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Showcasing stunning photographic artworks, as well as drawings and mobile photography from 6 international artists.
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Issue 6www.tzipac.com
Allison PistohlGene HollanderJane SchultzNico ChiapperiniHidetoshi YamadaAndrea Simoncini
© Hidetoshi Yamada
TZIPAC is the publisher of the 43mm magazine. As the magazine is mainly filled up with third parties content, TZIPAC is not liable for any editorial error, omission, mistake or typographical error. In the case of advertising material supplied, we as publishers, make no representation and provide no warranty as to the accuracy of descriptions or offers within. As publishers we accept no liability for any loss, which any person may incur while relying on the accuracy or description of any statement or photograph herein.
The views expressed by all contributors are not necessarily those of the publisher.
Copyright: All of the content published in the 43mm magazine is subject to copyright held either by TZIPAC in the whole or in part by the contributing photographers, artists and contributors. None of the photo or content can be downloaded, stored, printed, manipulated, distributed or used in anyway without the writtent consent and permission from the copyright holder. The works published in this magazine or on the TZIPAC website/s are protected under domestic and international copyright laws and are not considered as public domain.
TZIPAC and 43mm magazine assume no legal liabilities whatsoever for the works of the contributors.
R18+This magazine may include NUDITY, EXPLICIT materials of ADULT nature that is not suitable for everyone. The materials are included to showcase artistic impressions but may otherwise be offensive to some parties.
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43mm Magazine is always on the look-out for outstanding artists from around the globe to show case, as well as sharing exciting news about the creative world with our members and readers. If you would like to submit your work, or recommend another person’s work to us, please feel free to send your submission to [email protected], and the editorial team will respond accordingly on the suitability of the recommended content for our 43mm magazine. The focus for our content is mainly targetted towards
photographic materials, including mobile, digital and conventional arts, as well as digital arts, such as digitial painting, manipulation etc.
We look forward to seeing your submissions and we thank you in advance for contributing to the 43mm and helping us bring inspiring and fascinating content to our members and readers.
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Join us to celebrate the beauty of Black and White Photography
Grand Prize $2000
$1 Entry Fee for Stage 1
Closing Deadline: 31 December 2014
www.tzipac.com
The team at TZIPAC is proud to announce our next Exposee as we seek to find the very best in Wedding and Portrait photography images from around the world.
With an average of over 10,000 weddings every day around the world, we want to showcase the ever-changing facets of wedding photography - from the old to the
new, the strange and the arty, and many more.
So please, share your work, join us, and together, let’s celebrate the beauty of wedding and portrait photography.
Closing Deadline: 31 October 2014
www.tzipac.com
FREE SUBMISSIONSup to 10 images per category
Allison Pistohl
How did you start on your mobile photographic journey?
I bought my first iPhone in 2010. I knew nothing about it. I knew nothing about smart phones. I knew nothing about apps. I knew nothing about photography.
But the iPhone was so easy to use. It was so easy to learn about using apps, it was so easy to take and manipulate photos with random filters. I had been searching for a new creative outlet after the birth of my first son earlier that year, and this was it. I quickly got hooked and wanted more.
I searched the internet to research what photography apps other people were using and discovered Karen Messick’s mobile art and then iphoneart.com, an amazing site filled with amazing artwork all created on mobile devices. Wait, I could create art on my iPhone? Not just cool looking photos of my child? I knew immediately that I needed to be a part of this. I dove into the mobile art world and never looked back. I bought
every kind of photo manipulating app there was and every night would sit for hours learning how to use them and editing and posting images to iphoneart.com. My husband thought I had gone mad, but I loved it! For two years I edited photos, posted them to websites and entered them in competitions. My work got chosen for exhibits and featured on blogs. It was great, but I never called it art. It was a fun hobby that I was really good at and other people seemed to enjoy what I did too. Then two years ago I got restless. I saw what amazingly creative things other people were doing with their images and I wanted to do that. I wanted to make art. It took me a while to find my way, to find my style. There was a lot of frustration, a lot of second guessing myself, but when I finally stopped caring about what anyone else thought of my work, I found it. I found my art.
