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Daria Polichetti lives with her family in the Los Angeles area. After many years of working on visual effects for film, she now writes full time. She and her husband, Nathaniel Park, award winning film and VFX editor, also co-founded the boutique print shop Print Vogue, which specializes in alternative printing materials.

Daria is the daughter of a retired US diplomat. She spent her early years traveling and living in places such as Afghanistan (where she was born), Thailand, Africa, India & Hawaii. She attended Rhode Island School of Design for her BFA & The School of the Museum of Fine Arts, Boston for her MFA, before moving back west in '04. Besides reading, writing & painting, she nurtures a great love of travel, mystery, history & imagination, and has a large collection of early 1900s glass plate negatives.

When she and her family aren't in LA, they're usually in Hawaii, surfing in the aqua waves on Oahu’s white sand beaches or reading books under the Ironwood trees.

  • The Better Angels Duet-image

The Better Angels Duet

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Print Vogue

Print Vogue is a high-end print shop catering to artists looking for alternative materials to work with. We have a large selection of the best giclée and c-type papers around, and have also developed systems for printing on more unusual materials including metal, wood, bamboo, glass, mirror and canvas. My husband and I founded Print Vogue in 2012, expanding and rebranding in 2013 with the successful funding of our Kickstarter project, allowing us to bring to market our  Neo-Ambros and Neo-Daguerros — two products you won’t find anywhere else.

Print Vogue uses C-Type, Giclée, Dye-Sublimation and UV printing technologies to offer the widest range of alternative materials you’ll find in one place. And takes advantage our our fine art and film backgrounds to help our clients create the most unique presentations possible. If you are interested in producing beautiful art for a gallery, museum, film set or home, feel free to take a look at PrintVogue.com for more information.


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The LA Mobile Arts Festival of International Artists (LA MAFIA) is the largest exhibition of mobile art to date. The exhibit took place at the Santa Monica Art Studios, a 22,000 sq. ft. airplane hangar that was converted into studios and extensive exhibition space for international shows.

The LA MAFIA 2012, showcased nearly 700 prints, sculptures, installations and videos from nearly 240 artists, representing more then 30 countries and 25 U.S. states. My husband and I conceived of and produced the exhibit with a crew of our friends from the film world, as a way of showcasing the innovative work of our online print shop, Print Vogue. The result was an experience we won’t soon forget. We built rooms like The Olde Curiosity Shoppe in the style of a Dickensian curio shop, created the Botanica Illuminati from a large bay window found at an architectural salvage shop, set up projection and film based installations and more. Over 2,000 people came to the exhibit over its week-long run — many of whom flew in from other countries — and the event was reported on from…well pretty much everyone.


Curator: Daria Polichetti
Co-Founders: Nathaniel Park, Daria Polichetti
Producers: Lee Buckley, Preston Clay Reed, Nathaniel Park
Production Designers: Shanan Fisher, Casey Cannon
Production Assistant: Max King
Graphic Design: Joel Bowers, Will Hackley, Jose Luis Coyotl Mixcoatl
Event Photography: Doug McNamee

All work for the LA MAFIA was produced and printed by Print Vogue.
A complete event book can be viewed here.


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[Influenced by] mugshots

Some may not consider the mugshot to be an art form, but the frankness and unchoreographed nature of these photos often cuts to the heart of a person in a way that more produced photos do not. In particular I am a huge fan of the mugshots taken in Australia in the early 1900s, of which the above are all examples.

About 2,500 mugshots were taken by the New South Wales Police Department photographers between 1910 and 1930. And in fact, there is currently an exhibition of a large selection of these surprising works in the Sydney Livining Museums, running through February 28, 2015.

Curator of the exhibit, Peter Doyle, said the photos suggested that compared with the usual mug shots, the cops in New South Wales allowed the subjects to pose themselves, concocting a “potent alchemy of inborn disposition, personal history, learned habits and idiosyncrasies, chosen personal style, and physical characteristics.”

For me, this goes to the heart of the tradition of portrait photography, something I have a great interest in along with large format cameras (which were used to take these photos) and the history of the Australian prison system, dating back to the late 1700s. So for me, these are a great inspiration on many levels regardless of whether they were intended as art or not.



