Creatively Blog

The next time you enter a bookstore, multidisciplinary artist Rachelle Baker is hoping that you judge a book by its cover.

From Detroit, MI, Baker’s multidisciplinary skills range from relief printing (screenprinting, linoleum, and woodcutting) to illustration, comic art, video art, and music. Her creative inspirations are derived from women in turn-of-the-21st-century R&B music videos, the sound of yawning cats, and Shoujo manga.

While Baker has been drawing for over 27 years, the Capricorn (with a Scorpio moon) is no stranger to experimenting with new creative ventures. In the past four years, Baker has excelled in one of her latest niches: book cover illustration. Her artistry adorns fiction and nonfiction covers including “Making Our Way Home: The Great Migration and the Black American Dream” by Blair Imani from Ten Speed Press, “Shirley Chisholm is a Verb” by Veronica Chambers from Dial Books/Penguin Random House, and “Stamped (for Kids): Racism, Antiracism, and You” by Ibram X Kendi and Jason Reynolds from Little, Brown Young Readers.

Other creative collaborations have included publications and media houses like The New York Times, National Geographic, Variety Magazine, Complex Magazine, MTV, and Playboy. Yet Baker doesn’t exclusively work within the media world; notable clients include NAACP Legal Defense Fund and Ulta Beauty.

You can check out more of Baker’s work here on Creatively and @hellocreatively on Instagram.

What is the first creative project you remember?

I drew a “Frog and Toad Together” comic in my second-grade class for a project. It was the first time I remember being fully invested and consumed by my creativity as a child.

Describe your aesthetic in three words.

Dreamy. Musical. Hopeful.

What was the most fulfilling collaboration you’ve worked on?

Working on “Shirley Chisholm Is a Verb” with Veronica Chambers was amazing. It was my first job working on a children’s book, so I went wild with colors and a different art style. I illustrated the life and story of such an incredible icon. I also drew my niece into one of the illustrations, so it was fun seeing her face when she opened the book for the first time and recognized herself.

What’s one creative project that taught you something fundamental about yourself?

All of my creative projects teach me to value my time and talent more. The more fun and freedom I can have, the more I love the finished product.

Do you think creativity is something you’re born with, or something you’re taught?

I think that everyone is born with creativity, but it is something that can be stunted and lost. Teaching creativity can be hard, but fostering and nurturing it within yourself and others is the best thing you can do!

What’s the last dream you had?

I’ve been having a lot of bad dreams/nightmares lately, but the last good dream I had was a recurring one where I’m riding through the woods on the back of a giant black cat at dawn.

One hundred years from now, what do you hope people write about your work?

I just hope that people can see the beauty that I see in them translated into my work and that it inspired them to make something beautiful of their own.

Follow @rachellebaker on Creatively.

Creatively is more than a platform—we’re a creative collective.

Questions or feedback? Email us at feedback@creatively.life.

Sebastien Courty is reinventing how the art world views textile art. Fascinated by the diversity of craftsmanship that textiles offer, Courty’s work is a decorative art approach. The play of texture, material, and color allows him to reimagine textiles by using traditional crafts such as weaving, embroidery, or batik.

Beginning his practice with silks, he now works with more prestigious and unexpected elements such as banana fiber, tobacco leaf, gemstones, and 24K gold threads. More recently, Courty has adopted a thread-drawing technique, laying precious threads next to one another to create 2D visuals, as seen in his “United Women” series.

Originally from France, Courty now works from his Brooklyn-based textile art studio. His work has been exhibited worldwide, including “White Print” in Paris, “Non Washable” and “Angles in Cubism” in New York, “Unknown Empire” in Beijing and the internationally-acclaimed “Totem – A Wall’s Jewelry” in Dubai, France, and New York. Earlier this year, Courty received a CODA Award for his work “Saudi Unity,” a series of twelve totems for the US Consulate in Dhahran.

You can check out more of Courty’s work here on Creatively and @hellocreatively on Instagram.

What is the first creative project you remember?

The first creative project that I worked on was right after I finished art school in Paris. I was about 20 years old and organized my first “Textile Art” exhibition. Back then, I was obsessed with silk. I remember using iron and copper sheets to rust and deteriorate the fabric, burning the edges, and using concrete or plaster to shape it a certain way. I even used melted wax on painted silk to create new textures. It was messy and experimental; I loved it! Now, I work with more prestigious and unexpected elements such as banana fiber, tobacco leaf, or 24-karat gold threads. But my first desire in any of my creations is always to combine precious, elegant, and refined components with something rough, dirty, and unrefined.

