Valerie Wilson is a visual artist and educator based in San Francisco. We first met when she was working with students at Alchemia, an arts program for adults with developmental disabilities. In our dialogue, she comments on the conscious and subconscious nature of Reflection, and the unique uses of these Reflections that each person chooses as their Response. Valerie chooses to reflect through art as a “healing interpretation,” of her world, as she describes with her print, The Royal Rooster, dealing with mixed emotions of a past relationship. Check out Valerie’s ideas in more detail below and snapshots from her printmaking process!
Either consciously or subconsciously, people are processing their surroundings, their past, present, & future every single moment of the day. What one does with their reflection(s) is completely subjective, but unanimously response is a direct reaction to reflection (and visa versa).
– Valerie Wilson
Leading off with some basics, where are you from? And where are you at?
VW: I’m originally from Sebastopol, a small town in Northern California infused with wine, liberals, and art. In 2005 I moved to San Francisco, and have set up a semi-permanent fort there.
What does Reflection and Response mean to you?
VW: Either consciously or subconsciously, people are processing their surroundings, their past, present, & future every single moment of the day. What one does with their reflection(s) is completely subjective, but unanimously response is a direct reaction to reflection (and visa versa). Reflection and response are symbiotic with each other, for every action there is a reaction, creation is what happens when these two work together (which is all the time).
Valerie Wilson – The Royal Rooster
How does The Royal Rooster fit in with that definition?
VW: I’m incredibly detailed oriented and love symmetry, but besides that, my artistic process is very lackadaisical erring on the side of intuitiveness. My most complex pieces have surfaced during equally complex life events. Without a doubt I’d say that my work is a creative and healing interpretation of my world & existential well-being. My art is interchangeable between Reflection and Response, and is definitely fueled by both concepts. The Royal Rooster is the romanticization of a past partner. In the spring of 2011 I started carving and designing this bird after a breakup with someone I truly respected but equally despised. He (the rooster) is so tall and proud and beautiful while simultaneously reiterating his haughtiness and unattainability. Of course, I come to realize this only retrospectively, but see this piece as an obvious phoenix rising from the ashes of a failed (but cherished) relationship.
Valerie Wilson – The Royal Rooster (Process)
Valerie Wilson – The Royal Rooster (Process)
What else have you been working on recently? What are you looking to work on next?
Marc Stretch is a renaissance man based in Oakland, California that we were fortunate enough to meet through producer Wax Roof, a recent Feature Series contributor. Marc has been an important player in the Bay Area music scene for some time, and he’s currently involved with several groups including Foreign Legion, Big Willie Dynamite, Handclap Technicians, and a bunch of other dope projects. In addition to being a masterful craftsman of the art of rhyming, Marc keeps the dance floor crackin’ as a video DJ throughout the Bay, and is expanding his repertoire with more video and photography projects in the future. Marc’s perspective on Reflection centers on the idea of returning equal energy that comes your way, while Response is a more developed and better articulated plan of action. Check below to see how he approaches R & R in his music and Reflects on the evolving nature of his work.
Marc Stretch | Photo by Leo Docuyanan
Reflection is returning the same energy to a situation that is aimed at you…Response is what happens when you take the energy of a situation, take a moment to think over the possible repercussions of options that you have, and articulate a plan and put it into action.
– Marc Stretch
Leading off with some basics, where are you from? And where are you at?
MS: I’m originally from Ft. Dix, New Jersey (born in Huntsville, Alabama) but I’m currently resting my sneaker collection and bacon addiction in the lovely city of Oakland, California.
What does Reflection and Response mean to you?
MS: To me, they’re opposite sides of the same coin. Reflection is returning the same energy to a situation that is aimed at you. If somebody directs anger towards you, you respond with anger. If a situation directs peace towards you, you direct peace towards the situation. Response is the other side of that. Response is what happens when you take the energy of a situation, take a moment to think over the possible repercussions of options that you have, and articulate a plan and put it into action. That’s response to me.
How does your music fit in with that definition?
MS: I feel like all the music I make is the result of inherited reflections and informed responses. I am a result of every thing that has happened to me, every person I’ve met and every word I’ve ever heard. Sometimes, that means that you’re going to get the instinctive Reflection side of me in a song. Those songs tend to speak to where we’ve been or where we are in the moment. Sometimes, I’ll make the Response which is usually focused on where I feel we need to go.
