Casilda Garcia: In A Flash
How did you get involved with Adam?
CG: A few friends of mine are painters and Adam has been in the art world for long enough. As soon as I heard about a soon-to-be-released art documentary film on Himebauch, I knew I had to become a part of it. He’s always been one of my favorite New York artists. As soon as I found about it, a few rolls of super 8mm that were stolen back in the 90s –
allegedly by Adam’s assistant – were found. It was almost like magic. I jumped on the project to restore and make a short day-in-the-life film with the found footage. These tapes are extremely valuable as they give us insight into the artist’s most intimate side, from working in his Tribeca studio to walking around downtown Manhattan.
Do you want to do more interviews in the future?
CG: Yes! I have a series of interviews lined up for the next few years in collaboration with the King Juan Carlos I Center of Spain. I’ll be surveying NY-based Spanish artists from all crafts photographers, painters, graphic designers... As a matter of fact, I recently spoke with flamenco singer Miguel Poveda at the Washington Square amphitheater, leading up to his USA concert tour.
Do you shoot the same imagery for film and photo?
CG: When I’m out with friends, I’m always taking pictures on my Olympus MJU II. It’s a great start to film photography. A very straightforward point-and-shoot camera with amazing results. Some of my favorites images have been captured on the Olympus by production designer Pol Agustí. When I’m shooting film, I always have my photo camera with me. Lately, I’ve been very invested in experimenting with analog filmmaking. I wanted to give 16mm Bolex ago after playing with Adam’s super 8mm piece which we are almost convinced it was originally shot on a Minolta XL.
Do you have a favorite of the two?
CG: I am a very immediate person. If I have an idea or feel something, photographing is the fastest way to capture my thoughts. But I would say I appreciate both, I can’t compare. I also jot down poetry when I have to leave trace of an emotion. Film for me, boils over time. I love how as much as you can plan a film shoot experimentation always takes place when actually shooting and finally in editing, when you pick how to tell a story.
How did coming to NYC change your artist perspective from Spain?
CG: It’s ironic because Spain is a land full of talent, production companies like Canada are absolutely killing it. Yet no one believes you can live as an artist. Coming to NYC was the first time I realize you would both thrive and profit in the film world. Living in a city where no matter how young you are everyone is trying to make something out of their art is beyond inspiring.
How did you first get involved with film and photography?
CG: It all happened at NYU. I first arrived in the USA with the intention of discovering what I wanted to dedicate myself to. I started as undecided in college. I soon made friends on the Film & TV program and out of curiosity, started helping out on their sets. As soon as I began taking classes in the Film Department, I instantly realized I wanted to dedicate myself to bridging the gap between art and reality in a fusion of creative producing.
Do you have a particular theme or subject matter that you like to explore?
CG: Ever since I first worked as an Intern at several Vogue Editorial sets, I started obsessing over fashion photography. From the work of veterans like Steven Meisel to today’s leading fashion filmmaker, Gordon Von Steiner. Nonetheless, my biggest inspirations are more grungy, from the New York 90s scene. Especially Davide Sorrenti who fell victim to his glamorization of heroin chic and Dash Snow who took polaroids of his drug abuse, friendships, and chaos in raw medium format. They each have some of the most inspirational documentaries I’ve ever watched, which I definitely encourage other young artists to check out. “Moments Like These Never Last” on Snow and “See Know Evil” on Mario Sorrenti’s younger brother.
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