Describe your aesthetic in three words.

Delicate, conversational, and multicultural.

What was the most fulfilling collaboration you’ve worked on?

A collaboration that was truly fulfilling was the “Gold Shirt” tribute to Nelson Mandela. Inspired by one of many batik silk shirts Mandela used to wear, I designed a shirt entirely handmade with 24-karat gold threads. From the handwoven fabric to the hand-embroidered patterns, the shirt became a mesmerizing sculpture. Honoring Nelson Mandela’s legacy and wisdom, the gold represented his tenacity, his energy, and his rarity—everything this man was to all of humanity. In collaboration with Johnathan Schultz and the Nelson Mandela Foundation in South Africa, this shirt was in production for nearly a year.

What’s one creative project that taught you something fundamental about yourself?

The beauty of being an artist is that every single project teaches me something new and enables me to discover an aspect of myself I didn’t know I had. The most important thing I had to learn is that whatever project or new work of art I am working on, I shouldn’t stop or give up until it is accomplished. No matter how many doubts arise during the creative process, I need to see things through and complete the work. Only then will I have a full understanding of the work and what to do next. The series of portraits created using the thread-drawing technique is, by far, the most challenging collection of them all. This technique consists in laying precious threads next to one another to create a 2D visual. Drawing with a thread is a technique I developed recently and as easy as it may sound, it was months of dilemmas. My creations are meticulous and require much patience which is sometimes disheartening. I found out that my curiosity was stronger than my patience. The excitement that drives me to see a new artwork for the first time pushes me to finish the job and keep the productivity going.

Do you think creativity is something you’re born with, or something you’re taught?

I was definitely born with it. I have been really creative since I can remember and I am sure my mom could share a couple of fun stories. That being said creativity is one thing, mastering one’s art is another. Practice and hard work are essential to living off your creativity. I practiced, failed, practiced again, and failed again until learning from my mistake became a pleasant part of the creation process, and an essential path to success.

What’s the last dream you had?

I find it very difficult to recall my dreams. The last one I remember quite clearly was about travel. I think I had the power to teleport myself or some sort, and in the blink of an eye, I could be in any location of my choosing. I believe it started in Singapore; I was discussing with a friend about the logistics for an upcoming exhibition. I, later, seemed to be in Dubai where I was working on a large art installation for a lobby of an office building. I, then, went to Japan to purchase a large quantity of 24 karat gold and silver threads to finally ended up in Central Park eating a hotdog… go figure!

One hundred years from now, what do you hope people write about your work?

When I decided to specialize my practice in textile and fiber I wanted to challenge people’s minds. Textiles transcend the dimensions in which design encounters art in a prospective muse. My vision of textile art moves fabric-based works beyond the category of woven tapestry into a more conceptual practice that embraces strategies otherwise found in painting, sculpture, and architecture. Not limited to fibers, my work encompasses any materials that allow thread-drawing or hand-weaving methods inter alia to invent contemporary textile art.

One hundred years from now I hope people will look at my work and realize that textile has indeed its place in front of the art scene, in art galleries and art collections. More than critics from the art world and art lovers, I hope to inspire new textile and fiber artists around the world. I hope to convey a certain confidence and proof that working with textiles and fiber is recognized and appreciated as much as any other art form.

From a different point of view related to the subject of my work, I want my creations to bring a voice to communities that need to be heard and cultures that deserve to be celebrated. I want questions to be asked and answered. I want my work to open conversation and debates, but most importantly I want my work to emphasize a feeling of mutual respect and personal expression. My work is an invitation to travel and discover parts of the world one has yet to explore.

Follow @sebastiencourty on Creatively.

Creatively is more than a platform—we’re a creative collective.

Questions or feedback? Email us at feedback@creatively.life.

Call it eavesdropping or art, but artist and illustrator Colin Tom‘s “Overheard New York: Lurking Along Canal Street” series is a damning characterization of downtown NYC culture. As a cartoonist for The New Yorker, Tom embeds his acute observation of social environments and translates individual soundbites of conversations from passersby into ironic vignettes.

“Overheard New York” is but one of the several New Yorker cartoons that Tom has contributed since 2015. Illustratively, he often incorporates objects that he’s drawn repetitiously to the point of iconography, mixing and matching forms to create a punchline that is just out of reach. Tom flexes his keen observation skills to work individual human truths into broad tropes that warrant Instagram Story reshares.

