Creative Brief: FrankNitty3000

I first encountered FrankNitty3000's work while combing 3d animation hashtags and artists on Instagram. The only way that I can describe his work is animated collage. He simply refers to them as "video doodles." Both labels are an understatement IMPO, but whatever you call them- they'll suck you in. I reached out to Frank a couple months ago to ask him a few questions about himself and his work. 

Between our initial phone conversation and now, Nitty has completed several notable collaborations. One with HK based photo blog DRKRMS... Another with Plastik Magazine. And last but not least, a series for Gucci. 

I've linked his IG after the feature. Definitely worth a follow.

- Stephan


little beast: Where are you from, where are you based?

Frank Nitty: I'm from a small town in The Netherlands, then moved to Tokyo and and now based in Hong Kong.

little beast: Would you say that the majority of your work is brand collaborations, or more personal work?

FN: I would say its a mix. Most of the work you will see from me on social media is personal work, but now that brands are opening up more to social media I'm also starting to create more work which is specifically made for small screens or square frames. Sometimes I post brand work if its up to my standard. 

little beast: We've shared a number of your works on Instagram. When did you start these collage animations and what inspired them?

FN: I started doing these short loop animations about a year ago. This was mainly out of boredom with brand work. I've done a lot of really "creative" stuff over the years, but rarely do you have full creative control so I never found it worth it to share my work with people. It's just a nice outlet to show some fresh/fun ideas. The stuff you'll find on my Instagram are basically "doodles" - just quick ideas that are fun to watch. Not trying to be too fancy. 

You can see more of Frank's work on his Instagram page (@franknitty30000)

CREATIVE BRIEF: Victor Solomon of Literally Balling

Let me introduce you to Victor Solomon. He's a SF based artist making big waves with his project "Literally Balling." If you guessed that we met on the internet, you're right. Instagram can be a magical place.

I don't remember how it happened exactly but I do remember receiving an email through the site from Victor about the project. We may have spoken prior to that on IG. I was attracted to his work on sight, but didn't really understand what it was all about. What I loved initially was the stained glass backboards, the crisp photography, the metallics, the wood, the color palette - so I guess everything. I also liked the faint anxiety it gave me when imagining them actually being used for their traditional purpose. 

In this interview, I set out to understand a little bit about him and his work. 

little beast: Where are you from?

VS: Boston    

little beast: Did you study?

VS: I apprenticed with a group of 80 year old stained glass masters for a year before embarking on Literally Balling. They taught me how to approach the craft with historical accuracy and were invaluable to the process. 

little beast: Describe working with these old stained glass masters. Where was this? Tell me more about them.

VS: The studio is a motley crew of old-school, SF craftspeople - retirees with wine in coffee mugs, amazing stories of days gone by and decades of expertise mastering this antiquated craft. 

little beast: What can you tell us about "Literally Balling?" 

VS: I've been really interested in the idea of luxury. What qualifies, the irony and it's own impracticality. 

little beast: Can you tell me more about your thoughts on luxury? About the idea of it, the irony, etc?

VS: There're a few threads running through this work, but this idea of the fragility of luxury feels particularly apropos here. Basketball is basically class-proof - the poorest kids and the richest kids play the same game, the same way - the iconography is evocative because it's vastness is an equalizer. However, an opulent destination in our culture is the adorning of luxury materials (on everything) - here a beautiful piece is created, but it's function is removed - quid pro quo.

little beast: Do you travel much?

VS: As often as I can get away! ⛵️🚀

little beast: Has any one place been more significant or inspirational for your work or lifestyle?

VS: Palm Springs has become an important bi-annual retreat to recharge. 

little beast: Describe your Palm Springs Recharge. Any favorite places to stay, restaurants or chill spots?

VS: Stay at the Sparrow Lodge, dinner at the Parker, dessert at Colony Palms, drinks at Melvyn's, vintage scouring and hikes in Joshua Tree. 

little beast: Where else have you traveled to? In or out of the States.

VS: I spent a summer working on a banana plantation in Australia, toured Germany, France and the UK and criss-crossed the US in varying capacities - looking for an excuse to get to Istanbul, Hong Kong and a long southwestern road trip.

little beast: Can you tell us about any pieces that are working on currently?

VS: I'm preparing now for my first solo show in NY - a collection of new work related to Literally Balling. 

little beast: Tell me more about the exhibition. 

VS: February 25th at Joseph Gross Gallery I'll be exhibiting the new Literally Balling collection - all new backboards, but also a body of work supporting the narrative in a variety of mediums. Honored and excited, looking forward to sharing the evolution of the project with everyone.

little beast: Tell us something that might give you inspiration for a piece or a series of work.

VS: As the medium for this project is rooted in an antiquated practice a lot of inspiration comes from looking back at traditional approaches, anywhere from medieval executions to the bay areas glass resurgence of the 60s/70s.

little beast: How much of this project has been research? Describe to me what the process has been like for you. Do you get sucked into the historical stuff? 

