NowVIZ / PATO O'WARD

Arrow McLaren IndyCar driver, Pato O’Ward currently in the hunt for the 2023 NTT IndyCar series championship title. Cover photo by Andrea Mead Cross.

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PATO O’WARD NTT INDYCAR DRIVER AVATAR MAGICIAN AI ARTIST

STAR MONTANA IMAGE-BASED ARTIST

COWBOY JUNKIES ALT ROCK

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Star Montana grew up in the East Los Angeles neighborhood of Boyle Heights, notable and historic for the Chicano/Mexican-American communities. It’s also known as one of the most dangerous gang territories of L.A.

“I had been on the streets since I was 12 or 13,” Montana said. “You just think you’re going to die. You heard about everybody dying – whether it’s a stray bullet or something else. You just don’t think you’ll live to be 18 or 21 years old.”

Star found photography early in her teens. Since that time, she’s taken pictures of family and friends, recording life’s struggles, pain, and loss. She initially used disposable cameras as she shot her images on black and white film, making the early 2000s look like a more distant time.

A gang called White Fence, considered one of the most violent and powerful gangs in East Los Angeles, resides in Boyle Heights along with 34 other named gangs in the area. Last year, nearly six percent of the murders in Los Angeles took place in Boyle Heights. This is the same percentage as in 1992 when crime was at its highest level citywide.

In 2007, Star’s cousin Carlos - 21 at the time - was killed in broad daylight. In 2010, her mother died due to complications related to Hepatitis C. Star chronicled this time period for her first ever solo show in 2016 called, Tear Drops and Three Dots, shown at the Vincent Price Art Museum in L.A.

Montana’s work highlights the plight of Mexican-Americans who have been in L.A. for generations but still struggle to achieve what they see as an untenable American dream.“There’s a rhetoric that’s still being taught that you’re supposed to transcend poverty and be able to go to college, buy homes, and become middle class,” she said. “It’s all a fallacy.”

Star has made huge efforts to break all barriers and remains hopeful that the cycle will break for others. She is a first-generation high school graduate, earned a Bachelor of Fine Arts from the School of Visual Arts in New York, and completed a Masters in Fine Art Photography at University of Southern California. Her work has been shown world-wide and she has been lecturing across the country for over a decade. Incredible milestones for a life that was destined to fail.

Star is currently working on her next project and teaches photography in Los Angeles. Boyle Heights remains a hot spot for violence in L.A.

Star Montana’s work has been exhibited at Charlie James Gallery (2019, 2016); Residency Art Gallery (2018); LA Plaza de Cultura y Artes (2018); Occidental College (2017); The Mexican Center for Culture and Cinematic Arts at the Mexican Consulate General of Mexico (2017); The Main Museum (2017); Ballroom Marfa (2017); and Vincent Price Art Museum (2016). Montana was an artist-in-residence at the Robert Rauschenberg Foundation in 2020. She holds a Master of Fine Arts in Art from the University of Southern California, a Bachelor of Fine Arts in Photography from the School of Visual Arts, and an Associate of Arts in Photography from East Los Angeles College.

NowVIZ: You are a documentary photographer and like to describe your work in long conversations. Will you discuss this approach?

Star: I was trained as a documentary photographer, but I think of myself now more as an image-based artist. I think that term gives me more freedom and creativity in my projects, especially because I bring archival images and long conversations into my projects.

I like to think of my work in terms of long conversations because I’ve always been a very curious person. As a child, I hated short answers. For example, I didn’t grow up with my biological father; I have my dad and mother, but I never knew what happened to my biological father. When I would ask my mother she would always make up stories about what happened to him. She would give these short, quick answers that never made sense to me. And in return, I would always ask these long follow-up questions to try to understand the narrative. In reality, the questions weren’t all to do with my father. Rather, it was a way for me to try to understand the systematic violence and redlining racism that was happening in my community. It was during this time I realized that along with my images, a text narrative needed to be incorporated into my work and presented in a long conversation. This notion goes back to world-building.

NowVIZ: You found your first camera, which was a 35mm, at a swap meet and began shooting in black-and-white film. What was your inspiration at that time?

