaker I still draw inspiration from him. He does work with fantastic scenes and imaginative creatures. He has this way of contorting creatures and adding an atmosphere to his painting.

There is something disgusting and yet intriguing about his creatures that I want to capture.


I've been listening to this song while drawing a lot. Its beautiful and the video make me want to do weird creations.

Also recently I read an article about how scientists discovered the largest and oldest body of water and its in space.
http://www.fastcompany.com/1769468/scientist-discover-the-oldest-largest-body-of-water-in-existence-in-space
Its so big in fact, you could give every person on our planet all an earth's amount of water 20, 000 times over. Its also 12+ billion years old so when the scientists see it, they're seeing the beginning of time. Its amazing. I can barely comprehend it.

Critiques

On Friday we had our first critique.

Its funny how our senior class at Mason Gross is a mere 60+ people and yet I don't know everyone from out class. I guess as soon as we figured out what we want to do, we kind of went our separate ways and off into our concentration. Its interesting to see what everyone is working on and to see how different everyone's work is. I'm excited to say that our class is full of incredibly innovated and talented individuals. I can't wait to see how this year unfolds and to see what we're all capable of producing.

Interviewing Darence Robinson

Darence Robinson is in his senior year and will be graduating with a concentration in photography. Not only is he a photographer, but he is usually the model of his works. He has a passion for fashion and is very interested in exploring the themes of identity and sexuality. While he knew he loved film photography before entering art school, he didn't know how many doors would open when he discovered digital photography.

Shannon O’Connell: Did you know that you always wanted to do photography and pursue a photography major?

Darence Robinson: Actually, coming to Mason Gross, yes I did know, but growing up I wanted to do so many different things.
One thing I knew didn’t want to do was a simple desk job, so I felt art was the best way. The way I fell into photography was just by looking at this scene in nature and I was just so angry with myself for not having a camera. Ever since then I’ve studied the field, the people and the work within in it. I just fell in love with it. Of all the arts, photography is my favorite. Coming to Mason Gross was a little bittersweet because while it was exciting that there was photography, I actually wanted to pursue fashion photography, which isn’t offered.


Shannon: Well it looks like you still manage to incorporate your interest of fashion into your photography. Is this intentional?

Darence: I definitely try to incorporate it into my photographs.


Shannon: What else inspires your photography? Are there specific artists who have had an impact on you?

Darence: Because my work focuses a lot with identity and self-portraits with a spin of fashion to it, I am highly influenced by Yasumasa Morimura, an Asian self-portrait artist, David LaChapelle, a high fashion photographer, and as another high fashion photographer, Karl Giant. Together those three artists help me to not only see how I plan to construct my work, but also help me design myself a whole new way; not only myself, but also my aesthetics as to how I’d like my work to look.


Shannon: Most of your work is digital. Is there a reason behind this?

Darence: When I first started doing photography, I don’t know how other photographers feel and I don’t want to speak for them, but I loved film because of the clarity. After experiencing digital photography and seeing all of the possibilities with it, film is now the back window. Digital all the way! I’m so in love with it and because I focus a lot with myself as the subject, digital allows me to make the many mistakes that come with the technical work. With that being said, I work a lot with Photoshop, photo editing, cropping, saturation, color, and contrast, so that my final project will have gone through a lot of editing before its complete.


Shannon: Do you have any unedited pieces of work?

Darence: There are very few pieces that I have actually printed that have gone through little or no editing. I guess the same could be said for most artists, but the with all the time I spend on each one, its fun and rewarding, but it can also be frustrating.


Shannon: You deal a lot with sexuality and identity. What made you decide to explore this?

Darence: I think how it came about was when I first started photography. I refused to photograph people and the reason why was because people always get staged when they get in front of a camera. Once I started shooting people for the first time I fell in love because I realized I could make them look and do whatever I wanted as the photographer. As time went on and I became more experienced, I realized that the best subject I could have is myself. Growing up as a homosexual, African American male, I don’t know how other people feel, but my identity and my sexuality is on my mind constantly whether its walking in the streets in a neighborhood where I don’t feel safe or if I’m in a place where people are making me uncomfortable because of how I look or who I am. So I feel like my work is the best way to express those emotions and those feelings I have inside where I can make my sexuality and my identity my best assets.


Shannon: Is your family supportive about your sexuality?

Darence: My home life consists of my mom, my dad, and my brother and because my work deals with a lot of me dressing up, it’s much easier to do it in closed doors in the safety of my own home. At first it was a little awkward, but now they’re entirely used to me dressing up and walking around the house in five-inch platform heels, or a complete dress, or even underwear and a do-rag. My family is completely supportive. When they see the final project they are blown away. They don’t expect it to come to life physically in such a size or even conceptually as the idea that I have portrayed because they only see me dressing up. Typically they don’t know what I am doing or the path that I am going into so when they see it and are told the concept behind it, they are quite impressed. I don’t know how they feel in their head. It’s probably bitter sweet. They probably are thinking, “Oh, why is he doing this, but at least he’s getting something good out of it”, but they are completely supportive. I am so fortunate to have their support.


Shannon: Do you think that your early love of film and first discovery of photographing people inspired you to create characters for some of your series of works?

Darence: It’s a possibility because some people in the past that have seen my work have told me that my work reminds them of Cindy Sherman at times. So I would say it is definitely a possibility, yes.



Shannon: You have a series based on characters that you have created. Do these characters have names?

Darence: Yes, they do! My main characters are Darlene, Dina and Crystal.



Shannon: How did you create your characters?

Darence: I feel like they have been inside me for a long time and I just didn’t know how to breathe them out. As a homosexual man, I have experienced dressing up while growing up. With them [the characters], they almost came so naturally. Basically, these characters are bits and pieces of myself that I don’t want to claim to be myself. Of course those [Dina, Darlene, and Crystal] are my favorite. I thought I would have trouble getting them together and bringing them to life, but after I started I realized the chemistry between them, all coming from one person, they all meshed together so well.



