Avarice was either an artist’s dream or nightmare because of the amount of work it required, and my good friend Kelsey Sullivan was definitely up to the challenge. Her vital contribution doesn’t come until the end where The Girl wanders through a passageway with drawings of twisty, pyschedilic trees lined up on either side of her.
I had seen some of Kelsey’s work previous to the film, and I knew she would be the perfect artist for an other-worldly forest. I approached her early in our preproduction phase, and her work was nothing short of spectacular. It was truly one of the most impressive aspects of the film. While familiar with the art world, this was Kelsey’s first experience in filmmaking. Hopefully we didn’t turn her off to it too much! We had the opportunity to ask her a few questions so you can check out the artist behind the art!
How did you get into art?
I think it is more a matter of “did I ever try to avoid art?” And that answer is no. It’s always been there for me. I can’t recall a time that I was not focused on art. Not being in art was not really an option, as far as I was concerned.
If you could travel back in time and do artwork on any film, which would you choose?
That is tough to decide. Various cartoons from the seventies come to mind, but honestly, I would have loved a chance to work on the more recent film The Secret of Kells. It looks like a combination of beautiful artistry and an amazing team.
Did working on a film influence your own art?
Yes, it certainly gave me more confidence.
What’s been the biggest challenge you’ve faced with your artwork?
Mustering up the focus and confidence needed to really rely on my instinct.
What advice would you give to anyone wanting to get involved in doing artwork for films?
Know when to take opportunities that are presented to you.