Traditionally I’m known as a goofy rap guy or a battle MC, but as I’ve gotten older, I’ve had the opportunity grow and express myself in a more mature and honest way. Not saying that the party MC wasn’t me, because I’ve torn down plenty of stages and wrecked plenty of hotel rooms. It’s just that the older I get, the more I realize that the “goofy rap” box is just way too small for me.
What else have you been working on recently? What are you looking to work on next?
MS: Man…. Quiet is kept, I’ve been pretty busy. I just released the 2nd album for my group, Big Willie Dynamitealong with my brothers Mondo and raysthebar. It’s called Joes vs. Pros and we’ve been rocking shows to support it. We’re currently finishing up our next album (untitled at this time) and working on the visual side of that. I’m also working with Prozack Turner on our next release as Foreign Legion. We’re getting ready to shoot a video that I’ll be co-producing and co-directing. We’re considering releasing a limited edition 45, for all the vinyl heads. Next, I’m working on a solo record with production from myself, Rice4Ever, Unjust, Flight 27, raysthebar and a few other friends. I’ve got some guest appearances from people that I’m close to like Danjres Will Robinson, Ariane Mitchell, Mondo, and Lowbrow The Hypnotic. The record is tentatively being called Marc’d for Def.
Oh… Just for the record, I tend to only work with people I actually know and like. The way music is now, it’s not really to your advantage to work with somebody just cause they are hot. It doesn’t matter. Make good music. Speaking of good music, I’ve got an album done and waiting to be mastered with the indomitable G Koop called Instruction Manual. Together we’re known as Handclap Technicians. Most recently, I’ve started working on a project with my dude Wax Roof and I’m crazy excited to get that done and get that in the hands of the people. He’s a young dude that is super talented and hungry to make great music. He’s definitely one of the best kept secrets in the Bay. He doesn’t know but we’re gonna call the album Paisley Paint Job and the group is going to be called The Corduroy Boys.
In addition to all of the recording that I’ve been doing, I’m also rocking live monthly with the G Koop and O-man Band on the first Friday of every month. I’m also Video DJing for my night on Second Saturdays called #FUTURESHOCK along with Deejay Saurus and DJ Halo as well as some one-off gigs around the Bay. Both of these gigs happen at Prozack’s place, The Legionnaire Saloon.
I also caught the photo bug from my girls Adza Adrienne and Araya Diaz, which is kind of a return to my roots since my Dad was an amateur photographer and I used to work with him. I was in charge of developing the film, back when you actually had to develop film to make pictures. I’ve been refining that in my somewhat spare time.
On top of aaaaalllll that, I’ve been flexing my athletic prowess by playing adult Kickball for WAKA. Yes…. I said kickball. I’ve won more than a couple local championships and even went to the Nationals, in Las Vegas.
What am I working on next? Well, along with the audio projects, I’m really excited to be working on more video projects. I’ve already done a comedy film with Prozack (shot by Tim Nolan and Dave Medina) called Night Moves and I’ve shot some music videos with the likes of Roy Miles and Behn Fanin. I recently shot my own video for a song called Ready2Fly and that was really when the video bug bit me. I’m working on videos for some songs for my solo record and starting treatments for a Foreign Legion joint and some of the Corduroy Boys songs too. I’ve also been talking to Nightclubber Lang from Boom Bap Project about a cooking variety show. We’re both culinary enthusiasts and feel like we can bring something to a younger generation of viewers.
Kinan Azmeh is a clarinetist and composer we recently connected with through musician Timo Vollbrecht. Kinan grew up and studied music in Damascus, Syria, and has continued with his craft in New York City over the past 13 years. Throughout his interview, he discusses various strands of Reflection and Response, whereby artists sometimes reflect on their surroundings and on other occasions work to idealistically recreate realities. However, in Kinan’s opinion, art allows him to access another world of emotion not readily available in everyday life. Along with his words, this multifaceted artist showcases some incredible compositions that display his range and creativevision. He’s released three albums with his ensemble HEWAR, a duo album with pianist Dinuk Wijeratne, and an album with his New York-based Arabic/Jazz quartet, and the future is filled with some ill upcoming projects including a commissioned flute concerto, film scores, and tours in Europe, USA, and the Middle East. Peep the dialogue below along with some dope soniclandscapes from this dedicated craftsperson!
