“Normal things wind up being not so normal, once you scratch the surface….” As a youngster Chad Michael Ward found himself immersed in horror movies, and for the next 20 years he took in everything that the macabre genre had to offer. It’s very present, as his photography is one part love, and one part pain.

Let’s go back to your youth. I bet you were the kid that had one eye open when Linda Blair’s head started spinning in a circle when the others had both eyes shut. Tell us a little about your background and how you got into horror photography.

I come from a small town in Northern California just outside of San Francisco. I grew up in a fairly mundane middle-class family. Nothing really all that exciting. My fascination with horror began with Saturday afternoon horror films on television. Horror has always been with me. When I started doing photography and art as a hobby back in 1996, it actually started off with a more sci-fi slant, but the horror elements eventually crept in and as soon as that happened I realized horror was where my heart had always been. Once I started working professionally, the horror aspect of my work stayed with me.

I know that when most guys see a naked girl covered in blood eating intestines, they’re usually not sporting wood. However, your photos are innovative and highly erotic. Give us some insight on the fascination of the erotic horror genre.

There’s a REALLY fine line between “cheese” and “innovative” when it comes to erotic horror. Most people can’t get past the cheeseball stuff, so I make it a point to really be as innovative as possible with my work. I grew up with equal parts fascination with unique horror—Clive Barker and David Cronenberg were my gods as a teenager—and with pervy sex. It made sense when my work started really coming together that I would want to combine the two. It’s all about creating a story within those elements that both disturbs you and turns you on all at the same time. It’s a powerful juxtaposition that I don’t think is done enough, and with any real quality, in the art world.

You’ve produced 3 books of your work to date. BLACK RUST, AUTOPSYROTICA, and your latest DEVIL ENGINE. Talk about the direction of Devil Engine and how your work has evolved since Black Rust.

Each book has featured a different aspect of my work. BLACK RUST was a fictional sci-fi story told through single images and micro-fiction. AUTOPSYROTICA was my first real exploration of erotic horror, as sex and death played a big part in my life during that period of time. DEVIL ENGINE is a collection of my commercial work. It’s still dark, but showcases a side of my work people might not often see otherwise. I hate to say that DEVIL ENGINE shows me becoming much more comfortable with my work, because I’m really not, but it does show a maturation of thinking and composition that wasn’t really present in previous volumes.

You have a background in production design. Many of your photos are magnificently involved. Walk us through the process.

There really isn’t a set process. Some images are done using sets and props and crews; others are just me and a model in my garage. It depends on what the image calls for. Sometimes images start as an idea in my head—my PAIN BOX series is a good example of this—while other times, and more often than not, I let images come together more organically and on the spot.

I get a lot of images that just burn themselves into my psyche without any warning. When that’s the case, and if I feel the image is strong enough to give birth, I usually sit down and do a really rough sketch of it. Once I’ve got the bare bones of something down on paper, I start listing out a series of notes: color theory, props, random words associated with the image the might spark further design work, what kind of model I need for the piece, the make-up and hair, FX needs, etc. Once all these notes are done, I set about getting all the resources I need to make it come together. The final photo or painting often bears little resemblance to my original idea. My work is very organic and constantly evolves from its start in my head to the final product.

You have a collection of photos titled DANGEROUS BEAUTIES. What characteristics are needed for a model to be both Dangerous and Beautiful?

It’s really about a sense of self. DANGEROUS BEAUTIES is about finding the girl on the inside and pushing her to her limits. Putting her on that knife’s edge and seeing what she chooses to do with it. It’s a connection between me and the person in front of my camera.

Every photographer has their muse or favorite model. Whose yours?

I’ve had many muses over the years. Currently I think that role is best filled by two girls—Satine Phoenix and Shelby Jones. My relationship with them has evolved from model and muse into really amazing lifelong friendships.

You’re also a kick ass music video director. Tell us who you’ve worked with.

I’ve done videos for smaller bands like Dragonlord, D’Amato and Alhelluja as well as bigger names like Derek Sherinian, Billy Idol and Slash.

What’s on the horizon for Chad Michael Ward?

2009 finds me stepping into the role of producer on a major event called THE LOST GRIND OPERA that begins in March. DANGEROUS BEAUTIES has just been released and I’m working on my next book, SICK. I’m also doing a LOT of writing for some upcoming comic book and movie projects I’m pitching later in the year.

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