Layers

The self and the ego

Who I am

Who I was

Who I will be

where I am

Where I was

Where I am going

The self and the ego are entwined by memory and illusion. The memory of who you think you used to be, the memory of who you want to be. The illusion of who you used to be is based on the memories you hold onto, which are a mix of pop culture, photographs and stories people tell. The person you project is often the illusion of the person you wish to be. But it’s not usually the same person when you peel away all influences, layer after layer. The core. The self.

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Art Making

I’ve been making more art these days. I have always enjoyed the hands on process. Finally I’m falling into my own niche with my photography. I used to think I wanted to be a commercial photographer, but in reality, that ship has sailed. Perhaps later in my career when I am a little more developed. For now, the photograph serves as a means to make art.

I decided to allow my creative process to develop on it’s own, stop forcing myself to do things I don’t really care for. Since I love to build things with my hands, I have been using mix media and collage work to share my inner workings, what I find beautiful. I feel like I’ve fallen down the rabbit hole and one thing is leading to another, no need to look up and try to figure out where I am.

In college, we called this the creative spiral. Every so often I would look into it, but never really dove in head first. Maybe dangled my legs over occasionally. Worried about landing on my feet. I have come to learn, it’s easier to just let go. After all, it is what it is. And it’s much easier this way.

Right now I’ve become enamored with this translucent pearly gold. I’ve always enjoyed gold leafing, but now I am playing with different mediums. The layering over a deep crimson red has pushed me down a different path, somewhere I’ve not been before. It’s rather intoxicating. The way the gold shimmers, the pearl plays on the refraction of light… bouncing around in the depth of the medium. It’s a beautiful thing up close.

All of these iridescent colors mixed with golds remind me of the Art Deco movement,  luxurious colors and materials, modern clean lines. I have always loved this era, the rebellion that came right before it. Pulling away from the garish, over stated highly ornamental designs of the past. Simplifying and reforming the perception of splendor and opulence.

Here’s something I’m working on, something that makes me smile and inspires me to continue my course in this sumptuous direction. It is reminiscent of religious art, the gold and as Ashley staed, the downward gaze. It really is a encouraging piece. It makes me impatient for my supplies to come in. Ahhh, but the wait is good for me. It’s a little torturing but gives me time to put my thoughts together.

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Things Are Sweeter When They Are Lost

“Things are sweeter when they’re lost. I know–because once I wanted something and got it. It was the only thing I ever wanted badly and when I got it it turned to dust in my hand.”

~The Beautiful & The Damned; F. Scott Fitzgerald

I’m sure we’ve all lost something we wanted so badly, to our own painful downfall. Whether it was a lover or a friendship, it hurts as deeply as you loved it. Sometimes I think I’ll never get over these things, times in my life. It’s what drives much of my work, gives it meaning. Without a muse, I’d be a photographer… not an artist.

I don’t regret these things. They give me life and memories of times where I wouldn’t sleep, because I was living in the moment… listening to you breathe… looking at your hands. You were a stranger to me, but I felt most comfortable in your arms and swimming in your thoughts.

Working with my father’s 1936 Oldsmobile has been good for the old soul in me. I’ve been reading and watching some of F. Scott Fitzgerald’s more notable works. Set during the 1920’s and 30’s… I feel like I’ve lived in those times before. Getting lost in fictional drama, other people’s drama, it’s been soothing. Reminding me that I once felt passionate about another tragic soul. And just maybe, I might do it again.

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Duality on Kodak Portra

12220001-a 12220008-a 12220012-a 12200007-aKodak Portra is slowly but surely becoming my favorite film these days. There’s a realistic subtle tone to it that I don’t get with Fuji or Lomo. The clarity is much better than the Lomo films I’ve been testing and the remaining grain is uniform and aesthetically pleasing.

For the Duality work, it’s being transformed into something more ambiguous, less literal in the translation. For the next few weeks I’ll be shooting more images that create a plasticity within the frame. I personally enjoy the way my eyes are forced back and forth, figuring out the two exposures.

There is a play on the eyes, something I’ve been trying to incorporate into this work. I am finding the voice for this particular evolution of the project. As the weeks go by, the images should become more consistent and start to create a play by play story about where I am with my photography and my personal path.

I’ll keep adding the images I am having processed through The DarkRoom.com. In a few weeks I’ll gather up my top images and start printing them out for post. I’ve been experimenting with some alternative practices in printing. I can’t wait to get to the point of sharing those.

