Tag Archives: Rabbit Hole

Kristoffer Axén at ICP, Photoville

The Rabbit Hole, At Sea At Night by Kristoffer Axén

Congratulations to Kristoffer Axén, whose images Day Three and The Conversation will join the Photography Collection at the ICP next month. The photographs are part of a new, on-going, series called ‘Events in Nature’ (from which a selection can be viewed at this year’s Tierney Fellowship Exhibition at Photoville, the new Brooklyn-based photo destination).

The Tierney Fellowship was created in 2003 by The Tierney Family Foundation to support emerging artists in the field of photography. Axén will be exhibited among a promising roster of artist, which includes Nicholas Calcott, Luo Dan, Ishaan Dixit, Gabrielle Goliath, Emily Kinni, Bryan Krueger, Carlos Licon, Mack Michael Magagane, Bruno Ruiz, Rubi Rose Siblo-Landsman, Roberto Tondopó, Aubrey Tseleng, and Terttu Uibopuu.

The Tierney Fellowship Exhibition
Opening | Friday June 22, 7 to 10PM, on view through July 1
Brooklyn Bridge Park, New York City


›› The successful Fotojatka festival that traveled to cinemas around the Czech Republic – screening specially produced photographic slideshow – is now over. But, you can still view Kristoffer Axén’s contribution online, featured alongside slideshows by more than a dozen contemporary photographers, amongst them Erwin Olaf, Nikos Economopoulos and Reiner Riedler.
›› For those interested in introducing prints from Kristoffer Axén into their personal collection of photography, we recommend The Rabbit Hole from the series At Sea At Night, available via Aperture

Looking at Success: Natalie Dybisz aka Miss Aniela

I first saw the intriguing and surreal photographs of Miss Aniela five or six years ago.  It was one of those visual encounters when late at night you have gone down the rabbit hole of links and come across work by someone who is of an age where they still can’t legally buy a drink (in the U.S.), and it leaves you slightly depressed.  But I wasn’t the only one discovering her photographs–her images and her story was gobbled up by blogs and e-zines all over the world and Natalie Dybisz (aka Miss Aniela) became an overnight internet sensation.

Recently I was interviewed by Fabiano Busdraghi of the Camera Obscura blog/magazine, and Natalie happened to comment on the interview–it was then that I realized that she was working through her own idea of success, how to navigate it and how to achieve it, and that she would be interesting person to interview.  How does someone who has had so much acclaim at the beginning of their career sustain that momentum, and then how does someone grow, experiment, and make mistakes in front of a watching public?  And for Natalie, most importantly, how does she move from fine art phenom to working equally successfully in the commercial and editorial worlds?

The Fourth Soil
Let’s start
at the beginning.  What drew you to photography and at what point during University did
you know that it was what you wanted to pursue?

My foray into photography happened whilst I was at
University, but studying something else. It was an English and Media degree,
during which I discovered other artists/amateurs around the world sharing their
work on the internet, and to my surprise, openly sharing their
self-portraiture. This re-awakened a desire to take pictures (I had had a brief
stint with self-portraiture a few years earlier with a digital camera loaned
from my college’s art department) but here, the artist pseudonym ‘Miss Aniela’
was born, Aniela being my middle name, and a new body of work emerged which I
started to share online. Being a creative person, photography became the
appointed vocation, mainly through the allure of the immediacy of digital
photography. Self-portraiture began for me as a somewhat shameful habit, so I
liked the private process of being able to take a picture of myself, see my
results straight away and take it forward to experiment in processing, always
in control.

The Escape

It seems that you had huge successes while still in school–did that
success impact your college experience?

I made a lot of images (though I didn’t think of it so
‘professionally’ then) and had my first exhibition locally in Brighton, started
to sell some prints, and whilst that’s certainly a great start, I guess I never
saw it as groundbreaking. I have always been hungry for massive things, in
fact, so much so that I’ve have to curb that humongous desire a bit to avoid
being naïve about how quick ‘success’ can happen, and indeed, how meaningful
quick successes really are. However, in answer to your question, I still had
plenty of time to attend my lectures (the schedule was quite laidback!) and get
a first… it was the employment I entered afterwards that was promptly disrupted
by growing photography opportunities.

The Adrenalin

An Impromptu Performance

It also feels like your work was well ahead of the visual learning curve– the
kind of self portrait imagery that you were (and are) exploring at that time
was quite unique.  I remember seeing your work 5 years ago and your visual
voice was so powerful right from the beginning….

