Exclusive Interview with Grace Weston

Grace Weston’s staged photography transforms miniature vignettes into powerful narratives that explore psychological themes with a playful yet profound touch. Her meticulously crafted scenes invite viewers to delve into stories of power, identity, and human complexity. Weston’s innovative work has earned international recognition, including winning a November 2023 Solo Exhibition with her series Reclaiming the Muse.

We asked her a few questions about her life and work.

All About Photo: Tell us about your first introduction to photography.

Grace Weston: I first studied black and white photography at a junior college in New Jersey. My photography professor, William Barksdale, recognized something distinct in my vision and provided tremendous encouragement. He also chose me for the job of darkroom assistant, giving me hours of free access, which I used fully.

What started your career as a photographer?

Although I showed my early available light field work in restaurants and boutiques, I didn’t consider it my “career” until years later, when I started assisting a studio photographer. That was my introduction to studio work – starting with a blank canvas, composing, propping, and constructing a scene, manipulating light, etc. This was a radical change for me, and I was mesmerized by the possibilities. I am forever grateful to Mark Hooper, a gifted and skillful fine artist as well as a commercial and editorial photographer, for taking a chance on me. I learned so much in his studio, and it opened the door to the work I so deeply love. He is a mentor, an advocate, and remains a lifelong friend.


How did you become interested in working with miniatures?

Like many people, miniature items have always held some charm for me. As a child I staged little scenes in a corner of my bedroom with pipe cleaner characters with crepe paper clothes. I treasured tiny items I acquired, like a miniature dictionary, a ceramic milk pail with spilled milk, and a miniscule acorn woven out of thread.

As an adult when I started staging studio scenes, I quickly realized the advantages of staging in small scale – being able to afford and store props and sets and controlling the set by myself, without the need for assistants.

What drew you to the concept of reinterpreting historical artworks and myths? Was there a specific story or piece that sparked this series?

Andres Kertesz’ Satiric Dancer was my first favorite photograph as a teen – it was so appealing as an image alluding to the wild, creative and free 1920’s in the Paris of my dreams.

Several years ago, I decided to restage it, true to the original but in miniature and in color. While working on it, I started to wonder who the muse was. In my research I discovered she had been a successful cabaret performer, but, while Kertesz’ photograph is famous, she was lost to history. Then I staged the scene again, casting her in contemporary terms, as a mother, her wild days behind her, juggling two toddlers and endless housework, resulting in my image Mother’s Day. That eventually led me to consider other muses in historic artworks and stories, presenting them from a more fleshed out point of view, with agency, rather than as passive objects of the male gaze of beauty or scorn. This approach provided me with an inspiring and unifying direction.



What role does humor, irony, or surrealism play in your imagery

I consider and desire my work to be political, addressing the deep interest I have in the contributions and struggles of women, non-binary people, and other underserved and underrepresented populations. Humor and irony are useful tools to seduce the viewer and disarm the dominant paradigms. Surrealism can be a way to cope with and identify the absurdities of the human condition.

Can you explain your creative process?

I often get ideas or solve creative problems while swimming laps, driving in my car, or in the middle of the night. I keep a small book where I jot down ideas or sketches. Having a series to focus on helps me greatly in offering a direction and a container.

I begin with research, and then source or make my props, costumes, and sets. The hands-on fabrication process takes the most time, and I’m constantly diving into materials, techniques, and skills that are new to me (thank you, YouTube tutorials!) That part can take weeks or more, Including failing the first attempts at a new skill.

At the same time, I’m roughing in the set, deciding on camera angle, background, placement of characters and props, and figuring out support systems. Once the characters and props are ready to go, I bring in the lighting and finalize positioning. The lighting is the magical element that completes the illusion, creating a mood or adding drama.

Finally, I clean the image up on the computer. This is my least favorite part. I am no Photoshop whiz, and really use just a few basic tools for everything I need to do. I don’t composite. It’s much more fun for me to create my work in camera, with the magic of optics and lighting.

It’s extremely gratifying to make something materialize from an idea in my head.


What challenges have you faced in creating such intricate and symbolic staged compositions, and how have they shaped the outcome?

Over the years, to achieve increased sophistication and realism in look of my work, I have needed to acquire and refine many fabrication skills and materials, such as pattern-making for miniature characters, sewing for very small scale, repainting doll faces, working out support systems for the characters, and exploring different lighting methods to convey my intended atmosphere and mood.

