Location: NY, NY
Date: 2020- 2023
ARTIST SERIES 037 - Marko Seabrook
Marko Nichols-Marcy, creative director to Noreen Seabrook, a hand knotted carpet importer renowned for its quality Nepalese carpets, has built a thriving business with a new and unique approach. Marko's journey began when his father, who later founded Noreen Seabrook, was the national sales manager for a famous international oriental rug importer, took him around the USA visiting customers. His father eventually became a buyer and took him to Nepal and other countries where Marko saw and soon appreciated the art and skill required to weave a hand knotted carpet or rug. This was particularly true in Nepal where the weavers were excited to create something different from other weaving areas. While Marko grew up surrounded by the rug business it was the creativity of artists that inspired him that a rug could be used as a canvas. He sought to infuse rugs with artistic designs, breaking away from the conventional patterns prevalent at the time. Embracing visual social media's rise, he promoted rugs as pieces of art, collaborating with various artists to craft custom and one-of-a-kind rugs that reflected his and the artists' passions and stories. This approach garnered attention and admiration, making him a sought-after rug maker for influential artists and personalities.
The business re-invented itself organically as word-of-mouth spread about the rugs' unique blend of craftsmanship and artistic expression. He collaborated with legendary figures from the hip-hop & art world like Rihanna, Ferg, Stash, and Bert Krak. These projects were a validation of his vision, connecting him with artists he once admired and further propelling his artistic approach to rug making. Marko's passion and genuine interest in creating meaningful pieces rather than merely following trends or chasing profits have been the driving forces behind his success in building a business rooted in artistic collaboration and ethical practices. His dedication to preserving the traditional weaving techniques while infusing modern creativity has made him a standout in the rug industry.
During the interview, Marko highlighted the custom nature of their rug-making process, emphasizing that there is no pre-existing color library. Everything is custom-dyed to match the specific colors desired by their clients. This level of dedication and attention to detail became evident when they shared their experience working on a project for Francis Ford Coppola. The filmmaker had struggled to find a rug maker who could perfectly match the colors he envisioned. It was a challenging task that required the expertise of a true dye master. The dye master's small room housed his secret formulas and equipment, and he meticulously mixed and dyed the yarn to achieve the desired colors. This level of craftsmanship and pride in their work was evident in all aspects of the rug-making process.
The interview delved into the weaving stage, where the dyed yarn is transformed into a beautifully crafted rug. This process involves skilled weavers working on vertical looms. Each weaver is responsible for a section of the rug, and teamwork is crucial for a successful outcome. The artisan emphasized the importance of good relationships among the weavers, as they would be working together for several months. Any personal conflicts could impact the quality and progress of the weaving process. It was clear that the weavers were respected as the true artisans of the craft, and they determined their own working schedules. Rushing the process was not an option as the quality and artistry of the rugs required time and patience.
Throughout the conversation, the passion and reverence for the art of rug making shone through. Marko believes that these rugs were imbued with a special energy and spirit due to the meticulous and intimate process involved in their creation. He views each rug as an heirloom piece, something that would last a lifetime and carry the history of the hands that crafted it. This perspective reflected a deep appreciation for the craftsmanship and a desire to educate customers about the true value of these handcrafted pieces. He acknowledges the challenges of conveying this message in a constantly shifting market with diverse audiences. However, Marko remains committed to upholding the tradition and passing on the legacy of their craft to future generations.
As the interview concluded, it was evident that Marko’s dedication and connection to their craft went beyond mere business transactions. It was a labor of love, where each rug represented not only an exquisite work of art but also a testament to the skills, energy, and passion of the people behind its creation. His approach to rug making exemplified the beauty of artisanal craftsmanship and the meaningful impact it can have on individuals, families, and communities involved in the process.
Marko Nichols-Marcy, creative director to Noreen Seabrook, a hand knotted carpet importer renowned for its quality Nepalese carpets, has built a thriving business with a new and unique approach. Marko's journey began when his father, who later founded Noreen Seabrook, was the national sales manager for a famous international oriental rug importer, took him around the USA visiting customers. His father eventually became a buyer and took him to Nepal and other countries where Marko saw and soon appreciated the art and skill required to weave a hand knotted carpet or rug. This was particularly true in Nepal where the weavers were excited to create something different from other weaving areas. While Marko grew up surrounded by the rug business it was the creativity of artists that inspired him that a rug could be used as a canvas. He sought to infuse rugs with artistic designs, breaking away from the conventional patterns prevalent at the time. Embracing visual social media's rise, he promoted rugs as pieces of art, collaborating with various artists to craft custom and one-of-a-kind rugs that reflected his and the artists' passions and stories. This approach garnered attention and admiration, making him a sought-after rug maker for influential artists and personalities.
The business re-invented itself organically as word-of-mouth spread about the rugs' unique blend of craftsmanship and artistic expression. He collaborated with legendary figures from the hip-hop & art world like Rihanna, Ferg, Stash, and Bert Krak. These projects were a validation of his vision, connecting him with artists he once admired and further propelling his artistic approach to rug making. Marko's passion and genuine interest in creating meaningful pieces rather than merely following trends or chasing profits have been the driving forces behind his success in building a business rooted in artistic collaboration and ethical practices. His dedication to preserving the traditional weaving techniques while infusing modern creativity has made him a standout in the rug industry.
During the interview, Marko highlighted the custom nature of their rug-making process, emphasizing that there is no pre-existing color library. Everything is custom-dyed to match the specific colors desired by their clients. This level of dedication and attention to detail became evident when they shared their experience working on a project for Francis Ford Coppola. The filmmaker had struggled to find a rug maker who could perfectly match the colors he envisioned. It was a challenging task that required the expertise of a true dye master. The dye master's small room housed his secret formulas and equipment, and he meticulously mixed and dyed the yarn to achieve the desired colors. This level of craftsmanship and pride in their work was evident in all aspects of the rug-making process.
The interview delved into the weaving stage, where the dyed yarn is transformed into a beautifully crafted rug. This process involves skilled weavers working on vertical looms. Each weaver is responsible for a section of the rug, and teamwork is crucial for a successful outcome. The artisan emphasized the importance of good relationships among the weavers, as they would be working together for several months. Any personal conflicts could impact the quality and progress of the weaving process. It was clear that the weavers were respected as the true artisans of the craft, and they determined their own working schedules. Rushing the process was not an option as the quality and artistry of the rugs required time and patience.
Throughout the conversation, the passion and reverence for the art of rug making shone through. Marko believes that these rugs were imbued with a special energy and spirit due to the meticulous and intimate process involved in their creation. He views each rug as an heirloom piece, something that would last a lifetime and carry the history of the hands that crafted it. This perspective reflected a deep appreciation for the craftsmanship and a desire to educate customers about the true value of these handcrafted pieces. He acknowledges the challenges of conveying this message in a constantly shifting market with diverse audiences. However, Marko remains committed to upholding the tradition and passing on the legacy of their craft to future generations.
As the interview concluded, it was evident that Marko’s dedication and connection to their craft went beyond mere business transactions. It was a labor of love, where each rug represented not only an exquisite work of art but also a testament to the skills, energy, and passion of the people behind its creation. His approach to rug making exemplified the beauty of artisanal craftsmanship and the meaningful impact it can have on individuals, families, and communities involved in the process.
ARTIST SERIES 036 - Taylor Simmons
Taylor Simmons is an Atlanta-born artist whose journey into the world of art began with a transformative experience at The High Museum. Growing up in a neighborhood where artistic expression was scarce, Taylor's father made the decision to move their family to the countryside in Douglasville to provide a better environment. However, it was Taylor's early exposure to art at a young age that sparked a deep passion within him. A visit to The High Museum's Picasso exhibit introduced him to the power of unconventional art forms, allowing him to realize that paintings don't need to adhere to traditional standards to convey a message. This newfound freedom inspired Taylor to explore his own artistic talents.
Throughout his childhood and into middle school, Taylor's artistic pursuits evolved, driven by his love for comic books and film. While initially interested in storyboard storytelling, he discovered a deeper connection to the concept of telling an entire story within a single scene, much like the work of Norman Rockwell. This realization shaped his artistic approach, infusing his creations with narratives that captivate viewers and invite them to explore the deeper meanings behind his work.
Taylor's artistic journey has been filled with experimentation and exploration. From screen printing and illustration to creating custom tees for his friends, he delved into various mediums to bring his visions to life. However, it was his experiences during the pandemic that propelled him to take his art more seriously. Recovering from a life-threatening accident, Taylor gained a newfound appreciation for life and the impact of his creative expressions on others.
Inspired by the support he received from his community, Taylor started creating thought-provoking images that resonated deeply with people. One such project involved designing tees that addressed social issues and donating a portion of the proceeds to relevant causes. The overwhelming positive response from others wearing his art provided him with a sense of validation and confidence in his creative abilities. Taylor's work began to transcend the personal realm, connecting with a wider audience and leaving a lasting impact.
Taylor's upcoming museum show in China marks a significant milestone in his artistic journey. Through his paintings, he plans to tell a cohesive narrative, carefully curating each piece to form a larger story when exhibited together. This thematic approach showcases his unique ability to communicate complex ideas and emotions through his art.
The paintings in his upcoming show delve into the concept of the pageantry of masculinity, examining the societal expectations and rules that govern how men present themselves. Inspired by the artist's own experiences and observations, the work explores the showmanship and display inherent in the idea of being a man, particularly in the Southern United States. There is a fascination with the absurdity of these regulations and the question of who exactly men are trying to impress. Taylor also delves into the complexities of toxic masculinity, where displays of strength, physical fitness, or material possessions often garner more attention and validation from other men rather than women.
Taylor’s commentary states the black community, especially in the South, there is an interplay between inherited cultural practices and Western ideals of masculinity. This fusion of influences creates a unique dynamic, shaping the way Southern black men express and embody their masculinity. Taylor’s creative process is intuitive, allowing subconscious thoughts and experiences to guide the paintings. Through self-analysis and introspection, the work becomes a means of exploring his own psyche and confronting personal issues and beliefs. The show follows a narrative to the hero's journey, with stages of challenges, triumphs, and moments of faltering, but deliberately avoids depicting a rebirth or resurrection, exploring the intriguing finality of life and the impact of different hero narratives on our collective consciousness. The culmination of the show features a smaller painting of a funeral, sourced from found photos that evoke nostalgia and cultural significance, underscoring the complexities of toxic masculinity and societal expectations through the depiction of uncles, who often embody traditional masculinity in the narrative.
As Taylor reflects on his past, he recognizes the pivotal moments that have shaped his artistic identity. The combination of his upbringing, exposure to influential exhibitions, and the challenges he faced during the pandemic have deepened his commitment to pursuing his artistic path. Taylor's art serves as a testament to his resilience and the transformative power of creativity, as he continues to inspire and captivate audiences with his thought-provoking and narrative-driven work.
Eli Wirija, a talented director and photographer, hails originally from Jakarta, Indonesia. Eli's journey to the United States began at the age of 15 when they moved to Seattle, seeking to fast-track their education. Adapting to a new culture proved challenging, as they encountered cultural differences, such as the use of sarcasm and the presence of small talk. After moving to New York for art school, Eli began to find a sense of belonging and clarity in their identity as a non-binary individual.
Creativity has been an integral part of Eli's life since childhood. Photography became a passion, with Eli receiving their first camera at the age of 15 and capturing moments with an eagerness to immortalize the fleeting nature of the present. This interest eventually led them to pursue graphic design in college, where they discovered a fascination for the interplay between text and images, there is also a certain sensitivity to composition that is evident in their art.
Eli's artistic style is heavily influenced by their love for manga and video games. They strive to create a visual landscape that transports viewers to a space that blurs the line between fantasy and reality. There is a sense of gentle playfulness within the image. Their work often features characters and scenes that evoke a sense of wonder and imagination. In this realm, any and everything can be made possible. Eli aims to rebuild and reimagine reality, tapping into a collective consciousness of ideas and manifesting them in their medium.
Identity is a central theme in their photographs and they explore their own queerness and the concept of identity. They draw from personal experiences and the influences of their multicultural upbringing to create visual narratives that reflect diverse perspectives and challenge societal norms. They experienced an internal struggle of acceptance during their early adult years that felt alienating at times. In spite of that, Eli's art helped celebrate and embrace their identity, while also inviting viewers to question and expand their own understanding of identity and representation.
