Photographer Aaron McPolin

Dear Aaron,
I'm so thrilled you're joining me for a feature on my blog series, "Tea For Two with Melanie Rose." Thank you for being willing to share your story!

This series is my way of shining a light on some of the most inspiring creatives, artisans, designers, and educators I've had the pleasure of knowing. It's less of a formal interview and more of a chat – a behind-the-scenes glimpse into how your incredible journey has unfolded, how you've shaped others' lives, and perhaps how they've shaped yours. And yes, please feel free to sprinkle in your signature humor – it's practically required!
With your permission, I'd love to share parts of your fascinating path from Manchester, England, to Australia, and finally landing here in Los Angeles – the City of Angels, where you're making such a mark as a highly sought-after photographer.

So, let's put the kettle on and get started.

Your background reads like an adventure novel! Born in Manchester, moved Down Under at 15... and the path to becoming a respected LA photographer wasn't exactly direct. I'm fascinated by the chapters in Australia: funding your first art shows by working as a Geotech in the gold mines (sometimes solo in the desert, requiring helicopter emergency access – baby kangaroos included!), learning to handle the world's most dangerous snakes, lecturing university students on concept and design, becoming a qualified museum picture framer, and even spending a year teaching photography (including the Northern Lights!) on cruise ships. That's an incredible range of experiences!

With such a diverse background, from gold mines to lecture halls, when did photography click for you? Can you pinpoint a specific moment or experience, maybe back in England or Australia, that ignited your passion? When did you know this was the path you wanted to pursue seriously?

Growing up in the UK, in a small town named Atherton, there really wasn’t much hope or avenues to go down. My out and escape I was aiming to join the military just as many of my friends did, my goal was to be in the sniper division, I guess I still shoot people but not the same way (laughs). It’s a bizarre thought that, that was my out, my base option, I’m so glad and thankful that wasn’t my path and what I do now is giving and showing people their beauty and exploring my creativity. It’s wild to look back at all of the different directions my life could have taken; when I moved to Australia at fifteen I was filled with so much hope and life looked filled with opportunities, I really took to portraiture drawing with charcoal and pencil at school, avidly in love with people’s expressions, deviant art was my introduction to seeing photographers like Lara Jade which then took me to adoring makeup from Alex box and fashion by McQueen and Yohji Yamamoto.
My mother was a hair artist and nail artist, so I had grown up in the salons with women being beautified by these amazing artists, the love of 70s punk art, Siouxsie and the Banshees mixed and clashed with elegant cuts of Sassoon, the banter the attention to detail and the act of giving through creativity was something my mother always pursued. I applied to university for architecture, however I switched to a bachelor of design and advertising, as a hell no to 6 years of study + internship for architecture, however the love for Tadao Ando and Zaha Hadid really influenced my conceptual development later on. I do remember the exact moment I changed my major from advertising to photography, I used to sit with my lunch in the university library, scouring through all the books on history, psychology, art, botany and biology, however I vividly remember how I was captivated by a book by Nick Knight (I purchased this book from the university library 15 years later) the book was full of photography yet it was the intent, purpose, unique approach to photography a blend of psychology and aesthetic, a masterful body of work which gave me chills turning every page, the opening statement ‘I want to create what I haven’t seen before’ became my everything and if I was ever afraid to try something new then I knew I had to do it.

I went down a deep rabbit hole and would stay up until 4am to watch the first ever live stream BTS photo shoots of Nick Knight on show studio, the language he used on set, the way he directed, the lighting, the team collaborative journey, it was so enthralling that I changed my major to photography and began to photograph for the very first time. I wanted to learn every part of the team, I wanted to be able to articulate and communicate so I enrolled myself into makeup courses, learned hair styling, assisted with fashion tailoring and jewellery making with friends, I’d spend hours and hours in the studio photographing and it was hard to leave once I was in there, eventually I was given a key to let myself in and out as I would be there until the next morning. it became this whole new world of seeing things differently, I could finally show what I see and in that way I felt I was able to communicate much better than I can with words.

