Gracie Lou

Photo by Alejandro Marentes

Superb Talent & Grace

When did you first get involved as a model?

It was Fall of 2017 when I first got involved with modeling. I have always enjoyed playing around with camera angles and capturing dance poses via my cell phone camera. The quality of the images were low, but it was always fun seeing the final product. A local photographer noticed my amateur work and requested to collaborate on a dance series. I enjoyed the experience and continued to collaborate with other photographers who were also interested in capturing movement, which is in demand in Albuquerque, NM.

What or Who inspired you to pursue such a competitive career?

The Albuquerque, NM photography/modeling scene is very tight-knit community. Once your work gets recognized, it is fairly easy to network with other local artists. What I have observed is most of the talent in this area are encouraging. They motivate you to try various concepts without crossing boundaries. Without the positivity from photographers and models, it would feel like a daunting challenge to pursue.

I’m sure you have met a lot of talented individuals and/or celebrities along the way. Would you share 1 or 2 of your favorite stories with us?

There is one that stands out, and it’s because I collaborated on two of the most challenging projects I have experienced during the three years I have modeled. Alejandro Marentes is a well-known photographer in Albuquerque, NM. When he requested to collaborate on a movement piece, my jaw dropped. His work embodies originality, and every project he is involved in results with stellar images.

Photo by Alejandro Marentes

The first challenging project we worked on was a concept of his—bringing beauty to the murkiest of places by having a dancer in a white outfit throw flour around. This movement piece incorporated flour to show the path of movement. Another photographer joined in on this project—Les Peterson. The setting was in an abandoned building that had no insulation. There was graffiti on the walls, debris scattered throughout the area, very minimal natural lighting. In addition to the structure, this photoshoot took place in December, and the temperature dropped significantly when entering the building. Both photographers and I had multiple challenges ahead of us. The attire I chose was a white lyrical 2 piece; hence, I was dressed scantily for the weather conditions. Alejandro and Les were very kind throughout the entire process. They handed a blanket in between breaks and checked in frequently. Once momentum was built, it was easy to ignore the physical barriers.

The second challenging project we worked on was a movement piece utilizing smoke bombs in a tunnel. Both of us had the challenge of enduring the smoke that accumulates in such a confined space—not only does the smoke interfere with your vision, but with your breathing, which is quite different from working with smokebombs in an open landscape. Like the previous shoot, I was more than thrilled to be able to face those challenges. We are both typically on the same page, which helps when you have that connection with the person you are working with. I respect Alejandro as an artist because he is careful in selecting locations—every decision has a purpose. He pays close attention to detail, and he makes the experience enjoyable. To have any opportunity to work with him brings happy tears to my eyes because his work is truly poetry.

How has your modeling evolved since you first started?

My modeling has evolved in such a way that I no longer solely focus on movement. My heart will always be more passionate about dance because I express myself better through bodily movement. However, I have also participated in fashion shoots, fantasy, and conceptual art. Thanks to such wonderful artists out there, they have taught me to explore various avenues of modeling.

If you were forced to choose only one, which emotion, more than any other drives you to stay in these tough careers? Is it joy, anger, desire, passion or pride and why?

Narrowing down a motivating emotion to one single driver is difficult. All of them are very important; but, if I had to choose only one, it would be fear. Most artists are harder on themselves compared to any outside critic. There will always be a nagging voice in the back of my head that tells me: “I am not beautiful, creative, talented, and/or smart enough for this line of work.” It is easy to feel insecure and afraid to place your image out there. Instead of focusing on the imposter in my head, I try to channel that negative voice into a positive direction to prove to my own inner fears that I can bring a vision to life despite the harsh words that replay in my head.

Photo by Dave Stabley

Photo by @dallas_morgan_photo

Photo by Ish Lopez

Which ingredient do you think makes you special and unique as a performing artist in an industry overflowing with new faces and ideas?