Tom has participated in several fine art and design exhibitions in New York, Mexico, and Paris. He has also worked on visual branding and design for Mumford Brewery, a Los Angeles independent brewery; Bitchin’ Sauce, a family-owned and operated almond-based dip company; and Burrow, a modern furniture company.

You can check out more of Tom’s work here on Creatively and @hellocreatively on Instagram.

What is the first creative project you remember?

When I was four years old, I had a magnetic drawing board on that I could draw an image and then quickly erase when I pulled the slider across the board. I would draw, erase, and repeat, like I was getting repetitions in. I drew fast and communicatively, almost like I was writing. I would gravitate toward recurring images and characters. My first distinct memory of that time was drawing a circle with a face, stick figure arms and legs, and a line across the midsection to represent pants. That was my first character.

Describe your aesthetic in three words.

Broadly, personal, lines.

What was the most fulfilling collaboration you’ve worked on?

The ongoing practice of drawing cartoons for The New Yorker is the most fulfilling collaboration I work on. There aren’t any prompts or guidance from the editors, really. I give them drawings, and they’re accepted or they aren’t. (The majority of submissions aren’t.) It’s fulfilling in the sense that what gets published is all me, and what I draw is often hyper-personal within a broader trope. I’m always honored to have these drawings included in a magazine with such accomplished writers and artists.

What’s one creative project that taught you something fundamental about yourself?

I did a long-form piece for The New Yorker titled “Overheard New York: Lurking Along Canal Street,” in which I was asked to sleuth around an area of New York and illustrate snippets of overheard conversation. My chosen area of Canal Street and the environments I observed were just an extension of my personal life. It’s an area I bartended in, socialized, skateboarded, and ate Chinese food in for a decade. The publication and positive response to the project reinforced the idea of creatively staying within myself. Nobody can do you as well as you, so work with what you know, even when you feel a self-constructed or external pressure to make something more than just yourself.

Do you think creativity is something you’re born with, or something you’re taught?

I think some people are born with certain compulsions that can be channeled into a creative outlet. Showing up is half the battle of any practice, and if you show up out of necessity rather than choice, you can be a prolific creative. That being said, everyone has their own perspective and can create. Even if you think you’re objectively bad at something, that can be your edge if you apply it properly. Creativity can certainly be taught and learned; it’s just a matter of whether that person is motivated to continue showing up and chipping away at it.

What’s the last dream you had?

My alarm sounds, and I wake up early to answer emails in my underwear while I’m eating breakfast. I sit at my laptop, locked in for hours, still in my underwear, and work through my most tedious obligations with militant discipline. I feel very “Wow, look at me; I’m doing this” about it. Then my alarm sounds in real life, and I’m late, and everything is overdue.

One hundred years from now, what do you hope people write about your work?

That I resonated with people. That I illuminated something in them that helped them feel something in themselves. That I look great for a centurion, and I shouldn’t take any written criticism of my work personally.

Follow @colintom on Creatively.

Creatively is more than a platform—we’re a creative collective.

Questions or feedback? Email us at feedback@creatively.life.

With the Instagram moniker @portraits, Jeff Vespa is quite the accomplished celebrity photographer. One quick scroll through his profile, and with the sheer number of A-listers, you may feel like you’ve wound up on Getty Images. That is no coincidence—Vespa was the co-founder of WireImage, one of the largest entertainment photo agencies in the world, and in 2007, he played a pivotal role in its acquisition by Getty Images.

To synthesize Vespa’s achievements since WireImage’s acquisition is no easy feat. In 2009, Vespa became the Editor-at-Large at LIFE.com, a role stemming from a childhood love for the magazine’s signature photography style. Then, in 2010, he partnered with Kathy Grayson to pick up where Deitch Projects left off by opening the art gallery The Hole, which recently expanded to LA. During that span, Vespa was also West Coast Special Projects Editor at Los Angeles Confidential Magazine for 7 years.

In the last decade, Vespa founded Verge.is. With a knack for identifying young talent at film festivals, the digital magazine featured actors Timothée Chalamet, John Boyega, and Olivia Cooke—all photographed by Vespa before their “big breaks.” Outside of photography, he also runs a film development and production company. He’s directed Abbie Cornish in Paris Song (Amre), David Arquette in Nosebleed, and the 2020 documentary Voices of Parkland. Recent production credits include the 2021 Netflix documentary, Chadwick Boseman: Portrait of an Artist. The multipotentialite has also produced for other photographers and fine artists including Awol Erizku and Alex Prager. Most recently, Vespa served as creative director for the 2022 Cannes Lions Award–winning short Save Ralph. He is also partner at Forward Artists and Verge Studios.

