1. THE ARTISTS OF
PRESENT:
Joe Torres | cinematographer, creative director, fashion
photographer.
Interviewer: Ming Zhang
An inquiry into Light in Rhapsody, Joe Torres’s signature vision with NY ROMP
Studios; the immersive dance between light and movement, combining modern
fashion aesthetic and already established conventions in visual arts. Film vs.
Digital, and how he hopes to continue molding a fine interplay with the two
formats in order to produce a quality outré. He weighs in on this as, "both my most
difficult challenge and secret inspiration at the same time. The classic approach;
orthodox in film photography has succeeded it’s own epoch. The yesteryears saw
grain, and subtle anomalies where we now see these as glamour; simply timeless
elements. The allure of it is just a guide, the challenge is to reconcile it with
subversive ideas that draw on emerging technologies in the digital world as well.”
Asked If he could encapsulate all of this in two words, “in a nutshell”,
pause.. “f*ck monotony haha”; with this “gist" I hope to carry my vision into
deeper waters beyond fashion and film.” His MO, while unorthodox, “a breath of
fresh air in the depths of monotony; this is freedom. Now, isn’t that the very
definition of art? Then it becomes less about film vs. digital, and more like, why
not both? Though drawing up tests with daisy fresh ideas using big ol’ antique
Deardorff cameras can be quite fun; large format is very handsome stuff"
Then a brief glimpse into the past, claiming the beginnings are still
only beginning. “A fortunate and pretty rushed start. Borrowing cameras and
scraping for lenses just to have enough material to print out composites for friends.
There were Bookers and up-and-coming models; fresh faces enduring castings and
having a go at runway just days before fashion week”
After viewing his work which surprisingly encompasses a broad range of formats,
2. everything from 35 mm analog still prints, digital stills, and a work almost
entirely composed of 16 mm scraps; cheaper film tails or (ends). I did notice that
it isn’t necessarily a local affair. A body of images that span on a vast milieu. As a
scholar; and never mind having to plant both feet too firmly at the moment; as
some of these editorial sittings can literally take you anywhere. Provided of course,
the location meets, and satisfies the vision of all the creatives involved. No matter
how eccentric, or opulent; and if this situation proves too difficult to find?
The role he plays, in his words, “to turn these problems into opportunities, the
vision supersedes everything and everybody. The big stage, with the bigger egos,
directors have to polish this message. Refine the essence inherent in the story itself.
From makeup, to every volume of light, you learn that these elements are just
tools; but can a Polaroid, or even an Instagram convey the same message? Yes, and
possibly more resoundingly so if you tried”
“We simply make do with whatever is available, improvisation is the best tool in a
creative’s arsenal, and often the most fun to use. Surprises are priceless, you’ll
learn that anything can suffice to be honest, and as long as theres ground to plant
your feet on; Its the photographer's job to capture the story, not just a facade.”
“All sample material along with the Vimeo Light in Rhapsody corpus is a
composite both photographed and directed with little to no budget, it just happens
no matter the circumstance, it gets done. As a stage hand, even as a traveling
student I’ve always appreciated, and utilized every bit of world that life through at
me."
Moments are priceless, we’re often pressed to capture them in an instant. “Your
generation, like mine are smitten. There’s an obsession for immediacy
and convenience.” His story however isn’t as immediate. Just simply asking
where he’s from can deliver a response as complex as his current path, so he says.
"I’m spanish american, native to north Miami. I can also claim central Chicago
along the Milwaukee lane as my home town.”
Like three different middle schools in 2 years wouldn’t complicate things enough
for a young talent. He claims that these experiences ultimately went hand in hand
with his natural open-mindedness, and permissive approach to life.
“I’m super nostalgic about the little things. Which helps with the attention to detail.
I can always recall a color palette for a particular moment I reminisce about.” First
Child hood memories?
3. “Can’t really grasp my first memories, but I can tell you the color these
environments had while growing up; these left an impression. Dim, ill lit rooms;
and these dismal florals on drab wallpaper; very doleful in a that charming kinda
way. I must have been really into these depressed florals as a baby.”
There must have been a lot of influences, but instead of overlapping contradictions,
his work truly demonstrates a rhapsody; a dance even. They must have converged
at some point. Didn’t they?
“Araki, Mr. Nobuyoshi of course; definitely violent stuff. The impression is a slap
in the face. The feeling is comparable to walking in on someone committing a
tasteless, yet very beguiling act. This slap in the face left the taste of blood in your
mouth. Then that second take creates a sense of culpability. A consensus is void, it
turns into something desperate, and yet beautiful. A voyeur peeping through the
key hole. His nudes are still no more different than those found in classical
painting. The essence remains the same. There are the eccentricities of life &
death, and the sins we carry; mostly it’s a desire thing. A macabre embrace; very
beguiling at first glance. Snap shot was never supposed to be politically correct
anyways."
Going back to these influences, no matter how violent the convergence between
them, I’m surprised he said the collision was more than graceful.
As for Subjects, topics; which seem infinite in number. “This distance between the
lens and the model, the space that an actor is given; these are the closest things to
magic in real life.” He’s now gearing toward a NY-ROMP production brand,
engaging social media with the Studio diary and tumblr.
“Well as an edifice, the Studiodiary on tumblr started in Japan, just before moving
to Italy. There I decided to study at IED MODA in Milano. I began working out
of jacaranda studios; once I started producing on my own, I went on to work on
stage with others as well. Fully taking advantage of my situation, and looking for
opportunities to shoot anything really; the fashion capital didn’t disappoint. You
hustle into the the fashion week rumpus where there's a lot going on. Backstage
motifs at the shows where I’d shoot lifestyle for Dsquared2, Look books, and
catalog for Diesel, Billionaire Milan; mainly I’d just dally with the local fair."
“As for what lies ahead..Don’t know. I'll soldier on, corrupting my monotony and
go beyond this journey into sex and violence, Harajuku background music, and 懐
