Jennifer Massey:

Art with a Heart

Page 7
 Also By
Genepool Publishing
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www.kittyfiend.com
www.koffeecups.com
www.pinupgurls.com
www.pjsdecks.com
www.pjsmugs.com
www.pjsposters.com
www.pjstees.com
See What’s Inside
Letter from the Publisher Page 3
Mano Divina & The Divine Hand Ensamble Page 4
Jennifer Massey: Art with a Heart Page 7
Stephanie Malloy: Lucky Rabbit Photography Page 9
Platform One Review Page 11
Horror Craftsman Gus Clark Page 13

Letter from the Publisher

Dear Readers,
Welcome to the big numero uno! Issue one of many. I have thought long and hard about whether or not I should just be a good little
drone and follow all of the rules the publishing industry has laid before me. Then I thought about what good reasons exist for me to
do so. I then thought that the whole idea would be a complete waste! Without further ado I present to you my fabulous little disaster
I call Seen!
Seen, you ask? Well...I had other titles in mind. The Underground. Underground. Scene. None of them really fit. This is a magazine
dedicated to the arts. Not ‘the’ arts, but the arts that are a little off-the-wall. Unique. Nothing that would be considered ‘the norm’
or even close to typical, which brings me to the whole ‘seen’ instead of ‘scene’ thing. To be honest, ‘scene’ is too broad and, lately,
way too overused. What do artists want? They want to be seen! You follow me, right?
If you are an artist who chooses to be unique, different, and refuses to adhere to what is considered ‘in’, this magazine is for you.
Think your art form is a little too ‘out there’ or too freaky? Please...just let out your inner exhibitionist and flaunt what ya got. Is your
music on the experimental side, or use instruments that no one has ever heard of? It’s perfect! Be seen!
Now, turn the page and enjoy our magazine and perhaps discover something new!

Yours until the end,

PJ Smith

Cover Models: Jennifer Massey- Photo ©2010 Steven Schultz

(new)Seen is a monthly publication, online and in print, that serves to pro-

mote the artists, models, musicians, performers, and others who make a
point to be unique, different, and refuse to adhere to what is considered to
be what’s ‘in’ at any given time. (new)seen is a publication by Genepool Pub-
lishing and a product of Genepool Design. Seen is distributed free of charge,
and is supported by blood, sweat, tears, and those who advertise within our
pages!

Publisher: Genepool Publishing

Editor: PJ Smith

Advertise and be seen: email advertise@newseen.net for more info and rates.

