| Mia
Hanson is
one of my oldest and dearest friends who also happens to be one of my very favorite
artists. We met in high school and became instantly enchanted by one another.
Mia has been a photographer for most of her life and has been taking beautiful,
haunting photos for as long as I've known her. Mia's work is dark and ethereal,
spooky and opulent. Sometimes her pictures are stark and urban in feel, and sometimes
they seem to depict a world between the pleats of time not attached to
any particular era or place, but capturing instead imagery that is sensitive,
stunning and uniquely soulful. She traps light and shadow so elegantly, often
taking advantage of natural illumination, and other times artfully designing striking
lighting effects in a studio environment. Mia's subject matter is fearless and
intense, the desired circumstances being conjured with make-up, costuming and
intriguing settings, though she is just as capable of pulling drama from the world
unstaged. Mia uses many unusual darkroom exposure techniques, painting and blurring
the photographs during the developing process to create images that have depth
and texture as well as delicacy. It is Mia's ghostly blue photograph entitled
"Marie's Soul" which graces the CD cover and interior artwork of The
Thing That Feels. Her work has been exhibited in galleries in the United States
and in Europe and has also been published in many magazines and books.
Hannah Fury |
| | Scott
Radke
is an incredible artist who makes beautiful, emotionally inspired and undeniably
alive marionettes. His unique creations exhibit a flawless merging of both sweetness
and darkness. I love Scott's work so much because he has such a powerful awareness
of the overlapping of those two extremes. He understands completely how a creature
can be both sweet and sensitive, but menacing and disturbing too. Most people
would only be able to appreciate one or the other side of the spectrum, but Scott
allows these seemingly opposing characteristics to be stitched together seamlessly
in his work. His puppets are gorgeously detailed, meticulously yet organically
and intuitively crafted, and full of feeling and charm sometimes serene
and pretty or innocent and hopeful, sometimes sorrowful and pensive or shifty-eyed
and mischievous, sometimes haughty and a bit disdainful and sometimes even downright
grotesque and always worthy of complete devotion. Scott always seems to
capture some startling and perfect combination of emotions in every puppet he
creates. The jointed little arms and legs, the vulnerable costumed bodies, and
thoughtful, sentient faces of his puppets are lovingly sculpted, sewn and painted
by hand. Each is one of a kind and all are absolutely captivating. Scott created
a heartwrenching puppet for me which will be cast in an upcoming music video.
I had seen a few photos of my marionette before she traveled to me, and though
the photographs were wonderful, they did not prepare me for how beautiful and
charismatic she is in person and how luminous and expressive her eyes are. Scott's
work is exhibited in esteemed galleries nationwide and collected by people all
over the world. He also draws and paints.
Hannah Fury |
| | Chris
Ohlson
is a very gifted filmmaker who I met in 1998, shortly after he moved to Austin,
Texas. When I first encountered Chris, he was just beginning to make films and
asked me to contribute some music to one of his first projects ("824,"
in 1999). Since then, I have watched with interest as each successive film has
evolved in scope and technical/artistic prowess. Chris's visual and conceptual
identity is sophisticated, vivid, unique and unencumbered by the need to adhere
to strict rules of form. Sometimes his work has an almost cruel audacity
an unspoken challenge to the viewer, a bold "Fuck You" to the
imposed restraints that are so common in any artistic medium. He is extraordinarily
comfortable in the disembodied universe of "in between" and allows his
films the freedom to become visual and auditory collage provocative and
enticing in effect, daring in content and visual imagery, and uncompromising in
execution. These attributes make him particularly suited to the genre of music
videos, and I had always hoped that I would eventually have the chance to work
with him on one of my songs. With each film he makes, Chris becomes less easy
to categorize, braver, and even more unfettered by convention. Over the years,
Chris has built loyal working relationships with the best film crew talent that
Austin has to offer, so I was thrilled when he agreed to direct the video for
"Carnival Justice (The Gloves Are Off) Part II." It was his (and my)
first music video, and Chris's meticulous attention to detail and thorough knowledge
of every aspect of the film-making process was evident the entire time
from our first initial pre-production meetings to the day of the shoot, and up
through the very last day of editing. Chris's work has screened in museum exhibits,
coffee houses and theatres as well as at film festivals the world over.
Hannah Fury |
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