The Los Angeles-based artist tells me how her work is an authentic, unadulterated expression of what inspires her most, why the pointed messages in her work make it much easier for her to align with like-minded clients, and what she expects of her fellow artists.
Read MorePart Speakeasy & Part Speak Out, The Lady Factory Exports Empowerment
Earlier this week, a one-of-a-kind "pop-up museum" appeared in San Francisco. Named "The Lady Factory," it's part speakeasy, part speak out. Clemence Pluche tells us why it was the perfect time for "a super-shareable, ultra-Instagrammable set of installations embedded with stories and subtext about women’s real lives in 2018."
Read MoreKelsey Bryden Uses Design to Address What Matters Most to Her
Kelsey Bryden Uses Design to
Address What Matters Most to Her
MIKE O'DONNELL / EDITOR
There's often a social edge to Brooklyn-based WNW Member Kelsey Bryden's work. She sees her freelance career in Art Direction and Design as a unique opportunity to open up a conversation about what matters to her the most. Design becomes more than just a vehicle to express herself, but also a means to bring people together. It's rewarding to see the ways that Kelsey pushes herself to explore new methods in her mission, whether it's set design or photo-illustration or jewelry made of tampons. "They portray tampons as luxurious items, in the same way the government imposes a luxury tax on feminine hygiene products. I’m proud of this project for calling out the absurdity of taxing female health, as though it were not a priority or basic human right."
If you're unsure of how to start getting political with your work, Kelsey advises, "Think about the personal experiences you’ve had that made you feel a certain way, and let those be the foundation."
Tell us about your creative background. Who is Kelsey Bryden and how did she get here?
My dad was an art director and a painter. He had a terminal illness that progressed as I got older, so I strove to find ways I could emulate him. I took classes at great art universities in the summers when I was in high school, although I still didn’t feel very artistically inclined.
When I started as a full-time college student I was studying business at an art school. The truth that I held onto as early as I could remember was that I wanted to have my own business, be my own boss— hence the choice in major. But thankfully, being in the art school environment led me to design and I started taking design-related internships rather than business-related ones. When I think about it now, freelance design and direction DOES obviously allow me to own a business and be my own boss. It feels like the best of both worlds.
How would you describe your creative style? Do you recognize a signature style that links all of your projects, or do you try to excuse yourself and approach each project as its own entity?
The common thread I’m always striving to insert is obscurity; the something that makes people look twice. It’s also always colorful, oftentimes conceptual.
What do you see as the turning point in your creative career and development?
I worked for a little while at an interactive design agency, but found it to be pretty creatively stifling. I wanted to use my very conceptually-geared mind, which I couldn’t do there. Things changed when I started committing to this way of thinking and making, and when I left that job. Around that time I started introducing photography into my work, which was also game-changing. For years prior I would come up with ideas which I naturally saw as photographs, but it took me a while to realize that I could leverage the way my brain naturally saw things. And that I could be an AD / designer who heavily uses photography!
Which of your projects are you proudest of and why?
For a few reasons, probably the photo-illustrations of the tampon jewelry. It was an idea that I judged in the beginning, and doubted whether it could be executed the way I envisioned. The fact that in lieu of all the self-doubt, I made the images anyway AND they came out beautifully makes me very proud.
On top of that, there’s a lot of meaning behind them. I have a personal connection to the objects (don’t we all?), but more importantly they portray tampons as luxurious items, in the same way the government imposes a luxury tax on feminine hygiene products. I’m proud of this project for calling out the absurdity of taxing female health, as though it were not a priority or basic human right.
Is there often a political or social edge to your work, or do you feel a certain immediacy these days?
Yes! Not always, but I try to incorporate these things for sure. Politically, I advocate for women as you can tell in the project mentioned above. I also wanted to work on a project that responded to the awful, awful event that was the U.S. election, so I designed a set that incorporated famous activist statements. I also asked underrepresented people to appear on the set and say whatever they wanted into a megaphone.
Socially, I love bringing people together, and if I can achieve that in my work I’m happy. People don’t often think social interaction naturally intersects with design, but I think it definitely can. I worked on an experiential storytelling project over the course of a year, and it was a very cool way to meet people and to facilitate other people meeting.
What do you see as the role of an artist in addressing political and social issues through their work? Any advice you can share with creatives looking to do their part?
I think if you’re moved to address these things, that’s great. but it’s not your duty. It’s hard to form your own political opinion, or to distinguish what’s your own versus what you’re hearing, because there are so many other people’s opinions that are being broadcasted all around us. I’d say think about the personal experiences you’ve had that made you feel a certain way, and let those be the foundation.
