Project Update: Monica Orozco

A global powerhouse of self-portraiture, AF Fall 2016 alumna Monica Orozco took the course to help complete her latest series 'Mid-Century Crisis' which was commissioned by Ted Casablanca Gallery to exhibit during Palm Springs Modernism Week 2017. The series began as a sub-series of the larger deMonica conceptual character oeuvre. Each poppy, colorful photo is an intimate meeting with an emotion - from angst to heartbreak - often with a manically whimsical flourish. Bolstered by the consciousness revolution that is bubbling underneath the surface in our current political climate, Orozco's work speaks to the feminist in all of us. 

In her words, Monica sought out Art of Freelance because “I needed structure. Something to help me with setting deadlines and reaching my goals in order to get this project done. Being accountable. I also needed to get inspired and motivated by other artists.” 

Monica aka deMonica has shown her work across the globe in Berlin, London, Palm Springs, SF, NYC, LA,  and has been published in Interview and TimeOut among others. 

More info and the complete series can be seen here: http://demonicaphoto.com/mid-century-crisis/

Project Update: Paul-Michael Carr

During Art of Freelance Fall 2016, Paul-Michael Carr, LA-based Creative Producer and Preditor, wrote a feature length script, produced a look book, and compiled a pitch deck for Mad & Clay, a comedy in the flavor of Martin McDonagh (Seven Psychopaths, In Bruges) and Alexander Payne (The Descendants, Sideways) that tells the story about an oil boom town's minor league hockey team when that town goes bust.

Since completing the course, he’s shopped the project around New York and Los Angeles, with major forward motion on the creative side gaining input and notes resulting in positive changes to the script. Looking ahead to the second and third quarters of the year, Paul-Michael will start the process of shopping the project to potential investors to begin the process of securing the financials.

We can’t wait to see it on the big screen! See more of his work at http://www.nimblepiper.com/

Alumni Spotlight: Rick Proctor

Interview by writer and 2-time Art of Freelance alumna Hanne Steen  |  All photos by Rick Proctor
 

Rick Proctor is on a mission to challenge your assumptions. Like the stunning book of confronting photography he is currently working on titled How I Get High, which aims to dismantle stigma around marijuana use by shining a light on the vast diversity of its users, Rick himself defies stereotype. Tall and thick-shouldered, the first mental label I slapped on him when he opened the door to his suburban bungalow was some amalgamation of all-American bro dude. But once inside his artfully-decorated home, it became clear that once again the old adage not to judge a book by its cover was proving itself worthy. I hung out with him and his cat on a sunny Saturday in Culver City while Rick told me about his redneck roots in Georgia, his gay interracial relationship, his serious love of weed, and his new life as a freshly unemployed designer-turned-freelance-photographer. Slipping in and out of Southern drawl for self-deprecating effect, he told me about fighting the temptation to sleep till noon and watch Ellen and Oprah all day, and he told me about how when he finally took the plunge and quit his product marketing job six months ago to pursue merging two of his passions—pot and photography—Art of Freelance helped him transition from working for The Man to becoming the working man he wants to be.

 

What do you do and when did you know you could do it for a living?

I’m a photographer. I still don’t know that I can do it for a living. I have always loved cameras. I’m a buttons and gadgets and doo-dads kind of guy and I’ve been that since I was a kid— building my own computers, all the different geeky things you could possibly do, and cameras fell into that. As I grew up my job was in a designer role, so I never really did my photography for a living, but I quit my day job in October to do this. It’s hopefully going to be a book, hopefully a documentary series, hopefully a bunch of things, but at the moment it’s photos and interviews of recreational users, people that are going through really hard times like breast cancer and Krohn’s disease, to people that use it for anxiety or depression. I’m exploring all the different types of users, from the moms that have a joint instead of a glass of wine at night, to the people that smoke all day every day aggressively.

