Art Vs. Content with Brooke Shaden
I have a complicated relationship with social media. Most of the time, I blame it for many of the worlds woes (whether it’s really social media’s fault or not is another story) and think of it as a consumerist time-suck. But social media is also responsible for introducing me to nearly all of my favourite artists! Short of literally stumbling into a random art gallery, how else can someone casually discover masterpieces while going about their day? And how else can artists reach audiences so conveniently? Of course, because of the ease of use of social media, that has also created the art vs. content conundrum we find ourselves in… Sigh. Like I said, social media is… complicated. Thankfully, one of my favourite photographers and artists, Brooke Shaden, took the time to speak with Haus of Fog about these exact things!
First and foremost, thank you so much for taking the time to speak with me. I have been a big fan of your work ever since I stumbled across your account a few years ago, and it is an absolute privilege to be able to pick your brain. To those that aren't familiar with your work, it could be described as surreal and dream-like; the level of production quality you put into each of your published shots is bar none. As you have documented on Instagram, you put countless hours into your work, from planning the shots, to sourcing the props, to digital editing, each piece is a complete project. And yet, despite all of the work that goes into your art, like anything else these days, the majority of followers will "heart it" and then keep on scrolling. How do you, as an artist, handle the frustrating nature of ~*content?*~
Fossilized, 2024 (One of my all time favourite pieces.)
The word "content" is tricky, because just as you say, what I'm sharing is more than a nebulous net made to ensnare and entertain. Yet, art is consumed as content. I try to come at this issue with the biggest, most open heart possible. Behind every interaction is not just one person, but two: me, and whoever felt compelled to interact with me. Whether that person leaves a heart on a picture, says something negative or hurtful, or writes a small book about their feelings, I try to remember: that's a real person! That person felt compelled, no matter if in a big or small way, to talk to me. Then I consider that I'm a person in this interaction, too. I write back to everyone, good or bad, big or small. I want everyone to know this isn't just "content", it's art, and often, art is meant to be experienced in community. If you're going to take your time to talk to me, I'll talk back.
While sharing online can be the height of frustration sometimes, I find myself living in grounded gratitude that community exists at all.
Could you elaborate on the overlap and difference between content and art?
This was the moment I realized the different between art and content: I attended an event with a lot of self-proclaimed "influencers", along with a handful of people who had made their careers making art and hardly knew what an influencer was. When I asked many of the influencers what they make, probably 8 out of 10 times the answer was "content", which meant less than nothing to me. I noticed their productivity was off the charts - making sometimes 3-4 videos to release per day, every day, and they told me about how they never, ever take breaks. I realized then that my art could never be categorized like that, because first and foremost, the goal of my work is to find some fundamental truth about my world view and how to help others. Because of that, I approach my work not with quantity over quality, but connection over content.
What is one of your favourite pieces of art by another creator, and how did you discover it?
Goodness, how to choose! Some of my favorite creators of all time are Gregory Crewdson and Robert and Shana ParkeHarrison. I find their work has the perfect juxtaposition of beauty that invites me into the work, and darkness which keeps me there exploring. I discovered both by searching for conceptual works online!
Do you find yourself revisiting pieces of art you have bookmarked?
All the time. I have a folder saved on inspiration on my computer and I love to remind myself that great art isn't a coincidence, it's a practice. The artists I love are consistent and prolific, and it inspires me to try and be the same.
Life After Death, 2024
A few years ago, I published an interview series on the disposable nature of pop culture and celebrity. Now, with AI, it feels like everything creative has been made disposable, not just reality stars. How do you stay motivated to create when the siren song of AI can be so tempting?
For me, and this is a very personal opinion, talking about AI feels like talking about plumbing. It's just not what I use to make my art, so I don't find the conversation super interesting most days. Now, that's not to say it isn't interesting. I don't really have disdain for AI nor do I have a particular interest in using it. I think it has a great many incredible uses. But to me, this is the same as photography moving into Photoshop, or film to digital, or probably, the way painters felt with the advent of photography at all. It's threatening some days, but it's also just...different. I make it a policy to not be threatened by new techniques, because at the end of the day, I'm creating the way I want, from my heart, with the intent of creating positive impact in the world. The way I do that will always change.
What are your thoughts on artists using AI as a tool? I know many individuals who are extremely uncomfortable with it, yet, it feels like if we don't adapt and use it, that we'll be left in the dust.
I think AI is just another tool. There are plenty of tools I've never embraced even though tons of artists told me I had to in order to be successful. There are lots of tools I have embraced even though hardly anyone was using them. I think it's another tool that is probably good to know, but it shouldn't shake the fundamental way you like to create, if you're happy in your process. I believe we should focus more on message and intention in our work, and then apply whatever tools further those ideas.
Many photographers that I have met enjoy the anonymity that they get when they are behind the camera. However, many of your photos are self-portraits. When you first started out, which did you find more nerve wracking: sharing your photography, or being the model in your photos?
I actually didn't find either very nerve-wracking! I've always approached art from the perspective that 1) I'm not that important, so let's not fret about everyone's opinions, and 2) The more confident I am about what I do, the more others will believe in it. Certainly I experience trepidation about sharing work sometimes. It's personal, and you spend countless hours on it just to have someone judge it in 3 seconds. But mostly, I go into it knowing there will always be more art. That my career won't be defined by a single image. And that comforts me a great deal. I've never minded using myself in my work, and I think if the day comes that I do become self-conscious, I need to look at why, and what beauty standards are responsible for making me feel less than as a self-portrait artist.
Your photos often deal with darker themes and subject matter. Do you ever feel self-conscious about bystanders when setting up your photoshoots? (For context, I once drove to set with a car full of giant tentacles, and on another occasion, had to drive a fully blown up blow-up doll in the passenger's seat...)
The Research Laboratory, 2012
Definitely! I'm a shy and socially anxious person, so I struggle with having to talk to anyone, let alone people who want to know what I'm up to. I find that I take one of two tactics: I either confidently wave hello to let them know they can ask questions, or, I hide in a bush! The former works much better. I remind myself, whoever watches me do this weird thing is going to have a fun dinner story for their family, and not much else. Be the weird part of someone's day, it's so worth it.
Which of your photoshoots was the most fun?
The most extreme photo shoots are always the most fun. Recently I set up a bunch of inflatable swans in the middle of a frozen lake, and it was hilarious and had me feeling energized for days! Whether it's climbing a mountain to get to a great spot or jumping in freezing water, I live for the shoots that push me physically and take me on an adventure.
One of my friends would love to attend an in-person photography class, but unfortunately there aren't any in her city. Can you recommend ways for a new photographer to learn from/collaborate with others? How did you get started?
Online classes are fabulous, especially if they have a video call or chat component to interact with others. Choosing just one conference to attend each year can be a great way of meeting others, especially if they are more intimate so that everyone interacts with each other. Barring those things, just reaching out to random people you find and saying hello can go a long way! Joining groups online and actually interacting is a great way to collaborate. There are people I've never met in person, but because of how consistently they interact with my work, I feel like I know them and I'd even call them friends.
View more of Brooke Shaden’s stunning photography at www.brookeshaden.com and follow her on Instagram at @brookeshaden!
ASHLEY GOOD
Ashley Good is the brains behind Haus of Fog. After directing the Foggy Isle Film Festival, which shone a spotlight on dark/horror indie shorts for the past five years, she decided to launch Haus of Fog to better reach her niche of fellow film weirdos. You can learn more about her work at ashleygood.ca.
Instagram: @ashleyegood | Youtube: @ashleyegood