My journey as an artist has been anything but linear. Although I loved the idea of a creative life, I had little going for me in that department aside from encouragement from my art teachers when I was younger. I didn’t go to art school and photography didn’t even become part of the journey until after the birth of my daughter. Feeling compelled to document her life, I bought a used camera and taught myself to use it to document this new life I’d hoped to make better than my own. I made a darkroom in my garage and spent almost every night experimenting as she slept. Finding that space to play with my artistic voice became like a drug and emboldened me to try all kinds of unlikely projects, none of which felt particularly inspiring until I was offered the chance to shoot stills for an independent film in Los Angeles. I arrived on day one with my beat up old camera and was told to find the cinematographer, who just happened to be the late and legendary John Alonzo (Chinatown). On day two he called me over to the grip truck, lent me his gear and told me to “stick close.” Thankfully, I did, and basically came away with a first-class education and a direction to head toward. I had no idea how to make a living with photography but knew then and there it was something I wanted to pursue further. 

I began to worry that I wasn’t doing my daughter any favors by dreaming, so I moved to LA to find work in photography. I managed to land a temp position answering phones at an entertainment firm in Beverly Hills. Within a few short weeks, I started filling in as photo editor, eventually taking over the position. I left four years later as director of the photo department, producing for various big name film, tv, and gaming clients, working closely with celebrity photographers and shooting many of the campaigns myself.

The culture of celebrity can be lucrative but holds little interest for me, however. I was always moonlighting on various personal projects and side hustles, shooting various nightscapes, avoiding anything with people. It was during these nightly escapades that I began to observe and appreciate the ever-changing and ephemeral nature of art of the streets. Hollywood was especially peppered with murals and graffiti, and although I was always working to omit their artwork in my photographs, my thoughts always drifted toward the person behind the work, their enduring spirit, flying in the face of traditional ideas around art, where it’s seen, and who gets to see it. I set out to photograph as many of these elusive figures as possible. 

Seven years later, Heroes & Villains (Zero+ Publishing) was published, just as my daughter was about to turn 16. I was thinking about my next project and she’d recently announced her plans to pursue a professional career in ballet. I asked if she’d be interested in sitting for a more formal portrait. Our time in the studio that day was pivotal in many ways. Having always loved dance — I had been photographing local dance artists initially for the Oregon Cultural Trust, and then for some of the dance companies directly. For me, capturing these artists out of context, not dancing, but simply being was something I wanted to explore. My daughter, with all the hopes and dreams she represented, was the perfect choice to begin that endeavor.

You resist being labeled as a photographer. How do you define yourself? 

Is it cheeky for me to say I’ve no interest in defining myself? While photography is my current medium, the idea that it defines me wouldn’t be true. I am many things. A dancer, a mother, a friend. “Photographer” seems so limiting. I guess I’d prefer to be thought of as someone who cultivates relationships with like minded collaborators? I’m interested in portraying someone as their best self. I like to strip away affectation and expected scenarios. In many ways I feel like an anthropologist who speculates on the future. I especially enjoy working with artists on the cusp.

What kind of works do you create? What do you like to photograph?

I make portraits. My approach, while on the surface may look simple and formalist, is a bit more nuanced and collaborative. I enjoy spending time within a specific genre of artists and having time to get to know someone before we work together. I like to immerse myself in a scene or a movement. I follow my interests, basically. Not in a social media way, but in a one-on-one kind of way. 

What makes one photograph stand out from another? 

That would depend on the viewer, I think. If you’re asking about my editing process, then that’s pretty simple. When I’m working with someone, there is almost always a moment where they’ve let their guard down. Those images tend to stand out for me.

What inspires you?

This is a question I find difficult to answer, mainly because it really depends on the day I’m asked. Other artists inspire me is the short answer. The long answer could lead me down a rabbit hole, but I generally like to read nonfiction. Mostly memoirs and history books. Right now I’m reading Mediocre by Ijeoma Ouelo. 

You are from the East Coast, how did you land up in Los Angeles? What do you like about LA and its art scene?

I grew up in a small town in Maryland and quickly became disenchanted with what I felt were limited prospects for my future. I did what any normal teenager does and sought out adventure, usually hopping on the train to DC or Baltimore to see bands, art exhibitions, or hang out on M Street in Georgetown. I’m close to my Aunt, who was an artist in New York, and when she moved to LA, I ventured out to spend what I expected to be a few weeks helping out. In a relatively short time, I felt surrounded by prospects, the energy and ease really meshed with my personality. LA has a reputation as a place for reinvention and possibility. For me, it continues to deliver, especially within art and culture. While sometimes seeming to dwell in the shadow of Hollywood, I believe the opposite is true. Instead, I think the scene here flies in the face of it.

What is the focus of your current practice?

Mainly two projects with the dance community: one focused on a single artist over several years, and the other, a more comprehensive overview of dance artists who come through or live in the LA area. 

How did Covid-19 impact your art?

Given that my work largely relies on human interaction in the studio and dance artists touring, the shooting component of these projects ground to a halt. Compelled by the state of things and using this as a backdrop, I dove into the archive, noticing and experimenting with themes and patterns that reflect what I feel is our collective state of mind. I also created an outdoor studio at home and collaborated with friends and family on some editorial projects. 

What are your future projects?

As a result of the experimentation with some of my existing imagery, I’ve been learning new software to integrate these stills into what I’m hoping will be something visually interesting.

Otherwise, I have some ideas but given the uncertainty around everything, I really don’t know.

Tatiana Wills’ Website

The post Meet the Photographer Tatiana Wills appeared first on Artiholics.

Please introduce yourself. Who are you and where are you from?

I am Jonathan Latona (30) Film Director/Writer/Cinematographer and I grew up in South Florida, born and raised around Ft. Lauderdale/Miami Beach, specifically, in a small area called Coral Springs in Broward County. It’s a very large town with small ambition. Not many people who come from there have aspired to do much except have a family and live their life. My early life was my mom and myself, along with my dreams and ambitions. She worked as a social worker for a variety of different positions, most notably for Alzheimer’s patients. Life was difficult. There were many discussions on what comes next, a thought that never occurred to me in high school. All I was doing was seemingly wasting time, participating in Drama Club and acting in the high school theater plays, which inspired me to go to acting classes where they were working off Eric Morris’s technique of Method Acting (Meisner and Stanislavski based). I thrived in my extracurricular activities, which destroyed my school work when I was already a poor test taker. Eventually, after I couldn’t get over a certain score in the SAT & ACT’s, my mother and I moved to Wilmington, North Carolina, where I enrolled at Cape Fear Community College.