Kinan Azmeh | Photo by Jill Steinberg
Making music is an act of freedom by default.
– Kinan Azmeh
Leading off with some basics, where are you from? And where are you at?
KA: I was born in Damascus, Syria, and have been living in New York for the last 13 years.
What does Reflection and Response mean to you?
KA: If we think about it on the most general level then we do realize that this is how nature works, cause and effect, action and reaction. In the arts, reflection and response are a little bit more complex. There are several schools of thought when it comes to the arts, one that says that the artist’s role is to reflect on the world around him/her, others say that the artist’s role is to recreate the world in the most idealistic way. I don’t subscribe to either camp; my personal philosophy is that we make art to experience emotions that we don’t have the luxury of experiencing in real life, some kind of fantasy world that is more complex than what is experienced in our daily lives.
What have you been working on recently? What are you looking to work on next?
KA: I grew up playing western-classical music in Damascus, a city that is very rich and diverse in its musical traditions, then moved to New York. That opened my eyes (and ears) to a variety of music that I enjoy performing today. I have been wearing different hats at different times, sometimes playing as a soloist with orchestras performing western classical repertoire, at other [times] you would find me playing with my Arab-Jazz quartet in New York, and other times playing with electronics and visual arts. I am now at the stage where I am trying to bring all these heads under one hat. I am working now on a concerto for improviser for soloist and orchestra. I do feel that music is a continuum and I would like to [replicate] that in my musical life as much as possible. I have a number of projects that are coming up including a commission to write a flute concerto, a couple film scores, and also a number of tours are coming up in the US, Europe and the Middle-East.
Who or what inspires you?
KA: I am inspired by what’s around me, my life, the lives of others and nature. However, the main idea that is occupying my brain for the last three years is home, Syria. Since the revolution began three years ago, I started to wonder about the role of art: can a piece of music feed a child, can it stop a bullet? Certainly not. But it inspires me to know that I have the power to inspire someone else, to reflect and to think. I am also inspired by the belief that making music is an act of freedom by default, which continues to provide me with the tools to keep creating. The piece “a sad morning, every morning” was written to commemorate one year of the Syrian revolution in March 2012. The title says it all, you get up in New York, first thing you do is you turn on your computer and you “put your hand on your heart” as the saying goes, waiting for the sad news to come from home (since Damascus is 7 hours ahead). The piece was written in very little time and it gave me the peace of mind i needed at that particular moment. It was also the first piece I wrote after almost a year of a silence.
Is there anything else you would like the Collective to know?
Ebru Yildiz is a New York-based musicphotographer that we met through Adela Laconte. Active in the New York music scene, she breaks down the role of Reflection and Response in musicphotography/portraiture into two concurrent yet distinct concepts: a photographer’s effort to capture the musician in his or her response to/through music, and the photographer’s own response to the performance. She showcases some of her recent musicphotography work, talks about the process of creating meaningful, expressive portraits, and discusses expanding her craft with an upcoming project using a photographicprocess developed in the 1850s called “wet collodion.” Check the dialogue and prints from this artist steeped deep in exploration and creation!
Ebru Yildiz | Photo by Mitchell King
In order to make meaningful portraits, you really need to have interest in people other than yourself; you need to have a genuine interest what they have to say, what their story is…No two people’s stories are the same, no two people’s feelings could ever be the same when they are faced with similar situations.
– Ebru Yildiz
Ebru Yildiz – Shilpa Ray
Leading off with some basics, where are you from? And where are you at?
EY: I was born and raised in Ankara, Turkey. I moved to New York-where I have always dreamed of living- the minute I finished college. And I started making photos few years after that. When I was in Turkey, I always preferred to go to live shows than any other club scene that was so popular back then. So when I moved here, it took me a minute but I eventually found “the” places to go and see music. I was always at shows, so making photos at the shows came as an extension of that lifestyle. After I developed a certain style that I was happy with, in order to keep things exciting for myself, I decided to take a little break from shooting live shows with exception of occasional shows here and there and focused on personal projects and making portraits. Right now, I think it is a healthy mix of all three.
And I am still in New York where I hope to live for the rest of my days if I am lucky!
Ebru Yildiz – Savages
Ebru Yildiz – Savages
Ebru Yildiz – Psychic Ills
What does Reflection and Response mean to you?