Star: I have been shooting with disposable cameras since I was a kid. I was always interested in making photos (I didn’t even know the word “photography” existed). I was shy and didn’t like to be photographed, but I was always into capturing what I was seeing in my world. A friend of mine showed me her 35mm camera and how I could learn to use a camera at the local community college. I thought it would be too expensive, but a few weeks later I was with my dad at the swap meet held at the local community college and I saw a 35mm camera. It felt like it was meant to be. I started taking classes and my first class taught us the basics of photography and black-and-white film. I’ve always been inspired by my life and my friends and would photograph all of us and our chaos. My professors just thought I was glamorizing drugs and gang culture. But now that I’m older and a professor, I can see that in reality, I was documenting teenagers who were lost and suffering. We didn’t need to be judged, just seen.

NowVIZ: You’ve said your life and background have been the driving force in connecting with your subjects. Will you talk about how that focus has grown through the years?

Star: I remember seeing in my beginning photography classes interesting projects on marginalized people, but they were always created by white, wealthy, middle-class men. I would ask, “Are there any people of color making photo work?” I would yearn for biopic photo inspiration. My professor was an older white man who was a commercial photographer and didn’t really know other histories than the mainstream photographers.

So in the beginning, I wanted to photograph my family and our existence. I wanted to shoot as an insider and tell the story of what we went through, our pain, loss, grief, and joy. I also didn’t know I would still be doing it twenty years later.

Although the work has shifted, and so many people in my life have passed from systemic injustices, we are still here. I continue to document our existence because many marginalized people are often erased. The stories are told as mentors because I didn’t want our existence told in the third person. I tell each story in chapters and each chapter is different. Some are very direct and some are conceptual. Right now my concentration is on larger themes such as migration, intergenerational trauma, water, and transnational grief.

Star Montana in her LA studio

NowVIZ: You are open about a very daunting experience you had with your cousin with whom you were very close and who was murdered on the street. You’ve mentioned that since that event, you’ve never shot a frame of black and white. Can you talk about that period in your life and how it affected your work?

Star: I was 19 years old when my cousin was murdered. He was one of my muses and he was my cosmic twin. We were born two years apart and in our early years grew up at my grandma’s house. There was so much trauma and grief surrounding his death that I started to blame my work. I wondered if I would ever pick up a camera again. I just stopped making images and anytime I thought about it, I just sobbed. Before my cousin’s murder that summer, my mom had almost died due to ongoing health issues and my family had become super tight-knit. We rarely went out and just cared for my mom. At some point, I remember I picked up a camera and put in color film thinking color could show the reality of our life. I felt the need to document our grief and slowly began taking images again. But when I thought about using black and white film, I would have serious anxiety attacks. I didn’t even look at my black-and-white work taken from the age of 16-19. It was only about five years ago that I was able to revisit black-and-white.

NowVIZ: Will you talk about the progression in the type of camera you’ve used throughout your career and is the type of camera you use important to your work?

Star: I started with disposable cameras and I continue to use them throughout my work. I have always said the most important thing is making the work; it’s not about the equipment. I have been poor a lot of my life and career, so many of the cameras I used in my work were borrowed. Some of my work is done on 35mm large format and medium format cameras. With certain projects like, “I Dream of Los Angeles”, and “By the River”, I knew I wanted to shoot on film with a medium format camera or higher. And in 2013, I was lucky to get hold of a medium format camera and it’s been my primary camera ever since. I know certain cameras and film will give me the quality I am searching for. But if at any point everything broke and all I could afford was a disposable camera or iPhone, I would still make it work because to me the driving force and most important thing is to continue to create.

NowVIZ: Joseph Rodriguez is a documentary photographer who has been a huge inspiration for you. Would you discuss why?

Star: I started photography at 16 years old in 2003 when the internet was a weird place. Some photographers had websites and Google wasn’t the place it was today. I remember that in lectures, I saw photographers who were making work about the “other”, and they were privileged; they weren’t within that marginalized group.

I remember typing in the search bar “East LA photographer”, “Latino photographer”, anything to feel connected to a photographer like me. Then Joseph Rodriguez’s side story came up. I felt really connected to his work and I remember just reading everything I could about him. I told my mom about his book and she got it for me for Christmas. I saw he had a workshop in New York and I dreamed of going to take that workshop for years. I saw he taught at NYU and I specifically wanted to go to NYU just to learn with him.

Years later, I did go to art school in New York and I got the chance to meet Joseph. I believe at first he thought I was just a privileged art kid and he asked me where I was from and I said, Boyle Heights. From that moment it was like a key unlocked a friendship between us. I got to be his assistant at his workshop for a few years, and Joe taught me a lot and taught me to push myself. I am incredibly shy and he would just tell me to keep pushing myself, to push my work. People always ask me for my photo idols and I always say “Joseph Rodriguez” because he lived up to my own personal dreams.