You can check out more of Vespa’s work here on Creatively and @hellocreatively on Instagram.

What is the first creative project you remember?

When I was 15 (or 16) years old, I was in the punk scene in Baltimore. In my junior year of high school, I was going to leave Baltimore for boarding school in Pennsylvania. At that moment, I knew that the scene we had was something special. It was like a family we built from kids all over the city from different socio-economic backgrounds. Once I left for boarding school, I knew this magical period in my life would disappear. I knew I had to document it so I could capture the moment. So, I took my mom’s Canon AE-1 camera and took photos of all of my friends, the punk club, and the bands we were watching. Those pictures were my first true art series of photos, and I used them as my portfolio to get into college at the School of the Visual Arts in New York. I still look at those pictures today— I am so happy I took them. A few years ago, I showed my friends from Baltimore, and they freaked out because most of them had never seen the photos. They really capture the spirit and energy of our punk youth.

Describe your aesthetic in three words.

Truth, honesty, emotion. When you go to my website, the first thing you see is “Storytelling. Capturing emotion. Keeping it real.” So basically, the same idea.

What was the most fulfilling collaboration you’ve worked on?

I produce, as well as direct. I find that my most fulfilling collaborations are when I am helping someone else realize their vision. I currently produce for the photographer and fine artist Awol Erizku. I recently produced a series of photographs shown at Gagosian in New York.

The most fulfilling project we did together was the TIME cover of Amanda Gorman. It was a crazy project. On the day of the inauguration, I watched her read her poem (like we all did). I immediately felt that we should make a movie about her reading the poem as a way to capture and memorialize the moment. But I didn’t know Amanda, and it would probably be impossible to get her to do a film with us.

Cut to a week later: I get a call from Awol, telling me that TIME wants him to shoot a cover of her! Blown away, I told him my idea about the film. He pitched it to Amanda, and she went for it. We did the shoot, and the film we made of her was super powerful. The issue came out, and Hilary Clinton retweeted the cover. It was one of those special moments we all work for in this business. It was definitely a career highlight.

What’s one creative project that taught you something fundamental about yourself?

My first feature film Paris Song taught me so much. I have been working on directing a feature for many years and I was fortunate to finally do that with this film. One of the main things it taught me was to persevere. I was hoping to make a feature right out of film school, probably like everyone else that goes to film school. But it took over 20 years to finally direct a feature film. I think the biggest lesson is you have to always follow your dream no matter how long it takes.

Do you think creativity is something you’re born with or something you’re taught?

Well, that is a tough question. I believe you are born with creativity, but it is also environmental. The way you are raised has a huge part in nurturing your talent. You may be taught in infancy before you even realize it.

In my case, I have always felt I was born this way, but I also did some personal excavating about my childhood and pieced together a theory about my visual and aesthetic sensibility. There was a photographer that my family was friends with when we were little kids. My parents got her to do photoshoots of me and my brother when I was around one and he was around three. The photographer put together a little bound book of the images. There were also prints of those photos around the house.

A few years later, she photographed us again, and I remember her coming a few other times. I used to look at that book all the time growing up and her other photos. She was a really great photographer and made me and my brother look like we were in LIFE. I believe strongly that her photographs taught me what a photograph should look like. Later, I fell in love with LIFE and its photography style. I believe her photographs trained me to see the way she saw. Of course, my brother didn’t become an artist, so I still feel you are born this way, but your environment and the encouragement you receive make a massive difference in having that natural talent expressed.

What was the last dream you had?

I really don’t recall my last dream. But I will say that I often come up with film ideas when I dream. Sometimes, when I’m dreaming, I feel like I am watching a film, with known actors performing. I love those dreams; I wake up and immediately write down what I saw. There is still a crazy dystopian sci-fi movie I want to make from one of my dreams.

One hundred years from now, what do you hope people write about your work?

When I was a child, I used to visit the Met and look at the Caravaggio paintings. I always felt that I could hear the artist speaking to me through the paintings. The ideas he was trying to get across, the emotions he was expressing, his worldview—I could feel it all. That feeling has always driven me as an artist. The idea that 100 years from now, a child will see my work and feel moved by it.