EY: When you say response, I can’t help but think the other end of the spectrum, which for me is reaction. I believe being able to respond to things happening to you rather than reacting to them is a difficult form of art to master. Not everybody can succeed in taking the time to think about what is actually happening, listen to how they really feel about it and/or put themselves in the shoes of the other person before they decide how to go about it. I always make a conscious effort to respond to things around me but having the hot Mediterranean blood in me definitely makes it a challenge at times. I only hope at some point in my life, it is going to come naturally.
Ebru Yildiz – Jason Pierce
To me, reflection means to take the time to look at what I have done so far and going forward questioning if I should change anything about them. During this process, being able to acknowledge good as well as bad with all honesty is super crucial. I never understood why people cannot be humble and are so afraid of admitting negative things about themselves. These only show you are a strong person and nothing else. Either ways, I believe even the acknowledgement of the need to change is a gigantic step in and of itself. Being able to make the changes you think you should is a completely other animal though. And it takes time.
Ebru Yildiz – Mitchell King
How does your work fit in with that definition?
EY: Well, I have never thought about reflection and/or response in terms of my photography but now that I did, I can see that it comes out the most for portraits. The photographer and the subject respond to each other continuously. People feed off of each other. If you are in a good mood, it is going to rub off on people around you, if you are not in a good mood, that is going to rub off on people too. So it is a constant flow of emotions back and forth. I remember I used to try to get a certain emotion out of people, for that reason I liked making people uneasy, and uncomfortable by asking incredibly private questions during the shoot. But right now, I take joy in letting the people I photograph just be. I become mindful of what they allow me to see and try to focus on those. So I guess it is kind of reflecting what I think they project to me back into the photograph, if that makes any sense. But everything is so subjective. At the end it is collaboration. It is my interpretation of what my subjects let me see. Regardless, I personally think that in order to make meaningful portraits, you really need to have interest in people other than yourself; you need to have a genuine interest what they have to say, what their story is.
Ebru Yildiz – Frankie Rose
Ebru Yildiz – Tamaryn
As for live photographs, I think in those, I am focused on catching musicians’ own response to their own creation, of course that combined with my own response to their music. And like everyone else I respond differently to different music. I heard my husband talking about my work to a friend once; he was saying that he thinks that most of my live photographs are like portraits of those people who happen to be playing a live show. I don’t think I have ever heard a bigger compliment than that.
Ebru Yildiz – Thee Oh Sees
What else have you been working on recently? What are you looking to work on next?
We’re excited to welcome Valencia-born and Leipzig-based comicbookartist and illustratorÁngelRams to the LIFESTYLE collective. Angel sheds light on the roles of Reflection during the process of interpreting an author’s scene and Response as the illustrator’s goal to tellthestory through that interpretation. He goes in on the importance of telling a story without sacrificing the narrative for superfluous illustrations that only aim to impress readers. Ángel showcases these different features of the creativeprocess using dope examples from his portfolio.He also sheds light on exciting future projects such as serving as the artist for Alfred Ngubane‘s bookShaka Zulu, the upcoming release of a graphicnovel set in post-WWII, and his participation in the 2014 Egmont Graphic Novel Contest with his graphicnovelCayuco. Check out the dialogue below accompanied by samples from Angel’s eclectic collection and links to various projects he’s got going on.
One of the main rules of sequential art is that you are here to entertain people, telling them a story throughout panels, not to gather a bunch of cool pin-ups on a page. A good comic book page can be understood without the dialogue on it, because it responds to the script.
– Ángel Rams
Leading off with some basics, where are you from? And where are you at?
AR: My name is Ángel Rams. I´m a comic book artist and illustrator born in Valencia, Spain. I currently reside in Leipzig, Germany.
What does Reflection and Response mean to you?
AR: I consider myself a comic book artist that takes occasional illustration commissions. The bulk of my artwork is what we call “sequential artwork”, in plain English: comic book pages. So I guess I should respond as a comic book artist. I believe Reflection and Response are a great part of a comic book artist’s work.
I would say Reflection describes my intention when I draw a scene, an object or a character. I try to capture on paper how I conceive that scene, object or that character. I try to reflect my perception of reality through my artistic skills. Of course that reality doesn’t really exist; it’s a reality the writer created. My task is to read, interprete and reflect. And that leads us to the next question: Response.