Thank you, I think the biggest compliment people can
make is when they speak holistically about my work and about me as the creator
– when they suggest that I have a ‘voice’ that not only uses the skills of
photography but the creativity, ‘talent’ or so on – it suggests respect and
longevity which is ultimately what any artist wants in their life. 

On another note, it’s interesting you mention seeing
my work from 5 years ago – it does make me wonder when people mention having
known my work for a long period of time who I wouldn’t have imagined seeing it.
It makes me hope for more of those onlookers to reach out – the smallest
spurring-on from others in the art industry can be uplifting and leveraging.


Having achieved so much publicity and accolades at an age where most other photographers are still finding their way, does it feel like you missed your “photographic childhood”?

I feel that my photographic ‘childhood’ is my initial foray into photography, the self-portraiture from 2006-2009 which gained a lot of attention. But
there was a question of where the attention was going and getting into
the right circles, and I knew my dream was to make a long-term impact. 
It was also a ‘childhood’ because I am happy to consider that phase a fun and memorable period of letting loose, experimenting and setting foundations to who I am now: what I would call the more refined ‘adult’ who has more of a focused consciousness on what they are doing, manifested specifically in my current work, and everything that work suggests of my future direction. 

Also, as this new ‘adult’, I feel as though I can and will attain more rounded respect and not just a single-faceted ‘wow’ at a technique employed as in my earlier work. Another major thing I am noting is the mileage to be had in sharing one’s work in new circles, accessing more places on the ‘internet map’ than the known territories of mostly unprofitable photo-sharing sites, just taking advantage of the many opportunities both virtual and physical to get one’s work into different contexts that can be more intellectual, lucrative, or both.


you are a popular image maker with close to 11,000 FB fans and have influenced
a whole generation of young photographers… Do you feel a responsibility to
your fan base?  And do you feel you have to stay creatively one step

Those are good questions. In terms of
‘responsibility’, yes and no. Yes, because the nature of my work, by which my
popularity/profile has been raised, is something that should be noted and observed
as inherent to my ‘brand’ as a creator, in order to keep that accrued audience
satisfied. But then sometimes the notion of a ‘brand’ is at odds with being an
‘artist’, which is about being true to your fluctuating, complicated self.  But surely in either case, the audience
is exactly that – the audience – who have chosen to come and view whatever you
are putting out, there is something they like and trust about you. I have
always remained true to following my instincts and expressing what most stimulates
me; the only troubles have laid in the continuous self-doubt of how exactly to
build, extend and monetise that audience to be able to make a living from art.

Migration Season

To some degree, the ‘Miss Aniela’ name has become a bit
of a brand, with my partner Matthew on board as a business, the name through
which we sell our workshop-style event (big, laid-on fashion shoots) and pursue
clients. But it will always be an artist-led ‘brand’. I will always put out
what I am passionate about, whether it’s a piece of new work or an event where
I show people that being a photographer is about ‘doing it for yourself’. I would
not feel comfortable otherwise. Miss Aniela is only a ‘brand’ in terms of
taking on an ostensible form and structure that resembles a business. Behind
that, I am always a thinking feeling artist.


I do feel inclined to keep ‘one step ahead’, but
that’s mostly because I naturally veer away from trends and ‘what everyone else
is doing’, at least, from the things that become hyped or mass-trends (I
dislike that in any form: music, film, TV etc). So, in my personal artmaking,
it’s a natural in-built mechanism that keeps me moving from one thing to the
next, when one thing feels ‘done’, I can rarely produce another perfunctory
image to fit alongside it, no matter how much it might keep the momentum of my
audience’s lips moving. I talk here in particular about techniques: a good
example is my phase of ‘levitation’ photography which I unpick at length on
Fabiano Busdraghi’s Camera Obscura blog. 

 But I’m also referring to other
phases: phases of feeling/desire (e.g. my fairly lighthearted ‘cloned’ self
portraits), or being drawn to a particular location (doing a series with
abandoned buildings from which I made a dedicated self-published book).

Her Fleeting Imprint

And then, currently in my Ecology series, I am
expressing a more troubled outlook, rather than using the subject as a
character in a fantasy world, it moves towards inferring the crumbling
infrastructures of our real world – a shift from the personal to the
environmental, but with the human element and often still using myself as a model.
This series is fuelled by my personal phase of having the urge to just go
laying naked outdoors, to present a ‘stripped down’ scene of starkness, with
other elements such as litter, ironic objects, and surreal distortions at once
alluring and revolting.