New Duality Work in Progress

000094920001-duo-transfer-lighten-blendWorking on something with a little more plasticity than usual. My new approach to Duality is more real, raw and natural. It represents where I am in this photographic journey. Taking my art to new heights and learning what it really means to be transparent.

Window Treatment

 

For the past few months I’ve been migrating back to my film cameras. Continuing my projects and changing up the way I see things. I’m not in a hurry, I’m not trying to get anywhere. I am just exploring my options and laying down tracks in the direction life takes. Working from the inside out, seeing through windows and using the available light to make memories worth remembering.

Emerging; A Collection of Fine Art Nudes

“When women pose thoughtfully and artistically – in nothing but their bare skin – they find themselves. They discover that they are truly alive. They become a Nude.”

~David Allio

The French Academy in the 19th century viewed the depiction of the nude as the ultimate measure of an artist’s skill. Today, I too regard the nude as a measure of my own skill and maturity. As I worked on each of these, I watched myself grow and found an identity as an artist. I present an obsession of female nudes inspired by masters of paint, Ingres, Titian, Bougereau and Velasquez. I incorporated their selection of rich colors, symbolism and chiaroscuro lighting to create my own works of art.

The results are an honest appreciation for beauty, expressed poetically by the artist.

I have studied the nude as a subject for nearly a decade. In this time my work with the subject and photography has grown immensely. I’ve produced a beautiful Moleskin Monograph to showcase a selection of my work. Each image is available as an 8×10, limited edition giclee print, on Hahnemüle fine art paper. These prints will soon be made available on Saatchi Art online as well as http://www.MelodyHallFineArt.com. If interested, please message me for details.

Thank you all very much for your support and kind words. I couldn’t have chosen a better career than creating art for people.

Emerging Book

The Space Between

 

This body of work was created out of the need to express myself and where I am at now. My sadness and grief, over the loss of my friend, overwhelmed me at points. Causing me to wake up and see what I am doing as an artist, a parent and a photographer. I questioned myself in each of these areas. Creating a rift between my past and my present. Since this awakening, I’ve used my time to nurture my relationship with my son and with my art. Living each day in the present, trying very hard not to think about the future or the past.

I made the decision to place my Duality project on hold while I sort out my new direction in life. I continued to shoot myself, but decided it was time to shoot in the present mind frame. My transient life, so very temporary and delicate. Each emotion I have is contradicted by my environment, creating a new space of where I am and where I belong.

When I left Cali, I was dead set on living in New Orleans, near my best friend and in the city I left many years ago. I made the assumption that it was the same and I’d be able to take part in the art community to build a business. Unfortunately, I couldn’t stop the memories of my best friend flooding my mind each time I was in the city. So I stopped looking for my place there.

I began creating images based on the instability I was feeling. I wasn’t comfortable in the South, I wasn’t looking forward to living here. I started to create images that illustrated how I felt inside. I felt like I was in between, in transition from one life to another but no longer in either. It was this space that I created in order to make sense of my mind’s ramblings.

These days I’m trying to remember that the moment is more important than the past or the future. So often I get caught up with where I’ve been or trying to get to, I forget to stay consciously in the now. I forget to stop thinking. I forget to breathe. I forget to enjoy the moment, lengthen it for as long as possible.

This work is about the now, this space in my life. I was torn between my West coast life and the South. My mind was never still, always anticipating the future and how I was getting there. The more and more I was around my son, the more I realized I wanted to enjoy the moments we were having. I had to learn to quiet my mind, so that my son could enjoy our time. As a kid, there is only the now. They don’t think too far ahead and he can’t remember much of his short past.

This project has challenged me to shoot photography that represents who I am today. They are self portraits, created with double exposures. I shot images of myself and my environment, then combined them digitally. They express the transient qualities of seeing in between the moments, pausing to breathe. Over the Summer, I plan to become one with my medium format camera in order to continue the project in film.

The images I am presenting are the ones I find most cohesive, in line with my thoughts and each other. They blend together two perspectives, two places in time. The double exposure brings a plasticity that allows the mind to float back and forth in the picture plane. The senses are allowed to absorb the colors and the shapes, distracting the mind from straying away from now. Essentially, the images allow my mind to rest, lengthening the space between.