 

" There’s a bubble in LA of artists and creatives and freelancers and entertainment people and it turns into this self-aggrandizing talking about yourself, but we’re never talking about what we can do for ourselves and we’re never talking about what we could do for others in a positive way. "

 

 

How did you decide to take that leap and quit your job?

My partner is a writer-director-creative type, so being around him and all his friends who are artists and actors, I sat around in my boring day job and I was like, ‘This isn’t working for me.’ I’d been preparing for a couple years because I knew I wanted to do something different, but the day I got the mental fortitude to quit my job I got an email from the Art of Freelance people about the first session. I’m not a woo-woo guy but I was like, ‘The universe is trying to tell me something.’

 

What are the secondary jobs that are sustaining you?

It’s weed. (Laughs) I’ve been doing product photography and social media for a company that sells pre-rolled cannabis cigarettes and they’re going for a much higher-class market, but it’s been light and I’ve been living off my savings and buckling down for the last couple months. It also helps that I have a very loving, supportive boyfriend who helps out with some of our living expenses, but figuring out how to make money doing this is still a work-in-progress.

 

 

Describe your experience of doing Art of Freelance—highs and lows.

The highs were definitely the weekly check-ins and the accountability. If I went and took a photography class it would be all photographers, it wouldn’t be a writer and painter and a journalist. There wouldn’t be this community of people who have different lives but all have this goal of leading their own life. That’s what I was missing, this sense of control and this sense of manifesting my own destiny. Wow, I am sounding like Oprah.

There’s a bubble in LA of artists and creatives and freelancers and entertainment people and it turns into this self-aggrandizing talking about yourself, but we’re never talking about what we can do for ourselves and we’re never talking about what we could do for others in a positive way. I think what the community needs is to talk about ourselves not in this self-promotional way, but more: I need this for my life, I need to get this accomplished, this is my job, help me be accountable for my job. I think that’s the difference between the city of LA and the people I met in Art of Freelance. You have to talk about yourself, but trying to get your true self out versus I want to be famous, I want people to know my name, I want I want I want. It was more: This is what’s important to me and this is what I’m doing with my life. I hope you like it.

 

" That’s what I saw with the rest of the group—everybody had thought of this brilliant idea and nobody had thought about what to actually do with it. I think that’s what a lot of freelancers and artists suffer from—all these brilliant ideas. "

 

How long had you had the idea for this project and what did it feel like to move it from concept to reality?

I had been working on the photos for two years. The feeling of moving it into the physical version was a pride that I hadn’t felt before. I don’t know what it was about holding a book and having my photos on a wall and getting up in front of people and telling them about my experience—it was this happiness, this fulfillment that hadn’t happened in my previous work because I was always doing stuff that I didn’t really care about. It felt like this could be what I’m doing for the rest of my life. I wouldn’t have had that moment if it hadn’t been in that structure. I hadn’t done a lot of that pre-work, which in one way seemed so simple to me when I was filling out the [Art of Freelance] worksheets, but then halfway through I thought, Oh, but I haven’t done any of this. So I may be be calling it simple in my head but I didn’t do it, and I didn’t think about it, and I didn’t put all these pieces together and I didn’t come up with this cohesive way to talk about my project and what my goals were. That’s what I saw with the rest of the group—everybody had thought of this brilliant idea and nobody had thought about what to actually do with it. I think that’s what a lot of freelancers and artists suffer from—all these brilliant ideas. Which is why we’re great at jobs where people need creatives and they need ideas, but when we have the motivation to do it for ourselves it’s scary because this could be successful, or it could be that I make five thousand dollars next year and I’m saying, ‘Hey boyfriend, can you pay for everything?’ But the chances are greater than zero that this will turn out very positively for my life and that I will have a career that I enjoy and that I can believe in, and when I go to a party and somebody asks me what I do, I can say with confidence and a smile on my face, ‘I’m a photographer.’

 

How do you hold yourself accountable when it comes to your art?