3
For centuries, string ensembles
have entertained and delighted
audiences with their performances,
typically featuring pieces from
classical composers such as
Vivaldi, Bach, and of course, Mozart.
However, there is one ensemble
that not only performs the beloved
classics, but also popular favorites,
movie score arrangements, opera
arias, and even rare funerary
pieces. In addition to their unique
and exciting repertoire, they feature
a very fascinating instrument that
brings a whole new sound; the
theremin.
The theremin was invented in 1928
by Russian physicist Leon Theremin.
It was originally intended to be a
proximity alarm, but Theremin came
to realize the musical potential of his
new instrument, and it became the
first electric instrument. How does
it work? Basically, the theremin
consists of two antennae, the Pitch
Antenna and the Volume antenna.
The instrument creates an electro-
magnetic field, which the player
stands inside. The player positions
his or her left and right hands
between the antennae, interrupting
the magnetic field and creating the
desired pitch and volume. Sounds
easy, but the theremin could very
well be the most difficult instrument
to actually play musically. There are
no keys, frets, or any other physical
indicators of where to place your
hands. The instrument is micro-
tonal, therefore the player’s hand
positioning must be nothing less
than perfect. In addition, because the
player is, essentially, manipulating
electricity in a field to produce sound,
the slightest movement effects the
tone. Slouching, breathing, even a
small twitch can upset the pitch of
the note. The theremin is most well
known for its contribution to the
science fiction world, but in 1965
musician Clara Rockmoore brought
its musical capabilities into the light.
4
Divine Hand thereminist, Mano
Divina, was inspired by the
performances of Clara Rockmoore
and learned to truly play this
instrument. The ensemble,
consisting of violinists Monique
Canniere and Julie Myers, viola
player Johnelle Lawrence,
acoustic guitarist Sean Carnahan,
cello player Jon Salmon, harpists
Mary Bryson and Gloria Galante,
and glockenspiel player Daniel
Whitehawk, performs a variety of
arrangements, The Ghostbuster’s
movie suite, Mozart’s Ave Verum
Corpus, and Queen’s Who Wants
to Live Forever are among the
enchanting, eclectic repertoire.
The soft, sweet music or string
instruments coupled with the
ethereal beauty of hearing
electricity sing creates an almost
indescribable ambient calm over
any listener. In an effort to obtain a
better understanding of the group
and their music, I spoke with Mano
about his divine ensemble.
Nicole: What inspired you to learn to play
the theremin?
Mano: My first exposure to the theremin
was when I was watching a concert by the
modern French composer *Jean Michele
Jarra. He was doing a number of different
songs, and for one of them he whipped out
a theremin, and I was just so mesmerized
in the 5 minutes he played it that I just
had to know, “What is this instrument?
How does it work?” I had played several
other instruments at the time but I got
a theremin just to get my hands on it
because I thought it was so neat to have
this instrument that you could play without
touching anything. I messed around with
it and ending up falling in love with it so
much that I abandoned playing any other
instrument whatsoever and focused all of
my time on just the theremin.
Nicole: How did you learn to play it?
Mano: Well there’s no real manual
or instructions that come with the
theremin. In a technical sense I
borrowed Clara Rockmoore’s Aerial
Fingering Technique and used that
as a kind of guide to build my own
style of playing, because I was
looking for a certain sound to come
out of it. Alot of it is going through
trial by fire. There’s alot of moments
when you have to really work
something out because you have
none of the other references that
you have with normal instruments.
You can’t rely on tactile memory.
You can’t touch anything. Someone
could play a guitar blind-folded
because they could feel their way
around the neck. I had nothing to
touch to help me with it and I had
no keys or frets to look at, so the
visual and tactile senses are lost.
It’s really just fishing around in the
air to find the right note to make the right
sound. That’s about all that can be done
because it’s all about relying on your ears.
It is kind of a big surprise when you get a
theremin because it’s one of those things
that looks so easy. Then you try to work
it and you find out it’s really hard and you
have to dedicate alot of time to it because
you don’t have the visual or tactile
components. Visually, it’s like playing thin
air, which is both part of the challenge and
part of the beauty of it.
Nicole: What inspired you to form the
ensemble?
Mano: I started to really play the
theremin and got to wear I could make
the instrument sing. I watched videos
of people plaing the theremin, from the
great players like Clara Rockmoore to the
people just messing around on youtube
playing video game themes or something
of the sort and I thought, “All of this is
very interesting, but how do you sustain
the audiences’ interest in watching it
for two hours?” I thought it would be a
great idea to bring together the beauty of
electricity singing and traditional acoustic
instruments which have been around for
hundreds of years. I thought it was a good
way to introduce it to people who have
never seen or heard of the instrument in
a way they can understand. Being a big
fan of classical music and opera I wanted
to play that style of music with it. The goal
of the nesemble is to play beautiful music
that moves people, and also it’s interesting
to watch someone manipulate electricity
to make it sing. I felt the theremin needed
