Vikii Wong Chooses the Photography of Vincent Skeltis
December 10, 2010
Vincent Skeltis. The two of us crossed paths in a relatively mundane kind of way. I learned through a friend of a friend that he was looking for a studio manager, looked up his work, and got in touch with him. I met Vincent in his studio in Brooklyn for my job interview. Tatted, cigged, intense, he was an intriguing potential employer. We chatted about my experience, what internal organization projects he was looking for me to tackle, and then informed me he had already hired someone earlier in the day. So…a no-go.
That was early 2007. It was winter. Fast-forward to the spring of 2007, and I started managing the internal organization of Vincent’s studio while he was in the thick of designing-mode for his Thrasher Funds account and for his personal website. Vincent also had me help with the early stages of production for “Adolescence and the Virtues of Maturity” exhibit.
While between tasks, Vincent would show me a bunch of prints from his personal projects. They were, in one word, stunning. Beautifully shot images containing relatively shocking subject matter(s). The contrasting interplay between the content and aesthetic packs an awe-striking impact… in another word again, stunning. One in particular stood out, which was Vincent’s opening still life portrait from his BASE (2006) series. It shows some of the tools for making crack: baking soda, an ashtray, an A-clamp holding a metal tin boxtop, a nickel and a lighter. Yes I said crack. All these crack-smoking elements sat on top of a mirror shot using a Sinar P2 4×5, lit with one Profoto head and one Lowel DP. The BASE still-life portrait speaks to beauty, profanity, and whatever else comes to mind. Most importantly, BASE is one example that speaks to Vincent’s keen ability as a technician and artist.
As for the projects occurring in Vincent’s studio, I wasn’t around for the unveiling of the Thrasher Funds billboard in Times Square and for the fully realized “Adolescence and the Virtues of Maturity” exhibit at Blessing boutique in the Lower East Side, NYC. Freelancing happens in bits and pieces sometimes, but I venture to say the billboard and exhibit were well-executed without a doubt.
Apart from stints as Vincent Skeltis’ studio manager, Vikii’s Wong’s past employers, where she worked in a photo editor capacity, include Rafael Viñoly Architects, American Museum of Natural History, W.H. Freeman and Worth Publishers. In her most recent freelance project she conducted clip research for the St. Ives account. Vikii Wong can be found blogging on vikiiwong.blogspot.com, tweeting @SteezyEgg, and posting her recreational snapshots on Flickr: http://www.flickr.com/people/loadedgunforhire/.