© Allison Pistohl
© Allison Pistohl
© Allison Pistohl
Your artworks are very abstract. How would you describe your artworks? Where did you get this inspiration/idea?
I would describe my work as “other worldly”, but strongly focused on intense human emotions. Mobile art is an amazing story telling medium. When I create a piece I am creating another part of a bigger story. This story going on in my head fuels me in my work and my work fuels the story as well.
How did you start creating the style in your photography and why?
When I started using slow shutter apps to capture images I fell in love with the deformed human shapes produced in the pictures. Eventually I started cutting the figures out so that I could mold them the way I wanted. In this way my art became focused on the figure itself. I gained full control over its shape and could add in any new elements I wanted.
© Allison Pistohl
Can you share with us the adventure of experiementing and finally arriving at your current preferred style?
Early in 2012 I began to divert from this being just a hobby. I started to experiment with different styles of editing. I tried a lot of collage work and layering images on top of each other. Instead of throwing random apps onto an image, like I use to do, I put a lot of thought into what I wanted the end result to be. I created a lot of really bad stuff, but I was learning along the way. It did get really frustrating at times, but I kept going. I started experimenting with slow shutter apps. That was a big changing point for me. I loved what could be achieved just by shooting this way. By summer of that year I was getting the hang of it. I really felt I was finally finding my way. I started cutting the figures out of my slow shutter images, elongating their legs, cutting off their arms, shaping their bodies. My images started to inspire stories in my head, whole new worlds with a new kind of humanity. But then I took a long break off from mobile art in early 2013. The last few months of my pregnancy with my second child got a little complicated. I lost all inspiration and didn’t get it back until about 3 months after he was born. I had it missed it though, and I came back with a bang. I feel like that’s when I really settled into my style.
© Allison Pistohl
How did you know that this was The style you want to continue working with?
Shooting with slow shutter apps is nothing new. A lot of people do it, and do it well. But I felt like what I was creating was suddenly something different. And I really liked it. It’s not everyone’s cup of tea, that’s for sure. My pretty edited sunsets always went a lot further with most of my family and friends, but this style fits with me. And like I said, I really like it. And really, in the end, that’s who most of us create art for, right? Ourselves.
© Allison Pistohl
© Allison Pistohl
How does your mind works when it comes to these creations? Do you envision the artworks before you take the photos and the components required to put together afterwards? Does the post editing requires a lot of playing around, or do you pretty know what to do immediately?
I never know what I’m shooting. I have two very active young boys who are with me almost all of the time. When I’m out in a crowded area I turn my slow shutter app on and start shooting pretty randomly. I have it set so the images get automatically saved to my camera roll. I don’t get a chance to look at what I’ve captured until both boys are in bed that night. I’ve grown to really enjoy shooting this way. It’s sort of like a treasure hunt at
the end of the night. Searching through the (many) images I had taken that day. Looking for good figures to use. It isn’t until I cut a figure out of its original image that I start to plan what I want to do with it. It’s about 50/50 whether I know right away what direction to go in with the figure vs. needing to play around a lot with it. I never know fully what I’m going to do, there’s always at least a little playing around in the post editing. When I’m out I take a lot of other photos too, with the built in camera app, of all sorts of things, backgrounds, faces, objects. When I don’t know what to do with a piece I’ll edit some of those images, It gives me inspiration for what other elements I want to add into my work.
Do you think its easier to create your artworks on mobile device than traditional cameras and methods?
If it weren’t for mobile devices, and the ease of learning to use them, I wouldn’t be creating this type of art. I know nothing about Photoshop and other computer editing programs, and really nothing about photography. I’m not a very good painter or sketcher. My background is in the Theater Arts. So for me it is definitely easier to create art on mobile devices rather than traditional ones. The best part about mobile art is it’s mobility. I don’t have time to sit in front of my computer screen and edit or sit in a workshop filled with supplies and canvases. I wish I did, but as a stay at home mom of two young boys I don’t have that much spare time.
