Good to see New York’s weather returning to what we expect from the summer months. Last week, I was fortunate to visit Brooklyn Art Museum to see Radical Women: Latin American Art, 1960- 1985.
The show is organised by the Hammer Museum LA as part of a wider initiative supported by the Getty Foundation, Ford Foundation, Bank of America and the Mexican Cultural Institute of New York amongst others. The Brooklyn Presentation is curated by Catherine Morris, for the Elizabeth A Sackler Centre for Feminist Art, Brooklyn Museum.
Marcia Schvartz – Les veines:Las vecinas (The Neighbours)
The show presents the work of more than 120 women artists and collectives active in Latin America and the United States during a period in the history of Americas and the development of contemporary art. The artists come from fifteen countries and include emblematic figures as well as significant, if lesser known, contemporaries. The exhibition illustrates an amalgam of radical and feminist art practices both in Latin America and among artists in the United States.
For women artists in Latin America, the decades covered by the exhibition were a time of repression as well as liberation. Most countries in the region were ruled by dictatorships or embroiled in civil war during these years. The lives of many of the featured artists were entangled with experiences of authoritarianism, imprisonment, exile, torture, violence or censorship.
There are many works to see, including ‘ The Neighbours’ by Marcia Schvartz’s and photography by Switz born Claudia Andujar. In 1971 Andujar began photographing the indigenous Yanomani community, leaving Sao Paulo to live in the states of Roraima and Amazonas. The dictatorship dispatched officials to force her to leave such rural communities in an attempt to halt the spread of images illustrating the then government’s encroachment on indigenous life.
Horizontal 2, From the Series Marcados (1983)
The show is truly a remarkable collection of work, allowing visitors to capture the minds of inspiring and pioneering artists. The show runs until July 22nd so if you’re in town pop in and see it! For further info please visit https://www.brooklynmuseum.org
I believe creativity is in each of us. Moreover, as we self-explore, we discover mediums of art that capture our interests whilst nurturing our inner most talents. It’s great when others are able to see this and admire the results. One person who illustrates the ability to develop an artistic skill is Paul Fletcher. I had the pleasure of befriending Paul during our work with the Royal Institute of British Architects and been friends ever since. He’s always been creative but now I’ve witnessed his transformation into a very talented but humble photographer. It’s been a privilege to have him answer a few questions regarding his wonderful work and what’s next on the horizon.
Paul Fletcher
I see you as an artist but I recall your hesitancy in describing yourself as one. Why was that and how would you describe yourself now?
I remain unable to refer to myself as an artist, I struggled for sometime to even consider myself as a photographer. This because I know that simply owning a camera does not make someone a photographer. Equally as I’m entirely self taught it also seemed somewhat of an exaggeration to call myself ‘photographer’.
However, having now commissions to work as a photographer and even having a few pieces hang in a gallery it would be false modesty to not accept that I am a photographer. I still cannot consider myself an artist however.
How did you get into photography?
In winter 2014 I bought my first camera, a secondhand analogue rangefinder. I bought this because my son, who was studying A-level photography and was due to stay with me for Christmas. I thought it would be a great idea to learn how to shoot over that holiday with my son, a good bonding activity. Unfortunately my son did not come to stay. However I did start a stumbling journey to teach myself how to use a camera and more so begin the journey of learning how to make a photograph. During 2015 I shot infrequently and inconsistently, probably no more than 20 rolls of film in the whole year. Early in 2016 I traded my film camera for a digital camera (primarily so I could shoot more often and see the results more immediately).
Paul Fletcher Photography
All artists find their chosen medium therapeutic but how has photography helped you?
This is very real for me. Coincidently at about the same time as buying my first camera I was diagnosed with a chronic illness, type 2 bipolar disorder. During 2015 I experienced a period of deep and prolonged depression (6 months). During this period I shot very infrequently. In an up period early 2016 I traded the film camera for a digital one. I shot much more frequently for several months. But what I shot was clumsy and not very good, I now consider what I was doing then as forced and was very much about taking. I was trying too hard to be a photographer. In the summer of that year I again fell into a very deep period of depression, I became trapped alone at home losing my interest in photography and even living at the darkest times. This caused concern for my friends and one suggested to get me out of the house and engaging with others I should reawaken my interest to photography and join some groups.
