Ahead of the Queen’s Platinum Jubilee celebrations, we spoke to artist Chris Levine about the making of his iconic hologram portraits of Her Majesty. He reflects on two years of preparation, that fateful day in Buckingham Palace, and Lightness of Being...
Ahead of the Queen’s Platinum Jubilee celebrations, we spoke to artist Chris Levine about the making of his iconic hologram portraits of Her Majesty. He reflects on two years of preparation, that fateful day in Buckingham Palace, andby Chris Levine, 2008. Multidisciplinary artist Chris Levine is known for the sort of technical art wizardry that leaves jaws dropped, minds boggled and eyes frazzled.
Wallpaper*: When you were first commissioned to photograph the Queen by the Jersey Heritage Trust, what was your response? I got a call out of the blue and honestly thought it was a friend pulling my leg. I’d shot rock stars and been asked to record Indian gurus but the Queen seemed far fetched. It was only when I was summoned to a meeting at the National Portrait Gallery with [former director] Charles Saumarez Smith and the Jersey Heritage Trust that it all became very real.
I envisaged that there would be a lot of input from the Palace and commissioning body as to what needed to be conveyed in the work. I thought there would be a need for props and visual elements of suggestion, for instance, the three leopards of Jersey, or Mont Orgueil in the background. As it happened it was all left entirely to me including what Her Majesty wore.
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