Local Art Residency: Q+A with artist Natalya Khorover

Natalya, what a treat to share your work here at Local! I don’t think we’ve shared anything quite like it. Tell us a bit how you arrived at this format.

It’s a long story, but I’m happy to summarize it - I was a kid in the Soviet Union, which meant I had thrifty upbringing. That was the only way to be. It was only natural that the thriftiness eventually found a way into my art. I enjoy the challenge of creating with the materials on hand, of making do.

Of all the work we’ve had at the shop, this seems to rank up there with level of physical challenge to create each work. How difficult is it?

Not difficult, just time consuming. Or slow, deliberate and meditative.

The vertigo series has captured my interest in a major way. It sort of reminds me of those beautifully crafted Marvel comics with no detail left out - but you create it with a sewing needle! Tell us about the genesis of this series.

That is the first time someone has related my work to Marvel! I am honored. I am one of those New Yorkers who drives, and back before covid, experienced plenty of traffic. Imagine sitting in your car in standstill traffic, caught under the BQE overpass or on the lower level of the GWB or the Queensborough bridge. If you’re me, instead of leaning on the horn, I look up and notice the large trusses, the interlacing beams, the rusty patches, the graffiti tags. That is where this series started.

The graffiti series offers this juxtaposition of small and fun but there’s a lot of them. Where/ How did you start and where did you end with this series?

I’ve had a fascination with graffiti since high school. I went HS of Art and Design on 57th street and had a lot of budding graffiti artists in my classes. This is my take on graffiti, again playing with the make do and use what you have strategy. Letters cut off from plastic packaging and rearranged with lots of stitching. Not sure if I’m done yet, still plenty of words I need to stitch.

Given this current existence and challenges with plastic - how does this material play in your messaging?

Plastic pollution is one of the largest contributors to the climate crisis. With my work I hope to keep at least a small portion of it out of our oceans and alert people to the problem at hand and hopefully inspire some to act on it.

Growing up in Soho/NYC - I was blessed with some of the best local galleries on the world. I can’t help but think this work needs a bigger stage. What’s next for you and this truly unique craft?

I am still looking for that NYC gallery for my work. Know anyone? Meanwhile I am happy to have an opportunity to exhibit my work, I look for opportunities to create site specific installations in public places and I teach my techniques virtually at the moment and hopefully in person in the near future again.

Thank you so much! Anything else you’d like to add?

Thank you for opening up your beautiful space to artists

Visit Natalya’s website here

Darin Wacs is Back with 'More Cute'

Created specifically with Local's magnet wall in mind, this series of plasma cut, autobody-painted, metal sculptures are analogous to magnets on a refrigerator door – well, a giant refrigerator.

Working directly on and with the metal, from drawing and outlining each playful shape, then plasma-cutting each figure, the forms produce their unique characteristics, accentuated by the perfectly smooth enamel paint colliding against the jagged and rough plasma cut edges.

Asked about the project's name, Darin replied, "The name of this project comes from a conversation I had with a friend who was a designer at Sanrio. One day her boss looked at her work and replied MORE CUTE!  And, who doesn't want 'more cute'?"

 This is Darin's second site-specific project for Local.

See Darin’s first Local installation from 2017 here

| darinwacs.com | instagram @wacswork | twitter @darinwacs |

A Local Collab - Local X Kayla: 36

This installation is the product of imagination and inspiration and answering a simple question, ‘What if...?’

A collaboration from the mind of one of Montclair’s most creative and talented and your favorite coffee shop – we took to imagine what creative ventures could be developed in a shop where customers could temporarily (because of environmental factors) not join each other to sit and enjoy their coffee. ‘What if’ we utilized these chairs for another purpose?

Well, these chairs are now part of the installation ‘36’

This installation features a unique bespoke image on each of  the 36 chair legs, each design inspired and tied to that respective number – 1 through 36.

Find below each number, applied to each chair leg, and the design that it inspired:

1.

Correlation coefficients. Used to measure the strength of relationship between two variables. A CC of 1 indicates a strong positive relationship, as shown through a line with data points which would be measured as having a CC near 1.

2.

Abstract depiction of a binary star, a stellar system which has two stars circling around a center of mass.

