Dancers

Creatives of NY // Entry #005 // Nicasia Solano-Reed // Painter, Multimedia Artist, and Designer

On June 12th, 2018, I met up with Nicasia in Alphabet City. A near and dear friend of mine, we had both loved Alphabet City during our first year at Joffrey, visiting the community gardens in summer 2013 to find an escape from the gray concrete of the city's sidewalks and to discover an oasis of greenery grown by residents of the neighborhood. As living legacies of the squatter movement in Lower East Side of the 1980's, these vibrant gardens set the stage perfectly for Nicasia's portrait session. 

Allison: Tell me a little bit about your background.

Nicasia: As an artist or as a person?

Allison: Both is fine... how you started out.

Nicasia: I was born in Detroit, and I grew up in a town called Ypsilanti, which is currently being called "the Brooklyn of Michigan". I grew up studying piano and opera and ballet, and I moved to New York when I was 16 to study ballet full-time. I did ballet here for a couple of years, and then I danced in Texas for a little bit, and then I moved back to NYC and I stopped dancing. Now I work at a yoga studio and I do graphic design and visual art. In my spare time I hang out with my cat that I rescued and I enjoy dog-watching. 

Allison: What is your preferred medium as an artist? 

Nicasia: That's a difficult question because I feel like I've dabbled in every single medium that a person could possibly just experiment in, so... I've been in bands. I've been a dancer. I've taken classes in painting, and I've done pottery, but what I really love is multimedia visual art, so I'll create something maybe on Illustrator or Photoshop or InDesign, and then I'll print it out and maybe I'll paint on it and re-scan it, or I'll create something that is maybe just with paint or just with pencil, and then I'll upload it and change the colors and change the contrast or layer it with something else that I've already done, so that is definitely my favorite medium. I'm really into digital stuff right now. 

Allison: What made you decide to pursue art?

Nicasia: I never thought there was another option for me. When I started dancing, I just knew that I was going to be a dancer, ever since I was five, and it just never occurred to me that there was something else that I could do with my life. My hero as a kid was Frida Kahlo, just because she was so strange and I was so strange, and I was just obsessed with the idea that a person could just paint and be themselves for a living. In high school, I started to do some graphic design classes and interior design classes, and I realized that I really really really loved visual art. I knew that if I was going to stop dancing, I was going to keep art incorporated in some way or another, because that's the only way I feel really fulfilled as a person. 

Allison: What fascinates and inspires you to create? 

Nicasia: I'm always pushed by wanting to do more, like I've always had this hunger to evolve my art and not be stagnant, so that kind of inspires me to create and see what else is out there and also see what else I can do and to see which mediums I can further my knowledge of and my skills within. I used to be really inspired by New York - it was like my baby. It was all my inspiration, but since I've lived here for six years I sometimes feel like it's inhibiting because it's so chaotic and it's so loud. It can just be a lot. I'm also really inspired by the people around me, so I've done a lot of art of my partner and his house; I draw inspiration from a lot of places - I'm trying to think of pieces I've done lately and what they look like. It really just depends - it's not anything in particular.

Allison: Who are your favorite artists and how have they impacted your work? 

Nicasia: So, Frida Kahlo, number one. Number two, Yoko Ono, just because the mediums she has spanned across are just unbelievable and she's just so weird and so herself and she's done so much politically, and she's just this fixture of art and of New York, and I think the world would be so empty without her. I'm also a huge fan of Matisse just because the way he uses colors is otherworldly and the way he puts together compositions is unbelievable. I'm also really into Laura Owens right now, and I saw her exhibition at the Whitney and was just so blown away by the magnitude of everything she was doing, and how colorful it was and how, I don't want to say "whimsical" because it makes it seem shallow, but it was just so beautiful and fun to look at. She also does a lot of multimedia stuff. 

Allison: What role do you think art should play in society? 