The creative process plays a significant role as ideas and scenes appear in their mind and persist until they are transformed into tangible photographs. While in periods of stagnancy Eli has learned to respect and embrace the ebb and flow of their creative energy, recognizing that these moments of rest and absorption are crucial for their artistic growth.
Overall, Eli Wirija's artistic journey is one characterized by resilience, self-discovery, and a commitment to creative expression. They intentionally weave together elements of that rare feeling like one is exploring a dream, inviting viewers into immersive worlds that challenge preconceived notions and explore the intricate nature of identity. Eli's work serves as a testament to the power of art in shaping narratives and fostering inclusivity.
Ellon Gibbs from East Flatbush, New York is a interdisciplinary artist currently making paintings and sculptures. Entering his studio you are immediately confronted with the work adorning the walls. Huge canvases on resting milk crates, stacked hiding their counterparts, drawings thumbtacked looming over it all. The work seemed to all speak at once, a jumble of noise all in the same language. However, approaching each painting the subject speaks clearly. Bodies contorting themselves sprawling across the canvas. Distinct faces lacking in features but brimming with substance caught in a staring contest. I talked to Ellon about the messaging of the work, his near death experience that led to this work, his upcoming endeavors and solo exhibition.
The driving force behind this body of work is chaos and pollution. This body of work comments on the pollution of the mind. Ellon believes that most of what the public consumes is polluted. We all consume polluted products, contribute to global warming, and our systems are corrupt and broken. His paintings are his method of creating a healthier relationship with the unavoidable nature of these truths while displaying the wrath they impose. “I want to be real and sit with the pain that's going on around me and it becomes more realistic. Instead of just trying to ignore it… this is just me facing it.”
These characters came to Ellon while he was dealing with a major health issue. For months Ellon’s body broke down and he was bedridden for 5 months. The doctor said he could have died had he not gotten evaluated sooner. Fatigued and unable to digest food, these characters came to him. Their bestowment upon Ellon practice feels harmonious. His difficulties and acceptance of life’s irony shine through their painted forms.
Ellon places his subjects in environments that contribute to this commentary. The subjects are in fields of reddish brown grass with glowing skies and dark dusted horizons. Some paintings depict the subject's silhouettes facing off into the distance, their identities hidden but their agony apparent through their contorted positioning. Others are more confrontational, poised towards the viewer. Some even pose menacingly. While many of the paintings are portraits of Ellon’s characters. Their gazes are unmistakable and intensely emotive and unnervingly playful.
Ellon is preparing for his first solo exhibition where he will exhibit some of these works along with pieces of other mediums at Europa Gallery in June.
Over the last ten years multimedia artist Pat Peltier created and has run Bandulu, the brand focused around his signature hand stitched paint splatter design. Pat was working at a Bodega in Boston when he began teaching himself how to hand embroider in an effort to find an alternative mending process to fix his stained clothing. Cautious to wear his own apparel to work Pat didn’t share his endeavors for a while. When he finally wore his artwork to work he was overwhelmed with support from his colleagues. The Bodega team offered to debut his first Bandulu collection. This served as an impetus to begin focusing more on Bandulu, expanding his skills and inspiration with embroidery. Eventually Pat went to work independently and that is when Bandulu really kicked off.
Each Bandulu piece Pat hand embroiders on repurposed apparel. The genesis of Bandulu came about organically, he says he never intended to make clothes. Pat is a painter and illustrator, he always thought he would be a cartoonist. Pat found his work being received and supported by the communities that inspired him. Conceptually the paint splatter embroidery connected him to his interests in the music, bike, art, and DIY scenes in Boston as well as his passion for nature and sustainability. Bandulu has collaborated with Converse, Nike, Champion and other big name brands over the years. Pat looks at those collaborations pridefully. However, he emphasized the fulfillment Bandulu provides stems from practice of creating the work, expanding his creative process and the community that has formed around Bandulu over the years. Pat’s community cultivated through his artwork has been the biggest reward of this process. His approach to the creative world strengthens the integrity of his work and is most definitely a contributing factor to Bandulu’s success.
Over the pandemic Pat and his partner began using the front yard of their brownstone building to grow flowers, plants, and vegetables. Pat grew up regularly involved in nature and farming. Bringing a taste of that into his New York City landscape was a savior in the low times of quarantine. This served as an inspiration and reconnection to one of his past passions. Pat shared a recent gift, a book of illustrations of tree and plant species. Along with his stacks of Natural Geographic issues it is clear that nature is a huge part of Pat’s output and creativity. Horticulture has seeped its way into Bandulu’’s upcoming collection which includes Nike ACG’s with hand stitched roots adorning the sides of the shoe, trees, leaves, roots and other foliage carefully and meticulously sewn into the repurposed apparel.
Pat’s newest endeavors may be his biggest personal changes over the last 10 years. He and his partner have moved out of Brooklyn to settle in a home they purchased outside of the city. Not only to be connected to nature and live a slower paced life but to focus on positioning himself once again as a fine artist. Recently Pat has been working on embroidering on canvas and recommitting his time to painting and illustrating. When he settles into his new home he intends to dive into his artwork. I was able to photograph Pat on the last day he was in his home studio, the rest of his apartment was all packed up while his studio stayed untouched for us to photograph together.
Shaun Crawford is from East Harlem, New York City. He is an artist who practices a handful of mediums. Specializing in painting, ink making, dyeing, designing and graffiti he has positioned himself as an impressively unique and well regarded figure. Over the years he has garnered commercial success, recently designing for Supreme, dyeing jackets for Arcteryx, collaborating with Salomon & Bodega. All of the projects are better than the next. His most recent solo show The Beginning of This The End of That included paintings, embroidery, embossing, dyeing and all sorts of materials depicting devilish characters Shaun calls self portraits. The body of work comments on social and racial injustice, politics, pop culture, and the human condition. Shaun is preparing for another solo show and continues to make commercial work both personally and with brands. Growing up in New York during the 1980’s, he shared his memories of becoming the artist he is today.
Both of Shaun’s parents were very crafty people, his mom could sew and embroider and his father was a great craftsman. He recounts his father making go-carts together and even building a couch for his childhood home. Shaun’s godmother would make and sell hats at the Mart 125 on 125th street. When his older sister would work there and he would go visit. There he gained inspiration from the handmade objects being sold at the market and he would try to make things. Shaun’s family has always been very supportive of his artwork, even when he was getting arrested for graffiti.
The first medium he recounted approaching as a child was illustrating. When he was in the 3rd grade he remembers he had a classmate who could draw the Ninja Turtles perfectly. This pushed him to learn how to draw Bart Simpson using the TV to trace the Simpsons. He would show up to school with a wild Simpsons illustration. The process he used then is similar to the one he uses now to approach his paintings.
Shaun was in one the first graduating classes of the Art Institute junior high school on 91st and 1st Avenue. There he met Bedrock FEB who gave him his first tag. He began to start writing graffiti, going on missions, stealing pens and painting religiously. Eventually Shaun knew every spot to go get markers, naming Sam Flax on 59th, Pearl paint, Lee's Art Shop. Over the years he began to boldly write his name, Shaun and make his own ink. He shared many stories painting in the late 90’s and currently.
When Shaun began to see his peers making big moves with their graffiti and artwork he started Do ‘Em Dirty an ink brand with mops and paint. This was his first brand endeavor and it began to gain traction quickly. He ran that business from the office of his job at the time, a product sourcing company. That job helped him learn how to source rare objects and gain an understanding of quality products across industries. Down the line Shaun landed a job painting custom bags for Goyard. This job helped him create a more methodical and refined approach to his painting. Shaun expresses how lucky he was to have the job experience that he did and have supportive people around him from a young age. His varying experiences, upbringing, and perspective have led to be the prolific artist that we see today.
ARTIST SERIES 031 - Toya Horiuchi
Toya Horiuchi is a Japanese painter, screenprinter, and graphic designer based in Brooklyn. Toya’s most recent solo show in New York, ‘Mountain Paintings’ is a series of abstract paintings depicting his interpretations of mountains. He displayed nine large scale paintings, a wall of 8x3 small scale paintings and a sand sculpture installation. His ‘Mountain Paintings’ ground the viewer in nature while forcing them into a new reality and color story. They are brightly colored, vibrant, and textural - introducing new layers upon each glance.
Toya was introduced to painting when he was about six years old in his hometown of Yokohama. When he expressed interest in the arts; his parents enrolled him into a local art class where his connection with art blossomed. His family owned a construction hardware store where they sold concrete, sand and tools. In his teens, Toya found an interest in street culture and began to teach himself graphic design. Shortly after he moved to Los Angeles to pursue and study art. After graduating school Toya moved to New York, LA was too slow paced for his taste. He moved on Christmas in 2012. He had no money, no career, no friends or family. All he had was his suitcase. Upon arriving in New York he sought out the studio of his favorite artist, Eric Elms, where he showed up uninvited. By chance Elms was preparing for a solo show in Tokyo and allowed Toya to assist him. This introduced Toya to his artistic practice and was a big turning point in his career. This showed Toya he was in the right place to pursue his dreams.
The first three years living in New York were difficult for Toya. The language barrier and the lack of social media made it hard for him to connect with people. He began designing, making, and handing out stickers to people he met. After a while he found his New York family and began to establish himself as a graphic designer. Toya reminisced about his first real client saying that he finally felt like a real artist. Around the same time he began to work for LQQK Studios where he learned how to silkscreen professionally. In 2019, Toya hosted his first solo show in Tokyo called ‘New York’. His first time displaying work in his home country was a huge success. He brought 33 silkscreen works and sold all of them. This was his major breakthrough into the art world.
Returning to New York after his show he wanted to experiment with new mediums and landed on spray paint. For months he attempted to find his voice with spray paint with no success. After a lucky mistake he created his first mountain painting. It immediately brought him back to his hometown and sparked his most recent body of work. His most recent paintings, many depicted in the Artist Series, are images of food and the process of making/procuring food. This series explores the connection between food, community and culture. Emphasizing the importance of food in all of our lives while reminding us the toil and pain that is involved in the food industry. Toya expressed his excitement of exploring more lifelike forms in his work and using new mediums such as charcoal and paint.
Toya Horiuchi is a Japanese painter, screenprinter, and graphic designer based in Brooklyn. Toya’s most recent solo show in New York, ‘Mountain Paintings’ is a series of abstract paintings depicting his interpretations of mountains. He displayed nine large scale paintings, a wall of 8x3 small scale paintings and a sand sculpture installation. His ‘Mountain Paintings’ ground the viewer in nature while forcing them into a new reality and color story. They are brightly colored, vibrant, and textural - introducing new layers upon each glance.
Toya was introduced to painting when he was about six years old in his hometown of Yokohama. When he expressed interest in the arts; his parents enrolled him into a local art class where his connection with art blossomed. His family owned a construction hardware store where they sold concrete, sand and tools. In his teens, Toya found an interest in street culture and began to teach himself graphic design. Shortly after he moved to Los Angeles to pursue and study art. After graduating school Toya moved to New York, LA was too slow paced for his taste. He moved on Christmas in 2012. He had no money, no career, no friends or family. All he had was his suitcase. Upon arriving in New York he sought out the studio of his favorite artist, Eric Elms, where he showed up uninvited. By chance Elms was preparing for a solo show in Tokyo and allowed Toya to assist him. This introduced Toya to his artistic practice and was a big turning point in his career. This showed Toya he was in the right place to pursue his dreams.
The first three years living in New York were difficult for Toya. The language barrier and the lack of social media made it hard for him to connect with people. He began designing, making, and handing out stickers to people he met. After a while he found his New York family and began to establish himself as a graphic designer. Toya reminisced about his first real client saying that he finally felt like a real artist. Around the same time he began to work for LQQK Studios where he learned how to silkscreen professionally. In 2019, Toya hosted his first solo show in Tokyo called ‘New York’. His first time displaying work in his home country was a huge success. He brought 33 silkscreen works and sold all of them. This was his major breakthrough into the art world.
Returning to New York after his show he wanted to experiment with new mediums and landed on spray paint. For months he attempted to find his voice with spray paint with no success. After a lucky mistake he created his first mountain painting. It immediately brought him back to his hometown and sparked his most recent body of work. His most recent paintings, many depicted in the Artist Series, are images of food and the process of making/procuring food. This series explores the connection between food, community and culture. Emphasizing the importance of food in all of our lives while reminding us the toil and pain that is involved in the food industry. Toya expressed his excitement of exploring more lifelike forms in his work and using new mediums such as charcoal and paint.