I understand Response as the artist’s level of commitment and efficiency toward the story. Rule number one is: tell the story. The closer my drawings are to the writer’s initial idea, the better Response I provided as a professional. In my opinion, a good comic book is the one where art and dialogues work along so well that it makes you wonder if it was made by a team or by one single creator. For this to happen you need a collaborative effort between writer and artist, or such a complete, well written script, that it gives the artist information enough to provide a good Response. Luckily I’ve been in both situations.
One of the main rules of sequential art is that you are here to entertain people, telling them a story throughout panels, not to gather a bunch of cool pin-ups on a page. Sadly, many artists focus their efforts on showcasing lots of boobs, muscle and plasma beams in cool postures rather than telling the story effectively. They adapt the story to the art and it should be the other way around, and that creates divergences. There’s nothing worse than divergences between artwork and dialogues. Seeing a character doing something or showing a body language that doesn’t match what they say, drives you out of the story and makes it less believable. A good comic book page can be understood without the dialogue on it, because it responds to the script. You don’t really know what they are saying but you know what’s going on.
How does your work fit in with that definition?
AR: When you look at the pages [from Tunnel] above, even with no lettering work on them, they convey the defenselessness and vulnerability the wounded character is feeling at that point of the story. His posture laying on bed, the martial mood of the military character that’s talking to him, the dark empty infirmary room, how the doctor approaches step by step with his apron stained with blood… All of this is telling you that wounded dude is in trouble. My task as an artist is to convey that idea throughout the page, to respond to the writer’s idea. Even the page layout imitates the shape of the window’s grid. All these elements subconsciously affect the reader, they create a mood and make the story believable. They all work together to tell the story.
At the same time, I have to reflect on the look of the room (it’s not a civil hospital, but a camp hospital), the ethnicities of the characters (the doc is Japanese) and every single object in an effective way. That means hours of documentation and study before even picking up the pencil. How many amateur comics did you see where cars look like shoe boxes? That happens because they don’t reflect real objects properly.
The next scene, below, [is] pretty much the same. The female character has the sensation of being observed, and so does the reader, because the position of the statues, the deer head and the empty library convey that feeling.
What else have you been working on recently? What are you looking to work on next?
We met actressLinda Wertenweiler recently through some friends of ours in Brooklyn. Linda has been living in New York since 2006 working on her craft, performing, and acting on camera. In this interview, she discusses her journey from a rural setting with a distinct culture to the fast-paced and eclectic city she now calls home. She cites the importance of dedicatedmoments of Reflection to provide breaks in the rapid pace of life, and she considers the data gathered from Reflection as necessary input when Responding via the dramaticarts. Recently, this artist appeared in a 1980s-style horror short film, Imprisoned Souls, and is filming another short entitled Canvas, set to shoot in May of this year. We are excited to have the unique perspective of this active craftswoman who is consistently dropping dope projects!
Leading off with some basics, where are you from? And where are you at?
LW: I was born and raised in beautiful Switzerland (Amriswil TG), right at the border to Germany, Lake of Constance. In 2006 I left my banking career at “home” in order to chase my childhood dream: ACTING! New York City has been my residence ever since and I am loving my new chapter and my life fully!
Being from such a different continent, culture and being from the country side, New York has enriched my life, perspective, lifestyle etc. tremendously! Lots had to be learned, lots had to be explored, lots had to be understood, lots of adaptations needed to be made…. Looking back today to where I was 8 years ago…. WOW, how much growth has happened in me in this fast paced city!!! I am truly grateful and happy with every single experience and lesson that currently is in my back bag. I am looking forward to fill my bag with many more adventures and experiences.
The transformation from the banking world into the acting one was quite an interesting journey! My acting experience was very small, my desire of my heart and soul to pursue it was and still is super strong. Looking back on my growth and path as an actress/artist/human being makes me very happy and evokes a satisfying feeling all over me. It was THE PERFECT decision that I made back then!! “Don’t dream your life, live your dream!” is what is driving and pushing me. The future is unwritten, it will be what we are making out of TODAY and the NOW. Anything is possible if you believe it is! 😉
What does Reflection and Response mean to you?
LW: Reflection definitely is a very, very important part of my life. It shows me all the colors of my past, it shows me where and who I was then, who I became and where I am heading towards. To me response contains sort of a reality check. I get to see if I am still on the “right” track or if there needs some adjustments to be made. In general I believe that whenever someone intentionally stands still for a little while and starts his/her own reflection process then it means to me that this person cares about himself/herself. It means that this person was running and running and doing and simply functioning without being aware anymore of its initial intentions. Or this person is focused on his/her way and is simply checking in if everything still is ok with what is going on. Sometimes we come off track because of many distractions in our lives or our needs and wants simply change as we do daily.