Follow @JeffVespa on Creatively.

Creatively is more than a platform—we’re a creative collective.

Questions or feedback? Email us at feedback@creatively.life.

Hispanic Heritage Month reminds our community of how ingrained Hispanic influence is in contemporary creative industries and our culture. One leader in creative entrepreneurship is Shannon Maldonado, the founder and creative director of YOWIE, the acclaimed Philadephia-based home and lifestyle shop, and soon-to-be hotel.

Maldonado, who is half-Puerto Rican, is no stranger to creative pursuits. Learning how to sew at age 10 led her to study at the Fashion Institute of Technology. After graduating with a degree in fashion design, Maldonado worked with brands like Ralph Lauren and Urban Outfitters for over twelve years. But, in 2016, Maldonado brought a new creative vision to life to satisfy her entrepreneurial spirit: YOWIE, a brick-and-mortar hub for eclectic tastes. At the intersection of Maldonado’s love for design and community building, the YOWIE brand has collaborated with Nordstrom, Fred Segal, Lisa Says Gah, CB2, and more for curated shopping experiences.

Despite her small business’s immense success, Maldonado continues to explore new ventures. This fall, her brand will expand with YOWIE Hotel: a boutique getaway featuring retail space, a studio, a cafe, and eleven curated hotel rooms. Outside of YOWIE, Maldonado engages deeply with her community of fellow small business owners as co-creator and host of Small Enough, a series that aims to celebrate the humanity behind entrepreneurship. Maldonado is also the creative director at two boutique hotels, The Deacon, in Philadelphia, and Dye House, in Olneyville, Providence, RI.

You can check out more of Maldonado’s work here on Creatively and @hellocreatively on Instagram.

What is the first creative project you remember?

The first creative project I remember is making small felt pouches that I gifted and sold to kids in my class. My mom taught me how to sew when I was around 10, and I started making these color-blocked little bags to test my skills.

Describe your aesthetic in three words.

Minimal, nostalgic, colorful.

What was the most fulfilling collaboration you’ve worked on?

My first interior design project was The Deacon in Philadelphia. I was challenged with reimagining the interiors of a historic Baptist church that was transitioning to a boutique hotel. My late grandmother was very connected to her church, and I wanted to honor the space’s origins. I wanted to highlight its many beautiful features—the original stained glass, vaulted ceilings, and gold trim—but also add modern pieces that would complement it. The Deacon has been my hardest project so far, with so many learning curves. But, three years later, it’s the one I’m most proud of. Some original members of the former congregation have even visited and shared how the space’s mission for gathering and celebrating has been captured through our design. I know, somewhere, it’s making my grandmother smile.

What’s one creative project that taught you something fundamental about yourself?

A recent client project completed during quarantine reminded me of how much I crave collaboration and feedback in my work. In my former life working in fashion, I worked with cross-functional partners to see our projects to the finish line. With my consulting studio, it’s mostly myself working directly with the client. Since this project happened during quarantine, there were fewer face-to-face meetings and more urgency to complete, leaving less time to brainstorm. Towards the end, I realized that creative collaboration with clients is fundamental to my process and something I will push for in every project moving forward, even if we’re in a time crunch.

Do you think creativity is something you’re born with or something you’re taught?

I think both are true. I’ve been making things since I was a child. Being creative is something my mom both passed down and encouraged in me. I also have friends who have found creativity later in life after trying their hand at other ventures.

What’s the last dream you had?

I recently dreamed about a podcast host I listen to accidentally giving me his notebook full of jokes and story ideas. HA!

One hundred years from now, what do you hope people write about your work?

I hope that people find my work inspiring and thoughtful. From day one, I’ve sought to highlight and champion the work of others, and it’s something I’m very proud of! There is so much research, self-reflection, adoration for design, and discovery that goes into everything I do. I hope that continues to be prevalent and resonate with people as my practice grows and evolves.

Follow @ShannonMaldonado on Creatively.

Creatively is more than a platform—we’re a creative collective.

Questions or feedback? Email us at feedback@creatively.life.

Hispanic Heritage Month reminds our community of how ingrained Hispanic influence is in contemporary creative industries and our culture. One leader in editorial photography is Raul Tovar, a fashion photographer and director based in New York City.

The Mexican-born photographer is widely recognized for his polished approach to the female form. Deriving inspiration from women’s movements, Tovar embeds his mission to evoke feminine strength by always making his subjects look their absolute best. Tovar moved to New York City, in 2011, where he started assisting legendary photographers David LaChapelle and Ruven Afanador, before booking his own shoots.