© Allison Pistohl
© Allison Pistohl
© Allison Pistohl
© Allison Pistohl
© Allison Pistohl
© Allison Pistohl
When do you do your photography? How do you capture all the components required for your creations?
I mostly work on my art at night, after my children are asleep, but really I work on it whenever I can. That’s what’s so great about working on mobile devices. I don’t have tools to get out or a computer to be tied down to. I can open up my iPad and pick up right where I left off. I always have my iPhone with me, so whenever I see an interesting building or person or object it’s easy to pull it out and snap a photo. Especially these days with the world of Instagram, nobody looks at me funny for stopping to take a picture of feather lying on the ground.
Where do you constantly get your inspirations and ideas?
When I feel uninspired I go to mobile and traditional art websites and see what things other people are doing. Not so much for ideas for my own work, but rather their good art inspires me to make good art too. Going out and taking a new batch of photos works well to inspire me
as well. Also, looking back at my own portfolio often gives me ideas on what to do next. Since all my images are in a sense part of a bigger story, looking at them helps me know where to take that story next. Every couple of months I take a short break from my art. When I come back, it feels fresh again. Sometimes it’s hard to get back into it, the best remedy for that is to pick an image and just start apping.
Will you explore other creative methods for mobile photography?
I’m beginning to explore some new things when it comes to printing, different printing methods, papers, etc. I’m always open to something new, a new app, a new camera function, a new idea when it comes to the concept of art. I’m so excited that this medium has come so far so fast. Just a few years ago an image made with a mobile device was cool just because it was made with a mobile device, but the bar has greatly risen. I need to stay open to new, creative ideas if I don’t want to get left behind.
© Allison Pistohl
© Allison Pistohl
© Allison Pistohl
© Allison Pistohl
What is next for you?
Next for me is to get more pieces printed and up in galleries and stores. Places where people can view them physically, not just on a computer screen or mobile device. I’m looking forward to experimenting with different options for this. I’m also very excited to see how mobile art changes in the next few years. It has come so far, so very fast. I can’t image what new things we’ll be doing with it soon.
© Allison Pistohl
© Allison Pistohl
© Allison Pistohl
© Allison Pistohl
© Allison Pistohl
© Allison Pistohl
For more of Allison’s work, please visit the website below.
Allison Pistohlhttps://www.flickr.com/photos/olivecharlene/
Gene Hollander
Can you please give us a bit of insight about your photographic journey - how did it start and how has it been?
I have sampled a variety of photographic mediums since 1980, but was always drawn back to the beautiful and mystical qualities of shooting in infrared. I have consistently been shooting in infrared since 1983.
Your portfolio of images are just stunning and unique. So why infrared? What does infrared bring to an image, and the story?
Infrared can be used to enhance a particular subject matter. With the “American Dream” portfolio, it lends a certain retro and timeless quality to the subject matter. With the fashion images, the medium provides a glamour quality. For the ruins, infrared delivers a sense of wonderment.
© Gene Hollander
© Gene Hollander
© Gene Hollander
I assume you don’t photograph or present all your artworks in infrared. When do you decide that an image, a scene, a story, should be told through infrared?
I have three major bodies of work that I shoot in infrared: The American Dream, ruins - principally Mayan, and a fashion portfolio.
© Gene Hollander
© Gene Hollander
© Gene Hollander
© Gene Hollander
Can you give us some insight into your workflow, especially theediting process?
That is a good question. I may take hundreds or thousands of images of a particular subject and only use a few. My editing choices are very basic - the image should be simple - the fewer distractions, the better. It has to be compelling. I also require a strong tonal quality.
I print on a house brand of luster paper, usually 11 x 14. I have enlarged a number of the images on metallic frames through Bay Photo to about 24 x 30 and they look stunning.
© Gene Hollander
© Gene Hollander
© Gene Hollander
© Gene Hollander
© Gene Hollander
© Gene Hollander
© Gene Hollander
© Gene Hollander
© Gene Hollander
© Gene Hollander
For more of Gene’s work, please visit the website below.