ARTIST SERIES 030 - Dean Majd
Dean Majd is a Palestinian fine artist from Queens, New York. Completely self-taught, Dean has been able to build a stunning body of cohesive yet vastly varying photography. His distinct cinematic, dark, color steeped visual style is instantly recognizable and highly emotive. His subjects are almost exclusively his close friends and loved ones, the connection between him and his subjects is palpable in his imagery. His body of work spans from fashion editorial, streetwear, documentary, and narrative collections - all with a fine art lens. The artistic sensibility and intention is evident after a short glance at his approach and output. He recently had his main series Hard Feelings debut by the Aperture Foundation, gave a lecture at Pratt University, photographed two print editorials featuring the new generation of Arab artists & musicians for GQ Middle East, and continues to build his body of both editorial and personal work.
Dean's mother gave him his first camera at 7 years old to take photos of his friends at the park. Since that moment he has always had a camera in his hands. His first photography subjects were his middle school friends who were doing graffiti, partying, going to concerts, and sneaking into bars and clubs. These themes continued throughout the years. Dean collected art DVD’s; he found KIDS and Irreversible at a Blockbuster which introduced him to Larry Clark and Gaspar Noe’s works, respectfully. When he started college he discovered The Ballad of Sexual Dependency by Nan Goldin. These works were the first to influence Dean’s artistic expression and approach towards photography. Switching mediums from digital to film also had a huge impact on how he approached his work. His personal style strengthened and was formed around Dean’s practice of photographing at night. He never had a point where he discovered that he wanted to be a photographer. This has always been what he wanted to do. The camera was put in his hand and he never stopped.
Dean and I met through friends in 2016. When we began getting closer and seeing each other more frequently, I would see Dean photograph our friend group intensely and almost constantly. The relationship, trust, and support between him and his peers was evident. We all believe that his mission has meaning. Dean has been taking photos of me since we met. To see Dean’s process, know his struggles and sacrifices for his practice, and watch this body of work take form has been insanely impressive. These photos are a part of Dean’s series, Hard Feelings, which through years has evolved into a body of work with more and more depth and meaning. For years Dean knew he was making work about the human condition and what it is to be young, alive and in New York. He set out to photograph people at their most candid and uninhibited moments. Through the process the meanings and narrative got deeper and deeper. In 2016, Dean approached all of his subjects and they agreed to have their photos taken nonstop. “I'm going to photograph every aspect of your life, all the good stuff, all the bad stuff, when you're angry, when you're sad, when you're happy, everything, when you're drunk, when you're high, everything.” No one said no. Dean was shooting 300 rolls a year, everything documented, dated and archived perfectly. The concise curating in the final presentation of the series embodies what it was to be young & troubled in New York. This series is still being formed to this day. Dean stays dedicated to building this body of work, integrating new subjects & stories.
Dean’s Palestinian heritage is a vital aspect of his exploration of the human condition, although he refuses to make work directly about identity. AnOther Magazine and ItsNiceThat published his series Separation on the Palestinian Diaspora, centering around his family. “The series is a life-affirming documentation of our existence as people.” The series is composed of intimate portraits of his family and the settings he found himself in. These images oppose the typical ideas of how people may interpret Palestine. He’s now developing a body of work drawing from his experiences growing up in New York, a layered exploration of the Arab-American dichotomy. His approach is now more formal, more composed and thought out, while still leaving room for candid and spontaneous moments. His work and his eye are now even more fine art focused than before.
Dean Majd is a Palestinian fine artist from Queens, New York. Completely self-taught, Dean has been able to build a stunning body of cohesive yet vastly varying photography. His distinct cinematic, dark, color steeped visual style is instantly recognizable and highly emotive. His subjects are almost exclusively his close friends and loved ones, the connection between him and his subjects is palpable in his imagery. His body of work spans from fashion editorial, streetwear, documentary, and narrative collections - all with a fine art lens. The artistic sensibility and intention is evident after a short glance at his approach and output. He recently had his main series Hard Feelings debut by the Aperture Foundation, gave a lecture at Pratt University, photographed two print editorials featuring the new generation of Arab artists & musicians for GQ Middle East, and continues to build his body of both editorial and personal work.
Dean's mother gave him his first camera at 7 years old to take photos of his friends at the park. Since that moment he has always had a camera in his hands. His first photography subjects were his middle school friends who were doing graffiti, partying, going to concerts, and sneaking into bars and clubs. These themes continued throughout the years. Dean collected art DVD’s; he found KIDS and Irreversible at a Blockbuster which introduced him to Larry Clark and Gaspar Noe’s works, respectfully. When he started college he discovered The Ballad of Sexual Dependency by Nan Goldin. These works were the first to influence Dean’s artistic expression and approach towards photography. Switching mediums from digital to film also had a huge impact on how he approached his work. His personal style strengthened and was formed around Dean’s practice of photographing at night. He never had a point where he discovered that he wanted to be a photographer. This has always been what he wanted to do. The camera was put in his hand and he never stopped.
Dean and I met through friends in 2016. When we began getting closer and seeing each other more frequently, I would see Dean photograph our friend group intensely and almost constantly. The relationship, trust, and support between him and his peers was evident. We all believe that his mission has meaning. Dean has been taking photos of me since we met. To see Dean’s process, know his struggles and sacrifices for his practice, and watch this body of work take form has been insanely impressive. These photos are a part of Dean’s series, Hard Feelings, which through years has evolved into a body of work with more and more depth and meaning. For years Dean knew he was making work about the human condition and what it is to be young, alive and in New York. He set out to photograph people at their most candid and uninhibited moments. Through the process the meanings and narrative got deeper and deeper. In 2016, Dean approached all of his subjects and they agreed to have their photos taken nonstop. “I'm going to photograph every aspect of your life, all the good stuff, all the bad stuff, when you're angry, when you're sad, when you're happy, everything, when you're drunk, when you're high, everything.” No one said no. Dean was shooting 300 rolls a year, everything documented, dated and archived perfectly. The concise curating in the final presentation of the series embodies what it was to be young & troubled in New York. This series is still being formed to this day. Dean stays dedicated to building this body of work, integrating new subjects & stories.
Dean’s Palestinian heritage is a vital aspect of his exploration of the human condition, although he refuses to make work directly about identity. AnOther Magazine and ItsNiceThat published his series Separation on the Palestinian Diaspora, centering around his family. “The series is a life-affirming documentation of our existence as people.” The series is composed of intimate portraits of his family and the settings he found himself in. These images oppose the typical ideas of how people may interpret Palestine. He’s now developing a body of work drawing from his experiences growing up in New York, a layered exploration of the Arab-American dichotomy. His approach is now more formal, more composed and thought out, while still leaving room for candid and spontaneous moments. His work and his eye are now even more fine art focused than before.
Reginald Sylvester II relates to a quote stated by Ben Bowling, son of Sir Franklin Bowling OBE RA that, "painting is like soul food." He lets his paintings simmer and cook, approaching each additional splatter/stroke with chef-like intention. His Abstract Expressionist style and process are manifestations of his faith. His work reflects on ideas of heaven, religion, trauma, and the contemporary black experience. Reginald relates abstraction with the reflection of what it means to struggle internally.
The body of work depicted is titled 'Refuge Paintings.' Some of which will be shown at his first American museum exhibition at the Harvey B. Gantt Center in North Carolina this May. Reginald is interested in using materials that have exterior histories that contain more life and textural properties. He is painting on military tent shell halves from the late 1960's and early 70's. The cloth and darker colors represent the times we are living in and his perspective on topics such as race, social justice, and the search of oneself through faith. The bright colors interact with the fabric, screaming for brighter times and delving viewers into deep contemplation.
Reginald painted two canvases while I was at his Brooklyn studio. The first canvas was already stretched and stapled, he approached the work color by color. He says he takes time to reflect on where he wants to put more paint and how it will augment the voice of the painting. Stepping back to reassess his work after the completion of every step. Changing his method of applying paint, often each addition to the canvas was made with his hands, various brushes, scrap paper and scraping tools. Reginald points out that the paint coming from the top is like a descension from above. The following piece he approached by conjoining two military halves and placing a frame on top. I watched him meticulously decide how to wrap the tarps around the frame. This time around he decided to paint the side with exposed wood and rope. Tying the ropes together before beginning to paint. Watching him work was profound and has left a lasting impression.
We cleaned up at the studio and headed over to his apartment to photograph and chat more. It was abundantly clear upon entering his place that his highly refined artistic approach permeates into all forms of his expression. The same intention placed in each of his painting strokes was applied to his space. We sat on his couch discussing ideas of belief and culture watching a documentary about a furniture designer. With roots in design he finds interest in many and even all forms of art. Reginald says he spends most of his time absorbing information via media, books, and design research. His curiosity and library like knowledge influences and enhances his work in every medium. He seems to be a once in a generation caliber of artist.
ARTIST SERIES 028 - Sabrina Santiago
“We are all just searching for connection. Photography can create space to really do that.”
Sabrina’s favorite spot in New York is the WIlliamsburg Bridge. A lot of the time we have spent together has been on that bridge. Raving about the colors, shapes, and the environment of the bridge. It has some of the best people watching you can find in New York. We lay on the ground smoking cigarettes feeling the train pass just a few feet away.
Sabrina Santiago is a photographer based in Brooklyn, New York with a focus on photo journalism, street photography, and environmental portraiture. She is a consistent contributor to the New York Times and is known for her work with Polaroid, Ryan McGinely, GUCCI, i-D magazine and other major publications. Sabrina’s has a collection of photo series both continuous and completed that encapsulate how truly special her perspective is. Her Roof series photographing women of all denominations and looks on her roof gleams with intimacy and understanding. Giving the viewer a sense of comfort, involvement, and immediate reverence of the subject. Similarly to her Hair series exploring Afro-Carribean hair culture in Brooklyn her approach is obviously special through the expressions and depictions of her subjects. Sabrina curates the subjects and premises of her series through her appreciation and acute understanding of the human spirit. Her point of view, way of thinking, and deep understanding of what aspects make human connections substantive set her apart from her peers.
The first time Sabrina discovered her obsession with photography was looking at the photos her father had taken of her mother. She remembers looking at their photo albums and admired them as treasures. All of the images were printed and she reflects on the intimacy of both the contents of the photos but also the joy of being tactile with such a meaningful time capsule of her background. Sabrina could feel the deep connection and intimacy transmuted through those images. Looking at those photos transported her to a time and a place and she craved to do the same which inspires her approach and practice. Her father gave her her first camera at the age of 10 and credits him with giving her the gift of photography. The first photo she took was in Arizona of a landscape and she decided that this is what she wanted to do. She found her roots taking photos of friends. When she began taking photos of other people her practice began to form. Switching to film at the age of 14 was transformative for her and deepened her connection to photography. When she took a darkroom class her connection to photography deepened further. Seeing her mentors practice their mediums for 25 years inspires her to strive for the same.
Sabrina began her professional career interning for a stylist for 2 years. Every time she was on set she was more interested in the photographer's practice. Sabrina watched many photographers on set and that helped form her initial approach. With her first experiences on set being in the studio, after formulating her own approach Sabrina now feels more connected to the streets. Everything she photographs is an extension of herself. Her work communicates her subjects in an environment where the viewers can imagine more deeply. Sabrina says, “When you put people in an environment where they can feel themselves, I feel like that is really what hits home for me.” She asks, why would she shoot in a room with a blank background when we are in the most interesting city in the world.
“We are all just searching for connection. Photography can create space to really do that.”
Sabrina’s favorite spot in New York is the WIlliamsburg Bridge. A lot of the time we have spent together has been on that bridge. Raving about the colors, shapes, and the environment of the bridge. It has some of the best people watching you can find in New York. We lay on the ground smoking cigarettes feeling the train pass just a few feet away.
Sabrina Santiago is a photographer based in Brooklyn, New York with a focus on photo journalism, street photography, and environmental portraiture. She is a consistent contributor to the New York Times and is known for her work with Polaroid, Ryan McGinely, GUCCI, i-D magazine and other major publications. Sabrina’s has a collection of photo series both continuous and completed that encapsulate how truly special her perspective is. Her Roof series photographing women of all denominations and looks on her roof gleams with intimacy and understanding. Giving the viewer a sense of comfort, involvement, and immediate reverence of the subject. Similarly to her Hair series exploring Afro-Carribean hair culture in Brooklyn her approach is obviously special through the expressions and depictions of her subjects. Sabrina curates the subjects and premises of her series through her appreciation and acute understanding of the human spirit. Her point of view, way of thinking, and deep understanding of what aspects make human connections substantive set her apart from her peers.
