The new shop, which is located at 78 West 36th St. in Manhattan, stands blocks away from what used to be the first incarnation of Red Rocket Tattoo and opened back in July of 2011. However, having never been properly christened with a Grand Re-opening Party of its own, artists/business partners Mike Bellamy and Adam Hays decided the new and improved shop would get its party, combined with an after party for the New York Tattoo Convention which took place May 18th-20th. Sailor Jerry Rum sponsored the whole thing, and the consequent celebration resulted in the coming together of incredible tattoo artists and tattoo lovers alike.

I had the opportunity to speak with Adam Hays when I arrived. As a Red Rocket Tattoo artist turned manager turned business partner, Adam gave me insight into the history of the shop. The old site stood not too far from where we were presently enjoying our drinks. Fortunately, as the business continued to flourish, growth and relocation followed. The shop now has 8 artists producing body art a collective 7 days a week, with a new location in Levittown, spreading the Red Rocket influence eastward onto Long Island. Adam spoke highly of each of his coworkers, finally emphasizing that “this shop isn’t filled with tattooers, it’s filled with tattoo artists.” One look at the portfolios around the room and I’m forced to agree.

Later, I chanced upon a conversation with one of the aforementioned artists, Max Shoberg. His involvement started when he helped the staff of Red Rocket move equipment from one shop to the next. He’d been tattooing for a few years before he helped the team relocate and his portfolio landed him a job in the new location. The events that led him to be a part of the Red Rocket clan don’t belie his statements. “This place is a family,” he says. “There’s no ‘tattitudes,’ everyone’s good hearted and brings something to the table every day.” Moments later, I realize I’m sitting in his chair at his workstation and ask how he got such prime real estate. (I’m overlooking the corner of 6th and 36th from his desk chair.) He laughs, points to both sides of where I’m sitting and tells me, “I’m working between Adam and Mike, who’s a fucking legend, just trying not to fuck up. I’m so fortunate to be where I am.” I assume that he’s talking about more than just where his chair is located by this point.

I glance around the room and realize, “I’m fortunate to be where I am right now!” The place has filled up with good looking, well dressed, tattoo flaunting party-goers and I feel hip to just be in the same room. Some women wore cocktail dresses that revealed massive back pieces. Some men wore outfits reminiscent of the roaring twenties, cuffs rolled up enough to show the wrist-end of some impressive sleeves. Attendees were showing off their more impressive pieces for all to admire. Dave and Albert, two men with the better part of their entire bodies covered in Mike Bellamy’s work, weren’t shy in showing off their tattooed (what others would consider ‘private’) areas.

Smiles were in no short supply. Sailor Jerry liquor was flowing, music was playing and good times were had by all. The Grand Re-opening Party was, in my humble opinion, a great success. There were no inexplicable bruises this time. No outgoing texts after 2am. And the next morning was…well…turns out those stay pretty awkward.

What follows is the original email:

The VAR magazine launch event is coming up in a couple days and I feel as if I need to clarify some things with all of you. First I ask that everyone post the link so that people can buy tickets to your Facebook, Twitter—any and all social networks you’re on: http://varmag.eventbrite.com.

Secondly, have you seen the articles on BlackBook and InkButter? These are websites that have posted the event. Please check them out. (Links are below)
BlackBook: http://www.blackbookmag.com/good-night-mr-lewis-1.109/champagning-wednesdays-tonight-spotted-scarlett-johansson-getting-a-tattoo-1.47205
InkButter: http://inkbutter.com/var-magazine-launch-event-april-15th-2012

We’re going to be showing a preview of the magazine on the projector at the party. We have some loose ends to tie up, so we’re going to officially launch the tablet/digital version April 20th. We’re definitly going print in May. I’ve seen print proofs, and they’re awesome! This first issue is very much a sample of what I’m trying to do. At the party and from the tablet version of the magaizine our audience will get an idea of what’s to come in future issues. Instead of packing it with articles and ads, we’re gonna give them a little taste—a couple of the more important interviews, the photo stories that I’ve selected, and what’s in the lifestyle section with Dave Delzio. This is all they need to see to be sold!

Anyways, I’m dealing with a lot of shit right now and I haven’t gotten any sleep so…. I’m going to try to best explain what I want to say in this email.

VAR exists because I realized that many of us shared a set of common interests, such as fashion publications, photography, art-culture(including tattoo). Without attaching persona types to individuals, I found that the same so called ‘alternative culture’ types were also into more traditional forms of art and photography as an art in and of itself.

