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[Elliott Hundley: Evoking Emotions]

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I'm staging imaginary operas.

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One of the things I find appealing about opera[br]is it's kind of a ludicrous proposition.

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[LAUGHS]

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It's a convention that we all read as normal,[br]but it's a funny convention.

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I like how artificial it is.

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But being so artificial, it definitely strives[br]to evoke strong emotions.

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The music is the vehicle for the intensity[br]of the emotion,

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and that's the priority, I think.

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That's definitely my goal--

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creating some sort of emotional response from[br]the work that I make. Absolutely.

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During the day, I spend my time collecting[br]all of this stuff.

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And that I can do with help.

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It's easier to work when I'm by myself,

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when it’s quiet.

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And there's also no time limit, you know,[br]when you work in the evening.

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Collage has been one of the most relevant[br]forms of art making.

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I think it's resonant because it is made of[br]the stuff that we see every day.

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So it's familiar. It reflects our reality.

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And it's self-evident.

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There's no esoteric technique to make a collage.

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Because some of my subjects or the things[br]that I'm trying to make

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are maybe trying to get at something mysterious[br]or something unknown

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or something emotional,

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I think what's appealing to me about collage[br]is the fact that it's so straightforward--

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that it's a good foil to my subject.

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I use stories to get the picture started,[br]or to find components,

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or to locate a compelling narrative--

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or a compelling situation. Maybe that's even[br]a better word.

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Or a compelling psychology.

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And I'm interested in staging--

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you know, all the tricks of creating the scene.

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I don't know for what high school musical[br]this backdrop could've possibly been made.

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It's called "Sci-Fi Office".

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I got this backdrop just for the photo shoot;

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I rented it.

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--[HUNDLEY, OFF CAMERA] It looks good...

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--Three, two, one...

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[SOUND OF CAMERA SHUTTER CLICKING AND FLASH[br]FIRING]

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[SOUND OF CAMERA SHUTTER CLICKING AND FLASH[br]FIRING]

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--Perfect.

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I like to include images of the people in[br]my life.

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All my friends know this about me, that I[br]spend a lot of my energy asking their opinions.

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What's important to me about including my[br]friends and family is that it raises the stakes;

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that they’re not just images.

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It's not just color.

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It's not just a model.

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But it's people with identities.

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I think that if someone encountered my work,[br]they would not necessarily know

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that the model in my photograph or painting[br]was someone important to me.

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But I do think that it changes my attitude[br]towards the subject,

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and I think that ultimately that's what changes[br]the picture.