The first time Sabrina discovered her obsession with photography was looking at the photos her father had taken of her mother. She remembers looking at their photo albums and admired them as treasures. All of the images were printed and she reflects on the intimacy of both the contents of the photos but also the joy of being tactile with such a meaningful time capsule of her background. Sabrina could feel the deep connection and intimacy transmuted through those images. Looking at those photos transported her to a time and a place and she craved to do the same which inspires her approach and practice. Her father gave her her first camera at the age of 10 and credits him with giving her the gift of photography. The first photo she took was in Arizona of a landscape and she decided that this is what she wanted to do. She found her roots taking photos of friends. When she began taking photos of other people her practice began to form. Switching to film at the age of 14 was transformative for her and deepened her connection to photography. When she took a darkroom class her connection to photography deepened further. Seeing her mentors practice their mediums for 25 years inspires her to strive for the same.
Sabrina began her professional career interning for a stylist for 2 years. Every time she was on set she was more interested in the photographer's practice. Sabrina watched many photographers on set and that helped form her initial approach. With her first experiences on set being in the studio, after formulating her own approach Sabrina now feels more connected to the streets. Everything she photographs is an extension of herself. Her work communicates her subjects in an environment where the viewers can imagine more deeply. Sabrina says, “When you put people in an environment where they can feel themselves, I feel like that is really what hits home for me.” She asks, why would she shoot in a room with a blank background when we are in the most interesting city in the world.
ARTIST SERIES 027 - Gerald Lovell
Painter Gerald Lovell started his career after dropping out of his college graphic design program. He is entirely self taught using his own research, YouTubing and the support of his close peers. His work references a diverse cadre of artists and over the years has been able to hone in on his unique form of expression. He creates portraits of connections ranging from acquaintances to the occasional stranger. Capturing their likeness in a photo and translating it to a canvas. His subjects are adorned with daubs of oil using the impasto technique. Their bright pupils gaze emphatically through the canvas while the seemingly mundane & surreal backgrounds set them into a reifying reality. His paintings are an expression of self-discovery, and self-articulation, and an archive of the experiences of his peers. He considers painting a spiritual practice through routine and tradition; he is building a body of work that profoundly encapsulates the experiences of black millenial youth, relics of the time.
Gerald is Chicago-born, raised in Atlanta and currently living in Brooklyn. The basement of his apartment he uses entirely as his studio. Welcoming me into his dimly lit area spotlighting a still life where we chatted as he worked on the new painting. He has been living in Brooklyn since July, saying it was always his goal to move to New York. His Grandma and mother are from Taino Towers in Washington Heights, a well known NYCHA building complex. He reflected on his fond memories of uptown Manhattan as a child. When his Aunt moved to Atlanta his mother followed where he was raised for the majority of his life. Gerald seems to have found another home in New York and has embraced his new surroundings by diving into his work.
I inquired about a hanging painting, a work in progress clearly depicting the start of a driver's license. This happened to belong to his late father, the only item belonging to him that Gerald owns. We spoke about forgiveness and the internal journey of reaching a place that welcomes forgiveness. His high threshold of forgiveness and understanding is expressed in his work through self awareness and the stories being told in his paintings. He spoke about his emotional connection to his work and his constant effort to uphold the utmost respect of his practice. How he holds himself at a certain standard of the love for his subjects and his practice. Gerald’s artistic integrity, unique form of expression, self awareness and the context of his work will continue to propel him into the spaces he always was intended to be.
Painter Gerald Lovell started his career after dropping out of his college graphic design program. He is entirely self taught using his own research, YouTubing and the support of his close peers. His work references a diverse cadre of artists and over the years has been able to hone in on his unique form of expression. He creates portraits of connections ranging from acquaintances to the occasional stranger. Capturing their likeness in a photo and translating it to a canvas. His subjects are adorned with daubs of oil using the impasto technique. Their bright pupils gaze emphatically through the canvas while the seemingly mundane & surreal backgrounds set them into a reifying reality. His paintings are an expression of self-discovery, and self-articulation, and an archive of the experiences of his peers. He considers painting a spiritual practice through routine and tradition; he is building a body of work that profoundly encapsulates the experiences of black millenial youth, relics of the time.
Gerald is Chicago-born, raised in Atlanta and currently living in Brooklyn. The basement of his apartment he uses entirely as his studio. Welcoming me into his dimly lit area spotlighting a still life where we chatted as he worked on the new painting. He has been living in Brooklyn since July, saying it was always his goal to move to New York. His Grandma and mother are from Taino Towers in Washington Heights, a well known NYCHA building complex. He reflected on his fond memories of uptown Manhattan as a child. When his Aunt moved to Atlanta his mother followed where he was raised for the majority of his life. Gerald seems to have found another home in New York and has embraced his new surroundings by diving into his work.
I inquired about a hanging painting, a work in progress clearly depicting the start of a driver's license. This happened to belong to his late father, the only item belonging to him that Gerald owns. We spoke about forgiveness and the internal journey of reaching a place that welcomes forgiveness. His high threshold of forgiveness and understanding is expressed in his work through self awareness and the stories being told in his paintings. He spoke about his emotional connection to his work and his constant effort to uphold the utmost respect of his practice. How he holds himself at a certain standard of the love for his subjects and his practice. Gerald’s artistic integrity, unique form of expression, self awareness and the context of his work will continue to propel him into the spaces he always was intended to be.
Sam Lindenfeld is a multidisciplinary illustrator, designer and fine artist. Born and raised in Washington DC and currently based in Brooklyn, NY. Sam's work has been shown at the Hirshhorn Museum in DC, recognized by the American Illustrators Archive, and he acted as Art director of the album "Nothing Changes if Nothing Changes" by Radamiz. He is currently working on a solo show of paintings and illustrations. His process starts with a highly detailed illustration with pen, marker, water color, and more. Then, he scans his work to augment and enhance the color. When the colors feel right, he begins painting. I photographed Sam painting two works in progress, potentially for his show. His work centers around his experiences growing up in DC, jewish identity, and commentary focused on faith and prophecies.
Sam welcomed me into his apartment where his paintings hung throughout. The scale of his paintings immediately surprised me. Each painting took up a massive segment of his place. He showed me into his studio in the center of his apartment where he had many works in progress. Each painting was adorned with taped notes, print outs, images, and reflections. We have been friends for a while so we hopped right into conversation. As I hoped, we covered all the topics we could in the timeI was there.
Sam’s display of Torah segments in his work stems from the interest of narrative storytelling from the original text of the Torah and tying that to the modern context. He speaks about the beginning of his understanding with his identity as a Jew saying; “trauma is the antithesis of identity.” His grandparents, encouraged him to embrace his identity so that he would not be controlled. His illustrations and paintings narrate his inner battles and reflect what that looks like . When he was young, he was diagnosed with Auditory Processing Disorder. This disorder affects the way your brain interprets sounds. It is very difficult for people with this disorder to understand others and even learn how to speak. Sam was told that he may never learn to speak without an impediment. He credits this experience for helping form his practice and outlook. He reflected on growing up in a very diverse city. Sam reflected on his admiration and gratitude for being raised in an environment that exposed him to all variations of culture and life. He became curious about people's outward visual expression of identity and culture.
Sam believes that painters and fine artists are prophetic. He believes they write history before it happens. Painter’s foresight has been proved in novels, paintings, and essays to predict our current circumstances. His paintings comment on the theme of prophecy as they cite passages of the Torah. Sam mentions that the pandemic felt prophesized and dystopic. He cited the 10 plagues and their similarity to the virus. He talked about his journey with his own ego while isolating during the pandemic. He made a conscious decision to take care of his mental health. Controlling his ego and taking time to check in with himself has allowed him to create more genuinely. Sam believes that this process has the power to dictate the greater karmic state and dictate the being of others. His paintings are reflections of societies’ relationship with karmic debt, belief, and expression.
454, Willie Wilson is a rapper and producer from Orlando, Florida. His debut project 4 Real dropped in March, 2021 and quickly gained popularity. The album was featured alongside the release of Frank Ocean’s jewelry brand, Homer. Willie’s fast paced vocals and intentional lyrics create dense, mind bending tracks that get your head banging immediately. His sound is unmistakably his own. For this segment, I linked up with Willie at his apartment/studio in Brooklyn. He showed me around his studiom, played a few tracks for me, and dove into his story.
Willie explained that he can only make music when he is emotionally moved. That intensity and depth translates clearly into his music. When Willie reflected on his childhood, he told me about his father who was incarcerated for the first 6 years of his life. Many of his early memories center around his mother & visits to his father. When his father was released, they built a relationship and his father became his first major male role model. In 2008, his father was shot, and passed away in 2009. During that same year, Willie started making music with his little sister on a laptop, mostly making beats. Willie used music and skateboarding to cope with his loss and occupy his time. Willie built upon his musical ability throughout the years, honing his craft. Willie shares that he used to hate the sound of his voice. When he finally discovered a sound he liked, it completely reshaped his music. Over the years he has put out single after single all better than the next. His musical ability is apparent in his growth over the years.
When I asked Willie why he moved to New York, he explained that he always wanted to live here, or at least out of Longwood and that he had always admired his peers that left Orlando. When Willie first landed in NYC with his girlfriend, he had a few jobs, and even worked long hours at Whole Foods. Eventually, he landed a job at Alife and finally felt like he was a part of something special. Anyone in the industry can attest to the power of a good retail shop staff. Willie and I met in 2018 at the Alife store. I was there to photograph some of their gear. The shop had a great crew at the time - shout out Marc, Falcon, Lucas, Marcel, etc. - Everytime we saw each other we caught up. I walked into the shop and heard Willie playing music he recently dropped on Soundcloud. It was clear that everyone was excited by Willie’s music potential. Willie said that seeing his music get a positive reaction motivated him to continue making music. We are all witnessing the start of a long career for 454. He says his next step is gaining classical musical training.
Candace / duendita is a singer, songwriter and producer from Queens, New York. duendita, a nickname inspired by Spanish poet Federico García Lorca’s word “duende”, describes an inexplicable spark of inspiration and passion from art or the other beauties of existence.
Candace dedicates and credits her creative output to a collective of people whom she also considers duendita. She greeted me at her place in Brooklyn welcoming me into the basement where she and NB (@noahalotoftings) - a part of duendtia and longtime friend - were about to run through a set for their upcoming tour. The basement was filled with paintings neatly tucked into most of the floor space where their equipment intricately sat forming a stage. As they prepared to start the first song of the set, Candace picked up one of the many items in front of her, lifting up an ornate music box. She gave the box topped with a beautiful white carousel horse a few twists and lulled us into the dream state her set led us down. The set was a winding path of melodies, beats, samples, keyboard, bass, voice recordings, and of course Candace’s powerfully emotive vocals frequently augmented by her equipment. Candace’s musical talent and deep expressive ability shines while she performs. Her music has such a unique sound and her experimental fluid approach when performing live accentuates how special her sound truly is.
Candace, NB and I stepped out to her backyard, all three enclosing walls covered in vines. We dove into a conversation about life as a touring artist, her outlook on her music, and a bit of who she is. Candace expresses her spirituality through practices like drawing with colored pencils, smoking weed, and consuming clean foods. This time around Candace expanded a bit on her paused relationship with weed to create space for things that serve her more positively. Along with those practices she connects nature to her spirituality. Candace bird-watches in her free time and even on tour locations, you can hear bird songs and tweets throughout her musical projects. Her music touches on her experiences and Afro-Boricua identity, growing into herself and her surroundings.
duendita wants to let people know that there is nothing to be found outside yourself. The systems we live in do not make it possible to live without fear of shame, her goal is to help create our own systems with her music.
Candace and I went up to her room where she sat down to play piano & sing. Her room was a beautiful reflection of herself. The contents of her room surrounded a piano stacked with books, plants, flowers and an ornate mirror. In the corner sat another array of healthy happy plants and a record player on top of her record collection. After she sang she made her mission so clear. duendita is a collective from the people who contributed to the music, lent a couch, provided transportation, connected people, and lent a creative space. They all create what duendita is and even get royalties on the music. Candace wants to help feed the contributors of duendita and their upcoming generations. She asked, “How local can we make it?” Her vision is to localize, create new systems, and provide for her community with financial means and spreading love. Her music is enhanced by her dedication and connection to community and cause. I attended a meeting the following night with all of duendita where Candace led a session outlining the details of her tour. Starting the session off with a communal drawing session really encapsulated the energy her whole collective exuded throughout the meeting. Her leadership and care for the community around her was beautifully apparent. I was able to capture a photo of most of those who comprise duendita, which was an honor.
