About a month ago, I landed in Rothbury for the annual Electric Forest music festival. This is a grandiose celebration, and throughout the grounds you’ll discover a bevy of creativity conceived and crafted by human hands. It may not always seem as such. The size and scope of many of these installations, as well as their implementation and placement, often feels superhuman. Truthfully, it’s a group effort. Many inventive souls lend their talents to enable the forests of Rothbury to glitter by day, and glow at night. Join me, Bear Swiftly, the Electro Scribe, as I describe and detail some of what makes Electric Forest a unique celebration that draws myself, and scores of others from our community, back every year.
Imagine walking through an archway constructed by some of your closest friends, Cerebral Concepts for the win, and entering a wooded corridor beset on either side by hammocks dappled amidst booths and structures sporting eye-catching designs. Geometries inlaid with gorgeous engravings and gratifying paintings greet your ocular cavities as you behold majesty all about. Along this path, one of many through these woods, installations of wonder welcome, and amaze. Suddenly, I’m gazing upon a living room complete with its own library of books. Eager denizens scan shelves hungrily in search of knowledge and stories for consumption. Authors representing a variety of demeanor, disciplines, and genres fill the cupboards. ‘Sex and God at Yale’, by Nathan Harden, is available to satiate one’s reading appetite.
Along with the multitude of comforting environments that feel like they were birthed from the very forest itself are a number of actors, actresses, and performers. Goddess like characters, and monstrosities, seemingly straight out of Edith Hamilton’s, ‘Mythologies’. They walk and stalk amongst the forest people, interacting with any and all with the courage to approach. I, myself, reached up and took the hand of what I can only describe as a queen from another realm who had come to visit and gaze upon us woodland creatures. She was not alone, accompanied by axe wielding warriors clad in colorful armor, garb, and walking tall on stilts. I inquired of her beautiful grace, “My lady, how doth thee fair this day?” She looked down upon me, a Bear of gentle intensity and swiftness, and smiled her answer from lovely lips, “I am well, my lord.”
Interactions like these have become a staple throughout the forest, and there are few other festivals across the country that offer such a multitude of company. I previously contributed crossing paths with members of the Yellow-Umbrella Society from one of my earliest electric episodes, in 2017. These philosophers committed unto me words of wisdom to aid my cause, I have never forgotten them, they continue to influence me to this day. At this time, I was in the company of my erstwhile and terrific compatriot, Lindsay. We had decided to set out early in the day to experience a special performance at the Observatory involving members of the String Cheese Incident. As the set finished, Yellow-Umbrella agents set upon us seemingly spawned by the trees, themselves. Crafty. Would you like to know those words of wisdom I received from these forest interpreters? One day, you may gaze upon my face, figure, and form, and I shall impart bits and pieces of knowledge I have assembled through my expeditions.
By day, the artistry of the forest is serene and gentle, calming and inviting. By night, the environment comes to life as pathways, statues, and structures are illuminated by a host of well-placed lighting. It’s surreal, like walking through a dreamscape. Travelers from across the country, and the world, commiserate in endeavoring, enjoying, and exploring every nook and cranny.
I can only try to describe the magnanimous atmosphere curated by dedicated visionary artists from various walks of life. I count myself fortunate, and humbled, to stand amongst such inviting and passionate virtuosos. That leads us to conversations and interactions I had with members of the cognoscenti community.
First, I’d like to mention Chaya Av and Stephen Kruse, their interviews will follow at a later time in a special piece I’m at present, outlining. Being an artist is a busy life, and I will not disturb their focus until they are ready. Additionally, I will share excerpts from my brief chat with Ania Amador, who was generous with her time in answering some questions about the profession, and her role as a gallery curator intent on fostering an environment and opportunities for others to thrive within.
Chaya Av is an exceptional woman, a peaceful and loving soul. I asked for the proper pronunciation of her name, and she forwarded that the C is essentially silent. Chaya is pronounced Hai-a. HAY-A, straight from the heavens!!! Her warmth is considerable, and she glowed radiantly as she stood before me. She has a beautiful energy, her artwork truthfully portrays her inner motivations. You can see her passion in everything she creates.
