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WILMINGTON, NC
WRIGHTSVILLE BEACH, NC

© 2003 - 2025
KELLY STARBUCK Photography

Category Archives: Musician photography

Abstract Art, Abstract Photography, Architecture and Interiors, art, Art gallery, Editorial, Headshots, Live Music, Musician photography, musician portrait, musician portraits, News, portrait |

September 24, 2021

| Kelly Starbuck

Kelly Starbuck Artist Profile in Wilmington Magazine

Reaching for Her Stars!

September 7, 2021

Talented, local photographer Kelly Starbuck showcases traditional wall prints and textile pieces in her latest exhibition.

By KIM HENRY

Photography by KELLY STARBUCK

Photo by Dan Pierce
Starbuck with sister and nieces in front of artist & musician portraits at her previous fine art photography gallery, Salt Studio

Like so many artists before her, local photographer Kelly Starbuck arrived at the crossroads where she had to decide whether to continue on her secure but crushing career path, or take the leap and follow her true calling. It’s never easy to make that shift when the road is less traveled, and there’s no obvious map to follow, but it’s never easy living with regret either. Well, certainly not for this courageous photographer. Starbuck seized the moment and has since navigated her way to a more deeply fulfilling creative life as a full time working photographer. September sees Wilmington Magazine’s very own freelance photographer of eight years, hosting an exhibit of her personal work at Art in Bloom, and we’re excited to celebrate her accomplishments.

Having moved from Wilmington, NC at 26 to take her own bite of the Big Apple, Starbuck began producing major corporate events and was thriving on the adrenaline of the fast pace and glamorous veneer. “I loved it for a while, and then one morning after another 18 hour work day, I realized I had surrounded myself with people who were actually doing what I wanted to be doing, while I managed budgets and logistics,” remembers Starbuck. Listening to her ‘inner voice’ and drawing on her innate resourcefulness, her aim was to become a full time photographer, crafting professional shoots and exploring her own fine art projects, without going into a ton of debt.

Consequently in 2003, Starbuck began her transition into the photographic industry. Her singular focus led her to being a photo assistant and studio manager to the iconic Fernando Bengoechea and simultaneously working as a teaching assistant at the International Center of Photography in NYC. “I threw myself into the fire in all the areas I was interested in and learnt that way. I was helping teachers and gaining knowledge at the same time,” smiles Starbuck, surrounded by her eclectic body of photographic work. Abstract prints exploring light and dark sit next to assignment based headshots and editorial shoots.

Deeply inspired by memories, documentation and the feeling of a specific moment, Starbuck’s personal work seeks to capture a sense of time and space by playing with light and shadow. Growing up in Wrightsville Beach, then experiencing the intensity of New York City, her latest collection honors her relationship with both nature and city life. “New York is where I became a photographer. This exhibit is all about utilizing the energy of the city, the bright lights and connecting it to where I am now, back at my roots, back at the beach,” explains Starbuck.

Seapath, new Full Circle abstract photography series

In an age of endless filters and infinite editing possibilities, what does Starbuck’s creative process involve? “I started photography with film, so it’s ingrained in me to get the picture right with the camera. I don’t do a whole lot of manipulation in post-production. I don’t want to sit at a desk editing for endless hours, I want to work with what’s there in terms of location and light and create something unique,” says Starbuck.

Abstract photography of Water Street

Revisiting her childhood and finding ways to express the memories with soft focus and blurred edges, Starbuck refers to her first creative outlet, which was music. Unable to have music lessons, Starbuck always loved to sing and was in multiple choirs, ensembles and even had a few solo parts during high school. “This is why I have been building a portrait series of musicians that I connect with and who inspired me for the last ten years,” says Starbuck about a vast body of work dedicated to visually recording the spirit of music and the musicians who make it.

A Place to Bury Strangers, Brooklyn, NY

In addition to her own creative process, Starbuck has a vibrant assignment based aspect to her work, shooting for commercial and private clients and specializing in headshots, particularly for women. “I love helping my clients feel comfortable. I don’t stop until we get the image that they love,” smiles Starbuck who can roll between the immediacy of the moment and the precision of a more controlled photographic experience with ease.

