Issue 8 of Télégramme is here – a little late but better late than never, so they say. It’s a compact issue this season, feature photography from: Dora Kontha, Marija Majerle and Michael Anaya – thank you, for agreeing to be featured and for lending me your beautiful work :)
Same deal as always: If you like this issue I’d love it if you would please considering sharing it. Tweet it, post it on Facebook, write a blog post about it – whatever you feel like doing is a-okay by me. I don’t make any money from this and I never will, but I’d love to share these artists with more people, and the only way I can do that is if you guys get on board too :)
Samantha Sealy is a 23 year old photographer, from Norwich, Connecticut. I find her photos compelling in their surreal composure and slightly eerie nature. Chills in all the right places.
Mainly I shoot with a Minolta XE-7, Pentax ME Super Se, Polaroid One Step, and Fujifilm Instax 210.
I’ve been taking photographs since I was 12, so about 11 years.
I’m mostly inspired by things that aren’t real. The way the world looks in a nightmare or a dream. The way the sky looks in a video game. I like things that don’t exist.
Landscape is my favourite. You don’t have to (but you can) connect with a landscape to take photographs of it the way you do with people. But for me, it’s just easier to connect and be comfortable with nature so it’s what I enjoy the most.
I would be involved with astronomy somehow. Whether an astronaut or an astrobiologist, I’m not sure. I’ve always been very interested in what’s beyond our galaxy and I’d love to discover new systems and constellations and stars. And I just really like it on an aesthetic level, I’d love to own one of those telescopes that you can use for astrophotography.
I’m not sure what I’m going to do. I hope to be a fine art photographer but from a financial stand point I’m unsure if that is possible for me at this point.
The best part about photography is that I enjoy it. It’s something that makes me feel good and it’s one of the only times where I’m not filled with stressful thoughts or consumed with negative feelings. It isn’t a release for me so much as a state of mind I don’t often have. And sometimes I feel that it’s the only thing people really like about me anymore.
Fear is my biggest motivation. Fear that I can’t do anything else because I’m not good at anything else. I’m afraid of failing and becoming another “starving artist” story or another person who majored in art and then ended up in a job they loathe because life happened and they had to feed themselves. I just don’t want this to be another life long regret in the end.
Jéremie Dru is a 28 year old French photographer, living in Paris. I asked him a few questions about his work, and this is what he said…
I have a Mamiya RZ67 – it is a medium format film camera. Originally, it was a camera that we used for studio shooting, but it is also very effective for street photography. It’s an analog camera (120 film) which offers a good quality of image.
I began taking photos when I was studying architecture, in 2005-2006. The camera helped me to build my view of the city, and understand the role of the architecture in the set which constitutes the city. It allowed me to stage the urban spaces at which I looked, at which I studied. I learned how to look at the architecture, at the material, at the relation at the light…
I’m inspired by literature, by cinema, photography, comic strips, paintings and sculptures. What affects me most are the works which question the perception of our environment, the artists who question what we consider to be real, who use the concrete to show the unspeakable.
I read many books which try to strengthen research in astrophysics, which touch the quantum physics. This research eventually highlights that the laws which structure the universe are not quite perceptible with our senses, so we have a vision limited by our environment. It is difficult for us to conceive that on the scale of the universe, the space and the time can contract, dilate, even bend…
Photography allows the capture of mouldable space-time. We can go against the will of the photographer to capture faithfully the reality by splitting up the seized spaces and the not inevitably linear times of exposure on a single photography. The photography becomes then the artistic technique, doubtless most to evoke these scientific theories which upset the perception of our environment.
To reveal imperceptible places, to merge spaces in the same portion of time, becomes then a game. The photography does not try to represent the reality any more, but the possible. I do not try to represent the various urban sequences, but the transition between these spaces, the passage from a place to an other one. I try to photograph the state of the traveler, and the way which has the city to exist through the journey, through our movement in the street.
I have always wanted to make video, a more complex medium because we do not produce a motionless work. It is a medium which requires a lot of time and investment.
I plan to travel through Germany to photograph the various urban landscapes, return to the Ruhr and work with the industrial megastructures. I would like to continue my research on the urban journey by working in other urban landscapes than Paris.
In parallel, I pursue my work as architect-artist within the collective gvng, which I established with 3 friends. We try to make the architectural discipline approachable, by representing it by different artistic mediums (photos, video, drawing, images) and by working on the collective architecture.
It is the possibility of capturing a portion of reality – whether it is a scene, a place, somebody, a moment – and to fix it in time. What is interesting about analog photography is the printing of the photo on a physical and real support: the film. Unlike digital photography, the photograph is printed on a material and existing support. It gives it a more authentic character. When I look at my films, it’s as if the photos that I took were real. The various layers of reality which I captured are inseparable, and live together on the negative.
It is the creativity around the representation of the city. Cities are the track of our civilisation on a territory. It is the representation of our society and our different systems. I like making and seeing images which celebrate this city, which puts it in movement, which question it.
You can find more of Jéremie’s work on his website.