Today we’d like to introduce you to Reid Calvert.
Hi Reid, can you start by introducing yourself? We’d love to learn more about how you got to where you are today.
I’m from Austin, Texas, and moved to London shortly after graduating high school. I eventually got a degree from Central Saint Martins, where I studied Fashion Communication and Promotion in 2018, and moved to Los Angeles shortly after graduating.
I was introduced to artist Katerina Jebb through one of my favorite teachers at Central Saint Martins and started working with her in Los Angeles and in Paris. I learned so much about how to navigate challenging spaces by studying her work. She’s incredibly meticulous and thoughtful about how she approaches her subjects and it’s incredible to watch her in action. I feel so lucky to know her and have her continued support to this day.
In 2020, I created a body of work entitled ‘Free Yourself’ after moving into my parents’ home due to the pandemic. I realized that restricting myself to a 35mm film camera could help me process the ongoings of the world outside the bubble that I found myself in rural Idaho. Through some trial and error, I was able to figure out that the best way to communicate a visual language to the barren landscapes was by using double exposure. I kept finding words and objects in tattered highway signs and buildings throughout my time driving, which helped informed imagery already captured on a previous roll.
I made a PDF of this work and sent it to every gallery in Los Angeles. Brian Lee-Hughes, the owner of SADE Gallery, was extremely responsive to the work and quickly became a big supporter of my practice. Through many conversations, he was willing to take a chance on me after I showed him a shoot I did with Fish Fiorucci and their life in Brownsville, Texas, which eventually turned into my first solo show.
After this show, I wanted to explore the production side of Los Angeles and reached out to several agencies to see if I could assist an experienced photographer here in Los Angeles. I was directed to photographer Mason Poole through his agent, who sent me on set with him. We quickly bonded, and I’ve been assisting him off and on ever since. Mason’s ability to stay calm and create a comfortable environment when he works while simultaneously creating striking imagery is inspiring. I’m learning so much from him and feel so lucky to have him as a mentor in my life.
Can you talk to us a bit about the challenges and lessons you’ve learned along the way? Looking back, would you say it’s been easy or smooth in retrospect?
I think the key word here is perseverance.
I feel like I’ve had similar struggles like all other artists – financial problems, imposter syndrome, my mental health being in a constant state of ups and downs…I think I have to also remind myself that what I am doing is subjective. Not everyone is going to gravitate towards what you are doing, but when you find your people, life gets much better and easier.
I found myself in a similar headspace to the pandemic late last year, and I hope through this new series, ‘Exit Routes’, I hope to process some familiar feelings through the same technique I used in Idaho. I’m finding joy in not knowing what the outcome of the film will be, and it’s allowing me to stay focused and present when I take my friend’s and family’s portraits. I am also discovering that a common thread is stringing my subjects together. I’m realizing that not only myself but my peers are currently going through some state of transition, a liminal space. Through this project I am understanding the power and value of capturing this moment in our time together.
Alright, so let’s switch gears a bit and talk business. What should we know about your work?
I think in general; I’m just really fascinated by people and the best way I can process this interest is through a camera.
I made a short film entitled ‘Sly’ for my final project at Central Saint Martins in 2018. ‘Sly’ is a 20-minute pseudo-documentary about a fictional character called Sly that wants to build a cult. However, he’s missing five essential things in his life: love, power, wisdom, a father figure, and fame. I found people or a group that would help embody the things that he didn’t have, such as actors, micro-nation leaders, dancers, a motorcycle sect of Freemasons called the Widows Sons, etc… I found all these people through the internet/Facebook/Instagram.
I learned how to be resourceful through this project. I also got a lot of help from my friends making this film. My friends (amongst many other amazing people) Naomi Afrassiabi and Charles Verni scored and mastered the soundtrack, and my friend Iona Dugdale essentially became my “producer.”
Iona introduced me to a church in north London called the Tin Tabernacle. The church’s interior was transformed to resemble a naval training ship and serves somewhat as a memorial site. I decided to have an exhibit for this project there. On the night of the exhibition, Jack Powers, who played Sly in the film, straddled this phallic cannon wearing a costume designed by my friend, Zoe Armeniades. The idea was that the audience was being called into the space and being lured in by Sly to join his cult. I then had a screening of the film and had my friends play some sets, and it ended up being just a fun party.
I am still so beyond proud of this project. It really helped inform my practice now and how I approach image-making. I realized I love working with people and collaborating. I think it’s important to know your strengths and weaknesses. There’s bound to be someone out there that would be down to help, and you can always learn from other people and their own practice.
Let’s talk about our city – what do you love? What do you not love?
I moved to Los Angeles because I felt like I needed somewhat of a change and to be closer to nature. I love LA’s close proximity to the beach, desert, lakes, and mountains. It’s really unlike any other place in that way. I also love how you can really be whoever you want… I think there really is something with the idea of new beginnings here. I like how the art world converges with the film world and fashion world and vice versa. It’s really refreshing to not feel restricted in how you want to live your life.
I think the downside of Los Angeles is that, unlike other big cities, things don’t really come to you. You have to do a lot of work to find things and people you like. I moved here knowing just a handle of people, so it felt like my first year of college: hustling a lot, going out a lot, searching around. The lack of solid public transportation can also be irritating. Your days don’t feel impulsive and carefree because the city is not designed that way. You also get space here, but it can feel isolating. I guess you really can’t have it all.
Contact Info:
- Website: www.reidcalvert.com
- Instagram: www.instagram.com/reid.calvert
- Other: www.vimeo.com/user48835989