Gene Hollanderhttp://www.ghinfraredphoto.com/
© Gene Hollander
Join us to celebrate the beauty of Black and White Photography
Grand Prize $2000
$1 Entry Fee for Stage 1
Closing Deadline: 31 December 2014
www.tzipac.com
The team at TZIPAC is proud to announce our next Exposee as we seek to find the very best in Wedding and Portrait photography images from around the world.
With an average of over 10,000 weddings every day around the world, we want to showcase the ever-changing facets of wedding photography - from the old to the
new, the strange and the arty, and many more.
So please, share your work, join us, and together, let’s celebrate the beauty of wedding and portrait photography.
Closing Deadline: 31 October 2014
www.tzipac.com
FREE SUBMISSIONSup to 10 images per category
Jane Schultz
Can you share with us a bit about yourself and your mobile photographic journey?
I am self taught, having no formal photographic training. I joined the mobile photography community when I signed up for Instagram 3-1/2 years ago in my search to share with like-minded people. This lead to the formation of friendships and collaborations that changed the ways I approached photography and editing. I immersed in mobile iPhonography (now iOS). Through certain personal experiences and the connections I’ve made, I learned how to reach inside and rely on my own creativity, how to use light and shadows in imagery, and discovered layering, blending and texture. The apps were no longer there to create an image but as tools to bring out what I wanted to say in the image.
© Jane Schultz
© Jane Schultz
Your artworks are surreal and abstract, how did you make the leap from a single image to this composite form of art? Why does this appeal to you more than just a single image?
I believe that quality mobile artistry starts with a good underlying capture. It involves technique, composition, balance, light, texture..For me, these aspects involve skill and a good eye, but I find the capture alone only the initial expression of my creative process. It is in the edit that I really find the ability to channel my emotional state and creativity. They free flow, the image and edit take a mostly unplanned course, forming a new and altered perception.
© Jane Schultz
What do you see when you look at a scene in front of you, and when you hold a mobile device up to your eyes?
It depends on what I’m shooting. Sometimes I believe that it will fit into an edit style, but only working on it will show if I am right. Other times I look at shots as raw material, possibly to be juxt in for interest or as a background or texture.
© Jane Schultz
© Jane Schultz
The warp tools seems to be quite a fixture among your work, why does this appeal to you and how does it help in your images, your style?
I use a lot of blending and distortion techniques. Unusual body shapes can be unsettling, and draw the eye. I also like to shoot in slow shutter which gives an innate distortion to the capture. More recently, I have been using geometric collage work to “showcase” distorted facial elements.
Can you see the final composite image before you take a photo? Or can you see how a scene, an object. an element that is infront of your eyes can be used towards a story, a composition?
I see the potential for use of the image, sometimes as an element for use and more often as the statement. I see the capture and a concept, but not the finished edit. This concept often changes as I start to work with an image. I let each step take me to the next.
What are you trying to say in your artworks? Is there a unifying theme, a common message, or do you just want to explore the endless possibilities?
It is either an expression of something from inside or an exploration. I don’t theme based on subject matter, color, or apps. I do believe that we all have a style that is unintentional, however, and this creates a measure of unification to our work.
© Jane Schultz
How would you describe your work? What inspired you to developed this style of composition, creation?
I would describe them as expressive or emotive edits, many with an element of the abstract. Through experimentation and learning from other artists that I have admired, the journey continues to evolved. I have no formula. Creating an image is an unwinding process for me. I weave back and forth between apps, sometimes using several for just blending or depth alone, hitting a sweet spot and then moving to what is called for next at that moment.
© Jane Schultz
© Jane Schultz
© Jane Schultz
How has mobile photography helped you to become an artist? Do you think this would have been possible with just the conventional method of a camera and a computer?