Your work has graced the pages of iconic magazines like Vogue, Playboy, and Penthouse – platforms with distinct aesthetics. How would you describe your unique photographic style? Is there a common thread, an 'Aaron signature,' that runs through your work, regardless of the publication or subject?

I am bored so much by the ordinary, if I see something I’ve seen before I have to shake things up, the Kintsugi of the broken beauty, the beautiful imperfects, there’s a mastery to that which is enthralling, I would say this is a common aesthetic of the beautification process of the taboo I use as principle. I love elements of contrasting symbolism, a play on semiotics and context, a blend of soft and bold, matriarchy and elegance. I fully enjoy working outdoors however lately I have been confined to my studio, which I’m looking to break out of the falling into habit. My team is everything to me when creating, I don’t like to confine people into boxes and encourage them to bloom and really push what’s standard or normal. My work however I definitely have a architectural brutalist inspiration, a minimalism point of view, to make visual communication succinct, however with a twist for the audience to feel a duality of emotions, Tadao Ando taught me that, refined polished concreted enveloping natural light and grass gardens, the juxtaposition so astounding you cannot help but feel a blend of emotions, and that’s OK, the conflict can be harmonious.

A significant and compelling part of your portfolio delves into fine art erotic photography. What specifically draws you to explore themes of sensuality, intimacy, and the human form within this genre? What stories are you aiming to tell?

The work I do is more for my own exploration and denouncing of my own taboos or misconceptions towards a subject. If I don’t understand something or have a disposition to an idea or practice I like to question why I have those feelings and seek out the truth through real experience and research. I find there’s a lot of subjects regarding eroticism which has been twisted by today's cultural norms, we used to worship fertility gods, build monumental statues of naked marble, bath houses with elaborate erotica spawned from fables and historic recollections. I find that inherently society has grouped all nudity into one pot of pornography and this really has destroyed the nuance and appreciation for what it means to be erotic. I fully adore learning how people show love for one another, people feeling beautiful, sensual and adorned. Hopefully my art shows people not to fear what they don’t know and to take the time to learn about themselves and others without a standard thought bestowed upon them by what today's society meets with disgust, anger and most of all, fear.

Navigating the line between sensuality and artistic expression is central to this genre. How do you approach this balance in your work? What principles guide you in ensuring the images remain tasteful, powerful, and artistically driven, rather than purely provocative?

I always make sure I meet with the best of the best in their respective fields. Prior to any project I like to discuss ideas, direction, hear what everyone has to say, I find there’s always a way to elevate the expression and experience if you just hear people and really be attentive to what they’re expressing and for myself to conceptualize what this may look like visually. I want to know a subject wholeheartedly before photographing, if it’s a taboo I will often work with a professional who may put myself under the same conditions I intend for my subject to go under, I would never put someone through what I don’t understand. Safety first and foremost. Whereas  I don’t like surprises on set when it comes to people’s comfort and sensitivities.

My language I use is always the same I’d use for a best friend, sister or family: elegant, beautiful, stunning, never crass or self serving, my goal is empowerment and expression not self gratification. When the subject feels empowered, like a matriarchal goddess or enchantress then it’ll show in the work regardless of how good your photography skills are, I find I’m a curator of experiences and a cultivator of environments where these expressions can flourish, this paired with a very aligned team and conceptual vision makes a natural flowing journey and dance to the artworks coming to life. What I’m aiming to point out is that your intent, purpose and demeanor will inherently shape the outcome of the session and curating a healthy environment is what really defines the artwork.

Building a safe, respectful, and collaborative environment is paramount, especially when dealing with vulnerability and intimacy. What specific steps do you take before and during a shoot to ensure your subjects feel comfortable, empowered, respected, and fully trust the creative process?