" It’s a mind fuck because you have to spend money to make money when you have no
money. "

The side gig has definitely been helpful because their timelines require me to get up and do x, y and z. Being a creative and doing it for myself is a struggle because I’m the only one that’s hurt by it not happening. I took a seminar the other day and I walked away with a $13,000 shopping list. I was like, ‘Okay, I’ve got to figure out how to make that money.’ There’s some significant expenses between me and high paying jobs. It’s a mind fuck because you have to spend money to make money when you have no money. But that’s also made me consider things that I wouldn’t necessarily, like commercial photography or product photography, which I actually do enjoy—setting a stage, especially if it’s for cannabis brands, putting leaves out everywhere, that’s fun for me. I want to find a balance between doing my own thing and making money doing stuff that I still enjoy. The only way I was going to find that balance was leaving my day job that was easy and comfortable.

 

 

How do you celebrate success? Do you celebrate small wins along the way or do you wait until the final book is published?

I’m a gadget-head. Every time I set a goal and I do it, I get that next piece of equipment. I’m not spending the whole $13,000 but I’m getting one light here and one reflector there and one stand there. They’re little treats and it’s definitely motivation to keep going, and every time I do that it makes the next session better because I have the light that does x, y and z or I have the “snoot” or I have whatever I need that honestly I didn’t know existed before I quit my job six months ago.

 

What about other hobbies or outlets? How do you fill the well?

My brain is very active twenty-four hours a day so it’s nice to stop it for a second and just watch a nice sunset. Getting outside, getting into nature, hiking, driving where you can actually drive (so not in Los Angeles). When I get geeky I like coding or designing a logo for myself. I pretty much delete all of them because they don’t have any purpose, but playing with color, playing with shapes, working with the pre-roll company allows me to get some of that creativity out as well. I’ve always done creative work for other people. Getting to do it for myself is definitely a mind change. I did Art of Freelance to transition from working for somebody else. It wasn’t boring work, but it was for somebody else, so every couple of days or every couple of weeks I feel this need to go code something.

 

 

How much of a role does collaboration play in your process, not just in making the work but now in evolving the work to the next stage?

I’m a horrible collaborator. It’s something I’m trying to work on. I’ve always wanted to keep everything in and if I’m going to show anybody it’s going to be the packaged product, but this is such a big endeavor that I do have to share it in bits and pieces and get feedback. Being in a household with another creative is helpful because I can show what I shot that day, what I’m doing to the photos, and see if they feel it, if they don’t. Outside of that I kind of want the public at large to just consume what I’ve done. I don’t know if that’s because in my past life in design I thrived as a person of one—in product management and product marketing you have to be alone on an island, you have to make a lot of decisions, and that’s what I’ve known. It’s very weird to be moving into an artist space and trying to be more of a collaborator, but this is never going to be a bigger book, it’s never going to be a series, it’s never going to be a documentary if I don’t learn to collaborate with other people.

 

Do you make work for yourself or for other people?

I’ve always made work for other people and now I’m making work for myself. That’s a fundamental shift in the way your brain works. I feel so accountable to my consulting job, I treat that like it’s forty hours a week and paying me my full living wage when in reality they’re paying not a whole lot of my living wage and in all honesty don’t need the attention that I give them. And I give them that attention because it’s Somebody that I Work For, and it puts me back into that mindset that I had before I quit my day job. I think that’s my biggest hindrance to getting my work out and doing things for myself and having my own business. When you have the confidence to call yourself a professional artist, you have the confidence to say no to things that aren’t right for you. That’s what I’m learning, how to say no to things that aren’t right for me.

 

What did you learn about yourself in the process of doing Art of Freelance—good, bad, ugly?

That I’m a little bit more lazy than I would like to admit. That collaboration is necessary when you’re trying to be an artist or creative. And that I didn’t make a bad decision. I think that’s what I was looking for the most out of Art of Freelance. I kind of jumped out a window and while I’m still waiting for the parachute to open, I’m not at the ground yet. The day I got out of my job I thought that would be a faster descent. I think it’s given me a little confidence in myself, a little believing in myself, a little pride. If I can have something at the end of ten weeks, maybe ten weeks from now I can have a publisher, and maybe ten weeks from that I can have a deal and maybe ten weeks from that I can have… I’m very positive that something will come out of me going with the flow.

