“What does that represent? There was never any question in plastic art, in poetry, in music, of representing anything. It is a matter of making something beautiful, moving, or dramatic – this is by no means the same thing.”

Fernand Leger

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“The photos are taken from the portrait series “Protected Privacy – Protect Yourself!” which I commenced in 2014.
The series addresses how young people deal with today’s media. As “digital natives” their use of the information possibilities offered by the Internet and social networks comes easily and natural to them. At the same time, through the use of social media, information is also being fed to this media. The people document their life, show where they currently are, usually live, how they celebrate and what they eat and wear.

In my portrait series the person and portrait as the viewer’s source of information and reflection are the aspects that interest me.  My work primarily concerns information that is unnaturally suppressed, obscured and hidden, which is not received by the viewer and leads to some irritation. Additionally I am interested very much in reduction and simplicity, sometimes reducing the portrait of a person to a sculpture. When the people realize that the portraits I take do not show a kind of masquerade but rather simply reduce the person by “protecting” itself they very often start to interact with me and come back to me with their own ideas. I have the impression that seeing their portrait framed on a wall the people are much more sensitive about themselves and the information that can be taken from the picture than by posting it to the Internet – although it is the same image.

All digitally recorded portraits in the series “Protected Privacy – Protect yourself!” are captured in a daylight studio without artificial lighting.”

Stefanie Minzenmay

 

“This series is the glance I carry with me, the one that forever peeks back into the world of childhood. Through these photographs, I rewrite my own history like an intimate walk, finding back the games and attitudes and moments that I lived and now try to observe.

The time-frame which I focus in on is located roughly between early childhood and the preadolescent period. The exact details and forms take rough shape throughout the series. Largely, it is a poetic world: one where lightness, loneliness and insouciance mix.

Today, I am attentive to be only an observer, remaining on the edge of the magic and mysterious world of childhood. I tried to play between the attitudes of my daughters and my own personal feelings. While I photographed their universe, I sought through them to reshape the memory of my own (of which I have very few recollections).

My choice of camera (Holga, mostly) seemed well adapted to the subject. Also, in order to translate the transitory nature of my feelings, I sometimes used double exposures.

In the end, to be able to return to a universe where all is still possible—that was my ultimate goal.”

Isabelle Levistre