I could never have imagined where mobile artistry has taken me or the creative possibilities it has provided. While I can take a better capture with a DSLR, staying pure to mobile pushes me to produce a higher level image with my own deeper meaning, something more than was present in the initial capture. The limitations imposed by a mobile camera push me to create with less to start with and from within. The ability to share both within a community and publicly in an instant is also revolutionary and, in my opinion, fundamental to the mobile art movement.
© Jane Schultz
© Jane Schultz
© Jane Schultz
© Jane Schultz
What now for you and your creativity?
Mobile artistry is already what’s next. As with many technologies, I believe the technology, the platforms, and the art itself will change rapidly. I also believe that mobile photography it will increasingly replace traditional cameras.
So, for me, what’s next is to enjoy the ride and be a part of it.
© Jane Schultz
© Jane Schultz
© Jane Schultz
© Jane Schultz
© Jane Schultz
© Jane Schultz
© Jane Schultz
For more of Jane’s work, please visit the website below.
Jane Schultzhttps://www.flickr.com/photos/phot0bug/
Nico Chiapperini
My mum was a teacher in a primary school. I was eight years old when I went with her on a school trip to a Jurassic Park for children. There I took some pictures of fake dinosaurs with my father’s SLR. It was my first time and I used two rolls of film. The day after my dad told me I could have bought nice postcards instead of wasting so much film and money. He did not have bad intentions, he later tried to encourage me, but I was a sensitive child and never touched a camera again for a very long time.
When I was twenty years old I was diagnosed with a bad disease. During the night after the surgery, my mum told me what I had, with courage and immense love. I did not sleep a single minute; I kept on drowning in a vortex of emotions and fears. Early in the morning I looked up to the window of my room: I noticed the white of the snow on some roofs and a blue sky, stained with purple finger marks and scratches. The glass, a little dirty, was filtering the light with beautiful effects. That image
gave me relief for a little while, but also a further sorrow, because I wanted to live and not stop seeing anymore.
That morning I started, or maybe better, I became again a photographer. Locked in that room, I observed the lines, the shapes, the geometries. I noticed the despair on the faces of my parents, my pain reflected on their eyes. I was suddenly aware of details and shades. I took several pictures during those days and the following years, but without a camera: having a piano in your house does not make you necessarily a pianist.
I had to wait until the day of my graduation in Aerospace Engineering in 2004, to get my first personal camera. On that occasion I got a digital compact one as a present from some friends of mine: I started taking pictures again.
At the moment I live in Amersfoort, The Netherlands.
© Nico Chiapperini
© Nico Chiapperini
© Nico Chiapperini
I travelled almost everyday for years on the same line.
I soon started spending all the time with my face on the window of the train. It was my portal to the outside world, my chance to run far from my annoying thoughts, but also a
door to my soul and a mirror for my most intimate feelings.
And the result was a diary of several emotional journeys.
From the train
© Nico Chiapperini
© Nico Chiapperini
© Nico Chiapperini
© Nico Chiapperini
© Nico Chiapperini
© Nico Chiapperini
© Nico Chiapperini
© Nico Chiapperini
Ubique Solitudo
This project has been developed for a long period and is about an inner loneliness which appears in different places and situations.
I was attracted by these images on a subconscious level, most probably because they are a mirror of a loneliness I experienced in the past, which comes back sometime, as a ghost of the memory.
To some extent I see myself as a voyeur of the loneliness: I believe that recognizing the solitude with obsession is a way to exorcize the fear, to relieve the sadness with the awareness.
Ultimately it is a trick to feel less alone.
© Nico Chiapperini
© Nico Chiapperini
© Nico Chiapperini
© Nico Chiapperini
© Nico Chiapperini
© Nico Chiapperini
© Nico Chiapperini
© Nico Chiapperini
© Nico Chiapperini
For more of Nico’s work, please visit the website below.
Nico Chiapperinihttp://www.nicochiapperini.com/
Hidetoshi Yamada
Please share with us a bit about yourself and your journey as an artist?
I started to work as an Artist in the beginning in 90’s. The most influential thing for my art work and way of living in 90’s was ‘Travel. I traveled cross Asian and European countries by road in the mid 90’s.