 

How did finishing this project change your career path or your view of it?

It definitely gave me more confidence that it could be a career path. It was as simple as going to a website and uploading photos and having the book arrive in the mail. It’s not like they’re printing thousands of these; I have two copies. But it made me believe there will be a full version of this, there will be a large book sitting at Urban Outfitters and Barnes and Noble and every indie shop and every dispensary in the world. There will be this book that is telling people’s stories and is trying to change an opinion about somebody, and that’s going to be my congratulations to myself. In the end if this can change one person’s opinion about the community of cannabis consumers, then I’ll feel accomplished.

 

What advice would your 80 year-old self give you now?

Give a fuck about less things. A lot less things. Do the things that scare you. From this point forward I have to live the life I want to live, not for somebody else. My eighty year-old self would say, ‘Why didn’t you do it ten years ago?’

You can see more of Rick Proctor's work on his website and Instagram.

You can see more of Hanne Steen's work on her website.

Alumni Spotlight: Heather D’Angelo & Kimi Lewis for Carta

Interview by writer and 2-time Art of Freelance alumna Hanne Steen

 

Heather D'Angelo (photo: Shahrzade Ehya)

Heather D'Angelo (photo: Shahrzade Ehya)

In her new endeavor Carta—a geographic and nostalgic journey through fragrance, Art of Freelance alumna Heather D’Angelo enlisted branding expert and designer (and Art of Freelance alumna) Kimi Lewis’ help to explore ways of merging scent, environmental awareness, storytelling and design. Heather’s talent to weave a narrative through scent—borne of her trifecta of passions for music, science, and perfume—and Kimi’s rigorous work ethic and strong aesthetic seem to support each other perfectly. Just as Carta’s signature fragrance macerates in a brown bottle in a dark room like a fine wine, the notes of each essential oil delicately supporting the other, both women’s strengths seem to lift the other up, each highlighting the other’s gifts and culminating in this unique, well-balanced collaboration. As Heather's first perfume prepares to launch on the wings of Kimi’s branding later this summer, we spoke about serendipity and self-sabotage, soil, space, and sushi. And of course, we spoke scent.

 

When you’re out in the world and someone asks you what you do, what do you say?

Kimi Lewis (photo: Sheewa Salehi)

Kimi Lewis (photo: Sheewa Salehi)

Heather: I am a perfumer. A budding perfumer, but I’ll take the title. Everyone has imposter syndrome but sometimes you have to just try on a title and eventually it fits.

Kimi: I’m a graphic designer. I have a small design studio and my focus is on branding and storytelling. I also am an illustrator, I create patterns for clothing companies, but my main focus is on brands. I partner with a copywriter [Dana Covit] and we’re about to start a studio together and offer both visual and written communication around a brand story.

 

When did it first occur to you that you could do what you’re doing and how did you get to that point?

Heather: People spend money on shoes or bags, I love to spend money on expensive perfumes. I have a background in environmental biology so I spent a lot of time in the lab. About three years ago I started buying essential oils and that can quickly become a complete obsession. I’m sure painters and other makers feel this—you start spending so much money on this hobby and then you’re like, ‘What am I doing with this? Am I going to make something? And if I make something am I going to sell it? Maybe this is just an expensive hobby, and I’m in no place in my life to take up an expensive hobby.’ After about a year of playing around with materials and getting to know them and making rudimentary perfumes and reading and looking at online tutorials and getting into the perfume community here, I was like, ‘I really love doing this and I really want this to be all that I do, and how can I make that happen?’ That’s the scariest part, when you’re like, ‘Shit, I want to do this all the time, now what?’

