MATT MONATH QUEER CHROMA FACES ARE THIS ARTIST’S PRIDE BY ALEXANDER RODRIGUEZ
THERE IS A CERTAIN MESSY BEAUTY TO PHOTOGRAPHER MATT MONATH’S CHROMA SERIES. Queer faces covered in rainbow dust, textures, and extreme
close-ups fill the shot. There’s a vibrancy and intimacy in a way we haven’t seen these celebrities before. It is undeniably PRIDE in artistic chaos that reflects our history, and this past year’s rollercoaster of isolation in a social and political time of unrest. CHROMA started as a photographic study on color and texture, in relation to portraiture. It has since grown to become a celebration of queerness and pride, and I’ve been exclusively shooting queer subjects for the series over the last few years. It’s a passion project, and I want to share the experience with as many beautiful queer people in the community as possible. The process of creating CHROMA is one that is intimate between the subject and me and has led to the most significant connections I have had throughout my photo sessions. Whether it is for his own photographic series or for his editorial and commercial work, his style is instantly recognizable. Commanding his bold aesthetic, he has shot some of today’s most notable talent for iconic brands and platforms with features in Elle Magazine, Entertainment Weekly, Seventeen Magazine, People, and the list goes on and on, not to mention the billboards coloring the skyline all over New York. One of my first portraiture gigs out of college was shooting Rita Ora for iHeart. She came through the iHeart offices for a day of press, which included a 15-minute shoot with me. Even though it was a quick shoot, I was given full creative freedom and had her pose in front of a wall that I scribbled ‘Rita’ all over, which perfectly juxtaposed her (accidentally dyed) rainbow hair. Within the advertising space,
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my first professional shoot was for L’Oréal Paris, where I transitioned from photo assistant to photographer in a hectic shoot for The Emmys that ended up needing someone eager to pick up a camera and start snapping. That was the start of my commercial photographic career, thanks to my producer buddy, Will. My first advertorial was an exciting accomplishment, especially because the feature was created by an all-queer team. It was for their ‘Master of Style’ series, presented by Cadillac, and this one featured Charlie Carver. I first saw it in print at the issue’s launch party, and you know I scooped up as many issues as I could get my hands on. How does he stay creative when given a client assignment? It’s a balance! First and foremost, a happy client is what is most important to me, especially because I have the luxury of shooting passion projects like CHROMA on the side when I am not wrapped up in a commercial project that involves specific client-driven creative direction. However, I know I have been awarded a particular project because the client, producer, and creative director believe in my abilities to execute their vision through my point of view, and it’s a collaboration. I will often propose some extra shots where I can have a bit more freedom while being sure I have hit the agreed-upon shot list beforehand, so the client has the option of extra content that feels more authentic to the creator. It is no surprise that Matt’s inspiration comes from Annie Liebowitz, the patron saint of the American portrait. They share that intimate style that, in any other scenario, the closeups would be considered too close, but in their work, it is art.
PAGES 10-12: PHOTOS COURTESY OF MATT MONATH
Matt Monath