Pins, prints, posters, paintings, fans, and fashion apparel are but a few of the many items that flow forth from her mind’s eye. Her supporters adore her, as well they should. I hope nothing but the best for her, as I know being an artist in today’s day and age is difficult with all the different facets one has to manage. Social media, marketing, product designs and launches, and the brunt of constant travel can stretch a soul thin, like butter scraped over too much bread. Use the following link to access her online shop and peruse her wares at shopchaya.com. I’m confident you’ll find something of hers you’ll like and want to add to your growing collection of fine artwork. I asked if Chaya would be interested in answering some questions, and she consented, though we agreed further down the road would be best when her schedule isn’t so busy during festival season and with all the art and merch she is designing and aligning to drop.
After speaking with Chaya, I made my way to Stephen Kruse’s station. It took a couple of tries to locate him, and I wasn’t interested in hounding or hunting him down. An artist has got to eat. And drink. And sleep. Heck yea, take a break, buddy. Stephen, you work your tail off, and when your body and mind demands a reprieve from diligent demonstrations of your personal practice and craft, I support you. We all do. If you aren’t already in the know, his manifestations are brilliant.
Stephen and I chatted for a bit, and I celebrated his work in his presence. I believe when you see a creator, it’s more than appropriate to let them know their manifestations have resonated. Truthfully, in my mind, he’s one of the best artists in the game at present, and there are literally hundreds of artists whose work I admire and adore. His presentations are composed through measured and confident strokes. Stephen has a gentle voice, and super cool style. I really admire the way he puts himself together and how he communicates. It seems almost effortless, like he doesn’t even give a second thought about his attire. That’s confidence, babe. A focused mind. I asked, graciously, if he’d be interested in an interview, and he agreed, though akin to Chaya, he asked me to send a questionnaire later so he could focus on his current itinerary. I’m always happy to do as such, I gladly venerate artists wishes. Monsieur Kruse is a busy professional, and will be allotted as much freedom, time, and space to secure his responsibilities as needed. Check out his Instagram @stephen_kruse to follow his work and for links to his merchandise and paintings.
This brings us to Ania Amador, the organizer and curator of the Electric Forest gallery space that sat adjacent to the Observatory stage. Harboring the productions of artists Chaya Av, Stephen Kruse, and many others of their ilk, patrons perused and appreciated a multitude of creative aptitudes and styles purchasing pieces they fancied, thereby supporting artists and championing their cause. Glorious, indeed. I touched base with a member of Ania’s staff, a friendly young man by the name of Steven, to whom I explained my intentions. Steven was receptive, and ever so helpful in obliging my request in forwarding details to Ania. As I explored the gallery and the Homeric creations contained therein, Ania entered the frame. After a gentle greeting, we began our conversation, of which I’m delighted to present portions to you.
As the curator of the gallery, I asked Ania how she got into this line of work, to which she supplied, “I’ve been working in festivals and events for 10 years. I started off as a live painter, and then started applying as an installation artist. And here I am now running this nonprofit that creates opportunities for other artists.”
I complimented her on the opportunities she’s creating for others, because marketing oneself is amongst the most difficult tasks an artist undertakes. She fashioned the following response.
“I taught a workshop here this weekend called monetizing your craft for that exact reason. Because it’s not just the artists that I work with, that needs support. It’s all of the creators in this community. So if I can take these guys that are doing what’s working for them, and get them to share it in a place like Electric Forest, you know that we can lift the entire community up with our experience.”
I touched on the idea of collaboration as a communal experience, to which Ania shared this observation. “So, just like now our gallery is packed and people that aren’t just buying, they’re appreciating, and they’re enjoying the space. We are supported in bringing out our offerings, and then we monetize the opportunity by selling our merchandise.”