I started off with my website NY Body Art. I’m very much a tech and internet guy. With the age of Twitter, Tumblr and Facebook etc, the digital era, you can easily show your interest and see the interests of your friends. In working on the website, I would look at Tumblr and Twitter pages of people like me and the magazines and publications that they were into, and I noticed a common factor; they we were all into the same things. Art culture and fashion magazines—we were all tattooed and or interested in tattoos. These were all the same people. All these people were into a collection of different publications, but the common theme was the same. It was like having a group of friends who bought all the same 10 CD’s. Why not put those 10 CDs in a collection and call it one CD? That is VAR: art, tattoo, fashion, lifestyle… essentially, our culture.

There are tons of publications that are minor variants of each other: You have a tattoo magazine that’s pretty much the same as the other tattoo magazines, you have a fashion magazine that is pretty much the same as all the other fashion magazines, then you go out and buy variants of the same for art/tattoo magazines and maybe even a lifestyle kind of magazine or maybe something like Vice. It’s about the people that buy these magazines. It’s about the people that post these things on their Twitter, Tumblr or Facebook pages. Let’s put it all together in one really cool magazine. Why not give them one kick-ass magazine about all of it?

With that said, as you’ve probably seen me say in interviews, with the tattoo aspect of it, I don’t like how tattoo culture is portrayed in these tattoo magazines. Tattoo is not low-brow art. Men and women who are significantly covered are not all bikers or pin-up models. The audience for this is people that are into all of it. They are the same people.

I hope this clarifies everything for you guys. I hope you all understand what my goals are and what I am trying to achieve with it. I sincerely appreciate the fantastic work you’ve all put into this project. This is the home stretch, my friends! Please help this vision come true… LET’S GET TICKETS SOLD AND PARTY!!!

Regards,
Danny Michel

Editor-in-chief
New York Body Art | VAR Magazine

Photographer: Rebecca Handler
Hair: Joey Oso
Makeup: Jennifer Lombardo
Video: Bryan Winter
Music: Jane’s Addiction – Underground

Tell us about your artistic background. When did you first realize you had talent and from where did your love of this genre come?
My mother and sister both were always artistic influences growing up. My mom did collage art while my sister did illustration and film. I first took art seriously when I was eleven and stuck in my grandparent’s trailer in Bakersfield for a month in the summer. I was so bored that I just drew all of my favorite pictures from a fashion magazine. From then on I just stuck with it.

That’s interesting that art runs in the family. Because of your background, did you wind up taking any formal art classes? How important do you think they are in becoming an artist?
I’ve taken a few years worth of classes, but in all honesty I learned more in a two-day painting workshop with Kevin Llewellyn than I did in two years of college. College is good for teaching you new things you wouldn’t normally go for, but a workshop is so much better since you’re focusing on the exact style/type of work you’re wanting to do.

Can you recall the first piece of art you created and do you still have it?

One of my first paintings was a portrait of Orlando Bloom from Pirates of the Caribbean. It looked so awful! Pretty sure it’s crammed in a closet somewhere.

How would you best describe your style of artwork?
I would describe it as mixing creatures and women with anatomy, humanization, and ornamentation.

There is so much amazing dark imagery in your work and some repetitive themes, such as owls, skulls, and zombies, yet all used differently and creatively. Where do you draw inspiration from in your creative process?
A lot of my inspiration comes from my favorite artists such as Kevin Llewellyn, Nomi Chi, Gustav Klimt, and Lori Earley. I get a lot of ideas from music, tattooing, and going antiquing as well.

Speaking of music, how is your environment when you create your art? Do you prefer silence or do you listen to a particular style of music?
My studio has absolutely no wall space. I love being surrounded by antiques, paintings, photos, skulls, etc. Put me in an empty room and I won’t do a damn thing. Music is a must. I’ll go from listening to Die Antwoord to Metallica to Edith Piaf. I’m weird.


You mention in your bio that you that the female figure is a constant theme. I see Mosh in some of your works. Are there any other industry beauties that you have painted, drawn or used as inspiration?
I went through a big “alt model” phase, but I’m trying to stray away from it and use less known models. I’ve used Mosh, Julie Bolene, Kandy K, Megan Massacre, and Kristen Llewellyn.