 Gyre Falls
My series ‘Surreal Fashion’ began as playing around
with fashion portraits, trying to make them more contextual and interesting –
and also, for them to take on a different appearance in post-production that
would transform them from just being a shot anyone could take in that highly
contrived, ‘styled’ situation. I find that a lot of fashion photography has
that ‘samey’ look to it, and I wanted to take the images a dimension further. Inspired
by the paintings and objects in the locations where I shoot the portraits, I’ve
started to incorporate them into the actual photos, giving the
objects/paintings a new lease of life, literally re-animating them. 

Storm Door

favourite one was in making a painted sea spill and crash around a model in
‘Storm Door’.  The painting was in
the adjoining room, and had previously frustrated me with inspiration I did not
know how to vent! The picture became my way of consuming it, in a creation of
my own.

In this series, it’s hard to ‘plan’ exactly what I
will do with a prop – I just get a feeling that something will happen with it,
and I play around with possibilities. So I am able to keep it growing into a
‘series’ because the main criteria is that it involves an object taking on a
surreal force within the image, and together, all the images become like a
colourful tapestry. I am aware that some of the images are less suitable for
the commercial interest of fashion than others – it is the more subtle ones
that become part of my actual fashion stories. On the whole though, my goal is
to exhibit the best of the series, as they have already proved enticing to

The Hunt
The White Witch

How is that recognition impacting your current desire to make commercial work
and get a foot hold into that market?

Gaining commercial work is very important to me,
because my idea of success of having someone believe in my ability to create,
and the trust that I will create what they want. The same applies to fine art:
having a gallerist or curator believe in my work and vision.

I know what it is like to be so compelled by someone
else’s work: no matter of the age, credentials, or any other factor, you just
‘know’ that someone has ‘it’. That ‘it’ is like love, it becomes the meaning of
life, the feeling that defies fear of mortality! An example is the contributors
whom I choose for my books, like you have said about your own blog, going
beyond ‘me, me, me’ is the next level of self-fulfilment in that you are
helping share other talent with the world. Passion for art is like a common
language, but unwritten or unspoken; it is about just feeling the conviction
that someone’s work needs to be seen, shouted from the rooftops. I also feel
this way when I meet an astounding model or hairstylist. I love meeting people
who are – genuinely – passionate and hungry, who never rest (even to their
detriment), who are so serious about making something happen that goes beyond
money or logic. The bonus is when you can meet someone who does also have a sense of business and logic
– whose passion doesn’t send them completely to cuckoo land! For that is how
dreams and wishes become real and serious. I strive daily for that balance, and
to convey it, as well as find it in others.


 Do you want to straddle both the worlds of fine art and editorial/commercial

I do want to straddle both, and I’m realising it is
possible, as long as focus is applied in equal amounts to both – which is the
tricky part. Sometimes I get lost wasting time in the blurry worlds in between
the two – entertaining an audience online, doing admin or simply procrastinating.
Then there is also another facet to my work which is the fashion shoot events
we hold in different countries, which takes a lot of organisation, but my
partner oversees most of that, and the events themselves lend well to the
creation of the fashion work that I am currently submitting to magazines and
using to get a foothold into fashion, as well as building my art/fashion fused
series which I’d like to exhibit too.

Harmony String

I see other photographers able (and indeed, almost
obliged) to pursue commercial photography of all kinds as well as keep doing their
‘personal’ projects. So I see it as no matter that I have to do the same – but
I relish the idea of commercial projects, in working with budgets large or
small, to put together productions, and make ‘art’ happen, albeit
commodified.  My partner Matthew
and I live and breathe photography, we are constantly thinking of new ideas,
and whilst waiting for clients, we get busy making our own productions happen. We
are genuinely connected to the creation of art using whatever means we have at
hand: whether that’s a reflector, smoke bomb, and my naked body in a spot of
woodland, or a 17th century stately home with thousand of pounds of
lighting and 6 models in full Regency attire.

Another Whirl

How does it feel to expose so much of yourself through your work, physically
and mentally?

I used to expose more of myself mentally, as in
‘personally/anecdotally’, through journalistic dialogue alongside my images. This
became a drag, because as well as my work becoming reminiscent of a sighing
teenage girl’s diary, I just felt as though it undermined the work a bit. Now I
separate the two more, and use places like Twitter as an anecdotal outlet, and
give my work some conceptual breathing space.

