Today we’d like to introduce you to Sean Mathis.
Alright, so thank you so much for sharing your story and insight with our readers. To kick things off, can you tell us a bit about how you got started?
I grew up drawing since I was in elementary school, and took my first photography class as a college freshman. After that I didn’t really touch the camera until my last few months living in the Eastern Sierra. Four winters were enough to let me know it was time for something new, something more, and after my father passed away, I moved back to El Paso (where I grew up) to tend to my mother, whose vision had begun to decline. The timing Instead of a direct path, however, I took a route that covered 7000 miles, including 10 Western states and 12 National Parks, and allowed me to visit friends in various states along the way. The month-long journey was a watershed experience. Upon reviewing the 20 rolls of film shot along my route, I saw more than mere photographic documentation. I captured ephemeral scenes that could endure as art. From that point on, I sought to diminish the inherently subjective and exclusive nature of “taking a picture.” I hoped to provoke a visceral connection not only to the image itself, but to something within the viewer… a distant memory, an epiphany, or respite from the mundane scenes that surround them.
I then moved to Austin to pursue a degree in photojournalism from the University of Texas at Austin, and have lived here for the last 18 years. I’ve worked for UT, the state government (DFPS communications) and a couple startups, but what I’m most passionate about shooting are live music (well over a thousand shows by now), cityscapes (especially from the air), and untouched natural environments, with wildlife or their traces.
The music industry is tough these days, but the artists themselves comprise a vast spectrum of esoteric genius sweetheart misfits who I love and connect with on an almost daily basis, and they’re some of the finest humans I’ve ever known. I’ve learned so much from their work ethic, chasing their muse despite the odds stacked against them, and the trust I’ve gained has given me more access with every passing year, which in turn helps me capture better images.
I’m a big fan of experimenting. It becomes a tool in my bag to use at any given moment on a shoot. Love to incorporate new techniques or philosophical nuggets that may enhance my approach and what I capture. One shouldn’t always make art exactly the same way, year after year. Evolution is key.
We all face challenges, but looking back would you describe it as a relatively smooth road?
For any creative soul, I think the two biggest hurdles are always inspiration and finances. I’ve found that stepping away when I’m unable to create art that impresses me is healthy and wise. Breaks allow me to recalibrate my intentions, and conserve my passion – which I feel is finite. Worthy introspective considerations arrive in that downtime. Tiger Woods doesn’t play golf every single day. Musicians might tinker with their instruments daily, but they aren’t always writing new songs. You have to witness, observe, experience, imbibe life in order to write about it. You then take that which has moved you most — those unforgettable images, profound encounters, baffling stages of pain and ecstasy — chew on it for a bit, and then inject them back INTO the world through your art. (Nature and travel are always great for that recharge, and unexpected moments on the road have wound up being some of my favorites ever.)
Giving yourself a break can build an artists’ confidence and identity, and the income will somehow follow. It’s a law of attraction that I don’t fully understand, but it’s almost like finding a romantic partner over and over: the more you just do what you are most passionate about, the more other parties see your value, and they’ll find you. It’s also ok to turn down an offer if you don’t feel like you’re being compensated properly. I do a lot of work with nonprofits, but there’s still an investment of time, so you have to check in with yourself. I’d rather not do a job than do it and be angry about the rate. (Note: Money is considerably less fulfilling than the reward of making great art, and completing a piece that fills you up with pride and peace. Still, we need it in order to survive in this increasingly vapid and consumerist age.)
Thanks – so what else should our readers know about your work and what you’re currently focused on?
I’ve mentioned previously what I do, but I suppose what sets me apart is my commitment to the shot, the work, etc, and the ability to connect with who or whatever I’m shooting. I suppose I’ve taken a gig for the money, but I really do have to fall in love with it for the day. And it’s also ok to just say NO when you feel like it’s not the right fit. I love meeting people who inspire me, and hopefully my work inspires them in return. Getting to hang with musicians and see how they operate offstage somehow helps me take better photos of them in the studio or onstage.
Also, you’re not going to get another gig if the client doesn’t really like to be around you. It’s pretty simple interpersonal math.
We love surprises, fun facts and unexpected stories. Is there something you can share that might surprise us?
I think I’m a pretty open book on most things, but I am adopted. I suppose it’s rarely discussed in daily conversations, but fortunately, it still exists and fulfills thousands of families’ hopes. When I was two days old, I was flown from Maui to Honolulu to meet my adoptive parents and sister. Hard to say if or how it’s affected me, as it’s all I’ve ever known. But I like to think that kickstarted my love of travel. Thanks to growing up in El Paso, I also speak a fair amount of Spanish with a solid accent, which throws people off when they first hear it.
Contact Info:
- Website: https://www.seanmathis.com
- Instagram: @seanson28