Are there any art mediums that you would like to explore that you haven’t yet?

I just recently started using ink and Copic marker! I love the marker much more than watercolors since you have more control over it.

Some of your work is labeled tattoo. What is your connection with drawing art for tattoos? Do you create for flash art or individualized pieces for people?
I’m a tattoo apprentice right now at Lady Luck tattoo, so I do a lot of custom pieces for people. No flash, though.

That’s great! When did you become a tattoo apprentice? What drew you to that decision and how does the creative process differ from your usual mediums? Is there a particular style that you prefer to tattoo?
I started apprenticing last February; it’s something I’ve wanted to do for about seven years since I love the idea of having some one trust you with putting art on them for life. Learning how to tattoo is like becoming a flailing child again. It’s a completely different process with how you draw your designs and handle your materials. There’s not much thought when it comes to painting, but tattooing is a lot more clean, precise, and unforgiving; there are no erasers and you can’t wing it. The opera ain’t over ‘til the fat lady sings. As for style, I’d like to go more towards the realism realm with an illustrative touch, for example bold lines, lots of colors, and realistic shading.

I know that many artists are self-critical and you have mentioned your “own lazy perfectionism,” but can you tell us if there are particular creations of yours of which you are most proud?
I actually am really happy with my more recent pieces. Some of those are “DOTD Fetal Skull,” “Pallas of Athene,” and “Gypsy Tattoo.”

You have done quite a few self-portraits. What is that process like? Are you creating a self-portrait on how you are feeling that day? How you see yourself or how others do? Can you share what thought goes into that?
I actually haven’t done one in a while! In all honesty I really don’t do self-portraits to reflect my emotions at the time. I use myself merely because I have a specific look in mind and it tends to be a hassle to get a model to shoot with for reference.


Do you have the chance to interact with the people who buy your artwork? If so, do they share how your work has affected them?
All the time! I like to make friends with everyone and usually wind up hearing most people’s life stories via email. I don’t believe in being the snobbish, greedy artist who doesn’t bother with the people who are paying their bills.


I am sure people appreciate that. Since you like to interact with your fans, what are your upcoming plans? Any conventions, exhibitions or books on which you are working?
Right now I have a gallery show in the works in downtown Phoenix, but I don’t have all of the info yet. I do a bit of modeling here and there, as well. Otherwise I’m just working, apprenticing, and planning on going back to school.

How would you describe yourself in three words?
Every time I answer that question I hate what I pick! Ha! For now I’ll go with ‘awkward,’ ‘tomboyish,’ and ‘goddamnhilarious.’

To see more of Ashley’s amazing artwork visit her website at www.barefootedbaroness.com or check her out on facebook, http://www.facebook.com/devor.art.

“ I think “Ink Master” is going be the realest take that the tattoo community has seen on TV in the sense that tattooing is very much in real time —Chris Nuñez ”

Hi, Chris. Thanks so much for taking the time to speak with me this afternoon.

I’m thinking you must be pretty excited for the premiere of “Ink Master.” Some people might remember you as being the other half of “Miami Ink” where you worked as both manager and artist. I’m interested in what it means to you going from being an artist to a critic.
I think it’s basically like any art studio kind of thing. You work at one thing for so many years that whether you claim to be the best at it, or not, you know what is good or not. And you know, I have twenty-years in the business. I’ve worked all around the world. I’ve definitely put in my stripes to get where I am, and I can definitely call a good tattoo.

Right on. So then, how is being a judge different than producing content?
Oh, it’s different. It’s kind of cool. It’s refreshing. And I’m not out there to hurt anybody. I think that at the end of the day, the cool thing is whether the guys like what I have to say or not, they all go back and talk about it amongst themselves and they can understand where I’m coming from. It’s not like I’m coming with anything out of left-field, and since they are all competing against each other I think they start to say, “Maybe what he’s saying is right, and we can see his point.” So I think it’s okay. I’m not really trying to do anything in any way to really tear anybody apart.

You’re not the Simon Cowell of “Ink Master” then, huh?
I try not to make it that way. But again, these guys are all my peers and at the end of the day we could all be right back on the same boat together, so for the people that deserve to be there, I definitely let them know it. Those that don’t deserve to be there cannot be there, so we try to weed them out.