Amanda Kramer of The Psychedelic Furs

Ever prolific, Starbuck’s photography has been displayed in countless magazines, galleries and even on Larry King Live, The Sundance Channel and in The New York Times. Starbuck had her own gallery between 2013-2015, SALT Studio Photography featured both national and local photographers during countless Fourth Friday Gallery nights and partnered with The Brooklyn Arts Center to produce and curate Wilmington’s first large-scale photography show featuring over 35 artists. She is thrilled to be exhibiting a collection of abstract pieces for the first time in her upcoming exhibit at Art in Bloom Gallery, which opens on September 24th. Delving into various themes of nostalgia, memory, beauty and dreams, through land and seascapes, Starbuck’s creativity is fueled from a deep place within herself. Blending different photography techniques and formats, the exhibit will showcase traditional wall prints and a limited edition of textile pieces. Wilmington is just as excited to receive this new work as Starbuck is to present it.

Custom printed home goods with Starbuck’s photography

+++

“FULL CIRCLE” Abstract Photography Exhibition
Opening Reception – Friday, September 24, 2021 from 6-9pm
Fourth Friday – Friday, October 22, 2021 from 6-9pm
Showing through – November 7, 2021

Art in Bloom Gallery
210 Princess Street
Wilmington, NC 28401
https://aibgallery.com

Appointments available upon request.
I’d love to meet you and talk about the work. Please reach out and we can set a time by calling 910-367-5720.

2004 Indonesian Tsunami, abstract art, abstract photography, art event, Bokeh Nights, Fernando Bengoechea, fine art photographer, Full Circle Series, ICP, Indonesian Tsunami, International Center of Photography, Kelly Starbuck, kelly starbuck photography, NYC, portrait photographer, Wilmington NC, Wrightsville Beach
Editorial, Live Music, Musician photography, musician portrait, News |

July 18, 2015

| Kelly Starbuck

ALOKE Band Photo by Kelly Starbuck in ICON vs. ICON

 

ICON VS. ICON (iconvsicon.com)

 

ALOKE COMES ALIVE: Christian Zucconi On Band’s Long Awaited New Album!

Categorized | Blog, Featured Stories, Interviews, Music
Originally Posted on 12 June 2015

aloke-2015-10

Aloke is an explosive band with who have taken an amazing journey as artists. The New York band, featuring Christian Zucconi of the indie rock collective Grouplove [widely known for the smash hit “Tongue Tied”, which reached the number-one position on the Billboard Alternative Songs chart in 2012, becoming their first number-one single], recorded the album live in the Chicago home of legendary producer and noise merchant Steve Albini, resulting in a sound that’s pure old, school rock ‘n’ roll. To sum it up in the words of Zucconi: “Two-inch tape… no Pro Tools, no overdubs… energetic, fun, important music.” 

Aloke eventually camped out in Brooklyn and the Lower East Side, playing shows. They didn’t fit in any scene or mold, which is usually a badge of honor. Aloke was playing mathy, discordant post-hardcore when hipster rock bands with somewhat new wave influence, like The Strokes and The Killers, were on the rise.

The next year, Aloke, who honed their chops touring the East Coast, released a few of the songs on an EP and sent them to press and booking agents. No one bit. A year later, Hooper invited Zucconi to Greece for six weeks and the seeds of their participation in Grouplove were planted. After returning from Greece the band parted ways being too broke to continue touring. Zucconi and Hooper worked on new music together and included some Aloke material which somewhat accidentally got a new lease on life as Grouplove tracks, songs like “Colours,” “Itchin on a Photograph” and “Gold Coast.”

Now, fast-forward to 2015, Alive is coming out as is, in an untouched and unchanged format. ‘Alive’ is what the kids today need. No laptops. No clicks. No software. Just real rock ‘n’ roll. The album is set for release in digital, CD and vinyl LP July 17 via The End Records/ADA.

