Recently, I received an email from this insanely talented photographer, Lora Robertson, wanting to know if we could work together on something. The moment I saw her work, I knew that she had to be featured on Get Fueled. I'm in love with her dynamic lighting and her intoxicating and sexy imagery. I look forward to the day we get to work together. 

Lora's creative process : 

Can you describe your creative process in 6 steps or less?

  1. It usually begins with a completely different art discipline; a piece of writing or music inspires and compels me to explain how I feel
  2. A single object can form the entire sensibility of a photo shoot 
  3. A set is built around that look and feel
  4. Lighting is designed
  5. Additional objects are brought in to respond to that quality of light
  6. General composition is achieved; small movements over the course of many hours refine this composition with negative space playing a large role

When do you feel most creative? When I wake from lucid dreaming, usually after an afternoon nap; after seeing back to back matinee movies; a long, winter sleep; the bee dance; experiencing the change of four seasons; walking in a verdant forest.

Where does the initial seed come from?  We are lucky to have a rich art history. If I get stuck, Vermeer's luminous yet somehow hard light solves the problem, or Mapplethorpe's fearlessness, or Delacroix's sense of what a revolution should be. Diego Rivera's highly developed intuitive sense, so evident in works like his Detroit Industry murals, has solved many problems in my own work plus can offer a grounded, deep starting point.

What is the most creative thing you have made or are most proud of. I'm thinking of Twin Star Event, a short film made in response to the beautiful music of composer Ellis Ludwig-Leone:

When you create something, do you follow a linear path? I lay down groundwork of preparation but try to stay open to possibility as it occurs during shooting. Order comes first, and then controlled chaos later. I like to create pristine environments but once that is achieved, I go back and skew it slightly to make it flawed on purpose, like a beautiful woman with a scar on her face.

Do you remember how you made things when you were young? Has your method of creating changed or evolved over time? I have an identical twin sister, so collaboration is a very natural process for me. We were always assembling the neighborhood kids in grand play schemes like clown parades, theatrical presentations, restaurant openings, 25- Barbie doll soap-opera environments. I still believe strongly in collaboration and am a founding director of The Satellite Collective in NYC. My process starts out as interior, but once my head gets messy, I seek out solid critique from a trust-worthy voice and it's at that point that I really get it together. I love to interpret different art forms into my own discipline and am influenced greatly by musicians, choreographers, architects, and poets. There is a liminal space created when translating between art forms and I find myself highly creative under those circumstances. The resulting expression often amplifies the message of the preceding artist and a dialogue is made. Delivering a message in this way makes me feel like I am connecting to people in a profound way, one that is larger than my own work.  

Tell us about the environment you grew up in and who your mentors were. My father had a strong sense of craft and attention to detail, much discipline in his own work on his lathe and basement machine shop. These things come easily for me because of his example, plus piano lessons after school formed a life long habit to work in the studio every day at a specified time even if I don't feel like it. To be prolific as an artist, you must set aside sacred time everyday, where no one is allowed to interrupt.  Ken cooper was my high art school art teacher and first real mentor. He encouraged my creativity in a profound way and I started to thrive as an artist under his direction. His understanding made me realize that the things that made me different and challenging to other people were actually strengths, not weaknesses. Without his influence, I would not be a creative professional today. I still believe mentoring is essential to any artist's growth and it is important to actively seek them out.  

Whose creative process do you want to know about?  Ellis Ludwig-leone

You can see more of Lora's work here here and here