I grew up in the beauty salons so I have always seen women as people, not necessary the pedestal and otherworldly figment that we men are bestowed to believe through youth and adulthood to estrange women into being another life form to pander and swoon. I do acknowledge that I’m a man, and weather you like it or not the first and foremost role is that I want to establish a safe, open environment for dialogue for my team and models, disarming myself as a masculine figure is highly important for a team to feel seen, heard and safe to communicate with you. My style of communication is that I am very direct and open, I always meet for a coffee first to discuss what is intended as an outcome of the art and subject matter of the art, and I’d like to know honestly if the project is something they give a ‘fuck yes’ to, if it’s a maybe then that’s still a no from me.. I choose my team and models who are aligned ethically and socially towards the topics I aim to explore and often exploring topics they bring to me to explore too. On set I run through my shot list, my plan, the feel, the mood, the story, the visual messages, I then like to sit and chat while the makeup and hair is being done, by the time you’re in front of the camera, everyone knows everyone and everyone knows what’s happening next. No surprises just pure creativity, fun and expression. I absolutely adore when people say ‘I’ve never felt so beautiful or powerful in my life’ then to see themselves as a work of art on the wall of a gallery and the radiant joy of that is just something else entirely.

What do you hope viewers take away from your erotic work? Do you see it primarily as empowerment, a celebration of the human form, a challenge to conventions, social commentary, pure aesthetics, or perhaps a blend of these?

I honestly don’t often think of the audience with my own art, however I see myself more of a visual problem solver than an artist at times due to my advertising background, I really went down this path of art as I wanted to create for my own exploration of what I have considered taboo, topics I wanted to learn about and understand, either the topic itself or myself, I enjoy to find out the truth of things, and challenge what I think I know and often I uncover that I either don’t know jack shit or what I think I know is absolute nonsense. I find the more stories and people I meet, the more I unlock about myself and the world. However, the side effect is the artwork is there to show others what I’ve learned and express it through a single artwork or collection of artworks. What takes me one year of study and meeting with people and curating and developing may give you an essence to a whole new perspective of a subject, then I hope it at least has helped to dissolve some predetermined ideology held towards it and instilled a new appreciation.

Given that erotic art can sometimes be misunderstood or stir controversy, have you faced situations where you needed to articulate or defend your artistic choices, either to clients, galleries, platforms, or the public? How do you handle those conversations?

I don’t take offense to it, I create for me not for thee. If I’m creating a campaign for a client or an artwork for a client then that’s a different story, my goal is to communicate effectively, visual communication can often get screwed in translation, how people ethically, pathologically, logically and contextually absorb the work especially if noise is in place either through undisclosed ideology, needs or requirements. Taking the time to understand the client and their audience is key here.

However when it comes to art as an expression, I don’t let the audiences dictate how I express myself, nobody has that right to censor someone, art should evoke emotion, if that’s joy great, if that’s hate, great, at least you’re feeling something, and if the subject is telling you something and you feel hate, maybe the audience should really dig deep and think why they feel such hate, maybe that’s the point of the art, to disarm yourself and shed that hate and pain and look at yourself and ask yourself are these views and opinion really my own or just a masquerade of what you have been told to feel and bestow upon what you’re seeing? The reality is I went through the same exposure therapy so to speak, I see something, I feel something, I ask if this is what I really feel, I then discuss and meet with those who enjoy the practice and explore it and build a new authentic understanding, with the aims of expressing what I learned. 

For aspiring photographers inspired by your work and considering exploring erotic or intimate portraiture, what's one crucial piece of advice you'd offer?

What’s your intent? What are you wanting to express? Is this for you or for them? Be honest with yourself. You’re in a position of power on set, don’t be a douche bag, or Aunty Melanie will kick your arse. Learn how to set a comfortable environment, put yourself in their shoes, how can you make this experience something to get excited to think about again. People remember how you make them feel. Find a good team, develop and grow together, nothing great is achieved alone, that’s for sure.