After some persuasion I did this and by late July I was shooting again, with groups who would meet a few times a month. In late August 2016 I entered a ‘Street Photography’ competition, intending to learn. Much too my surprise I won a couple of the categories and was even acknowledged for one of the best shots of the competition. However my period of depression continued, I was learning that it was not circumstantial but a disorder in my head over which I had very little control. Friends insisted that I keep shooting as 2016 closed and 2017 began I was shooting almost everyday. I was also finding such practice therapeutic. Unknowingly I was shooting from my heart, not my head. This allowed a new form of expression and creativity to begin to emerge. Even more significantly it offered me a new way to interact with people. In August 2016 I was capturing people in candid ways, almost in stealth. By January 2017 I was making as many permissive captures as candid ones. Through these real world interactions and what I was beginning to post on social media people started to show interest in my photography.
In February 2017 when the depressed period lifted the interested seemed to grow somewhat exponentially. I was hanging a few pieces in a gallery exhibition and I was getting paid commissions for fashion and portraiture shoots. However this initial ‘success’ was derailed by yet another period of depression in late July. At this point I reverted to my default of walking about London, making photographs of what I found and using the camera to give me some form of respite from the chronic illness I battle. This period was different though. It was less intense and as it happened briefer, about three months. That I believe is likely because of a combination of factors; finding medication that I can tolerate, my acceptance and growing understanding of the illness and what I now know to be very true – that photography is good for me, possibly essential to my wellbeing. Today I am comfortable referring to my photography as ‘my work’ and I endeavour that everything I do is more ‘make’ than ‘take’. It is not an exaggeration to say that photography has saved my life.
The Reader – Paul Fletcher Photography
As you develop your photography, are there any areas or particular themes you’d like to explore?
My interest remains with people, especially people in the urban environment. Candid capture and permissive making of photographs. I consider how I’m developing as something I call ‘Urban Anthropology’ as that is what I’m doing – studying humans in the city as they live their day to day lives. I am particularly interested developing stories about those who are increasingly forgotten by society; the elderly, the homeless and those with mental illness (a very personal thing for me). My commercial work has moved away from fashion as I soon found it to be disrespectful and demeaning of models, especially girls and exploitative of photographers and other creatives. My interest in portraiture is growing and this is the area in which I am looking to develop commissioned work. I am also occasionally exploring a form of photography that could be considered ‘fine art’ and may look to hang work in a gallery in the future. But I remain adamant that I am definitely not an artist!
We’ll have to disagree on that! Are there any photographers you are particularly influenced by and why?
There are two types of photographer that fit this, those whose work inspires me and those who I am fortunate to have got to know personally. Of the ones that inspire I would particularly Sally Mann, Mary Ellen Mark, Helmut Newton, Joel Meyerowitz and John Gay.
Colour or black and white photography- which do you prefer?
For my personal work it would seem that it is black and white. I self taught with black and white film, although when I switched to digital I did shoot colour predominantly for a period, today I have returned to black and white. In fact the digital camera I use now only captures luminance and no hue! I also have a film camera again, which is almost always loaded with black and white film.
I’ve known you for a while now, particularly in your former capacity as an architect. I know you have always worked passionately to improve society’s appreciation of civic space. Is this something your photography also captures or contribute towards?
No. I’m more interested in people that the constructs that contain them, whether that be civic space or buildings. You are correct that I strived to create the best spaces for people whilst an architect, however when I realised some years ago that all spaces and buildings, as the product of the property industry, are nothing more than commodity traded for financial return. People simply do not matter, regardless of the rhetoric. At this point my trajectory out of that industry had begun. Formally surrendering my professional status as an architect in 2016 was made as protest against architects being merely ‘building stylists’ with next to no influence over the role of the built environment to enhance society. I could not pretend any longer.
Paul Fletcher Photography
What projects are you currently working on?
Hmmm, nothing specific. I am exploring where ‘Urban Anthropology’ might lead and recently have found myself making landscape photographs, who knows where it might lead? All I know is that I must remain to be led by heart and not head.
-End-
I wish Paul continued success and look forward to seeing more of his excellent work. For further information on Paul, please visit his official website.
