Author: HESO Staff (Page 2 of 4)
A visit to Marianna Rothen’s photo gallery gives you vaseline-smudged looks via disused medium format cameras into worlds entitled Snow and Rose, Domesticated Woman, Gentle Creatures, and Alien Camp among others. The model-turned-photographer has turned the lens from herself to the world around her with rare success. Full interview coming soon.
In a country where communal and family values are the pillars of society, where the notion of “filial devotion” determines the intimate sphere of orientations, to assume and live one’s sexual orientations is a wager. By freeing themselves, some of these couples have decided to live together, others have the intention to do so. This work doesn’t aim at having a hasty opinion on Chinese society but, through these photos and interviews, to tell a story about people who love each other.
To read the full interviews please see Cédric Spilthooren’s website
HM: Looking through your photos, there is a sense of a powerful personal aspect at work here.
SJ: That is intentional, because I do make photos for myself. And because of myself and maybe, I don’t know, but I’m trying to find something out about myself. Then comes everything else. It is that connection between what I see and what I am, I guess the two dialogues, internal and external. It is also that I don’t like to talk about some things, so I make a photo. Or I draw, whatever, it’s hard for me to express some feelings with words. It’s much easier to try to make a photo…but it doesn’t have to begin and end with photography. I was studying painting in high school, fashion and graphic design in college. I like to change things to see where I can communicate best with the world. I don’t think you should have boundaries in your work and this is where some mixed media work of mine has come from. This is just a game, just playing to try to figure out how things work in life, my little investigations, human perception. I don’t like to stop. People’s reactions are really interesting, but for me they are unnecessary. Read the entire Interview with Croatian-based photographer SNJEZANA JOSIPOVIC here.
Alan Dejecacion is an editorial and documentary photographer from San Francisco, California. See more of his images here.
The last year or so I’ve really been enjoying working on street portraits. I always carry a camera whenever I step out and have been fortunate enough to meet some really interesting characters; family is always around so I’ve been documenting them also. Basically looking for trouble, the truth, and a fun time. Thanks very much for dropping by.
All images ©2011 Alan Dejecacion
Being a photographer is not defined by art school degrees, or bound to rigid expectations and judgments. A photographer experiences life, friends, cultures, and captures the briefly passing moments of time. Photography allows me to appreciate the momentary, forever documenting a tiny portion of the joys of living. Currently I am fascinated by the stories portraits tell, and the use of natural colours and light to evoke emotion. I live and travel a natural film life from the san francisco bay area to tokyo, where film, love, and friends guide me back and forth.
The Society to Protect Japan
Their opinion is:
“The Pacific War is not invasion. It was the holy war for releasing Asia from Europe and America. We deny Tokyo War Crimes Tribunal and the Constitution of the State of Japan.”
I am glad that they are NOT my friend. These are the typical ways of thinking of the right wing of Japan.
A country makes a mistake like our Pacific war. Acknowledging mistakes of the country is not treason. On the contrary wrong patriotism ruins a country. That’s the precept which the World War II taught us.
“I am not looking for perfection in my work; I like the near misses much more.”
In Love With DeathDia de los Muertos, All Souls’ Day, Defuncts’ Day, Commemoration of the Faithful Departed, Samhain, Halottak Napja in Hungary, Yom el Maouta in Lebanon, Obon in Japan, Hungry Ghosts Festival in China, Ullambana in ancient Sanskrit. Wherever you come from and whatever you call it, it’s a celebration of the universal themes of humanity: Mortality, Sexuality, Violence and Memory.
If the famous erotic Chinese artist Zhou Fang and the famed calavera artist José Guadalupe Posada had a love child it might be Tim Lee. Playing with perspectives, form and compositions that are at a glance familiar to traditional Chinese painting, Lee seeks visual harmony between two cultural aesthetics. The U.K.-born Lee is of Chinese descent and attempts to reflect Chinese history and culture in his paintings, by drawing from the memories of his upbringing and stories from his family. As a result his work operates as a series of “projected nostalgias and exaggerated narratives that create a vivid sense of the past, a historical tale or a lyrical dream.”
Samhain–the Gaelic Harvest Festival–in particular speaks of the end of the lighter half of the year and beginning of the darker half. From light to dark, male and female, birth and death, Tim lee’s art mingles in the subtle shadings between two worlds. Where the ephemeral lilt of romance meets death is Lee’s territory. Where others stop, Lee continues, going farther than mere derivative suggestion of the Shunga-esque sexual depictions or the Calavera death-masks of the past and ventures forth into new forms of social, cultural and artistic miscegenation. Here the beautiful and violent dance in which we must all join hands is the inevitable jig of death.
He goes on to say:
“I am influenced by early photography as well as Chinese and Western paintings, I interpret and re-work classical imagery into contemporary compositions. The techniques employed to create my work are again an attempt to understand my heritage. I use basic materials such as ink and rice papers to pay homage to the tradition of Chinese painting. The compositions, forms and rhythms of classical Asian art echo through my work, intertwined with a Western sense of realism and perspective.”
See more work by the artist here.