Shannon: When you created these characters and when you are portraying them, do you feel like you are the characters completely?

Darence: Completely! I do feel like I am the character. It’s to the point where sometimes if I will look back to the camera to see what I have taken and I might think to myself “I’m starting to look like the other character or I’m starting to look like myself” I will actually take a minute to enact the character’s personality. For example, Dina, being the more sexual creature, I would take the time to do a runway walk down the hallway, I would take the time to talk how I believe she would talk, flip my hair the way she would, and then get back in front of the camera to embody that personality once more. After doing so, the pictures come out so much better. There are times where I have to take a break, take a breather, and realize who I am portraying so that I make sure they are brought to life in the best way possibly.




Shannon: Do you consider the subjects of your series based around stereotypes to be characters?

Darence: Its funny. I actually don’t. I only consider them people within frames. I don’t think to give them names; I don’t think to give them anything. That is just my mindset. I don’t want to breathe life into ugliness, into stereotypes, into ignorance. While I try to be more mature than that, we all make first impressions on people and dabble in the realm of stereotypes and making stereotypes. So even though I consider myself more mature than that, I have fallen prey to labeling stereotypes and so I felt it was necessary to make the work, but to give them names or create characters; I almost refuse to. While I think the work is
beautiful all together, I think they also represent something so ugly.



Shannon: Your first series, “The Seven Deadly Sins”, is so different from your other ones. Do you think your other ideas spawned off from this first one?

Darence: I would like to say yes because it is my only work left that I have in film and it was one of the few works that I was angry about because I couldn’t be in front of the camera since it was film and well, I also needed seven people. With this work, it was the first time I tried to give the fashion aesthetic. This piece sits in my heart very dearly because fashion is my passion, but I feel like this is one of my few works that has the look of a work that has a fashion influence. I would like to say that this is the mama piece and all the pieces afterwards, I realize, I’m going to make to my liking. I’m going to be in front of the camera if I so choose to. That being said, that is why this was my last film piece because with digital its so easy to be your own subject.


Shannon: What about being in front of the camera calls to you so loudly?

Darence: Its funny you ask that because a big reason as to why I got into photography was because I felt I could not pursue my true passion in life, which is modeling. As a photographer you choose who your model is and you are your own critic. With me being in front of the camera I should have no insecurities because I’m also behind the camera. I get to combine my two passions into one, being a model and a photographer. As the model I can easily get the look, the emotion, the feeling that I want because I know what I am looking for.


Shannon: Being not only the artist but the model as well, is it difficult for you to share your work to others since is bares who you are entirely?

Darence: Yes, sometimes I feel like when people say bad things or don’t appreciate it the way I do, it almost hits home because not only am I the aesthetics of the piece, I am the creator of it entirely. So it does hit some. Sometimes it is a little disappointing, but at the end of the day, since I am 100% the focus of the pieces, I try to keep the mindset that as long as I like it, I’ve succeeded. The only problem is, I also make my work for other people to enjoy, so its like I have succeeded and failed at the same time. So when people do critique my work I do get very nervous.


Shannon: Do you feel like that nervousness ever shows in your photos or do you get past that?

Darence: I think I try to get past that. I would hope so. That is why I try to make my work appear very less staged and instead very natural, especially in my piece with the characters, Dina, Darlene, and Crystal in the sleep over piece. I think is one of my favorite pieces in which I made the scene less staged and more in a natural setting. Of course, when I am the only one in a frame, I sometimes cannot help but seem a little staged.




Shannon: In your newest piece you portray your brother. What made you turn to that idea?

Darence: This piece is, in a way, mourning my brother [as if he had passed away], but at the time, I was sort of mourning a piece of myself. At the point in time I was making this piece I was going through a transition and I was almost disappointed in my femininity and how dominant it is over my personality and over my being. As a man, society and myself expects a man to be more masculine. This was my way to break out of my shell and try to break past my limits to see if it could actually be done. In this piece I was doing things that I don’t do in front of the camera, behind the camera, or in life. I portrayed my only masculine character.


Shannon: What went into this piece when creating a masculine subject? Was there anything you had to do?

Darence: I actually smoked for the first time in this piece. I had the most trouble lighting, puffing, and doing everything with that cigarette, even dipping the ash. Behind the camera there were a lot of things that I was uncomfortable with, but I knew I had to try to get past that because in the end it will show. It took a long time to make it, but when I had completed it I was happy to see that not only could I be someone else, I could make myself be who I wanted to be literally in front of the camera and behind it.


Shannon: Where do you think you are going to go from here?

Darence: I’m hoping to do more pieces like the Dina, Darlene, and Crystal piece, where there is one person in one scene enacting different characters. I want to do that less with myself and more with other people. I want more interaction with people. There is closeness in my art, and by that I mean physically and emotionally, but I want to go beyond that. I want them to really touch. I want them to embrace one another. I almost want my characters to almost be sexual with one another. Since I focus on sexuality and identity, I want this to go beyond expectations and limitations. So from here I definitely hope to push boundaries in society and to push boundaries in photography itself, as far as what can be done in front of the camera and using editing to make it possible.


Shannon: Do you have any ideas for your thesis?

Darence: For my thesis I hope to focus mostly on my aesthetics because my past pieces of work have sometimes been more dark and dreary and now while I still want a dreary, well no, more like I would like a dramatic concept, but I want bright aesthetics. Thesis being the big shebang, I hope to put my experience in self portraiture and to bring forth my passion of fashion as well as my interest in sexuality and identify all together where its not only myself but other people portraying difficult concepts in society.