Make Up Artist of the Month
Interview
with Beckie Kravetz
Sculptor, Master Mask-Maker & Make Up Artist
I interviewed Beckie while she was in Los Angeles for the opening of her latest work "Sculpted Arias." The exhibit was held at the Los Angeles Music Center Opera. Art buff's and opera lovers were among the crowd viewing her collection of famous opera characters. Get the scoop on Beckie's fascinating career as a multi-talented artist!
How did you get started
as an artist?
Art
was something I always did. I took art classes from the time I was a kid.
I was involved in children's theatre workshops, in addition to acting
stuff I took puppet-making classes. I was always putting on plays and
making costumes. I always had my hands in "craft" stuff.
When did you discover
you had a talent for creating faces?
I
really found my art niche in high school. I had a great crafts teacher.
I am not particularly good at two-dimensional drawing. I was introduced
to three-dimensional arts and craft oriented things using multi-media.
This included sculpting, ceramics, textiles, and jewelrymaking. I realized
this was the fun stuff. When I became a makeup artist and maskmaker I
looked back through some old files and discovered I had collected faces
from the time I was eleven years old. The focus on the human face goes
way back for me. All my doodles were of eyes and faces!
How did you combine
your love of theatre and art together?
I
was on the art track and theatre track separately. They eventually came
together in college. I got my BA in Theatre at Williams College, Williamstown,
MA. I went on to Yale Drama School to pursue a Masters in Dramaturgy.
During my three-year masters program I realized I did not want to continue
studying Dramaturgy. I switched to a one-year internship program in prop
making. This program was tailor made for me. I studied scenic painting,
woodworking, metalworking, maskmaking, and design.
I realized at the end of that internship that I did not want to be a prop maker. There was a specific thing I loved and that was making masks. Making masks brought together all my focus on faces and sculpting. After my internship, I apprenticed maskmaker Ralph Lee in New York to further my training.
How did you start doing
opera makeup?
I
took a summer job with the Santa Fe Opera. They needed a maskmaker as
luck would have it. This was my first experience with opera. The makeup
and wig department was next to the crafts shop. I looked in and saw what
they were doing and I had a huge revelation. They're painting masks on
real faces! The world of opera makeup opened up to me.
I went on to train with Judy Disbrow in Santa Fe. She runs Theatrical Hair Goods in San Francisco. I also went on tour with the Western Opera Theatre for six months then came back to LA and worked the crew for LA Opera. All my makeup training has been on the job. Rick Geyer, wigmaster at the LA Opera has been a mentor in this area. In 1990 I came on full time as the first assistant to Rick at the LA Opera. I have been Placido Domingo's makeup artist for eight years now. I now spend about four months in LA and the rest sculpting in my studio in Arizona.
Who have been your
mentors along the way?
Ralph
Lee, a maskmaker who I apprenticed with in New York after studying at
Yale. Hunter Spence, my props and maskmaking teacher at Yale. Rick Geyer,
friend and wigmaster at LA Opera. Julie Taymor was an inspiration more
than a mentor. The one show I worked on for her early in my career was
working with her assistant. Donato Sartori, a leather maskmaker in Italy.
Jonathan Bickart a sculptor in LA and longtime friend. Jonathan taught
me just about everything I know about portrait sculpture. Pamela Shaw,
LA costume designer with a great eye. Tim Saternow, set designer and Yale
colleague with a great eye.
Is there a particular
maskmaker who's work has influenced you and how?
The
works of Ralph Lee and Julie Taymor have been major influences. I had
the privilege of working with Ralph on "The Wildman Project" at the cathedral
of St. John the Divine in New York. I learned tons from him about design
and technique. I have also benefited enormously from my friendship and
collaborations with Bob Beuth. Bob is a multi-talented writer, actor,
director, and maskmaker in LA. I have also studied a great deal about
masks of other cultures. The styles and techniques of these masks of the
world find their way into my work. Inspiration is everywhere! I can look
at anything and anthropomorphize it into a puppet or mask.
What type of materials
do you use when sculpting?
Chavant
'Le Beau Touche' sculpting clay (oil base) and terracotta pottery clay
(water base). Armatures of plywood with a pipe flange and 1/2-3/4" pipe
attached.
What are the basic
tools needed?
Stainless
steel jeweler's wax sculpting tools, available from jewelry supply stores
in downtown LA, and assortment of wooden clay tools available in any art
store. An adjustable, rolling sculpting stand with a turntable top is
very helpful as well, though not absolutely necessary. I find that an
adjustable drafting chair with good lumbar support and comfortable seat
makes a huge difference. And a mirror!