The progress I have made since I left California is great. Now, I have a group of images that have set the tone for the direction of the work. I have figured out what types of images I am blending and how to shoot for them. I’ve thought about what I want the audience to feel and have found it in the equivocal space.

By using tactile plasticity as a technique, I am creating a particular feeling. By blending images together, I can let the viewer’s mind play around the plane. The mind’s eye can move back and forth, in and out of the images. Seeing them separate and as a whole. The images distract the mind from intruding thoughts. The act of figuring out the two images gives the mind a break. No longer are the thoughts of tomorrow or yesterday clouding the mind. The only thing is the now, whats inside the picture plane. It’s a fun way to play with the eyes and the mind.

Being always in transition is hard. I am always worried about the future and sometimes depressed about the past. I get caught up in preparing myself for the next move, when I needed to just be in the now. I’m slowing down to see what these in between spaces have to offer for personal growth.

For the direction of the project, I am trusting myself and the process of evolution. As I shoot more and with film, I understand the aesthetics may change, but the subject and plasticity won’t. I will continue to shoot daily and create a data base of images to work with. I understand I use the cameras as tools to create art, express my ideas. So I will allow work to evolve and unfold, showing me the way.

Time Traveling

I get this feeling that I’ve been traveling through time. Living in all of the dimensions at once. Taking bits and pieces from each conscious moment and creating a new dimension. It’s weird. I can sit and think for hours in circles, coming out of it with a sense of something. That’s usually it though, a sense of something. Nothing tangible, I end up getting distracted and forgetting the details but keeping the sense. Things like awesome sunsets after storms and a 5 year old asking if we can chase the sun, those type of distractions are the best. Mostly because I have enough sense to pick up my camera for a one off spontaneous moment. Like this one.

The Whole World

Where I am and where I belong

That is a double edged blade in words. I’ve moved across the nation to be with my family and reassess my business and organize my thoughts. It’s been heart wrenching. The city of New Orleans has changed so much. And without my best friend Lance there, it seems pretty pointless. I didn’t realize how much I was depending on him, his friendship… just being alive. I think his death is still one of the hardest things to deal with. I am glad to be home during all this. I wouldn’t be able to do it alone in Cali. At least here I have my family, my son and support. I know Lance is here. Or at least I tell myself that.

These images are a few double exposures I captured last week in New Orleans. You know I’ve been combing them, looking for any sign of Lance. We used to walk these streets every weekend as high school kids. Talking about living together one day, writing down numbers to rentals. That was a lifetime ago. I can’t seem to shake the memories, as clear as yesterday. I hope he’s adjusting and knows how much everyone loves him. Still can’t believe he’s gone. That city is empty without him, like a broken heart.

 

Change is the Only Constant

I’ve never been stable, physically. I moved around all my life, itching for change. Instead of working against the grain, I am embracing it. I know I’ll never be one to settle. It’s not in me. I’ll always seek out enlightenment, knowledge, tools and adventures. It’s become more than a way of life, but a change in life. Accepting what I do naturally as a gift and using the travel time to draw out that non moment, the unconscious moment in between thoughts and actions. Breaking the cycle.

Somewhere In Between


Self portraiture has been a long standing theme in art, not just photography. From Ancient Egypt to modern day’s digital selfie, the self portrait has been a meaningful and shallow way of expressing one’s self. As a youth I recall seeing Van Gogh’s self portrait. I understand it to be a useful way of studying one’s art. Whether it is painting or photography, the self as a subject has a place in historical reference and as a genre of it’s own merit.I had been introduced to Cindy Sherman during my undergrad and enjoyed her film stills, but self portraiture had no depth until I learned about the life and art of Frida Kahlo. It was a self taught painter, with a disability, forced to use her own image in order to express herself… her torment. Her self portraits document her physical and psychological pain as well as serving as a visual journal of her life with Diego Rivera.

I align with Frida because of my own physical and mental disabilities and living with someone whom was manipulative and destructive. I too painted from within, showing the world what I felt, not just what I saw. For me, the significance of Frida’s influence in my early self portraits trumps that of any photographer. I did not use my own image because I wanted to, it was because I had no other option. I was debilitated with depression and agoraphobia, I could not even leave my bed at times. I connected with Frida on mental level, something I have not found elsewhere.