In Los Angeles with Star Montana and photographer Andrea Mead Cross.

“But if at any point everything broke and all I could afford was a disposable camera or iPhone, I would still make it work because to me the driving force and most important thing is to continue to create.”

NowVIZ: How long does a project usually take from start to finish and what does it entail?

Star: I tend to think of my projects as writing books. I always remind my students that their projects are world-building, and it may take a long time from conception to finality.

My projects may take anywhere from five to seven years, all of which entails creating draft images, location scouting, research, writing, and sometimes waiting for a particular season just to take the right image. For example, I was at a river in late summer and wanted a certain type of image for my current body of work. I had taken a few images, developed them, and the result wasn’t exactly what I wanted to say. And that season had passed. So I waited for the following summer to get that image. I thought about it for a year and as soon as the season arrived and conditions were what I wanted, we went out two times to capture that image. That alone took two years, but it was an image I needed for that body of work. Currently, I’m in part two of this body of work and year three. I think I have another two or three years for this body of work to be ready.

NowVIZ: Is there a particular project you are working on to date that you would like to discuss?

Star: I am currently working on “By the River Part Two”. I haven’t really figured out the name of it yet, so I’m calling it part two. The first part dealt with my family’s migration from El Paso to Los Angeles in 1945 after World War II. It shows the matrilineal line and deals with the loss of so many family members. Part two is dealing with our life in Los Angeles, along with the water loss happening in the city. It shows me as a representative of all the women in my family in different places and by different bodies of water like the Los Angeles River, the San Gabriel River and the Rio Grande. While I was researching this work, I noticed my family has always migrated next to water.

I am still in the development phase where I am photographing and researching. What does it all mean? This is the beautiful part in the scary part connecting it all.

NowVIZ: What motivates and inspires you on a daily basis?

Star: Thinking back to what Joe taught me as a photographer, I used to feel bad if I wasn’t making work constantly. But I remember he told me we all have to survive. He said if you have two great weeks a year you’re good. I think about that a lot.

I suffer from PTSD depression and I am immunocompromised. I feel like I’m being left behind in this post-pandemic world. I still try every year to make it work even if I have to shift what I am making work about every day. I try to motivate myself to just get out of bed, even if my body hurts or my depression is depleting me. I feel like every day that I get out of bed I win, which sounds really depressing, but to me, it’s a win.

I have nieces and nephews and I tell them it’s not about huge goals, it’s about all the mini-wins. When I was a teenager, I didn’t think I would be alive today. I saw a lot of friends dying and most of my family has passed away. So today I’m alive and that is the win and my inspiration. Also, that I get to make work is sort of my inspiration and motivates me every day.

NowVIZ: What philosophy do you live by?

Star: I would say my philosophy is very basic – it’s to be curious, to know. I want to keep learning, which helps me so much with my art. And to try to be a good person, not for gain, just for humanity.

STORY 2 -

AVATAR

Artificial intelligence is meant to make people’s lives better. You can edit photos, write articles, and more with the help of AI tools, but they’re never perfect. There are still limits to their capabilities, which simply demands that you pay attention when using them, not completely avoid them. AI-generated artworks are an evolution of art and society. It is relevant and impactful, whether it’s a person or a machine creating it. The works of art that AI generators produce come from millions of data sources, old and new. Even if your results only combine a few pre-existing images or styles, they are a blend of art history. At the same time, they serve as a mirror of society, considering all the data an AI learns from to create pictures, text, and other materials comes from what people say, do, and post online. It’s also one of several risks of artificial intelligence to keep in mind. As a new part of the art world, they just need better integration. Digital art is a modern medium and form of expression, as well as a reflection of contemporary society.

NowVIZ: As a conceptual artist/designer how did you begin? (Can you tell us or describe the process you use to make your work come to life?)

Avatar: It starts with prompt crafting, which is a process that some might describe as wizardry or wordsmithing. It is quite controversial in the traditional art world but AI-generated art is pursued under entirely different terms. In a way, it betrays the originality of the artist/maker, but to keep it simple, I prefer to be called “artist” in quotations.

Crafting AI prompts is similar to wielding a paintbrush. Different pressure and colors can achieve the desired effect. The words make the difference in AI-generated images like adding “ultra-realistic” or “8k”. It’s easy to start, but mastering the prompts can be time-consuming.