a musical context to be brought to people.
By forming the ensemble we were able to
get up in front of audiences and give them
something familiar enough to understand
yet entertaining enough to watch for a few
hours. It’ more than just a novelty act, it
becomes a serious instrument. If nothing
else part of my mission is to re-introduce
the theremin as a serious instrument that
can be played in a classical context.
5
Nicole: The ensemble performs a variety
of pieces, such as opera arias by Mozart,
movie scores like Ghostbuster’s and
Edward Scissorhands, and rare selections
like the funerary violin pieces. How do you
select a piece to perform?
Mano: I do have a very strict criteria for
what we choose. First of all, the group is
called the Divine Hand Ensemble for a
reason. I pick composers who took their
gift and tried to reach some form of divinity
using all that they were blessed with. For
example, Mozart wrote alot of different
kinds of music, all of it brilliant. However,
the brilliance of a piece from the Magic
Flute and the brilliance of his Requiem
are two different things. A piece like his
Requiem was a hand up to god. We try
to choose composers whose music is
resplendent with divinity. It seemed like the
perfect guideline to use when selecting a
piece to add to our repertoire. Whether it’s
an opera aria or a rock song from the 70s,
if it had a particularly beautiful melody
that I felt was moving I would choose it.
I was looking for those shining moments,
and that’s mainly what we’re trying to
bring out with the singing of the electricity.
Also, I’m a huge fan of all kinds of music,
and there were certain pieces we would
come across that were not just beautiful
but would also work very well with the
ensemble. I adore the Ghostbuster’s
music and I always have. I choose Edward
Scissorhands because Danny Elfman is
one of my favorite composers if not my
favorite living composer, so naturally I
wanted to do an Elfman piece or seven.
But we would choose a piece that had
those moments, and as a result we have
such an eclectic repertoire. Basically we
wanted a performance to be one beautiful,
moving piece of music after another.
Nicole: How long does it take the ensemble
to complete an arrangement?
Mano: We do the arrangement before
we give it to the ensemble. Jon Salmon
and I sit and arrange how we want it to
go, how we want it to sound, and we work
out everyone’s parts. Then we give it to
the group, they will sight read it a couple
times, then we’ll play and listen to each
other to try to get it to really sound like an
ensemble piece. It’s meant to all blend
together into a piece of beauty. Audio art,
if you will. Some songs the group take
to very easily. Others that they may not
be familiar with or an obscure opera aria
take longer, not just what’s on paper but
to find our own voicing in it and to get it to
have our signature sound. Ghostbuster’s
came immediately. We handed them this
huge 15 minute multi-movement suite and
from first sight reading on it just clicked.
On the other hand, we’ve been working
on a French opera aria by Gounod for a
solid 9 months and we’re still coming up
with different phrasings, fingerings, and
voicings.
Nicole: What has been your favorite so
far?
Mano: One of my favorite pieces to play
is definitely Mozart’s Ladaute Dominum
because the vocal line for that is so
naturally theremin sounding to begin
with and it’s great to see the audiences’
reaction when they hear what sounds like
a singer onstage performing the piece but
there is no singer. Any piece that we open
with would be good examples because
those pieces make the whole audience
try to figure out what’s going on. Some
people don’t even know I’m playing an
instrument, they think I’m conducting. If I
had to pick a favorite piece to perform, it
would probably be the Ghostbuster’s suite
because it’s just so fun to play live. There’s
so much gorgeously romantic music in
there that you don’t even realize because
it’s all part of the score and wrapped up
in the visuals of the movie. So we tried to
bring out those hidden pieces so audience
members could hear it and think, “I didn’t
even realize this was in the movie.”
Nicole: Are there any pieces you hope to
play in the future?
Mano: Every time I’m listening to music,
regardless of what it is, I think, “I could
hear the ensemble playing this. The cello
can do this, the violins can do that,’ et
cetera. Just the other day I was listening to
I’m Coming Home from the Rocky Horror
Picture Show and the first thing I thought
was that it could totally work with the
theremin and strings. So every day I can
come up with something new I’m excited
about playing. In the end, it’s about what’s
going to work for the audience and the
ensemble. Right now we have about 25
pieces in the works that we hope to play
on stage. I’m sure once we’re done with
those, we’ll have 25 more. We’re having
our 3rd annual Halloween show at the
Sellersville Theater where we will be
debuting 8 songs, one of which is Danny
Elfman’s score for the remade Wolfman
movie.
Nicole: What are some of the obstacles
you have faced?
Mano: First and foremost is for someone
to even understand what it is I’m talking
about. I could spend an hour and a half
explaining and they still may not get it.
Another is the disbelief in the theremin.
At our very first Halloween show, we were
outside during the intermission, getting
some air. We saw and heard two couples
getting in their car, and they were all
complaining, ‘It was fake, It was a magic
act. It was prerecorded.’ and so on. One
of the members turned to me and asked
if I wanted to set them straight and I said
, ‘No. I think that’s the best compliment to
receive.’ People have such a hard time
believing that this instrument is making
such beautiful music. Trying to get it
