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robertlmcgee
rlm
pure silver.
@addictedtorags SS ‘23 Shop Lookbook
A collaborative project between @juliandrake_ & @robertlmcgee
Photography: @juliandrake_ & @robertlmcgee
Layout Design & Effects: @robertlmcgee
Retouching/Color: @juliandrake_
Models: @tannerreddick @eddiemarcoe @nova9367101
Styling: @eduardovertti
@addictedtorags SS ‘23 Shop Lookbook
A collaborative project between @juliandrake_ & @robertlmcgee
Photography: @juliandrake_ & @robertlmcgee
Layout Design & Effects: @robertlmcgee
Retouching/Color: @juliandrake_
Models: @tannerreddick @eddiemarcoe @nova9367101
Styling: @eduardovertti
@addictedtorags SS ‘23 Shop Lookbook
A collaborative project between @juliandrake_ & @robertlmcgee
Photography: @juliandrake_ & @robertlmcgee
Layout Design & Effects: @robertlmcgee
Retouching/Color: @juliandrake_
Models: @tannerreddick @eddiemarcoe @nova9367101
Styling: @eduardovertti
@addictedtorags SS ‘23 Shop Lookbook
A collaborative project between @juliandrake_ & @robertlmcgee
Photography: @juliandrake_ & @robertlmcgee
Layout Design & Effects: @robertlmcgee
Retouching/Color: @juliandrake_
Models: @tannerreddick @eddiemarcoe @nova9367101
Styling: @eduardovertti
@addictedtorags SS ‘23 Shop Lookbook
A collaborative project between @juliandrake_ & @robertlmcgee
Photography: @juliandrake_ & @robertlmcgee
Layout Design & Effects: @robertlmcgee
Retouching/Color: @juliandrake_
Models: @tannerreddick @eddiemarcoe @nova9367101
Styling: @eduardovertti
@addictedtorags SS ‘23 Shop Lookbook
A collaborative project between @juliandrake_ & @robertlmcgee
Photography: @juliandrake_ & @robertlmcgee
Layout Design & Effects: @robertlmcgee
Retouching/Color: @juliandrake_
Models: @tannerreddick @eddiemarcoe @nova9367101
Styling: @eduardovertti
@addictedtorags SS ‘23 Shop Lookbook
A collaborative project between @juliandrake_ & @robertlmcgee
Photography: @juliandrake_ & @robertlmcgee
Layout Design & Effects: @robertlmcgee
Retouching/Color: @juliandrake_
Models: @tannerreddick @eddiemarcoe @nova9367101
Styling: @eduardovertti
@addictedtorags SS ‘23 Shop Lookbook
A collaborative project between @juliandrake_ & @robertlmcgee
Photography: @juliandrake_ & @robertlmcgee
Layout Design & Effects: @robertlmcgee
Retouching/Color: @juliandrake_
Models: @tannerreddick @eddiemarcoe @nova9367101
Styling: @eduardovertti
@addictedtorags SS ‘23 Shop Lookbook
A collaborative project between @juliandrake_ & @robertlmcgee
Photography: @juliandrake_ & @robertlmcgee
Layout Design & Effects: @robertlmcgee
Retouching/Color: @juliandrake_
Models: @tannerreddick @eddiemarcoe @nova9367101
Styling: @eduardovertti
@addictedtorags SS ‘23 Shop Lookbook
A collaborative project between @juliandrake_ & @robertlmcgee
Photography: @juliandrake_ & @robertlmcgee
Layout Design & Effects: @robertlmcgee
Retouching/Color: @juliandrake_
Models: @tannerreddick @eddiemarcoe @nova9367101
Styling: @eduardovertti
“RARE EARTH”
A Fashion Film Directed by Robert McGee
A visual exploration of nature’s unifying patterns, their connection to movement, and the human form.
Director/DP: @robertlmcgee
Edit/Color/VFX: @robertlmcgee
Gaffer: @juliandrake_
Stylist: @tate.jp
Sound Design: @kanelefou
Production: Sol Focus
Studio: @7space8
Talent: @charlie.crook
“Who killed the dreamcatcher?”
18 in. x 5 ft.
