Today, we would like to highlight and introduce, new to the portfolio, photographer, filmmaker and synthographic artist, Steve Glashier.
If you're wondering what synthography is, it's the method of generating digital media synthetically using machine learning. This is distinct from other graphic creation and editing methods, in that synthography uses artificial intelligence art text-to-image models to create media.
Glashier's series, Midnite on Mars, is a captivating synthographic novel that takes us on a cross planetary journey where familiar meets alien and the extraordinary becomes commonplace. Each image is a glimpse into the lives of imagined characters in a distant future; snapshots of their daily routines, struggles, joys, and moments of introspection.
Learn more reading our Q&A with Steve Glashier below, and for questions about any of the new works, please call or email the gallery.
"At its heart, Midnite on Mars is an experiment in storytelling, leveraging the power of AI to not just create images, but to construct stories that provide a window into the future, while also reflecting on our present and the universality of human experiences."
Q. Congratulations on being the cover artist for the latest LUMAS Art Magazine. It also coincides with your introduction into the portfolio. Can you tell us a bit about the process of working with LUMAS and having your artwork accessible to people all around the world?
A. The collaboration with LUMAS has been a profound experience, both professionally and personally. Having my artwork accessible to people around the world is a dream come true. Art has a unique power to communicate across cultures and backgrounds, and LUMAS's global reach ensures that this dialogue happens on a large scale.
The Chromatic Eye of Space
Pink Strands and Paws
Q. You’re currently based in Berlin but were born in the UK. How do you think your upbringing influenced the career path you took in creative industries?
A. My upbringing in the UK, especially with the limited access to art during my childhood, played a pivotal role in shaping my career in the creative industries. Now residing in Berlin, the two cities have provided a rich tapestry of experiences and cultural influences. Both places have their distinct narratives and aesthetics, and I've been fortunate to draw from this duality.
The juxtaposition of the raw, genuine feel of my UK upbringing, combined with the vibrant and diverse arts scene of Berlin, has been a constant source of inspiration. In my work, I strive to maintain a genuine and 'real' feel, and believe that the authenticity in my work stems from the genuine passion and dedication I developed as a result of the challenges I faced early on. Every photo I shoot or music video I create is a testament to my journey.
Festival Fashionistas
Sweet Speedsters
Q. As a self-taught filmmaker and photographer, do you think each discipline influences the other? Or are they independent mediums?
A. As a self-taught filmmaker and photographer, I genuinely believe that both disciplines heavily influence each other. The heart of both filmmaking and photography lies in the art of visual storytelling. Whether it's through a single frame or a sequence of events, both mediums aim to convey a narrative, evoke emotion, or capture a moment in time. For me, the process is very much about training the eye to see and capture what resonates personally. My affinity for street photography plays a crucial role in this. Street photography is about capturing candid, unmediated moments, finding beauty in the mundane, and telling stories of everyday life.
The technical skills from photography, like understanding light, composition, and framing, undoubtedly contribute to how I approach a scene or shot in filmmaking. Conversely, the narrative structure and pacing I consider in filmmaking can influence how I choose to frame or sequence a series of photographs, ensuring they tell a coherent story.
Fuchsia Wanderlust
Solitude and Stardust
Q. Your stills are known for their cinematic quality. Is this intentional? Or an organic creative process you’ve honed over time?
A. The cinematic quality in my stills, I believe, has its roots in my deep admiration for movies. From the outset, even before delving deeply into photography, I was captivated by films. This natural inclination towards cinematic visuals has indelibly imprinted itself onto my photographic style. The framing, the mood, the lighting, and the storytelling that a movie brings to the screen – those elements have always resonated with me and inevitably seeped into my approach to photography.
My affinity for capturing people further amplifies this cinematic feel. While I aim to capture them in their authentic state, there's always a part of me that visualizes each person as a character in a film. The subject isn't just a person in that moment; they become protagonists in a broader narrative, even if it's just in my mind.
Electro-Ecstasy
Twilight Nomad
Q. You’ve made close to 350 music videos and have directed/produced tv shows and documentaries about the music world. What is it about music that keeps you coming back to as part of your work?
A. Music has been much more than just an auditory experience for me—it's been a lifeline. Growing up, it provided an avenue for escape, a way to transcend my immediate circumstances and find a sense of belonging. Pairing this powerful medium with visuals brings an added dimension to the storytelling.
Directing and producing music videos, TV shows, and documentaries about the music world has given me the privilege of merging auditory and visual narratives. It's like painting on a canvas already rich with colors and emotions. Each video or show I work on is an opportunity to amplify the essence of the song, to translate its emotions into visuals that can be both seen and felt.
Interstellar Affection
Dawn Haze
Q. Your series with LUMAS has a futuristic aesthetic with soft pink tones. Can you tell us the backstory to this body of work?
A. "Midnite on Mars" with LUMAS is an exploration of both technology and creativity converging to form a narrative that's rooted in the familiar, yet extends into the vastness of the unknown. The concept was born from my love for street photography, which has always been about capturing candid, raw, and unscripted moments. Yet, with this series, I wanted to challenge the traditional framework of street photography by placing it in a controlled, imaginative setting. Instead of waiting for a moment to occur naturally, I sought to craft those moments myself, but still retain the unpredictability and spontaneity inherent to street captures.
Using AI provided the perfect toolset for this ambitious project. It gave me the ability to craft an entire world from scratch, not limited by physical realities or constraints. The soft pink tones throughout the series are a deliberate choice, juxtaposing the often stark and cold imagery associated with futurism. It infuses warmth and emotion into the desolate landscapes of Mars, bridging the gap between the alien and the familiar. At its heart, "Midnite on Mars" is a narrative exercise, much like directing a film. Each image is not just a standalone capture but a frame in a larger storyline. They are glimpses into the lives of imagined characters in a distant future, snapshots of their daily routines, struggles, joys, and moments of introspection.
Martian Interlude
Midnite Gold
Q. What’s next for Steve Glashier as a person, and as a creative?
A. The journey ahead promises expansion and exploration. My experiences, whether grounded in reality or woven in the fabric of imagination, have always fueled my work. World-building has always fascinated me. It provides a platform where I can play God, constructing universes, defining their laws, populating them with characters, and then letting them unravel their stories. With advancements in technology and the vast tools at my disposal, this endeavor becomes even more exciting. I plan to delve deeper into this realm, merging the boundaries of reality and fiction, crafting immersive experiences that audiences can get lost in.