We needed a fresh start. My college life at Cape Fear was my beginning. Even moving from Florida—a feat I wasn’t sure was possible— to a quaint state like North Carolina was a dream come true! I was finally out of a state that had nothing but what I thought was bad energy all around, and ended up in a place where art could potentially thrive. Upon arriving in Wilmington, it was still a hotspot for film & television. I was able to learn from the people who were veterans in the film industry who worked on productions since the 80’s (which at that time was thriving in Television with CW shows like Dawson’s Creek and One Tree Hill). My first semester in college was a joke. However, after that I started classes I wanted to take, like Film Introduction.

My first Film class with David Kreutzer was everybody’s dream in a pseudo film school. There wasn’t a degree course. There were only certificate options at the North Campus, which was away from the downtown campus; I was eager to go every day. The downtown campus was the campus. People who went to North Campus didn’t do much in the school and would only see it as a chore. I actually wanted to be there, so I sat through the mandatory classes and got to the classes I was eager to take. By that summer, I started to take my schoolwork seriously and arranged to enroll in classes so that in the fall, I could take all film courses. At that point, I took film school seriously. I was the only kid in my entire class who took the Intro Film class so seriously that by my second semester I was recommended for an Internship to work as a Production Assistant on One Tree Hill. I got that position. My Internship was on Tuesday.

It was at the Internship that I was able to obtain a crash course in what the process was really like. After some trials and tribulations, like almost failing a semester and getting my first real camera, I was well on my way to making films. Somehow, some way, I was going to master this process so that I could make my own films someday soon.

Thanks to the help of my professors, I started filming local bands in the Wilmington area. This led to music videos, which led to short films in my early twenties.

What inspired you to become a director and writer? Was it always your dream?

Becoming an Actor was always the “dream” but I didn’t really have an idea of what that meant until I started Drama Club in high school. Eventually, I realized that I was more in love with the filmmaking process and started researching filmmakers. When I moved from Florida, I realized that I could work on my own films. I would sit in the library at Cape Fear on cold nights when the sun went down, dark clouds overhead, reading about the illustrious careers of filmmakers I admired, like Martin Scorsese and David Lynch, among others. I would always gravitate towards those two extremes because I realized that you could tell epic stories, but still have artistic sensibilities. David Lynch has always done it for me, that mystery and awe encompassed in his films still hold up, even if they are surreal. In many ways, that’s the point. You want the visualization to be memorable; otherwise what was the point of going to see the film in the first place? Movies growing up were all about the spectacle in beauty and art; they actually motivated you to think differently about the world. Movies are supposed to give you hope, something to look forward to. I didn’t realize that movies were something that people could do, or that they were trying to do. I didn’t realize that there was a way to look into how movies were made and see that they’re very different from normal careers. When I shifted all my attention to making films in my early twenties, everything in my life changed.

How do you develop your scripts? What is the inspiration for your scripts?

There have always been various ways I think about the scripts I’m trying to write, but today I think the best ones are the ideas that I constantly think about in my head, no matter how long they’ve been circulating. I think about 4 of my scripts on a daily basis, just so I don’t forget. I am currently working on my second feature and have one more completely ready, and then there’s the one that’s partially written out, and another one in the notes phase (still). That’s not to say I’m not busy working on those, but I’m keeping busy everyday. The inspiration comes from a million different sources, depending on the idea.

Your latest featured movie Doug just came out. Tell us about the birthing process of this film.

I met Doug Burch back in 2015. I had just moved to LA and a friend of mine told me I needed to meet this one guy who was “working all the time”. I was told that he could help me find something related to a film job in LA. I worked as a camera operator on a commercial Doug was making about blow up hospital beds to be used in the field. Afterwards, we all got together and bonded over lunch. Eventually, Doug told me he was working on a feature film he was writing and was about to film it. I told him I wanted to work on it. Doug agreed to have me on board, and the two of us started filming his feature film THE LOST ONE in Long Beach at some hair salon. This was the beginning of our incredible journey together! One night, after watching the show LOUIE, starring Louis C.K., I got inspired to make my own film in that Cinema-Verite style. If Louie could do it, why couldn’t I? One afternoon, I pitched Doug my idea of a fictionalized version of himself, navigating Hollywood as a once popular TV Actor turned into a Hollywood footnote sideshow of a character. Doug loved it. Over the next three years, I would write DOUG and go through countless drafts of the same story, repeating the process over and over again. Writing the same beginning, keeping the middle then trimming the fat, then rewriting everything, then salvaging and trying to find moments—little nuggets of gold that could follow. Little by little, the chips fell into place. After about 4 and a half years, I was able to present Doug with a draft of a film that would eventually be the version of the film we made. All in all, the script wasn’t finished until the movie was shot, and even then, the editing process helped dictate the importance of every scene. I believe I kept most of the final draft intact, and added a few extra moments here and there that are “unscripted” yet have a place in the written world as outlines for improvisation. In many ways, filming this project made me think differently about all my other films before. I only now realize that a large bundle of that time was spent overthinking, overanalyzing elements that would never come to fruition. The pain I experienced writing DOUG was unlike anything I have ever experienced before. I was hurt. I was angry, going through a nasty breakup, trying to regain the strength to do things again. I knew that this was a new life, however, and one to take seriously. In many ways, DOUG was my thesis project. I never did get that degree.

Now that DOUG is on Amazon, I can finally have something to tell people about and feel confident they’ll give my film a chance. Every filmmaker stumbles through the trials and tribulations of getting their work seen by the public. It’s impossible when you don’t have a name actor, even more impossible when you aren’t from money, or when you’re doing everything yourself. DOUG is a very special project because it’s one where I have to continue to unravel the steps of the process constantly, just to figure out how to make a better film. In the beginning, I would tell myself “I wish I did this, I wish I did that or I didn’t forget this” but with DOUG, every decision was precise in the moment and exactly what I wanted. I never experienced that before.