Nicasia: I feel like more than ever, art is not valued enough because it's being taken out of schools and it's not being funded by the government. There's just a lot of difficult things about it. Since we live in such a corporate society, it's difficult to find a place for art when it doesn't make any money. What I have been trying to do with graphic design recently is offer it as a volunteer basis thing just so you can raise awareness over issues through art. I guess in society it's such a therapeutic thing, and it should be accessible to all kids and adults; that's how I coped with being depressed and having a lot of mental health problems as a kid, through art, because it was such a solitary and cathartic thing that was just so personal. I was lucky I had the resources to do that. We live in such a frustrating climate - I think that it is a source of joy and of creation. I think it should be more accessible to everybody, especially outside of cities like New York and Chicago.

Allison: What is your relationship between ideas of self and your art?

Nicasia: I recently had to do a project for school that was kind of a Chuck Close interpretation of my face, and I generally don't like to include myself in my art at all, but it was this really wonderful experience to have to literally analyze every single corner of my face to go in this grid-like design - it was so cool to be able to break down myself into that many different increments and 137 different shades of skin. It made me view using myself in my art in a totally different way - it doesn't have to be narcissistic - it's just more about exploration. I've never been one to put too much of myself into my art, because I worry if my emotions don't come through properly, it just looks kind of sad and pathetic, so I'm more aesthetically-oriented than emotionally-oriented, and I think a lot of my stuff can be cold... maybe not necessarily cold, but it's not super personal. I kind of keep my shit on its own side."

Allison: What are your favorite and least favorite things about being an artist in New York City? 

Nicasia: I guess my favorite thing, especially as a student, is that I get into MoMA for free - I get into the Whitney for free. I live down the street from the Met and the Guggenheim, and if I have wanted to see something, I can just walk down the street and go see it, and just the amount of art that is so accessible is just crazy, and it doesn't exist anywhere else. A lot of the professors and the people I know are also artists, and because they live in New York they have gotten to do all this really amazing stuff and just sort of having those connections so easily accessible is really cool, and I know that I wouldn't be able to experience that if I was still living in Michigan (or in Austin even). All of my friends here are artists - some are dancers and musicians and comic book artists, and it's just so cool to be able to feed off of that energy in a community that fosters it so fully. I don't love New York right now. What I don't love about being an artist here is that it seems so unattainable a lot of times. I stopped dancing because I wasn't making any money, and the good news about visual art is that it's not as time-consuming as dance, and I don't have to focus on that for my source of income. It's good and it's bad; ideally it would be my source of income, but it's fine that it's not. Also the city's wearing on me because it's so chaotic that it can be hard to sit down and be quiet and focus on what you really wanna make because there's 8,000 other things that you should be doing or you have to do at any given moment, and I feel like that chaos kind of inhibits me from creating as much as I would like. Also I'm poor. 

Allison: What advice would you give for somebody hoping to move to New York City to pursue art?

Nicasia: I would advise that people come here with very very thick skin, and to just enjoy the honeymoon period of it, because that's so important - the first three years that I lived here I loved it, and it really helped me be the best person that I could be. Keep your head on straight about it, because it's not like some magical place where all your dreams are gonna come true, but it's a solid place to find yourself and find you footing. I guess just enjoy the time while you really really love it. That'll hold you over when you really don't love it. 

Allison: Is there anything else you would like readers to know?

Nicasia: Actually as an artist it's been interesting to transition from being a dancer into something that's a little bit more unknown. While it's been really scary to go back to school for something that I've not been really familiar with because I haven't been in school for a long time, being brave enough to take that leap into something else has been one of the most gratifying experiences in my life. Just being able to re-group and just take that risk to find a new identity as an artist has been the coolest thing. People shouldn't be afraid to do that, and if people want to recreate themselves they should absolutely do that: there's no sense in doing something just because that's what you know. 

You can visit Nicasia's website here.