An ingredient that makes me unique is that I am candid about my weaknesses and strengths. I feel I can be honest in a way that does not cross a professional boundary.

Photo by Peter Gonzales

Photographers and models need effective communication to make a concept work. If you are not entirely comfortable, or clear on what is expected, it can lead to a stressful working environment. For example, if the project is supposed to be blissful, and you are feeling intensely despondent, you need to communicate that (not necessarily go into specifics); otherwise, you don’t get the expressiveness that is needed.

Photo by @nuferphoto

Photo by Alan Osterholtz

What has been your biggest challenge as a model? Have you been able to overcome that challenge? If so, how?

The biggest challenge I face is feeling comfortable with headshots. As I mentioned before, it is a lot easier for me to express myself through movement. Looking into the camera and feeling confident in my facial expressions has been an ongoing obstacle. I would not say I have overcome it. I practice as much as I can in front of the mirror without trying to be harsh on myself. In addition to practice, I tell photographers: “Hey, this is my biggest weakness, I might need a little redirection. Are you okay with this?” A technique that has helped was taught by a very remarkable photographer, Peter Gonzales. He informed me that not all headshots have to be of a person staring into the camera. Some models look into the distance, almost as if they are insulted that a camera is even there. This method helps give a more dramatic effect. I have used this method many times, which places my nerves at ease.

A common phrase as a performing artist is, “you must suffer for your art”. Do you agree with this statement? If so, how have you suffered for your art?

I do not necessarily think a performing artist “must” suffer for their art. The term “must” contains moral implications. However, suffering is a natural byproduct of the entire creative process. Many artists have a difficult time finding paid work. They place count16 less hours planning their art in addition to preparing and completing a project. Financially, it can be expensive. Without steady income, basic needs suffer as well. I am fortunate enough to be working and having that income to help support me on the side for building my portfolio.

Photo by Max Uccan

Photo by Jose W. Casias

There is also the emotionally taxing component to being an artist which comes in various forms. I developed an eating disorder at a very young age, long before modeling. I must be careful not to place exceedingly high standards of beauty on myself and ensure that my relationship with modeling does not interfere with recovery.

In a way, I have used my own adversities and channeled it to my artwork. Many other artists do the same, whether they struggle with perfectionism, depression, anxiety, etc.

How do you feel the Internet has impacted the modeling business?

There are many pros and cons to using the internet as a source for promoting your art work.

I will discuss the cons first. A major issue with having portfolios so easily accessible is that it becomes difficult to set rates for collaborations. There is an inflation of trade for photos (or trade for prints). It becomes difficult for photographers, hair and makeup artists, and models to make a profit. One way around this is to keep building your portfolio, and if you have developed enough experience, do not be afraid to set a rate, especially if you have a lot to bring to the table.

Photo by Patrick Baldonado

The pros of your work being accessible is that more artists get to see your work, which makes networking easier. Plus, it is helpful in searching for unique ideas you would like to try or build onto.

Do you have any hidden talents?

I have been acquiring new skills such as learning how to play music: specifically piano and violin. I find this helpful when dancing. It is one thing to dance to music, but knowing the notes gives each movement a more meaningful presence.

What is the best advice you have received?

The best advice I have received is to not get caught up in external beauty. For example, I may not want to participate in a photoshoot because I feel unsightly. Modeling goes beyond “the look.” If an artist wants to be part of a project, always ask yourself, “Why am I doing this?” It is one thing to look pretty, and another to be creatively expressive.

What projects are you currently working on... that you can talk about?

One project that is still in the discussion/planning phase is incorporating dance and water. This piece can be interpreted in multiple ways: being stranded in stormy weather, dancing in the rain (i.e, no obstacle can hinder you from reaching your full potential).

How can fans-to-be follow your career?

My art pages are accessible through: https://www.facebook.com/gracefulhaven/?- modal=admin_todo_tour https://www.instagram.com/greysealou/