The Big One – Brad Walls’ PASSÉ reimagines ballet from above, transforming a football field–sized red carpet into a stage where movement, symmetry and stillness collide.
Andrew Joseph: What inspired you to become an artist?
Brad Walls: I wouldn’t say I set out to become an artist in the traditional sense, I never studied or anything. But after picking up a drone in 2017, something clicked. I started having these vivid, structured visions in my mind that I felt compelled to bring to life. It wasn’t about inspiration in the usual sense; it was more like a pressure, a persistent itch to materialize what I was seeing internally. Creating became a way to satisfy that urge, almost a necessity rather than a choice.
AJ: Can you describe a project that you’re particularly proud of?
BW: My most recent project, PASSÉ, is the one I’m most proud of. It was by far my most ambitious undertaking, bringing together over 60 ballet dancers from across New York City, along with a crew of 10, including choreographers and production support.
It was a massive coordination effort, but the result is some of the strongest and boldest work I’ve produced to date, both technically and creatively. It felt like a true culmination of my vision and ability to execute at scale.
Dead Juliet – With 60 dancers, a crane-suspended camera, and a monochromatic red world, PASSÉ stands as Walls’ most ambitious exploration of ballet to date.
AJ: How do you stay creative and inspired?
BW: When it comes to staying creative and inspired, I’ve recently started approaching my work in reverse, beginning with the emotional response I want to feel when entering the space where my pieces live, and then building the work around that.
It’s a bit unconventional, but I’m fascinated by how a space can evoke a deep, visceral reaction. The art world is shifting toward immersive, experience-led work, and I find a lot of creative energy in leaning into that. Visitors to PASSÉ this September will experience exactly that, an atmosphere designed to feel as powerful as the work itself.
AJ: What is your favorite place to find inspiration?
BW: The world around me is my greatest source of inspiration, especially architecture. Its structure, symmetry and rhythm often shape the way I see and compose.
On a more practical level, I’m constantly building out overlapping Pinterest boards. It’s a chaotic system, but that cross-pollination of ideas often sparks entirely new concepts.
Organized Chaos – PASSÉ blurs the boundary between performance and photography, inviting viewers to step inside the frame and experience ballet from a striking new perspective.
AJ: Can you tell us about a specific moment in your career that made you feel accomplished?
BW: My most recent project, PASSÉ, was that moment. It marked a clear turning point, the step I needed to elevate my work. I led a team of creatives to execute a long-term vision, and unlike many projects where the final result drifts from the original idea, this one landed exactly where I imagined it. Every detail was deliberately crafted, and it showed.
I cleared my plate for six months to plan it, then spent another six preparing the exhibition, all leading up to its debut in the Mecca of all places: New York City. That felt like a true milestone.
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