1/1 portrayal of models exact wingspan
a death of mind under the stars and stripes.
print details:
printed on 14pt NEENAH paper
CMYK process
matte finish
pieces:
1 pen
1 sketchbook
1 notebook
and a brain
model: @kirrav
who killed the dreamcatcher?
are you so wounded?
they tried to shake it
she couldn’t take it
now she’s but a dream.
“Who killed the dreamcatcher?”
18 in. x 5 ft.
1/1 portrayal of models exact wingspan
a death of mind under the stars and stripes.
print details:
printed on 14pt NEENAH paper
CMYK process
matte finish
pieces:
1 pen
1 sketchbook
1 notebook
and a brain
model: @kirrav
who killed the dreamcatcher?
are you so wounded?
they tried to shake it
she couldn’t take it
now she’s but a dream.
“Who killed the dreamcatcher?”
18 in. x 5 ft.
1/1 portrayal of models exact wingspan
a death of mind under the stars and stripes.
print details:
printed on 14pt NEENAH paper
CMYK process
matte finish
pieces:
1 pen
1 sketchbook
1 notebook
and a brain
model: @kirrav
who killed the dreamcatcher?
are you so wounded?
they tried to shake it
she couldn’t take it
now she’s but a dream.
“Who killed the dreamcatcher?”
18 in. x 5 ft.
1/1 portrayal of models exact wingspan
a death of mind under the stars and stripes.
print details:
printed on 14pt NEENAH paper
CMYK process
matte finish
pieces:
1 pen
1 sketchbook
1 notebook
and a brain
model: @kirrav
who killed the dreamcatcher?
are you so wounded?
they tried to shake it
she couldn’t take it
now she’s but a dream.
“Who killed the dreamcatcher?”
18 in. x 5 ft.
1/1 portrayal of models exact wingspan
a death of mind under the stars and stripes.
print details:
printed on 14pt NEENAH paper
CMYK process
matte finish
pieces:
1 pen
1 sketchbook
1 notebook
and a brain
model: @kirrav
who killed the dreamcatcher?
are you so wounded?
they tried to shake it
she couldn’t take it
now she’s but a dream.
“Who killed the dreamcatcher?”
18 in. x 5 ft.
1/1 portrayal of models exact wingspan
a death of mind under the stars and stripes.
print details:
printed on 14pt NEENAH paper
CMYK process
matte finish
pieces:
1 pen
1 sketchbook
1 notebook
and a brain
model: @kirrav
who killed the dreamcatcher?
are you so wounded?
they tried to shake it
she couldn’t take it
now she’s but a dream.
“Who killed the dreamcatcher?”
18 in. x 5 ft.
1/1 portrayal of models exact wingspan
a death of mind under the stars and stripes.
print details:
printed on 14pt NEENAH paper
CMYK process
matte finish
pieces:
1 pen
1 sketchbook
1 notebook
and a brain
model: @kirrav
who killed the dreamcatcher?
are you so wounded?
they tried to shake it
she couldn’t take it
now she’s but a dream.
“Who killed the dreamcatcher?”
18 in. x 5 ft.
1/1 portrayal of models exact wingspan
a death of mind under the stars and stripes.
print details:
printed on 14pt NEENAH paper
CMYK process
matte finish
pieces:
1 pen
1 sketchbook
1 notebook
and a brain
model: @kirrav
who killed the dreamcatcher?
are you so wounded?
they tried to shake it
she couldn’t take it
now she’s but a dream.
“Who killed the dreamcatcher?”
18 in. x 5 ft.
1/1 portrayal of models exact wingspan
a death of mind under the stars and stripes.
print details:
printed on 14pt NEENAH paper
CMYK process
matte finish
pieces:
1 pen
1 sketchbook
1 notebook
and a brain
model: @kirrav
who killed the dreamcatcher?
are you so wounded?
they tried to shake it
she couldn’t take it
now she’s but a dream.
Campaign Teaser for @somar.us
Directed and Edited by Robert McGee.
Shot on a Sony A7IV, digitally rescanned with a 2004 Pentax Optio pointed directly at my MacBook Pro.
The end credit sequence consists of 200+ written and printed elements, each individually scanned and composited together to play at 24 fps.
“Ahab Denim” sold out everywhere.
