Art is an opportunity to analyze and discover new perspectives of the world. To find a deeper meaning in a spring day or unravel the mystical quiet of a dark city street can seem pointless and almost impossible but to the artist that is where the truth resides.
It is the creative mind that rips open the mundane and explores what is inside. As we continue to expand our Women’s Work project we had the pleasure of interviewing talented artist, Christina Bothwell.
With her craft, Christina has been grappling with the idea of spirituality while digging into the concept of our mortal bodies and the force that some call the soul. As a small child, Christina would ponder the depths of our existence. The cycle of life that is all around us which creates a beginning, middle, end, and then back again.
She currently examines this grand concept through sculpture. Using glass, clay, ash, oil paints, and found objects she has brought captivating pieces to life that stun the audience to stop and think. She forces the viewer to see the world differently while simultaneously poking holes in their existence.
I am drawn to the processes of birth, death, and renewal. What lies below the surface fascinates me and I try to capture the qualities of the ‘unseen’ that express the sense of wonder that I feel in my daily existence.
Typically, Christina’s art is often times inspired by quick fleeting dreams. Like a flash of lightning, the brilliant idea illuminates her creativity but rapidly fades to the darkest corners of her mind. When such influence appears she immediately sketches the thoughts for later reference before the image is lost to the thoughts of the day. What is most intriguing about her work is the ability for others to see their own truth. Each sculpture has a tendency to affect all who view them differently.
I do hope to communicate my ideas directly to the audience, but often people bring their own perspective to my work and see something vastly different from what I intended.
But, isn’t that what art is? Creating a piece that you poured your thoughts, passions, and inspirations into. To then release it into the world to grow through interpretation. Unlike the circle of our life, art lives forever.
When we heard about Stryker Farms and Nancy Poli we envisioned the next perfect Women’s Work shoot. Nestled just two hours outside of Philadelphia is where Nancy and her son, Nolan Thevenet run Stryker Farms. Unlike the traditional large pink pigs from Old McDonald’s farm, their Farm specializes in heritage pigs.
Nancy and Nolan raise a mix of 6 different breeds; Tamworth, Berkshire, Hereford, Yorkshire, Gloucestershire Old Spot, and Large Black. These old-world breeds have a tendency to grow slower than conventional pigs resulting in a more flavorful pork. Stryker Farms takes pride in the fact that their pigs are raised outdoors and enjoy a natural diet of non-GMO grains and grasses without the use of antibiotics or hormones.
After a bit of pre-production, handled by Robert Luessen, we were ready to visit Stryker Farms on April 17th, 2016. With a sunrise call time Chris, Robert, Jared Castaldi, and Sam Green hit the road north towards Stroudsburg.
With every mile, we drove the more the urban landscape drifted away leaving room for lush wooded landscapes. After a few music albums and several random conversations, we arrived at the dirt road of Stryker Farms.
Once at the farm we were greeted by a little shop selling their wares, such as cheeses and sausages. We drove past the shop, knowing we would return to stock up of delightful treats to take home. We continued to drive towards the buildings that housed the livestock. In a addition to pigs, Stryker farms also raises beef and dairy cows, chickens, turkeys, and goats.
I don’t know if you have ever been on a farm but you can’t visit one without experiencing a particular smell. This time was no different and the stench was unbearable. The muck created by the animals was everywhere, as expected. We need to set gear down on the ground but had no intention of anything becoming covered in manure. So we planned ahead and added plastic bags to the gear prep list. The plastic bags were wrapped to the bottom of all stands and power packs were placed in them. Of course, this was a time before we used battery powered lights so the farm quickly became covered with cords. To make things more difficult we wanted to keep the wires above the manure-covered ground. So we strung them like festive Christmas lights throughout the space.
Once all of the lights, extension cords, and power packs were prepped and ready to go it was time to set up the shot. Chris came to Skryker Farms with a strong image in his mind’s eye. The vision was there and it was time to make it a reality. There was a path that directed the pigs from a lower housing location to an upper feeding area. This was the space that would allow Chris’s vision come to life. To create the illusion of Nancy calmly standing in the middle of stampeding pigs we realized it needed to be two separate pictures that would be combined in post.
The composition that Chris envisioned was with Nancy centered with the pigs running on both sides of her in the path. To achieve this it would require the camera to float in the middle of the chute. We decided that we needed to create a rig. Something that would allow the camera to stay in the space while the pigs ran through. The team devised a metal bar that attached across the path where the camera would be secured.
While shooting Nancy, Chris would use the rig as a tripod but of course, he too couldn’t be in the chute once the pigs were set loose. It was decided he would use a remote to fire the camera while standing safely outside of the action. After a few tests of the remote to ensure it would fire we were ready to begin.
We were truly lucky to have such a charming and captivating subject as Nancy. We quickly got what we need from her and were ready to move on to the unpredictable part of the day. The pig run. We only had one opportunity to get this shot. Once the lower pen door opened the pigs without direction would instinctively run up the hill for their anticipated meal. Once Chris and Nancy climbed out of chute we were ready.
Release the PIGS!
