Words by Katie Stolowitz

Although I somewhat cliché-ly expected to encounter a professional snowboarder when meeting Burton Machen, my personal growth is very thankful that the man’s actually an artist. While an inverted 180 is always cool to look at…I don’t think a jump, no matter how long the rotation, has the power to inspire me in any profound way—perhaps because I just like my limbs too much.

The same cannot be said about the work of Burton Machen. Although I readily admit that I am not an artist in any way, shape, or form (I reference grade school artwork as evidence), in an attempt to live vicariously, I have tried to enter the art world by means of art history class enrollment and headset guided museum tours.  I figure if I can’t have the eye myself, I can learn about those who do.

Burton Machen clearly has the eye. While simply looking at his final product demonstrates his artistic talents, his process too is truly unique. In a time of blatant selfishness on the part of big banks and oil companies, Machen’s “Urban Evolution and Portraits” series provides a breath of fresh air supporting the ideas of community and togetherness that we, now more than ever, so very much need. In these works Burton creates initial “first drafts” on the streets of New York and other cities, and watches and waits to see how the pieces unfold. The art of “unconscious creation” serendipitously arises as the passerby take part in the formulation of the final drafts. While egos might inhibit collaborative efforts of other artists, Burton has a different mentally: his works truly depend on this teamwork.

WC: You’re from Ashville, Alabama, so I have to ask, what brought you to New York?

BM: Fame was always my favorite television show growing up, so naturally I had big dreams of living here. When I ran away from home at 16, New York was an obvious and necessary stop. And while my life has been filled with little jaunts everywhere—New Orleans, Rio, Atlanta, Los Angeles—New York will always be a home.

WC: But you are bicoastal, so why LA?

BM: I’m also a hairdresser, so for better or worse, Los Angeles is where a lot of my celebrity clientele reside.

WC: With respect to the art process, which city is more inspirational?

BM: New York, Brooklyn in particular, is a great place to get inspired. You can simply leave your apartment on your bicycle and stumble upon subjects spontaneously. LA has a lot of very hip places, but capturing images is more of an intentional process because things are so spread out and driving is a big prerequisite, so the working session requires a bit more plan-aheadness.

WC: Your “Portraits and Urban Evolution” projects seem to depend on outside manipulation of your own art.  Is it hard to watch others alter your creations?

BM: Absolutely not. As mentioned, the pieces require it. It’s so interesting for me to watch and wait as people paint and tag them. The art is like a conversation, always changing, continuously evolving. I am amazed at the different reactions based upon the image posted. One can only imagine what might arise if I went to New Orleans and posted a portrait of (BP CEO) Tony Hayward. Not going to lie, that one might not be so pretty.  While certain portraits may remain untouched, probably won’t be true of that guy’s.

WC: This process, which requires physical alternation, seems to be the antithesis of the digital and Photoshop techniques. Technophobe or Technophile?

BM:I have nothing against that world, as you really can create amazing things digitally as of late. I’m pretty old school though, and try not to do too much alteration in an attempt to capture what is really there. Photoshop doesn’t have a huge part in my work, but I am definitely not anti and I embrace digital tools that can enhance the art. I do believe however that a lot of what the program does can be accomplished traditionally in the dark room.

WC: You make it sound so easy. Do you think artistic talent is something you’re born with?

BM: Sure. I do think everyone has a skill, and to some degree, one is born with an artistic inclination. But more importantly, you have to be open to receive and to interpret the world around you. You also have to figure out your own process. Although I am very much a people person, while shooting I need to go on my own and make my mind still.

WC: A bit difficult to do in New York, right?

BM: Perhaps, its not the most relaxing locale.

Still minds…okay, maybe that’s why he appreciates L.A.

To see more of Machen’s work click here.

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