Director/DP: @robertlmcgee
CD/Styling: @owenmhyatt
Edit/Color/VFX/Title Design: @robertlmcgee
Producer/Casting/BTS: @mustbemargiela
Gaffer/Assistant: @kelvintohar
Talent: @carllovestrand
Production: Sol Focus
Stills from the making of “SLINGSHOT”.
+ A physical copy of my edits/notes while retouching.
Shot/Retouched by: @robertlmcgee
Lighting/PA: @juliandrake_
Model/Styling: @tannerreddick
Stills from the making of “SLINGSHOT”.
+ A physical copy of my edits/notes while retouching.
Shot/Retouched by: @robertlmcgee
Lighting/PA: @juliandrake_
Model/Styling: @tannerreddick
Stills from the making of “SLINGSHOT”.
+ A physical copy of my edits/notes while retouching.
Shot/Retouched by: @robertlmcgee
Lighting/PA: @juliandrake_
Model/Styling: @tannerreddick
Stills from the making of “SLINGSHOT”.
+ A physical copy of my edits/notes while retouching.
Shot/Retouched by: @robertlmcgee
Lighting/PA: @juliandrake_
Model/Styling: @tannerreddick
“SEE-THROUGH” process work
Experimentation with concrete as a substrate.
A total of 8 hand cast concrete tiles were produced, only two of which discernible enough to be included in the final piece.
Excited by this technique as I am now familiarized with how to properly adhere ink to an atypical substrate.
I have always been fascinated with the idea of replicating pieces of my environment and intend on using this technique in such a capacity down the line.
“SEE-THROUGH” process work
Experimentation with concrete as a substrate.
A total of 8 hand cast concrete tiles were produced, only two of which discernible enough to be included in the final piece.
Excited by this technique as I am now familiarized with how to properly adhere ink to an atypical substrate.
I have always been fascinated with the idea of replicating pieces of my environment and intend on using this technique in such a capacity down the line.
“SEE-THROUGH” process work
Experimentation with concrete as a substrate.
A total of 8 hand cast concrete tiles were produced, only two of which discernible enough to be included in the final piece.
Excited by this technique as I am now familiarized with how to properly adhere ink to an atypical substrate.
I have always been fascinated with the idea of replicating pieces of my environment and intend on using this technique in such a capacity down the line.
“SEE-THROUGH” process work
Experimentation with concrete as a substrate.
A total of 8 hand cast concrete tiles were produced, only two of which discernible enough to be included in the final piece.
Excited by this technique as I am now familiarized with how to properly adhere ink to an atypical substrate.
I have always been fascinated with the idea of replicating pieces of my environment and intend on using this technique in such a capacity down the line.
“SEE-THROUGH” process work
Experimentation with concrete as a substrate.
A total of 8 hand cast concrete tiles were produced, only two of which discernible enough to be included in the final piece.
Excited by this technique as I am now familiarized with how to properly adhere ink to an atypical substrate.
I have always been fascinated with the idea of replicating pieces of my environment and intend on using this technique in such a capacity down the line.
“SEE-THROUGH” process work
Experimentation with concrete as a substrate.
A total of 8 hand cast concrete tiles were produced, only two of which discernible enough to be included in the final piece.
Excited by this technique as I am now familiarized with how to properly adhere ink to an atypical substrate.
I have always been fascinated with the idea of replicating pieces of my environment and intend on using this technique in such a capacity down the line.
“SLINGSHOT”
My salute to the golden age of title sequences.
In keeping with the era, all effects/transitions have been created in true analog fashion.
The walking animation alone featuring 188 individually scanned frames printed in ink on acetate film.
An enlightening challenge and experience in terms of technique application.
Director/DP/Edit: @robertlmcgee
Gaffer/PA: @juliandrake_
Sound Design: @freeadvice.xyz
Talent/Styling: @tannerreddick
Forward is forward.
“SLINGSHOT”
My salute to the golden age of title sequences.
In keeping with the era, all effects/transitions have been created in true analog fashion.
The walking animation alone featuring 188 individually scanned frames printed in ink on acetate film.
An enlightening challenge and experience in terms of technique application.