Jason Price of Icon Vs. Icon recently sat down with Christian Zucconi to discuss his musical roots, the process of bringing Aloke’s “Alive” to life with legendary producer Steve Albini, the circumstances surrounding its long delayed release and what he has in store for us in the months to come from both Aloke and Grouplove.

Going back to your early years, what music had a big impact on you and what are some of your first musical memories?

aloke-2015-9  Christian Zucconi

My first musical memories go back to when I was very, very young. When I was a baby I had emotional responses to certain songs. I remember being a little kid and hearing Billy Joel’s “Uptown Girl.” I would hear it come on the radio, freak out, grab my Mickey Mouse guitar, jump on the couch and headbang! [laughs] That is when I was 3 years old. I think I was destined to have music be an integral part of my life. When I was growing up, like a lot of other people, my brother gave me Nirvana’s “Nevermind” on cassette tape. I lost my shit because I had never heard such pain, emotion and dynamics in music before. Nirvana was a huge catalyst for me to pick up a guitar and learn their songs. They really put me on the road to playing electric guitar and singing in a band.

What made you pursue music as a career as opposed to going a different route? Were there doubts this was the path for you?

No. Even before Nirvana, I was on the piano and writing songs. I never wanted to learn what the teacher wanted to teach me, I just wanted to write my own stuff. I was always composing. I think it was something that was in my blood. Hearing bands like Nirvana, The Pixies and Fugazi made me want to move on to the electric guitar, start playing shows and releasing whatever I held inside. I am kind of a shy and quiet person in life but when I get onstage I become a totally different animal. I feel like the music was in me and I had no choice. It just happened.

Aloke has a brand new album and you are playing several shows in support of its release. How did the band get started?

We all grew up in a town called Ossining, New York. Sing Sing prison is located there in the Hudson River Valley. It is about half an hour north of New York City. There is something in the water there because a bunch of us met and had the knack for music, playing songs and musicianship. One of my friends could play any Slash solo in fifth grade and do all this crazy stuff. It was a great environment and great friends to come up with. We just started playing in bands as kids. We started in bands in high school and just kept moving forward. There were little changes and shifts along the way. We all had the same influences, like the ones I described, and they were our role models and made music in that vein. We started recording, playing shows and eventually went out to our hero, Steve Albini, and recorded this record with him. It is a classic story of kids who grew up in the same town and survived together by being in a band.

 

ALOKE, Crash Mansion 2006 NYC - Photo by Kelly Starbuck of SALT Studio Photography

ALOKE, Crash Mansion 2006 NYC – Photo by Kelly Starbuck Photography


The musical seeds for “Alive” were sown back in 2007 with producer Steve Albini. What can you tell us about what was happening at the time and led to it being shelved until now?

The album was written in New York at a crazy time personally for all of us. Living in New York City is crazy in itself when you are an artist and rent is so expensive. It is a hard place to survive. There is a lot of struggle and it comes down to self-preservation and how to keep it together, learning to be yourself and persevering in a hard environment. A lot of the songs on this album reflect that sentiment. Personally, I had been in a crazy long-term relationship that had just ended, like “Gold Coast” and “Hard Day At Work” were influenced by that emotional turmoil, which is always a great breeding ground for songwriting. We made the record out at Steve Albini’s that summer. He tracked 18 songs in a few days and finished the entire record in 14 days. We stayed at his studio and lived there, which was really cool because we stayed as a band, as opposed to going home every night. We would wake up, have breakfast together in the kitchen and go right to work. It was a cool and creative environment. It was very satisfying at the end because we were so proud of creating this piece of art. It sounds like a Steve Albini recording, which was our whole goal because he is able to capture a band’s essence live, which is where we shine. We are kind of a cathartic live band and he was able to capture that. It felt really good and was at the pinnacle of our career to work with him. We came home and started sending out little EPs. Music at the time was a little different. Labels and people in that world just weren’t into or willing to risk their jobs, I guess, for a band that was hard to figure out or define. There was a big dance/new wave/disco scene in the rock world at that time in New York. We just didn’t fit in anywhere. It was kind of the end of an era. It was just silly to keep plugging along when we had recorded this album and felt really good about it. After a year or so, we thought it might be time to do something else and move on to the next chapter of our lives, so we kind of shelved the album, knowing one day we would release it. After a few years, suddenly, the time arrived and here we are. We are really excited to bring it back and it still feels really fresh and important. It doesn’t feel like it is dated at all. I think it fills a hole because there aren’t a lot of bands doing this kind of music. Bands like ours are hard to find. There are some on Sub Pop and a few others coming up that are heavy and are bringing a heavy, ‘90s grunge influence back but I think it is a great time to reveal this album.