But, I am an artist who likes to ‘talk’. I engage
regularly in the written word in different ways, but I try to balance it out by
blending the technical, artistic and anecdotal together: ultimately to engage
with people and not encourage the saturation of any of element. A key example
is how I write my books – in my most recent book Creative Portrait Photography,
I try to talk about the whole process of creation, showing the story behind the
making of an image including the tools, the intentional thinking, and the
surprises. I also get involved as much as possible with speaking engagements at
fairs and events.


On a level of physical exposure, I am exposing myself
naked even more than ever. It stems from an increasing yearning to take the
focus off the exclusively-male titillation element, and instead stand exposed
on my own terms, as a female human body that is not just always sexually
suggestive, but also can be, quite unashamedly – after all, sex is fundamental,
and a massive part of our consciousness, it is life itself. And sometimes I
even take a sensual or suggestive pose and choose not to settle for its beauty
or simplicity, and play on the viewer’s expectation, almost to subvert or
disrupt the subject’s vulnerability to the gaze of the spectator.

 The Corkscrew

The Invasion

The milestone where I really felt as though I was
‘exposing’ myself physically and sacrificing myself to my art was when I did a
shoot naked with a python last year, to produce an image inspired by John
Collier’s Lilith and Evelyn de Morgan’s Cadmus and Harmonia (my image ‘Double
bind’). I walked about naked in front of the team on the day, who were to that
point strangers. I also put out a ‘behind the scenes’ video showing myself
wandering around starkers and thought, well, that’s it, that’s me exposed

Double Bind

My increasing desire is to lay myself bare, and use
myself as an instrument sacrificed to art. The safety net is in keeping the art
less about ‘me’ and more about the message or aesthetic being conveyed,
although of course that ‘message’ is always filtered and shaped through the
personal experience of the artist creating it. It is always personal to some
extent, but at the volume we can turn up or down.

Your new work is so much about mixing ideas: self-portraiture and
self-starting, combining the landscape and portrait, surrealism, environmental
concerns seeping into the work and mind, merging of surrealism/digital
manipulation with fashion portraits, colour vs. b/w.  Your well of
inspiration seems limitless.  Can you talk about how you approach an
image, and ultimately create a body of work?

Sometimes I feel I do too much different work, there’s
always a way to organise all the output, even if that comes later down the line
after months or even years of creating the material. When I produce an image
there is always a sense of spontaneity that I have learned to embrace, ie. a
sense that I don’t have a specific pre-vision of the actual image, only of a
mood or couple of elements that will be involved. This means that sometimes,
the outcome of my shoots literally become ‘shoots’ that go off all over the
place! I have often said that the ‘artist’ side of myself spills work forward
in an unkempt flow, and the ‘business’ or ‘publicist’ side of myself checks in
every now and then to organise the assortment of expression and make it into
series, books, cohesive projects, etc.

That said, I have found it easier in recent times to
mainly stick to two bodies of work – the Ecology series and the Surreal Fashion
pieces. That’s because I have made sure my bases are covered in terms of what I
want to express at any one time, and how to house it. Before, it wasn’t easy
for me to formulate a specific series title. As long as the series is broad
enough to accommodate the spectrum of urges and desires I feel at any present
time, then a resultant image can be showcased as part of a set even though it
might move around later.


Sometimes the series will become too broad, and I’ve
yet to see how cohesive (or not) my Ecology set will seem when I present it to
galleries. Subsets form within one series, and could potentially become a new
series. A prime example is my use of both colour and black-and-white in
Ecology. I know that it’s not a norm to exhibit both together, even though the
conceptual dialogue ties them together. But as I continue to make more and more
work for Ecology, it may be that those subsets take on their own organic life.
Whilst I am my work’s creator and it ‘obeys’ me to some extent, I have also
learned to ‘back off’ and not force my images to be/do something that doesn’t
work. For my work to be genuine is the most important thing for me. Ironically,
you need to work hard to make something look natural and effortless. You have
to learn to unlearn, and keep challenging yourself to find your true inner

The Divorce

recently stated: 
“one of the main
frustrations to my own Internet-spawned career is having all these ‘hits’ on
one website and another, but those hits not translating into anything
ostensible or lucrative per say, and most of the interest that does come to my
work being from people who want to know how to grab some of those seemingly
desirable ‘hits’ to try replicate the life and success they think I’ve got.