Director/DP/Edit: @robertlmcgee
Gaffer/PA: @juliandrake_
Sound Design: @freeadvice.xyz
Talent/Styling: @tannerreddick
Forward is forward.
“SLINGSHOT”
My salute to the golden age of title sequences.
In keeping with the era, all effects/transitions have been created in true analog fashion.
The walking animation alone featuring 188 individually scanned frames printed in ink on acetate film.
An enlightening challenge and experience in terms of technique application.
Director/DP/Edit: @robertlmcgee
Gaffer/PA: @juliandrake_
Sound Design: @freeadvice.xyz
Talent/Styling: @tannerreddick
Forward is forward.
“SLINGSHOT”
My salute to the golden age of title sequences.
In keeping with the era, all effects/transitions have been created in true analog fashion.
The walking animation alone featuring 188 individually scanned frames printed in ink on acetate film.
An enlightening challenge and experience in terms of technique application.
Director/DP/Edit: @robertlmcgee
Gaffer/PA: @juliandrake_
Sound Design: @freeadvice.xyz
Talent/Styling: @tannerreddick
Forward is forward.
“SLINGSHOT”
My salute to the golden age of title sequences.
In keeping with the era, all effects/transitions have been created in true analog fashion.
The walking animation alone featuring 188 individually scanned frames printed in ink on acetate film.
An enlightening challenge and experience in terms of technique application.
Director/DP/Edit: @robertlmcgee
Gaffer/PA: @juliandrake_
Sound Design: @freeadvice.xyz
Talent/Styling: @tannerreddick
Forward is forward.
“SLINGSHOT”
My salute to the golden age of title sequences.
In keeping with the era, all effects/transitions have been created in true analog fashion.
The walking animation alone featuring 188 individually scanned frames printed in ink on acetate film.
An enlightening challenge and experience in terms of technique application.
Director/DP/Edit: @robertlmcgee
Gaffer/PA: @juliandrake_
Sound Design: @freeadvice.xyz
Talent/Styling: @tannerreddick
Forward is forward.
“SLINGSHOT”
My salute to the golden age of title sequences.
In keeping with the era, all effects/transitions have been created in true analog fashion.
The walking animation alone featuring 188 individually scanned frames printed in ink on acetate film.
An enlightening challenge and experience in terms of technique application.
Director/DP/Edit: @robertlmcgee
Gaffer/PA: @juliandrake_
Sound Design: @freeadvice.xyz
Talent/Styling: @tannerreddick
Forward is forward.
“SEE-THROUGH”. 2023.
Concrete, water, ink, ziploc bag, and a corroded nail.
My first ever self portraits permanently mounted on quick-setting cement.
The final iteration seen above is as a result of an inkjet photographic transfer onto multiple hand-cast cement tiles.
Words:
We fall apart
and stand up just as fast
a defiant game we play
showing the powers that be
that we
are fit and able.
“SEE-THROUGH”. 2023.
Concrete, water, ink, ziploc bag, and a corroded nail.
My first ever self portraits permanently mounted on quick-setting cement.
The final iteration seen above is as a result of an inkjet photographic transfer onto multiple hand-cast cement tiles.
Words:
We fall apart
and stand up just as fast
a defiant game we play
showing the powers that be
that we
are fit and able.
“SEE-THROUGH”. 2023.
Concrete, water, ink, ziploc bag, and a corroded nail.
My first ever self portraits permanently mounted on quick-setting cement.
The final iteration seen above is as a result of an inkjet photographic transfer onto multiple hand-cast cement tiles.
Words:
We fall apart
and stand up just as fast
a defiant game we play
showing the powers that be
that we
are fit and able.
“SEE-THROUGH”. 2023.
Concrete, water, ink, ziploc bag, and a corroded nail.
My first ever self portraits permanently mounted on quick-setting cement.
The final iteration seen above is as a result of an inkjet photographic transfer onto multiple hand-cast cement tiles.
Words:
We fall apart
and stand up just as fast
a defiant game we play
showing the powers that be
that we
are fit and able.
“SEE-THROUGH”. 2023.
Concrete, water, ink, ziploc bag, and a corroded nail.
My first ever self portraits permanently mounted on quick-setting cement.
The final iteration seen above is as a result of an inkjet photographic transfer onto multiple hand-cast cement tiles.