How does this definition fit in with your acting career?
LW: All the knowledge about myself is more than essential for my work as an actress! The better I know myself, the more I feel myself, the better my work will be as my inner life always reflects my outer life after all. As an actor you need the understanding of your behaviors first, you need to be able to see life in general from a psychological point of view. You need to have the understanding of yourself, your surroundings and of the whole world in general. With your own interpretation of it all you then will be able to use all that data in order to let it flow freely into your work. Reflection will be your helpful guide and director in order to grow faster if you are willing for this exciting adventure to happen…
What else have you been working on recently? What are you looking to work on next?
LW: During the past few months I have actually given a lot of my time and focus to myself and to my inner world. Reflection was and still is a big thing in my life and will always be. So it is truly funny to me that I am doing this interview about this subject with you right now Peter! That’s just how the Law of Attraction works after all. 😉
One of my last exciting acting projects was the 80s horror slasher short film “Imprisoned Souls” in which I am portraying the villain “Jeanne Wrayy”. My talented writer and director friend wrote this part for me. Thanks to this character I had a true breakthrough in my craft and that character opened up a whole new dimension in my acting reality. It’s absolutely inspiring to me and I am now applying all the new knowledge into my work.
I just got cast in a short film called “Canvas”, which we will shoot in the beginning of May 2014. This time I will play a lawyer’s wife who is an avid supporter of the artistic community. It will be a very fun project that includes some of my talented friends in cast and crew. My other focus is also in taking new headshots within the upcoming 2 weeks and updating my acting reel. Within the past year I have grown and evolved a lot in my personal and artistic life. It is more than time to capture this “new” me at this point in my life/career in order to sell myself more specifically and effectively.
Perry Young has been a dope actor and performer since we met back in Berkeley during our high school years, and he continues to tear up the stage in NYC and around the country, having recently performed as part of the musicalIn The Heights. Perry talks with us about the consciousnessofreflection that leads to awareness in the present, while he views response as one’s intuition to get where they want to be. The Coming World, another one of his recent works, locates its characters in deep Reflective dialogue and Responsive action as they traverse difficult circumstances. Moving forward, Perry is also looking to work on an originalwebseries dealing with his reality of moving to NYC as an artist. Check out the interview for more insight and info!
Leading off with some basics, where are you from? And where are you at?
PY: Born and raised in Berkeley, CA. I’ve had the pleasure of living and performing in several cities and countries, as well as touring all over the US with the musical In The Heights. I’m currently growing my mustache in Brooklyn, NY.
What does Reflection and Response mean to you?
PY: Reflection to me has an inherent feeling of the past, a look back on where I was and where I am today. There’s an almost meditative quality to reflection, a consciousness that you are aware of where you’re at in the world and how you got there. Response is your own gut feeling to where you are, where you want to be, and the steps you’re taking to get there. They’re both equally important – reflection being the potential energy and response the kinetic.
How does your work inThe Coming World fit in with that definition?
PY: I recently worked on a play entitled “The Coming World.” The play largely dealt with the in-between – the words on the tip of your tongue that you just can’t seem to utter, and the actions that we lay awake at night thinking about but never take. It followed three characters and how they responded to the weight of their circumstances when they were pushed to the edge of reason. What are they willing to fight for, what do they regret about what they’ve done and how do they cope with loss? In that sense, the show very much can be broken down into Reflection and Response. There was a very reflective quality to the play as the characters dealt with certain tragedies that arose and their own responses/feelings of responsibility for what has happened in their lives.
What else have you been working on recently? What are you looking to work on next?
Recently I saw that someone had posted a preview of a documentary project on hip-hop in Buenos Aires, Argentina, on a friend’s Facebook wall. After researching the project a bit, we sent an email to one of the film’s three creators, Diane Ghogomu, who welcomed the idea of participating in the LIFESTYLE Artist Feature series. Originally from Pittsburgh, Pennsylvania, Diane has been living in Buenos Aires for some time, where she has worked along with Segundo Bercetche and Sebastian Muñoz to produce Buenos Aires Rap.