Deem Spencer is a musician/rapper from Jamaica, Queens. His music is melodic, dreamy and emotive ranging from barred out verses to rambling harmonies all tied together by Deem’s ability to tell heartfelt stories. His discography is unapologetically and unmistakably a reflection of his being. Deem started his following in the most grassroots organic way possible. He would produce events and invite artists to perform alongside himself in New York. The events started to gain traction and became a creative movement. Eventually people began to come to the events to see him perform more than anything else. Even with millions of streams and a dedicated fan base Deem said he feels like his music is still a secret between him and his fans.
Deem welcomed me into his home studio to photograph and connect about his process. Deem is a quiet subdued soul with a lot to say. His intention and intelligence both in relation to his music and his demeanor was apparent in our time together. He almost always makes music alone and inside his home. He expressed how much his solitude is woven into the fabric of his artistic approach and overall output. He doesn’t want fully polished perfectly produced music that studio teams usually deliver, he would rather make his music with minimal input to keep the raw sounds of his expression. Deem has been reading a lot lately to stay inspired. Recently picking up James Baldwin, Kurt Vonnegut, and has been especially inspired by Dick Gregory’s story. Deem spends a lot of time on his roof. He said he used to sit looking at back yards and trees but now he sits facing the city. We spoke about how this symbolizes his transition from a comfortable peaceful thought process to an aspirational overwhelming view of the city.
Each of Deem’s projects has advanced organically, slowly transformed by his circumstances and progressing emotions. He approaches each project with a theme and title in mind. Eventually changing titles and growing into the projects we are familiar with today. Pretty Face and We Think We Alone were melancholic projects as a result of his grandfather passing and an intense break up. His most recent project Deem’s Tape, originally intended to be named My Wife and Kids is a self reflective project that acts as “one last sigh of relief and gratitude before I charge toward the future I envision for myself.” This project was a deep dive into his formative memories and a manifestation of his future endeavours. Deem talked about embracing his fear of approaching music. How in turn he actualized his vision and avoided wallowing and seeping in his sadness. He asserted that his next projects will be a more positive musical expression, he feels as if people have interpreted him as a “sad” artist when in reality he has found solace, peace, and happiness over the years.
Thank you for having me in your studio/home.
ARTIST SERIES 022 - Manual
Manual NYC is a New York based creative company founded by Malcolm Dia. At its core Manual sells branded disposable cameras along with offering film processing and scanning services. However they have positioned themselves as the perfect candidate for creative collaborations, hosting events, art curating, photo exhibitions, brand partnerships and producing campaigns. Since the genesis of Manual they have partnered and collaborated with brands like The North Face, Stussy x Dior, Nike, Carhartt WIP, Undefeated, ON Running, and more. Malcolm and his team have been constructing a far reaching community of artists through events, collaborations, and networking both providing a space for creativity to blossom and extending opportunities to artists of all backgrounds. Manual opened a pop up shop on Delancey St in the summer of 2019, they offered film drop off services, had a curated selection of books by Dashwood books, and even served coffee. That shop quickly became a watering hole for New York based photographers and artists. That shop acted as a high traffic creative hub, countless projects and connections were sparked in that space. From that point on Manual established themselves as the leading creative community in New York for like minded individuals and purveyors of art.
I became familiar with Manual NYC and Malcolm organically. Malcolm approached me at a party extending his appreciation of my photography work. We struck up a conversation about our creative endeavours. Manual was at the beginning of its foray into brand partnerships and had limited visibility. From that point on Malcolm and I have been connected through friendship and work. Manual slowly landed better and better opportunities and began to gain traction shortly after. We worked together on the Cliff x Manual collection and event in summer 2019. That same summer Manual graciously hosted my solo show “Glass Walls” as their first exhibition in the pop up. The events they threw consistently brought out hoards of people flooding the shop and the street. Those events had unmatched energy. The Manual team and I have collaborated and traveled to Miami and Tokyo since. In Miami they hosted a show at Lower East coast featuring Dean Majd’s series “Hard Feelings. The Tokyo trip was something out of a movie, two weeks of partying, connecting, and hosting a pop ups and eventually a party at the Trunk Hotel. Tokyo brought everyone on the Manual team closer and positioned them further as a force in the creative community.
The Manual team has formed seamlessly integrating people of different skill sets and cultivating a collaborative brand operation. The team photographed above is composed of: Malcolm Dia the Founder & Creative Director, Alex Wang does Logistics & CS, June Kitahara spearheads Communications, Aren Johnson works Creative strategy, Alex Roth does Special Projects, and Lucas King Webber helps with overall operations. Each person brings their own particular skill and are dedicated to creating quality work both commercially and artistically.
Manual will continue to grow and make waves in the artistic community and world of collaborations for years to come. Their potential to create a substantive impact on art and media is apparent and uncapped.
MIKE is a Crown Heights, Brooklyn based rapper, songwriter and producer. I met him at his apartment where he was nice enough to host me and play me his upcoming project. We had an extended dialogue about his origins as an artist, upbringing, influences, performing, covid experiences & upcoming CDJ100 radio station, Ife Radio.
Shortly after I arrived MIKE and I settled into his room. The walls were covered in artwork centered around a computer station and speakers where he played out his upcoming project in its entirety. During this time we shared an open dialogue about his work. I commented on his unique lyrical cadence and how the tracks he produces do not contain prominent drums opposed to the typical hip-hop beats. MIKE recounted his teacher, Mr.Entrified introducing him to counting bars. This enhanced his understanding and relationship to both production and songwriting. That was when his voice became the drums in his songs which is his staple rapping technique. MIKE is usually a quiet guy, especially around strangers. When he first started rapping he used to scream into the mic. He thought that was the only way he would be truly heard. As he grew into himself and developed his voice his volume lowered and he knew he would be heard. MIKE talked a lot about his own self development and his process of growing into himself through music. When he performs he creates an environment where there is no hierarchy between him and the audience. Thus creating an inclusive space where people can reflect in similar ways with his performance.
I noticed while listening to his discography & new project that the contents of his lyrics discussed social dynamics, his emotions, opinions on social issues, and finding himself as a person. While typically rappers tend to avoid these topics and make music about superficialities. He responded that he has 3 older and 5 younger sisters, and he wants to make music that encompasses subjects that would make them proud. I also noticed his expansive vocabulary and his affinity to wordplay. MIKE laughed expressing how much he truly loves words and how he enjoys expanding his personal thesaurus. MIKE also told me about his collection of CD’s that he has been amassing for years. He educated me about the limited SunRa CD’s and how he has been purchasing and scouring the internet for them. During Covid he and a friend, Taka, had been using CDJ100’s to manually make mixes and they plan on launching a radio station called Ife Radio where the mixes are entirely produced from CDJ100s. MIKE’s creativity spans across many musical mediums and he will continue to create more timeless projects. Through conversation and some research I learned a lot about MIKE’s progression.
MIKE lived in Livingtson, London, Essex, and Philly, prior to settling down in Brooklyn. He moved to the UK at age 5 where he lived with his mother and older sisters. He quickly became acclimated to their culture both personally and musically. His first major musical influence was Skepta and other grime rappers such as Chipmunk and N-Dubz. In 2010 MIKE moved to Philly where he started to familiarize and gain inspiration from American artists. MIKE added that his music experience differs from most American artists because he was never familiarized with 1990’s and 2000’s hip-hop which tends to be where his peers draw a majority of their influence. He released his first song in 2012 which was a cover of an MF DOOM & Madlib song. In 2013 he began to take his music more seriously and in 2015 he moved to the Bronx with his Auntie. That same year he released his first project called Belgium Butter via Bandcamp. There he founded Slums, an underground group alongside Adé Hakim, aJodi.10k, Darryl Johnson, King Carter and Mason Dreiling. I attended many Slums shows at underground parties and venues which was one of my fondest encounters with a real message based, grassroots hip-hop movement out of Brooklyn. In retrospect that era/moment in time paved the way for a whole movement of music and expression. In 2017 he released May God Bless Your Hustle which was his major break out and was one of my most listened to projects that year that same year he signed to Lex Records. Unfortunately his partnership with Lex Records was a negative experience and he cut ties with them. Since then he has released Black Soap, Renaissance Man, War In My Pen, Tears of Joy, and Weight of the World. As well as accompanying Earl Sweatshirt on a 3 month tour throughout America and Europe. As of recent he created an alias “dj blackpower” and has released two EP’s under that name.
I am looking forward to seeing MIKE’s next project drop and listening to the upcoming episodes of Ife Radio. Thank you for being a part of this project!
ARTIST SERIES 020 - Theophilos Constantinou
Theophilos Constantinou is a photographer, book publisher, and founder of Paradigm Publishing based in Manhattan, New York. Since the genesis of Paradigm Publishing, over 10 years ago, Theophilos has published over 45 books and zines. He has designed several collections with his brand PARADIGM for BEAMS Japan and Dover Street Market in NY and LA. More recently, he connected with Isaiah Barr of Onyx Collective to produce physical records for their label, NYXO Records. His work has been featured in i-D Magazine, GRIND Magazine, Highsnobiety, POPEYE, Document Journal and Interview Magazine. Theophilos wears many hats within the word and approaches each project with intense care and intentionality. The impact of his creative endeavors especially with upcoming New York talent is substantive.
This segment of the Artist Series was photographed in Theophilos’s Essex Street apartment on the day he was moving out. Marking the end of Theophilos’s time in his second apartment in New York. Countless projects were conceptualized, produced, and shipped from this apartment. So many meetings of the best artists this generation has to offer happened in this apartment. Theophilos offered his space openly and generously for the community to break bread and connect within his home. Soon Theophilos will be moving to Europe to pursue other endeavors. I am honored to have been able to photograph the end of this chapter of Theophilos’s life.
Theophilos is the perfect example of someone who moves correctly, produces beautiful projects in all mediums, and embodies the role of a community leader. He brings people together, encourages creative people to make their best work, and does not waver on his level of substance and quality.
Theophilos and I met outside the Manual Shop on Delancey Street summer 2019. We connected over a cigarette outside the shop. Manual had just hosted my first solo show so we began talking about our shared interest in photography. I found out he ran a publishing company that I was familiar with so I gave him my card! From that day forth Theophilos and I began running into each other downtown. We were both always in the streets connecting and growing with others. At the time I was managing The Good Company and Theophilos was living on Essex Street just a few blocks away. Theophilos would come by the shop and politic the days I would work. Our conversations covered the projects we were working on to personal ethics to our approaches to navigating the industry. As we got to know each other we found our creative endeavors and approaches were complementary. As a young artist Theophilos’s insight and success within the industry have been inspiring. He has offered his well of knowledge openly which has kept me grounded and the fire under my ass lit. After two years of friendship Theophilos is one of the only people I can call my OG. One day Theophilos will go down as one of the greatest to ever do it. I am wishing him luck on his new endeavors in Europe and can’t wait till I can visit you!
Theophilos Constantinou is a photographer, book publisher, and founder of Paradigm Publishing based in Manhattan, New York. Since the genesis of Paradigm Publishing, over 10 years ago, Theophilos has published over 45 books and zines. He has designed several collections with his brand PARADIGM for BEAMS Japan and Dover Street Market in NY and LA. More recently, he connected with Isaiah Barr of Onyx Collective to produce physical records for their label, NYXO Records. His work has been featured in i-D Magazine, GRIND Magazine, Highsnobiety, POPEYE, Document Journal and Interview Magazine. Theophilos wears many hats within the word and approaches each project with intense care and intentionality. The impact of his creative endeavors especially with upcoming New York talent is substantive.
This segment of the Artist Series was photographed in Theophilos’s Essex Street apartment on the day he was moving out. Marking the end of Theophilos’s time in his second apartment in New York. Countless projects were conceptualized, produced, and shipped from this apartment. So many meetings of the best artists this generation has to offer happened in this apartment. Theophilos offered his space openly and generously for the community to break bread and connect within his home. Soon Theophilos will be moving to Europe to pursue other endeavors. I am honored to have been able to photograph the end of this chapter of Theophilos’s life.
