Sign up to save your podcasts
Or
Share Juan Brenner - B-sides
Share to email
Share to Facebook
Share to X
Share to email
Share to Facebook
Share to X
Or
Juan Brenner - B-sides
It's challenging for me to talk about my pictures at the moment; I'm in the middle of a whirlwind, that's for sure; a whirlwind that I created myself. I want to focus on the kind of photo that made me be able to say; I am an artist.
Honest and straightforward photography, I find myself doing exactly the same kind of photography I was doing 20 years ago: uncomplicated photos, where composition doesn't really exist, and I can disregard technical details that only hinder my process.
The search for complicity, especially when shooting portraits, is the driving force behind my work. When I started to photograph "Tonatiuh" (my first project/book), I felt I had to move away from portraiture; I was very insecure about the process and about being able, after so much time, to create "the connection", that moment where you know what is going to happen; I didn't think I could handle the responsibility and the anxiety that the idea created in me.
I photographed for months without looking for who to portray, focused 100% on the landscape, territory and its light, its shadow.
The portraits came to me; the same curiosity that usually leads us to creation awoke in people, and magnetism that I can't decipher came into action and completely changed my work.
The portrait today is the most effective communication tool I have found; all my practice is directed to find those moments and making accomplices of the people who are interested in what I do.
I am currently editing my new work, and I run into a "problem": I have too many portraits at the moment to balance with details and "B sides," as I call them. My practice focuses on finding those "B-sides", that product that is not the "commercial", that is not the most "colourful", but when compared to the "singles" of music on Vinyl, many times the B-side was the best sounding; the piece that we identified with the most.
In this way, I make sure to cover the whole bed of conceptual pillars that I seek to develop. Precisely, with the portrait, the search for that alien image is forgotten by everyday life and sometimes rusted, not only by time and nature but more by oblivion and change of habits.
Text: Juan Brenner
Voice: Marcus O'Donnell (AI)
+ info
www.audiotecafotografica.com
View all episodes
By Isabel HernándezIt's challenging for me to talk about my pictures at the moment; I'm in the middle of a whirlwind, that's for sure; a whirlwind that I created myself. I want to focus on the kind of photo that made me be able to say; I am an artist.
Honest and straightforward photography, I find myself doing exactly the same kind of photography I was doing 20 years ago: uncomplicated photos, where composition doesn't really exist, and I can disregard technical details that only hinder my process.
The search for complicity, especially when shooting portraits, is the driving force behind my work. When I started to photograph "Tonatiuh" (my first project/book), I felt I had to move away from portraiture; I was very insecure about the process and about being able, after so much time, to create "the connection", that moment where you know what is going to happen; I didn't think I could handle the responsibility and the anxiety that the idea created in me.
I photographed for months without looking for who to portray, focused 100% on the landscape, territory and its light, its shadow.
The portraits came to me; the same curiosity that usually leads us to creation awoke in people, and magnetism that I can't decipher came into action and completely changed my work.
The portrait today is the most effective communication tool I have found; all my practice is directed to find those moments and making accomplices of the people who are interested in what I do.
I am currently editing my new work, and I run into a "problem": I have too many portraits at the moment to balance with details and "B sides," as I call them. My practice focuses on finding those "B-sides", that product that is not the "commercial", that is not the most "colourful", but when compared to the "singles" of music on Vinyl, many times the B-side was the best sounding; the piece that we identified with the most.
In this way, I make sure to cover the whole bed of conceptual pillars that I seek to develop. Precisely, with the portrait, the search for that alien image is forgotten by everyday life and sometimes rusted, not only by time and nature but more by oblivion and change of habits.
Text: Juan Brenner
Voice: Marcus O'Donnell (AI)
+ info
www.audiotecafotografica.com