Diane discusses the Reflective and Responsive nature of hip-hop in the film, which follows the lives of various artists involved in this art form in the Argentine capital. Diane and her co-directors will be screening their project at the Buenos Aires Film Festival this year, and are currently fundraising in order to put finishing touches on the project and begin distribution. Check out the interview, trailer, and stills from the film below!
Sebastian Muñoz | Diane Ghogomu | Segundo Bercetche
Leading off with some basics, where are you from? And where are you at?
DG: I am from Pittsburgh, Pennsylvania! Steeltown, represent! Right now I am living in Buenos Aires, Argentina.
What does Reflection and Response mean to you?
DG: Reflection and Response is the process of acting authentically to each situation that is presented to you. I always think of the Lion King. Simba had to follow his guide Rafiki to the water to see himself. Simba had to look in the water and reflect on his situation, speak with the ancestors, see his own image in the shore before he knew how he had to continue. His response was more powerful because it wasn’t reactionary, but to a powerful impulse backed by his spirits! That’s how he knocked evil’s block off!
How does your project Buenos Aires Rap fit in with that definition?
DG:Buenos Aires Rap embodies Reflection and Response in various ways. First off, this project follows an incredible amount of artists whose music is a response to how they reflect on their own identities, their own existences, their own ways of life.
Lukas (Buenos Aires Rap)
Those artists who truly respect and understand the history of hip-hop and rap see themselves reflected in that history and the present hip-hop culture. Many of the Bolivian immigrants who live here in Buenos Aires spoke about being able to relate with African Americans living in ghettos during Reaganism. One of my favorite quotes comes from a character named Anton who says, “Through hip-hop I’ve been able to comprehend a lot. I’ve thought a lot. I’ve learned a lot. Here people who have been here for less than 200 years are going to tell you that you are an immigrant when your ancestors have been here since Before Christ? That’s not right. Nationality is only a lack of identity!”
Milito (Buenos Aires Rap)
That is a beautiful thing to me. These characters are able to reflect, transform, and respond through hip-hop and rap.
Secondly, the job of the documentarian is to do just that: reflect and respond. Anyone who tells you that documentaries are objective are lying to you. Our job is to reflect on a social phenomenon, and respond by placing a camera where and how we see fit. In this project we tried to reflect an image of Buenos Aires that is oft-ignored. Even people who live in Buenos Aires will have a hard time naming all of the urban landscapes that pass by on their screen. We hope that the impact of our project will be a process of reflection and response. Buenos Aires is often painted as a white and European society, without leaving space for her true colors. We hope people can reflect on the truths of the black, the brown,the ghetto-dwellers, the hardworking, the crazy, and those that are just looking to have a little fun, and realize that all of these narratives make Buenos Aires what she is. The response should be an integration of these personalities into the imagery of Argentina. Buenos Aires, reflect! THIS IS YOU!! As one of the characters Rasek raps, “We know you won’t understand it if we rap it, so we’ll breathe it into you.”
What else have you been working on recently? What are you looking to work on next?
We met Shawn Speakman back in Seattle in 2010. At the time, I learned that he was a writer, and I’ve been eager to find out more about his work ever since. In our interview, Shawn discusses writing about subjects that are relevant to our surroundings, but placed in fantasy, and how that juxtaposition can lead to a better understanding of the present reality. In the past few years, he’s published his bookTHE DARK THORN and a fantasyanthology he edited, UNFETTERED– and has recently been busy responding to requests for more literary work. We’re excited to have Shawn Speakman’s voice contributing to the Collective!
Every story that I write comes from a “what-if” seed that takes root and grows.
– Shawn Speakman
Leading off with some basics, where are you from? And where are you at?
SS: I grew up in the wilds of Washington State, near the southern base of the volcano Mt. St. Helens. It is a heavily conservative [area] and I fled, to Seattle, as soon as I was able. I have lived in the Emerald City ever since. Although I am just flippant to the second part of your question with, “I live in denial, as all writers do.”
What does Reflection and Response mean to you?
SS: I am a fiction writer. In order to write believable fiction, it takes reflection. It is important to write about subjects pertinent to our world — to put those subjects in a fantasy world, add a bit more pressure, and see what happens. In this way, I gain a better understanding of my world. It costs less than therapy, I assure you. And I hope when someone finishes one of my stories that it leaves them thinking.