Whilst flicking TV channels, looking for updates of Olympic events I missed overnight, I was fortunate to come across news of a very interesting exhibition in South Africa. The first ever photography exhibition of Unequal Scenes was held on August 10th, at the Gordon Institute of Business Science in Johannesburg. This is the first time these images were displayed in a large-scale format. The aim of the selection of photographs is to promote conversation around the work and the issues they portray.
Artist John Miller’s desire is to portray the most unequal scenes in South Africa as objectively as possible, providing a new perspective on an old problem. He hopes to provoke a dialogue which can begin to address the issues of inequality and disenfranchisement in a constructive and peaceful way.
I’m also encouraged to hear this show may tour internationally. Hopefully I will get to see it. It would be very interesting to see how this project could be applied to other cities around the world to expose the contrast between rich and poor. It would be very interesting to see how Rio measures after its hosting of the Olympics.
Once again, it’s a delight to befriend another hugely ambitious, motivational and multi talented artist. My latest featured artist goes by the name of Tiffany (Unscripted) from New York state. Tiffany is definitely setting an example in what it means to be artistic. She agreed to share some of her aspirations and highlight drivers that contribute to her inspirational creativity.
Tiffany
You’re a writer, filmmaker, photographer, designer and poet to name some of your interests and skills. If forced to describe yourself under one of these disciplines what would you choose?
Oh, no! I couldn’t choose. My love and passion is equal for each. [laughing] In retrospect, I can say each skill has evolved from another. I started writing poetry in my teens. I would spend hours under a massive tree in Thornden Park, composing several poems. When I reached my twenties I started writing short stories and nonfiction. My creative outlet expanded to include media and design. I started doing photography and film out of necessity. I needed a photographer for a few projects. They were either too expensive or unreliable. I purchased my first camera, a Canon Rebel XT from a pawn shop, to shoot my first concert. It was Tech N9ne Hostile Takeover Tour 2012, at Celebrity Theater. From that project, my love grew for capturing moments. My first film project was an impromptu recording of my friend’s music video on my Samsung galaxy SIII. Currently, my focus is photography. My goal is to enhance my skills, to include high-fashion and editorial. I’m really excited because it’s for an online magazine I’m launching January 1, 2016. It’s called Occhi Magazine. I’m creating a fashion lookbook for it.
Where do you find your inspiration?
People, places, and things. Tomorrow is never promised. So, I live in the moment. This has expanded my view of the world. My analysis of the what, why, and how has broadened. I can look at anything and see art. This translates into creating something. It can be either graphic design or a haiku. Many of us fail to see the beauty in the world. It’s no fault of our own. We are constantly besieged with news of death, destruction, and sorrow. My outlet has always been art. Whenever I experience stress I create something; writing, designing, filming, or photographing helps me to relax.
Are there any particular artist you’re most proud to have worked with?
Yes, my friends. [laughing] I value their friendship, as well as their experience. We often share creative ideas. For instance, one of my friends has created a Star Wars, inspired music video. It turned out exceptionally well! It was shot in Yuma, Arizona. I’m located in Upstate, NY and couldn’t make the filming. I kept telling him how I wished I could have been there to capture the experience in a documentary!
Are they any particular artists you would like to work with?
This is where I’m supposed to name someone famous or highly-celebrated. But I’ve always been a champion for the underdog. My interest is mainly other independents, who strive to create exceptional work. It can be someone relatively unknown; someone who is still learning a new skill. Creativity is fueled by passion. Passion can be infectious, enlightening, and a catalyst for your own desire to create a beautiful piece.
Can you tell me more about your magazine and media company?
It all began with Mia Bella Occhi™. Mia Bella Occhi™ is an affordable online fashion boutique offering curated finds of unique sunglasses, clear lens eyewear, and fashion accessories, such as hats, scarves, and jewelry. It’s for fashionistas and fashionistos, who value a mixture of trendy, sophistication, style, and comfort. I wanted “everyday” people to know style is not what you wear. It is who you are. The magazine spawned from this idea. I thought I should create a visual display of what people can wear. I don’t use professional models. Instead, I ask people who never modeled to showcase the fashions. I want the boutique and magazine to be organic and accessible to everyone, no matter their economic status. This is the main reason why I added Frugal But Fashionable and Reclaim Recycle Restyle. Frugal But Fashionable proves you can still look great using thrifty buys. Reclaim Recycle Restyle showcases designers who craft handmade fashions, such as jewelry, clothing, and other upcycled creations. The designers and their creations will be featured in the magazine and lookbook.