Nicasia on 35mm film

Nicasia on 35mm film

Nicasia on Polaroid 600 film

Nicasia on Polaroid 600 film

Nicasia on 35mm film

Nicasia on 35mm film

Nicasia on FP-100C Silk

Nicasia on FP-100C Silk

Nicasia on FP-100C Silk

Nicasia on FP-100C Silk

Nicasia on 35mm film

Nicasia on 35mm film

Nicasia on 35mm film

Nicasia on 35mm film

Nicasia on 35mm film

Nicasia on 35mm film

Nicasia on 35mm film

Nicasia on 35mm film

Creatives of NY // Entry #003 // Paul Zivkovich: Performer, Creator, and Collaborator

I happened to meet Paul Zivkovich through my current boss, dance photographer Lois Greenfield. I’ve watched Lois photograph Zivkovich twice over the past two years I have been at the studio, once during my summer internship and again once I moved to NYC. I immediately noticed his innate desire to take risks and the intense physicality of his movement vocabulary. When I started thinking about people I wanted to interview for this project, Paul Zivkovich's name immediately popped into my head - I’d witnessed his stunning collaboration with Lois in studio and knew he had a strong performance background. Upon meeting with him to interview, I learned much much more about his collaborative spirit and the inspirations behind his work. A driven and intelligent artist, Zivkovich's work delves into movement direction and understanding body language in a way I hadn't thought possible before.

Zivkovich grew up in Canberra, Australia and trained as a gymnast before studying dance. He started out with a youth dance company (QL2 Centre for Youth Dance) before heading off to Queensland University of Technology. After two years, Zivkovich joined Australian Dance Theatre under the direction of Garry Stewart, and toured up to seven months out of the year, all the while dabbling in short dance films and tackling many side projects. Departing from ADT, he soon found himself in Europe, working for Rafael Bonachela, Akram Khan, and Sidi Larbi Cherkaoui - for Cherkaoui he also served as an assistant choreographer for the feature film Anna Karenina. It was after Anna Karenina that he landed a job with Punchdrunk in the New York City production of Sleep No More to play Macbeth and the Porter. Originally planning to stay for six months, he found himself staying for a full year.

"New York City is such a special place. I was living in the East Village. It felt really creative. A lot of neighbors were either filmmakers or photographers - I really enjoyed its village atmosphere and felt inspired living there and being apart of it. I simply fell in love with that, and the work with Punchdrunk was challenging in a very different way than anything else I had ever done."

Of performing in Sleep No More, Zivkovich said, "It felt like a roller-coaster - there's no pauses or breaks, there's no backstage, there's no wings, there's sort of no 'off-time'. That's maybe not completely different to performing on stage, but it felt like this gate you opened at the beginning, or a ride that you can’t get off of until the end, and that felt really daunting and challenging and wonderful all at the same time."

Beyond the intense physical nature of the work he did in Sleep No More, there was an added challenge for Zivkovich in the acting. "For sure the duration is a lot, a three hour performance - it felt sort of impossible. Certainly playing Macbeth... I think it was daunting to play someone so physically and emotionally relentless. For the most part, Punchdrunk casts dancers to understand and embody emotions and states clearly, and along with crafted movement vocabulary and careful direction, I was able to enjoy the act of playing other people and deliver characters with physical and emotional arcs."


After a year performing in Sleep No More, Zivkovich went back to London to create and perform in another Punchdrunk production; The Drowned Man - A Hollywood Fable. He remained there for a year and then once again returned to New York City, this time accepting a role as a rehearsal director for Sleep No More. It was at this point that Zivkovich's collaborative nature began to really flourish, allowing him to further deepen his work with Lois Greenfield (Zivkovich and Greenfield had started their working relationship in 2004 while Lois collaborated with Australian Dance Theatre (ADT) on HELD, a dance inspired by Greenfield's imagery where she photographed the dance live onstage). Taking on the role gave him more opportunities to interact with new collaborators.

Speaking on his work with Lois Greenfield, Zivkovich remarked, "I remember coming to New York on tour with ADT in 2005 and then 2007. In 2005, I stayed after the tour to explore the city a little more, and Lois and I scheduled a shoot together, so in a way I felt unleashed from ADT- the images weren't tied to the company. It was me as an individual working with Lois and that felt liberating. And again in 2007, I found myself in New York independently and we shot together - I wasn't working with any one company at that point, so that was the second time we worked intimately.”

