Yulia Naganova
LandE scape
CONTEMPORARY ART REVIEW during a couple of minutes when I didn’ t have time to think and analyze. Something clicks inside and I shoot. But there are others, which were created when I was following the particular idea and created the picture from my head( heart?) But there is an emotional component, which unites these 2 groups. I believe that the viewer feels something in both cases.
How much importance has for you the aesthetic problem in general? in particular, are you attracted by objects which encapsulate cultural meanings or are you rather interested to the visual nature of the images you capture?
The aesthetic problem is very important to me. And not only in photography I should say. It’ s the first component I pay attention to while examining someone’ s works and creating mine. Those pieces of art are interesting for me, which make me feel. Feel even in case I don’ t know what the author wanted to say with this piece of art. I’ m talking about the fine art, not documentary one. If I need to read several pages of paper to get the idea of the photo, I don’ t understand what is this photo for. Photography is a visual language and picture should be enough for speaking with the viewer. It should speak for itself.
As you have remarked once, the only instrument you use for creating photographs is your smartphone: obviously, this allows you to capture the moments you live in a gestural, almost istinctive way. So we would take this occasion to ask you if in your opinion personal experience is an absolutely indispensable part of a creative process... Do you think that a creative process could be disconnected from direct experience?
Yes, it’ s true. The smartphone is the only instrument I use for taking pictures and editing them. As for the personal experienсe, it always affects the mood of photographs. All the changes in the artist’ s life will be reflected in their artworks at the end. Even when I edit the same photo while being in 2 opposite emotional conditions, the results will be completely different.
When showing clear references to perceptual reality, your work always convey a vivacious surrealistic feeling that provide with dynamism the representative feature of your works. The way you to capture non-sharpness with an universal kind of language quality marks out a considerable part of your production, that are in a certain sense representative of the relationship between emotion and memory. How would you define the relationship between abstraction and representation in your practice? In particular, how does representation and a tendency towards abstraction find their balance in your work?