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 ?