When it comes to influential photographers in my current work, I look to the work of James Welling and Richard Tuschman. While both artist’s work has been recently introduced to me, I can see how their use of color and light move me to create my own personal pieces. Warmth of the light, coolness of shadows, it’s natural. The introspection of their work is encouraging and moving. Reminding me that not all photographs need to be visually appealing to hold meaning.

Not originally creating work as a photographer, James Welling began his art career in drawing and watercolor. He, like Tuschman, have been impacted by Edward Hopper’s reflective work. In his paintings, Hopper depicts ordinary scenes with an isolated figure in deep thought. His use of

light, color and architectural influence define his style and continue to influence artists today. When I first learned to paint, I referenced Hopper’s use of light and shadow.

I consider Welling a well rounded artist. Not limiting himself to one medium, but making an effort to learn about the different formats of art in order to shape his own. I, myself, have studied art in a similar way. Learning not only about photography, but drawing, charcoal, painting, video editing, acting, set building and jewelry making. All of which have contributed to my own craftsmanship.

I look to James Welling as a diverse pioneer of art. Like Man Ray and Andy Warhol, he isn’t afraid to attempt what others shun. He started working with long exposure Polaroids and tested unconventional methods to intensify colors, such as adding heat. There really is a science to it all and I appreciate the initiative to step outside of the set boundaries to create a niche for himself.

Welling explores color, shapes, textures, mediums and light through unorthodox techniques. His work was stated to be a critical evaluation of photography in contemporary art. His untitled Photograms (1988-2014) are meditative and mood altering, simply by color saturation, lines and gradients. I find his work very organic even though they employ geometric shapes and fractals, which are a part of natural geometry. When I perceive my current work, I make use of shapes, lines and color in a similar manner, to evoke moods and narrate emotions.

In Welling’s architectural images, I find solace and reflection. Each empty room of Wyeth, (2010), give thought to the many rooms of my mind, places I’ve been, lives I lived. They reveal a little bit about myself as a viewer, forcing me to contemplate my past. All of Welling’s work seems to be a study, a form of research. Each time, creating a series of images worth sharing, allowing other artists to grow from. They remind me of my own experiments and how much I enjoy the alternative aspects of photography. I enjoy being hands on. If it is too immediate, the gratification is null. I feel I must work for my art, finding new paths of expression, deviating from the norm.

When I think of my own work, I look back before the Academy. I recall the adventurous attitude I had about photography, the thirst for learning. It was refreshing and now that my work has changed, I am feeling this sense of rejuvenation in my art. I have a firm comprehension on why I love photography and art in general. It’s not just the expression of myself, but the adventure in learning, the

investigation of new and old techniques, science and hands on creation. Just exploring inventive experiments and finding new methods of making art, adding to my tool box, it allows me to experience a bit of personal transcendence. I’m stimulated by the research and my mind is engaged, therefore ideas flow and my work evolves.

In contemporary art today, I had the notion that everything had already been done. It was pessimistic of me, I grew weary of my chosen path. I felt turned off by what I was seeing and questioning myself. After coming to the revelation that I do indeed enjoy creating art and being introduced to artists that I had never seen their work before, I realized that I wouldn’t be able to “see” again until I grew past that. I had to get out of my rut and recall why I started making art in the first place. I enjoyed the study of art and creating hands on.

Being able to mirror contemporary culture, it really opened my eyes to what rethinking the familiar meant. It allowed to to be open and receive new ideas, new to me and once I created art and added my experience to it, it became new to the world. No longer did I hold contempt for the contemporary, I embraced it. I am exploring ideas and concepts and questioning the past, expressing the present, so that I may visualize the future. My art is contemporary in the sense that it is expressing today, the present. I am a part of a larger movement, one day it will help define our past.

Part of what makes my work successful is that willingness to try new things, go beyond photography to experiment and bring forth different aspects of the art culture. I use the skills I learned from charcoal drawing to better understand light and darkness, chiaroscuro. While sure I can read about it, I actually learned it hands on, the way master painters learned. I took craftsmanship from my jewelry making class and physical expression from my acting classes. My video editing interests taught me about camera angles and color of light, how both can lead to dramatic changes in the way one sees.

As I learned the technical side of photography, I used myself as a subject. I explored less and worked harder at doing things the right way. I followed the rules and attempted to please my instructors for the sake of a grade. Doing this allowed me to learn many new skills from lighting, to photographic language and marketing myself. Unfortunately it lead me away from my eagerness to learn and experiment. I lost the initial interest of photography, I misplaced it burying it under technique and assignments.