3.

First triangular number (number that can form a triangle). Shown through a triangular pattern.

4.

Sticker shows the common 2D depiction of the four dimensions.

5.

The number 5 in Persian looks similar to an upside down heart. This is distorted to form a pattern.

6.

Number six can be formed by the sum of its factors (1+2+3). Shown through fractions.

7.

The seven wavelengths of light.

8.

The eight planets and the route of every satellite/spacecraft which we have used to explore.

9.

Cats have nine lives!

10.

The smallest number where its status of what is called a ‘friendly number’ is unknown. A friendly number (represented by a smiley face) is ‘Two or more natural numbers with a common abundancy index, the ratio between the sum of divisors of a number and the number itself. Two numbers with the same "abundancy" form a friendly pair’

11.

The number for the Jack card, and the fourth Sophie Germain prime (a SG prime is when the number p AND 2p + 1 are both primes) . Germain is depicted as a jack.

12.

The twelve lunar cycles.

13.

Depiction of a bell number as a flower. An ordered bell number is the number of weak orderings on a set of elements- not that I know what that means.

14.

There are 14 Bravais Lattices, which are depicted. A Bravais lattice is “infinite array of discrete points generated by a set of discrete translation operations described in three-dimensional space”.

15.

The second hexagonal number. Has 15 points.

16.

A base to the power is the same as the power to the base: 2^4 = 4^2 = 16.

17.

Total number of Brodmann areas, which has to do with the senses.

18.

The number 18 in Morse code.

19.

Centered hexagonal number repetition.

20.

Twenty circles of lunations in the Metonic cycle.

21.

Carly Rae Jepsen’s birthday is November 21st, 1985. We ❤️ Carly Rae. Call Me Maybe?

22.

Maximum number of sections created when you cut a circle with six lines (Lazy Caterer’s Sequence)

23.

Birthday Party Probability- number of people where there is a 50% chance two people share a birthday.

24.

Kissing number (greatest number of non-overlapping unit spheres that can be arranged to touch a common unit sphere), in fourth dimensional space.

25.

Octagonal number.

26.

Shows sporadic groups, which is one of twenty-six groups in classification of finite simple groups.

27.

27% of the universe is dark matter.

28.

There are 28 convex uniform honeycombs.

29.

Number of days in February during a leap year.

30.

Forms a square pyramidal.

31.

Messier object M31 is the Andromeda Galaxy.

32.

Freezing temperature of water in Fahrenheit.

33.

ASCII code for exclamation point.

34.

M36 is the constellation Perseus, famous for killing Medusa.

35.

Number of combinations of six squares.

36.

The number of degrees of each angle in a pentagram, and the ASCII code for $.

About the artist

Kayla Weaver is a senior at Montclair High School and a person with many passions and pursuits. Her top three may just be art, science and coffee.

Somehow, all three of these passions came together in one very interesting and inspiring project, hatched in collaboration with Local.

Local Art Residency: Q+A with Street Photographer Scot Surbeck

Scot, it's fun to think that this is your second exhibition at Local. You're still taking photos and we're still serving the community. How has your passion for your art evolved since we first displayed your work back in early 2019?

My passion is constant. It’s been there from the first time I pressed a camera shutter, many years ago. What is evolving is my emotional growth. Also the ability to see something photographable, compose the picture, and click the shutter, usually within 1 to 2 seconds.

It's challenging to have this Q+A without mentioning the current state of affairs in the world. As the person behind the lens capturing this environment as it unfolds, what significant trends are you able to highlight?

New York City is recovering, as I discuss in my artists statement. What’s trending is the awareness that this pandemic can be defeated only when we, and our governments, study history and respect science.

This past question leads us to the current state of our beloved NYC. At 50 years old myself, I've lived through quite a bit in the city and always felt that some mix of pure grit and spiritual vibes would enable the greatest city in the world to persist through difficult times. Please share your POV on how NYC will continue to persevere through challenging times as you review thousands of images over the past 5 years.

