Studio.News. 03.22: The Job Was Last Minute
as observed and written by Jesse Janzen, Studio Associate
It went like this: “Can you be in Seattle in three days to shoot a massive art piece being installed outside our biggest building? And can we do video as well?” A resounding yes saw us roadtripping through the thick of Covid to capture this rare and exciting event.
“Um… what happened to the ground?” Lawrence and I gape at the mud pit where the art piece is to be lowered, the object of our shoot.
“Oh. Yeah. Pipe sprung a leak last night. Had to dig the whole ground up. Looks kinda bad, huh?”
It looks like a thousand gophers fought to the death. It’s the ugliest patch of ground I’ve ever seen. And it’s the foundation of our shoot. I think, my god, we drove all the way from LA to Seattle and the whole shoot is dead on arrival.
Problem Solved.
Every project dishes out obstacles and unique challenges and this one was a rodeo.
I’m certain Lawrence’s only options are weeping or a heart attack. But he rallies the troops and we document the hustle and bustle of the installation crew.
Video equipment lines the sidewalk as Lawrence dashes from one angle to the next, juggling the two cameras that dangle from his neck. The sculpture looks gorgeous suspended in the air, glinting and gleaming and ready to take lives at the slightest hitch in precision by the crane operator 80 feet below. As it approaches the wires its margin of error thins to inches.
We all hold our breath (and hard hats) as it’s guided into place like a giant death-miracle from the sky. Applause resounds as it’s bolted safely into place. But “in place” is fastened to a steel anchor in a giant muddy hole.
This is where the real shoot is meant to begin. And I’m sure Lawrence’s hands are tied. But instead of gripping his chest and face-planting into a muddy grave, Lawrence circles the sculpture. His eyes are sharp, but gentle. Loving. He observes, squats down, paces. Suddenly, he springs into action!
The wide lens is replaced with length and compression. The reflective tiles of the sculpture become frames, capturing the Space Needle and surrounding landmarks. Grander becomes granular as the pictures turn intimate, and the giant sculpture's sectioned into a collage of images that seem more like paintings than photographs.
Lawrence guides the video project in a new direction, schedules a trip to the artist’s studio, cross cuts the video with interviews, hands-on craftsmanship, and the exciting crane drama with its magnificent aerial act.
I learned a lot watching Lawrence turn a sure-disaster into a blockbuster win, and was grateful to learn of the intimate artistry in his diverse bag of tricks. > SEE THE ARTIST AT WORK