Do you continue to
train by taking classes or studying other maskmakers to improve your craft?
Always.
There is so much to learn in terms of techniques in sculpting and construction.
I am lucky to have several friends who are designers and/or sculptors.
Much of my continued training is not in formal classes. I also teach
workshops and find that I always learn from my students, no matter what
age or ability level.
What was your inspiration
for "Sculpted Arias?"
My
love of doing opera makeup and the music itself was an inspiration. I
wanted to study specific opera characters from the inside out. I wanted
to create their face, then create the inner self as well. I threw myself
into sculpting. I felt everything come together. My ten years as an opera
makeup artist, my training as a crafts person and working in clay. I have
created this body of work that pulled all those elements together.
How was the recent
showing of "Sculpted Arias" received?
The
reception was great. People told me that the work really moved them.
There did not seem to be just one "favorite" piece, which is a good sign
that different pieces spoke to different people. I sold several pieces,
which of course is always encouraging!
"Sculpted Arias" included
how many works?
Eleven
opera characters were on exhibit. My website will be available soon for
specifics on each piece. You
can see photos of four of the pieces at the end of our interview.
What is the price range
of your work?
Limited
editions: $1500-$1750
One of a Kind: $3500-$9500, general range $5000
Theatre masks (wearable, various materials, reproducible): $300-$600
How do you determine
the value of your pieces?
A
common formula for bronze sculptures is to figure the actual cost of producing
the piece (mold making costs, foundry work, materials, etc). Triple this
cost to include a gallery percentage (50-60%), and a fee to yourself for
your time and talent. I used this as a starting point, but this formula
applies mostly to limited editions (more than one piece made from the
same mold). Many of my pieces are one of a kind and the prices are higher
for these.
Are most of your pieces
one of a kind or limited editions?
Yes.
My Sculpted Aria series consists of a one-of-a-kind sculpture for each
character. The back of the same mask is filled with additional paintings
or sculptures. Limited editions of 25 are available of just the faces.
These limited editions can be wall mounted or mounted on a marble base.
My theatrical masks are different. I often make a mold for these, and
reproduce the face in unlimited quantities. I hope to use these molds
to start a business through my website and brochures. I would also like
to provide sets of masks to schools, training programs, or to mask actors.
What is your next project?
And where is your next mask exhibit?
I
am creating two masks for the Gilgamesh Theatre Company's "Chomlungma"
or "The Mountain". This is an original work by Stephen Legawiec about
climbing Mt. Everest. "Chomlungma" will premiere in LA in May.
I hope to have another gallery show with more opera sculptures in the summer or fall of 1999. I am also working on a body of figurative sculptures. I hope to have that ready to show in late 1999. All three types of work will be on the website soon! I am currently looking for my next venue, either another opera house or a gallery.
What has been the most
challenging experience with your maskmaking projects?
It's
hard to pinpoint just one. I had to learn how to make my sculptures "big"
enough to read in a house, and how to work with the lights. A well- sculpted
mask can change expression if the planes are designed to catch the light.
The biggest challenge is adapting the design of a mask to the performer.
The performer needs to see, be heard, and be comfortable performing in
the mask. In my non-wearable work, the biggest challenge is to create
sculptures that speak to and move the viewer.
What advice do you
have for an aspiring artist interested in a maskmaking career?
Collect
pictures of faces. Keep files. Sculpt a lot from life if you have the
opportunity. Go see masks in performance! Find a maskmaker to apprentice
with. Get a copy of Thurston James' "A Propmaker's Guide to Maskmaking".
Find costume and/or wig designers you like and work with them. Much can
be learned from the techniques and design elements of costumes and hair.
Work with mask actors; there is much to be learned from watching masks
in action. Keep your imagination alive and your mind open. Masks get
made out of some pretty strange stuff sometimes. Don't be afraid to experiment!
Beckie has a website currently under construction, but you can contact
her at : bkravetz@compuserve.com.
We will alert you when more information is available.
Check out a glimpse of Beckie's
"Sculpted Arias" on the next page.
Look at some works by Beckie KravetzBack to Vanna in the Valley
Other Star Interviews:
Michael Burnett
Marietta Carter-Narcisse
Marvin Westmore
Eva Marie Denst
Ian Goodwin
Melinda Douglas
Art Anthony
Gregory Arlt
Beckie Kravetz
Douglas Noe
Karen Westerfield
Tina K
Rick Geyer