How do you decide which stories or myths to reinterpret?

I look for stories or paintings that that I could revise to combat patriarchy. I strive to center women, and increasingly LGBTQ+ and people of color, in positions of power, or with empathy to their struggles against the status quo.

How does your personal experience as a contemporary female artist shape the themes you explore?

The fact that it has taken this long to acknowledge and uncover the histories of women’s art and artists is astonishing, and keeping it buried for so long has been discouraging and a huge disservice to women. The cyclical denouncement of feminism, as if equality for women is a trend to go in and out of style, also frustrates me. I am inspired to get louder and more determined to point out the inequities endured.

I often tell the story of when I was a young art student asking my male professor (they were all male) why there were no female artists in my art history book and he replied with a straight face “Well, because women have babies, and they aren’t disciplined.” The vast majority of the art students were female, but the male students got the encouragement from the professors, while the females mostly got unwanted sexual attention. I hope things have changed by now, but progress is rarely a straight line, as we see.

Using dolls in my practice is also a deliberate affront to patriarchy. The simple fact that dolls for girls are called dolls, while dolls for boys are called action figures shows the distain for the feminine. And then there are those who are uncomfortable with the use of miniatures and dolls in “serious” art. Yet dolls have endured in art since the Venus of Hols Fels figure of 35, 000 years ago.


Do you see parallels between the historical stories you reinterpret and contemporary narratives about women?

In the historical stories the women were objects of beauty or scorn. Women are still expected look and act pleasing and serve others, or risk the modern-day stoning of savage social media fallout or worse. Without question, women still get blamed for the situations and crimes cast upon them. It often happens men still get credit for ideas and work developed by women. The double standards relentlessly exist.

Can you describe the research process behind Reclaiming the Muse?

When I find myself drawn to a certain story or historic painting that I feel I might reinterpret with a feminist twist, I do a deep dive researching the backgrounds and different versions. Many myths and stories have varying versions, because often they have been handed down orally or told by different authors over time.

What message do you hope viewers take away from seeing your work?

As far as the Reclaiming the Muse series, I hope it shows the continued need for feminism and diversity through the pathways of humor, humanity, and intelligence, and raises questions about erroneous long-accepted stories and depictions of women.

What are your favorite images from this collection?

My current favorite is my latest piece, A Modern Family, after Van Eyck’s Arnolfini Portrait. I had great fun with all the elements of this piece, including the last bit - finding a font to replace his illustrious signature smack in the middle of the image with my own.


What equipment do you use?

My equipment is very basic, and pretty old now! I use a Canon DSLR, strobe or Dedo lights, a tripod is essential, and I also have a 10 ft studio stand. My strobes are very old, and I need to replace them. Lighting equipment has changed dramatically with LED lighting available now, so I’m looking into those. You’d be surprised how much footprint all this takes up in the studio to photograph miniature sets!

Do you spend a lot of time editing your work?

As little as possible! Photoshop is essential to clean up flaws in the props, and erase things like wire supports, but it is my least favorite part of the process, and I am adept at very few Photoshop tools. Sitting at a computer is arduous for me. I’d much prefer to be in the studio making things with my hands, bringing in the lighting on a set, or looking through the lens to start to see the magic come together.

What compliment touched you the most or what do you think is your biggest accomplishment?

I would say my biggest accomplishment was sticking with my aesthetics and vision when I had no idea where my work would fit or if it was any good. I came to the realization that I needed to be true to myself, even if no one “got me”. The payoff of that persistence is that my audience found me, rather than me trying to please a preconceived following .

You’ve mentioned this series is ongoing. What new myths or themes are you looking forward to exploring next?

I am currently working on the Sisyphus story. It’s one I’ve wanted to do for a long time, but it needed that one little “hook” to resolve it, and finally the idea I needed came to me recently while swimming.

Anything else you would like to add?

As artists, in these difficult times, we don’t always grasp our impact in society. Whether overtly political, speaking truth to power, or just helping to elevate attention onto the value of beauty and wonder, we offer a mirror on the times we inhabit. To keep curiosity, reflection, questioning, and discernment alive is a radical and necessary act. As freethinkers, we can communicate, slide under the radar, cross class lines. and inspire surreptitiously. We have sly power and subtle influence. I think that is a good thing to internalize and remember.