When Art Meets Architectural Photography
The Wild Couch Party
Art in Bronze on Lincoln Road…
My favorite commissions are often the ones I don’t see coming. From industrial farms to elevator installations: this career has a knack for taking me to the unexpected. I was flattered and inspired when world-renowned public art power couple Gillie & Marc reached out and informed me that they specifically seek architectural photographers when looking to document their work.
Gillie & Marc need no introduction for those in the “know.” But their work is displayed in public spaces worldwide, from Shanghai to New York City, so even if you don’t know them by name, there’s a decent chance you’ve taken a selfie with one of their interactive animal-hybrid bronze sculptures.
They aspire to raise awareness for animal rights and conservation through their bronze gallery of characters, such as Dogman and Rabbitwoman.
“Art has the power to connect people to causes that matter. We want everyone who visits these sculptures to leave with a renewed sense of hope and determination to make a difference.” Gillie & Marc
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The Technical Details
I shot the sculptures within hours of installation on Lincoln Road. I revisited them for another round when the outdoor mall was full of pedestrians doing their last-minute Christmas shopping.
The technical approach was consistent with the same “dead horse” I am always beating: Intentional, motivated lighting that I can control but doesn’t feel “artificial” or fake.” For this project, I was ok with extending my tolerance for “hyper-realism” and went for a more stylized look. The bronze that the sculptures are made from is a dark material that absorbs a lot of light. Its shape can stand out in a clean, bright background, such as what you might find in Gillie and Marc’s work that’s on display in New York. But the backdrop of Lincoln Road is cluttered and busy. Lots of dark foliage, shop windows, and signage. I felt the art getting lost in it without something to separate it from its surroundings. The mall isn’t what’s important here. The art is.
Sometimes soft, even light is what you want, but I find that that only really works for two scenarios:
When there’s something about the subject itself that can separate it from the background, think of a building with lots of practical lighting glowing softly in an otherwise pale twilight. Or a human face with the right luminance on a seamless canvas backdrop that you often find in cinematic portraits.
or when the scene as a whole is the subject.
But even the softest light needs direction and a visual pattern of light and darkness.
