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He explores the tensions and anxieties inherent in these spaces by exaggerating and manipulating the architecture of these structures.
His photographs have been acquired by public and private collections including the Museum of Contemporary Photography Chicago. If this is a simple question I would hate to see a difficult question. There is no simple, objective answer. There are many criteria that one can use when trying to determine the overall strength of a photograph, but none of them can be applied across the board.
My very subjective answer to this question is that good photographs allow me the space to interpret them, whereas bad photographs tell me everything I need to know up front. Good photographs challenge my understanding of the situation that has been photographed; bad photographs reinforce everything I think I already know. Ultimately these are the things I think about in regard to my own photographs.
The answer to that question is control. By constructing and photographing models I get to control everything in the studio. I can execute my vision for each photograph in a way that is much more loyal to the original idea than if I was photographing spaces that already exist. I can also control and use light in a much more expressive way than if I was photographing in actual houses. Pre-visualization is a very important part of my process. For the most part I start out with a very solid idea of what the space and resulting photograph will look like.
I usually start with sketches and dimensions of the space and then build the model. Since the space is constructed of privacy and community. Early on, single-family homes were razed to make way for multi-occupancy dwellings. Where there were yards separating houses, now there were walls and curtains separating one private space from another. As the market bottomed out, entire neighborhoods of people were displaced and spaces that people thought they owned once again became empty buildings in often-empty neighborhoods.
Occupied private space became unoccupied private space and now, as the market has improved, it is once again occupied private space. The transient nature of dwellings and people over this period of time contrasts with common notions of home and community. Answering this question is kind of like shooting at a moving target, but there are a couple of people who are constant sources of inspiration.
John Divola is a photographer who has been very influential. Specifically the way he incorporates mark-making into his photographs. Drawing and markmaking in my photographs is something I have been very interested in for the past few years, and the way John is able to paint and draw on spaces and then make photographs that showcase the space and his interventions in ways that compliment each other so well is something I aspire to.
The way he uses light and makes it physical and present in his work is a wonder to me. I am particularly interested in his ability to use the sky and make it a tangible and integral part of his work. The following are artists I have been looking at recently: You photograph models of rooms or houses that you construct. Why do you prefer to show photographs of the models images rather than the actual models themselves sculptures?
The most straightforward answer is that the camera is a transformative tool. What makes the model function is the way the camera transforms the constructed space contained within the model. The model itself does not discriminate in the details presented to the viewer; the scale is fixed and obvious and the details of construction become evident.
The camera on the other hand, makes scale ambiguous and exposes only what I choose to include within the frame, making the space within the borders of the photograph a more dynamic and compelling environment.
The constructed model cannot accomplish this in lieu of the photograph. Colberg with the camera in mind, there is usually only one vantage point that works for the camera. In your statement, you speak of notions of privacy and community that are continually pushed and reformed.
Could explain and expand this a little? Since my work is loosely based on direct observation of my own surroundings, my photographs over the past ten years have mirrored the housing market in the United States over that period of time. The contrasts that he stages — with pictures, drawings, installations or stop-motion movies— depict a tragicomical reality.
The results plays to the creation of a visually playful, moving, sometimes dizzying or gloomy universe. Next year, he will be part of the 19th Biennale of Sydney: You Imagine What You Desire. That place was heaven. So we began to find what we were searching for. Do you have an idea in mind what kind of process you want to follow or what kind of result your aiming for? I am functioning with poetry. I like the idea of a house. Of a house inside a house.
Of a house inside a brain. And I am an engine full of fuel. Let me start off with a simple question. Everything I look at grips me. I want magic, sparks and scares in my eyes. I need to be touched. A good picture brings emotions, dreams and constellations of ideas. I have to express myself. I use all available media in a spontaneous way, no matter which. I use my hands, my heart and my brain. And inject it into people. Our arms are dogs. Our art is motorized and it quenches kerosene.
We can go everywhere. We have ten lives. What is an artistic universe? How to be the most efficient with my art? There is an element of humour in your work, also something that's mostly absent from the world of art.
Should we have more fun with art? Humour makes the day better. I am full of laughter, but also of tears. And I have many others things in my body that are mysterious. I am mostly working FOR the night. I remember a painter from the countryside where I live.