I discovered my interest in psychology and how to communicate with a camera. I took on the project of Duality, exploring the mental side to my photography. I chose to use what I knew as a subject, me and my depression. It was the only way I knew that I could separate my work from the work of other contemporary self portrait artists. Even though many of the methods were the same, compositing and tableau vivant, my work was personal. I learned how to take personal experiences and express them through photography.

Duality eventually became redundant to me, visually and in context. I was creating new images, but nothing was inventive or innovative. I was acting out my life on a constructed stage. I grew tired of seeing myself and telling the same sad story over and over. I became negative and stopped shooting for personal reasons. I only forced myself to shoot for assignments, leaving my work un-exhibited and un-printed outside of the Academy, I fell into a rut. I did not have the enjoyment of photography and stopped considering it as a career.

It wasn’t until my current directed studies class, that I started voicing myself. Previously I tried to do the right thing, or make images according to the Academy’s direction. Trace listened to my venting and read into my posts. She encouraged me to not continue to do what isn’t working. Trace “allowed” me to experiment in order to make changes. These changes started small, making use of color of light as a focal point. I realized that I enjoyed using color to help narrate my images. Then I experimented with changing the aspect of Duality. I took away the one element that had previously defined my work. Like taking off training wheels, I felt liberated and scared.

It was the reconnection with research and experimentation that drove me to really make changes. I abruptly shot an assignment solely for self expression, deviating from the Duality project all together. It was meaningful, if only to me. It was aesthetically pleasing and it helped me navigate my new direction. I was able to visualize a body of work and in put it into terms that were relatable and professional. I had created a new path. I was invigorated, re-energized and loving the medium again.

I am still shooting self portraits, and enjoying the process. I am engaged with my art and considerate of my audience. I am striving for context that is meaningful and content that is aesthetically pleasing. I am active in my art again and exploring the use of medium format film as well as continuing my digital studies. With the introduction of James Welling to my stock of inspiring artists, I am breathing life back into my work.

My latest addition to my thesis, is a reflection of now, I am expressing what I am today. It’s a blend of the constant flux or transition. I seem to be in tune with the optimistic sense of things to come. The use of multiple layers to look like double exposures, replicating my feelings of flux and instability in change. I make use of equivocal spaces to create a tactile plasticity for the viewer to experience that feeling of movement and fluctuation.

My “self” is no longer a clear view of what I look like, but how I feel. It is obscured as if I am unsure of my identity. It allows the viewer to step into the image as the literal subject, allowing them to feel the ambiguous state of being. In conjunction with shapes, color plays a large component to my narrative. It sets the mood whether it is conflicting or harmonious, a combination of colors and shapes will naturally let the viewer navigate through my images, without hesitation.

All of these attributes help define my work as modern. I have a respect for the classics, learned from the Masters and contribute to the contemporary. I am realizing that everything I have learned up till now are allowing me to be a part of today’s modern movement. Blending together the past and the present is what Contemporary Art means to me.

My self portraits are not a part of a trend in contemporary art, like the selfie. My work in self portraits has been established as a reputable genre, a source for inspiration. Like those whom have come before me, I too am becoming a testimonial for self portraiture. I address the question of why with an explanation of changing answers, from necessity and control to the enjoyment of creating autobiographical images to share. My self portraits have been a performance of documenting my psychology to a study of form in nudes. I use myself to create art because it is what I know best.

 

References:
http://jameswelling.net/biography http://jameswelling.net/categories
Themes in Contemporary Art by Gillian Perry, Paul Wood

Longing to Be Me Again

Longing

Longing to be me again is something I often catch myself doing. Reminiscing the days when I was social, when I wore make up and cared about what people thought. Sometimes it’s nice to just dress up and be complimented. These days there is more quiet in my diet and less chatter. I introvert some times of the year, reflect on my growth and think about where I want to go from here.

Duality has taken me to many places in and out of my mind. I always end up back where I start. Some call it full circle, I call it refueling. Gathering my-selves and estimating our worth. I’ve learned so much and feel like I’m just beginning. Not starting over, just moving in a different direction. Changing my sway, my swagger… but still to a beat. The music never stops for me, it just changes tempo.