New York City has always been a potent and unique mixture of enlightenment, brilliance, awareness, toleration, humor and strength. I go to the city, day after day, to be recharged by that energy. Taking street photos is a wonderful plus. My photos confirm what I already know. New York City has an indomitable time tested spirit. It will defeat the pandemic and beat back the foes of democracy, and in the process solidify it’s position as a beacon of civilization for the world.

You mentioned in our last Q+A the desire to 'get better' (sic) at Street Photography. Would you be able to compare more recent photos to your initial from a technical perspective?

In my previous show, I used 26 large format pictures,  (20) - 13"x19' and  (6) - 20"x30". Set in two grids, they were easily seen from a distance. 

In this show I've used 108 pictures, all 5"x7", set in one grid. Though the overall grid of pictures has a strong visual presence, you have to get close to see the details. There is also a much stronger sequencing effect here, with paired photos selected for their shared emotions, actions, colors, shapes, etc. This technique, along with the smaller photo size, creates a slower and more intimate viewing experience than the large format pictures. It is a presentation technique I will continue to explore.

A client asked me yesterday, how does the photographer capture these images without intruding on or modifying the moment? From a purely technical perspective, what insight(s) or recommendations on Street Photography can you share for our fellow Photophiles out there?

You have to learn how to blend into the scene, to move in a way that doesn’t draw attention to yourself. It’s very difficult to do. It’s takes years to learn and master.

Mindful of current environment, Scot was thoughtful to recreate the exhibition here for online viewing

Local Art Residency: Q+A with artist Meaghan Bates

Thank you for being a part of the Local community from our early beginnings four years ago! It brings us joy to be able to share your work, especially now as our country and world at large is going through some painful times. That said, you used just these conditions to develop this installation. Please tell us about the work and what was the moment you knew you needed to start developing it.

I was invited by a dear friend into a small artist's group that was made to keep us productive  and provide artistic support during quarantine. That really shifted everything for me. It made me start using all the time in the house in a productive way. It kept me off facebook and away from the news. It gave me a way to start processing the fear and sadness into something creative. I want to share the hope that I found in my studio. I funneled the alternating fear and joy into these pieces. As the Black Lives Matter movement finally took off, I started on the large pieces. I began to think about my struggles with identity as a biracial person and have some healthy perspective on many of the things I've experienced. I spent a lot of time thinking about Black Joy and Black Sorrow and how they exist in the same space. 

 We installed the work last night and this morning at a very early hour with the sun just coming up, I found myself staring at the contrasting imagery and was moved. How were you able to pour yourself into these and capture so much emotion?

Time. That was one of the gifts of quarantine- time. My days were reduced and clarified and it gave me a lot of mental space. I practice yoga almost every day, and now that it's all virtual, I was practicing in my art studio. So I'd spend my time in my poses staring at these pieces and really trying to assess their validity. If they can hold my interest through a really tough pose, I know they're going in the right direction!

You mentioned that cutting up the work and reassembling was a major transition for your work. Can you speak to this a bit?

Yes, this is new to my work since quarantine. I think seeing the world fall apart gave me permission to take my work and just cut them; do something that seems violent to them. But I did it with the goal of rebuilding new pieces from the cut-ups, much like what we've gone through over the past months: we watched things fall apart and we are putting it back together in a new way.  I came to my own understanding about what was at stake in our world. The work had to reflect the intensity of what was happening or it wouldn't hold up against the new reality.

 We continue the Artist Residency at Local, even in these difficult times - as we understand how art is a critical element in helping to understand and heal our communities. What do you hope could be an outcome of displaying this work?

I hope that people will be able to see that this difficult time is also full of beauty. The fear and sadness and uncertainty can go hand-in hand with moments of joy and tenderness and compassion.

What has living in Montclair meant for your work? 

Living here has allowed me to let go of the pressure of living in the city. It's incredibly expensive to have a studio in the city and I found myself working so much to pay for a studio that I could barely use it! Montclair has given me a lot more space, both physically in the studio and mentally to create with less pressure.

 What is your favorite coffee or tea beverage?

Matcha Latte or a Breve Cortado

Learn more about Meaghan here

Local Art Residency: Interview with Professional Photographer Donna Dotan

I’m so grateful for being able to share your work here at Local. It’s like nothing we’ve been lucky enough to display.

What were your thoughts in deciding to post in these confusing times? 

