I adore the colour tones of the above photo. adore.......
It is hard to find written information on swedish photographer Lina Scheynius, but her photos are everywhere. I love her diaristic approached to photography, especially her self portraits. how suggestive her poses are while a subtlety always remains.
below is an interview. some of the only text I could find on her from the web.
Excerpt from interview by Johanna Reed from This Is That
3. The Instant Itself Can Never Be Changed
TisT: I love the idea you talked about with your "forced disregard of the viewer," and your letting the images come to you and happen as your life happens. It's always been a point of interest for me as a photographer, that the medium is one of documentation. Where it can get tricky, or maybe interesting is a better word, is this idea of who gets to see those documents, and how they are important as little objects themselves. Are they documents for me, or for a viewer? Is the moment elevated or glamorized now that there is a photo of it? There's something inherently public about a document, the need to preserve something, or this kind of tangible memory. For you, after you capture your moments (like the “red” photos, which are some of my favorites), does the fact that you've photographed them ever change the memory for you? I guess what I'm trying to say is, does photographing these instances change, for better or worse, the instant itself?LS: That is a very philosophical question about memory and time and people's perception. In my opinion the instant itself can never be changed. Yes, bringing out a camera has already made the moment different from if one hadn't brought it out. But the fact that there is a photograph of it doesn't change what happened. Only perhaps the memory of it. My memory of it. The importance of it in relation to other instances that might be similar but not remembered.
Bringing in a viewer gives the instant even more importance in relation to others. It doesn't really make the single picture more important to me. I am not sure, but it could even be the contrary as it is no longer a secret personal thing but some kind of official object.
But the image itself gets a new and perhaps more important life with all these eyes viewing it and hopefully relating to it in whatever way.
On another note I have noticed that bringing out these instances in public has an effect on the future ones. For better or worse.
Six months ago someone sent me an email after having found my work online and asked if he could publish my personal work on his blog. Later he arranged an exhibition in Paris and asked me if I wanted to take part, and we met up and I fell in love, and my newly published diary series is very much about him.
4. A Series of Very Intimate Images
TisT: Since you mentioned your latest work focusing around your new love, I wonder if you can talk a little bit more about what you've been working on recently, or what you're planning for the future? I'd like to know a bit about how you see your development and trajectory as a photographer. Where did you start, and where are you going?LS: My diary is a constant ongoing project. It is not a new or original idea at all. It is something I have, like most people with a camera, been shooting since I got my first camera. It is very affected by what I see and where and how I live. So it is only natural that the people I spend a lot of time with end up changing it in one way or another. I love seeing the process of this.
3. The Instant Itself Can Never Be Changed
TisT: I love the idea you talked about with your "forced disregard of the viewer," and your letting the images come to you and happen as your life happens. It's always been a point of interest for me as a photographer, that the medium is one of documentation. Where it can get tricky, or maybe interesting is a better word, is this idea of who gets to see those documents, and how they are important as little objects themselves. Are they documents for me, or for a viewer? Is the moment elevated or glamorized now that there is a photo of it? There's something inherently public about a document, the need to preserve something, or this kind of tangible memory. For you, after you capture your moments (like the “red” photos, which are some of my favorites), does the fact that you've photographed them ever change the memory for you? I guess what I'm trying to say is, does photographing these instances change, for better or worse, the instant itself?LS: That is a very philosophical question about memory and time and people's perception. In my opinion the instant itself can never be changed. Yes, bringing out a camera has already made the moment different from if one hadn't brought it out. But the fact that there is a photograph of it doesn't change what happened. Only perhaps the memory of it. My memory of it. The importance of it in relation to other instances that might be similar but not remembered.
Bringing in a viewer gives the instant even more importance in relation to others. It doesn't really make the single picture more important to me. I am not sure, but it could even be the contrary as it is no longer a secret personal thing but some kind of official object.
But the image itself gets a new and perhaps more important life with all these eyes viewing it and hopefully relating to it in whatever way.
On another note I have noticed that bringing out these instances in public has an effect on the future ones. For better or worse.
Six months ago someone sent me an email after having found my work online and asked if he could publish my personal work on his blog. Later he arranged an exhibition in Paris and asked me if I wanted to take part, and we met up and I fell in love, and my newly published diary series is very much about him.
4. A Series of Very Intimate Images
TisT: Since you mentioned your latest work focusing around your new love, I wonder if you can talk a little bit more about what you've been working on recently, or what you're planning for the future? I'd like to know a bit about how you see your development and trajectory as a photographer. Where did you start, and where are you going?LS: My diary is a constant ongoing project. It is not a new or original idea at all. It is something I have, like most people with a camera, been shooting since I got my first camera. It is very affected by what I see and where and how I live. So it is only natural that the people I spend a lot of time with end up changing it in one way or another. I love seeing the process of this.
No comments:
Post a Comment