I use various tools and techniques to achieve this level of detail and precision in my AI-generated art, such as Midjourney, Stable Diffusion, and DALL-E-2. I also utilize Photoshop for post-production and other tools as needed. As AI technology advances, I can see how it will become increasingly valuable to businesses. This has been demonstrated by recent advancements in deepfake technology, such as the impressively realistic video of Kendrick Lamar in “The Heart Part 5.”, which highlights the potential of AI-generated art to challenge our perceptions of reality.

I think it’s important to stay ahead of the curve and continually learn about the potential of AI. At the end of the day, my AI generated art is a curious intention that blurs the line between human and machine. While I may not fully control the outcome, it’s a fun, creative realm.

NowVIZ: Would you discuss some of your latest work and how you began that vision?

Avatar: With fashion, as in life, we often see what we want to see. Our minds are wired to notice patterns and repetitions, so we naturally gravitate toward those things that catch our eye. This is known as the frequency illusion - once we become aware of something, we start seeing it everywhere.

I surround my work with this illusion and a touch of surrealism to create a familiar and comfortable feel, using patterns that look seen but don’t exist. It is not an often used term, but a few artists like the famous artist Picasso and Banksy sparkled similar ideas. They used an avant-garde approach to challenge traditional notions of art and often used unconventional methods in their work. The idea that captivates me is to expand art in different timelines, such as from the Space Odyssey movie. Using pointy shoulders, balaclava jackets, and translucent materials with a functional perspective, I can achieve a particular effect for the final outcome.

While AI technology has certainly revolutionized the way we approach art and design, one thing it lacks is the human experience of frisson - that intense, emotional response that can only be elicited through human perception. Additionally, the process of creating art through AI is vastly different from the traditional methods of brushstrokes and physical materials but nonetheless incredible in its own right. With the help of AI technology, I can quickly bring my vision to life and visualize different looks and styles, enabling me to alter the context of clothing and trends.

NowVIZ: The forms, shapes, and materials are incredibly dynamic. Will you discuss the details of your pieces? (textures, surfaces, environment, etc.)

Avatar: I pay close attention to texture and surface details to create depth and dimensionality in my work. As part of my creative process, I experiment with various lighting scenarios and materials to achieve the desired effect and enhance the visual appeal of clothing. This is an important aspect of my creative process.

I encourage readers to try different lighting scenarios and materials, for example, “rim lighting”, “heavy wool” and “foggy and misty Icelandic landscape.” It can play a significant role in the overall look. We can take our ideas into different fantasy worlds.

However, it’s fun experimenting, and having short-term learning gains is essential. My ultimate goal is to create something that has a real impact in the long term. I am already helping creative talents and brands to try to understand a few factors of generating images.

With the help of AI, I believe we can reduce the time and materials needed to create fashion items, which can make a positive impact on the environment. In the fast fashion industry, overproduction and overconsumption are major issues that we need to address. In the future, by leveraging the help of AI to calculate precise measurements and fabrics, we can design fashion items that require fewer materials and are easily recyclable. This approach can help us address the issues while still allowing us to appreciate the beauty of fashion.

NowVIZ: Every artist/designer draws inspiration from somewhere or something. How do you find your inspiration?

Avatar: I incorporate frequency illusion and surrealism to achieve a distinct yet familiar look. But beyond that, I also take inspiration from other artists and designers who have challenged traditional notions of art and design.

One artist who is quite interesting to me is Meret Oppenheim who is known for her surrealist sculptures and objects. She often transformed everyday objects into art by giving them a new context and meaning. Her work reminds me that art and design can be found in even the most mundane objects around us, and it inspires me to approach my work with a fresh perspective.

Furthermore, I draw inspiration from various architectural styles and historical periods. Renaissance architecture, for example, with its unique geometric patterns and intricate details, has always fascinated me. By incorporating these elements into my designs, I can create a unique blend of past and present, giving my work a timeless feel.

NowVIZ: Do you have a passion outside of the art world?

Avatar: One of my main hobbies is photography, specifically nature and landscape photography. I love to capture the beauty of the natural world and use those images as inspiration in my design work. I find that photography allows me to appreciate the world around me. Overall, having passions outside of design helps me stay well-rounded and brings balance to my life.

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Some people take years to find what they want to do in life. Others never figure it out. Mexican-born Pato O’Ward was six years old when he discovered his true passion. His grandfather gifted him a go-kart and everything fell into place.