What’s next for you? What are you working on now?
I'm pushing myself to work more in set design — the idea of creating physical worlds for people to exist in is super interesting to me. I'm also thinking about starting/making a magazine, because I think independent mags are beautiful and cool.
Who are some of your biggest creative influences?
John Waters, Iris Apfel, Rupaul
One book, one album, one movie, one show?
Men Explain Things To Me, Blond, The Handmaiden, Thrones
What do you do when Not Working?
Sometimes I roller skate! Check out the Pier 2 Roller Rink in DUMBO.
What’s the best advice you’ve ever heard or received that our members need to hear?
Send more cold emails!
Who are some other WNW Members whose work you admire and why?
I love Brooke Bamford. I also think Mattiel Brown is very talented. And of course, queen of all things set design, Adi Goodrich.
Anything else you’d like to add?
Slide into my DMs anytime girl.
Discover more creative talent and projects like this on Working Not Working. If you're a WNW Member with new work, exhibits, products, or news to share, email us.
DESIGNER NICOLE LARUE BRANDS THE WOMEN'S MARCH ON WASHINGTON
DESIGNER NICOLE LARUE BRANDS THE WOMEN'S MARCH
ON WASHINGTON
Portland-based Working Not Working Member Nicole LaRue designed the official logo for the Women's March on Washington. We asked Nicole what the biggest influences were when creating this logo. "The needs of Americans today, I think – the need for unity and solidarity and the need for a much bigger voice."
Here are all the details and logistics for the march this Saturday, which currently has 400+ sister marches globally. We've already heard from plenty of Working Not Working Members who are heading to DC. Nicole tells us she will definitely be one of them. We asked her what expectations she has ahead of Saturday. "Expectations? Well, it’s forecasted to possibly be the largest march in U.S. history… I might have the expectation of making history… Does it seem too much to ask?!"
Tell us a little bit about your creative background. Who is Nicole LaRue and how did she get here?
By a rocketship, of course! Okay, no, I do have a degree in what I do. Sometimes helpful, oftentimes not. But I am a graphic designer by degree, turned illustrator with much excitement. I still do heaps of design work, but I’m hired more and more to do both design and illustration and I absolutely love it – it’s truly the best of both worlds for me.
How did you come to design the official logo for the upcoming Women’s March on Washington this Saturday?
It was definitely luck, honestly. A long-time friend and colleague, Amy Stellhorn, contacted me to design one of the directions for the official pitch to the march organizers. Her creative agency, Big Monocle, as well as several others, had been asked by Teresa Herd, the VP Creative Director of Intel, to put together a campaign pitch. It was truly a process that happened overnight!
What kind of research went into designing a logo that honors both today’s movement and the history behind women’s rights? Any particular influences?
There wasn’t any intended historical influence, but definitely an influence of the needs of Americans today, I think – the need for unity and solidarity and the need for a much bigger voice.
What were some of the challenges of branding the Women’s March?
Honestly, just time! Everyone has been frantically trying to pull everything together in the last several weeks – yes, weeks! The logo, for me, was a single day in the making. I believe Big Monocle had as little as a week to gather the right folks and put the entire pitch deck together.
Is there often a political or social edge to your work, or do you feel a certain immediacy these days?
Absolutely a certain immediacy these days. I’d been reeling from the recent election and searching and hoping for a way to be involved in something good and meaningful and strong… I feel absolutely grateful that Amy thought to ask me to volunteer my skills!
Are you heading to Washington? If so, any expectations ahead of your trip?
YES! I’m seriously thrilled to be going. Expectations? Well, it’s forecasted to possibly be the largest march in U.S. history… I might have the expectation of making history… Does it seem too much to ask?!
What other social causes are you most passionate about?
I’m very passionate about women’s rights, human rights, and LGBTQ equality. I’m a gay woman and, in combination, there are some very serious issues that need to challenged!
What do you see as the role of an artist in addressing these issues through their work? Any advice you can share with creatives looking to do their part?
I think we, as creatives, ought to leave room to take on projects that we are fiercely passionate about – ones that pull at our hearts and propel us to take action.
What’s next for you?
Looking forward to the March… After that… conquering the world (with kindness and really cool design, of course)!
Who are some other WNW Members whose work you admire and why?
Kevin Cantrell’s work is rockstar quality. He has some serious skills!
And I’ve always loved illustrator, Jon Burgerman. He’s just cool.
Anything else you’d like to add?
Just a great big thank you.