There’s that “be good or be gone” mantra you hear in tattoo shops. What got you into tattooing?
Basically the ability to be free. I grew up with a family that I travelled with a lot and spent a lot of my childhood growing up on planes. And it just felt like if I knew how to tattoo, I could go anywhere around the country and more so anywhere on the planet. I’d be able to earn a living, take in other cultures, and work with people that I really looked up to. That was really the turning point and basis for my tattooing was that I really loved the art. I’ve looked at it since I was a little kid and I knew that I always wanted to be part of that. Even when I was eight, ten years old, I’d see guys walking around with tattoos and I thought it was the coolest thing. By the time I was twelve I was doing graffiti, buying tattoo magazines and copying the images out of the pages, trying to copy a biker tattoo and putting the images up on the wall. You know, using that reference. And it kind of grew from there. But really the ability to travel and earn a living anywhere you go is what really appealed to me because I really never wanted a boss.

Were there any particular cultures that you were drawn to?
Oh, for sure-Japanese tattooing. The style was something I gravitated to because it was very graphic and very bold. At the same time I spent a lot of time in Europe and the European style had a twist on Japanese tattooing; it made it a little fancier, a little more technical, or just exaggerated certain elements of the drawing or the composition itself. That really struck a chord with me so I guess I gravitated more toward a Euro-style Japanese tattoo than a traditional Japanese style. Then I got to work in Brazil with a guy who was one of the tops in the field that excelled at that, by the name of Mauricio Theodoro. We opened a tattoo shop together and that was what really kicked me into the art style that I took off with.

To piggyback onto your answer, “Ink Master” features a lot of techniques on the show. What do you consider yours?
When I tattoo, I try to be as clean and solid as possible. I try to be really technical more than anything. I really look up to guys like Juan Puente. You know, the style of tattooing that Juan does is so classical and clean, and timeless; everything’s flawless. That’s what I try to look for. In this competition, I think that right now we’re trying to get a level of tattooer that, if they’re going to win this competition, they’ve got to be well-rounded and be able to do everything. When I judge category by category, I kind of took into account what they did the past week or past three weeks versus what they did this time. I think “is it worth having this person along the ride for the rest of the way as the categories get tougher?” So I really critique them harshly on technique more than on composition. I let Oliver be the composition guy.

Tell us about “Ink Master” and your relationship with the rest of the cast.
Oliver and I go back. We used to tattoo together in Dallas. He had Elm Street [Tattoo Shop] and I used to tattoo around the block. We used to hang out all the time. I spent about a year and a half or two years living out in Dallas with my friend Frank Lee. Oliver and I go back at least ten, twelve years. I never knew Dave [Navarro] until the day we sat down to do pre-production for the show and he ended up being a really cool guy. He’s a really quick witted, fast-talking guy and it makes it really fun to be with someone who can have a verbal-volleyball kind of way with people that people still love him. He’s just quick. When you watch the show, you’re going to see more of him than maybe people know. And he knows a lot about art. He’s been tattooed by a lot of the greats-like greats we looked up to as kids. So, you know, he’s not the wrong man for the job. He was surprisingly on-it. Every show that went by, he opened up his art side a little more and a little more and it was like, “Damn!”

Do you think “Ink Master” will make tattoos appealing to a wider audience? Do you want that?
I think “Ink Master” is going be the realest take that the tattoo community has seen on TV in the sense that tattooing is very much in real time. Contestants have four to six hours to start and complete their tattoo. They have the night before to draw it. They do a real consultation in real time with their client. When the clock starts, it starts and when it ends, it ends.; that’s what they get critiqued on.

So do you want every Tom, Dick & Harry to have a great tattoo or do they mean something to a special community?
You know what? To me, the whole mainstreaming of tattooing is a kind of double-edged sword. I always loved the mystique of tattooing being the underground art style and that kind of mysterious thing. Tattoo shops weren’t therapy sessions; they were tattoo shops. You would go in, get your tattoo and leave. Most of the time you just joked around and away you went. It wasn’t so much about sharing every meaning and every decision you make when it comes to your tattoo. But have tattoo shops flourished? A hundred percent. Have tattoo artists made way better livings, and found themselves doing way more collaborations with mainstream brands and low brow art? A hundred percent. So, you know, I feel torn both ways but I feel like I also had a huge impact in progressing our art form to the world.

If you could prohibit one kind of tattoos from ever being done again, on “Ink Master” or in the world, do you have anything in mind?