Words:
We fall apart
and stand up just as fast
a defiant game we play
showing the powers that be
that we
are fit and able.
“SEE-THROUGH”. 2023.
Concrete, water, ink, ziploc bag, and a corroded nail.
My first ever self portraits permanently mounted on quick-setting cement.
The final iteration seen above is as a result of an inkjet photographic transfer onto multiple hand-cast cement tiles.
Words:
We fall apart
and stand up just as fast
a defiant game we play
showing the powers that be
that we
are fit and able.
“SEE-THROUGH”. 2023.
Concrete, water, ink, ziploc bag, and a corroded nail.
My first ever self portraits permanently mounted on quick-setting cement.
The final iteration seen above is as a result of an inkjet photographic transfer onto multiple hand-cast cement tiles.
Words:
We fall apart
and stand up just as fast
a defiant game we play
showing the powers that be
that we
are fit and able.
“sacrosanct”
a reclamation of self.
print details:
printed on 130lb ultrawhite eggshell
2-color riso print process
matte finish
19x28”
parts:
858.2 miles in under 2 days
14 hours on the road
4 full tanks of gas
1 reclaimed 1960’s window sash
4 nails + washers
and a renewed perspective
description:
This time last year I decided, at 4am, I would take a solo trip 7 hours west to Marfa, TX. Having recently been consumed by the drop-everything-attitude of the summer of ‘69 documentaries I had been watching, I set out on a trip of self discovery.
I was in pain and seeking answers.
In a 48 hour timespan I saw how beautifully Donald Judd’s concrete sculptures framed the Chihuahuan Desert, was treated with unwavering kindness by all I encountered, and watched the sun rise over the Chinati Mountains that next morning.
I did this alone,
and told no one until today.
I found peace out west.
“sacrosanct”
a reclamation of self.
print details:
printed on 130lb ultrawhite eggshell
2-color riso print process
matte finish
19x28”
parts:
858.2 miles in under 2 days
14 hours on the road
4 full tanks of gas
1 reclaimed 1960’s window sash
4 nails + washers
and a renewed perspective
description:
This time last year I decided, at 4am, I would take a solo trip 7 hours west to Marfa, TX. Having recently been consumed by the drop-everything-attitude of the summer of ‘69 documentaries I had been watching, I set out on a trip of self discovery.
I was in pain and seeking answers.
In a 48 hour timespan I saw how beautifully Donald Judd’s concrete sculptures framed the Chihuahuan Desert, was treated with unwavering kindness by all I encountered, and watched the sun rise over the Chinati Mountains that next morning.
I did this alone,
and told no one until today.
I found peace out west.
“sacrosanct”
a reclamation of self.
print details:
printed on 130lb ultrawhite eggshell
2-color riso print process
matte finish
19x28”
parts:
858.2 miles in under 2 days
14 hours on the road
4 full tanks of gas
1 reclaimed 1960’s window sash
4 nails + washers
and a renewed perspective
description:
This time last year I decided, at 4am, I would take a solo trip 7 hours west to Marfa, TX. Having recently been consumed by the drop-everything-attitude of the summer of ‘69 documentaries I had been watching, I set out on a trip of self discovery.
I was in pain and seeking answers.
In a 48 hour timespan I saw how beautifully Donald Judd’s concrete sculptures framed the Chihuahuan Desert, was treated with unwavering kindness by all I encountered, and watched the sun rise over the Chinati Mountains that next morning.
I did this alone,
and told no one until today.
I found peace out west.
“sacrosanct”
a reclamation of self.
print details:
printed on 130lb ultrawhite eggshell
2-color riso print process
matte finish
19x28”
parts:
858.2 miles in under 2 days
14 hours on the road
4 full tanks of gas
1 reclaimed 1960’s window sash
4 nails + washers
and a renewed perspective
description:
This time last year I decided, at 4am, I would take a solo trip 7 hours west to Marfa, TX. Having recently been consumed by the drop-everything-attitude of the summer of ‘69 documentaries I had been watching, I set out on a trip of self discovery.
I was in pain and seeking answers.
