Igor Elie-Pierre Uses his Genre-Bending Vision to “PivoT” the Art World in his New EP

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Igor Elie-Pierre is a multi-talented artist with a special ability to translate his vision into stunning photographs, groundbreaking fashion designs, or music that arouses all senses. For his newest project, an EP titled “PivoT,” Igor decided to explore the way humanity has reacted to the new reality of the digital realm. His desire is for mankind to remain authentic as we move forward to a more connected world. “PivoT” offers an acoustic experience designed to resonate with listeners on a physical and synesthetic level, exploring the interplay between technology, humanity, identity, and the creator-audience dynamic.

Throughout this interview, we’ll delve into Igor’s creative process, exploring how his various artistic roles – photographer, designer, DJ, and now musician – all influence each other. Of course, we will also discuss his new EP, “PivoT,” and how it can help create a more empathetic digital world. We’ll explore Igor’s thoughts on the rise of AI, the importance of human connection in a “robotic-becoming” society, and how his artistic projects act as a counterpoint to this trend. We’ll also dive into some of the tracks in the EP, such as “Merged Subjects,” which features an experimental dance film, to understand the inspiration behind his songs and the intricate relationship between music, dancers, and mimicry.


You are in contact with art through many roles – photographer, designer, DJ, and now musician. What initially drew you to this multifaceted approach, and how does it influence your creative process?

I think I was born an artist. I had my first film camera at 7. I was exposed to jazz, classical, and Latin music growing up. Whenever I had the chance to be my own ‘DJ’, I did not really know which CDs to pick from the pile, so I’d go by their cover designs. Between waiting in the lobby of my older sister’s ballet studio and attending the final shows, I was a kid mesmerized by the performing arts. So much work, time, and resources to prepare physically ephemeral wow moments but with long-lasting memories merely for the satisfaction or excitement of an audience.

I’d go to shows with my parents, and I’d meet my friends’ parents at the same events – but without them (my friends). Even though I also enjoyed playing video games with friends, I never thought for a second that those shows were boring. 

For a very long time, I would delve into alternative rock, wanting to listen to something different than what was playing at the house and the popular music and hip hop my friends were listening to at the time. I appreciated the raw and rebellious aesthetics of rock music, and I’d juxtapose those with the more glamorous fashion, photography, and beauty magazines where I browsed for images to draw portraits.

All of these early experiences fed and diversified my artistic curiosity. But, what really defined my process was my introduction to the essence of design (in college). The philosophy of design, its aesthetics, and more importantly, its functions. The act of creating objects, atmospheres, and experiences for an audience or end user. Design later led me to branding, which goes far beyond perishable physicalities and aesthetics. 

So my process is mostly about being able to set a personality and soul for a project based on a variety of inspiration sources and combining that with research and technical know-how. The least important and last step of the process is deciding which medium best expresses a certain idea.


Your work intends to use movement as a “catalyst for a more empathetic digital world.” Can you elaborate on how movement, specifically through artistic expressions like dancing, fosters empathy in your view?

I think dance is a deeply empathetic form of art. Dancers have to understand the character they are playing. They have to identify with a story or message and decide how to best convey an emotion using only movement, gestures, and expressions. On the other hand, the viewer can feel, and move, through watching a dancer.  In film, camera movement and composition choices also help evoke emotions.

The world had always been lacking empathy and compassion, but it was never so digital. If people wanted to experience something, they would need to go to a certain place at a certain time without being imposed on to do so. Assumably, they would be well and in good shape.

In a digital-driven world, we are all performers, storytellers, and filmmakers. In my opinion, we, as brands, can use dance, cinematography, and digital media to shape more empathetic visual messages for those who need them. If we see this as an opportunity, then we’ll be able to reach a wider and more universal audience.


With the rise of AI and a “robotic-becoming” society, you emphasize the importance of human connection. How do your artistic projects like “PivoT,” your new EP, act as a counterpoint to this trend?

I think the project is very eclectic, unconventional, and experimental. It is a form of expression that comes from a human before being assigned to a genre or even being categorized as music. While it is like the purest form of art, I tried to polish it in a way that it would become listenable to anyone without losing its originality. The symbolism behind each track is human-centric. In the end, it is an ongoing experiment for me, so I anticipate more tangible results in the future.


“PivoT” is described as a “free-form musical experiment” with multicultural influences. Can you walk us through your creative inspirations for this EP, and how it reflects your global perspective?

When creating in any discipline, I always start with a mood board. On the daily, my head functions like a DJ. I constantly make mashups of completely different tunes I think work together (this is how I came up with the name IGOR360). Musically, those mashups become mood boards, and I use them as a base to create songs that tell stories housing the different emotions found in them.


The opening track for “PivoT” is “Merged Subjects,” which is accompanied by a dance film that explores audience interaction. How did you collaborate with the dancers to translate your vision into movement, and what message do you hope to convey to viewers?

Each dancer had to think about an individual or a group of people with particular needs whether those are affective, aesthetical, or cultural needs. Throughout the filming process, the dancers had to anticipate and create body expressions that, firstly these specific imagined audiences and, secondly the wider communities would receive positively, or kinesthetically identify with. 



In “Merged Subjects,” you describe wanting to bridge the gap between creators and the audience. Can you elaborate on how both the film and the music achieve this sense of shared experience, despite the audience not being part of the initial creation process?

The dancers performed intuitively the whole time. And, while the music contains different rhythms and complex stories in them, they danced one at a time with each of the individual elements that make them up. Each new element can be seen as a new ground or space for the performer to improvise on. So, in the end, all of this gives place to a diverse range of actions that are at times extremely fluent or powerful– and others that are less fluent or portray vulnerability. When watching the video, the mimicry and interactive responses to the music, joined with the back and forths between lone and coupled scenes, evoke a ton of different emotions. At times, alone or together, the dancers look extremely invested and serious in their performance; which demonstrates they are working towards a common end goal. Overall, this perceived transparency accentuates a close proximity with the viewer.


Another track that caught my attention was “Where Are You From.” It tackles complex questions of identity. Can you tell us more about the experiences that inspired you to create this song, and how it challenges the limitations of the question itself?

As an artist, a creative, and an individual who’s lived in many cities and has rubbed shoulders with different cultures, I value individuality a lot. I often want to introduce myself through what I do, my talents, my skills, or the cultural artifacts or interests that have shaped me as a person. When getting to know new people, I never think of this question as a conversation starter, because I don’t think it is the most important thing that helps in knowing Who they really are. Likewise, I cannot use one title to summarize my multifaceted artistic practice. While it can sometimes be a form of genuine and positive curiosity, the problem with this question is that, in some instances, it can weaken someone’s sense of belonging in a given space, negatively amplify differences, and be perceived as a form of microaggression. 


Looking ahead, with your music and artistic projects pushing the boundaries of empathy and connection in the digital age, what are you most excited about exploring in your future endeavors?

My objective is really to use creative thinking to spread positive experiences into the world. So, I will prioritize multi-sensory productions for the digital. In the next few months and years, I’ll be working on more avant-garde music, more collaborations with other music artists, and definitely more dance and fashion films that highlight both the diversity and expressivity of humankind. (thinking performers with disabilities, of different age groups, and with body shapes that do not conform to the standards set by society, media, and sadly the fashion industry).

Photos: Robert Whitman




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