Internet creates a big illusion. Artists make work and share it, and their work
might have lots of popularity online. In that popularity they accrue a mass
following of inspired people, some of whom are fixated on winning the same
label of artist – they want a shortcut to get what the artist apparently has
(which may be little more than just Internet hits) without realising that first
they need – and should want to – make a body of work that, without years of
dedication and marketing, might never make them any money at all.
With that said, what platform has
given you the most exposure, and what took your work to the next level?”
In terms of what has taken my work ‘to the next level’ – it
is probably a self-started thing, my ‘Fashion Shoot Experience’ event, which on
a personal level threw me into the deep end of organising and shooting with a
5-person styling team and 5 new models each time. Over a year we have shot over
50 models – a saturation I would never have experienced by other means. It’s
been great experience not just for getting better with fashion photography, but
just for working with models in general, and opening doors for new
possibilities with both fashion and fine art. There are also countless other
benefits to the experience we’ve add in putting together these productions, and
it also highlights my partner’s influence on ‘Miss Aniela’ and how it’s
intensively evolved the creativity.

In terms of platform on the internet, by far it is
Flickr that has given me the most exposure, but that’s because I have used it
so much, regularly, to put out an image one by one as they are made, and watch
a body of work grow.
Flickr is the place that seemed to physically lead to
what I would describe as a big break – it is where my work was apparently seen
and recommended to a contact at Microsoft, who invited me to speak at their Pro
Photo Summit in 2008 shortly after I’d just left University, and this
opportunity gave me exposure to photography-related contacts (as well as my
first trip to America!) I’ve also had other little breaks stemming from placing
my work on sites and being featured in certain magazines, but overall it’s a
case of just chipping away at everything hoping to increase one’s profile over

Stay Awake and Watch

One of the main good things about flickr – or rather, how
I’ve used flickr – is that it has given me a self-imposed ‘deadline’, an
end-time to work towards when I am producing an image, by which time it gets
uploaded and is called ‘finished’. There is no dithering with images that are
stuck in some limbo folder on my computer, which might well be the case if I
didn’t have an online outlet where it’s ‘published’ in the view of others.

On the flip side, there are many different communities within
Flickr, and often your preferred circle of people becomes infiltrated with
people who are just browsing for pretty shots and make flippant comments on
your long-thought-out pieces that make you cringe. I would turn comments off if
it weren’t for my fondness of the deeper comments I do get, some which inspire
me in turn: once I even made a montage of comments and placed them onto my
image and re-shared it as a new piece of art.
And then there is the issue of internet culture. Most people on
Flickr, on the internet as a whole, like to be stimulated within seconds. They
are the ‘like’, ‘sooo beautiful’ or ‘wtf’ generation, and often judge
photography on the immediate singular visuals for which there is a clamour for
authorship, as people emulate props and techniques they see in others’ work
like clattering bottles falling round in a recycling truck. It’s important to
contextualise these platforms, each being one limb to a wider operation.


What advice can you give to emerging photographers?

Give yourself time to create a body of work, which you
could share ‘in progress’ through internet platforms but don’t feel the
pressure to ‘present’ yourself with a website and pursue exhibitions, publicity
etc until you have something solid and worthy to show. Things might might move
faster in the internet age but as the saying goes, ‘there is no shortcut to the
places worth going’. Some patience needs to be had in being able to first form
a foundation from which you are happy to stand for the long-term.


And finally, what would be your perfect day?

I live many perfect days that I often try to write
down. I am very lucky to be in a solid relationship that is also a photography
‘team’, and on a more superficial level we’re currently living in a house we
really love, which makes every day a treat. I also can’t describe how happy I
feel just to see and hold my two cats! All these things combined, every day
becomes a treat. A perfect day would be to go out into the surrounding
countryside to shoot some nudes and then come back to the hearty meal of steak
and lots of vegetables, following by hours of processing and tea that leads to
the making of a final image that gives me flutters for days. (That is pretty
much what happened for the making of ‘The Fourth Soil.’) Any creative day is a
perfect day. A future perfect day that I dream about is bringing our own
‘creation’ into the world, into our home, peacefully and joyously.