When I asked him what he paints, he told me: I always begin painting nude girls, but in the end it becomes houses. Are they based on ideas? To what extent are they pre-conceived? Did you make art pieces together? Yes, because our souls are the same. But we are not a collective.
We are all working to create a common universe. What artists do you draw inspiration from? I am also inspired by old men that I meet in dirty bars, by the children of my sister, travels and friends. How did you arrive at your approach? For me, photography is sometimes a very small part of something bigger. Like a still of a movie which contains sounds, movements, actors and dramaturgy. I am performing an artistic research: Colberg what extent are they spontaneous?
I work with intuition. But I have always a good idea in mind of what I want to do. Many of my pictures are staged. Last winter, I went to the north of Norway, to work in an abandoned graphite mine full of old stuff.
His images offer an ambiguous overlapping of representations and realities, a mixture that is constantly flirting with the limits of everyday life and imagination.
The result is a stage representation that plays with the codes of both fairytales and realism. In addition to his personal practice, he contributes with his collective moos-tang. Thomas Rousset lives and works between Lausanne and Paris. My photos are the end result of a long creation process: I start by mentally picturing the scene.
Then I try to sketch it. So the final piece takes shape gradually. It comes into focus more when I choose the location, the model, the lighting. One of my greatest challenges is finding the final form of the image, since it is rarely as I imagined it. I start by taking a photo in the simplest and most uncluttered way possible, and then I add elements to get the perfect picture, the one truest to what I imagined.
He specialized in graphic design, I in photography. Before this joint project, he had already been to South America several times, especially to Bolivia where he met his wife. After he came back from his early trips he told me Ritual appears to play a large role in your work.
Can photographs help us understand our own rituals? If we looked at someone for more than ten seconds, most of them would become totally petrified, as if we were intruding intimately.
These everyday scenes were really inspiring for my work on rituals. The important thing is that he feels something. Can photographs help to induce people to change, to work towards less shallow communities?
I removed every element that could reference a myth or a civilization, so the image can be interpreted freely. He showed me pictures, especially those from the Orujo carnival.
That was when we started thinking about creating this project together in Bolivia. None of that would have been possible without the help of his wife and his Bolivian in-laws. I just started a new project in Indonesia with a friend who specializes in studio stilllifes.
As our work is complementary, this has brought a lot to the project. Regarding my work, I mostly work with my collective Moos-Tang. In somewhat similar ways, Praberians also employs an uncommon visual language. Despite that we can feel emotions as we look at the work.
His work spans sculpture, print and digital media, locating photography as the nexus of an interdisciplinary practice. He uses a variety of materials to explore the ways in which the means of image production forecasts the shape of culture.
His recent series, Combination Game, is a sort of photographic Big Bang, exhaustively rearranging all of its elements, from every composition of objects down to the mosaic arrangement of the pixels themselves.
He is the organizing force behind the continuing online project thePSDshow. I want to make images which critically explore photographic conventions; those that have the greatest discursive influence and shape the culture s in which they circulate. How did you get interested in investigating the medium photography itself?
Where viewership now primarily takes place through print or on the screen, meaning is often attributed to, but does not necessarily occur at, the object itself. Under the contemporary models of distribution, the mode of image production becomes the appraisal of value for the represented object. I think this translation space is worth investigating. Can you expand on that? I think we see this type of appraisal demonstrated in a number of fields; in ecommerce, products attract more sales when displayed on a seamless white background.
In advertising, high budget campaigns utilize photo-realistic retouching while lower budget ones usually appear soft and airbrushed. In journalism, camera crews are dispatched to cover major stories while amateur cell-phone photographs suffice for less important events.
In art, well lit and properly color-balanced installation views imply a more prestigious exhibition space. These are just a few examples where a physical object or event is primarily communicated as an image. Each supposes an equation where the amount of labor in image production is proportionate to the economic, social or cultural value of the represented object. Recognizing this convention, one can see instances where a disproportionate amount labor in image production could serve to inflate or depreciated the value of the represented object.
This becomes significant when our collective conception towards the meaning and value of those objects is almost entirely informed by images. Here we can see photographic description and digital image production reapportioning relative values and hierarchies within the world around us.