 

Where the Wild Things Art

Where the Wild Things Are

I’ve been working on evolving  my Duality work. This is the latest test shoot. Some details still need to be worked out, but it’s coming along quite well. Back to my roots and working on shooting these in film.

My Duality project and how I got to where I am today.

I was born and raised in the Southern states of America. My mother and father, both from very poor families, met during the Vietnam-American war. I grew up on Army bases with an older brother as my guardian and my hero. He was a natural artist and could sketch or paint anything he imagined. I was always envious of the artist in him. I lived in his shadow until I moved to California.

At the age of 21, I left the South to pursue an education and find my path. I spent the next decade taking darkroom courses and working full time to pay for my California lifestyle. During my time as a business consultant for Apple, I had a break down. I had gotten very ill and spent time in the hospital recovering after a life saving surgery. It was a turning point for many aspects in my life. I decided to follow my dreams of becoming an artist and getting a degree in something I was passionate about. I applied to the undergraduate program at the Academy, it was 2008.

It has been a long road to recovery, mentally. I had fallen into a depression that would last over five years. This emotional roller coaster is how I fueled my creative spiral. I used the photography as therapy and my emotions as concepts. During my undergrad I learned about photography technically and conceptually. I learned about color and light and experimental methods of capture and print. I was so distracted by the academics and technicalities of art, I was able to push through my dark times.
Much of my duality stems directly from my life experiences. During and after my depression, I came to second guess myself and quickly become indecisive. The smallest tasks became enormous obstacles. I became agoraphobic, not leaving the safety of my bed, my island. It was these soul wrenching moments that I used to express myself. I began to shoot myself out of need of a subject then eventually my self portraits turned into my need to express myself, my therapy.

I used myself to learn lighting and conceptual thinking. I also used myself to push my Photoshop skills and composite. I used my own experiences, my own body and mind to produce pieces of my mind. Only recently was I able to convey my vision exactly as I see it in my head. All of the pieces I learned over the years started to come together this year. My confidence as a photographer is finally catching up to me and I can see the growth in my work.
The evolution of my Duality project is visually apparent. The images revealed where I was both mentally and technically in my work. I was using Photoshop to composite and beautiful landscapes to help create a surreal world, to construct my realities. The project was my therapy and my distraction.

Now in the second stage of development, I have grown as a photographer and a narrator. In these images, I’ve grown to appreciate my second nature and even nurture it. Technically the images are more dynamic, less flat. There is more of a commercial feel to them with a better quality of light and contrast. I feel that I am not just a photographer, but a conceptual story teller.

 

She’s Like Day & Night

Day & Night

 

This is my second image from the newest Duality series. There’s a lot more going on in this scene, I’ve illustrated my own day and night habits.

I try to think logically in the mornings, it’s hard to wake up but I know I need to get my work done early before my distractions start chiming in. This side of my brain has loads of common sense and tends to be straight forward, well organized and rational. I tend to be a little more OCD in this mindset. It’s how things get done around my house. This is the stress inducing Melody, she speaks her mind and isn’t afraid of offending anyone.

While the night time is for my right brained activities. I stay up very late and work creating until I’m exhausted and pass out. I research projects endlessly, brainstorming my ideas for the week. I work without concern for organization or logical thinking. It’s all imagination and vision when I am in this mode. I tend to be more emotional when I am creative. I reminisce and use my past experiences to drive my work. This Melody is more prone to stay inside for a week while she creates her newest masterpiece. She doesn’t care for the general public and finds the inside of her home and her garden a bubble from the rest of the world.

For this image I was inspired by Dave Hill. His composites have been pushing me to try harder. Occasionally I look back on the photographers that have influenced me over the years, and I find something new. Some new technique I never noticed before… it was confidence this time. The confidence to create an image that I am not experienced at. This was my first transitional composite. Going from day to night in one frame is exciting for me. It shows me how far I’ve come in the last year. My concept is evolving and all I have to do is work hard and maintain this balance.

Thank you for checking out my progress. It’s going to be a fantastic fall, stay tuned for another installment of Duality by Melody.