Now with the film complete, I just hope that people can easily navigate through the streaming services directly to my film. I’m very proud of the film, I’m extremely proud of the fact that a Grand Jury for a Film Festival thought it strong enough that Doug himself can win Best Actor. That was a Win in my book as well. The film does exactly what I wanted it to do. I made the film I intended to make. In addition to that, getting my film onto Amazon was a lot like how one can get their film onto Youtube. There’s nothing to it, no real strings attached. Just good old fashioned follow the rules and get your film onto a streaming platform. Amazon helps the filmmaker think differently about how they can present their film to their target audience, but how it spreads is purely on the filmmaker. Unless you have a distributor handling everything, or a sales company backing you up at AFM (American Film Market), then you’re on your own. I know what I signed up for, my only hope is that people tune in and check it out. It’s a long game. Until something better comes along, it’ll always be the long game. I own my film. I can do whatever I want with it, and at the moment, handling it as an exclusive film you can watch for free with Amazon Prime, or buy from my website has taught me a lot about how I can market myself and my work as a filmmaker. Every step from here helps.

Since you have such a creative mind, what types of future projects are you percolating in your brain?

The projects I’m working on are always projects that relate to humanity, at some level. At the moment, I am not at liberty to say what exactly, just that you’ll be pleasantly surprised.

Has the pandemic impacted your career and, and if so why/how?

The Pandemic has not affected me in the slightest. I’ve been busier than I’ve ever been before. Not sure why. Maybe it’s the timing, who knows. At the moment, I am trying to get as many opportunities I can as a freelancer and then continue, project to project and see what happens. I am currently open to collaborate on photo shoots, music videos, feature films someone else has written and act as a Cinematographer (in addition to my own work). The list goes on! The way I see it, I’m finally in this spot and was slowly gaining momentum just for the world to stop spinning? No way! I’m moving forward and can’t let a Pandemic be a factor to slowing down. This is the perfect time to edit, get some writing done and work on creative projects. Somehow, some way. Art always thrives off the negativity. Imagine what an entire generation will come up with once this is over! You can see it now: Amazon and streaming services are flooding with content from all over the world. Independent voices are finally being heard now that the major studios have halted production. Time does not slow down. Neither will the Independent artist. This is the perfect time to get things done.

What is your time table for future projects?

I am currently working on my second feature called DESTINATION HOLLYWOOD. It will (hopefully) be done in 2021 but we shall see.

How has your work evolved over the years?

My work has definitely gotten more sophisticated over the years. I used to write stories that seemed pompous and arrogant. The ideas weren’t anything special, filled with clichés and looking back, impossible to make yourself. It wasn’t until I started making films on an every day basis that I realized you didn’t have to be so complicated. Less is always more, and I was just starting to realize that in my mid-twenties. I floated my own ego after making several shorts that I didn’t know what making a feature would be like. I wanted to make a film I had written in my screenwriting class; however the idea wasn’t one hundred percent. In fact, it wasn’t even well thought out. I acted in it (against my better judgment) and by the time I would be on camera, I would crash. You could see that on camera. It wasn’t a smart idea for the performance aspect. Nobody ever saw any of the frames I was working on, but I managed to shoot the entire film. Later, I held a candlelight vigil and threw it all away. If only I knew then what I know now, right? That was a learning experience, and one that I’m still trying to perfect. It’s an idea I will revisit, with a whole different outlook on the story and design. This particular one needs time to heal, and I have other ideas I can be working on. In many ways, I realize now is the time to get things done and act on your dreams. Better now than later in older age, when you can’t do as much as you once thought.

What do you see on the horizon evolving as director?

If I look hard enough, I might be able to see my future career. Right now, it’s trying to produce one film at a time. At this rate, I should be okay.

How has the position of director changed over the years?

Over the years, my role as a Director/Cinematographer has become less hazy and more direct. I have learned how to have stronger communication, not only with actors but also myself. On set, everything becomes clear and the more direct I am with what I’m trying to achieve, the better for the actor’s performance. I’m still learning. I feel this occurs project to project. That’s the beauty of this craft: we can mold it to be however we desire. Filmmaking is all I have ever aspired to do in life, so I’m making the most of it. I’m discovering that there are no rules when it comes to filmmaking, film language and getting your idea out there. I used to think all my ideas were too surreal, now I’m realizing that they were too difficult to follow because there would be no real way to make that film. I would have to figure out what I can make, how I can achieve it and start filming. I didn’t discover this until my third or fourth year in Wilmington, NC and by that time, life got in the way. Navigating through life until you are mature enough to make those hard-boiled, down the line decisions that the studios pay for is the key to making the dream a reality. I’m still learning, but I have a long way to go until I become that A-list director. I hope I get there. Until then, all I can do is continue making films the way I have been and hopefully, with enough word of mouth networking, I can finally make the one script festering in my head after all this time.

DESTINATION HOLLYWOOD COMING SOON

DOUG NOW ON AMAZON

IG: @Johnnyboyfilms

www.jonathanlatona.com

The post The Art of Directing: Interview with Director Jonathan Latona appeared first on Artiholics.

Luxury Escapism or “The Oddly Satisfying Spa” is an immersive art technology wellness experience reminiscent of a Spa with elements of theatre & Virtual Reality. Luxury Escapism – a VR Spa has been created by Tyler Pridgen. Initially I went in to do a shoot for their online advertisement campaign last year in December and that itself was a lot of fun. The space was very cool so when Tyler asked me to come on as a member I was intrigued by what that would entail for me as an actor.

What was your role?

My role in Luxury Escapism involved taking on the character of a “Spa Attendant”; working alongside an ensemble of artists to set the stage and keep the front of a Spa. We are given a script that we memorize and deliver for all the different stages like the welcoming of guests into the space, the rules they have to follow, the instructions they should look out for, etc. Doing that was more traditional in the sense of learning lines and delivering them but then the rest of it used improv so we got to play around with a bunch of different techniques.

From an actor point of view, what has been the peculiar aspect of this kind of technology that makes it different from a standard filming project?

In a set up that’s so different from what I’m used to working on, it can sometimes be quite the challenge to not break character. I had never worked on a project like this before and it allowed me to work with a whole new realm of experimental theatricality since it is on us to maintain the believability of the experience and the people coming into the space have no idea about us acting or what they are in for really. The project has been so well received and people genuinely enjoy it because it’s truly one of a kind. I highly recommend everyone to try it!

What is the most important artistic project that you have been a part of?

I think I have been lucky in my journey so far to have worked on a few projects that I consider important to me. One of these was a project I worked on last year that was part of the 48 Hour Film Festival NYC.The film was screened at The Anthology Film Archives, NY.