What’s brewing next? What exciting projects, exhibitions, collaborations, or perhaps entirely new creative directions are simmering on the horizon for you?

Right now I’m in the sourcing and planning phase for a 12 part photographic series of works that are intertwined, some exploring sexuality, some the idea of masculinity that revolve around identity and fabled history, where as I have a collaboration with Colin Burn for a multi sensory exhibition exploring the big O, which we are delving into the ideation phase right now. I’ve also taken a love for photographing subjects under a microscope of which I intend to intertwine into my new works. It’s all very fun and the projects all take a look into what I desire, how I see my own masculinity and also I aim to connect this with a neural chemical and psychological approach with the help from Dr Nicole, Kimi inch and other masters of their craft like yourself.

Okay, before we wrap up, and in the true spirit of "Tea For Two," we have to talk tea!
Which one tempts you the most?

Earl Grey Tea. Notes of citrus, spice, malt, and smoke. Quintessentially English afternoon tea.
I love a good Earl Grey Tea and feel like I’m on the enterprise with Picard, or a nice dragon pearl green tea.
Oh I do like the sound of the dragon pearl tea, so I'm going to go with that one. Thank you darling for mentioning that as another choice.

Rose Black Tea (or Rose Congou). The beautiful floral aroma is evocative and creates a slightly luxurious, intimate atmosphere.

Darjeeling Second Flush. Often called the "Champagne of Teas," Darjeeling (especially the Second Flush, known for its full-bodied, muscatel notes) is prized for its complexity and layered flavors.

Sugar? Yes or No? If yes, how many lumps or spoons? No thank you my darling.

Milk? Yes Or No? Just a dash, please.

Website: Aaron McPolin
Instagram: @aaronmcpolin
Artsy: Aaron McPolin

For those of you who do not know about Dragon Pearl Tea allow me to tempt your taste buds! Dragon Pearl Green Tea is a delight for the senses. These tightly hand-rolled pearls, often scented with jasmine blossoms (though unscented varieties exist), slowly unfurl in hot water, releasing a delicate aroma and smooth, nuanced flavor.

Here's what you are going to need
Pearls vary in size so I would look to use around 5-7 pearls. It also depends on the personal preference and the specific tea's intensity.

Water
Fresh, filtered water is a necessity. Anything else such as tap water or distilled water will interfere with the delicate taste.

Teapot
The best vessel to use if you have one is a clear glass teapot. It will allow you to watch the pearls unfurl beautifully and is so much a part of this experience!

Kettle
You can certainly use a standard kettle, but you will need to allow the boiled water to cool. Ideally a temperature-controlled kettle makes this much easier.
The temperature needs to be 160-180 degrees. You may ask why so pedantic? Green teas, especially delicate ones like Dragon Pearl, contain compounds that become bitter and astringent if brewed with water that's too hot.

Teapot & Pearls
Warm your teapot by adding a little hot water. Swirl around then discard. Place the measured pearls into the warmed teapot or infuser.
Pour the heated water (at 160–180°F / 70–82°C) slowly and gently over the pearls. Avoid pouring aggressively, which can agitate the leaves unnecessarily. Ensure all pearls are submerged. Steep for 2-3 minutes then taste.

Watch closely
This is a key part of the Dragon Pearl experience. Watch as the pearls slowly expand and gracefully unfurl, releasing their leaves. Notice the light, often floral (jasmine) aroma that emanates from the brew. Once the desired strength is reached, immediately separate the tea liquor from the leaves. Either pour all the tea into cups (or a separate pitcher if making multiple servings) or remove the infuser containing the pearls.

Serve & Savor
Once the desired strength is reached, immediately separate the tea liquor from the leaves. Either pour all the tea into cups (or a separate pitcher if making multiple servings) or remove the infuser containing the pearls.

Enjoy the meditative process and the exquisite taste of your perfectly brewed Dragon Pearl Green Tea!