Duality Film Still #1

 

Split Personality

I’m just an average man, with an average life
I work from nine to five; hey hell, I pay the price
All I want is to be left alone in my average home
But why do I always feel like I’m in the Twilight Zone

Rockwell is all that is going through my head as I edit this image. Rad. I am working on the Duality series again. I figure it needs a little closure or a end of some sort. Since I go through life like a movie still, frame to frame, I thought it was on;y right to shoot these in wide screen format. Duality as a movie…. treatment and more stills to come!

ambiente e me

Miss Melo

 

These are a few of my self portraits I’ve been taking in the sun. They are double exposures of me and my environment. Plastic cameras are  way too fun to put down. 🙂

No Greater Love

 

 

we

 

 

There is no greater love
Than what I feel for you
No sweeter song
No heart so true

There is no greater thrill
Than what you bring to me
No sweeter song
Than what you sing, sing to me

You’re the sweetest thing
That I’ve ever known
And to think that you are mine
You are mine alone

There is no greater love
In all the world, it’s true
No greater love
Than what I feel for you

~Amy Winehouse

Sneek Peek

 

la sucia (dos)

 

I’ve been working on a bedtime project for the past two months. This is a peek at part of it. The other part is a collaboration from a fellow photographer. He shoots bright airy nudes and I’m keeping it on the dark side. Once we get our location on lock, I’ll give up more. Anyways, here’s a peek bitches.

Newsflash

a little good news

While I was roaming the aisles of nerds and celebs for Comic Con San Diego, 2013….. I came across a newspaper. Inside is a picture of a girl, taking a picture of my work at The Palace of Fine Arts in San Francisco. It totally made my day, week and just made Comic Con actually cool. I’m always surprised when others relate to my work. It’s actually pretty scary. The work is titled, “Searching”, it’s a really dark scene. About searching for someone after they have left us for good. Some days the search never ends in my little hollow heart. I love you Makai and still find myself searching for you out of the corners of my eye.

A Little Death & Duality @ Fame Chicago

seven n seven  Please Stand By

la sucia

seulement vous

This past weekend a new restaurant, Fame, opened in the Chicago neighborhood Wicker Park. I was asked to submit some work for the opening. These are the 4 that grace some of those walls. These are an extension of the Duality series I’ve been working on for the past few years. I always imagine killing off one of my egos. This set has been a lot of fun, super creative and dark. I’ll be posting the rest as they come to life. Here are some links to the restaurant, if you are in Chicago…. stop by!

Link 1

Link 2

Link 3

Nude Collection

Hall_M_01 Hall_M_02 Hall_M_03 Hall_M_04 Hall_M_05 Hall_M_06

I am a firm believer in learning as many new tools as possible, in order to convey my work. During the last few months, I was exposed to a handful of new printing and experimental processes that have helped find voices for my photography. I studied painting, charcoal and all aspects of photography, in order to be a well rounded artist. It has given me new avenues to explore and sheds new light on old work.

In this collection of images, I have taken my digital study of the nude and created one of a kind pieces of tangible art. These nudes, taken in ambient light, are traditionally printed, using Van Dyke Brown chemistry and the sun. Once they have dried, I infuse Batik wax and a warming pigment with heat, also known as encaustic. This makes the paper translucent and the ink feels sealed and protected.

My goal is to provide original mix media art in a classical style, with a classic subject. Once matted and framed, they look as if they were made a hundred years ago. Each one has it’s own subtle differences, brush strokes and blemishes. They all smell like the batik wax, “spices from the New World”, is where my mind takes me. I think the scent and character of the flaws adds to the overall feel of the presentation. Old world techniques mixed with modern ideas and tools.

In The Pink

Last year I was flipping through Flickr and came across some of Brooke Shaden’s images. There’s one with red fabric and in the tags, she wrote “a square piece of fabric”, or something like that. Instantly I wanted to know how she did it. So instead of researching the web like a smart person, I just grabbed one of my prop fabrics, some clamps and ran outside. I got this on a ladder and on my first set of shooting. The amount of images is so many layer, but it was a great learning experience. I got so involved in the post processing and kind of pushed myself out of my normal quick edits.

I have always been wanting to shoot a Bouguereau inspired image. I love the flowing materials and softness in his skin tones. I think it’s a personal project I will have to maintain after graduation.

The Wait

 

OK! Working on my finals for my Contemporary fine art class at AAU. It’s been a very busy week. My brain is everywhere and I am sitting here waiting for it to come back and settle down. I took this image at a family friend’s house, it was his birthday so we enjoyed some Patron and ran around the orchard. It was a beautiful day!! Wish you were here!

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