About your previous works, you took part in a project that was part of the 48 Hour Film Festival NYC.The film was screened at The Anthology Film Archives, NY.  What is the concept of that festival?

The concept of the festival was that we had 48 hours to create a short film after a theme, a prompt and the name of a lead character. “Joan” in our case was the character I played in what had been given to us. The film was action heavy and I hadn’t really worked on many films like before so it was cool to work with a stunt choreographer and being an observer to that process.  It was such a fascinating experience working with a team of people that came together just for this project and had not worked with each other before. Of course we had our set departments like acting, cinematography, producing etc, but it was very collaborative from the script to the directing. I think that’s also the reason that this project was influential because it gave me insight into all the things that go into making a film and I learned a bit about all the aspects. It also peaked my interest into production; I think that may be something I’m keen on going into the future!

Covid-19 and creativity. Has the pandemic changed any of your artistic plans?

I had recently been cast in an off-off broadway satirical comedy show that has actually been a long running show at the Producers Club Theatre, New York. The show called “Sketch of New York” is a hilarious representation of life in NYC. We were due to go on at end of March this year and were mid rehearsals when the lockdown began and we had to postpone the show until further notice, but the directors of the show are still in contact with us. We have had talks about zoom rehearsals to keep us in the rhythm of the show so that once we are in the clear we can pick up where we left off.

With the coronavirus it has been a collective struggle for everyone all around the world and my heart goes out to everyone who has suffered and their families. I wish everyone safety and health. These are strange times that we are living through and with the lockdown the last 2 months have been unusual to say the least.

Were you able to be involved in any artistic project during the pandemic?

I have been trying to use this time to be as creative as possible for when I am not creative that has been detrimental to my well being. I think creative engagement helps so much with keeping positivity alive at a time like this. I actually have been involved in 2-3 remote projects during the quarantine that have kept me busy and it’s been interesting to create with other artists, all of us working on our individual end at home! At the moment, I am working on a music video from home as well so I look forward to seeing how that turns out.

What is your opinion between the filming NY and LA scene? Why have you chosen NY instead of LA?

New York has been my home for the last few years now and I have really liked both living & working here. While I don’t have experience working in LA as yet, it would be a new space for me to break into. I have a familiarity with New York and there is a lot of work that is being done here with films, shows and the theatre but, that being said, I did make the move from India all the way to New York and ultimately if the situation called for me to make the move to LA I would certainly consider it.

I think I would definitely like to work projects there and learn what the “scene” is like there plus I haven’t been to LA yet so that would be a good reason to visit. I am excited to see what opportunities are ahead for me and what else is in store!

Are you a theatre cinema lover, or do you prefer series TV from the couch?

Hmm! That is a hard question to answer (laughs). I love both those things equally I think. I love balance in life, so in general I am person who enjoys both being outside and outdoors but, I also love staying in bed all day or just having a chill day at home. The same can be said about my preference with that because I truly love the experience of going to the cinema – popcorn & soda, but I am also a binge watcher who enjoys her shows.

We are living in an explosion of Netflix, Amazon Prime, and the Disney channel. Do you think that the end of Hollywood has already been decided?

I don’t think so, I wouldn’t say we’re at the end for Hollywood, no. It’s true that with Netflix, Amazon and all the other subscription services we have access to, and a platform for films, tv shows, and such which is amazing. But the experience of going to the cinema has its own very significant place so I do think there’s a big place for films in that capacity in our lives still.

Why have you decided to have a career as an actress and singer in the USA rather than India?

The reason that I made my initial move to the USA was to have the best available education in acting, that’s also why I chose New York. There is such a rich history of the arts here so I knew there was a lot for me to gain in my learning. But it was never a decision of choosing one over the other. At the end of the day I just love to act and if I felt that I had more opportunities in India I would go back, but I’ve been lucky enough to have found my footing here for now. I’m happy that work here has kept me busy and I think another added bonus has been that being in New York has given me the exposure of working with so many talented artists from around the world. It truly is a melting pot of culture and the arts in the best way possible.

The post Acting and Covid-19: A Conversation with Swarnima Singh, an Indian Actress in NYC appeared first on Artiholics.

Written by Catarina Chavez

“People call me Tony.”

With these words, humility and true joy, the veteran Tony Vaccaro, (Medal of Honor, Legion of Honour, Medal of Merit) appears at the end of the NY Premiere of the documentary of his life at the National Museum of History. The lucky audience cannot believe their eyes and  cannot do anything but to welcome him with a standing ovation.

Directed by Max Lewkowicz, this film explores the life of 93-year-old Vaccaro, the former life photographer of famous celebrities who as a soldier in WWII chronicled scenes from the frontline including the Omaha Beach landings.

The documentary has the ability to plunge you into one of the most dramatic periods of the 20th century. The result is a punch in the stomach, while it is also a lesson about bravery: Tony Vaccaro, a WWII infantryman,  carried his $47.50 portable 35mm camera into combat, and, in thousands of images, created one of the most comprehensive and intimate records of war.

Through interviews with Pulitzer Prize-winning photographers and Tony Vaccaro himself, this intimate film delves into issues about witnessing and recording conflict, how photography defines the way wars are perceived by the public, and the sheer difficulty of survival while taking photos in a dangerous war zone. The movie, directed by Max Lewkowicz,  will be aired on the HBO channel this coming Nov 14th at 8:00 pm.

The NY celebration of Tony has just begun. The Tony Vaccaro Studio in association with the Monroe Gallery of Photography is pleased to present the first retrospective of Tony’s work in New York City.

The operation has already attracted the attention of several art critics, curators and collectors.

“To know Tony Vaccaro and to be in constant touch with him is a daily refreshing cascade of emotions. People like him are born once every century and I feel honored and lucky to be involved in the recognition of his life, and in the promotion of his studio,” said Alessandro Berni, Sales Manager of the Tony Vaccaro Studio.

In order to remember and to remind us that past mistakes could still happen, the smile of Tony has appeared in front of us, for a night, and his life and his photos will remain among us forever.

The post Rising Underfire appeared first on Artiholics.

SEGMENT EPISODE! In this week’s unedited episode we talk about what LAIKA means for animation, Adam West, Burt Ward, and Julie Newman (sp?! I know it’s Newmar, it’ll make sense in the show) coming back to Batman, The Tick and Rocko’s Modern Life are coming back to TV and more. But we start the whole thing off with a discussion about Rick & Morty and why Stephen doesn’t get it.

