An Elf at Faerieworlds

A contortionist is bent completely, seemingly twice in half. Someone unfolds from a long silk and threatens to crash to the stage, catching themselves an instant before impact. A stilter does a backbend over a clown, and completes an effortless walkover. A giant fireball blots out the stage.

The flash of a camera and a streak of red curls and you know Pixie is on the scene. With a tippy-toe bounce, and camera as far up as she can reach, another perfect expression of passion. If you've seen any underground circus, belly dance ensemble, aerial artist, contortionist, fire troupe, clown rock band or maniac on stilts, chances are, Pixie has photographed it. She has blown the underground circus and performance scene wide open with a style that encompasses the true essence of her subject, as well as that unmistakable Pixie spirit. As a frequent subject myself, I felt lucky to pull her out from behind the camera to ask her a few questions. ~ Brady

Pixie, as interviewed by Brady

What was the first time you felt the spark to do what you’re doing now? What were some of your first inspirations?

When I was a little-r sprite, I was inspired by moments, by people, music and time passing… Even then, I was aware of time, perhaps through watching my three younger sisters go through predictable stages. I saw definite patterns and phases coming and going. I felt a need to preserve time for them.

It was in my family I guess. My uncle had a darkroom in the basement of my grandparent’s home in Brooklyn. I remember

sneaking into this dark place while my father and uncle were talking by the door. I was six years old and we were supposed to be leaving to go somewhere but my uncle stopped and came over and switched on the light and the whole room went red. There were photographs hanging by wire and trays of strong water and he showed me how it was done. That smell of chemicals and the curtain falling is my earliest fuzzy feeling, a pulse of a drive forming perhaps. It was just a big curious thing to me and stayed with me, that sacred space where paper turns into memories for people. A decade later he gave me that enlarger, his tongs, the trays, all of it and I set it up in my closet just as he showed me how to do it. I read a book about how to develop photos and spent days and nights in that closet making mistakes with light until that enlarger literally disintegrated. Knobs rusted and fell off; tongs got screwy. The digital age swept me up and I’ve never looked back, never taken a proper class, either.

My father is also really into preserving memories for people. He always had these gadgets and things. The first portable video camera

on the block, the first DOS computer. He had a closet filled with film that I kept depleting and he’d let me use his camera, talking to me of f-stops and things I didn’t want to know. I looked at the sun, pressed buttons and some of the prints came out, cool! Trial and error, the story of my life.

A few years later, my parents bought me my own camera. It was a Ricoh XR-10. I started to become inspired by serious things… mortality mostly… and music… One of my first ‘shoots’ with that camera and b&w film was of an orange, with grapes hanging down and ketchup dripping over it like blood. As I got older, stories, symbols and nature were my inspirations… music still, more than ever… from David Bowie to The Buzzcocks, Brian Eno, The Ramones, Joy Division and the like…. I was also drawn into any music

with a hammered dulcimer in it.

When I moved to Manhattan to get my Bachelor of Fine Arts at the School of Visual Arts, I had this walkman and I was so obsessed with merging my love of music and memories that I would often make music videos in my head, closing my eyes to the beat and opening them up some space new. My earliest inspirations seemed to form a crescendo that told me that directing films is where I was supposed to be. Someday perhaps… Right now I’m riding a Photography wave…

What are the challenges of shooting performances and shooting in the studio?

Studio shoots take a lot out of me. I give energy to receive energy in such a visceral way in the studio that it sometimes leaves me unable to move or speak for hours afterwards. My goal in the studio is for my clients to shine, to feel comfortable, bold, sexy, to ease them from a place of held breath to the inevitable zone where they share their art with themselves, and then to me… I will them to bring out into the world their true nature just by being themselves. Studio shoots are most challenging but the most rewarding because when I see these images out in the world, I know there is half of me in them, that it’s some magick that we both made together.

Capturing performance comes effortless to me. It’s easy because the energy is already there. I am always most concerned about lighting. Red light just kills me. I try to get as many angles per performance as possible. I’m small so I tend to climb things to get the shot. I like balconies and speakers. I like silently following performers from their dressing rooms to the stage. I like the process… I can feel their focused butterfly bellies and after the show I can feel their beaming. So I enjoy all of it really, both studio work and performances… They both mean I get to experiment…

You seem to have a rapport with people to always bring out their best side. How is that important and what are your methods?
When people aren’t feeling it, they aren’t going to like their photos. They aren’t going to feel good about themselves or the experience. It’s my job to put my subjects at ease, to create a grounded pathway to their fiercest self. I feel things instantly from people, intuitively. I know where they hide their true selves and I generally know what they need to shine. Sometimes it’s a lot of work to get there but the end result tells their story. It’s work, it’s a process but in the end it’s real.

My shoots typically begin with candles, music and breath… big deep breaths, throwing negativity into the fire, spreading toes to feel

connected, first within themselves…and then to me. After we are centered, anything is possible. “It’s about how you feel!” I

constantly remind them over the music. I give lots of direction and change my mind often but I remind them that my words are only suggestions, that it’s ok to feel what they feel at any given

moment as long as they show it. No hiding. No doubting. No fear. I like to affect people, to cause reactions. I’m a brat, a professional instigator and although I have a few techniques that seem to work, I’m constantly aware that everyone is different and everyone needs different energy from me at different times.

Where does your endless passion stem from?

I see no distinction between passion and excitement. I am excited about everything. I guess it comes from really knowing myself and what I’m meant to do in this world, to have a purpose I guess, a means to get what is inside out of me. To know that my friends and family love and support me propels me in this life as well. It’s hard to be drawn to something, to doubt yourself, dabble in it throughout your whole life without people believing in you. It drives me, all the feedback and encouragement, all the events and people that pass by my lens… These are the things that fuel me.

People use the term "soul" for a lot of things; food, music, trains, but rarely for photographs. Is there a separation in spirit and work? Or does each photo have a little Pixie glitter in it?
This is my life work. Yes, it’s a lot of work but it’s also a lot of life. If I died tomorrow, the people in my life would know how I felt about them through my work. These playful, talented, magnificent, demure creatures that I call my clients are most often also my friends and they would know…. There is no separation in this for me.

Do you remember what your first photos of the circus were?
Yeah, ooof! My babysitter took me to the circus and I was fascinated by the costumes and the jugglers but I only took one photo. I had an oldcamera with me, the kind that takes disc film and the photo was of an elephant on top of a ball. I took this photo because it made me cry. Elephants don’t

belong on top of balls and I had planned to show it to the police to put an end to all circus shows everywhere.

Is there anything you won't shoot?

Yeah, I won’t shoot pervy old men who want me to shoot nudes in various stages of arousal while opening bananas sitting on car hoods.

You are an integral part of the underground circus and performance scene, but that's not all you do. What else do you shoot, and where has that taken you as an artist?

I seem to be most known for my work with The Dresden Dolls over the past 5 years and for my work in belly dance. I shoot for various magazines and for many other bands, troupes, events and other clients. I even shoot an occasional wedding. But my work with dancers and bands seems to spread out to various other communities as well. I am currently leaping into different genres, as opportunities present themselves. My fear of becoming stagnant is cause enough for me to say yes to most things.

Speaking of saying yes, ya wanna make out?

Wow, interviewers sure are bold these days… but you are kinda cute….

Now that you know her a little better you should be warned, upon meeting Pixie side effects may include: Dizziness, eyes popping out, toe crushing due to bouncing of the faery, bearing witness to appearing and disappearing, general all around good feelings.

Second warning: Her boyfriend is a Zombie...for real.

www.pixievisionproductions.com