“Our shoots together since then took place when I moved to New York in 2012. Until then, it felt a little like.. 'You're in town. I'm in town. I've got the studio space. Let's jam. Let's play,’ and I enjoy working like that, particularly with someone I've known for so long. But it’s been wonderful to be both living in the same city and enjoy the more ‘planned’ shoots, without time restrictions etc. And I think the biggest joy was knowing we had both matured as people and artists since we first met, and that naturally feed into the work we were making together, and still does.”


"I think I'm a wild card," Zivkovich shared, "I'll flip around and do something a little bit more off center... her work borders that so much for me. You sort of know what you're going to expect, but she kind of tilts it a little bit, and she inspires me to do the same. That's why I enjoy working with her."

In addition to his ongoing relationship with Lois Greenfield, Zivkovich has recently made more time for himself to develop his own work and forge meaningful connections with other artists. One look through Zivkovich's Instagram and you'll find a carefully-curated exhibition of photos taken by many of the people Zivkovich has collaborated with, along with sketches and illustrations by artists inspired by these works. From the surreal, faceless images of Zivkovich by Ben Zank to the sculptural black and white photographs of him by Matthew Tyler Priestley, Zivkovich showcases his range and unique sense for body language and movement in front of the camera. He says "Instagram's sort of been this ugly beast, but I've started using it more as a work space rather than a personal one. It gives me a platform to show what I've been doing and working on with people."


One collaboration of note is Zivkovich's work with Jon Jacobsen, a Chilean multimedia artist. "I threw a concept at him in the middle of last year that was, in a nutshell, what was happening in the coral reefs around the world. I was watching a lot of documentaries about nature in general, but the bleaching process that’s happening with coral reefs really struck a chord. I believe it was a time-lapse video that caught my eye, where it sped up what was happening to these reefs, something like five days in a minute, so you could see the rapid decay that was occurring. So I threw this rather vague idea at Jon to see what his brain would make of it. We went back and forth for many many months on some ideas, and at that early point it was anything: some poetry, some writing, a song, or more visuals. We then started to Skype each other and that inspired more conversations - we both knew by then that we wanted to collaborate together on something. Jon ended up coming to New York later that year. We shot the project up on my rooftop, but of course in the images you don't really get a sense of location or any one specific environment. We ended up producing a series of nine images, titled ‘The Great Barrier’."

Zivkovich's work with Jacobsen didn't stop there. Steering away from the prior project to try something new and facilitate growth, the pair's next project focused on memory and nostalgia. Zivkovich, as the subject of Jacobsen's work, described the series as "invasive" and "much more about the texture of the skin, scars, and bruising on the skin." The project became extremely personal for Zivkovich as his aunt passed away just as Jacobsen and Zivkovich had completed the shoot.

"We were working with pictures of my family, aunties, uncles, my nana, my mom & dad... some of the images are black and white because of when they were taken, and some of them are more recent. We explored ways where these images could emerge in the skin, or hide in the creases of folding flesh, causing the skin to bruise and sweat. Perhaps it’s something about regurgitating and devouring memories to cope with grief."


This second project with Jacobsen is currently in post-production.

Zivkovich hopes to continue to work in this way, and New York City offers opportunities for him to do so. He has spent the past five months placing an emphasis on producing his own work and work with others. "I recently began making a short dance film, it’s still early stages but I am very excited about it. I feel so fortunate to be in a position where I can still pay rent and have the time and energy to collaborate with others and fulfill creative ambitions."

To learn more about Paul Zivkovich, you can visit his Instagram.

Paul Zivkovich on FP-100C

Paul Zivkovich on FP-100C

Paul on 35mm film - the lab unfortunately scratched the negative, but we both still loved this image

Paul on 35mm film - the lab unfortunately scratched the negative, but we both still loved this image

Paul Zivkovich on FP-100C

Paul Zivkovich on FP-100C