By the age of seven, the young karting enthusiast was already competing in races, and winning all around him. At the age of nine, he won the Rotax Grand Nationals USA (Micro Max category) along with the Southwest Regional Cup Series in the Mini Max category and the Rotax Max Challenge Southwest Regional Series, also in the Mini Max category the following year.

When Pato, who was born in Monterrey, Mexico, was 11 years old, his parents, Patricio and Elba Junco O’Ward moved the family to San Antonio, Texas. He continued competing, and at age 13 made the major leap from karts to cars.

“The move into cars was a big step,” he said in an interview with Usfpro2000.com. “But with the right tools, I learned faster. Starting at a young age helped me with technique and helped me mature. I’m with the ‘big boys’ now and I’ve matured as a person and as a driver.”

In his first years as a formula racing driver, Pato competed in the Formula LATAM F2000 Series in Mexico as well as the Formula Renault 1.6 NEC Junior series in Europe and scooped a victory in the Pacific F2000 series in the U.S.

His decision to switch to cars also saw him turning to Europe where he raced in the French F4 series’ at the tender age of fourteen. Guided by his father, 2014 saw him back on American terrain when an invitation to race with Team Pelfrey in the Pro Mazda Championship opened up.

By 2017, Pato had returned to the IndyCar circuit having signed with the Andretti Autosport team, making his debut in the Indy Lights championship series. The young driver won nine of his 17 races and scooped Rookie of the Year honors in the run-up to seizing the winning title at Portland.

Two weeks later, Pato made his NTT IndyCar Series debut at Sonoma Raceway in California with Andretti Autosport partners Harding Racing. He qualified fifth and finished a respectable ninth.

With his star very much ascending, Pato became a member of the Red Bull Junior Team in 2019, racing in the Japanese Super Formula, the country – and Asia’s – no. 1 single-seater formula racing event. He placed sixth in Okayama and finished the season 18th overall.

Though he then joined the UK racing team, Carlin, on a part-time deal, in 2020 the 21-year-old driver made the jump back into the fast and furious world of IndyCar when it was announced he’d signed with Arrow McLaren SP.

McLaren, one of the oldest F1 racing teams and the world’s most successful after Ferrari had been making waves in oval racing since the 1970s and Pato would be part of an elite team, partnering Oliver Clarke Askew, the 2019 Indy Lights Champion, for the majority of races.

With Arrow McLaren SP he swept up nine podiums, four poles, and three wins at Texas Motor Speedway and Detroit’s Belle Isle in 2021, and Barber Motorsports Park in 2022. In his first year with the world-famous team, he was also named Rookie of the Year at the Indianapolis 500, where he finished sixth overall.

In May of last year, the world-famous team announced that it had extended its agreement with the Monterrey native through to the end of 2025.

“Pato is an important part of McLaren’s future in IndyCar” Zak Brown, CEO of McLaren Racing said at the time. “He is an incredibly talented driver who has already shown what he is capable of in IndyCar.”

Pato himself couldn’t be more excited about the years to come. The racer who unleashed his love of driving when he got behind the wheel of his first go-kart at the age of six, knows that with Arrow McLaren SP he’ll be doing what he feels in every fiber of his being he was born to do: drive great cars.

“This feels like home to me,” the 23-year-old racing champion says happily. “This is exactly where I want to be.”

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On set with Pato O’Ward and photographer Andrea Mead Cross.

NowVIZ: How did you start racing and how have you continued to be motivated to race?

Pato: I got a go-kart from my grandfather when I was six years old, which ultimately sparked my passion and love for racing. And what keeps me motivated is the passion. You can’t buy passion; I just have such a passion for the sport and for driving. I love the sound, the feeling, the adrenaline, it’s my life. It’s definitely not a hobby, racing represents my whole life and it feels like home.

NowVIZ: Since joining Arrow McLaren in 2020 you have pushed your way to the top. In 2020 you finished fourth in the NTT IndyCar Series championship, third in 2021, and P2 in the 2022 106th Indy 500. What’s next in 2023?

Pato: I don’t like to get too descriptive or focused on one goal because I think it’s so important to enjoy the little moments. Sometimes you get so caught up in what you want rather then enjoying those moments and you end up missing them. So I just live in the moment. Let things fall where they fall and enjoy each day to the max. I think it’s the best way to do this profession because it can change so very quickly. It’s a profession that has a lot of variables other than yourself and most times you can’t control them. So it really is just about enjoying what you’re doing and living in the present. If I can do that, I think everything else will take care of itself.