It’s not for me to say what the world should or shouldn’t put on their body. No one could’ve told me what to put onto my body. At the end of the day, work for the client. If we personally don’t feel like what the client wants is our forte then it’s our responsibility to send the client to someone who might enjoy that better. But styles make fights, and it’s just like that. There’s always going to be somebody for someone. I’m pretty open. I don’t think it’s right to tell somebody what’s good or bad because you really can’t. You’ve just got to try to steer them in the right direction and let them decide from there. If it’s something you, as an artist, can’t stand, then politely tell them it’s not your bag.

Well said. I really appreciate your time, Chris, and for being so open with me. Best of luck with “Ink Master.” We’ll all be watching.!
No sweat! Thank you very much.

We will be publishing a series of interviews with the other cast members from “Ink Master,” including Oliver Peck and Dave Navarro (who we feature in this upcoming issue of VAR Magazine.”)

Check out Chris Nunez’s work on the Love Hate Shop website and then head on over to the Ink Masters page to see what’s coming up.

This issue of VAR Magazine‘s double cover features Alysha Nett, shot by famed fashion photographer Miko Lim, and a portrait of Sharon TK and Johnnie Valdes, snapped by the acclaimed Steve Prue. On the heels of the birth of his second child, Miko Lim agreed to speak with us from across many miles. He has been living in Tokyo for the past few months, and working tirelessly both in his art, and at home, so he warned me that he might not “be firing on all cylinders”. But if exhaustion had begun to creep in and make its stay with Miko Lim, certainly no one who talks with him could be the wiser, he is so centered. If Miko’s energy levels had been dipping as a result of balancing his ever-busy career with a newborn baby boy at home, then that was a secret Miko Lim was guarding very closely. He comes across as such an affable, in control and articulate gentle soul that it feels more like you’re talking to a zen master than a young fashion photographer known for his use of the hipster aesthetic form of portraiture, the snap – shot. Instead of coming across as trendy and of-the-day as he certainly is, Miko Lim possesses a sort of eternal calm and understanding that comes with insight and learning from experience. But growing older comes with new challenges to which Miko is constantly assimilating himself, and he’s not done yet.

We talked with Miko Lim about his proclivity for close-range snap-shots, as they appear in much of his recent work, and later discussed why his wife is his favorite subject to photograph. Distance, very small to expansive, seems to be a theme. It could be because Miko Lim was born in Malaysia, raised in San Francisco, and currently resides in Tokyo. What we discovered was that perhaps Miko’s center of calmness radiates from the close proximity with which he approaches his art, and the beauty he sees in it’s evolution.

“ I wanted it to always feel like it was a collaboration, like they were in on it. I just think it’s more fun that way —Miko Lim ”

Congratulations on the birth of your second child. How have you been balancing your work with family life?
Not too badly. Photography is one of those crafts that, like writing, you can pick up one day, and do a family thing the next day and work the day after that. It’s not like a 9-5.

Is the authority to write your own schedule something that drew you to photography?
Not particularly, no. I don’t think you can be successful if that was your primary goal with it. But yea, it’s a great lifestyle for sure, can’t knock that.

What did get you into photography?
I was a pre med student and just got kind of jaded by it, by the people in involved in it. And I was in school in LA and had a friend working in film [and he] got me into that, [where] I was shooting still photos on a movie set and I sold those to the actors and actresses that I was taking pictures of, and one thing led to another and that kind of got [my career] along that path.

How many years ago was that?
A decade ago.

So did you then begin studying photography?
No. I never did. I went to Pamona, which is a liberal arts school, and studied media and cinematography, but never photography specifically.

What did you parents think?
My mom. I grew up with my mom. She was happy about it. She was actually disappointed when I wanted to be a doctor.

Do you think you experienced something very different from other people with your similar Asian American background?
My mom is white, and I’m half-white, so when you don’t have any other Asian influences in your life you just kind of grow up. . .white. I mean, I didn’t know how to use chopsticks til I was like 25. I don’t speak any other language. I’m pretty white as they come, I guess. I just don’t have that experience.

How was it like when you first started out?
You loose money for a while. It’s not a very good financial decision in the short run.

So what are you doing now Miko? What projects have you just completed?
We just shot the latest Adidas campaign for China. We just shot a bunch of Bjorn Borg underwear stuff. We’re doing our usual work for Numero and things like that. I’m actually putting together a book right now [since] we’re leaving Tokyo in a month, with all the Japanese celebrities that I shot during my three years here.