Kimi: I’ve always known I wanted to be an artist, but I didn’t know what type. When I was younger I was more of a fine artist and then I got into fashion design, and then I decided fashion was so wrong for me and I decided to major in illustration. I’ve always been obsessed with design and symbolism and language. When I graduated from college I worked at Disney as a textile artist, then I got picked up by MTV to work on their website so I went down the web design, product design path, then I worked at a pretty cool agency in San Francisco and that’s when I developed my process. I took what I liked from them and now I apply that to what I do today. I just love branding so much.

 

 

"That’s the scariest part, when you’re like, ‘Shit, I want to do this all the time, now what?"
- Heather

 

 

Heather’s lab desk in her San Francisco home, featuring an array of top notes in production.

Heather’s lab desk in her San Francisco home, featuring an array of top notes in production.

 


What are your other jobs and hobbies and how do they inform your primary creative work?

Kimi: I have a part time job working for the Noun Project and I’m in charge of marketing and brand strategy there. It’s such a great group of people and I love the mission that it stands for. Traveling is always a way for me to clear my mind and get reinspired or recalibrate. I’m really inspired by everything in Mexico—from the colors to the textiles to the painted typography of storefronts, the pottery, the landscape. Even though I change style depending on my client and who they’re trying to speak to, I really love that aesthetic and I try to inject it into my design work or my textiles whenever I can.

Heather: I’m the editor of a website about astronomy and space. My three passions are science, music, and perfuming. My day job fulfills my science need, whether it’s reading articles or editing submissions from scientists. My hobby is music, the professional part of which is dwindling down since I’m in San Francisco and my bandmates [Au Revoir Simone] are in Brooklyn. And perfuming I do every day, in micro tasks. The process your brain goes through when you’re editing or writing, plus the process of writing music, plus the process of perfume composition—all three of those kind of need each other.

 

Kimi, aren’t you into space too?

Kimi: I’ve always been really fascinated by space. I was in the first Art of Freelance Course last summer and for my project I created a collection of patterns inspired by space. I’m so used to having a client who has a deadline and expectations and is holding me accountable, so when I have the time to work on personal projects it’s really hard for me to feel motivated without a deadline and no client waiting for the work. I signed up [for Art of Freelance] to keep pushing my textile design, creating more patterns that I can have in my arsenal to present to different companies. It reminded me how much I love making patterns and it’s something that I want to continue to do.

 

"The process your brain goes through when you’re editing or writing, plus the process of writing music, plus the process of perfume composition—all three of those kind of need each other." - Heather

 

Tell me about Carta, the project you’re working on together?

Heather: Nothing smells more amazing than freshly sieved rainforest soil. I thought I would love to create a scent that recaptures my love of the rainforest and my experience of working there. In my research I found that a lot of essential oils are unsustainable—that’s why a lot of synthetics are used, because they’re more environmentally-friendly. I wanted to create a scent that featured an essential oil that was sourced sustainably. Totally serendipitously I came across a really small farm in Peru in the exact region where I was when I first ever in the rainforest and I felt this incredible calling like, ‘I have to go back. I have to go visit this farm right now.’ That was the turning point, booking the flight to Peru, to just say ‘I’m going to get this essential oil, and I’m going to make a perfume that features it.’

 
A wheelbarrow filled with branches pruned from the Moena Alcanforada tree, grown at Camino Verde, about to be pulverized for distillation.

A wheelbarrow filled with branches pruned from the Moena Alcanforada tree, grown at Camino Verde, about to be pulverized for distillation.

 

At what stage in this process did you do Art of Freelance and how was it for you?

Heather: When I got back from Peru [last July] I knew I wanted to tell this story but I had no idea how tell it, how to launch a brand, how to start a company. When I heard about Art of Freelance from a friend I thought maybe this would be good for me, to be with other people who are in the midst of this birthing process that is trying to create something—whether it’s a company, a novel, a screenplay, we have all the same questions, the same struggles. I needed that community and that accountability. That was the high—finding people who are going through what you’re going through, realizing that the ups and downs and times of nothingness and blankness, the times of hyper-creativity—all these things are normal and not a judgment on you or your creativity.