NowVIZ: You’ve had the opportunity to race outside of IndyCar, like the Rolex 24, and time in an F1 car. What have those experiences been like?

Pato: Some of the most enjoyable and best wins of my career have been races like Rolex 24 and the 12 Hours of Sebring. I feel like these races are the ones that have taught me to know what it’s really like to enjoy the pure feeling of racing. Driving a car for multiple hours at a time, enjoying time with your teammates, and just being on the track are things I really enjoy. These races are also very long and even though you go in wanting to win, many variables challenge the outcome. These particular race experiences have helped me relate to fighting for an IndyCar championship or an IndyCar race weekend; so many things can happen outside of your control that it’s not worth stressing over. All you can do is know what the task is at hand, make sure you execute it properly, and be ready for those moments when they come. Everything else will fall into place.

“You can’t buy passion; I just have such a passion for the sport and for driving. I love the sound, the feeling, the adrenaline, it’s my life. It’s definitely not a hobby, racing represents my whole life and it feels like home.”

NowVIZ: Do you have someone you turn to for guidance, inspiration, or mentorship?

Pato: My father is a very big rock, he’s the rock of the family. My mother is another massive supporter, but my father has lived it all with me. I mean the guy knows me from head-to-toe, along with everything I’ve ever been through. He’s the person who has the key to all the stories and different experiences we’ve had together. My sister and grandparents are also huge supporters. Honestly, I have the kind of family I think anybody would dream of having! They also help me recharge. When I’m with them I can free my mind from what usually consumes me and that’s racing, racing, and more racing. So when I have time I spend it with them because I can put aside being the racing driver and just enjoy being with them. I really love those times.

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NowVIZ: Do you have a certain regimen you maintain to stay healthy, both physically and mentally?

Pato: I love to start my mornings off with a workout. Not every single morning, but definitely four or five times a week. And I think that’s great for the mind. It’s great to start my day off like that as it wakes me up. I feel good and it makes me feel like I have a full day ahead to get stuff done. My in-season training regimen is less intensive than my off-season. In-season, the car is what keeps you fit. It really depends on how you’re feeling and how hard a certain race was because some races are harder than others. Over a weekend of racing, your body endures a pretty big beating. So the last thing you want to do is destroy the muscle again on Monday and Tuesday. What you want to do is recover. And the recoveries I like to use are cryotherapy ice baths, massage, or cupping therapy to help get the blood pumping for a faster recovery.

The off-season is all about getting stronger and stronger. It’s definitely a bit more structured during that time of year.

NowVIZ: How do you stay in control of your game mentally when you get behind the wheel?

Pato: Mentally, I think you’re always facing obstacles, some harder or more stressful than others. It’s a continuous learning process. You need to figure out what works best for you. I never think you master it, but it’s how you deal with it. It’s a constant work in progress, a process you will constantly go through during your lifetime.

It’s hard to explain. You can’t force it. I really don’t know how to explain it other then, you’re in the zone. Yeah. I mean, my motto is the moment you start thinking is the moment you start going slower. So your mind must be free of thinking so that your talent can breathe.

Arrow McLaren NTT IndyCar driver Pato O’Ward on set!

NowVIZ: What’s your passion off the track?

Pato: I like a lot of things! I’m not really into the normal sports, but I like two-wheel and four-wheel action motorsports. I appreciate fashion. I appreciate supercars. I appreciate artwork. I’ve also grown to love architecture and how things are built. So yeah, maybe it’s because I’m getting older, but I’ve just really grown to appreciate what life is and feel very fortunate to be able to travel to so many different places and get to see so many different things. Like the difference in architecture between Mexico, America, Europe, and the Middle East is incredible. America alone has so many different types of cities, right? It’s amazing to see all the different cultures. And I’m a massive foodie, so I love to taste what a town or city is all about. And yeah, I just love what I’m doing and really get to enjoy what my life is right now, which is living out of a bag!

NowVIZ: What philosophy do you live by?

Pato: “Drive like you live.”

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“Within our own humanity there is great heartache and misery but also great joy and comfort. There is nothing more humbling to me than the ferocious beauty we live amongst, including life and death.” Margo Timmins

Cowboy Junkies will release Such Ferocious Beauty on June 2, 2023 via Cooking Vinyl. This is the band’s first release of new material in five years and follows their heralded 2022 collection of covers, Songs of the Recollection. Such Ferocious Beauty is vintage Cowboy Junkies and another dimension from the lo-fi Canadian band comprised of siblings Margo, Michael and Peter Timmins and lifelong friend Alan Anton. Beauty is a rumination on aging, losing parents, facing mortality and creating space for one’s life in the midst of the ruin that comes from merely living.