Creating this album at a very pivotal time in your life alongside Steve Albini, what did you take for future projects?

I learned to just be honest with yourself and be honest in your songwriting. I learned not to be tempted by frills or tricks and to write music from an honest place. You have to have fun doing it. It was really cool to see him work and see how he mic’d stuff from a production standpoint. Most of all, I learned you have to stay true to yourself and stay true to that, whether you are successful or not. You have to do what you love.

What can you tell us about the songwriting process for “Alive” and has your approach to songwriting changed through the years?

aloke-alive-2015-album  Aloke – ‘Alive’

With Aloke, we would do a lot of improv in the rehearsal room and let go for a few hours and jam. We had played together for so long, since we grew up together, that we were very comfortable with that. A lot of the songs on the album came from random jams. We would record the practices on cassette tapes. When we would go back and listen and discover a really cool riff or something from a particular day. Some songs would come that way with all of us collaborating at the same time in a room and the lyrics would come after. Other songs I had written at home on an acoustic guitar but it was all very collaborative and we would all arrange together. With Grouplove, meeting Hannah [Hooper] was a huge changing point in my life. Her and I write more together now. Back in the day, I didn’t really collaborate in the real songwriting process if we weren’t jamming as a band. Having Hannah to bounce ideas off in the early stages of the songs is a completely different experience for me. It has been a really nice change. Hearing a beautiful woman’s voice singing with mine was a really fun experience. Although we do write at home, we also do a lot of collaboration after the song is brought in. Everyone adds their own thing to it and the songs change quite a bit from where they begin. There are a lot of similarities between Grouplove and Aloke. It is hard to really define how songs happen because they come from an unknown place and I don’t really understand it. That has always been the case with me.

What was it like stepping back into an earlier chapter of your life with this release? Was it a difficult transition to make?

No. It is interesting. We got together this past weekend to start practicing again. It had been seven years but the strange thing was that it wasn’t strange at all. It felt completely normal and as if no time had passed. I think that was a cool and comforting sign. There weren’t any crazy nerves. We played our first show last night in Philly and it was awesome. I think we put in so much time as a band back in the day and growing up together that it feels completely natural. It feels like breathing or going to sleep, in that it feels so natural. That was really a cool thing to realize when we did it.

That is very cool to hear and you seem to be in a great place creatively. Do think Aloke might continue forward and even record new music in the future?

aloke-2015-4  Aloke

Yeah, definitely. It is so much fun and we are so good together. For artists to stick to one thing forever is crazy, so it is important to pursue passion projects on the side. It is important to grow and explore as an artist while working with other people. If our schedule allows it we definitely want to put out some new stuff. Aloke was writing material almost too fast in a way. At our shows, we would play six new songs and everyone wanted to hear the six old songs they had heard a few times, ya know? There are some songs we never really captured and we would love to go back and record. We have already jammed on some of the riffs by just messing around in the studio the other day. So, yeah. If time allows it and we can build up a cool audience with this record, we would love to do it and keep doing some tours over the next few years.

Having written this music at a different time in your life and revisiting it now, do any of the songs resonate with you in a different way at this point in time?