First of all, I am so grateful for the opportunity to post this series at my favorite coffee shop! So thank you! I think now is actually a great time to have this work on display. Life is going at a slower pace for many people, so I think art will be more appreciated now than when you're trying to get your coffee as fast as possible to catch the train! 

You are by far one of the nicest people I have met since moving here to Montclair. Where does that come from? 

I'm always nice to the person giving me caffeine and baked goods!

In our conversation, I was reminded how important it is to continue to support the arts. Musicians, actors, painters, illustrators, photographers...all still need to express themselves through their craft and encourage us to challenge what we know and believe. How have you used this time to continue your artistic journey? 

I wasn't working at all during the first few months of quarantine, which was a very drastic change for me because I went from shooting 3 times a week and running a creative agency with my husband and business partner, Brian, to being a full time momma of my two boys - Liam who is 5 and Jesse who is 19 months. 

In retrospect, I think stepping away from work as an artist is incredibly valuable. It allows you to step back, recalibrate and come back with a fresh perspective and renewed energy. I recently went back to shooting and it was amazing how differently it felt to absorb the space and create compositions that I might not have considered before. I hope all artists can use this time to look at their passion from an internal view, and then activate your work based on what you see.

Tell us specifically about this exhibit. What prompted the approach? Given its POV, what challenges were there in capturing this landscape?

This series is called Reflections from Above because the shots are all taken from the tops of glass skyscrapers in Manhattan. I "found" one of these reflections while on a shoot with Brian and from then on we were on a hunt to find more mind blowing reflections! 

In order to achieve the symmetry we wanted, the camera had to be pointed straight down and the shot had to be taken hand-held (without a tripod). This required wrapping the camera strap several times around the wrist, setting a manual focus on the view, and then holding our breath so the camera wouldn't shake! We did all of these at the "golden hour", which is about 15 minutes after sunset, and we only have about a 10-minute window to capture the perfect light and color saturation. We hope to continue to find more of these views and keep the series going, which currently has about 10 images. 

I like to think each new pass at something provides some level of learning or perhaps even personal growth. What did you learn in capturing these images?

We started doing this series at a time when all of our work was commissioned. This series reminds us that some of the best times we have as artists are the times when we are shooting for fun! 

I also think these images say a lot about who I am as an artist. I absolutely LOVE color, and I love enhancing color in photoshop. I love shooting at twilight. I love the rush of shooting from the rooftop of a 90 story glass tower. And I love being the only judge of my work. 

Brian says "It gave me a new perspective on New York City. Most of the time I'm walking around and I'm looking up, but rarely would I take the time to find a new way to see my everyday surroundings. This made me remember what I love about New York City, that it is constantly changing, evolving, renewing, and pushing the boundaries of what is fresh and exciting. 

I look at these photos and can’t help but think about jumping from some spectacular height (hopefully sticking the James Bond landing). What do you think now after seeing them up?

I think I want them to be BIGGER! I had one client print one on plexiglass at 45"x65" and it looked spectacular. 

What projects are you working on moving forward? 

I'm shooting a lot of new developments right now as well as luxury real estate. As far as personal projects, I have plans to capture people in their homes during the Covid-19 era. If anyone's interested in having me capture them and their families at home, they can e-mail me at donna@donnadotan.com. 

What is your favorite coffee or tea beverage?

Brian drinks iced coffee all year round! I recently gave up caffeine unfortunately (but I promise to still be nice!) 

Learn more about Donna and her beautiful view of our world here

Local Art Residency: Q+A with Photographer Leslie Granda-Hill

Thank you for sharing your impactful imagery here with us at Local. The feedback has been overwhelming. Tell us what India means to you that sparked your desire to visit on several occasions and capture daily life in the second most populated country in the world?

Thank you for exhibiting my images in such a wonderful space! I appreciate the chance to show work in my community.

I’ve always loved going to diverse places and photographing the story of the human condition.  Experiencing places that are so different from how I live here in New Jersey is something I have a passion for. Seeing other people’s photographs of the colorful imagery in India was inspirational for me. I just had to go! I’ve felt this way about taking pictures in many areas of the world- Africa, Cambodia, Mexico, to name a few. India stands out for me. The combination of light and color along with the spirit of the people has me hooked.  I can’t wait to go back.