In a 48 hour timespan I saw how beautifully Donald Judd’s concrete sculptures framed the Chihuahuan Desert, was treated with unwavering kindness by all I encountered, and watched the sun rise over the Chinati Mountains that next morning.
I did this alone,
and told no one until today.
I found peace out west.
“sacrosanct”
a reclamation of self.
print details:
printed on 130lb ultrawhite eggshell
2-color riso print process
matte finish
19x28”
parts:
858.2 miles in under 2 days
14 hours on the road
4 full tanks of gas
1 reclaimed 1960’s window sash
4 nails + washers
and a renewed perspective
description:
This time last year I decided, at 4am, I would take a solo trip 7 hours west to Marfa, TX. Having recently been consumed by the drop-everything-attitude of the summer of ‘69 documentaries I had been watching, I set out on a trip of self discovery.
I was in pain and seeking answers.
In a 48 hour timespan I saw how beautifully Donald Judd’s concrete sculptures framed the Chihuahuan Desert, was treated with unwavering kindness by all I encountered, and watched the sun rise over the Chinati Mountains that next morning.
I did this alone,
and told no one until today.
I found peace out west.
“sacrosanct”
a reclamation of self.
print details:
printed on 130lb ultrawhite eggshell
2-color riso print process
matte finish
19x28”
parts:
858.2 miles in under 2 days
14 hours on the road
4 full tanks of gas
1 reclaimed 1960’s window sash
4 nails + washers
and a renewed perspective
description:
This time last year I decided, at 4am, I would take a solo trip 7 hours west to Marfa, TX. Having recently been consumed by the drop-everything-attitude of the summer of ‘69 documentaries I had been watching, I set out on a trip of self discovery.
I was in pain and seeking answers.
In a 48 hour timespan I saw how beautifully Donald Judd’s concrete sculptures framed the Chihuahuan Desert, was treated with unwavering kindness by all I encountered, and watched the sun rise over the Chinati Mountains that next morning.
I did this alone,
and told no one until today.
I found peace out west.
“sacrosanct”
a reclamation of self.
print details:
printed on 130lb ultrawhite eggshell
2-color riso print process
matte finish
19x28”
parts:
858.2 miles in under 2 days
14 hours on the road
4 full tanks of gas
1 reclaimed 1960’s window sash
4 nails + washers
and a renewed perspective
description:
This time last year I decided, at 4am, I would take a solo trip 7 hours west to Marfa, TX. Having recently been consumed by the drop-everything-attitude of the summer of ‘69 documentaries I had been watching, I set out on a trip of self discovery.
I was in pain and seeking answers.
In a 48 hour timespan I saw how beautifully Donald Judd’s concrete sculptures framed the Chihuahuan Desert, was treated with unwavering kindness by all I encountered, and watched the sun rise over the Chinati Mountains that next morning.
I did this alone,
and told no one until today.
I found peace out west.
“sacrosanct”
a reclamation of self.
print details:
printed on 130lb ultrawhite eggshell
2-color riso print process
matte finish
19x28”
parts:
858.2 miles in under 2 days
14 hours on the road
4 full tanks of gas
1 reclaimed 1960’s window sash
4 nails + washers
and a renewed perspective
description:
This time last year I decided, at 4am, I would take a solo trip 7 hours west to Marfa, TX. Having recently been consumed by the drop-everything-attitude of the summer of ‘69 documentaries I had been watching, I set out on a trip of self discovery.
I was in pain and seeking answers.
In a 48 hour timespan I saw how beautifully Donald Judd’s concrete sculptures framed the Chihuahuan Desert, was treated with unwavering kindness by all I encountered, and watched the sun rise over the Chinati Mountains that next morning.
I did this alone,
and told no one until today.
I found peace out west.
“Salvation costs $112.45”
A recontextualization, questioning manufactured lights spiritual and subconscious emotional effects.
In collaboration with: @nik.harshaw
Materials used:
5 plastic zip ties
1 50lb bag of fast-set concrete
1 stripped power cord
1 20z gorilla poly glue
1 4ft LED strip light
1 2ft LED strip light
1 cardboard box
and a sugarfree red bull.
What is the natural response to unnatural intervention?