For Beauty, Michael stresses that he and Margo spent more time working through the songs, letting her interpretations really settle before taking them into the studio. And once in the studio, he worked with Alan and Peter to create even more dynamic tracks than usual. “This is a different kind of recording; there’s a denseness to it. In many ways the music, the choice of certain structures, the tones used, become as important in communicating the albums themes as do the lyrics. “The songs are expressions of Mike’s soul,” says Margo Timmins, “but once written, once he gives them to me, to the band, and eventually the audience, there is no right or wrong interpretation.”

“What I Lost,” the first emphasis track, reflects on the last several months of the Timmins’ father’s life. The song is a reflection on conversations that Michael had with his father during his battle with dementia, “memories of his flying days as a bush pilot in northern Quebec and his love of jazz and his experiences of seeing the great big-bands of the 50’s would often work their way into our conversations. I would often think about all of those memories and experiences that were slowly being eaten away by the dementia and would eventually completely disappear with his death. Lines like “This is what I lost” and “I can sit here and wait” from “What I Lost” and “Shadows 2” are not so much about him, but about me.”

The song is captured in a video for which Peter Timmins created an artistic interpretation of the effects of dementia on the person and those around them. “The man in the video is our father,” says Michael Timmins, “sitting in his living room listening to Duke Ellington...I’m not sure what he is thinking. The color “super 8” footage is from the late 50’s taken in Montreal and Magog Quebec by our Grandfather (our Mom’s dad). The people in it are my Dad, Mom and Aunt (Mom’s sister)...there are some quick glances of our oldest brother and an Uncle (my Mom’s brother). There are also a few quick flashes of family pics of all the kids (us and our siblings).”

“What I Lost” video link: https://cbj.lnk.to/whatilostvideoPR

(L to R) Michael Timmins, Peter Timmins, Margo Timmins, Alan Anton

Photo: Heather Pollock

Revolution Hall, Portland, OR

July 13, 2023 @ 8:00 pm

Neptune Theatre Seattle, WA

July 14, 2023 @ 8:00 pm

Neptune Theatre

July 15, 2023 @ 8:00 pm

Freight & Salvage, Berkley, CA

July 18, 2023 @ 8:00 pm

Freight & Salvage, Berkley, CA

July 19, 2023 @ 8:00 pm

The Sound, Delmar, CA

July 23, 2023 @ 8:00 pm

Orpheum Theater, Flagstaff, AZ

July 25, 2023 @ 7:00 pm

Musical Instrument Museum, Phoenix, AZ

July 26, 2023 @ 7:00 pm

Fox Theatre, Tucson, AZ

July 27, 2023 @ 7:30 pm

Partridge Hall, St. Catharine’s, ON

September 27, 2023 @ 8:00 pm

Chrysler Theatre, Windsor, ON

September 29, 2023 @ 8:00 pm

Imperial Theatre, Sarina, ON

September 30, 2023 @ 8:00 pm

Cowboy Junkies perform at the National Concert Hall Dublin, Ireland, 2022

NowVIZ: As a footwear designer who has worked both freelance and corporate, which do you prefer and why?

Steven: Every company I have worked for had its positive and negative aspects. I realized once I broke away from the sports industry and entered fashion that a lot of the fundamentals I learned about design continuity and overseas factory development came from sports companies. Having spent over five years working in Germany for Adidas, the company has a special place in my heart. It was my first corporate job out of college and away from America. I also had a great mentor who showed me my strengths and how to communicate my radical ideas in a more consistent language. Leaving Adidas was tough, but I knew I wanted to learn more about footwear design from another culture that has a strong design heritage: Italy.

After working for twelve years in the footwear industry I decided to take a break and focus on other aspects of design. After so many years behind a computer and designing for shelves of retail shops, I felt I lost the connection with the consumer and the products I provided them. The freelance world allows me to connect with the people again and understand their needs. It’s why I became a designer in the first place. I also have more control over the process and can be more involved in the development of the product. Once my job is done, it becomes the property of the client and I move on.

NowVIZ: You have had the opportunity to work in different countries. What design differences stand out compared to American design?