I investigated some interesting facts about India and was surprised to learn that it is the only country never to have invaded another land. What did you learn about the people that can validate this statistic?

The people seem to be more respectful about the human condition than other cultures I’ve visited.  I know the country has many problems. The existing class structure creates vast inequities amongst themselves.  This can be so conducive for upheaval. I was there in 2016 when there was a huge financial crisis. The currency was changed overnight and the entire county was greatly affected. Fortunately I had credit cards to use, but many of the people in the villages never had a bank account and were in a difficult situation. The people of India have a respect for their neighbor and have a strong family bond. Generations of families live together. They live their lives on the streets creating a strong sense of community. I hope this doesn’t change. The internet makes our world smaller but the only way to truly understand other cultures is to experience it in person.

Have you developed any relationships in the country? How has these relationships created a new thread of thinking about life? 

I have worked with a local guide while traveling and that is an invaluable resource for learning to navigate a wildly different culture. Together we are able to navigate congested cities and go to remote villages that would otherwise be unlikely. I am respectful of the fact that I am a foreigner from the other side of the world, yet I found the people to be welcoming and warmly curious about me. Relationships with the subjects of my pictures is quite important to me.  I’ve photographed a family in Mexico for ten years.  I’ve documented the children growing from toddlers into young adults.  It’s similar to watching your own children grow up. Developing ongoing relationships with the people I’ve met has been essential for me. I’ve become aware of other thoughts and beliefs in a way not possible if not for seeing how other people live their lives. Feeling their kindness, happiness and struggles firsthand is very rewarding. Whenever possible I send photos back to people that may never have prints of themselves.

What do you hope to accomplish, if anything, by sharing these images?

Accomplishments from an exhibit is a very tenuous thing.  It’s nice to receive recognition, yet somehow it is dwarfed by the internal satisfaction from completing a theme I’ve worked on.  The people who speak to me about my images helps validate my own thoughts, and also becomes an ongoing source of new perspectives and inspiration about my own work.  I really love when other people look at my images and see them differently than what I see.  Good photography is never one dimensional, and talking with other people about my photographs is an important part of the evolutionary process. I hope the viewer learns something and more importantly, feels something about images.

How did you get started in photography?

I have loved capturing images as long as I can remember.  I think it was my way to become involved.  Growing up in a small town, my exposure to the world scene was pictures and television.  TV felt to fleeting for me.  Photography has a permanence that provides deeper meaning for me.  I started to take workshops to better refine my understanding of the tools for self-expression.  I took courses at ICP, the various workshops, and attended many lectures from the masters. All of these things have helped me find my own way. And of course, there is nothing more important than taking a lot of pictures. I have worked on several projects that have enriched my life immeasurably- my “Coming Home” series about wounded veterans from many wars, in particular, was life changing. I learned so much about a big part of our society and was able to photograph some true heroes.

Photography is a quite a journey. What has your practice taught you over time?

Photography has taught me so many things.  From an aesthetic perspective, photography is a medium for self-expression. My love for the documentary genre has made me better understand the cultures around the world. My world has become both bigger and smaller simultaneously. We are all so different, and all so much the same.  Each culture has its own unique blend of special qualities and also the problems. Understanding how each culture works out continuing strife has given me a bittersweet understanding of my own environment.  Getting to know individuals from vastly different backgrounds, I can embrace the spirit that unites us all.

What's next for you in this space?

I will continue to return to India and continue to photograph different locations.  I’d like to document both the similarities and differences within the national culture.  I expect the conditions in each region will define the differences- the sea towns will differ from the interior areas- so a sequel will certainly be a possibility. But I am also considering presenting my images from Cuba. That is similarly a country with rich visual interest as well as welcoming people.

What is your favorite coffee or tea beverage?

I like English Breakfast Tea

Learn more about Leslie here

Local Art Residency - Q+A with Wanderlust Photographer Peter Yacobellis

Thanks so much for sharing your work @ Local! Initial response has been overwhelmingly positive. Tell us about these images, how and when did you decide to start chronicling your trips abroad.