Success Stories: Angela Bacon Kidwell

What seems like a lifetime ago, I spent a quiet afternoon down the rabbit hole of looking at photographs and came across the work of Angela Bacon Kidwell. I think I was on Flickr or some photo sharing site, and I discovered imagery that was powerful, unique, and compelling. I contacted Angela immediately and over the years, we have become friends and supporters. I have featured Angela’s work several times on Lenscratch, but when she recently shared her new work with me, I literally got the chills. Her work was breaking new ground and I knew it was time to highlight Angela’s many success stories.

Having a ringside seat at Angela’s trajectory, I have watched her professionalism, her artistry, and her thoughtful approach to the photographic journey take root and soar. Her photographs have fans around the world; she has garnered award after award, most recently, winning First Place in the Texas Photographic Society International Competition, is one of the ten finalists for the John Clarence Laughlin Award, and has been nominated for the Santa Fe Prize for Photography. Her work is exhibited all across America and featured in numerous magazines. Born in Dallas, and now living in Wichita Falls, Texas, Angela draws inspiration from her life and experiences, her family, and surroundings. She’s a thinker, a dreamer, and a true artist.

Her new series, Traces of Existence, combines emotion, travel, the unknown, and the new, all mixing into new ways of working and seeing.

from Traces of Existence

The motive in this body of work is to mend the tension and tragedy created when conflicting emotions meet. Walking through the highs of my recent travel to China and the lows of significant personal loss, I have been searching for a visual level of communication that would unite traces of my existence. I have become increasingly fascinated by how tenacious life is and yet how in a moment survival ceases. The fragility of life is represented in this work by a personal language of symbols. I want all my images to have real meaning for me, even if it is not easily read by the viewer. By working more abstractly, the dissimilar images connect to one another in unexpected ways causing a thought or idea to evolve. The juxtaposition of death and despair, represented by skeletons, old age and holes connected to a joyous life filled with children, birds and Ferris Wheels examine the complicated and chaotic ways in which life contracts, expands, converges and divests in our personal journeys. By stretching the image to near disintegration by burning, freezing and submersions I seek to release my emotions and give respect to a life that has been fully lived. The emotions I sought to bandage together resulted in a somber, but completely liberating experience.

Process: Numerous layers of hand painted photographs, drawings and resin make up a single image. The final results are a complex layering process and not complete digital manipulations. The image is printed and re-photographed under various conditions in one final effort to heal the tender wounds that bind my own existence.

You state that the work was created as a way to “mend the tension and tragedy created when conflicting emotions meet. Walking through the highs of my recent travel to China and the lows of significant personal loss, I have been searching for a visual level of communication that would unite traces of my existence.” Has the process of creating the work been therapeutic for you?

The short answer is yes, but let me give you a little background on how the work evolved and share a simple quote I stumbled across while in China that helped lead me in producing this body of work.
“You cannot prevent the birds of sorrow from flying over your head, but you can prevent them from building nests in your hair”. — Old Chinese Proverb

Over the last several years, I’ve been working on a series that address the complex stages of grief after a death. During this time, of searching and gathering my ideas I was simultaneously processing two events in my life: First, the joy of my travels in China and second the loneliness that followed significant personal losses. I decided to take a detour from the new series and move in closer to some of specific events and emotions in my immediate space. The decision I made was to limit myself loosely to the photographs I took in China, personal effects from my grandparents’ home and images my son and I took the last day we occupied their home. My vision was to create a new object that would tie and seal my recent experiences into a single ambiguous memory. And, to keep those nests out!

The process of creating the work became therapeutic because it forced me to work abstractly with the subjects and that helped to create order, distance and a bridge between my internal and external worlds. The work took a considerable amount of time and energy to create, and the more layers an image embodied the more “new” life it took on. The long process of creating each image allowed much time to pass, and you know the saying “time heals all wounds”. It helps.

Did your trip to China change how you see and how make work?

My trip reinforced by belief that images have power beyond what we are able to communicate verbally. There was clearly a barrier in my communications with the people in China but our understanding of visual language provided an alternative to the lack of verbal ability. We are all much more similar than different. This reaffirmation helped me to explore a new way of creating and I sensed that the work would be able to communicate universally. At least I hoped it would.

Your approach is totally unique—hand painting, resin, photographing…can you describe this process?