Theophilos is the perfect example of someone who moves correctly, produces beautiful projects in all mediums, and embodies the role of a community leader. He brings people together, encourages creative people to make their best work, and does not waver on his level of substance and quality.
Theophilos and I met outside the Manual Shop on Delancey Street summer 2019. We connected over a cigarette outside the shop. Manual had just hosted my first solo show so we began talking about our shared interest in photography. I found out he ran a publishing company that I was familiar with so I gave him my card! From that day forth Theophilos and I began running into each other downtown. We were both always in the streets connecting and growing with others. At the time I was managing The Good Company and Theophilos was living on Essex Street just a few blocks away. Theophilos would come by the shop and politic the days I would work. Our conversations covered the projects we were working on to personal ethics to our approaches to navigating the industry. As we got to know each other we found our creative endeavors and approaches were complementary. As a young artist Theophilos’s insight and success within the industry have been inspiring. He has offered his well of knowledge openly which has kept me grounded and the fire under my ass lit. After two years of friendship Theophilos is one of the only people I can call my OG. One day Theophilos will go down as one of the greatest to ever do it. I am wishing him luck on his new endeavors in Europe and can’t wait till I can visit you!
Esteban Scott is a designer, photographer and musician from Phoenix, Arizona based in New York City. He is the founder and designer of Cliff Creative Projects. He operates out of Project Space, a joint creative studio shared with Saji Adube aka Chainsticth (featured in Artist Series 010). Project Space exists in the bottom floor of a building in Chinatown. It is the perfect creative space centered around work and community. Estiee and The Cliff team gather there to run operations, build the brand, talk creative direction, plan installations/pop ups and it serves as local pick up for Cliff orders. Since it’s genesis it has been a watering hole for an expansive and remarkably talented community of artists and the likes.
Origin: Estiee works in three mediums: music, design, and photography. He came across all of these mediums organically; they all play an essential role in his creative expression and output. Esteban started piano at age 3 and has been making music for as long as he can remember. He played bass and was in rock bands growing up. Estiee transitioned into making beats and rapping in high school. Him and his friends built a studio in his friend’s room called Black Suede. That studio was his first taste of creating a wave, building a movement/community from the ground up and gaining traction through genuine shared interests. In 2012, when Black Suede eventually died down Cliff USA came about. The first t-shirt he designed was a Champion raglan t-shirt with an understated “Cliff” logo on the chest and hand dyed sleeves. It was a really funky shirt with a small logo hit that sparked a lot of interest. Around the same time he found his fathers old film camera and began taking photos. He was immediately hooked and that is where he found an attachment to photography.
After high school, he moved uptown with his family to attend FIT. Estiee’s first collection for Cliff was in 2015. He titled it Season One which sold out via his webstore and at The Good Company, a shop he was interning for. The upcoming semester he dropped out of FIT to pursue his own endeavors. Estiee decided to learn through job experience, his OG’s guidance, and trial and error. From that point on he has been navigating through the industry and building his brand through various creative ventures. In the past years his growth has been an inspiration to witness. He has released a handful of new Cliff collections, created a large discography of music, hosted many events, modeled for major companies, and fostered a beautiful community of artists and friends.
Mission: Cliff was created when Estiee felt there was a lack of a community between artists and designers, especially black artists, on his wavelength. Being a black artist from Scottsdale which is predominantly a white environment messed with his sense of self. This made him crave a creative community of people he could relate to. He tapped into blogs and forums to find like minded people, that is where he discovered The Good Company and many other people he is currently connected to. Cliff is meant to inspire people to use their creativity with everyday practices. Whether they are a cook or a basketball player or a painter he wants to encourage people to find the outlets of creativity. Cliff was made to represent co-existing.
He's going for it all, Cliff is intended to be a household name and a staple in apparel. The brand encapsulates music, fashion, food, and travel. It's a lifestyle brand that represents everything that lends to creative expression. The styles come from reinterpreting the stuff he always thought was cool but could never afford or wear in the late 1990's & early 2000’s. It dances a fine line between familiar and fresh. Estiee concludes that his whole life he has felt like the odd man out; his end goal with all his art is to make a human connection. “Something to make someone say, “‘I feel you.”’
Estiee and I met through friends and The Good Company. I would frequent Good Co. and connect with Estiee while he was working. Outside of work we began to photograph together for various gigs for them, OnlyNY, and more recently Warrior. I was able to help install the Cliff and Manual NYC collaboration pop up at Hotel97. Working with Estiee and witnessing the community he has fostered, the light he provides to the scene around him, and his overall growth within the timeframe of knowing him has been beautiful and fulfilling. We will all see more output and growth for years to come.
Jordan Moss is a Bed Stuy based graphic designer and fine artist from Brooklyn. Jordan is interested in all forms of creative expression - furniture, design, books, clothing, food etc. She thrives off intentional design of all sorts. She has been illustrating and practicing many mediums of art since she was a small child. Art has always been what she wanted to pursue and her main outlet. She moved from Brooklyn to Delaware with her mother, Marcie, after her father passed. She found herself in an environment that she did not enjoy and was not a reflection who she was. Jordan felt out of place, uncomfortable, and depressed. After years of navigating, learning herself, and creating art she realized that her craft would be the way to escape that environment. She applied to art school in New York and returned back to the place she calls home.
Jordan’s first bodies of work began with pen and ink illustrations and painting. During her time in college Jordan studied fine art. Her favorite class/medium was screen printing. As Jordan began to create more intricate digital work she found that those mediums impacted her approach. She approaches most of her digital artworks with the lens of layers, color, and texture just as she would a screenprint or a woodblock print. This is what truly excels her digital work into a higher echelon than most designers. We went through some of her past work together and this became overtly apparent through her progression in mediums and themes reflected in her body of work.
Jordan and I met in Tokyo in 2019. We reminisced and agreed that the trip was unbelievably aligned, fruitful, and fun. She had just quit her job at a huge advertising firm after weeks of them acting weird and not feeling utilized to her full potential. She quit and hopped on a plane to Tokyo. By chance the trip she booked was at the same time a group of my peers and I planned to go. We were all there for different reasons, for work, creative endeavors, fashion week, an escape of regular life and pure exploration. The group that ended up traveling together had great energy. We agreed that we couldn't have asked for a better group to travel with.
Leon Xu is painter and fine artist from San Francisco, California. His paintings are something from a dream or the first few blinks after waking up. Misty, faded, and bright with color. They typically feature light refractions, muddled reflections, and shadows. Although his current body of work is centered around more specific subjects.
He draws inspiration from what he calls “brain tingles.” This term refers to moments of ASMR, short for autonomous sensory meridian response. It is a feeling caused by certain auditory or sensory stimuli felt in the head and down the spine. These moments produce a sense of deep relaxation. Leon’s process includes reflecting on those moments, capturing them in a photo and painting the best expression of what he was feeling.
We talked about how his art begins with actively observing his surroundings. Our discussion landed on how observing is a practice that takes refining. It is a muscle you must grow and a study you need to be dedicated to. Leon says that graffiti was his introduction to being actively observant. The way graffiti enhances surrounds to be dense with art and information pertaining to the culture. As his observations became more developed they transitioned into what he paints today. If you look at his body of work you see this reflected in what he chooses to paint.
His newest series of work is centered around his car which he is deeply connect to. Leon was inspired to buy a Toyota Celica from Initial D, a manga series based around street racing and car culture in Japan. Initial D provides Leon with inspiration and subject matter to this day. Leon spent a lot of time in his car during the pandemic. It became an outlet and a sanctuary for him. Driving was one of a very select few opportunities to gain inspiration and observe his surroundings when New York shut down. His observation process shifted to center around “brain tingles” observed from the sanctuary of his car. Thus leading to the body of work photographed in this series.
We met working at 18 East in downtown Manhattan. A shop that we spend time shooting the shit, talking art, and graffiti. See you at work! Thank you for having me at the studio.
ARTIST SERIES 016 - Wiki
I used to see Wiki93 tagged on the upper west side growing up - from the blocks I would frequent to the 86th street station I would use daily. Eventually I was put onto Wiki’s first solo project, Wiki93, a project that has been in my rotation since I was a junior in high school. His bars resonated with me on a deep level. His deep cut uptown Manhattan references, the way he related to his surroundings, his affinity and appreciation for the train, and his unique metaphorical lyricism made me keep up with his path to this day. Come to find out he was raised on 89th street, I was raised on 88th, we are cut from the same cloth.
When I worked at The Good Company, Wiki would frequent the shop and we got to know each other and worked on a few projects together. I had the opportunity to shoot his last live show in New York at the Sultan Room before COVID19 shut down the city. That was the last time we had seen each other before we linked up for this segment of the Artist Series.
Wiki just moved into a new apartment in Chinatown so I went to meet him there, excited as I pulled up to see that he now lives on one of my favorite blocks in the city. We sat down catching up as he rolled up a spliff and we were launched into a long conversation about new beginnings, navigating transitions, love life, our memories of the Upper West Side growing up, creating during quarantine, new projects and navigating within the creative scene.
We started off talking about love life. We had been through break ups recently so we had a lot to relate on. He frequently includes his love life in his music and his romantic side is a part of who he is as an artist. Wiki expressed his frustration with not being heard and crazed with the thought of not being able to say what he needs to. We concluded that we are grateful to have creative outlets to channel this into.
Settling into his new apartment Wiki found that his new surroundings have inspired and sparked his creativity, excited to throw himself heavily into his craft. He showed me his next songs and pieces of new projects. Wiki rapped every verse with passion, I had to have him run his verses back to grasp every aspect of his dense lyrics.
A segment of our conversation that really stuck with me was about his admiration of the subway. I mentioned my annoyance with transplants talking down on the MTA and he emphatically agreed. Wiki said that the train is the most beautiful part of the city and one of his favorite aspects of the New York experience. We traded stories about riding the train. Traveling with others, the intimacy of being in such close quarters with other New Yorkers, and the how the vast visuals that we witness underground have been a huge inspiration for both his music and my photo work.
Wiki expressed his need to surround himself with genuine, kind, and motivated individuals that uplift his art and elevate his growth as a person. Many of his peers in creative scenes don’t share the same values, instead searching for clout/fame or shallow affirmations of success. Wiki is here to inspire and continue to impact New York and the world with his music.
I used to see Wiki93 tagged on the upper west side growing up - from the blocks I would frequent to the 86th street station I would use daily. Eventually I was put onto Wiki’s first solo project, Wiki93, a project that has been in my rotation since I was a junior in high school. His bars resonated with me on a deep level. His deep cut uptown Manhattan references, the way he related to his surroundings, his affinity and appreciation for the train, and his unique metaphorical lyricism made me keep up with his path to this day. Come to find out he was raised on 89th street, I was raised on 88th, we are cut from the same cloth.
When I worked at The Good Company, Wiki would frequent the shop and we got to know each other and worked on a few projects together. I had the opportunity to shoot his last live show in New York at the Sultan Room before COVID19 shut down the city. That was the last time we had seen each other before we linked up for this segment of the Artist Series.
Wiki just moved into a new apartment in Chinatown so I went to meet him there, excited as I pulled up to see that he now lives on one of my favorite blocks in the city. We sat down catching up as he rolled up a spliff and we were launched into a long conversation about new beginnings, navigating transitions, love life, our memories of the Upper West Side growing up, creating during quarantine, new projects and navigating within the creative scene.
We started off talking about love life. We had been through break ups recently so we had a lot to relate on. He frequently includes his love life in his music and his romantic side is a part of who he is as an artist. Wiki expressed his frustration with not being heard and crazed with the thought of not being able to say what he needs to. We concluded that we are grateful to have creative outlets to channel this into.
Settling into his new apartment Wiki found that his new surroundings have inspired and sparked his creativity, excited to throw himself heavily into his craft. He showed me his next songs and pieces of new projects. Wiki rapped every verse with passion, I had to have him run his verses back to grasp every aspect of his dense lyrics.
A segment of our conversation that really stuck with me was about his admiration of the subway. I mentioned my annoyance with transplants talking down on the MTA and he emphatically agreed. Wiki said that the train is the most beautiful part of the city and one of his favorite aspects of the New York experience. We traded stories about riding the train. Traveling with others, the intimacy of being in such close quarters with other New Yorkers, and the how the vast visuals that we witness underground have been a huge inspiration for both his music and my photo work.
