[3] While living in New York, Orjis worked for photographer and film maker David LaChapelle and collaborated on several projects with Cuban American artist Anthony Goicolea.
Covered wholly or partially in mud, they stare dully out at the camera through elaborate necklaces and garlands of brightly coloured, sensuous flowers.
Some scenes were set in woodland, and the heads of some figures seemed to have morphed into grotesque wood galls while others wore helmets.
304–307 – Capdevilla, Marta, – ‘Up-State’, Suite, 29, October 2004, p. 64 – Chang, Lulu, – ‘ The Garden of Unearthly Delight’, Soma, Volume 21.4, May/June 2007, p. 30 – Coney, Hamish, -‘Future Schlock: An old fogey looks at the work of today’s yoof’, Ideolog, #7, January – February 2007, p. 95 or http://idealog.co.nz/magazine/January-February-2007/workshop/future-schlock – ‘Gallery’, Black, No 7, Summer 2007/08, p. 176 (Artists Page) – Hall, Oliver, – ‘International Achiever’, Express, 25 April – 1 May 2007, pp.
10–11 – Hamilton, Summer, – ‘Auckland Art Fair 07’, KiaOra, May 2007, p72 – Laird, Tessa, -‘Secrets of the Soil: Richard Orjis and his Empire of Dirt’, White Fungus, Issue 8, 2007, pp.
18–19 – Mogutin, Slava, -‘Anthony et Richard’, TETU, No 88, April 2004, p. 34–35 – Mudie, Ella, -‘ The Dark side: Richard Orjis’, Dazed and Confused Aus/NZ, Volume 1 Issue 3 2007, p. 137 – Northcross, Wayne, – ‘ Razzle-Basel’, Instinct, Vol 6 Issue 2, February 2003, p. 16 – Olveira, Manuel, – ‘A Story with a viewpoint’, Arquivar Tormentas, Centro Galego De Arte Contemporanea, Santiago, Spain, pp.