Preorder my book coming out in 2016

Please Rate & Review us on iTunes

And you can now listen to us out on SoundCloud!

Topics & Timestamps:

Media Referenced During this Episode:

https://www.youtube.com/watch?v=a6xvuhn7pc8

https://youtu.be/2uTCL_hcUyk

Check out more of your hosts:

Stephen Brooks
Rob Yulfo

Preorder Stephen’s Animation Tutorial Book:

And please Rate/Review us on iTunes
 Subscribe on SoundCloud 
… and Rate/Review us on Stitcher while you’re at it! (=

The post LAIKA Animation, Direction, and its CEO Travis Knight, The Tick on Amazon Prime, and 60s Batman Animated Film – RubberOnion Animation Podcast #148 appeared first on Artiholics.

INTERVIEW! This week we talk with illustrator and animator Robert Valley who just released an amazing Indie Animated Film “Pear Cider and Cigarettes” on Vimeo. We discussed the Kickstarter back in episode 109 and in it we said that we’d love to get him on the show… fast forward 6 months TO THE DAY (that episode was released Feb 10th and this is August 10th) and here he is! We talk the impact of music, the importance of editing, animating in photoshop, superhero oversaturation, using Kickstarter, loops, black frames, creaking doors, and coughing into your mouth (it’ll make sense).

Be sure to check out Robert Valley around the internet:
Website
Vimeo
Twitter
Instagram

Preorder my book coming out in 2016:

Please Rate & Review us on iTunes

And you can now listen to us out on SoundCloud!

 
You can even listen via YouTube (soon)!

Topics & Timestamps:

Media Referenced During this Episode:

Check out more of your hosts:

Stephen Brooks
Rob Yulfo

Preorder Stephen’s Animation Tutorial Book:

And please Rate/Review us on iTunes
 Subscribe on SoundCloud 
… and Rate/Review us on Stitcher while you’re at it! (=

The post RubberOnion Interviews Robert Valley: “Pear Cider & Cigarettes” Indie Animated Film, animating in Photoshop, and the importance of editing and music – RubberOnion Animation Podcast #145 appeared first on Artiholics.

MOVIE REVIEW! Back in 2014 we did a full review and side-by-side comparison of TMNT (2014) with TMNT (1990)… now we’re taking on the modern sequel “TMNT: Out of the Shadows” (2016). We discuss the sequel in the original TMNT trilogy, “Secret of the Ooze” and compare it with this modern sequel. Does it hold up? What does Stephen think about how the Turtles were treated? What happened to April O’Neil? Did Bebop & Rocksteady fit the tone? Was Krang really necessary? Listen to find out what we think!

Preorder Stephen’s Animation Tutorial Book:

Please Rate & Review us on iTunes

And you can now listen to us out on SoundCloud!

Topics & Timestamps:

Media Referenced During this Episode:

Check out more of your hosts:

Stephen Brooks
Rob Yulfo

And please Rate/Review us on iTunes
 Subscribe on SoundCloud 
… and Rate/Review us on Stitcher while you’re at it! (=

The post Movie Review of “TMNT: Out of the Shadows” (2016) from the RubberOnion Animation Podcast #136 appeared first on Artiholics.

We got to talk to 2-time Oscar nominated director Tomm Moore of Cartoon Saloon about comics, superpowers, animation, tattoos and producing Indie Animated Films! This show has a couple of my favorite stories (Miyazaki smoke-break, TMNT desks, and The Living Shadows) and was all around just a blast of a time recording the show. There’s a lot to learn about the mentality and approach needed to get into the Indie animated filmmaking game and he gives some fun behind-the-scenes tidbits along the way.

Also, remember all those questions you posted on my facebook page?… yea he answers every single one of them! Don’t forget to check out the topics & timestamps below. Thanks for listening/supporting and enjoy the show!

Please Rate & Review us on iTunes

Be sure to check out Tomm Moore & Cartoon Saloon around the internet:
Tomm’s Twitter
Tomm’s Tumblr
Cartoon Saloon Twitter
Cartoon Saloon Website

And you can now check us out on SoundCloud!

 
You can even listen via YouTube… so many options!

Preorder my book coming out in July 2016:

Topics & Timestamps:

Check out Tomm Moore’s films:

Secret of Kells

Song of the Sea

Check out more of your hosts:

Stephen Brooks
Rob Yulfo

Preorder Stephen’s Animation Tutorial Book:

And please Rate/Review us on iTunes
 Subscribe on SoundCloud 
… and Rate/Review us on Stitcher while you’re at it! (=

The post Interview with Tomm Moore, Oscar nominated director of animated films “Secret of Kells” and “Song of the Sea” – RubberOnion Animation Podcast #121 appeared first on Artiholics.

Elliot Cowan is the indie animator and filmmaker behind the new movie “The Stressful Adventures of Boxhead & Roundhead.” We got to talk to him for 2 hours about everything from trends in big-budget animated films, the current state of art schools and the double-edged sword of making a feature-length animated film virtually by yourself. You listeners submitted so many great questions too and we get to all of them! You might be surprised what he thinks about the animation process and the Pixar movies Up and Cars.

Listen for animation mumblecore, “thanks Rob, shutup,” the grumpy animator theme song, how you pronounce Cowan and why it’s that way, and indie animators as home brewers.

Please Rate & Review us on iTunes

Check out Elliot’s Website, Blog, and definitely like his film page on facebook!

And you can now check us out on SoundCloud!

Topics & Timestamps:

Media Referenced During this Episode:

“Brothers in Arms” Boxhead & Roundhead series animated short (@43:20)

The Stressful Adventures of Boxhead & Roundhead trailer

The Boxhead and Roundhead behind the scenes production diaries

“The Death of Spider-Man” for Cartoon Hangover (@1:00:57)

https://www.youtube.com/watch?v=DFTIVWFLWRE

Other videos of Elliot’s you should see:

Check out more of your hosts:

Stephen Brooks
Rob Yulfo

And please Rate/Review us on iTunes
 Subscribe on SoundCloud 
… and Rate/Review us on Stitcher while you’re at it! (=

The post Interview with Indie Animator Elliot Cowan, creator of “Boxhead & Roundhead” appeared first on Artiholics.

This week’s episode is discussing ALL VIDEOS. We have four main stories made up of 6 videos (embedded below): three CN pilots, Muppets trailer, a French student film & Robb Pratt’s excellent “Flash Gordon Classic.” If that wasn’t enough, in the Rapid Fire segment has even more videos to embed (4 to be exact) and a discussion about studio expansions, Cannes, Disney’s upcoming animated films and SO. MUCH. MORE!!