Creatives tend to think outside the box but is it easy to fuse your disciplines into an entity that is recognised or appreciated by the general public? Do people easily see relationships between visual arts, fashion and other creative professions?
Yes. Art is subjective. Personally, I do not create for the public. I create things I’m passionate about. I recently held an online art exhibition on my Instagram page. It was titled ‘Completely Unexpected.” Abstract art was created using a mathematical algorithm, and then blended with computer-generated, paint brushstrokes. It was well received. Most exciting was the nods received from art museums. That was absolutely thrilling! I’m planning my next exhibition for spring 2016. Stay tuned! I will use my new Nikon D7200 camera for this piece. I can’t wait to shoot with it!
What are the highs and lows of running an independent boutique, magazine and film production company?
I don’t see highs and lows. I see peaks and valleys – much healthier perspective, indeed! [laughing] All challenges are good. That’s how one learns. People see the effort you put into your work. I prefer being recognized for my work. For me, it’s more meaningful. People see the drive and passion. Being recognized for only your accomplishments is like saying you only rate when you receive a reward. I believe a person should be rewarded for effort alone. Perhaps, this is why I find it challenging to sell my art. I do it solely for passion, not recognition. Funny. I recently read a debate over what makes a photographer an amateur or profession. Many argued being paid for the photo session makes you a professional. I beg to differ. I shot high-profile, music concerts as press and media. I wasn’t paid for the work. I did it because it was my passion to do so, and I wanted to prove it’s not the equipment, it’s the user that defines professionalism. That was the first concert previously mentioned.
The world is an open door of opportunities for someone with the right mind-set. As a creative professional in a very competitive environment what encouraging words would you share with young, inspired and multi skilled people reading this article?
Two words: Do you. As long as you remember art is subjective, you can create anything you imagine. People will either like or dislike your creations. Expect it. Just don’t let it prevent you for creating the most wonderful piece, yet, to be discovered – YOU!
‘Completely Unexpected’ Digital Art by Tiffany (Unscripted)
I recently received an invitation to submit work as part of the Ealing Open Exhibition 2014 at the PM Gallery & House, Ealing Broadway, west London. I haven’t been there in quite a while so decided to visit the building last week. I thoroughly enjoyed seeing the gallery’s current exhibition entitled ‘Living Laboratory’ featuring work by British photographer Richard Pare.
The exhibition features photographs of buildings by Le Corbusier and Konstantin Melnikov. Pare’s work pays attention to the character of solid structures and how, through subtle and yet dramatic effects of light and varied seasonal conditions, they transform into some of the most recognisable examples of modernist architecture.
For over six decades, Le Corbusier revolutionised the ways in which we inhabit space, reinventing the idea of a house, designing radical furniture and proposing a variety of urban planning schemes. Amongst Pare’s work are some of Le Corbusier’s most famous buildings such as the Capitol Complex in Chandigarh, India and the Villa Savoye near Paris. Execution of the architect’s celebrated ‘ five points of architecture’ are illustrated with fine examples of open plan spaces, free from the requirements of supporting walls,horizontal windows, light- filled interiors and roof gardens that create iconic and immediately recognisable buildings.
Equally, Konstantin Melnikov was one of the leading modernist architects whose radical work emerged during a period of little more than a decade when practitioners were endeavouring to establish a new architecture for a new age. His work in the exhibition includes the family home, which served as an experimental studio and his personal investigation into the concept of the functioning house. The show runs until 11 May 2014.
The PM site comprises Pitzhanger Manor, the Grade 1 listed house designed by British architect Sir John Soane and gallery, located in the extension added in the 1940’s. Ealing Council has started a major programme to conserve and develop Pitzhanger Manor, the gallery and adjacent park.The project vision is to:
“…reveal and restore this remarkable historic villa in its original landscape and – through innovative and imaginative interpretation, activities and education – enrich all visits by local residents, students of architecture and Soane scholars worldwide.”
A Day In the life of an Artist: David Emmanuel Noel 