After my first big journey, I backed to Tokyo and planed to move to work in London. I moved in London in 1999. I had a number of exhibitions and collaboration works in London for 4 years and half. My experiences of working and life in London gave me creative spirits and diverse ways of thinking. I had to back to Japan in the autumn 2003, because for my visa problem. Since then I have worked in Tokyo and collaborate with the creators all around the world.
You are the first non-photographic artist to be featured in our magazine, so we would love to ask lots of questions about how your creative mind works. The first obvious question is, how does your mind actually work? What do you see, envisage, feel? What, where, who give you inspirations, and ideas?
Mainly my artistic work focused into paint and drawing by using basic materials such as Acrylic, watercolours and oil, etc... The most of my creative inspiration comes from my daily life. And my point of view has been influenced more social matters and journalism, in especially after 3.11 earthquake Tsunami and Fukushima Daiichi nuclear disaster in 2011. I love diverse culture and the places where coexist people have different cultural background. Ordinal and people struggle always gives me inspiration. I recreate and paint the theme through my artistic view, which I have got in daily life. I am looking at the place where I live and somewhere else for trying to see more diversified ideas.
© Hidetoshi Yamada
© Hidetoshi Yamada
© Hidetoshi Yamada
© Hidetoshi Yamada
As photographers, we only have cameras to start with, however, as a non-photographic artist, you have endless choices of tools. What are your favorite media and why?
I love traditional materials, because they used to relate more natural resources.
How hard is it to choose a medium for an artworks? How do you decide this is the right medium for this artwork?
Generally to choose right materials for the art work assumes my intuition, depends on the spirit of the art work.I don’t take much time to choose medium. And it is important to look for always new material experience too.
How would you describe your artworks? Is there a unifying theme?
‘ Water ’. ‘ Life ’.
© Hidetoshi Yamada
© Hidetoshi Yamada
© Hidetoshi Yamada
© Hidetoshi Yamada
© Hidetoshi Yamada
© Hidetoshi Yamada
© Hidetoshi Yamada
© Hidetoshi Yamada
© Hidetoshi Yamada
© Hidetoshi Yamada
© Hidetoshi Yamada
© Hidetoshi Yamada
© Hidetoshi Yamada
© Hidetoshi Yamada
© Hidetoshi Yamada
© Hidetoshi Yamada
© Hidetoshi Yamada
© Hidetoshi Yamada
© Hidetoshi Yamada
© Hidetoshi Yamada
© Hidetoshi Yamada
© Hidetoshi Yamada
For more of Hidetoshi’s work, please visit the website below.
Hidetoshi Yamadahttp://www.hidetoshiyamada.com/
Andrea Simoncini
Can you tell us a bit about yourself and your background, and how you got started on your journey into the art world.
My formation is as an industrial designer and after a few years of working in the field I felt I needed to get more directly involved in the creative process, so I started to create my own lines of artistic bronze jewelry making the pieces myself by using the lost wax casting system. This then led me to create my first sculptures using the same casting process. I also drew a lot and when I started concentrating on photography my taste in what I should portray was already quite well defined, it was only a question of time to get used to the new medium and make my first experiments and studies in order to get to the point at which I am now.
© Andrea Simoncini
Self Portraits
© Andrea Simoncini
Self Portraits
© Andrea Simoncini
© Andrea Simoncini
As it is your work is very interesting indeed. How would you describe your work?
The main theme of my current work is the interpretation of the female figure in an expressive and pictorial manner by the transformation of photographs through detailed digital post productions.
Has your work always been in this type of format/style? How did you arrive to this concept and/or story line?
My current art work has its origins in the drawings and sculpture work that preceded it. However, when I first started, the images were quite photographic, in the early portraits
I was very interested in finding subjects who had built a strong image of themselves through the use of body art work (tattoos, piercings, etc), clothing, style and make up and I worked on their expressions and gazes so that they seemed lost in beautiful dreams, as if they had transcended worldly pains and pleasures. As my work progressed so did my need to create more expressive images which would have a stronger effect on the viewer, this in turn led me to use more post production to emphasize those character traits, facial expressions and particular body shapes that I wanted to emerge.