Thank you for giving me the platform to share the work. You do the community a great service by giving back and offering artists like me these opportunities.

I've always chronicled my trips but have leveraged different mediums to do so. I used to love to write in journals and then with the advent of social media it became easier to both catalog and chronicle my life in varied ways. In terms of photography, I first discovered my passion for architecture when I was standing outside of the Louvre in Paris, admiring the perfect symmetry of the corridor of archways that run along the courtyard. I knew then that I had a passion for symmetry, diversity of textures and light, playing together. Later in life as I educated myself more on the plight of animals and the natural world in general, I decided to experiment with wildlife photography. What you see in Local today is actually my first attempt at it.

Photography is a passion project for you, yes? At what point in your life did you take that next step to learn more about the discipline so that you would be able to articulate the journey?

Yes it is. I actually took a photography course in college, back when we had to develop our own film and I remember the professor telling me that there were two things that she observed had come naturally for me: composition and use of light. From there it's been a journey that has paralleled the development of technology from digital point-and-shoot to eventually digital SLR cameras and even the iPhone with it's incredible capability. About 6 years ago my fiance gave me my first true digital SLR camera and encouraged me to take some more courses, which I did. I'm so appreciative that he helped resurface this passion of mine.

Lot's of animal photos which are remarkable in that there are some really visually stunning images. What did you aim to capture in these photos?

I hoped to capture their spirit, in a moment. In my online shop I tend to refer to a lot of these portraits as "Faces of God". And to the extent I believe that god and Mother Nature are one in the same, their faces are the faces of god to me. Personally, I'm an empath. I feel strong connection to animals. It's palpable for me. So when many of them seemingly posed for me, I took the shots in hopes of capturing the moment when I felt they were letting me see their souls. I feel a great deal of frustration at our disconnectedness with nature. I don't think people realize how quickly habitat is disappearing and how truly endangered so many of these beautiful creatures are. I think they're a big part of what makes this earth remarkable and it's our loss to not know them and protect them, as fellow life forms.

What type of camera(s) are in your arsenal?

I shoot with a Nikon 7500. It was important for me to be able to capture photos in very high resolution because I knew that I would want to see these photos enlarged and with the fine detail reflected. I think too often we look at photos on small screens which doesn't allow us the same kind of captivation that I think a physical image does, at scale. To the question just before this, notably with the animal shots, my hope was that I could show these shots in an imposing way.

How, why and when do you decide on specific destinations?

I've always been an explorer. As a kid, I wished I could go to space. And then I actually signed up for the Air Force (later discharged under "Don't Ask, Don't Tell") because I wanted to experience and gain perspective in a way a lot of people aren't able to. When those things didn't pan out for me the next best was exploring our own world and going to places off the beaten path while still admiring many of the places that are on those paths for a reason. These days I look for those dream locations, which for me have: history, beautiful architecture, unique geology and wildlife.

You mentioned the Game Of Thrones photograph and I had to embarrassingly mention that I didn't watch the series. What stood out to you in visiting the location vs. what you viewed in the show?

Well, firstly -- you're not alone. Not everyone is a fan of my second favorite TV show of all time. Ha! Well, what I loved was how much of the actual places they used to film the show exist in reality. You can be there and walk the streets and feel it. Sure, the actual city is about 25% the scale of what's portrayed in the show. And there are no castles reaching to the sky or dragons to burn them down. But the beauty is consistent and in some ways so is it's history. Something I found shocking was that as recently as the 1990s this city was nearly leveled by war. That made me sad and angry and was some of the inspiration for me to decide to donate proceeds from the sale of these images to UNESCO's World Heritage Sites program. But seriously, you have to watch the show.

Is there a destination that you have been wanting to visit that you have already made some plans in your mind for what to capture?

The top of my list is Antarctica, and especially an expedition to see the Emperor Penguin colonies which aren't reachable by many of the major charter companies. That's my unfulfilled dream. But there are also some really significant countries where I would like to spend some time; notably Japan and India. I think my portfolio, and in fact my heart, also crave exploring the Middle East and capturing some of the amazing culture, stunning architecture and unique wildlife. There's a lot to be told -- and I'd argue desperately needs to be told, about that part of the world. And if I can contribute in some way, I'd love to. 

