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Alecia Davis in Flaming June

Kim (Pont Lezica’s wife), was probably made to feel essential to the project. And, indeed, probably was. Pont Lezica, though, never seems to play the temperamental artiste. He throws his arms around a bit as he talks, but that might be because he’s enthusiastic about everything, or because he’s from Argentina. (No, he doesn’t tango.) Apparently, he’s lived and worked everywhere but the moon—Paris, Tokyo, New York, Italy, Spain, Buenos Aires. However, his cosmopolitan background doesn’t display itself in any sort of overbearing way. Demetria Kalodimos in Le Fifre

“So,” I ask, “Why Nashville?” He sweeps his arm around one cavernous room, diffuse light tumbling in from walls of windows on all sides—the ideal photographer’s studio. “You couldn’t find, or pay for, this big a space in Tokyo, New York, Paris. There are great advantages to living in Nashville.” Pont Lezica and I wander around his ten-thousand-foot studio on Chestnut Street, now, at 3:30 p.m., mostly empty, the sets and the models departed for the day. So, I ask, does he specialize? No. Does he advertise? No. Does he have an agent? No. Does he have a publicist? No. So, how does he get to take pictures of the beautiful people, all those skinny models in designer clothes, show biz types, people who look like they could own airplanes?

Ilya Repin, Portrait of Composer Mikhail Glinka

Giancarlo Guerrero in Portrait of Composer Mikhail Glinka

Modigliani, Young Redhead in an Evening Dress

Hope Stringer in Young Redhead in an Evening Dress June 2O12 | 45

2012 June Nashville Arts Magazine  
2012 June Nashville Arts Magazine