Concept: @robertlmcgee
Wiring: @nik.harshaw
Construction: @nik.harshaw + @robertlmcgee
Photos by: @juliandrake_
Assisted by: @sashisudhakar
Wardrobe provided by: @addictedtorags
“Salvation costs $112.45”
A recontextualization, questioning manufactured lights spiritual and subconscious emotional effects.
In collaboration with: @nik.harshaw
Materials used:
5 plastic zip ties
1 50lb bag of fast-set concrete
1 stripped power cord
1 20z gorilla poly glue
1 4ft LED strip light
1 2ft LED strip light
1 cardboard box
and a sugarfree red bull.
What is the natural response to unnatural intervention?
Concept: @robertlmcgee
Wiring: @nik.harshaw
Construction: @nik.harshaw + @robertlmcgee
Photos by: @juliandrake_
Assisted by: @sashisudhakar
Wardrobe provided by: @addictedtorags
“Salvation costs $112.45”
A recontextualization, questioning manufactured lights spiritual and subconscious emotional effects.
In collaboration with: @nik.harshaw
Materials used:
5 plastic zip ties
1 50lb bag of fast-set concrete
1 stripped power cord
1 20z gorilla poly glue
1 4ft LED strip light
1 2ft LED strip light
1 cardboard box
and a sugarfree red bull.
What is the natural response to unnatural intervention?
Concept: @robertlmcgee
Wiring: @nik.harshaw
Construction: @nik.harshaw + @robertlmcgee
Photos by: @juliandrake_
Assisted by: @sashisudhakar
Wardrobe provided by: @addictedtorags
“Salvation costs $112.45”
A recontextualization, questioning manufactured lights spiritual and subconscious emotional effects.
In collaboration with: @nik.harshaw
Materials used:
5 plastic zip ties
1 50lb bag of fast-set concrete
1 stripped power cord
1 20z gorilla poly glue
1 4ft LED strip light
1 2ft LED strip light
1 cardboard box
and a sugarfree red bull.
What is the natural response to unnatural intervention?
Concept: @robertlmcgee
Wiring: @nik.harshaw
Construction: @nik.harshaw + @robertlmcgee
Photos by: @juliandrake_
Assisted by: @sashisudhakar
Wardrobe provided by: @addictedtorags
“Salvation costs $112.45”
A recontextualization, questioning manufactured lights spiritual and subconscious emotional effects.
In collaboration with: @nik.harshaw
Materials used:
5 plastic zip ties
1 50lb bag of fast-set concrete
1 stripped power cord
1 20z gorilla poly glue
1 4ft LED strip light
1 2ft LED strip light
1 cardboard box
and a sugarfree red bull.
What is the natural response to unnatural intervention?
Concept: @robertlmcgee
Wiring: @nik.harshaw
Construction: @nik.harshaw + @robertlmcgee
Photos by: @juliandrake_
Assisted by: @sashisudhakar
Wardrobe provided by: @addictedtorags
“Salvation costs $112.45”
A recontextualization, questioning manufactured lights spiritual and subconscious emotional effects.
In collaboration with: @nik.harshaw
Materials used:
5 plastic zip ties
1 50lb bag of fast-set concrete
1 stripped power cord
1 20z gorilla poly glue
1 4ft LED strip light
1 2ft LED strip light
1 cardboard box
and a sugarfree red bull.
What is the natural response to unnatural intervention?
Concept: @robertlmcgee
Wiring: @nik.harshaw
Construction: @nik.harshaw + @robertlmcgee
Photos by: @juliandrake_
Assisted by: @sashisudhakar
Wardrobe provided by: @addictedtorags
“Salvation costs $112.45”
A recontextualization, questioning manufactured lights spiritual and subconscious emotional effects.
In collaboration with: @nik.harshaw
Materials used:
5 plastic zip ties
1 50lb bag of fast-set concrete
1 stripped power cord
1 20z gorilla poly glue
1 4ft LED strip light
1 2ft LED strip light
1 cardboard box
and a sugarfree red bull.
What is the natural response to unnatural intervention?
Concept: @robertlmcgee
Wiring: @nik.harshaw
Construction: @nik.harshaw + @robertlmcgee
Photos by: @juliandrake_
Assisted by: @sashisudhakar
Wardrobe provided by: @addictedtorags
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