Interview
Orvis St. John
Born in New York City, Orvis St. John is shaped by a global journey through fashion, culinary arts, and advertising. Orvis is a multidisciplinary artist and photographer whose work explores the intersection of architecture, portraiture, and digital collage. A former fashion model in Milan and Paris, Le Cordon Bleu-trained chef, and award-winning ad creative, he now focuses on constructing surreal visual narratives that go beyond a single frame. His work has been exhibited internationally, including a solo show at Livia Lisboa Fotokunst Galerie in Hamburg and a feature at Hard Rock Reverb Hotel's Karo & Paul venue.
What is your background and how did you start your journey in the art world?
“My journey into the art world has been anything but linear; it's a story shaped by observation, unexpected turns, and a constant drive to explore ‘What if?’ I was born in New York City, and growing up there meant I was surrounded by a constantly shifting tapestry of fashion and architecture. From borough to borough, neighborhood to neighborhood, both the buildings and the style of dress evolved right before my eyes. Even as a young kid with no camera, I'd walk around with my fingers forming a viewfinder, making clicking sounds with my mouth to mimic a shutter. Photography was my first love, but all things art interested me. Life took a turn when my parents divorced, and I moved to Florida to live with my grandparents. In junior high, I finally took my first photography course. I saved up every penny from yard work to buy my first camera, a Yashica FX-2. I still wish I had that camera – I truly believe a photographer should never part with their first one.
Fast forward to college in Gainesville, Florida. By then, my creative interests had multiplied. Beyond photography, I'd added surfing, cooking, music, film, and fashion to my passions. In fact, after a year and a half, I dropped out, packed a bag, and with about $900 in my pocket, moved to Milan, Italy to pursue fashion modeling. I was signed by ‘Why Not,’ one of the best agencies in the city. For two years, I absorbed everything Milan offered – the culture, the food, the music, the architecture, the customs. I was a sponge. Then it was on to Paris, where I repeated the process, immersing myself in all things French – food, fashion, and architecture. During my second year there, I attended the prestigious Le Cordon Bleu Culinary Institute. This embarked me on a new journey as a chef, leading to awards and features in culinary magazines. After about 22 years in kitchens, I'd had enough. I retired from cooking to go back to school for advertising at Miami Ad School, which is what brought me to where I currently live. While I earned a number of awards in advertising, I craved more creative freedom. That desire pushed me to transition into working as an artist. I took any photo gigs I could find to cover bills and did a lot of pro bono work to build opportunities and connect with other artists.
Today, I consider myself both an artist and a photographer. While I appreciate conventional photography – I even had a street photography image called ‘The Peace Train’ chosen by Aidan Sullivan for Canon Professional Network's Editor's Choice Awards – I often see my camera as part of a larger process, not the whole thing. This is where my true artistic voice emerged. That initial ‘What if?’ that sparked the idea of merging architecture and beauty portraits became the driving force behind my latest photo series. My work heavily relies on photo manipulation and digital collage techniques, allowing me to build new realities and explore concepts beyond what a single frame can capture. This approach has led to some amazing opportunities, like my first solo show (‘We Slowly See What We Quickly Miss’) at the Livia Lisboa Fotokunst Galerie in Hamburg, where I sold pieces from all four of my series. I was also the first visual artist to show at the Hard Rock Reverb Hotel's Karo & Paul venue, and I've done well selling prints at several large art fairs. So, while my background started in the vibrant world of fashion and took me through culinary arts and advertising, it has ultimately evolved to embrace the beauty of structural design, always looking for that unique angle or connection, and driven by the endless possibilities of digital artistry.”
What inspires you?
“In short, everything. I find inspiration in almost every sight and sound, whether it's a fleeting moment or something more profound. That said, certain things consistently fuel my creative fire. Music is a huge influence. While I enjoy most genres, Jazz and Classic Rock are particular favorites that often set the mood for my work. Visually, I'm constantly moved by the work of other artists. In photography, icons like Irving Penn, F.C. Gundlach (a German fashion photographer who actually photographed my godmother, Bonnie Trompeter Lowe, when she modeled in Hamburg), Bruce Weber, Herb Ritts, and Steven Meisel have left a significant mark on me. When it comes to fashion design, the visionary work of Alexander McQueen, Iris van Herpen, and Yohji Yamamoto truly stands out. In architecture, I'm drawn to masters like Frank Lloyd Wright and László Tóth, but honestly, I'm just as inspired by countless buildings whose names I don't know – I simply recognize and appreciate their beauty when I see them. My own family history also provides a deep well of inspiration. My Great, Great Granduncle, Adolf Fremd, a renowned sculptor born in 1853 in Stuttgart, Germany, continues to inspire me. I even have a sculpted bust of a French farm boy, one of his pieces, on my desk in the studio. Ultimately, though, my deepest inspirations come from the creative process itself, particularly the power of juxtaposition and the simple, yet profound, tool of ‘What if?’ That question drives me to create new and exciting things that push boundaries and offer fresh perspectives.”
