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드뎌.
사진에서 캐스팅이 관건이 되어가고 있는 중이란.
정확한 라이트 콘트롤에 정묘한 캐스팅만으로도 단시간안에 훌륭한 시리즈를 만들 수 있음을.
컨셉이 사진에서 중요한 몫임은 부인할 수 없지만, 그것이 드러나게 되는 가장 유용한 방법중 하나가 캐스팅이 되잖을까.
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出: zoom-net.com
Pieter Hugo뭩 portraits are fragments of mirrors. Looking at them closely, those light-colored, clear eyes, that hair that is not quite any definable color and that fragile, delicate skin put us in touch with ourselves, bringing us to size up our own fears and prejudices. As a result, we ask ourselves to what extent dialogue with others always contains an element of challenge and sacrifice뾲hat putting our own identity on the line and giving up those insignificant trade-offs that only offer short-term compromises.
Through photography, Hugo steers us towards a real encounter with diversity.
Approaching diversity is one of the most important social and cultural issues of our day. During this period of large-scale migration, even ethnic minorities such as albinos cannot avoid coming into contact with others. Time will only tell if this is a good or bad thing, but now, with these differences out in the open for all to see, it is too early to know.
There exist two predominant ways in which we create a rapport with others, with those different from us. The first is through assimilation based on incorporating them, causing them to lose their roots and reducing their own identity. The second is multi-cultural in nature that recognizes the differences that exist between cultures뾢ach stays within its own fence without causing problems for the others. Socially and culturally, both of these approaches are based on diffidence and experience 뱋therness?as a danger to be overcome or isolated. They represent the victory of prejudice and ignorance.
There is, however, a third constructive approach based on dialogue and open encounter in which the ideas of all are put to the test and the prejudices we all inevitably have rise to the surface. This opens the way for otherness to manifest itself as an identity. And this way leads to cognizance and trust.
Hugo뭩 artistic work is part of this type of reflection. All those involved in cultural mediation play an important role in social interaction. The artist, using means of expression that are more direct than that of the written word, can have a more immediate impact. In this sense, Hugo뭩 portraits are emblematic. In his latest work involving people who are albino, he has gathered together portraits of albinos taken during his trips to South Africa, Malawi, Brazil, Greece and Great Britain.
Albinism is a genetic condition that can affect men and women of all races and involves an insufficiency or lack of melanin, the substance that provides skin pigment. Its side effects include higher levels of skin sensitivity, risk of skin cancer and eye problems. But the greatest difficulty the members of this minority face is the ignorance and prejudice that forces them to live as outcasts from the human race, experiencing this xenophobia at skin level, as it were.
Pieter Hugo, South African by birth, has recently completed a two-year period working in the photography department of Fabrica. His main interest is in documentary and social photography, with special emphasis on African themes such as child slavery in war-torn Sudan and maximum security psychiatric hospitals in South Africa. He has also prepared a reportage on Kurd refugee camps in Italy. His client list includes the World Health Organization, UNICEF, AntiSlavery International and The New Yorker.
I n t e r v i e w
ZOOM: The portrait is one of the most difficult themes to take on photographically and artistically, but your images emphasize how a portrait can still offer tremendous surprises and emotional impact, not because the person in the portrait has something special about them, but because your photos are engendered in a way that courageously helps to look at courage, which not everyone is used to doing.
I feel that the people in the photos are unique and special in some way or another뾵hether it be exotic or a beauty that exists within the banal. To me it is extremely important to have some sort of relationship with the subject. I generally find that the people I photograph want to have their portrait taken; it is the exception that someone declines an invitation to being photographed.
They definitely benefit emotionally from the photographic dynamic. There is always an acknowledgment of the presence of a photographer in my portraits.
What is it that urges you to take on social issues?
I grew up in an extremely politicized society. My youth was spent in South Africa when it seemed as if a civil war was inevitable. In some way or another this has defined the way I look at the world. The discrepancies between those who have and those who have not are much more obvious in the developing world. When one compares some of the portraits of those afflicted with albinism, something that becomes apparent is how we live in conflict with nature뾞 fact which is borne out even more strongly in harsh economic realities. When one compares people with albinism from the First World (where they can afford to buy sun cream to protect their skins) with people from the developing world (who cannot afford such luxuries), it is evident that the impact of this affliction, as well as the propensity to deal with it, is directly linked to economic circumstances.
Although albinism is a manageable affliction, people in the developing world generally have far more immediate needs (obtaining food, water, etc.) and so often cannot take the quite simple precautions necessary to lessen the impact of living with albinism.
What is the current social and photographic situation in Africa?
The current photographic and fine art industry in South Africa is extremely healthy when one compares it with many developed countries. In many ways the culture of resistance during the apartheid years bred a type of documentary and socially cognitive approach to photography. To me documentary photography is the apex of contemporary art in South Africa.
To what extent did a difficult social situation push you to use a camera in order to make a contribution?
To be honest, my social situation was quiet ideal. I grew up in a very privileged society where, on the basis of race, I had preferential treatment. But even as a child I realised that something was not right and that it is impossible for a system such as this to perpetuate itself indefinitely. Most white people chose not to acknowledge what was happening around them because they benefited directly from a system that branded others as inferior to them. The first photos I ever took when I was a child were of people who live on the street, so I guess that my work has been socially driven from the outset.
What do you expect from photography?
I expect to be surprised.
We each have just one life to live. Leaving your imagination free to roam, how would you like to shape yours?
I simply want to continue taking stimulating photos.
What kind of equipment do you use뾡igital, analog?
Analog, mostly medium and large format, but I'll go with whatever will work best in helping me communicate my vision. To me it is the same as the difference between using oil paint or watercolours.
What kind of cultural and photographic training or studies have you had? Are you in contact with other photographers from South Africa or other places in order to exchange views and experiences? For example, I am a great friend of Roger Ballen. Do you know him?
I am mostly self-taught. I am in constant contact with other photographers. I don't know Mr. Ballen personally, but respect what he is doing. Generally I find photographers to be difficult people. I enjoy comparing work and honest criticism. I respect South African photographers and artists David Goldblatt, Jane Alexander and Guy Tillim.
What projects do you have for the future?
I am planning a project about the genocide in Rwanda.
by Rosanna Checchi
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