Fast forward, over a decade later, Tovar’s photography can be seen in publications such as Vogue México & Latin America, Vogue Brasil, L’Officiel, and Harper’s Bazaar. His subjects range from supermodels; Christy Turlington, Irina Shayk, and Kendall Jenner; to global musicians, including Rosalía and Maluma. Stand-out commercial clientele includes Neiman Marcus, Chanel, Longchamp, Christian Louboutin, and more.

You can check out more of Tovar’s work here on Creatively and @hellocreatively on Instagram.

What is the first creative project you remember?

Perhaps, it is the quintessential solar system project they ask you for in elementary school. I remember staying up all night and going all out using neon paint, lights, and glitter to make my project stand out.

Describe your aesthetic in three words.

I always struggle with that word… but, someone once described my images as if all the models were “hot” in them. I like to describe it as “polished and refined.” I’m so inspired by the female form; I aim to always make my subjects look their best.

What was the most fulfilling collaboration you’ve worked on?

There are so many projects that are close to my heart, mostly because of the people who helped create them. Most recently, I had the opportunity to work on a project (soon to be released) with Angolan model, Amilna Estêvão, who I had seen everywhere before. Her energy on set and her desire to make beautiful images struck me, and I will remember that for a long time.

What’s one creative project that taught you something fundamental about yourself?

As cheesy as it sounds, the more projects I do the more I learn from my mistakes; that’s why going through my past images is always terrifying, but also necessary. Earlier this year, I directed a video for the Met Gala with Spanish singer Rosalía. Given the nature of the project, it was a crazy day in which I had to wear so many hats and please so many people, while also doing my job. I learned that if I stay focused and on a positive mindset I can achieve almost anything; I also learned that I have more patience than I thought!

Do you think creativity is something you’re born with or something you’re taught?

I believe that every human being is creative in their own way, but I also think that creativity and the brain are a muscle that you have to exercise every day by writing down your ideas, creating new projects, and working constantly.

What’s the last dream you had?

I read somewhere that as humans we dream every night. However, I can never remember my dreams. Often, I’ve dreamed that I found myself naked in the street or that I lose my teeth.

One hundred years from now, what do you hope people write about your work?

We have access to so many images today that I can only hope people write about my work while I’m alive; they can say whatever they want, I just hope they say I was easy and fun to work with.

Follow @RaulTovar on Creatively.

Creatively is more than a platform—we’re a creative collective.

Questions or feedback? Email us at feedback@creatively.life.

Hispanic Heritage Month reminds our community of how ingrained Hispanic influence is in contemporary creative industries and our culture. One leader in film production is Cynthia Ángel, a filmmaker and owner of D L A Films, based in New York City.

Raised by her Colombian immigrant parents, the Queens-borough native grew up with a love for storytelling that centered on immigrant, Latinx, and Indigenous communities. That early passion for stories translated into a career in filmmaking, once she left college. Ángel broke into the film industry as a production assistant for a VFX company before being swiftly promoted to production manager. Soon after, Ángel pivoted to commercial production. The Latinx filmmaker has won multiple Clios and Cannes Lions for her campaign work for Spotify, Google, Nike, VEVO, and Amazon.

Yet, in 2020, Ángel’s desire to expand into longer-form storytelling led her to found her own creative studio—D L A Films. The BIPOC-and woman-owned production company champions diversity in front of and behind the camera, partnering with forward-thinking brands, genre-defining artists, and the brightest creatives, such as Puerto Rican reggaeton sensation Bad Bunny. Ángel is currently in post-production on SUN, D L A’s first feature-length film project.

You can check out more of Ángel’s work here on Creatively and @hellocreatively on Instagram.

What is the first creative project you remember?

My third-grade science project. I was fascinated with the planets, the universe, and the vastness of space. We had a week to complete our solar system. My parents are Colombian immigrants who worked two jobs to make ends meet, meaning they’d arrive home late every day, usually past our bedtime. Every night that week, I patiently waited for my dad to come home to help me with the project. I’d show him my progress and translate my notes. He knew about the solar system from school, so he’d give me suggestions on how to improve it. We created the planets from different materials like styrofoam; the earth was made from a handball, and the sun was a glow-in-the-dark rubber ball I stole from my sister. I painted the planets meticulously. It’s a memory that I am sure many of us can relate to but what makes it so special, in retrospect, is that my father, as tired as he was, worked with me to make the most beautiful solar system with enthusiasm and delight. I’ll never forget how much he encouraged my interest in science. The dedication to school projects my father inspired later turned into dedication to my productions.

