“I am very much a product of Los Angeles, a city that exists in a time vacuum that encompasses the future, past, and present in one place.”
The reality my images portray is slightly skewed from average. Visually my work owes a great deal to the Technicolor cinema of the 30s–60s, with the greatest debt being to the tricolor process employed by artists such as Cecil Beaton and Madame Yevonde. Predicated by the common visual language that years of film viewing has instilled in us, the viewers, my work can feel both familiar and utterly new.
When creating an homage—such as Technicolor Mucha—I am obsessed with details, trying to create ...