Once I decided to shape the photographs and objects into a new story or expression the path became quite clear. I wanted to experience an emotional release with each layer of the image. I felt like many times creating the work I was going through certain stages of grief. There are many stages of grief, and they don’t follow a systematic order. They are messy, and this work was messy to create. I printed hundreds of images and began to deconstruct them by cutting, tearing, layering other objects, drawing and painting. The assemblage of the work allowed me to experience different emotions: the tearing and cutting was aggressive contrasted with the painting and drawing that was contemplative. There was a dance that I went through with each individual image- pushing it to near disintegration and then rescuing it again till I was finally ready to let it be. The final stage consisted of defrosting images, and at times allowing my son to interact with the melting image, submerging an image in water for days while adding oil to the water and watching it move, and burning the image. I re-photographed the images going through a new metamorphosis before the image would cease to exist. The final step was a visual and emotional closure.

Was there a reason for working in Black and White?

Honestly, I never considered approaching this work in color. I saw it in black and white.

How does living in a small town in Texas, without the influences of a metropolitan experience and an active physical photo community, affect making work?

I was raised in Dallas, Texas and even though that is a large city I always felt I would move to a larger city such as LA or NY to pursue the arts. Instead, thirteen years ago I moved to Wichita Falls, Texas and this city has boosted my artistic spirit. I do believe that I could be creative anywhere, but I feel where I live is truly conducive to the way I work. I’m a receiver type of personality, and I absorb the energy that is going on in my immediate environment so high energy cities tend to drain me over a period of time. I’m much more productive and peaceful in a small town. The city I live in has a rich, and talented artistic community, and many of my early mentors live here, and that brings about a feeling of safety for me which helps keep me centered.

Your son Bleu has been integral part of your image making. How does he feel about being part of you photographic journey?

Since the moment, he was born I knew I would no longer create in solitude but with a partner. The last six years with Bleu have been nothing short of amazing for me, and I’ll take it so far as to say he has had a pretty interesting, creative childhood.

But, I’ll let him answer that question for himself.

How do you feel about taking pictures, Bleu? from Angela Bacon-Kidwell on Vimeo.

How do you juggle your ever growing success and the demands of motherhood?

Without a doubt, my husband and son are my biggest supporters-on a good day. No, honestly my husband although not a creative being and I know I drive him crazy at times is always in my corner. He understands me and my need to create and explore. He calls me the “white tornado” because I have a ton of energy and I’m rarely still. I can get a lot done! My focus the last eleven years has been on my work and family and one would not succeed without the other. They work in tandem so to speak. I feel very blessed and thankful and would not change a single thing about my life.

What advice can you give emerging photographers, especially on presentation, on networking, on consistently producing excellent work?

The best advice I can share is to attempt to be in a constant state of graciousness. We all have so much to be thankful for, and if you can believe that where you are at the present moment is exactly where you are supposed to be then you are free to create and enjoy what is around you in the present. I started out sharing work via different photography, and social networking sites and my involvement with this media allowed me to gain exposure. The feedback I received from all around the world was crucial because it gave me a boost in confidence to present my work to reviews and competitions. I know networking via Facebook etc… is relevant, but it is also crucial to devote the majority of your time to your own creativity and sometimes too much networking steals precious time. I feel I’m getting closer to my truer self in recent years, and that comes from having a quieter mind and, tweeting etc… is not harmonious with peace. I also think that if you are being honest with yourself then the people that can help you show up in your life at just the right moment without enormous effort on your part. You did that for me years ago, Aline. Thank you!

To be consistent at anything in life you have to keep trying different avenues of expression- it’s all in the doing and doing a ton that produces better work and better work attracts a larger audience. It is a numbers game.

What opportunity took your career to the next level?

Without a doubt, Photolucdia and Review Santa Fe in 2008 opened up some wonderful doors for me and allowed me meet some amazing fellow artists. I think it is also very important to surround yourself with a few caring individuals that support you and your vision. Even one is fine.

Do you ever have periods of self-doubt and feel creatively unmotivated?

Yes, but I don’t focus on those feelings. Every fiber of my being is about creating so I paint something, make something, do something. I’m never without a creative project going on in my life even if it has nothing to do with photography the act of making always impacts the next artistic endeavor. Most people think that being a creative person and living a creative life comes easily but it is a ton of actual work. Of course, there are moments of unique vision but those are fleeting- it is work and for unknown reasons it must come out of me. Annoying sometimes but I wholeheartedly accept it.

And finally, what would be your perfect day?

Finishing this interview is a nice day. Now back to doing. If, the doing goes good today than it is a perfect day!