Where are you headed after Tokyo?
We’re back in New York.

Hey, how did you guys fare with the earthquake a couple of months back?
It was pretty fucking freaky. It feels like the whole world is a waterbed, for a while. At first it’s just shaking, and a lot of I guess what Michael Bay would make like an earthquake movie. But the freakier part is that for another thirty, forty minutes it feels like the world is a waterbed. You can’t stand, you feel half drunk; it’s really bizarre. Then the next day we went to Hawaii for a couple of months.

What do you do in your spare time? You’re a photographer with a family – Is there anything you hold close to your heart, or just do for fun?
That’s a funny question right now because I feel like I haven’t done anything in so long. It’s so boring just to say that sleep is so awesome right now. It’s easy to say I used to have time to go play basketball with friends, and go have dinners and things but to honest those things just haven’t happened in the past month. So I guess my hobby is sleep. Other than that it’s just family and work. I wish I had something more interesting to say there for you.

That’s cool. Has the theme of sleep started to influence your work, then? Some artists are interested in the ambient aesthetic, or the science of sleep. Surrealism relies heavy on dreams.
No, I can’t say it has.

Speaking of categorizing your work: What drew you to the snap shot aesthetic?
Like I said, I started on a film set. I guess you can call that documentary style, it’s just kind of running around, pointing and shooting. I always liked the fact that you can point and shoot. You have to be close enough and involved with your subject, and that’s how you [the artist] are always “in” on it, whether it’s a joke or a beauty image, you’re just always in on it. Whereas if you’re using a longer lens, and you’re more of a just traditional old-school fashion photographer, then you’re much more removed from the subject. Then there becomes a kind of a distance that I wasn’t really interested in. I didn’t want it [my work] to feel like paparazzi, and I didn’t want it to feel like who I was shooting was detached from what I was doing. I wanted it to always feel like it was a collaboration, like they were in on it. I just think it’s more fun that way. You would never shoot a friend of yours, a boyfriend or girlfriend of yours from fifty-feet away with a giant lens. It’s more intimate, I guess.

Are you typically friends with your subjects before you photograph them?
Not at all. I make friends quite a bit with people I shoot, and make not-so-good friends with others. It’s always nice to shoot people for a second, third and forth time that you kind of become close with, and there’s a collaboration and you can get further along. But then you run into other people that want the long lens and the detached feeling and they don’t want to feel exposed in any sort of way, and they don’t want to be involved. Those people don’t particularly like what I do.

Are there ever any special tactics you employ to help somebody feel more comfortable being exposed?
I mean, there are a million things that every photographer has, whether you want to call them tricks or personality. It’s really just kind of a connection. I give a lot of credit to certain casting directors or art directors that pair up a photographer with a celebrity, or model that they have a feeling that these two personalities will gel and make good music together.

Why do your subjects, models for the snap shot, tend to be photographed without the use of props? For example, your GQ cover with Olivia Munn is framed with only her in the picture. What kind of effect do you try to achieve by only focusing in your subject?
There is that factor of not wanting to cloud the image with anything else. You want the viewer’s eyes to go straight to that person. At least for me, I’m much more interested in the subtler expressions, the subtle wink-wink to peoples’ mood, and if you add props and other things, which are honestly sometimes necessary, it just makes things a little easy, a little cheap…cheap and easy is cheesy, I guess. And you want to keep a certain sense of realism.

Who are your favorite subjects to photograph? Is there anyone that sticks out?
Probably my wife. She’s really lovely, and sweet and just very open hearted. And another really cool thing about her is that over the years there has been a transformation and maturity, going from us being single party kids. We met in college, and [looking] back then to how I knew her in our twenties to how I know her now as the mother of my two children….that’s just a really beautiful thing.

What’s the fashion world have to look forward from you in the future?
It’s an interesting question, because it’s lame to say “more of the same”. I’d say, there’s a maturity happening in my work, as well, and a lot of things I see from ten years ago I can’t even recognize as my own work. But it’s one of those weird things with photography, and I suppose like writing as well, the more tricks you learn, the more technically sound and skilled you become, and the more experienced you get, the more often you find yourself wanting to go back and recreate the spontaneity and immaturity you once had in your work. So I guess the dream is to find a balance, and to always be able to move ahead and do things with your work that are new and inspired and maybe inspire other people, but that still reflect who you were as an artist to begin with.