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[Influenced by] Dead Souls

Marc Chagall is well known for his paintings, but fewer people may be aware of this series of etchings. Chagall began making etchings in 1921. After moving to Paris soon after, Ambroise Vollard attempted to commission a set of etchings for a deluxe “livre de peintre”. Chagall was open to the commission but suggested Gogol’s Dead Souls (Les Ames Mortes) as an alternative text.

In the end, Chagall created 96 etchings to illustrate the novel between 1923 and 1927. It may not be his most famous work, but I was lucky enough to see an exhibit of the original etchings in Rome a number of years ago, and found the freedom in them to be striking. As Franz Meyer said in Marc Chagall: His Graphic Work:

“This entire world of stupidity, malice, and selfishness is rendered transparent through humor…. It is a liberating force which discloses the deep stream of exuberant life behind all the figures in the novel. Everywhere, running through all the comical elements, and borne along by a sort of inner joyfulness, there appears the fantastic, rich, inexhaustible reality of Russian life.”

The etchings for the Dead Souls, executed between 1923 and 1927 and printed in 1927, were stored in Ambroise Vollard’s warehouse. But his untimely death, and Chagall’s flight from German-occupied France kept them from being published until 1950 when an edition of 285 was produced, each signed by the artist. To this day the series remains a great modern masterpiece, highly sought after by collectors. For me, they embody the freedom and tactile beauty of the all-but-lost art of intaglio etching.


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[Influenced by] The Naturalists

I have always loved the work of the naturalists: those artists who dedicated their lives to bringing to life the most intricate details of the plants an animals around us. The Birds of North America was a ground breaking work by John James Audobon, as were the works of artists such as Robert Hooke, Maria Merian and many others. The Temple of Flora, a collection of extraordinary works by numerous artists is another great example of this genre.

For the most part, it’s a lost art form. Most of the naturalists were living and working in the 1600s – 1800s. But Walton Ford is my favorite example of what I like to think of as a “contemporary naturalist” who creates giant, life-sized watercolors. His works are clearly in the style of artists like Audubon, but often with an unusual twist, and darker undertones. The life-size aspect of his works also adds to their impact. His image shown here of the elephant, for example, is two stories tall.


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[Influenced By] The FSA

The Farm Securities Administration (FSA) was created by President Roosevelt in 1935 as part of the New Deal in an effort to combat poverty during The Great Depression. As part of the program, the government hired a group of photographers to go out and document what was happening across America. Not only was this an unprecedented undertaking by the American government, but it resulted in some of the most influential and compelling photographs, ultimately propelling the art of “street photography” into the limelight and inspiring a new generation of art.

Among the most famous photographers to come out of the FSA are Walker Evans and Dorthea Lang whose photographs are shown here. The work they did was not only striking, but was instrumental in bringing about change in governmental policy during this difficult time in the US. Lang filled countless notebooks with her images, notes and quotes from the people she met and sent them back to Washington to serve as her “reports.”

In fact, Lang went on to create a lifetime of compelling works, long past her time at the FSA. Her work, and the work of the other FSA photographers remains a source of inspiration to me and many others. There is also a great documentary out about the life of Dorthea Lang called Grab A Hunk Of Lightening, created by her niece as part of the PBS American Masters series. A coffee table book of the same name was published in 2013 by Chronicle Books.


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image process [#1] orphan

The main on end sequence for the movie Orphan, which I created with designer/director Simon Clowes at Prologue films, was my first experience with shooting stop-motion. For the project, we were lucky enough to have Jamie Calliri come down to provide software, a rig, and all kinds of adivce. Jamie, an incredibly talented artist and director, is most known for his stop-motion animations for projects such as the Lemony Snicket title sequence. He has also created a high-end stop-motion software program called Dragonframe, which we used for Orphan.

In addition to the software, Jamie set up a motion-control rig which allowed us to program the camera movements and shots from the rig, directly into Dragonframe. The result was, we were able to shoot two identical passes of each shot: one in regular light and one under blacklight. This was key to the central metaphor of the sequence, and the movie, allowing Simon to take the footage after I shot it, and seamlessly cut back and forth between the two identical passes for each shot, revealing the dark undertones that lay just beneath the beautiful surface.

Everything was done in this manner, even the time lapse flowers and falling petals. The only shot not done with the rig was the shot of a burning photo at the end which was done on a Red Camera in high-speed. You can see more about the project, and the software on the Dragonframe website, and a video of the final sequence with additional info is also posted here in my portfolio section.


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