Ellie Pritts: Psychedelic Transmedia 

Ellie Pritts is a transmedia artist whose multi-faceted artwork gives viewers a glimpse of the world through her lens as a person with synesthesia. Best known for her colorful and psychedelic aesthetic, Pritts’s impressive breadth of work ranges from manipulated photography of the desert to AI-animated self-portraits to trippy frogs.

Currently, she is curating and participating in the Electric Psychedelia exhibition presented by Refraction in Lisbon, Portugal, and also has work exhibiting in Interreality in Los Angeles We chatted with the vibrant artist about her exhibits, her recent entry into the fashion world, and what it means to be a ”frog lover.”

hube: You had your big breakthrough as a photographer, but have since then ventured more into the digital and physical art scene. How has your artistry changed over the years? 

Ellie Pritts: I’d say that the biggest changes in my work over the course of my career involve including myself in my actual artwork. Working with myself as a subject and sharing that journey with the public was a huge change for me. 

h: I know that music is a major source of inspiration for you, especially since you have a musical background as a concert cellist.  Has there been any music in particular that has been pivotal to your more recent work? 

EP: This year in particular I’ve been drawn to keeping music as minimal as possible in terms of complexity. I mostly listen to singing bowls and ambient experimental music. I’ve been using music to help restore balance in my life and provide space for creative thought to thrive.

h: In your interview with OpenLab, you mentioned that your relationship with color is ”very visceral and deeply ingrained into the perception of your world” since you have Synesthesia. In what ways does that make your process different? 

EP: It’s hard for me to compare how my process is different from others on account of synesthesia because I  don’t consciously notice it that often. It’s simply how my brain has always processed sensory information; I’m aware it is different but even that realization didn’t come until later in life. The times I have had the opportunity to observe how my process is unique because of synesthesia have mostly been music and/or color related when I am collaborating with others. There are some aspects of working with music and color that come very easily and naturally to me but not others.

h: Joshua Tree has both been the object and the inspiration for some of your art and photographs. Are there any other places you draw inspiration from? 

EP: I’ve experienced inspiration pretty much everywhere I have had the chance to visit, mostly in natural, extreme environments. I love the desert regions in America, I also love snorkeling and freediving and observing underwater life. Anywhere that feels like it could be an alien world is going to be very inspirational to me. I like places that feel untouched by humanity because it gives my mind room to roam creatively. I can fill in the space however I want, imagine whatever I want without being too tethered to human creation.

h: You are a self-proclaimed ”frog lover” and have incorporated frogs in a lot of your art. Can you explain your fascination for frogs and what makes them so special to you? 

EP: Frogs have a lot of sentimental value to me, in addition to being generally fascinating and adorable creatures. My favorite stuffed animal growing up was a giant bullfrog hand puppet that my father would create elaborate bedtime stories about. I loved to go out and catch frogs at night when I would spend summer vacations in the north woods of Wisconsin. Creatively, I never tire of exploring frogs as a subject, especially when I am testing out new techniques and tools. They serve as a sort of litmus test for me when I’m exploring new mediums.

h: The ”Electric Psychedelia” exhibition, currently displayed at Arroz Studios in Lisbon, is curated by you and also features some of your work. What was your thought process behind picking out the other artists at the show? 

EP: When I set out to produce Electric Psychedelia for the first time in 2020, my mission was to showcase artists who challenge viewer’s perception of reality in some way. I have stayed true to this through the years, and I selected this year’s artists with that mission in mind. The artists all have unique approaches to their craft, working with things like circuit bent hardware, generative code, or creating within a video. They all use technology in ways that defy expectation to produce artwork that inspires viewers to experience alternate realities and perspectives.

h: You’ve also created a handbag with your artwork on it that is currently available on wovn. What did translating your art into a fashion item feel like? 

EP: It’s been a long standing dream of mine to bring more of my art into the physical realm. I’ve always wanted my artwork to be incorporated into people’s self expression. I also love how it can make collecting my art more accessible and personal. These pieces are conversation starters, too. I’ve seen how naturally they bring like-minded people together. It gives me so much joy when I see my fashion pieces out in the world, styled uniquely by everyone. 

h: How are you planning on expanding into the fashion world? 

EP: I would love my fashion pieces to reach beyond those who are already familiar with my artwork. So, I’m planning on some exciting collaborations with established fashion brands to share my creations on a much larger scale. I dream of having the opportunity to create couture pieces, and have always admired fashion as an artform.

h: Do you have any other new projects on the horizon that you are particularly excited about? 

EP: I’m working on my first sculpture series, finishing up my first solo EP, and producing a horror film. It’s always exciting when I get to do something for the first time, and these are big ambitious ventures that I’ve been working on for years. My (crazy?) goal is to get everything out there by the end of next year, I’ll definitely need help to get to the finish line. I’m excited about getting outside of my comfort zone and inviting others into my process, though. I think there’s a romanticized notion that an artist does everything by themselves and I’m aware of my own tendency to act as if that is a universal truth. It’s also a privilege to have a team supporting you. I am incredibly grateful anytime I get to experience the magic of creative teamwork.