What themes do you pursue? Is there an underlying message in your work?
“I experienced significant upheaval from a very young age, starting with being discarded by my biological parents and then living under the constant threat of being sent to an orphanage by my grandparents, who became my caretakers after my parents divorced. For many kids who face similar challenges, finding an escape or a different reality becomes paramount. For me, that path led to art, music, and experimenting with substances like pot and acid – anything that could shift my perception and offer a respite from a life I certainly wouldn't have signed up for. While some artists channel their pain into raw survival art, my connection to creation is different. My art is ‘my beautiful scream’ – a powerful, transformative expression. In my KaleidoSmoke series, for instance, I take the aftermath of destruction, like smoke, and manipulate it into vibrant, colorful explosions. Viewers can gaze into these images and discover countless visions within the swirling forms, turning something ephemeral and often associated with an ending into a new, beautiful beginning.
My ‘Building Portraits’ series offers a playfully intellectual exploration, designed for ‘kids of every age.’ Here, I use architecture from major world cities to craft unique portraits. Each city's distinct architectural personality shines through, becoming the face of that urban identity. In my newer series, Art Pneu, I continue to explore the theme of making the discarded beautiful again. I photograph bike and car tires, arranging these overlooked objects into complex and captivating designs in post-production. The latest series, City Girls, combines the inherent beauty of major world cities' architecture with beautiful women. My process involves conducting portrait sessions with models, then traveling to cities like Rome, Paris, Madrid, and Lisbon to photograph their unique architecture. In post-production, I combine these elements to create images like ‘Miss Rome’ or ‘Miss Paris.’ This series is a direct visualization of a thought I've entertained for quite some time: Women are the inspiration and reason that cities are built. Ultimately, my work is a testament to the power of finding and creating beauty, not just despite challenging beginnings, but often because of the unique perspective those experiences provided. It’s about taking discarded elements, whether emotional or literal, and transforming them into something vibrant, complex, and thought-provoking.”
How would you describe your work?
“I'd describe my work as modern photo manipulation, where the camera acts as a starting point, not the entire journey. What I create are new worlds — constructed visions that invite viewers to step outside their conventional perspective. My process involves taking diverse elements, often pulling from both the human form and architectural structures, and meticulously combining them using digital collage techniques. This allows me to craft images that reveal unexpected connections and transform familiar sights into something entirely fresh. The goal is to offer a shift in perspective, encouraging people to see beauty, interaction, and meaning in ways they might not have considered before. It's about building visually complex narratives that challenge the viewer to look closer and perhaps even discover new realities within the art.”
Which artists influence you most?
“My influences are incredibly diverse, spanning across various art forms and eras, but they all share a common thread of vision and pushing boundaries. In the realm of photography, masters like Irving Penn, F.C. Gundlach, Bruce Weber, Herb Ritts, and Steven Meisel have profoundly shaped my understanding of composition, light, and capturing unique moments. Their ability to elevate fashion and portraiture into high art resonates deeply with my own approach. Beyond photography, I draw significant inspiration from fashion designers such as Alexander McQueen, known for his dramatic narratives and meticulous craftsmanship; Iris van Herpen, who blurs the lines between fashion, art, and technology; and Yohji Yamamoto, whose avant-garde deconstruction challenges conventional aesthetics. In architecture, I'm captivated by the organic forms and innovative spirit of Frank Lloyd Wright, as well as the bold, structural expressions found in the work of László Tóth and countless anonymous buildings that simply possess a powerful aesthetic. A very personal source of influence comes from my Great, Great Granduncle, Adolf Fremd, a renowned sculptor from the 19th century. Having one of his pieces on my studio desk is a constant reminder of artistic legacy and the enduring power of form. Ultimately, these artists, across different disciplines, inspire me through their courage to innovate, their unique perspectives, and their ability to create compelling visual narratives that transcend the ordinary.”