 

How did this collaboration come about?

Kimi: My boyfriend is best friends with her boyfriend. Heather and I were talking about design and she said, ‘I’d love for you to take a look at what I have currently and possibly work on a new fragrance that I’m working on and rebranding it, helping me with a strategy.’ So I met her with Dana and we discussed the project and all of us really clicked. I'm not sure if she was so incredibly organized because of At of Freelance, but when we first got together she had moodboards and so much to share about how she saw the brand looking. It really helped me understand the direction she had in mind and it made it really easy to collaborate. I've never worked with a more eloquent client who I felt honestly cared as much as she did about the story of the brand. Usually, people see the story as a secondary component to branding but it definitely needs to be the primary focus before any visuals can be created. We have a really similar aesthetic and point of view. We are the target demographic so that helps too.

Heather: Kimi totally gets it and enhances everything, which is what a good collaboration does—take something that you’ve made and make it better. She’s the right person, and it’s hard to articulate how you know. Maybe it’s a subconscious aesthetic resonance. Art of Freelance helped me go through the process of refining what this project is about so I could give it to someone else. You have to have a very strong idea of what something is before you can share it so that the integrity of it can stay true, but still be malleable to someone else’s ideas.

 

How important is collaboration versus working alone for you?

Kimi: I don’t love working alone. I find that when I do, I question myself more. I work more slowly because I can’t bounce ideas off my collaborators. I’m also inspired by the people I work with—I like when an idea comes from a conversation. For Carta I’m working with the copywriter, Dana Covit. She’s not only an incredible writer but she has an incredible eye and marketing strategy. We talk about design, we talk about the story, she’s even involved in the packaging design. It’s so important to me to have someone to bounce ideas off. Collaborating with the client is really important too, so at the end of a project they’re not seeing things for the first time and wondering why you made certain decisions.

Heather: The way I am about collaboration in music is really similar to how I am with this perfuming venture. Writing music or making perfume is very private. There has to be this moment of going inside and getting it out and that’s a very private moment. But when I have a rough draft of a song or rough draft of a song, a rough draft of a perfume, a rough draft of an idea for a company—I can only go so far by myself and then I need to collaborate. I need other people to help me get all the way to the end, and that’s been true of all my creative endeavors.

 

"That was the high—finding people who are going through what you’re going through, realizing that the ups and downs and times of nothingness and blankness, the times of hyper-creativity—all these things are normal and not a judgment on you or your creativity." - Heather

 

How do you move past self-doubting moments over the course of working on a project?

Kimi: Ugh, that’s a really good question, especially as a freelancer. You’re alone in a room often and you’re like, ‘Is this actually working?’ Whenever I first start something it’s ugly, I just hate it, and I think acknowledging that it sucks and remembering back to projects where I was doubting myself and when I kept pushing whatever I was working on, and in the end it just worked. I remember that process: it sucks in the beginning and you keep going, and then it works out.

Heather: For me it’s friends. Friends more than family—it’s harder for them, they want you to be safe. Families don’t like when you take risks. I was having a low moment and one of my best girlfriends who has seen me through all the crazy things I’ve done in my life wrote me this beautiful email. She was like, “When you said you were going to be a musician I was like, ‘What? She doesn’t play anything, she doesn’t sing, he’s going to be in a band?’ And when I saw your first performance it was horrible and I was embarrassed. And then you went on and wrote an album and toured the world and I was so proud of you, and I was wrong. And then you said you were going to be a scientist and you were going to go to Columbia, and I was like, ‘Scientist? That’s absurd, you can’t just decide to be a scientist. You’re not even good at math!’ But you did it, and I went to your graduation and I was proud of you. And now you say you’re going to be a perfumer, and I’m going to hold my tongue, because you can make it happen, you just need to believe in yourself and keep going with this spirit of adventuring and risk-taking.” All of it’s been risky, but what else are you going to do with your life?