The professional aspect of being an artist is a fascinating occupation. Thus I requested Ania Amador share some insight into expectations of creatives she directs. “We have a code of conduct being a nonprofit organization and our primary intent being on inspiring, lifting up other artists. It’s important that we uphold that level of professionalism at all times. So, that’s definitely part of the contract. And then of course, an obligation to be present, to have a live painting performance and participate in workshops and whatnot.”
Continuing, I was eager for her to share some of her feelings about the community that supports artists, as well as initiatives and improvements she’d like to see applied. Ania delineated the following.
“One thing I love about the festival community is that we can turn off the outside world for just a few days. So this space between all of the activations and the art installations, has the ability to help people get in vibrational alignment, not thinking about yesterday or tomorrow, but being present in the moment. To get to be a part of that experience and contribute to that for the patrons is really meaningful. Something I think that needs improvement is absolutely supporting the art programs, because while we are able to generate some of our own funds, it’s kind of hard to work and pay yourself to be here by selling you know? I want to encourage more festivals who supported our program, properly.”
Before I conclude this first part of detailing my experiences from 2024’s Electric Forest, I’d like to leave you with these words of wisdom Ania contributed towards aspiring creatives looking to step into the world of professional art. Follow her advice, and pathways towards success will develop like well lit trails through a forest.
“Strengthen your online presence. As a curator, when I’m choosing artists to participate in my program, I go right to their socials and into their website to see if they’re a good fit. So if you don’t have information about yourself easily accessible to people like me that are making decisions about these programs, it makes it very difficult for us to include you. And if you’re an artist that’s saying ‘well, I don’t have a portfolio yet or I don’t have a lot of experience,’ find some volunteer work. Come in on a team like mine, where you’re helping to contribute to the artists and support them and then become an artist, or, you know, be featured as an artist in our gallery down the line. You can work your way up and build out your portfolio and definitely strengthen your online presence.”
Electric Forest is billed as a music festival, but over the years, it has evolved to represent so much more. Through a innovative community of architects, builders, thinkers, problem solvers, and visionaries, inspiration is packed throughout the crannies, crevisses, and crossways of Rothbury’s wooded grounds. I’d like to thank all those involved in creating a magical experience that engages and entertains scores of patrons throughout their personal adventures. There are few experiences akin to Electric Forest throughout the country, although each festival has its own unique identity and presentation of ideas.
A sincere and personal thank you goes out Ania Amador for being generous with her valuable time. She gave me ten minutes, which is more than enough for my purposes. Additionally, I’d like to express my gratitude to Chaya Av, and Stephen Kruse, for welcoming me into their spaces and giving me the chance to speak with them, both then, and in the future. Furthermore, I’m going to take this opportunity to recognize the exceptionally talented photographer, Carole Bogdan, for assisting me in my coverage and exploration of the art and artistry of Electric Forest. Her photos have elevated the dynamic of this piece, and her can-do attitude, enjoyable company, and stellar spirit supported my time spent in the forest, throughout.
Special thanks goes out to the incredible gang at Cerebral Concepts, and my dear friends Mikey and Joe, you guys are amazing! The installations you create for artists and festivals across the country are incredible, and I enjoyed watching eager Electric Foresters appreciate your conceptions. I know this may sound weird, but I had a blast helping disassemble your domes that Monday morning after the festival concluded.
Finally, to all those unnamed creatives, artists, and artisans, who selflessly share their talents and time, thank you from the bottom of my heart. Your hard work in designing, placing, and constructing installations, live painting, and running activations made this year’s experiences memorable for many, myself included.
This is only part 1 of my coverage of this year’s Electric Forest. I still have the music and the rain to gush about, and many conversations held with patrons to share details from. As Erik Satie’s, ‘Gnossienes’, begins to play over my speaker, our time together has come to an end, for now. This is Bear Swiftly, signing off. Sayonnara, all you Samurai.
Be well, be successful. Bear Swiftly.
–Electro Scribe–