Annotations:

Note: videos shown below are in the order they are discussed on this episode of the podcast
 
“Twelve Forever” pilot

 
“Jammers” pilot

 
“Ridin’ with Burgess” pilot

 
“The Muppets” ABC TV show trailer

 
“Celles et Ceux des Cimes et Cieux” (“Girls and Guys from the Summits and the Skies”) animated short by Gwenn Germain

 
“Flash Gordon Classic” by Robb Pratt

 
Boy Scouts Animation Merit Badge Squash & Stretch video (from Rapid Fire)

 
“Marvel vs. DC – The Ultimate Crossover” fan film by Saruhan Saral (from Rapid Fire)

 
“Shaun the Sheep” trailer (from Rapid Fire)

 
“Justice League: Gods & Monsters” Machinima series trailer (from Rapid Fire)

 

 
Check out more of your hosts:
Stephen Brooks (@RubberOnion)
Rob Yulfo (@RobYulfo)
Pat Ryan (@TheBadPatRyan)

And please Rate/Review us on iTunes
… and Rate/Review us on Stitcher while you’re at it! (=

The post French student animated film homage to Miyazaki’s Studio Ghibli films, Robb Pratt makes “Flash Gordon Classic” appeared first on Artiholics.

A Father, A Son, An Artistic Legacy. Remembering The Artist Robert De Niro, Sr., the HBO documentary about the brilliant and original impressionist painter is a cautionary tale about an artist left behind in the wake of his initial success. Narrated by his son, his contemporaries and excerpts from his diary, the film introduces us to a world where artists were beginning to achieve renown before their deaths, not after.

Caught up in a whirlwind success as an American Impressionist, De Niro Sr. failed to recognize the moment when the movement he operated in was starting to become passe, and had been eclipsed by Pop Art. He refused to conform, he saw himself as a superior to Jackson Pollock and shunned the new school of art.

De Niro Sr. found himself alone, and out of favor, in more ways than one. Alienated by the Pop Art Movement, after his marriage to school mate Virginia Admiral ended, as revealed posthumously in his diaries, he sadly failed to ever find the love and companionship he yearned for as a closeted gay man.

De Niro Jr. serves not only as a narrator in the documentary, but also as a son, hoping to rewrite the pages of New York’s art history to include the life and legacy of his father, the artist. After the documentary premiered on June 9, one of De Niro Sr.’s paintings sold at Sotheby’s at $35,250, far surpassing its estimated value of $5000-$7000, according to Jennifer Samet on Hyperallergic. A collection of his works were also on display at DC Moore Gallery, in an exhibition that ran till July 31 this year.

Remembering The Artist is directed by Perri Peltz and Geeta Gandbhir and produced by Jane Rosenthal Sheila Nevins.

Written by Keziah Quek and Cojo “Art Juggernaut”
Pictures courtesy of HBO Documentary Films

The post The Impressionist Life Of Robert De Niro Sr.: An Artist Out of Time appeared first on Artiholics.

My favorite type of performance art (the type that involves female nudity) is taking place tonight at Petrella’s imports, a newsstand on Bowery and Canal in Manhattan, that has been turned into an art space.  The piece, by Narcissister, involves a video being projected onto a building opposite the newsstand depicting various women performing mundane everyday tasks while topless and wearing the Narcissister mask.

“It’s not just about freedom for women; it’s the idea that freedom for one means freedom for all and that it makes larger statements about freedom and equality.”

A quote by the anonymous artist who created the character of Narcissister in 2007 and has been portraying her in public ever sense from a recentan interview with writer Andrea Park for Metro.us. In the interview Narcissister goes into more depth about the project, her appearance on America’s Got Talent.

Read the full article and interview by Andrea Park on Metro.us, which also contains a NSFW gallery of Narcissister walking around the streets of NYC with mask on and breasts out.

Narcissister’s installation will show at Petrella’s Imports at Bowery & Canal at 9 p.m. on Friday; you can also see her photography at the Rockaway! arts festival from June 29 to Sept. 1 at Fort Tilden in Rockaway Beach.

Written by Cojo “Art Juggernaut”

(via metro.us – photos by Miles Dixon)

The post Mask Faced & Bare Breasted Performance Artist ‘Narcissister’ Video Installation on The Bowery appeared first on Artiholics.

Harlem, New York City – Thursday, June 26, 2014

Harlem has had its ups and downs throughout its history, to say the least. One of its shining times was the Harlem Renaissance in the 1930s, in which African American culture was booming with Southern cuisine, music, art, excitement, and creativity. During the Harlem Renaissance, between 7th avenue and Lenox, there were over 125 entertainment places that operated, which varied from cellars, lounges, speakeasies, cafes, taverns, supper clubs, rib joints, theaters, dance halls, bars and grills. 133rd Street was known known as “Swing Street”, because it housed cabarets, a jazz scene during the Prohibition era, and was named “Jungle Alley” because of “inter-racial mingling” on the street. The area has also seen great sadness stemming from poverty, crime, disease, and ongoing gentrification. Harlem is a cultural epicenter that has given rise to major hip-hop artists such as A$AP Rocky, Immortal Technique, Tupac, P Diddy, and Azealia Banks, to name just a few. There is a strong spiritual component to Harlem, as there are over 400 churches and religious congregations. The area is constantly going through change, turmoil, and celebration. For the past two years, I have lived on 100 West, 141 street, right up the block from the mural of Big L, and the Harlem Hospital which houses a massive glass painting on 135th street and Lenox. I have been a guest of Harlem, but I am about to take part in a new change within it: The Harlem Arts Festival.

The Harlem Arts Festival, is happening in Marcus Garvey Park, a 20.17-acre park, surrounded by flat lawns and playing fields. The park is bounded by 120th Street and 124th Street and by Madison Avenue on its east side. The Festival is the culmination of an extraordinary amount of work  by J.J. El-Far, Neal Ludevig, and Chelsea Golding, three extremely ambitious entrepreneurs who see the potential in Harlem’s art scene as what it once was, and what it can become. This is the festival’s third year, and I have a strong feeling it is going to be bigger and better next year.

The following are just a few of some of the over 40 artists behind the Harlem Arts Festival of 2014.

Artist, Lance Johnson, with collage merging with paint in stunning imagery.