recognized as an instrument is another
difficult obstacle. People are used to
hearing the theremin in sci-fi movies or
Scooby Doo cartoons, but not hearing
Mozart out of it.
Nicole: What is the most satisfying part of
a performance to you?
Mano: That’s easy. Hearing that at least
one person in the audience was moved by
our performance. Playing the instrument
requires so much concentration that
playing on stage and practicing are
basically the same in that I become ‘zen’
with the instrument. My appreciation
comes from what the audience says,
and to hear that they were moved is the
most rewarding part of what we do and is
6
another reason why we do it. We’ve had
people tell us that we healed them of an
ailment, be it their hearing or a physical
pain that they had. I really think it’s just
about being relaxed and allowing yourself
to be open to the music. The music was
written with the intent to move you, but
not everyone can just sit down and listen
to Beethoven for a bit to unwind. Hearing
one beautiful piece of music after another
in a different way than they’re used to can
create a strong reaction in some people.
And it comes from people of all different
ages and backgrounds. Whether it’s
classical, or spooky, or the rare pieces we
play, many different people can enjoy it,
and that’s very satisfying.
The ensemble will be playing their 3rd
annual Halloween show at the Sellersville
Theater in Sellersville, Pennsylvania
on Halloween night. The show has two
parts, the first of which is representative
of All Hallow’s Eve, featuring horror movie
scores, spooky soundtracks, and funerary
violin, music specifically written for the
purpose of guiding a soul to the afterlife.
The second part is All Saints Day, featuring
opera arias and spiritual selections. The
atmosphere created inside the old theater
on this night, when the veil between
the world of the living and the realm of
the dead is thinnest, is truly captivating,
almost magical. The ensemble also has
upcoming shows in November, at the
West Chester University Harp Festival
as a musical guest to the university’s 25
harp ensemble, and holiday shows in
December. Please visit www.divinehand.
net for more upcoming performances,
photos, videos, and links to their other fan
pages.
Sounds Like: Nothing you’ve ever heard
before. It sounds like divinity; truly ethereal
and captivating
My Piece: My first exposure to the
ensemble was last year’s Halloween show
at the Sellersville Theater. Halloween is my
favorite holiday, so giving it up was iffy, but
the opportunity to see someone actually
play a theremin was too awesome to pass
up. Within minutes I was in love with their
beautiful arrangements, and at the end of
the performance I knew precisely what I
would be doing the next Halloween. Not
only is it a truly remarkable performance
to see, but the music itself is a unique
masterpiece. To hear electricity sing is
both strange and stunning. I recommend
this ensemble to absolutely everyone, but
you really have to see it for yourself.
I Heart: Everything this group does and
the absolute peace I feel when I listen to
their music
Jennifer Massey: Art with a Heart
By Steven Schultz
Jennifer Massey is a 37 year-old jewelry artist
whose home and studio are located in southeastern
Pennsylvania, less than an hour from Philadelphia.
Jennifer’s work spans many media and art forms
but her most popular works consist of highly origi-
nal fused-glass pendants, all of which are individu-
ally hand-crafted works.
The pendants cover a diverse range of subjects
and symbologies, including Mexican Folk, Nordic,
Celtic and nature - including kitties, butterflies,
dragonflies and sea serpents. Working in a visual
reverse to her ultimate image, Jennifer creates her
glass pendants by hand painting enamel onto clear
glass. She then fuses the background to the image
7
by firing it in a kiln, completing the work. Each pen-
dant requires a solid investment in time and skill,
yet they are available on her web site starting at
around $25 and going no higher than $50, depend-
ing on the technique and the glass used.
“I want to provide a one of a kind piece of art and
keep it affordable,” says Jennifer.
Heavily influenced by archeology, anthropology and
mythology, Jennifer’s works include a beautiful,
sugar skull series inspired by one of her personal
heroes, Frida Kahlo and the Mexican Day of the
Dead.
Jennifer also produces colorful and highly original
works in dichroic glass and beaded necklaces that
are made from glass, pewter, gold, silver and silver
plate. As if her works were not eclectic enough, she
also creates whimsical, one-of a kind, cat toys that
are spiked with what she calls “a blend of high qual-
ity organic catnip and other kitty-safe herbs that
your favorite feline will love.”
Jennifer loves to collaborate with other artists and
give back to the community. Although suffering her-
self from Fibromyalgia, chronic fatigue syndrome
and a horrendously bad back, she is constantly do-
nating creations and time to causes like the Cys-
tic Fibrosis Foundation of Vancouver and supports
other up-and-coming artists by incorporating their
works into her beaded necklaces. Jennifer wears
her hair bright red in honor of the late Eva Markvoort
and the 65 Red Roses weblog.
On eBay, Jennifer’s works can often be seen up for
auction under the store name Freya’s Fire, with all
proceeds going to one of many charities.
It seems that the good Karma that she creates
comes back to her as her creative activities act as a
kind of therapy; keeping her fingers from stiffening
up from the Fibromyalgia.
Truly, Jennifer Massey is an artist with a heart of
gold.
Jennifer Massey’s work can be
viewed and purchased at her web
site, “Freya’s Fire.”
http://www.freyasfire.etsy.com