Steven: That depends on the country. For instance, Latin European countries such as Italy, France, and Spain focus more on the emotional experience. This is delivered through an aesthetic primarily focused on materials. Whereas, Nordic countries focus on the purity of the product—They have more of a no BS approach, delivered through a simplified form and color palette. Since living in the Bay Area of California, where most of the tech companies are based, I would say that American design is now primarily focused on digital products. Products have shifted into more of the digital realm focusing on user experience design. But if there’s one thing I have learned about American design, it’s the importance of storytelling. It creates a connection to the consumer.

NowVIZ: Is there a particular project to date that has become an important addition to your portfolio? Why?

Steven: The Terrex Trail Cross, which is Adidas’s first hiking and downhill biking shoe morphed into one. Being a cyclist, I knew once I read the brief I wanted to design it! Before sketching, I went out to the Bavarian trails and met some German athletes. They gave me great insight into the product they used as well as their lifestyles. I even went as far as designing specific zones of the outsole to fit the pedal and preserve their energy used while pedaling. The end result is a blend of Adidas Hiking DNA and the badass attitude of a downhill biker. This is one of the strongest projects in my portfolio since it was a brand-new concept, and it would stay in the collection for the next eight years.

NowVIZ: It’s difficult at times to start a new project. Is there a particular method that has become your go-to process over the years?

Steven: Ever since I was a kid I would dive deep into my sketchbook. I still practice this method even while I’m receiving the brief in a meeting. I write down keywords and phrases that jump out at me. Then I start sketching away!

NowVIZ: We are currently adapting to a new way of life. It’s an environment full of uncertainty and major changes in both work and the future. As a designer, how do you see your world changing personally and professionally?

Steven: My world has changed for the better! Professionally due to the pandemic, I feel people have a higher appreciation for stepping away from their screens and getting out to experience the real thing. The products I design will encourage people to get out and explore. We are also learning to be more resourceful with limited materials.

Personally, my life has also changed. I have had more time to finish the books I started, practice healthier cooking, and get back into making art. This is important for me since I like to keep my mind balanced between personal expression and professional growth.

NowVIZ: Designers get inspiration from so many different sources and areas. What keeps you fresh?

Steven: Nature has always been my first source of inspiration: The freedom and clarity that comes with a hike through the forest or a bike ride to the beach. But honestly, I try not to limit myself. People inspire me - their lives, their stories, their personal and quirky styles!

PATO O’WARD, ARROW McLAREN INDYCAR DRIVER

Honestly, I have a very open mind. So it could be Kiago, it could be The Weekend, it could be Dua Lipa, or Taylor Swift. It could be, you know, house music, Flo Rida, Luis Miguel, or Chayanne. I like so many different amazing artists it’s hard to pick one. It could be Martin Garrix, it just depends on my mood I guess. But very little Country! Other than that, it’s a lot of variety!

AVATAR MAGICIAN, AI ARTIST

I’m currently listening to a classic song HAUSER performs; it’s the “Swan Lake” theme by P. I. Tchaikovsky. It has the vibe of a symphony, and I love it.

STAR MONTANA, IMAGE-BASED ARTIST

My partner loves music the way I love art. We listen to music all day. I often listen to old rock n’ roll and punk though he’s shown me so much new rock n’ roll. One of my favorite new rock n’ roll bands is Fuzz. We just went to see Iggy Pop and it was magical. I rarely go to see live music and that was a beautiful set.

STEVEN CARLE, FOOTWEAR DESIGNER

I’ve got a random playlist going at the moment. Just finished Khruangbin - Maria Tambien.

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behind the scenes

Photographer Andrea Mead Cross working with Arrow McLaren NTT IndyCar driver Pato O’Ward

bhs 2

Arrow McLaren NTT IndyCar driver Pato O’Ward

2023

MAGAZINE

PUBLISHER

Mark Hudson Group, LLC

MANAGING ART DIRECTOR

K Skyler

VISUAL GRAPHIC EDITORS

Emma Stark

Beckett Knolls

EXECUTIVE EDITOR

Siobhan Colgan

CONTRIBUTING WRITERS

Siobhan Colgan

Eric Hayes

Chanel Williams

Joshua Levy

Mark Saffieri

Rose Fydler

CONTRIBUTING PHOTOGRAPHERS

Andrea Mead Cross

ONLINE SPECIALIST

Jack Miles

MOTION SPECIALIST

Raf Breuer

CONSULTING COLOR TECHNICIAN

Wyatt Sullivan

LOGISTICS AND RESEARCH

Finley Nelson

Marc Cohen

SOCIAL EDITOR

Stella Madison

MEDIA RELATIONS

Kelley Kwiatkowski

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