Zest Collective, a group of movement artists – some from Julliard and others from the Alvin Ailey School. I will be combining the talent of Zest Collective dancers with Andrew Kaminski Art audiovisual projections enhancing their movement, the night of the Opening, at MIST, this Friday, June 27th from 7:30 – 8 pm. In this video, I combine their movement with my video projections. 

There are musical acts such as Isaac Katalay, who sees art as an outlet to promote positivity for humanity.

Paul Tabachneck, whose smooth voice exudes his love and passion for music and his life.

Tiffany Latrice, with her figurative representations juxtaposed with vibrant patterns.

Alice Mizrachi is a working artist in Harlem, and has been prolific with works on canvas and murals.

The schedule for the Festival is here, and it runs from June 27th (the opening night), Saturday, June 28th, and Sunday, June 29th. I hope to see you there!

Written by Andrew Kaminski 

The post The Harlem Renaissance is back in the 2014 Harlem Arts Festival appeared first on Artiholics.

Meryl Meisler is a Brooklyn based photographer who captured a very tumultuous, dangerous, and simultaneously glamorous era in NYC history – the 1970s and 80s. During that time, Manhattan was erupting with surreal characters and scenesters, gallivanting in iconic night clubs, while across the bridge in Bushwick, Brooklyn, there was destruction, arson, looting, the crack epidemic, and tensions between the disenfranchised communities that resided there. She taught in a Bushwick public school and with camera at the ready she bore firsthand witness to the opposing worlds, which existed just few subway stops apart.

Meryl carried a medium format camera nearly everywhere she went, and caught a glimpse into two very different social environments. One of those settings was the disco-era music and dance scene. She snapped photos of William Shatner, Andy Warhol, Grace Jones, and frequented  Studio 54. She went to places like the Paradise Garage, one of the most powerful House music venues of all time.

Meryl Meisler referred to the initial lines of A Tale of Two Cities when describing the then NYC dichotomy between extravagant Manhattan nightlife and the struggling nightmare of Bushwick, Brooklyn.

“It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way.” – Charles Dickens

I went on a walk with Meryl, and then she took me out to lunch. Her eyes glowed with compassion and warmth. She currently lives in Chelsea, and she supervises/teaches future art teachers at NYU. Her new exhibition highlights photos published in her new book by Bizarre Publishing, called A Tale of Two Cities & her work is displayed in Bushwick’s Black Box Gallery (12 Jefferson Street, Brooklyn, NY 11206). She sent me photos, some of which have never been released. I hope you enjoy them as much as I did:

The original Star Trek’s Captain Kirk, and later to become the Priceline spokesperson, William Shatner is seen above. Meryl didn’t seek these people out, they just showed up in her life without her going out of the way. They seemed to be bizarre characters that had found their place in the media.

I love this one, it’s almost as if there was a crossover with disco night life into the grime and neglect of Bushwick.  My guess is that this depicts the relics of the night a woman got drunk, and experienced that shaky, exciting time. The shoes are evidence of god-only-knows what kind of misfortune and tales of love and loss that accompanied this shoe’s original owner.

 Meryl described Grace Jones (follow the link to view Jones’ YouTube video, ‘Cannibal Corpse’) as a diva, and when she walked in, she looked fabulous and divine.

This photograph cracks me up, the overt abundance of pubic hair, and the benevolent yet devious grin of the man contorting his body. Not to mention the guy with the flamboyant hat, in a mesmerized daze.

I said, “why not ask her for a photo of herself?” This photograph exemplifies the sexy and exuberant energy that I witnessed Meisler to possess ( she is standing to the left).

Meryl talked about where these three amigos wound up – one in jail, one died, and one still lives in Brooklyn. This photo was the first one that caught my attention due to the presence of innocence that had the immanency of destruction and pain.

To see more of Meisler’s photos, check out the show in Bushwick.

Meryl Meisler’s
A TALE OF TWO CITIES:
DISCO ERA BUSHWICK
exhibition and book launch
Exhibit open through September 10, 2014
Gallery Hours: Daily, 11am – 4am
BIZARRE PUBLISHING
8.5 x 11 inches
180 pages
ISBN: 978-0-9910141-1-8
$40.00 USA/CAN

Written by Andrew Kaminski

The post Is This Bushwick’s First Hipster? Meryl Meisler Photographed The Neighborhood Before It Was Cool appeared first on Artiholics.

Ai Weiwei The Fake Case, is the second in what looks to be a possible series of art documentaries about China’s most famous artist, Ai Weiwei. Filmmaker Andreas Johnsen seamlessly picks up exactly where director Alison Klayman left us at the end of her award winning documentary Ai Weiwei: Never Sorry.

After being released from an 81 day government detainment we are launched right back into Weiwei’s world as he struggles to balance being a father, an artist, and a strong political voice; all while living and working under constant surveillance of repressive communist regime which has taken away his passport, and wants nothing more than to silence him.

AI WEIWEI THE FAKE CASE  has it’s US debut this Friday (May 16 – May 20, 2014) at NYC’s IFC Center, where director, Andreas Johnsen will be in attendance for Q&As all opening weekend.  Advanced tickets for the premiere went live last night and ARE AVAILABLE HERE.

If you are like me, you will do yourself a favor and watch the first documentary Ai Weiwei Never Sorry (currently available on Netflix Streaming) before hitting the theater, as it completely sets up the story, and this film doesn’t waste time with exposition. It goes ALL IN straight from the jump.

SPOILERS AHEAD:

The two films are seamlessly meshed.  So seamlessly in fact that because I watched them both back to back on my iPad in bed last night I am almost a little blurry as to which events happened in which film.

Ai WeiWei: Never Sorry ended with Ai  being released and being out on a $1.5 Million bail for alleged tax evasion, which as said in the trailer above, isn’t a real thing in China.

If you recall at the end of the first film we found him released and returning to his compound at night, surrounded by reporters in the dark, lit up by flashes and camera lights.  He had a government gag order that barred him from interviews so he apologetically made his way through the crowd and closed the metal door behind him, and that is where we were left.

Trying as much as possible to resume as much of his life as he was legally allowed to while suffering from sleeping disorder and memory loss, he began re-bonding with his son after his three month absence.  His world had been rocked, as he realized the truly scary “nightmarish” power of the government, who when the cameras were off made it perfectly clear to him that they didn’t have to give him his passport back, they could rearrest him at anytime, and that he was still being watched 24/7.