Ya know, not in a different way. I respect them as they are reflective of a different time in my life. It was a hard time in my life but I would never want to change it because it led me to become who I am today. I think it is important to revisit that. I am a very nostalgic and emotional guy, so sometimes I like to wallow in the sadness of my past. It is not always the best idea but sometimes it is nice to relive those kind of memories and honor them. It is not painful to sing the song live or anything. In a weird way it celebrates that sadness through song and allows it to live forever.

Where do you look for inspiration these days? Anything you find yourself gravitating toward?

Yeah! Hannah and I have been writing a lot for the next Grouplove record and Hannah is now seven months pregnant! We are having a baby in August, so that has been super inspirational. Knowing this magical process that is old as time itself is happening to us is really exciting to us. It is inspiring a lot of new songs as well as new approaches to songwriting. It has been a very creative year being off from Grouplove, getting Aloke going and writing songs. It has been really fun.

Looking back on your career, how have you most evolved as an artist along the way?

aloke-2015-3  Christian Zucconi and Hannah Hooper

Meeting the guys in Grouplove, as randomly as we did in that art commune in Greece, has had an enormous impact on me. Meeting new people to collaborate with, approaching songs differently and meeting new personalities from around the world opened up my whole process. With Aloke, we took music much more seriously in a way. Grouplove was an accidental band in a way, as we didn’t plan on being a band when we were recording our first EP, it was more of a fun passion project. Approaching music that way and not taking yourself too seriously was a big growing experience for me. Writing with Hannah and the other guys in Grouplove really expanded my horizons. When you hear any Grouplove record, it is so different from Aloke. It was amazing to experiment and go down that road in music. The biggest lessons I learned were to be open and not to be afraid to collaborate with people of different musical tastes or influences. The results can be amazing. It has been really good for me.

What is in the works as far as touring for Aloke in support of “Alive” in the short term?

We are looking to do some West Coast shows in July. The album comes out in July, so we are looking to do Los Angeles and San Francisco. Those shows are just about to come together. That is going to be awesome to play out there. We will take it from there. If the record gets a good response or not, we are going to be hitting the road!

aloke-2015-8  Christian Zucconi and his bandmates in Grouplove

You mentioned you were writing for Grouplove. With a new baby on the way and Aloke touring, you have a busy schedule. Any idea on when you will return to the studio?

We’ve demo’d out at least 15 to 17 songs right now. We are hoping to get into the studio by next month to get started but we are definitely aiming to have it finished this year for release in 2016. We will be back on the circuit next spring or summer.

That is great news! We wish you continued success with all you have going on! We will be spreading the word!

Thank you, Jason! I really appreciate your support!

 

The pre-order for Aloke’s ‘Alive is now available! The album is set for a July 17th release. 

 

art, Art gallery, Musician photography, Photography Studio wilmington NC |

June 25, 2014

| Kelly Starbuck

Waxenvine Exhibition in Encore Magazine

BOROUGH TO BOROUGH: NYC’S WAX+VINE MAKE SALT STUDIO THEIR NEW HAUNTING GROUND

Jun 3 • Art, ARTSY SMARTSY, FEATURE MAIN

The Brooklyn Arts District (BAD) is in the midst of a resurgence: Condos are rising, sauces are reducing, beer is flowing, and the arts are arting. These are the cornerstones of big cities’ hip districts, which is why the timing couldn’t be better to welcome artists from the NYC borough of Williamsburg, Brooklyn, to Wilmington’s northside borough, BAD. They’re coming to cast shadows across The Gallery at SALT Studio (805 N. 4th St.).

waxvine

“Haunted” consists of a multi-layered photographic collaboration by WAX+VINE, made up of husband and wife creatives Scott Irvine and Kim Meinelt. They created the 24-photo collection  exclusively for their SALT exhibit after receiving an invitation from the studio’s proprietor Kelly Starbuck—who also happens to be a a long-time friend of the couple.

