Richard Philips nous parle de son art et d'adriana
You always paint from pictures, so working with live models is new for you — now that you've worked with Adriana and Lindsay, how do you feel about working from life versus working from a photo or an illustration? - Working with Adriana, I was a bit nervous. She's so powerful, really an entity, in a way. It gave me more admiration for photographers that do that sort of thing professionally. There really is a sense of direction and confidence that inspires the model. There were some humorous moments where I had to go over the poses I wanted her to do by getting into those poses myself, which my assistants got a good laugh at. But it was only after I went through a few of the pose sequences that I felt comfortable and was able to really talk about how to do that.
So what was it like to work with Adriana? These photographs were not easy to do, and required her skill to strike and hold complicated poses for quite a long time. You meet her and there's a generosity of spirit and very friendly and easy manner, and then all of sudden, the lights go on, and you realize you're working with this absolutely extraordinary person who's capable of creating these powerful images. It was my first time ever working with a fashion model. I shot her back in January, and days later, she appeared in no less than four Super Bowl commercials. I was sitting with friends and I mentioned I had just worked with her, and they were like "What?!" She really is flawless. We did a lot of postproduction work on the background of the photographs, but really none on her.
Was she pregnant when she posed? I don't believe so. Well, she may have been very early on and not known. I think only gave later, a week or so later, an announcement. That was really wonderful to hear. She certainly wasn't showing any signs around the time of the shoot, as the paintings will bear out.