Much in the way former hackers who’ve infiltrated government websites are forbidden from operating computers, the verdict was still out as to the possibility of  Ai Weiwei resuming his online presence.  For a man in his 50s, you will never find a guy so social media savvy.  He is hooked into twitter (https://twitter.com/aiww), and has used it’s power beyond what any other artist has thought possible.

With 245 Thousand followers, and having posted over 106 thousand tweets, he is tuned in.  He also always has a film crew following and documenting him, he documents his experiences with a smart phone and iPad himself, snapping pictures constantly.  I can only imagine how a guy that plugged in must have felt stripped of a huge part of his feeling of who he is when he was placed in a white room with no WiFi.

When someone has that sort of fan base, and the news comes out that the government charged him $1.5 Million to be released, they come to your rescue.

His bail was paid by donations, either mailed to his studio, or tossed over the studio walls.  Crumpled bills and paper airplanes sailed into his garden.  Unfolded and unwrinkled the bills totaled up to cover the amount he had needed to be released.  He was humbled, and overwhelmed by the power the internet wield.

Like countless artists before him, he turned his suffering into beauty with is series of six perfectly scaled down hyper-realistic sculptural dioramas depicting the six parts of his daily life during his 81 day imprisonment  in a taped up box of a room with two fatigued guards watching him day and night while he ate, slept, and shat.  The creation of which is chronicled in the film.

The six pieces, titled S.A.C.R.E.D., premiered during the Venice Biennale and is now on view at the Brooklyn Museum in his current show titled According to What?

AI WEIWEI THE FAKE CASE screenings in NYC start Friday, May 16th, 2014 at IFC Center and end Tuesday, May 20th. Only 30 screenings will be available, so get your tickets now.

Not in NYC?   AI WEIWEI THE FAKE CASE may be coming to an arthouse theater near you, here is a current list of upcoming playdates in the US.

Written by Cojo “Art Juggernaut”

The post Ai Weiwei New Documentary Picks Up Where ‘Never Sorry’ Left Off appeared first on Artiholics.

New York – Thursday, May 8, 2014

The lesson for today kids is as follows:  Stealing, lying, and turning innocent bystanders into criminals (as well as snitching on your friends) will not only reward you tangibly (free stuff) , but will also make you more popular among your peers.  This has been a message from the Public Broadcast System PBS -The More You Know.

BROKEN DOWN:

• A) If you find something (in this case money) on the floor of your school that clearly isn’t yours, keep it.  Do not turn it in. Be careful to take only what you want of it (enough to buy that thing you wanted), and give the rest to all of your classmates.  This way, if caught, you don’t have to be the only one taking the blame.  The odds of being turned in should also significantly decrease because all parties will have an equal share in the crime, and would be implicated were they to tell.
• B) If the actual owner comes to claim the lost item (the lost money), remain silent – and trust your co-conspirators will as well.
• C) If and when someone else points the finger at you, then and only then should you admit guilt.
• D) Your mom will for some reason happily pay double whatever money you were accused of misappropriating, and you and all your friends will go unpunished.  You will in fact be rewarded with the items they as well as yourself purchased on somebody else’s dime.  Nothing feels better than going on a shopping spree with money you didn’t earn.

I did like that the principal’s face was composed of my pen name for some reason.

Written by Cojo “Art Juggernaut”

via Youtube Nation

The post This PBS Educational Cartoon Might Be Missing It’s Mark appeared first on Artiholics.

New York City – Monday, April 21, 2014

Under the Skin, starring Scarlett Johansson, immediately caught my attention with its entrancing, artistic trailer. I was drawn to Johansson’s gaze, and the comparison of director, Jonathan Glazer to Stanley Kubrick.

Artiholics gives the perspective of culture as told from an artist’s perspective, therefore I aim to do exactly that with this film that employed an artist’s eye to so many frames of the film [SPOILERS TO COME].

If you’re looking to see a film that doesn’t have a conventional Hollywood plot with predictable punchlines, but rather disturbing and at times uncomfortable dialogue between bizarre characters, ‘Under the Skin’ delivers that and leaves you feeling like you transported to some strange place that only an off kilter story and captivating cinematography can bring you.

The film offers a full spectrum of rich landscapes. A vast beach, rocks on the shore, violent waves, with a crying infant in its vastness and threatening tides. An urban environment, architecture surrounding busy crowds of civilians, with faces and interactions overlaid on top of one another in an orange luminescent glow suggesting the seemingly infinite layers of personalities and entanglement of connections immersed in a metropolis.

A forest dense with green towering pine trees bending and swaying in powerful gusts of wind that Johansson loses herself in as she is swallowed in bright scorching flames to contrast with the vegetation. The film concludes with the billowing clouds of grey smoke exuding into the abysmal sky Johansson’s extraterrestrial host descended from.

The chilling serenity of the natural settings is mirrored by the haunting scenes of the house Johansson lures her male victims in to harvest their skin and essence. The house is entered through a cellar door, and the unsuspecting and sexually hungry men are immersed in darkness with a stark light on them and Johansson, as she takes off her clothes. “Come to me,” she tells them seductively. They walk with a masculine strut, and as they inch closer, they start to submerge into a reflective black liquid.

One after another, men are lured into her deadly residence, and only after multiple men, does the camera reveal what occurs under the black surface the men have walked into.

In astonishment, the male character moves his limbs with a tinted blue glow on his skin. He spots another being submerged near him. The other has wrinkled flesh, as if he had instantly lost half his weight in a few hours. The two males, facing their surreal predicament, grasp hands, revealing the difference between the wrist of one and the deflated elastic appearance of the other. In a sudden and shocking moment, the wrinkled character is sharply sucked down into the depths of the abysmal darkness. The scene cuts to the bottom of a rectangular tunnel, flowing with sparkling blood pulled towards a vanishing point.

Although it is utterly horrifying, the liquid the characters are submerged within has a solitude and a silence that we can only barely reach in a deep meditation.

Under the Skin takes us through layers of human experience, and as we follow Johansson through cityscape, humans cape, forests, stillness, sexuality, fire, and snow, I considered how we travel from youth until death, searching for something or someone to fill our days, but the only quality that will take us away from our pain, lies beneath us, within us, under the skin.

Written by Andrew Kaminski

The post Layer by Layer ‘Under the Skin’ Artistically Takes Us… [SPOILERS] appeared first on Artiholics.