Mirroring Irvine and Meinelt’s collective exhibition persona, “Haunted” blends soft and hard textures—like lead, cotton, concrete, leaves, bone, and feather—to produce a pressed and tangled amalgam of illusory scenes. Though not scary, the imagery captivates and completely avoids color. “I didn’t want ‘Haunted’ to have a negative feeling to it,” Irvine states. “It’s an interesting word, like an echo.” Irvine rejects terms like “darkness” that paint black-and-white photography in a bad light. “It’s about finding those weird moments in the mundane where something is really interesting that’s maybe overlooked,” he says.

Describing the duo is a lot like explaining the juxtaposition of yin and yang: Their presence is magnetic and surreptitiously affects the other. Irvine is reserved; he prefers to pull back from subjects and takes comfort in a wide field shot. Meinelt is the opposite; she’s outgoing and approaches people and photography through a macro lens. Their introverted-extroverted energies find harmony and create a balance in the relationship while amplifying personal style.

In high school Irvine cut his teeth on a 35mm camera, and began shooting old buildings and factories near his home. While attending Rochester Institute of Technology, he studied abroad for a year in Salzburg, Austria, which he credits toward his artistic development. “Before then, I really hadn’t been knowledgeable about art history,” he says. “Living and traveling throughout Europe helped me understand the history of both art and photography, which I believe helped to make me a better photographer in general.”

After graduating with a BFA in photography and sculpture, he moved to New York City, established a darkroom, and practiced the traditional silver-gelatin development process. The formula creates rich photographic texture and imposes a degree of deterioration. He used the techniques to create stunning portraits which fueled his freelance career. Incidentally, he received his biggest payoff when they caught Meinelt’s eye. “Everything is in color, and to me color is very distracting,” Meinelt explains. “The feeling of black and white draws you into sort of a different era. It feels calmer.” 

A fan of Irvine’s work five years prior to meeting him, Meinelt owned one of his pieces. She took it down when he visited her for the first time.

After attending the North Carolina School of the Arts in Winston-Salem for set design and scenic painting for two years, Meinelt began working as a freelance designer and painter in NYC. In 1993 she crossed paths with designer Eileen Fisher. After two years of designing window displays for Fisher, Meinelt joined full-time as the creative concept director, a title she still holds today.

Three months after they met, Irvine and Meinelt traveled to Southeast Asia, a trip foreshadowing their foray into collaborative photography; they only packed one camera. The creation process for their new show pays homage to their trip and places two opposing techniques together with as little resistance as possible. 

ENCORE-WaxVine_10x10_image_5

Preparing for “Haunted” proved a visually taxing experience for the pair. “For every one that worked, there were a hundred that didn’t,” Irvine explains. Wanting the pieces to evolve organically, they spent two months sorting through existing photos, both digital and film, all from their travels, neighborhood and natural history museums. Hundreds of images were uploaded to the computer and fused by Photoshop until a unique combination surfaced. 

“We really [tried] not to be too precious about it,” explained Meinelt. “It feels really important to me. I feel like it’s about having fun.” Meinelt, who is no stranger to serious design editing, spent a lot of solo time flipping through images for shapes and shadows and noting how artifacts related to each other in positive and negative spaces. 

The result: a geologic layering of light, shadow, texture, and beauty that transforms two individual visions into one. “It’s a consistency of seeing things a certain way,” Irvine says. “It all starts to add up to be this one thing. So then it’s not just one photo; it’s a vision of images that become the show.”

In addition to “Haunted,” a portrait collection by Irvine is on display. Reminiscent of his roots, all of the portraits were developed in his darkroom and feature a discontinued sepia tone that he will one day re-create. The subjects range from friends and neighbors to artists and well-known musicians, like Interpol, Amanda Palmer (Dresden Dolls), Ian Astbury (The Cult), and Nick Zinner and Karen O (Yeah Yeah Yeahs).

DETAILS:
HAUNTED

Work by WAX+VINE (Waxenvine)
Exhibition through July 23rd

The Gallery at SALT Studio
805 N. 4th St.
Wilmington, NC 28401
910-367-5720

**Call to confirm the gallery is open. SALT Studio is a working commercial and portrait photography studio and is closed when on assignment at another location. We are happy to schedule a private viewing for you!**

www.saltstudionc.com

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