Describe your aesthetic in three words.

Timeless. Queens. Chic.

What was the most fulfilling collaboration you’ve worked on?

I didn’t go to film school. Coming from a working-class background and public school, becoming a producer was not in the realm of possibilities. I loved movies and fantasized about being Clarice in Silence of the Lambs. So, I went to John Jay College and studied Forensic Psychology. The reality of that career was morbid, and I discovered my real passion for filmmaking while taking an elective drama class. Once I graduated, I got an entry-level position at a VFX company where I worked double shifts to learn as much as I could about production. I worked my way up the ranks, and after a few years, I was able to go freelance and work for production companies. After a year, I received a call from the American Museum of Natural History with an offer to be the associate producer for the Hayden Planetarium space show. This was very exciting for me, an organic continuation of my childhood fascination with the universe. The icing on the cake was that I was also offered the opportunity to produce the pre-show, which would play before the main attraction, all by myself—my first real producer credit! I visited the museum before accepting the job because I wanted to make sure that I would be able to bring my perspective to the table and make something unique. The previous pre-show was a rote photograph and text slide show, which did not engage visitors. I knew I had to change that. Extremely excited about the prospect of creating something new, inspiring, and cinematic for the pre-show, I accepted the job. This was my first production from concept to execution. I assembled the creative team and crew and managed every aspect, including post-production. Taking inspiration from Close Encounters and ET, we created a 10-minute short film that introduced the concepts explored in the main show through a young girl’s nocturnal interaction with magical objects in her bedroom. We worked closely with Neil de Grasse Tyson and Carter Emmart on scientific accuracy. We secured Neil Davidge from Massive Attack to provide the score. Our crew was stellar. The budget was tiny, but so many friends, vendors, and partners supported us. Our team created something impactful and cinematic that inspired all the visitors who visited the planetarium. The President of the Museum asked if I had hired Steven Spielberg after she first previewed it. Watching the pre-show for the first time in front of my family and an audience was priceless. The film played alongside Dark Universe 13 times a day for seven years, making it the most viewed piece of content I’ve ever produced.

What’s one creative project that taught you something fundamental about yourself?

Every project has a lesson. Once production freelancing was no longer a challenge I went in-house at a tech company where I became the in-house producer. I was now the client. I had the opportunity to bring many projects to life with A-list musicians and artists, often on extremely tight budgets and timelines. I pulled off many miracles to bring these projects to life. Mine was a desirable position but my heart was longing to be making my own projects, so at the end of 2019, I left the cushion of my corporate job to produce my first indie narrative feature film—SUN. SUN is a horror film that takes place over the course of one night in NYC. We had a micro-budget and a grueling schedule full of overnights. It was challenging! But I leaned into my resilience and strength as a thoughtful creative leader. Together we achieved so many feats. Many people on our team were shocked that I was able to source locations, manage to cast, and lead wardrobe styling on top of producing the film. We assembled a mighty crew and managed to shoot on 35mm film. This film has been my biggest accomplishment.  I learned that my perseverance and passion for what I do is magical. I also learned that sometimes things don’t go as planned and that is okay. In film, we are trying to control an uncontrollable universe and sometimes you have to trust that the universe will take care of you! You can’t let fear dictate your decisions. I took a risk but I stuck to my vision and my dream. Of course, the pandemic caused a delay for us in post-production, but we are now getting ready to release the film!

Do you think creativity is something you’re born with or something you’re taught?

I think it’s a combination. I believe all humans are born with imagination and have the ability to dream, but it’s like a garden that needs to be nurtured in order to flourish. When my dad sat with me after a long day of work to help me with my creative projects, it showed me the importance of commitment and teamwork. When my aunt brought her film camera to document our family gatherings, it showed me the importance of storytelling and documenting life. When I didn’t have access to media or creative classes in high school, my growth in my creativity paused. There were moments that sparked my curiosity, but I didn’t have enough access to the tools to explore them fully. I had an interest in film and photography, but this didn’t flourish until I attended college and took an elective class. It is for this reason that I decided to start my own company and be the inspiration that I needed growing up. I am building the kind of company I wish I knew about as a kid and wanted to hire when I was on the client side. I’m creating a place where diverse leadership matters and my rich culture permeates every aspect of a project. I sometimes pinch myself because I get to work with so many talented creatives from all walks of life, and, most importantly, I have the opportunity to give opportunities. It’s something I want everyone to have access to.