“While some artists channel their pain into raw survival art, my connection to creation is different. My art is ‘my beautiful scream’ – a powerful, transformative expression.”
What is your creative process like?
“My creative process always begins with a simple, yet powerful, question: ‘What if?’ This phrase is the spark that ignites every series and every image. It pushes me to envision new possibilities and connections that aren't immediately apparent. Once that ‘What if?’ takes root, the process typically moves into exploring juxtaposition. I'm constantly thinking about how seemingly disparate elements can be brought together to create something fresh and thought-provoking. This often involves blending the human form – particularly through beauty portraits – with architectural structures, or taking everyday objects like tires and transforming them. The next crucial step involves the visual capture. While I use my camera extensively, it's important to understand that it's part of the process, not the whole process. I capture raw photographic material – portraits, architectural elements, abstract forms like smoke – with the end goal of manipulation in mind. Then comes the heart of my creation: photo manipulation and digital collage. This is where the initial ‘What if?’ truly comes to life. I meticulously arrange, blend, and transform these photographic elements, building entirely new worlds and realities. This intricate post-production work is where I create the complex designs, the colorful explosions of smoke, or the unique ‘Miss City’ portraits. Ultimately, my process is about transcending conventional photography to offer a profound change in perspective. It's a journey from an initial spark of curiosity to a meticulously crafted digital artwork that invites viewers to see beauty, interaction, and meaning in entirely new and unexpected ways.”
What is an artist’s role in society and how do you see that evolving?
“I believe an artist's fundamental role in society is to stave off boredom and thought atrophy. We exist to provoke, to challenge, and to illuminate. While some artists achieve this through protest and direct commentary, others, like myself, do so by creating new possibilities and constructing entirely new worlds through their work. Our purpose is to continuously push the boundaries of perception and imagination. I firmly believe that the true end of culture and civilization won't come from external threats, but from an internal stagnation – a point where no artist is able to conceive of a truly new idea. At that stage of our collective history, I feel we will witness the beginning of a future dominated by boredom and apathy, which, to me, is no future at all. As for how I see this role evolving, I believe it will become even more crucial in an increasingly interconnected and rapidly changing world. With the proliferation of information and visual content, the artist's ability to filter, recontextualize, and offer unique perspectives will be invaluable. We will continue to be the pioneers of thought, using new technologies and mediums to challenge our understanding of reality, inspire critical and creative thinking, and keep the human spirit curious and engaged. The artist's role will remain that of the essential provocateur, ensuring that humanity never settles for the status quo of thought, and always strives for something more.”
Have you had any noteworthy exhibitions you'd like to share?
“I've been fortunate to participate in several exhibitions that stand out as significant milestones in my artistic journey. My first solo show at the Livia Lisboa Fotokunst Galerie in Hamburg was particularly noteworthy. It was an incredible opportunity to present four different series of my work to an audience, and I was thrilled with the reception, selling six pieces – at least one from each series. That experience truly affirmed the connection my art could make with viewers. Another memorable event was being the first visual artist to show at the Hard Rock Reverb Hotel's Karo and Paul venue for a special one-night exhibition. It was a unique platform, and I was especially pleased to sell a framed print of ‘Miss Hamburg’ from my ‘City Girls’ series there, which was a great validation for that particular body of work. Additionally, I've had positive experiences at several large art fairs, where I've consistently done well selling prints. These fairs provide a fantastic environment to connect directly with a broader audience and see their immediate reactions to my work, which is always inspiring. Each of these exhibitions, whether a dedicated solo show or a larger group setting, has been invaluable in sharing my vision and seeing my ‘beautiful scream’ resonate with others. If you're interested in seeing the full scope of my work, you can visit my website. There, you'll find the series we've discussed in this interview, along with other projects I'm currently developing, like my ‘Lyfe From Behind’ series or ‘Architectural Beauties.’ For a look at my newest pieces as they emerge, you can also follow me on Instagram. I'm planning to experiment with various multimedia projects soon, so there will be plenty of new work to explore.”
Website: www.orvisstjohnphotography.com
Instagram: @orvis_stjohn