Shops that show her works include:

Mystical Tymes
127 South Main Street  
New Hope, PA 18938   
215-862-5629

Dragonfly Gift Shop

19 Bohemia Ave
Chesapeake City, MD 21915
410-885-9470

Passional Boutique
704 South 5th Street
Philadelphia, PA 19147-3006
(215) 829-4986
(Exclusive line of pendants)

VIX Emporium
5009 Baltimore Avenue 
Philadelphia, PA 19143
(215) 471-7700

Jennifer also presents her works

at different festivals, including the
Maryland Faerie Festival and the
Wicked Winter Renaissance Faire in
Somerset, NJ.

8
Stephanie Malloy
Lucky Rabbit Photography
By Nicole Doudna

Photographer Stephanie Malloy truly captures

the beauty of her subjects. Under the name
Lucky Rabbit Photography, her astonishing
portfolio contains shots of models, animals,
natural landscapes, plant life, and events,
each projecting their own impression on the
viewer without the use of heavy editing. Here
is a sample of her work and a look at the art-
ist behind the camera on page 15!

9
Nicole: When did you first get involved in photography?

Stephanie: When I was younger. My dad first bought

a canon rebel s a 35mm camera. I really started
playing with it in highschool. But before that my dad
would show me how to use it. Then I picked it up from
there, in highschool (junior and senior year) I was in
yearbook so I ran around the school taking pictures
for them if needed. Outside of school I would go to
parks with the film camera and shoot away. So for
about 8 or 9 years I have been doing it. The past 4
years taking it to the max.

Nicole: What kinds of subjects do you like to shoot?

Stephanie: I mainly shoot models but I enjoy shooting

all different things. I do weddings, events, sports,
children, portraits, landscapes, objects, still life, and
what seems to catch my eye.

Nicole: How would you describe your shooting style?

Stephanie: I like angles, a angle can catch something different

about something that no one has looked at before. Like a person,
instead of a head on shot create a dramatic angle and get a little of
the sky or their shoulder in the picture as they look at you over their
shoulder. I like different. Different is what I look for! I range from
themes, dark and gothic to happy and flowers. So style is well, me
“rabbit!”

Nicole: What kind of camera do you prefer?