Wiki expressed his need to surround himself with genuine, kind, and motivated individuals that uplift his art and elevate his growth as a person. Many of his peers in creative scenes don’t share the same values, instead searching for clout/fame or shallow affirmations of success. Wiki is here to inspire and continue to impact New York and the world with his music.
“I don't want to be famous. I want to be infamous. Graffiti should be about infamy, not fame, it's about not wanting to be out in the public eye.You should see graffiti, you shouldn’t know what's behind it. It should be mysterious. It should inspire mystery, you know what I'm saying, intrigue and I create something in my mind about who that person is. Subconsciously I create a character. I started looking at graffiti in the tunnels. I'm like, what crazy mother fuckers would go in the tunnels, risk their lives to put their name up.” - Geshu
Geshu, pronounced ‘guess who,’ is a graffiti and fine artist from the Upper West Side. His stickers and tags were some of the first that introduced me to graffiti. Geshu has some of the craziest, smoothest, and most complex handstyles in the game. He recently released a 300 page blacked out book called ‘RYB’ consisting of hundreds of hand styles and drawings. It contains some of the most insane styles I’ve seen. Geshu has been diving into his fine art and drawings more as of recent which are equally as intricate and meticulously drawn. We had two separate photo sessions filled with more conversation and storytelling than actual photography. As an OG New Yorker he has stories and experience to span multiple lifetimes. To protect his identity this is the most I can write.
ARTIST SERIES 013 - Radamiz
Radamiz (Radhames Rodriguez) is a rapper born and raised in Bed Stuy, Brooklyn. He has been releasing music since 2012 but I got hip to music in 2016 through his debut album Writeous. That same year he opened up for Nas at the Brooklyn Hip Hop Festival and a year later opened up for Black Star in the same festival. His last EP Synonyms of Strength really drew my attention and ultimately sparked this installment of the Artist Series.
Radamiz and I linked up at a coffee shop downtown and quickly hopped into a conversation about our upbringings, inspiration, ideals, and spirituality. I mentioned how I admired his insightful lyrics and specific New York references within his work. He responded by delving into his formative experiences growing up in New York a young Dominican man from the Brooklyn P’s.
Radamiz graduated from NYU studying social and cultural analysis with a minor in creative writing. We discussed how it affected his outlook on his experiences and how that adds to his music. Radamiz said he takes a spiritual stand about looking towards the future while accepting and letting go of the past. He recounted a story about his friend Chops who was incarcerated whom he talked to every few weeks for over a year. While Chops was locked up his mom was featured in a Radamiz music video and it is Chops’s voice that speaks on Rad’s song Bendiciones. Radamiz included him in the ways that he could to continue moving forward positively. That process for Radamiz is him questioning, what does freedom look like?
My favorite note that we touched upon was his outlook on gangsterism in relation to spiritualism. One of his songs starts with, “I mix the gangsterism with the spiritualism.” These two ideas are typically categorized as mutually exclusive. Radamiz says that they actually exist together more in gangsterism and street culture than other demographics. Radamiz said, the most street people he knows are the most spiritual people he knows. Preaching gangsterism with spiritualism is combatting a stereotype and one of Radamiz of many lyrics that speaks to his insightful ideals and niche views into his world.
Radamiz and I finished up our conversation and made our way to the studio he has been making music at for the last seven years. The moment we stepped in the door Radamiz was in work mode, notebook and pencil out, harddrive with the engineer, beats and songs queued up to finish. He ran through six tracks in under three hours, each track was unique and deeply impressive. We took a few minutes to shoot once the session was wrapped. Radamiz sat there listening to the work he had just made, bumping his head up and down. It was a pleasure to watch you work, thank you Rad.
ARTIST SERIES 012 - Adewale Quadri
Adewale and I met shooting a look book for Cliff USA. Me and him instantly connected on our energy and shared passion of the come up and how to move within our fields. Adewale is a jack of all trades from modeling, to small gigs on Netflix, to designing shoes and accessories he can do it all.
We talked about his trials of growing up in North side of Chicago raised by a single mother. He discussed the dangers of his surroundings, trying to avoid the over arching theme of violence that surrounded him. Adewale said that his older brother who lives in LA was a role model and an inspiration to escape his surroundings to pursue a safer and creative career path. He went to LA where his brother held him down for a bit. Eventually he moved to New York.
Adewale always had a goal to do something different. He always had a passion for shoe design, and had been wanting to start something for a while, quarantine opened the door for him to focus and develop his process. At the beginning of COVID, he was inspired by his girlfriends 1972 Nike Cortez’s that were worn down and coming apart. He wanted to see how he could rework and deconstruct them into something totally new. This got him in the ultimate creative mindset. Adewale wanted to go even further, this is where it all began.
I watched him make a pair of his shoes while we chopped it up and continued to connect on our journeys. His process began with deconstructing the main components of the shoe, then putting it back together with wool fabric/materials. Everything he does and makes has been in his studio during quarantine. He hopes to upgrade to a new set up soon. He is 100% self taught and learned a lot through trial and error. Adewale scoured the depths of youtube for various elements that contribute to his design process.
Just 4 months in Smino and Lil Yachty were the first celebrities to cop a pair. More recently, Justin Beiber got his hands on a pair, and West Side Gun got a 1 of 1 custom which he’ll be rocking in his upcoming music video.
Adewale and I met shooting a look book for Cliff USA. Me and him instantly connected on our energy and shared passion of the come up and how to move within our fields. Adewale is a jack of all trades from modeling, to small gigs on Netflix, to designing shoes and accessories he can do it all.
We talked about his trials of growing up in North side of Chicago raised by a single mother. He discussed the dangers of his surroundings, trying to avoid the over arching theme of violence that surrounded him. Adewale said that his older brother who lives in LA was a role model and an inspiration to escape his surroundings to pursue a safer and creative career path. He went to LA where his brother held him down for a bit. Eventually he moved to New York.
Adewale always had a goal to do something different. He always had a passion for shoe design, and had been wanting to start something for a while, quarantine opened the door for him to focus and develop his process. At the beginning of COVID, he was inspired by his girlfriends 1972 Nike Cortez’s that were worn down and coming apart. He wanted to see how he could rework and deconstruct them into something totally new. This got him in the ultimate creative mindset. Adewale wanted to go even further, this is where it all began.
I watched him make a pair of his shoes while we chopped it up and continued to connect on our journeys. His process began with deconstructing the main components of the shoe, then putting it back together with wool fabric/materials. Everything he does and makes has been in his studio during quarantine. He hopes to upgrade to a new set up soon. He is 100% self taught and learned a lot through trial and error. Adewale scoured the depths of youtube for various elements that contribute to his design process.
Just 4 months in Smino and Lil Yachty were the first celebrities to cop a pair. More recently, Justin Beiber got his hands on a pair, and West Side Gun got a 1 of 1 custom which he’ll be rocking in his upcoming music video.
ARTIST SERIES 011 - Jack Moore
Jack and I have always been in similar circles. I went to a few of the shows he's curated in the past. We have mutual friends such as Hunter Potter, West Bechler and Colin Lyon. All of whom are amazing artists. I have always admired his work so I asked to photograph him in his studio. I biked 10 miles from my place in South Brooklyn to his studio in the Maspeth area. Jack has a studio that he splits with three other artists. His work is colorful, playful, and striking. It encompasses a perfect mesh of precision and effortlessness. Around his studio, I saw paintings of basketballs, tabs of LSD and people embracing one another. All paintings touching on the expectations and perceptions of masculinity in popular American culture.
I watched him paint a piece that he will release along with a series of similar paintings. He carefully painted over mistakes with a small brush. To finish off our session he used spray paint to dust the canvas from afar. His approach was confident and very touch and go. All and all it was very entertaining and fascinating to watch Jack paint. In the wake of coronavirus his studio mates haven’t been in the studio so he has the big front door studio space to himself.
We ended up connecting on a bunch of topics relevant to our lives as contemporary artists in NYC. Such as the impact of graffiti, skateboarding and street culture to our growth as artists. Also bonding over our critiques of the subcultures and movements that we love.
Jack said his alone time painting has helped him become comfortable in his own skin. In sum, working on his craft has helped him embrace his sensitive and empathetic personality. Traits he formally viewed, through the lens of attending suburban catholic high school, as unmasculine and therefore, weak. We discussed his lifelong draw to New York and his eventual move here after attending college in Vermont.
We agreed that the people, especially artists, who leave their towns and thrive in New York positivity add to the social and artistic climate of the city. How our different upbringings ultimately lead us into similar paths with like minded ideals.
Jack and I have always been in similar circles. I went to a few of the shows he's curated in the past. We have mutual friends such as Hunter Potter, West Bechler and Colin Lyon. All of whom are amazing artists. I have always admired his work so I asked to photograph him in his studio. I biked 10 miles from my place in South Brooklyn to his studio in the Maspeth area. Jack has a studio that he splits with three other artists. His work is colorful, playful, and striking. It encompasses a perfect mesh of precision and effortlessness. Around his studio, I saw paintings of basketballs, tabs of LSD and people embracing one another. All paintings touching on the expectations and perceptions of masculinity in popular American culture.
I watched him paint a piece that he will release along with a series of similar paintings. He carefully painted over mistakes with a small brush. To finish off our session he used spray paint to dust the canvas from afar. His approach was confident and very touch and go. All and all it was very entertaining and fascinating to watch Jack paint. In the wake of coronavirus his studio mates haven’t been in the studio so he has the big front door studio space to himself.
We ended up connecting on a bunch of topics relevant to our lives as contemporary artists in NYC. Such as the impact of graffiti, skateboarding and street culture to our growth as artists. Also bonding over our critiques of the subcultures and movements that we love.
Jack said his alone time painting has helped him become comfortable in his own skin. In sum, working on his craft has helped him embrace his sensitive and empathetic personality. Traits he formally viewed, through the lens of attending suburban catholic high school, as unmasculine and therefore, weak. We discussed his lifelong draw to New York and his eventual move here after attending college in Vermont.
We agreed that the people, especially artists, who leave their towns and thrive in New York positivity add to the social and artistic climate of the city. How our different upbringings ultimately lead us into similar paths with like minded ideals.
ARTIST SERIES 010 - Saji Gabriel Kashimawo Adube
Saji is a multimedia artist born and raised on the upper west side of Manhattan. He runs a custom embroidery and denim repair brand called Chainstich which has become a go to for brands like Bode and A.P.C. Saji also has made strides in screenwriting and film making by taking part in the Tribeca Film Fellows. He has also been making music producing, rapping, and singing with the likes of Sporting Life, Harrison and other young contemporaries. His newest endeavor is painting as he showed me his two first paintings. Along with being one of the people with the most forward thinking style I’ve come across, Saji is the quintessential creative who wears many hats.
Saji and I grew up a block away from each other and went to the same high school, CityAs School which is program that offers internships instead of typical classroom education. We talked about the impact of our experience their and the overall impact of the school on New York’s creative community. It was beautiful to connect with another artist who had a very similar upbringing and progression toward becoming a full time artist. The neighborhood we grew up is ceased to exist the way were familiar with. We covered every aspect of what made the Upper West such a special neighborhood when we were jits. Saji discussed his experience growing up in a mixed family with a single mother, his creative influence from peers like Lula Hyers, Esteban Scott, and the whole creative community that has formed before our eyes. How he moved on to turn the darker moments into learning experiences and to create a virtuous art career.
Saji and I witnessed our peers leave the city in droves for school or simply to escape the city while we stayed to work and build upon our creative endeavors. Saji’s goal and biggest desire now is to keep striving for balance, and to continue to sharpen his toolbox of skills and experiences.
Thank you for having me in your studio!
Saji is a multimedia artist born and raised on the upper west side of Manhattan. He runs a custom embroidery and denim repair brand called Chainstich which has become a go to for brands like Bode and A.P.C. Saji also has made strides in screenwriting and film making by taking part in the Tribeca Film Fellows. He has also been making music producing, rapping, and singing with the likes of Sporting Life, Harrison and other young contemporaries. His newest endeavor is painting as he showed me his two first paintings. Along with being one of the people with the most forward thinking style I’ve come across, Saji is the quintessential creative who wears many hats.
Saji and I grew up a block away from each other and went to the same high school, CityAs School which is program that offers internships instead of typical classroom education. We talked about the impact of our experience their and the overall impact of the school on New York’s creative community. It was beautiful to connect with another artist who had a very similar upbringing and progression toward becoming a full time artist. The neighborhood we grew up is ceased to exist the way were familiar with. We covered every aspect of what made the Upper West such a special neighborhood when we were jits. Saji discussed his experience growing up in a mixed family with a single mother, his creative influence from peers like Lula Hyers, Esteban Scott, and the whole creative community that has formed before our eyes. How he moved on to turn the darker moments into learning experiences and to create a virtuous art career.