How do THE DARK THORN and your other Annwn Cycle tales fit in with that definition?
SS: Every story that I write comes from a “what-if” seed that takes root and grows. For THE DARK THORN, I thought “What if the first Christian crusades were not against the Middle East but, instead, against very real Celtic fey creatures in Britain?” Most of my work is influenced by the dichotomy in my mind between religion and faith. They are very different, in my opinion, and I like to explore that in my writing. Answering the “what-if” question is my response. I took a look at the good and the evil inherent in the Catholic Church as well as the relationship between a broken man, his past, and the faith it requires to overcome such hardship.
What else have you been working on recently? What are you looking to work on next?
SS: Since the publication of THE DARK THORN and my fantasy anthology UNFETTERED, I’ve received a number of other short story anthology requests from other editors. I have written a short story and a novelette in the last month for those books. THE UNLOCKED TOME is the short story and its seed grew out of: “What lengths would a 10-year-old boy who has lost his family go to in order to assert some kind of power over his life?” It was a fun short story, featuring a character I will use again in a future novel. For the moment though, I am working on THE EVERWINTER WRAITH, the sequel to THE DARK THORN.
Maryanne Ventrice is a Brooklyn native and resident photographer. She focuses her work on livemusicevents throughout the city featuring a range of styles and sounds. In our dialogue, she discusses goals of documenting and representing the world through the arts, along with how she uses her lens to capture the energetic and emotional feel of a live show. Her words are accompanied by many examples of her dope photos. Peep the entry below!
Maryanne Ventrice | Photo by Jessica Amaya
We strive to represent our world though an artistic medium – trying to give meaning to the world around us, interpreting what we see into what we feel.
– Maryanne Ventrice
Leading off with some basics, where are you from? And where are you at?
MV: I’m a photographer from New York City – born and raised in Brooklyn – still live there. New York is an amazing place. I have always been surrounded by the faces and voices of people from all over the world. Sometimes it’s hard to be on top of all of these people but the pros outweigh the cons.
I shoot live music events, mostly. I began by photographing friends in bands and then moved on to shooting for various music blogs.
I never studied photography formally, I studied History. For me, documenting has a lot of potential. I hope that when someone looks back on [my] body of work they will be able to get a good feeling of the time and place of the NYC indie music scene.
In 2012, I curated my first show. It was a group show of 13 female concert photographers entitled 120dB. I’ve gone on to curate several more exhibits and look forward to continuing to showcase the work of other artists.
What does Reflection and Response mean to you?
MV: Reflection can be about anything — people, places, objects. We strive to represent our world though an artistic medium – trying to give meaning to the world around us, interpreting what we see into what we feel. Photography easily lends itself to this idea. The live music photos reflect the energy of the band and audience at a particular show. For my curatorial projects, I usually spend some time reflecting on images of artists’ work first and then develop a concept in response to join the work and title a show so that it represents that concept to the viewer.
How does your work fit in with that definition?
MV: I mainly photograph live music events. I’ve been shooting the Kidrockers music series since 2007. It’s my favorite live event. Bands come and play their regular set for children. My friends Beth and Morton founded this as a way for parents to have access to new bands since it’s hard to get out once you have kids. I believe that we are creating a future audience for live music. It’s a real labor of love and I hope we never stop.
Maryanne Ventrice – Jesse Malin, Kidrockers (The Rock Shop)
Maryanne Ventrice – Twin Shadow, Kidrockers (Winter’s Eve Festival)
The [following] images come from my first exhibit, More Guitar in the Monitor, which a friend of mine asked me to put together. I feel that these images capture the mood of the performances.
Maryanne Ventrice – The National (Bowery Ballroom)
Maryanne Ventrice – Drink Up Buttercup (Music Hall of Williamsburg)
Maryanne Ventrice – Pet Shop Boys (Hammerstein Ballroom)
Delineate was a project that’s process based. I was testing some new equipment on myself and made a photo that I thought was pretty interesting. I convinced 11 others to let me shine a bright white light inches from their faces and make these portraits:
Maryanne Ventrice – Kristin Martinez (Daughter)
Maryanne Ventrice – Simon Henderson (Music Industry Professional)
Maryanne Ventrice – Jen Hirano (Friend)
Maryanne Ventrice – Elon James White (Political Pundit, Entrepreneur)
What else have you been working on recently? What are you looking to work on next?
the LIFESTYLE 