Originally the idea of Like Ice in the Sunshine came to me on a hot and sunny day at Bondi Beach, while I was observing other sunbathers. With my artist residency in Venice Beach, I could find further observations and inspirations. Sydney and Los Angeles are both situated on almost the same latitude, which also allowed me to shoot in similar sunlight.
I was deliberately trying to make images that were commercially uncommercial. I looked carefully at advertising photography, which was very specialized, slick, contrived, and polished. I decided to work that look and feel into my own studio constructions by using a large format camera and elaborate lighting setups.
Melissa Spitz is a working photographer from St. Louis, Missouri, who is now based in New York City. In her series You Have Nothing To Worry About, Melissa photographs her mother, who struggles with ever-changing diagnoses of mental illness and substance-abuse.
From the sleepy streets of Kraków, to the bustling boulevards of Paris, #Dysturb has become a force to be reckoned with. Armed with glue, this team installs large-format, black and white, current photojournalism pieces, which speak a universal language.
As a kid, I would enter the woods as an eleven year old with two dogs and a complete thought of fascination and fear. I was scared the whole time, I was constantly hiding and searching and catching things. If I heard the slightest noise, I would hide. You know, as a kid, fear is sort of fun, theres' something exhilarating about fear.
So talking about the South Bronx, even though that was far from being an immediate realization, was a natural continuation of what I was doing before. I’m also very interested in how people organize collectively to assert their voices and rights.
I'm not sure what specifically drew me to it. I've been taking photos for as long as I can remember. I have always loved anything that has to do with creating cool visual pieces. Photography just so happens to be one of those things. For a long time I have found that I disagree with everyone else around me. I’ve always believed there is always much more to a subject and therefore I will not stop questioning it. The best way for me to question and think deeper about a subject is to create something based on the issues.
From the beginning I knew I didn’t want to make typical aerial landscape photography. I didn’t even bring wide lenses with me. Instead, I wanted to look closely, to examine the land, to make an investigation by slicing it into smaller pieces. Nevertheless I had no idea what I would encounter. I had never seen the landscape from that exact perspective before as the flight is different from commercial flights.
Originally, I don’t think there were any intentions. I started out with ideas that were revealed through the process of play. Those ideas consequently informed the subsequent work; eventually a set of intentions evolved out of the process.
And from there we make stories, recall something deep in our memory now passed, and we connect because the boy who we do not know, who we may even judge, made us feel for a moment. I can't overcome the representation of identity, but I can hopefully, look at the the ways in which each of us is susceptible to cultural expectations, ideals, and pressures and their internalization.