Stephanie: I used to use a canon rebel xt I am a fan of the rebel

series as well as the “d” and “mark” series but I have recently flipped
a switch and bought a nikon d90. I really like the d90 and the lenses
for the nikon’s. I am at a stand still with the both but prefer my nikon
at the moment. They both have their pro’s and con’s like everything
else.

Nicole: What has been your favorite project?

Stephanie: My favorite project? This is a hard question because all my

work has been so much fun! The outcome of the pictures have been
so pleasing and the people I have worked
with have been spectacular.

Nicole: Do you have any new projects

ahead?

Stephanie: I have a massive amount of

projects planned ahead. I am working on
some now, one being my “skin” series. A
series of implied nudes of men and women
in their own skin with props that they enjoy.
Tattoo’s, or not, props as small as hair
ties and makeup to pets. Also if they are
contortionists or into bondage/s&m, that is
welcome as well. This series is all about
people being comfortable in their own self
and I want to promote that all people are
welcome. “Normal” to models is all about
them, although I do not want to show too
much of the face because it is not a part
of my vision. That is just one of my many
projects I have coming together.

10
By Nicole Doudna
From within the shadowed halls of gothic alternative
clubs comes the brilliant sounds of band, Platform
One. Their songs are reminiscent of 1980’s synth pop
fused with elements of techno and an air of darkness.
Their 11 track album The Other Side of December
is a beautiful blend of pulsing modern dance rhythm
and the nostalgic ambience of synth and soft vocals,
wonderfully demonstrated in songs like “Into the
Missing”, “Sacred Moment”, “My Love Remains”
and their cover of “Losing My Religion” by R.E.M.
The eclectic combination of vocalist Nigel Taylor,
keyboardist and vocalist Daniel Gill, guitarist Jesse
11
Dunstan, and percussionist Allison Lahikainen make
Platform One an excellent band for your dancing and
listening pleasures. You can find them at events like
Nocturne at Club Shampoo in Philadelphia, Dorian’s
Parlor at the Double Tree Hotel in Philadelphia to
name a few, but check out www.platform-one.com for
more information on upcoming shows.
Sounds Like: A mash up of Depeche Mode, The Cure,
and Celldweller
My Thoughts: I can listen to their album endlessly and
I love seeing them at events. They’re a great group
I Heart: Track 10 “Can’t Go Back”, Nigel’s Guy-Liner,
Track 1 “Sacred Moment”, and the smell of Allison
before a show
 OCTOBER EVENTS

October 6, 2010

Anti Gravity at the R Bar

218 Bowery, New York, NY 10012

War Music Presents: “Anti Gravity” - Each Wednesday night @ R Bar, 218 Bowery. Anti
Gravity is 100% UNDERGROUND LIVE BANDS featuring an array of styles that include,
Electronic, Post Punk, Industrial, Synth Pop and other obsolete labels that attempt to de-
scribe this amazing music.

October 10, 2010

With Convenant at the Paradise Rock Club

987 Commonwealth Ave. Boston, MA 02115

Platform one is pleased to be playing with Covenant at the Paradise Rock Club in Boston
on October 10th! Buy tickets here. Doors at 7:00pm. Platform one goes on at 8:00pm.

October 23, 2010

The Scarlet Parlour at Eamonn’s

41 Murray Street, New York City, NY 10007
8:00pm
www.scarletteparlour.com

October 31, 2010

KLOCKWERQ at T.T. The Bear’s Place

10 Brookline St. Cambridge, MA 02139
9:00pm
www.ttthebears.com/

12
Gus Clark
Horror Craftsman

By Ni cole Doudna

Looking for the perfect prop to scare up some serious

fun this Halloween? Or a horror movie fanatic looking
for a one-of-a-kind collection piece? Feast your eyes on
the fascinating work of artist, Gus Clark. Gus makes
custom latex horror masks, custom latex make-up
appliances, horror props, and Jason Vorhees masks.
His accessories are made with such remarkable detail
you could almost think you’re face-to-face with the
horror movie legends themselves. And with all the
cheap, wanna-be rip offs at every store in the Milky
Way galaxy, why not go for something a little more
authentic?