With great excitement, the pigs rampaged up the hill running underneath the excellently placed rig/camera setup. At the same time, Chris was fiercely pressing the remote to fire the camera as to capture the thrilling moment. Once all of the pigs were clear of the chute and happily eating, it was a wrap. We began to clean E V E R Y T H I N G and then did another thorough cleaning once back to the office. Our time at the farm was quick and unforgettable. Nancy and her corkscrewed tailed co-stars were a delight. They gave us everything we needed to create a beautiful photograph that focused on the moment. We found a little piece of magic on this shoot that helped us create something unique and memorable. We hope you enjoy it.
A long narrow hallway lined with tiny barred cells enclosing angry men flinging obscenities is what we expected to find at a maximum security male prison. The entertainment industry depicts the American correctional system as a scary place. So, when we were given the opportunity to enter Oregon State Penitentiary we were filled with excitement and a bit of concern.
As you might have guessed, entering a prison is no easy task. There are several obstacles to navigate in order to be approved for entry. First off, background check for all members of the entire crew. Second, a thoroughly vetted equipment list. This list was scrutinized and whittled down three times. Each list included visuals of what was included. A location like this is only possible with the use of battery powered lights. Without them, it would be difficult to get down to three bags.
The third obstacle was squeezing two portrait subjects into a tight schedule during the facility lockdown. We reviewed the Tour Guidelines for visitors which informed us of their hostage policy that states there are inherent risks in visiting a correctional facility. After several weeks of back and forth with Oregon State Penitentiary, everything was set and ready to go.
Oregon State Penitentiary is nestled in the sleepy town of Salem. Driving through the town you wouldn’t expect a maximum security prison would live just up the road. If there was a maximum security prison, you wouldn’t expect it to be lined with large, lush trees and meticulously maintained landscaping. The stark difference from the picturesque greenery and the castle-like exterior of the prison is striking. We stood on the steps of the Oregon State Penitentiary with nothing but our gear, our IDs and just a little bit of nerves.
Once inside we went through a series security checkpoints. Every step of the process was efficient. The staff was friendly and helpful through it all. We quickly moved to our first location and set up to shoot in cell block D. Once we were in the heart of the facility, it was evident how calm and quiet space it was. Unlike our chaotic expectations, we felt comfortable in the space. Of course, there was a bit of excitement buzzing around, we were a photo crew, something completely out of the ordinary. Even with our unusual presence the men lounged in their brightly colored cells patiently waiting for the lockdown to end.
Our first subject was Megan Lowe, a Corporal Correction Officer at OSP. She began her career at the Oregon State Correctional Institution (OSCI) in 2014. She was inspired by her father to follow a career in correction. Megan’s petite frame was weighed down by the required gear but her presence was enormous. Watching her walk down the block you saw her confident control in the space. She was one of the reasons we felt so safe there. She provides the order needed for peace.
We spent a few short but fulfilling moments with Megan. She allowed us to collaborate in her domain and we could not have asked for a smoother experience. Wrapping up in the housing block it was time to pack up and move on to our next location to meet Patrice, another staff member of OSP. She is also doing amazing things but that is another story for another time.
The sun had just begun to look over our shoulders as we approached the beach of Cape May Court House, NJ. Nature had beaten us to the punch on their morning assignments. Seagulls were flocking over their breakfast feast as the tide rolled away from the shore. There was a morning breeze that swirled and helped to offset the smell that was left behind. These were our first impressions upon arriving at Lisa Calvo’s oyster farm.
No matter who you are, there’s always a great sense of anticipation when you meet someone that up to that point you could only envision. The small cottage where Lisa stores all of the needed equipment blended in with the rest of the buildings on the paved but sandy beachfront street. Lisa was the first to greet us. One by one we met the rest of her crew – Patty Woodruff, Diane Driessen, and Sarah Borsetti quietly walked over with coffees in hand and sleepy eyes; a 6AM call time comes early for everyone. We muddled near the quaint cottage as both of our teams prepared for the work ahead. Once all needed supplies were loaded into the beach cart, we headed down to the water.
As we waded through the knee-deep water of low tide, we approached a series of racks perched out on a sandbar. Each rack looked like a bed frame cut off just above the legs. Upon each rack was a layer of netted bags. Each bag contained an appropriate number of growing oysters. Different sections of racks accommodate oysters at varied stages of growth. Lisa’s team focused on a section comprised of matured oysters that were ready to harvest.
After a short set up, the oyster team quickly fell into their familiar process. While standing around a metal table supported by sawhorses, they began to sort the oysters. Meanwhile, camera in hand, Chris transitioned into shooting mode. Using PVC piping as a gauge of size, the team divided the oysters into three buckets. One bucket was for ideal large oysters, one for less attractive large oysters, and one for those that needed more time for growth. The ideal large oysters go to market, small ones return to the algae covered bag and the ugly ones, well that day, we ate them!
We spent the majority of our morning gaining a better understanding of the positive environmental impact of oysters. These uncanny bivalves are particularly efficient at cleaning the water they live and grow in. For instance, a single two-inch oyster can filter 50 gallons of water per day. That is 16,800 gallons of water filtered in one year. Their presence in southern New Jersey has not only improved our dinner menus but also the cleanliness of the waters enjoyed on its coast. Lisa and her team are making a significant impact and at the forefront of a thriving industry. We are grateful for the opportunity and education from a world that we were always curious about. Perhaps you can put yourself in our shoes the next time you order a dozen oysters from Cape May.