© Andrea Simoncini
Your images mainly feature women and no men, is there a reason for this?
I’m actually in the middle of creating some more self portraits. My initial interest was in the Primitive Earth Mother and Paleolithic Venus female body shapes, so my work just followed from there and I simply continued to concentrate on portraying women’s bodies.
© Andrea Simoncini
© Andrea Simoncini
© Andrea Simoncini
© Andrea Simoncini
For photography, many of us try to find and capture the beauty that we see. In your images, your beauty somehow lies in the distortion of that beauty. Can you elaborate this further?
I find that those characteristics which make a body normal are what make it also interesting. So I don’t think of them as distortions, they are pointing in a very direct and exaggerated way to those characteristics which one would normally hide from a camera or the view of others. The characteristics that interest me most are those which one might show in the intimacy of their own homes or with a person one might feel totally at ease with.
© Andrea Simoncini
© Andrea Simoncini
© Andrea Simoncini
Some of your images are quite explicit and seemingly in-your-face, what are you trying to convey in such images?
Whether the image is explicit or not, my intention is to stimulate a strong feeling and reaction in the viewer, furthermore the image has to work for me and it has to resonate with a feeling inside of me. At times nudity which shows explicit details is coupled with an out of context expression and this might generate perplexity in the viewer, he might not know what to make of it but also be curious about it and have himself/herself ask what the image is about. I find all this adds to the interest that the image generates.
As an artist, do you worry about others being shocked by such explicit content and the in-your-face emotions? Do you worry about your images being well received despite the explicit nature? Do you find that you need to convince others of their artistic merits or do you prefer the images to speak for themselves?
My current art work has its origins I don’t really ask myself what others might think. As I mentioned earlier I like to create strong statements that will evoke a response in the viewer. As to what this response may be depends on who is doing the viewing and I’m not interested in controlling it. Many artists of the last century also created works which had explicit contents and they didn’t need to justify or convince anybody that something explicit could also have an artistic depth to it, neither do I.
© Andrea Simoncini
How do you find models for your images, especially for the more explicit images? Do you need to convince them that the images are for art and explain to them the artistic merits of the images?
Very often they find me, I like to work with subjects who want to see themselves interpreted by me, in my style, they might be interested in the experience of having someone bring out of them character aspects which they would not normally relate to directly. Those who know my work and want to pose for one of my portraits will accept what comes out. I don’t have to convince anyone, I simply say what kind of work might emerge and then it’s up to the subject to decide whether to be portrayed by me or not.
What advice do you have for other artists who would like to create something personal, but something that might be considered as controversial?
I think the important thing is to bring out the creativity from within and never give up, I keep on doing it over and over again, until the process gets more and more refined and each work approaches the goal within me, then this goal changes and a new one emerges and I work away at that new goal and so on.
What plan do you have for 2014 and beyond?
I’m currently working on more images of this series and am getting prepared for my next book of portraits, after that it’s all still a wonderful mystery.
© Andrea Simoncini
© Andrea Simoncini
For more of Andrea’s work, please visit the website below.
Andrea Simoncinihttp://www.andreasimoncini.com/
© Andrea Simoncini
Join us to celebrate the beauty of Black and White Photography
Grand Prize $2000
$1 Entry Fee for Stage 1
Closing Deadline: 31 December 2014
www.tzipac.com
The team at TZIPAC is proud to announce our next Exposee as we seek to find the very best in Wedding and Portrait photography images from around the world.
With an average of over 10,000 weddings every day around the world, we want to showcase the ever-changing facets of wedding photography - from the old to the
new, the strange and the arty, and many more.
So please, share your work, join us, and together, let’s celebrate the beauty of wedding and portrait photography.
Closing Deadline: 31 October 2014
www.tzipac.com
FREE SUBMISSIONSup to 10 images per category
