My interview with artist Gary Pullin about the new INNSMOUTH project is featured in this month’s issue of Rue Morgue Magazine – on stands now!
The INNSMOUTH project is really coming together. I am getting excited to share the finished work!
There is a nice article about my work in this month’s issue of Scream Magazine, the UK’s number one Horror magazine!
There is a 1-page article in this month’s issue of Fangoria Magazine about my short film BLACK LULLABY and my recent MONSTER PROM project!
Thank you to writer Jessie Robbins and Editor-in-Chief Chris Alexander for your continuing support!
Happy Halloween Everyone!
Check out my 15 minutes of fame on HuffPost Live!
The Opera National de Paris licensed two of my images, WOLF and BED, to use in the programs for their production of HANSEL AND GRETEL, which is running currently until May 6th.
In a curious twist of fate, my daughter Chloe – who was featured in my photograph CANDY, my own take on Hansel and Gretel – will be in Paris the same month the images are being used.
Thank you to Mariame Clement, the production designer, for being a fan!
Hi kiddies! I have officially started my first Kickstarter Project!
From May 25th through June 29th 2013, the great Travis Louie will be curating a show at the Last Rites Gallery in NYC entitled “ZOMBIE.” He has been kind enough to invite me to be a part of this show, so I am raising funds to help with the costs of creating my most ambitious photograph ever, “LAST STAND.”
This photograph will feature a family in their last moments right before they are completely consumed by a horde of zombies! The central figure will be the Father, who is blasting a zombie in the head with a shotgun. My camera will freeze every detail of this explosive moment. The Father does not realize that right behind him his wife and children are already being taken down and eaten by the zombies pouring in through the broken barricades of the front door. This image will include over a dozen characters in full zombie make-up interacting all at once, on a set that will be destroyed by gunfire and fake blood.
Please check out my Kickstarter Page. There are wonderful incentives, and all pledges will receive a signed print of the final image. Tell all of your friends, help spread the word by sharing my link on Facebook, and let everybody know. This image will be amazing!
I have already cast the role of the Father, and I am thrilled to announce that he will be played by none other than PHANTASM’s A. Michael Baldwin!
The special effects will be led by my friend J. Anthony Kosar, who recently exhibited my work in his Chicago gallery, and made his television debut this past week on Season 4 of Face/Off! He is monstrously talented and a sweetheart and we are very proud of him! He won both events on the first episode – can you believe that? I am super-excited about our upcoming collaboration.
All prints will be signed by me, Kosar, and my star Baldwin.
Please help spread the word. I will keep you updated on progress!
Hey kiddies! This is a recent project I photographed for Famous Monsters of Filmland Magazine called PICKMAN’S MASTERPIECE.
This sequence of images is based on a short story by H.P. Lovecraft called PICKMAN’S MODEL. This story was originally published in 1927 in Weird Tales. I was attracted to this project because of the character of Pickman – who in Lovecraft’s mythology is a brilliant but marginalized artist notorious for his horrifying artwork. Due to the graphic and disturbing nature of his work, he is shunned by his fellow artists.
All of this struck me as eerily familiar.
With limited time and budget, I chose to focus on the moment in the story when Pickman brings Thurber, the narrator, into his underground studio to show him his Masterpiece – his greatest and worst work – the one that can never be shown in public.
Instead of creating one heroic image, I wanted to create a sequence of images as if they were shots from a scene in an old Hammer movie.
The character of Thurber was played by Damian Blake, a talented performer and professional Charlie Chaplin impersonator. He was able to provide his own vintage wardrobe and grew a handlebar moustache just for this project. Here you can see Damian standing in for a lighting test while still wearing his coat. The basement location was very cold.
The character of Pickman was played by my friend and regular actor Bob Barber.
My friend and regular assistant Demien Vela, as well as my lovely bride Jen Cogar (who played the lead in LADY BATHORY) acted as crew. Here you can see Demien running the fog machine and moving the sheet into position using fishing line.
Pickman’s artwork was provided by fellow Horror Photographer Chad Michael Ward. To see more examples of his work (which ranges from Horror to Erotica) check out his website at DigitalApocalypse.com
Thank you to Phil Kim at Famous Monsters for inviting me to shoot this project. See you next time!
This month my work is being featured in Rue Morgue, arguably the greatest Horror magazine in the world. The article about my work is titled THE GIANT SPIDER, THE CANDYMAKER, AND THE WOLF WITH HANDS, and was written by the editor-in-chief herself, Jovanka Vuckovic.
This is the English translation of my interview with Danilo Corci for the Brazilian publication Speculum.
Your work is not well known here in Brazil. Can you tell us a little about your career, when you became interested in photography, if you are only interested in fine art or if you also shoot other kinds of photography, like journalism or advertising.
I started making my first photographs shortly after graduating from college. My focus has always been fine art photography, but I have shot many different kinds of work over the years.
What are your influences?
Horror films, fairy tales, Jungian psychology, the works of Joseph Campbell.
When did you become interested in Horror?
Horror became the principal subject in my work in 2003.
On your website you talk about Jung and the power of cliche, and about the reinvention of archetypes. Obviously this goes through the stories you create in your photographs. How do you choose the stories you want to reinvent through your photographs?
I am interested in creating photographs that employ archetypal imagery to act out universal fears. These are the subjects I look for. The more common or cliched the fear, the more I want to make an image of it. We can all relate to the idea of a monster hiding under the bed, but we’ve never seen a photograph of it before. Through photography, I want to explore archetypes that we are already familiar with. I want to drag our psychological monsters out into the light of day and take pictures of them.
Your work deals with childhood imagination. Is this kind of terror more powerful than the one we have as adults? Does playing with childhood nightmares make adults even more frightened?
We can all remember being children, when our fears were still very primal. My photographs remind adults of things they used to be frightened of, but have forgotten about. Recover the memory, and you recover the fear.
The experience of ‘fright’ is intrinsically related to the level of commitment the viewer has to fearing for the protagonist under threat. This feeling is a responsive emotion which demonstrates a desire to protect someone from harm. If the viewer empathizes with the victim then it is likely that the fright will be mutually experienced. These are the mechanics of Horror.
Your work deals with universal themes, while at the same time reflecting some kind of North American style. Would it be true to say that America has some peculiar form of Horror locked in the back of the head of the country?
While Horror does explore fundamental and universal questions about human existence, it also deals with the anxieties of a given culture at a specific time. Beginning in the 1960’s, with movies like PSYCHO and NIGHT OF THE LIVING DEAD, I think American Horror has been predominantly concerned with the fear of other people and the threat of social collapse.
I try to style my sets so that they reflect a sense of innocence and nostalgia. Many of the elements in my sets, such as wallpaper patterns and furniture, come from the 1940’s and 1950’s, which for the U.S. represents a period of relative innocence. It helps me to create a familiar psychological backdrop for the primal drama unfolding.
It is impossible to see your work and not think about literature. Do you have any literary background?
Yes. I did not go to art school. I have a degree in English Literature.
Working with disturbing imagery is always a challenge. Where is the thin line between good taste and provocation?
Horror is underpinned by the desire to experience feelings which relate to taboo agendas and the limits of gratification. One of the major functions of Horror is to define cultural taboos. The experience of Horror resides in this confrontation with what is taboo. For me, what is or isn’t in good taste is never a consideration.
Going a little further, where does Joshua Hoffine’s work go in the future? More Horror?
For the foreseeable future, yes, more Horror.