Saji and I witnessed our peers leave the city in droves for school or simply to escape the city while we stayed to work and build upon our creative endeavors. Saji’s goal and biggest desire now is to keep striving for balance, and to continue to sharpen his toolbox of skills and experiences.
Thank you for having me in your studio!
Jaquell is a New Yorker, rapper, songwriter, and producer. He has been producing and songwriting hip hop, dance music, techno, etc. for many years and now has some popular songs. Over the years he has amassed almost 200k monthly listeners. His new project Pieces is great, go check it out and he has a lot more to come.
Jaquell and I have known each other since high school. We first met in 2015 when he was hosting parties for a studio in Bushwick. My friends and I used to go to those events pretty often. Once I moved to Harlem Jaquell was at my spot here and there. In 2017, earlier in Jaquell’s music career we linked up and shot in East Harlem. We both loved what we made together. We hadn’t seen each other in maybe over a year so it was great to catch up and see what he’s been making. I met him at his studio in Brooklyn and was met with some great energy. He showed me his next project with entirely with Fatboy Slim song by song. I was hyped to see his progression as an artist, both in talent and the scale of his projects. We talked about all the bullshit we got up to at his old studio parties, moving apartments, new roommates, prior projects, passions, goals, and of course Corona Virus. When we shot this we weren’t on lock down yet so we were predicting what was to come. Jaquell wrapped his whole head and face in a scarf as we left.
ARTIST SERIES 008 - Medhane
First time I saw Medhane preform was at a Chadie Boy rooftop function in Bushwick in 2017. We had 150-200 people filling three roofs, big speakers, a DJ set up, and live performances. As usual it lasted until the cops shut it down. From that performance I knew I would be hearing that name again. I’ve been keeping up with Medhane’s career since then. His last two projects “Own Pace” and “Full Circle” are phenomenal. All around Medhane is a master at saying a lot with a few words. His songs are dense and meaningful. As a New Yorker you can feel his roots in the music.
Medhane and I linked at the XL Recording studio where he and his engineer where working on an upcoming project. He told his engineer to play the whole project through. I photographed slowly and casually while it was played. I’m grateful I got to listen to that in the studio and I’m hyped to see how people react to it. We talked about Corona Virus and media of course since that’s been the main point of conversation these days. We took a walk to get some food, restaurants had not been shut down in NYC yet. We found a few spots to capture photos. Luckily we found some good golden hour light.
First time I saw Medhane preform was at a Chadie Boy rooftop function in Bushwick in 2017. We had 150-200 people filling three roofs, big speakers, a DJ set up, and live performances. As usual it lasted until the cops shut it down. From that performance I knew I would be hearing that name again. I’ve been keeping up with Medhane’s career since then. His last two projects “Own Pace” and “Full Circle” are phenomenal. All around Medhane is a master at saying a lot with a few words. His songs are dense and meaningful. As a New Yorker you can feel his roots in the music.
Medhane and I linked at the XL Recording studio where he and his engineer where working on an upcoming project. He told his engineer to play the whole project through. I photographed slowly and casually while it was played. I’m grateful I got to listen to that in the studio and I’m hyped to see how people react to it. We talked about Corona Virus and media of course since that’s been the main point of conversation these days. We took a walk to get some food, restaurants had not been shut down in NYC yet. We found a few spots to capture photos. Luckily we found some good golden hour light.
ARTIST SERIES 007 - Jack Greer
Jack Greer is an artist of many mediums and man behind Iggy, one of my favorite brands right now. The look books for Iggy are complicated sewn collages of his photos, drawings, and graffiti. All of them feature peers and other artists that he admires. To further advertise Iggy he shoots his own campaign photos and installs them into phone booths replacing the old ones. The graphic heavy vibrant lines of clothing make Iggy very recognizable. His clothes range from tshirts to complicated cut and sew.
We met at The Good Company a few times and as an admirer of the brand I reached out to include him in this series. I met Jack and his dog named Iggy at his apartment in downtown Manhattan. I immediately noticed his eye for detail. All of his pens were aligned perfectly straight, in conversation he broke down every thought to the nth degree, and in the meticulous nature of both his personal and Iggy art work. Jack and I talked about his history as a fine artist and how “elevated” art spaces foster a problematic system.
He talked about how he is putting his ALL into Iggy to creatively express exactly what he intends to showcase. He said he would rather look back at Iggy and know that he did everything he could to create his own vision then look back and feel like he was following trends or appealing to others. I believe he is doing that perfectly and that is why I needed to include him in this series.
Jack Greer is an artist of many mediums and man behind Iggy, one of my favorite brands right now. The look books for Iggy are complicated sewn collages of his photos, drawings, and graffiti. All of them feature peers and other artists that he admires. To further advertise Iggy he shoots his own campaign photos and installs them into phone booths replacing the old ones. The graphic heavy vibrant lines of clothing make Iggy very recognizable. His clothes range from tshirts to complicated cut and sew.
We met at The Good Company a few times and as an admirer of the brand I reached out to include him in this series. I met Jack and his dog named Iggy at his apartment in downtown Manhattan. I immediately noticed his eye for detail. All of his pens were aligned perfectly straight, in conversation he broke down every thought to the nth degree, and in the meticulous nature of both his personal and Iggy art work. Jack and I talked about his history as a fine artist and how “elevated” art spaces foster a problematic system.
He talked about how he is putting his ALL into Iggy to creatively express exactly what he intends to showcase. He said he would rather look back at Iggy and know that he did everything he could to create his own vision then look back and feel like he was following trends or appealing to others. I believe he is doing that perfectly and that is why I needed to include him in this series.
Reboe requested that I keep the caption short to keep his identity safe. We linked up to help promote his upcoming video called “All We Got Is Us”, a 56 minute video of raw New York City graffiti, featuring a large mass of very prominent New York City writers, a project like this has not existed in over a decade. An interview about the project can be found in the near future via Carnage NYC or Reboe followed with details about the public release.
ARTIST SERIES 005 - Nicole Underwood
Nicole and I first met when I was working at Snow Peak, a store in Soho. Her and her boyfriend Ryan would come in and chat with me and the staff. After a few visits we became friends and I would always look forward to catching up with them.
At the time Nicole and Ryan were both designers at Reebok. I was aware of Nicole’s endeavors outside of work and I remember asking her about it. She said that she was grinding hard at Reebok in Boston whole freelancing on the side. Fast forward to now Nicole has taken the dive and is completely freelance. She now has so many huge projects under her belt and it is just the beginning.
I met Nicole at her apartment in Brooklyn. After catching up for a bit she began to make a shoe from a Reebok windbreaker. Nicole graciously walked me through every step in her process, she said that she has gotten good at explaining because she has done so many workshops. Her studio was nicely organized and filled with beautiful pieces that she has made, some I had seen on her instagram and others were new to me.
I ended up staying at her place for quite some time and chatting. We talked about the ins and outs of freelance and both of our experiences dealing with being under payed then bossing up with our own work. Nicole also mentioned her passion for doing workshops for people that are hearing impaired. We covered the difficulties and pleasures of being in relationships especially with hard working significant others. Nicole and I have a lot of respect for each other’s work so we went back and forth talking about or visions and why we do what we do.
ARTIST SERIES 004 - Snoeman
Snoeman and I first met in 2015 at the OnlyNY office in Harlem. Snoe used to pull up and get markers from Only. As an intern it was my job to get him the markers. He graciously dropped a throwie in my black book and we have been in contact ever since.
Last year around Christmas time Snoe and I collaborated on a project called Fashion for the Streets. He invited me to his studio to photograph him paint on three brand new rain jackets we then ran around the city on a rainy night looking for less fortunate people to gift the jackets too. You can see that project on my website or if you scroll down my feed a bunch.
This was my second time photographing Snoeman in his studio. Him and I have become good friends over the years so this session was very casual. I came through with a 12 pack of white claw and maduros. Snoe always wants to make the best work possible so of course he has three separate projects that he wanted photographed during our session. He was working on a huge collage on a canvas, continuing to paint Yankee New Era fitteds, screen printing more souvenir tees, AND freestyles quickly on two pinned up papers.
Snoe mentioned that he had been in the studio with Gianni Lee and was inspired by how he approached his work. Snoe decided to freestyle those two drawings because he admired the way Gianni painted with no inhibitions. We spent the session talking about what the future holds for us. We talked about how people tell him that they have seen his stickers and tags since they were kids. It’s always a wake up call when you’ve been sticking to one art form for a lifetime. Snoe and I are both very ambitious and want to reach the heights of our fields. We always talk game about how to get there.
ARTIST SERIES 003 - Zeehan Wazed
Zeehan and I met by chance two summers ago. He invited me and a friend into his studio and gallery to see his work. I was blown away. I walked through a small hectic basement studio into a huge gallery with high ceilings displaying his current work at the time. His work was tones of black, browns, golds, and streaks of white. So dynamic, moving, and stunning. He handed me an iPad and told me to hold it up to the painting. At first I was confused but as I centered the iPad silhouettes of dancers appeared on the canvas, interacting with the forms. Zeehan told me that his is also a dancer/b-boy. I was so impressed how he seamlessly integrated his two art forms. I’ve been a big supporter of his work ever since.
We planned to meet while he painted a mural directly adjacent to the gallery. He showed me his current work which integrates his typical abstract work with beautifully painted real forms. All the real forms are based on viral images, disasters, and events that struck Zeehan. He wants to immortalize the viral images that pass and cease to be relevant in moments. As well he showed me a series of four paintings that trigger a short film with augmented reality, first of its kind. He has lots of plans with augmented reality so be on the look out.
We stood on the street together while he painted for hours. We talked about our past selves and what we were like growing up in New York public schools. Zeehan is another native New Yorker so we connected on that a lot. Zeehan works differently from any artist I has photographed. His process is deeply organic with a bit of sporadic energy mixed in. He spoke about having no formal training, having his own formula, and using mediums that other artists may look down upon. Zeehan throws parties/events and dance sessions that are a hit. He spoke very passionately about fostering a community of artists through this and his desire to reignite the dance scene in New York. If anyone can do it, it’s him!
Talking to Zeehan was a breath of fresh air and seamless connection. Very honored to have had the opportunity to watch you paint.
ARTIST SERIES 002 - Monica Hernandez
Monica my good friend graciously let me photograph at her studio in Queens. Her space had four huge bright canvases, three separate pieces. Monica painted the form sprawled across both connected canvases. I watched her mix her paint into palate of different shades of brown. It was the first time I had seen someone paint with acrylic. It was amazing to see how she approached the canvas!
We spent the time talking about her process and what influences her work. Her moving from the Dominican Republic at a young age, how her values and ideas differ from typical Dominican traditions and gaining growth and understanding from that journey. We spoke about her upcoming opportunities and past residences. We talked about the dating in New York, complexities of dating, and being ghosted. We went back and forth about gigs we had and how they went. We took a lot of time reflecting on why we make work and how we want to do so moving forward. I am such an admirer of her work.
Gabe, Ibekelia and I met at the NOT97 showcase at Cafe Erzule in the summer of 2018. The showcase was such a beautiful gathering of the New York artistic community. A great expression/representation of the current state of underground music at the time. Ibekelia and I struck up a conversation because he mentioned that he was familiar with my work. We instantly hit it off, my father is a french professor and Ibekelia has french roots, thus the music he makes being in french. He then ushered over Gabe to introduce us, once again we hit it off. Great energy all around. Gabe and Ibekelia then excused themselves to preform their set. I was blow away by their mix of guitar, hip hop, mix of languages, and the overall raw sound that I instantly adored.
I pulled up to their apartment excited to start this series and not know what to expect. I entered the door and was offered some tea. From that point on the conversation launched into a myriad of subjects. We spoke about what it takes to be an artist living in New York. Growing up around intense diversity. Our struggles to find genuine connections amongst peers. The feeling of connection and how it relates to our art forms. Times we were down. Drugs, being young & stupid and how life, art and music can bring on back to their center. We shared our visions openly and confidently for 6 hours. Their musical process and how they grew into themselves as artists through experience.
Jacob Consenstein ®
PHOTOGRAPHER & DIRECTOR
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Rights Reserved 2025 ©