Colberg In your statement you mention the ideological subtext of photographs. What kind of ideologies are you thinking of? And why is this important? The camera in conjunction with an array of physical and digital tools currently has a monopoly over image production. The presence of these tools begins to form new descriptive systems and new conceptual frameworks, which guide both individual thought and the evolution of culture as a whole. In a society where communication is increasingly image-based, where all images share the same means of production, it would seem to me that we are obliged to pose a critical investigation, to sift out any soft or incidental set of pathways.
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The ideological subtext of these images emerges from their program. They imply that the world is populated by source materials that lie in wait for their sublimation into digital images.
They anticipate their own alchemical transformations in form and context. They implicate RGB pixels as the prima materia, delivering objects from the dim confines of materiality into omnipresent electronic radiance. Their physicality becomes only remnants pointing outward towards an image. As electronic signals, all things in the world are democratized into exchanges of energy, and through this transfiguration all materials are analogous to ash; the unwanted corporeal, carbon remains.
Here we can equate a technical analysis of image production with an ideological analysis of contemporary culture. Understanding our communication media is the first step in developing a philosophy towards understanding our society as a whole. Images are not going out of fashion any time soon. Technology will continue to progress. Images will continue to become more ubiquitous. The question we are faced with now is: We need to propose an alternate direction for contemporary discourse within these same mediated channels.
My aim is to create images that through an accessible means of demonstration are able to reveal the underlying productive tendencies of this communication media and to interrupt the expected functioning of the contemporary image to unveil its ideological subtext.
How can we deal with the flood of images all around us? Those looking to escape the flood will take it upon themselves to build arks. These vessels will function as a means to preserve and differentiate certain images from those that drift aimlessly in the water. They can serve as communal hubs, as stationary ports in a global ocean, even as the sea level continues to rise. Today, there are more images in circulation than any one individual can consume.
While we must hone our techniques to more quickly and efficiently consume images, we also look to specialized discursive centers to selectively disseminate images. I think this relationship between the flood, dialogical user driven networks, and the ark, discursive institutions, can serve as a means of mutual checks and balances that would reshape our culture in some exciting ways.
By intertwined personal archives with staged photographs and layering them with interventions led by potential errors, chance and experimentations, she creates contrasted and poetic combinations.
Her work was included in several group exhibitions among other Summer school, presented at in the Finnish Museum of Photography in She is represented by Gallery Taik Persons in Berlin. An interesting image makes me think, feel, and reflect on its possible meanings. For me, however, the least interesting images are those which are somehow trite and does not manage to surprise me. They do not confuse my thinking, normal perception nor do they arouse mental associations, meanings or feelings.
Why or how is an image uncertain? In my work I mix archival, staged and edited material with each other. So there is often an actual event, observation or existing thing behind the images, which then get a new meaning after being combined and edited.
Cropping and all the solutions that you use are subjective. The meanings of the images are also changing and fluid. I often feel that because of the use of a camera things appear to be strange and unfamiliar in images.
On the other hand, however, photos are always somehow related to reality, and because of that I think photographs are so strong.
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I see image as I see words, which can be bent, mixed and combined as you like. In that sense, the image for me is a linguistic entity. The repressed, the incomprehensible plays a part in your work. Where does your interest in these concepts come from? My pictures originate from personal concerns. Cuts or disruptions in information are essential.
Surrealistic art has also always interested me. What do you gain from giving up full control? Uncertainty includes the feeling of chance, of errors, and the relaxation of control. I like to shoot digitally, because I can improvise and leave room for chance. As the process develops, I am more controlling and aware: When is it finished? It is largely based on intuition. I know that the image is finished when it speaks enough. I need to get the feeling that the images are full enough, rich, or that they encapsulate some new idea.
I can see similarities between words and images. I compare the solutions that I find for my images to the writing process. I can often see my images as part of the whole, the overall structure. When a new idea or solution is suitable for the overall structure as well, or associated with other images, then the image will be complete.
Also the name of the image binds it to its place. Colberg You re-work or process images in all kinds of ways. For a long time I felt that my images lacked intensity and associations.
I felt that they did not speak enough. The mere photograph was empty or too quiet, and this felt somehow inadequate. I understood that re-working images opened a whole new opportunity for adding meanings and elements to them.
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