What is your favorite coffee or tea beverage?

An oat or soy milk latte with cinnamon, turmeric and a bit of cayenne .

More about Peter here

Local Talk Series: Q+A with Mobile Photographer Marian Rubin

Marian, we're thrilled to have met you and if that wasn't enough - we have your work up at Local! The work is SO good. So much depth and emotion in every single image and frame. 

Tell us how you got started and what is it that allows you to get so much context in your images.

Hi Robert, I am delighted to meet you too and so pleased to be hanging in your shop.  ;)

I have been walking around with a camera since age 9, when my Dad gave me my first camera. I took pictures of my family, my friends, my classmates, boyfriends, and everything else along the way. I have always had a passion for photography and a fascination with humanity. It was only recently that I understood that that is just who I am. Photography has been the backdrop of my entire life, although not my career. I had a 40 year career as a social worker so you see the connection. I think I was always a social worker too. I am an inveterate observer, i.e: voyeur. I guess that’s my context. I call myself a social worker with a camera. The camera is my voice.

You now shoot with an iPhone which is further proof for me photography is about being in the moment and having the ability to capture it. What differences have you noted in your approach with this device?

The iPhone changed everything about my photography, my perspective and my life. The major difference in my approach is that I shoot like a maniac. I shoot every single day. I shoot through the windshield of my car. No need to load film, no lenses and other equipment to schlep along; no worries about costs of film or developing, the ability to post process and share in the palm of my hand; the amazing apps available for editing my images, the availability of my device at all times (you noticed that I wear my phone, right?), and best of all, ideal for street photography and portraiture, (my favorite genres) where I can shoot and move on, with the shutter in silent mode, and no one is any the wiser. Plus, when I am noticed, people don’t take me seriously because, after all, it’s only a phone, not a real camera and everyone has a phone, right?

One of the things I immediately noted and loved was that you take the work seriously, but not yourself - which is one of my favorite personal attributes. How do you see yourself in this world where image has arguably never been so elevated in our consciousness?

This is a tough question. I have never been big on self-esteem and am fully aware of the multitudes of artists that are further advanced than I. If you look at the work of many of the other iPhoneographers you will see so much work that is simply stunning and far more sophisticated than mine. I try to judge my work by where I am and not against others. I keep trying to improve my skills but I also have a dedication to aesthetics and integrity. I am fully aware of how much I don’t know. I do enter gallery calls for art and am always kind of amazed and humbled when my work is accepted, so I know, somewhat objectively, that my works meets some kind of standard. (I also get rejections.)

Photography is a journey for the viewer and photographer. What has been your most compelling discovery since starting the process?

I think I am always amazed when people praise my work or my work is accepted into a prestigious gallery exhibition. It took a lot, initially, for me to submit my work for any review as I was so sure  it would be found “not good enough”. This has been a refrain for me throughout my life; this issue of being “not good enough”. For whom? By whom? I try hard to steer clear of that concept and I think I am my worst critic. 

As far as the viewer, I am constantly surprised by the comments that people make about my work, about how they see it and how it resonates with them. Sometimes their comments are not in alignment with my own concepts or mood. I love that!

If possible, can you identify one photo that you have taken but keep coming back to it for further introspection?

Maybe not one photo, but my images of Danny, a homeless young man, are possibly the most meaningful to me, and force me to keep asking why he is unable to make any change and why he effects me so. He touches my soul and sometimes in talking to him, I get teary-eyed. He means a great deal to me. I would like to do a book about him.

You live here in Montclair and I have heard you mention your love for the area. What is it about this town that further fuels your passion?

I worked in Montclair when I was just out of college. I had a job here that I loved and grew very fond of this town. Perhaps it was the cultural environment, the integrated ethnicities, the upbeat and forward thinking environment. I always thought that Montclair was the most urban of the suburbs and the most sophisticated, with so many artists, musicians, theater and TV people, living here. I married and raised my children in Livingston but after my divorce, I came right back to Montclair. I felt that it was the right fit for a single woman, with access to so many cultural activities, as well as the proximity to NYC. I felt that it was the only suburb that didn’t fold up the sidewalks at night, which is very funny, since I rarely go out at night.