VS: The historical relevance has always been an important part of the project to me. Stained glass has long been a symbol of power and wealth and as I appropriate that conceit, it's made sense to design these pieces inspired by those that preceded. The ornate medieval work is aesthetically something I've gravitated towards, but the wave of glass artists in the 60s/70s introduced a 'naughtiness' to the medium that this can be seen as an evolution from.

little beast: Describe what your creative process might look like, from idea to physical.

VS: My process is very lo-fi. In staying with the processes historical accuracy, my approach is as the medium's always been: long hand sketches, hand cut glass, hand wrought steel rims and painstakingly woven crystal nets. 

little beast: Is there a person that has been most influential to your work over the years? 

VS: Aside from my glass mentors, Sterling Bartlett and Brendan Donnelly, great artists in their own right, were really encouraging in the early phases that there was something worth exploring here. 

little beast: What are you listening to most lately in terms of music?

VS: Lots of Scott Walker, Eno's Taking Tiger Mountain, Meek Mill, Young Thug and I'm still hanging on to At Long Last A$AP

little beast: Do you have favorite visual artists?

VS: So many, but lately: Ry Rocklen, Nicole Wermers, Paul Pfeiffer and Ruby Sky Stiler

little beast: If you could collaborate with any creative on a project who would it be? (living or dead)

VS: I would love to get together with James Goldstein on something (and holding out hope that I'll get the opportunity)

You can see more of Victor's work on his website.

Instagram handles: @victorsolomon and @literallyballing

CREATIVE BRIEF: Carlijn Jacobs

I'm a fan of photography. Huge fan of photography. So much a fan of photography that I sometimes forget that not everything is genius. And then I look at a Carlijn Jacobs photograph and I remember why some of us are remembered long after we're gone.

Carlijn Jacobs is a Photographer and Creative Director based in Amsterdam. She studied Lifestyle & Design at Willem de Kooning Academy in Rotterdam.

I don't know Carlijn personally, but I've followed her work for some time. When Little Beast decided on writing a journal last year I reached out to her and she kindly took the time. This interview, like the others, stays very close to the surface. I hope to have a more in-depth talk with her in the future.

little beast: Where are you from?

Carlijn: Amsterdam

littlebeast: Where have you lived?

Carlijn: Amsterdam, Haarlem, Rotterdam, Groeningen, Sambeek

little beast: What is your education? (traditional or otherwise)

Carlijn: Willem de Kooning Academy, Lifestyle & Design (art academy) with a lot of self exploration.

little beast: How would you describe your approach to photography and creative direction? 

Carlijn: I have always been a very visual thinker so it's just something natural I guess. Most of the time I pitch my ideas to clients and try to compromise. But the most fun part is when you work independent and you can totally do what you feel.

little beast: When did you begin taking photographs?

Carlijn: At the age of 13. When I was 15 I bought my first Fujifilm camera and started making pictures of flowers in the garden and I  did dress up parties with my friends and we started our first 'photoshoots.' It was fun back then and it still feels sometimes like back then.

little beast: Do you travel much?

Carlijn: Quite often yes, but I'd love to travel even more. 

little beast: Has any one place been more significant or inspirational for your work or lifestyle?

Carlijn: Not really, the variety makes it inspirational I guess. But I prefer nature trips more than city trips. I'm going to paris in January and to the caribbean island in a couple of months, super excited. I'm also in love with the east-europe countries for example croatia. 

little beast: Can you tell us about any exceptional photo projects that you're working on currently?

Carlijn: I'm working on a very special series, can't say too much but you will see!!!! 

little beast: Tell us something that might give you inspiration for a concept or a body of work.

Carlijn: Art, people, forms, materials, models, everything actually, oh and I can't forget animals! 

little beast: Describe what your creative process might look like, from idea to physical.

Carlijn: This is such a hard question to answer because most of the time it's just a result of listening to my inner visuals/feelings. So the idea is probably already a while in my mind and after all the research I'm trying to visualize it. Most of the time it's just a feeling I need to follow. 

little beast: Is there a person that has been most influential to your work over the years? 

Carlijn: Not really. Sorry folks. 

little beast: What are you listening to most lately in terms of music?

Carlijn: Elvis Presley has always been good to me and my hiphop playlist serves always some spice on the set.

little beast: Do you have favorite visual artist or photographer?

Carlijn: Harley Weir, wow! 

little beast: If you could collaborate with any creative on a project who would it be? (living or dead)

Carlijn: Path McGrath or Johnny Dufort. I adore the Jacquemus campaign from Johnny. Super strong.

little beast: Any shows of yours to look out for in the near future?

Carlijn: No, I did some expositions last year but I decided this year not to expose/show.

little beast: What is your favorite thing to cook?

Carlijn: Nothing, I seriously hate cooking. 

little beast: What is your favorite thing to eat?

Carlijn: All the dinners my friends make me! Thank you guys. 

You can see more of Carlijn's work here.

Find her on Instagram: @carlijnjacobs