Moby is a person of many talents. Besides his stellar music career, he is also a long time photographer, enjoying the creation of surreal, twisted photography portraying what might have been if… A current exhibition of Moby’s latest photographic works titled Innocents is on view at the Los Angeles Project Gallery, open until the end of the month. The exhibit has been the motive for a conversation organized by the space between two luminaries of art in general, the showing artist, Moby and his colleague and friend, a street art godfather, Shepard Fairey.
Art n’ music talk
The conversation was led by the gallery curator Shana Nys Dambrot who tried to keep the two creatives on topic – relations and analogies between visual art and music. Fairey and Moby deflected a little too often from the main course, having a blast referencing life and ongoing struggles of the successful creatives in the pool of resentful cynics. They both suggested this has proved to be limiting to their creativity, having a double layer of worth to prove, now once they have reached the stars. Fairey suggested the base was making a good tune or a good picture, depending on the media.
Moby however claimed that the visual and musical have little in common in his own practice. He uses his directed surreal scenes, deliberately placed in ordinary setting, as a means to escape the sometimes over-demanding world of the music production.
After apologetically ranting on the “haters”, the conversation turned to the city of Los Angeles, as it became a home to the both creatives as of relatively recently.
It is no secret Moby relocated to the City of Angels searching a more liberal environment with more “weird” artists around, having been feeling saturated with the increasing stratification of New York. He loves his new surrounding so much, that he wrote an open letter to Creative Time website hailing all the positive aspects of the Californian mecca. He found home is the pre-war mansion, having the perfect spot to store his extensive globe collection, finding the ambivalence of the city more than inspirational.
Moby’s photography series titled as his latest album, Innocents, makes the visual commentary on the apocalyptic myth of December 2012. He tried to capture the imaginative changes in the world in dressing his characters in masks and conjuring the scenes from his personal presumptions on the topic. Innocents are the survivors, the cult, the unreal army of supposed ghosts roaming the underrealm of our reality.
The inspiration for the series came after the famous musician moved to LA in 2010. Having heard numerous local legends about cults, passion and extremes, he became somewhat obsessed with Hollywood Hills’ tale, deciding to create his own vision on the parallel history of the area. His photographs ooze and eerie, but still welcoming feel, while referencing general dooming occasions, such as the Day of the Dead. The normal and the strange overlap in Moby’s photographs and the boundary between the two is blurred beyond recognition. The Innocents series was created during three years in Hollywood, following the musical creation of Moby’s album from 2013.