What is your favorite coffee or tea beverage? 

I am a serious coffee person. I mostly drink my coffee black although I also love cappuccino. I love iced coffee, sometimes with a scoop of ice-cream, and cold brew. Coffee and dark chocolate are my life’s blood.

www.marianrubin.com

Local Talk Series: Q+A with NJ Monthly Deputy and Dining Editor Eric Levin

Eric, we met a year ago while sitting on a panel at Montclair Design Week. How time flies! What have you been up to this past year?

I had the privilege of putting on a large solo show of my work in Jersey City. It was up from early July to the end of October. We had a great turnout at the reception, and many others came by during the run. My best friend and roommate from college, a professional photojournalist, even flew over from London. That was an honor, and we had a ton of fun. He said he wanted a great cheeseburger, and I found him one. I won’t say where, because, in my job, I don’t want to offend anybody or give anyone something to crow about unless it’s a finished piece of work in the magazine.

You are Deputy Editor/Dining Editor of New Jersey Monthly. How has this relationship with the Garden State influenced your photography work?

I am often on the road. I try to get all around the state during the course of the year. Wherever I go, my antennae are always out, looking for things in the ordinary, everyday world that stop me in my tracks. They stop me because they don’t seem ordinary to me at all. I often say that things that seem inanimate to others don’t seem inanimate to me.

You have self-published several books of your photography. How did you arrive at the point when you knew you were ready to publicly share your photography story?

When I discovered how good the blurb.com interface was, and that the paper and printing quality were quite good, I was off and running. I have a large body of work—in digital, going back to 2002, and on film going back to the ‘70s and ‘80s on Kodachrome.

At what age did you begin your craft and what was the initial driver for you to consider photography as a path?

I began by taking a course in black-and-white photography as a freshman at Boston University in the fall of 1967. Yes, I am that old. I learned by using a hand-held light meter and adjusting shutter speeds and apertures manually. A great grounding. I also learned to develop black-and-white film and to print in a darkroom, often staying up all night blasting the Beatles and Clapton and Coltrane. I still have the passion, for music and photography, but my heart has always been with color. As for stamina…I gave up all-nighters some time ago.

Of the current collection of images @ Local, which one brings you back for re-interpretation?

I’m not sure what you mean by that. All the pictures at Local are ones I feel good about, but they all represent a distinct moment in time and space, and if I came across those same things again, I would probably walk right by them if the light was dull. The light is always the key thing. 

Photography is an evolution, personal development as well as technology and equipment. Do you like where we are today and where photography is going or do you prefer a past time with arguably simpler options?

I’m glad I learned the basics with film, and a lot of great artists I admire still shoot film. But I for one would never go back. Digital does everything so well. I have a Canon digital SLR, but honestly, the iPhone has gotten so insanely good that it is now my daily camera. I got the iPhone 11Pro Max in September, and it is ridiculously good, opens with a single swipe, is sharp, with true color and now even includes geometrical as well as light and color corrections right in the phone.

I would like to name a few of my favorite photographers. For color, no one has been more influential in getting the art world to take color seriously—and no one has been more inspiring and awesome to me than William Eggleston. He is world famous, and there is no one like him. His pictures are quiet, calm, simple yet unsettling and resistant to explanation. Also deeply beautiful. Check him out! 

In black-and-white my top-line heroes are Lee Friedlander, another world-famous artist, and John Gossage, ditto but less well known to the general public. Both guys have the genius of imbedding pictures with some insinuating energy (and humor) that is hard to pinpoint but is always more than the sum of its parts.

What's next on your journey? Is there a project you are working on or working towards?

This winter I would like to make a book of my recent solo show, which was called Vehicular. I define the term broadly. It includes everything from a rainwater-filled wheelbarrow to an overturned canoe to a beach guard’s skateboard to bulldozers, haywagons, people on a cruise ship and people standing around waiting way too long for an elevator. You can see their impatience in their body language.

What's your favorite coffee or tea beverage?

I am a cold brew devotee. I make it at home by the pitcher. But I also love a good double espresso.

Follow Eric on Instagram @ericlevin