 
Kimi Lewis’ workspace in her Los Angeles studio  (photo: Sheewa Salehi)

Kimi Lewis’ workspace in her Los Angeles studio  (photo: Sheewa Salehi)

 

"I remember that process: it sucks in the beginning and you keep going, and then it works out." - Kimi

 

When it comes to your creativity and your process how do you hold yourself accountable?

Heather: I’m a Virgo so I’m very organized. If you see my to-do list, everything is a micro-task that gets me even an inch closer to my goal. If you put something on a list like, ‘Write Chapter One Today,’ you’re not going to do that. But if you say, ‘Name the Characters of Chapter One,’ that’s reasonable. It’s such a small task that if you didn’t complete it you’re not going to be like, ‘Well, the whole book’s fucked now.’ A typical day will be like: ‘Call dad. Decant four bottles.’ And I’ll feel good about having gotten one inch closer to making a perfume.

Kimi: Being really good at managing my tasks, and making sure I’m doing something I love, because I will go crazy if I can’t do a yoga class or walk around my neighborhood. Even if a client is like, ‘Can you talk at this time?’ and I have scheduled a yoga class or me time, I can’t break it or I will lose it.

 

How do you celebrate success? Do you celebrate small wins along the way?

Heather: God, I’m really bad at that. Nothing ever feels like success. No matter what I’ve achieved in my life, someone has to be like, ‘We need to stop and celebrate this.’ I’m like, ‘What’s the next thing? Need to keep working!’ It’s demented. I’m glad I have friends that can pull me out of that.

Kimi: Eating sushi? I feel really good when a project is done. I have Asana and it feels really good to check stuff off or cross things off. Accomplishing tasks is a really good feeling for me. But yeah, sushi.

 

"If you put something on a list like, ‘Write Chapter One Today,’ you’re not going to do that. But if you say, ‘Name the Characters of Chapter One,’ that’s reasonable." - Heather

 

What advice would your eighty year old self give you?

Heather: Hopefully my eighty year-old self isn’t destitute from so much risk-taking and not saving money and buying a house and having a normal job. But I’ve never met an artist that prepares for the future particularly well, I think most are very much living in the present. That’s probably not the wisest way to live, but I don’t know if we as a tribe know any other way. Hopefully it’ll work out for all of us. Fingers crossed!

Kimi: My eighty year-old self would say, ‘Chill out. Relax. Everything always works out.’

 

You can see more of Kimi's work on her website.
Her work for Carta launches at the end of this summer.
You can read more about Carta here.

You can see more of Hanne Steen's work on her website.

Project Update: Conor Simpson

During AF Fall 2016, Conor Simpson - Filmmaker at Of The Notion - conceptualized and developed JUX LUCID: a live dance performance and video installation project, and completed filming of the project’s first phantom camera & choreography test.

conor_simpson.jpg

The film Conor made during AF Fall 2016 premiered on the big screen as part of a sold-out film screening at the Vintage Theatre in Los Feliz. Asked to present the concept to the FORM festival at Arcosanti, he’ll be combining elements of the Jux event with other creatives to install a version of the performance at next year’s event that addresses climate change and our role in how we shape and affect our environments. The first Jux Lucid LIVE event will premiere this summer in LA and NYC.

Project Update: Craig "Tiger" Smith

A man of many ideas, Craig “Tiger” Smith had one in particular that was haunting him: to create a left-handed card deck.

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During Art of Freelance Fall 2016 he named, designed and branded The Sinister Deck. He also worked with an artist to create illustrations of famous lefties for each of the cards (like Kermit the Frog and David Bowie), launched a website and planned a Kickstarter campaign for it. Since the course ended, he launched the The Sinister Deck on Kickstarter which funded fully the first week (he’s made more than double his goal so far).

In his own words, Art of Freelance “helped me form a mental foundation of how to work on side projects.  And also reinforced the idea that accountability is key.”