What’s the last dream you had?

It was strange. I was on a futuristic rooftop that had a pool and a woman was hanging out as the sun set while having a drink. The woman felt an alien creature float into her body. The creature was trying to find a way to get out. The woman could feel the sensation of something swimming inside her. This caused her to get up and move in a strange hypnotic dance. As she moved she wondered to herself what the creature was. Suddenly the creature came flying out of her ear and she caught it in her hand. And then the setting changed and I was directing Billie Eilish on a set with a motion control camera. Strobes began firing and I directed Billie to dance in the same hypnotic way as the woman did. As she danced her outfit changed many times with each change becoming more futuristic and avant-garde seemingly illustrating the passage of time. Billie mastered the choreography perfectly and I called out “cut.” Then I woke up.

One hundred years from now, what do you hope people write about your work?

I hope people will write about my legacy and the impact that I’ve been able to achieve through my work and my company D L A Films. My mission is to spread joy through filmmaking, uplift others, and create beautiful and meaningful stories. I want to inspire the next generation. I want to open the door for those who don’t have financial means or access to creative pursuits. I want to show people that it’s not impossible to chase a dream as long as you’re persistent and true to your vision. Storytelling is the oldest form of education and I want to nurture and create an environment where that is celebrated and passed on for generations to come.

Follow @cynthiaangel on Creatively.

Creatively is more than a platform—we’re a creative collective.

Questions or feedback? Email us at feedback@creatively.life.

Hispanic Heritage Month reminds our community of how ingrained Hispanic influence is in contemporary creative industries and our culture. One leader in photography is Greg Swales, a fashion, lifestyle, and advertising photographer based in New York City.

Originally from Vancouver, the Canadian-British, Cuban fashion photographer comes from an early education in drawing, painting, and directing short films with his brother and friends. After graduating with a BFA in Photography, he moved to Havana, Cuba, to take art workshops and work on several photo essays, exhibited in Cuba and North America.

Swales is no stranger to celebrity photography, as one of the most recognizable photographers in the industry. Known as the official photographer of the Kardashian/Jenner family, his expansive portfolio including shots of Kim Kardashian, Nicki Minaj, Rosalía, Pharrell Williams, Ricky Martin, and more. He has also worked with acclaimed brands and publications such as Versace, Jean Paul Gaultier, Harper’s Bazaar, and GQ. Outside of photography, Swales doesn’t stray too far from his fine arts roots—he is also an accomplished painter. 

You can check out more of their work here on Creatively and @hellocreatively on Instagram.

What is the first creative project you remember?

The first creative projects I did as a kid was writing scripts and making little movies with my friends using my dad’s camcorder.

Describe your aesthetic in three words.

Vibrant, powerful, sexy.

What was the most fulfilling collaboration you’ve worked on?

The most fulfilling collaboration I’ve done was with model Jazzelle in Joshua Tree for Harper’s Bazaar Arabia.  She is one of my favorite muses, and every element I love was there: unusual and innovative high fashion, exotic location, the perfect natural light, sensuality, strangeness, and boldness.  No one had to make any sacrifices or compromises because every team member was on the same page.

What’s one creative project that taught you something fundamental about yourself?

When I was in university, I assigned a photo project to photograph the street that I lived on. I hated that assignment because I thought my street was, aesthetically, very boring. I did a series that I ended up loving and had framed on my wall after for over a decade. I learned that if you look for it, you can find beauty almost anywhere.

Do you think creativity is something you’re born with or something you’re taught?

I personally believe that a visual artist is born creative and with the instinct to create.

What’s the last dream you had?

Last night I had one of my recurring dreams, that I actually have not had in a long time, but always feels like it comes at a time of significance, and that I am meant to be aware of something. The dream is that I lose all of my clothes in public. Usually, I feel vulnerable and judged, but to be honest, thinking about it now, this time I don’t. I think that’s a big step forward for me.

One hundred years from now, what do you hope people write about your work?

One hundred years from now, I hope that people will remember me as a photographer who always made people look and feel their absolute best. As a painter that told multiple stories in a single image.

Follow @gregswales on Creatively.

Creatively is more than a platform—we’re a creative collective.

Questions or feedback? Email us at feedback@creatively.life.