13
Nicole: How long have you been
making latex props and what made you
decide to do so?
Gus: I’ve been doing horror props as
a pseudo business for a few years,
but I’ve been doing amateur horror
make-up since I was in sixth grade. I
started with those little bottles of liquid
latex and tissue paper like everyone
else, then I moved up to make-up
kits and so on. I started working with
sculptures and latex in early 2008 when
I decided to enter a contest to design
a Jason Vorhees under mask to be
worn under the hockey masks I was
already painting. I didn’t win
the contest, but the guy who
did win really liked my work,
he gave me some pointers,
and I kept working at it. We got
to be pretty close friends and
now work as partners creating
props and displays. I became
a featured artist on frightstuff.
com and kept working on horror
props. Later that year I decided
to develop a concept mask to
accompany some of the masks
I was painting. I got some clay
and the rest of the supplies I
needed and set to sculpting.
By the time I was done I had
created a pretty decent looking
zombie Jason and decided to
call it “Gravesend”. There are
less than 30 and the mold will
soon be retired. I developed
some zombie make-up
appliances that can be used
for multiple different looks and
started work on other masks,
either fir myself or to sell.
Nicole: What kind of education and
experience have you had?
Gus: I majored in graphic design in
college and I always have been kind
of artsy, but I have no formal education
in sculpting or effects. Everything I’ve
learned about sculpting I’ve learned
from my partner, Mark, and my art
director at my design job. Both have
been extremely helpful. Everything else
I learned the hard way... trial by fire.
Nicole: What kinds of tools and materials
do you use to make your props?
Gus: Just about anything I can get
my hands on for tools. I have a ton of
store bought sculpting tools as well
as a few I’ve made from guitar strings
and whatever else I find laying around
that looks like it will do the job. As for
materials I use a couple different kinds
of oil based clay to do the sculpting, and
I usually put that over a human head
bust for masks. Though if I’m sculpting
something that’s not human generally I
will make my own armature out of pipes
and anything else that strikes me as
useful. I use alot of tinfoil.
Nicole: How long does it take to
complete a mask?
Gus: It can vary. My first mask was a
learning experience. The sculpture
was a 6 month labor of love. The mold
took me almost a full day to make, the
latex took a day to pour and cure, and
painting can take anywhere from 5 to
10 hours. Alot of time goes into them.
Hockey masks can take just as long if
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I’m trying to match a specific look for
a customer. Sometimes they’ll send
me screenshots from the movies to
replicate, and people can be really
picky.
Nicole: Do you work with any genres
other than horror?
Gus: There are genres other than
horror? Seriously though, I haven’t
really found any genres other than
horror that my skills apply to. General
effects make-up is something I want to
get in to more. I love creature creation.
Growing up I was a huge fan of the Jim
Henson movies and I still am. I could
watch the “Inside the Labyrinth”
documentary endlessly. I want
to start doing some original latex
puppets and creatures soon. By day,
I’m an animator for a Philadelphia
area company, so I do work in some
lighter stuff when the sun is up.
Nicole: What has been your favorite
piece to make?
Gus: So far it’s still my first latex mask.
It turned out well and I’m proud of it.
It’s evil looking, it’s grotesque, and it
turned out almost exactly how I first
envisioned it.
Nicole: Do you have any upcoming
projects?
Gus: Right now I’m working
on a sculpture of Slimer from
Ghostbuster’s just for fun, and I’m
beginning work on another Jason
inspired concept mask to replace the
one I’m retiring.
Nicole: Since Hollywood couldn’t tell
us, who would win, Freddy or Jason?
Gus: Tough call. It depends on the turf. If
we’re talking dream world, hands down
Freddy. In the real world, Jason would
own Freddy. Jason is an unstoppable
killing machine and I’m rooting for him
all the way.
Nicole: What are your plans for
Halloween?
Gus: I’m running a promo on frightstuff.
com so that has me busy. My personal
plans... scare the bejeezus out of as
many people as humanly possible.
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