When I look at the work of others Im either immediately drawn or disinterested. When Im drawn I read about the background of the work and then my love can grow because of the story behind it. I love it when work is highly personal and either spontaneous or carefully planned out. But what I always need in order to appreciate work is to feel the commitment of the photographer behind the picture his love for his subject.  Only the Sky Remains Untouched by Claire Felicie (4/4)

Only the Sky Remains Untouched by Claire Felicie (4/4)

When I look at the work of others Im either immediately drawn or disinterested. When Im drawn I read about the background of the work and then my love can grow because of the story behind it. I love it when work is highly personal and either spontaneous or carefully planned out. But what I always need in order to appreciate work is to feel the commitment of the photographer behind the picture his love for his subject. Only the Sky Remains Untouched by Claire Felicie (4/4)

Loss is the central theme in my work. Loss of innocence loss of support loss of loved ones loss of illusions and dreams. Very early in my life I lost those close to me; when Im only four years of age my mother dies of cancer. Im confronted with death hitting suddenly and people leaving abruptly without saying goodbye. These events are a major influence on my work. How do we deal with grief misfortune failure and disillusionment and how do we cope with these life-changing events?  Only the…

Only the Sky Remains Untouched by Claire Felicie (3/4)

Loss is the central theme in my work. Loss of innocence loss of support loss of loved ones loss of illusions and dreams. Very early in my life I lost those close to me; when Im only four years of age my mother dies of cancer. Im confronted with death hitting suddenly and people leaving abruptly without saying goodbye. These events are a major influence on my work. How do we deal with grief misfortune failure and disillusionment and how do we cope with these life-changing events? Only the…

I had already decided not to shoot with an ordinary camera stand alone with a digital one. I wanted the shooting atmosphere as calm as dedicated and as ritual-like as possible. So I went out for a large format analog Technical Camera. I had already done a 3 months course at the Photo Academy in Amsterdam to be able to work with this specific camera. I and my assistant Julia Gunther set up the set and we kept a blanket at hand to warm our veterans during the shoot because the buildings were…

Only the Sky Remains Untouched by Claire Felicie (2/4)

I had already decided not to shoot with an ordinary camera stand alone with a digital one. I wanted the shooting atmosphere as calm as dedicated and as ritual-like as possible. So I went out for a large format analog Technical Camera. I had already done a 3 months course at the Photo Academy in Amsterdam to be able to work with this specific camera. I and my assistant Julia Gunther set up the set and we kept a blanket at hand to warm our veterans during the shoot because the buildings were…

My series is about military men and women who suffer from PTSD: Post Traumatic Stress Disorder due to their participation in UN peacekeeping missions to countries such as Lebanon Afghanistan Bosnia and Cambodia. I came upon the idea to portray them because of my previous series: Here are the young men (2009-2010). This series show the faces of young Dutch marines before during and after their deployment to Uruzgan Afghanistan. When this series was published I got a mass of reactions from…

Only the Sky Remains Untouched by Claire Felicie (@clairefelicie) (1/4)

My series is about military men and women who suffer from PTSD: Post Traumatic Stress Disorder due to their participation in UN peacekeeping missions to countries such as Lebanon Afghanistan Bosnia and Cambodia. I came upon the idea to portray them because of my previous series: Here are the young men (2009-2010). This series show the faces of young Dutch marines before during and after their deployment to Uruzgan Afghanistan. When this series was published I got a mass of reactions from…

While working on the project and getting to know the writers personally I recognized that the mysticism and tension of the topic graffiti was blurring more and more. Somehow the process was leading to a demystification and a loss of tension of the unknown which is undoubtedly one of the most exciting and essential parts of graffiti writing. Like Susan Sonntag wrote in her book On Photography: To photograph people is to violate them by seeing them as they never see themselves by having…

Burning Down the House by Norman Behrendt (4/4)

While working on the project and getting to know the writers personally I recognized that the mysticism and tension of the topic graffiti was blurring more and more. Somehow the process was leading to a demystification and a loss of tension of the unknown which is undoubtedly one of the most exciting and essential parts of graffiti writing. Like Susan Sonntag wrote in her book On Photography: To photograph people is to violate them by seeing them as they never see themselves by having…

While photographing the writers with my Hasselblad I began to ask myself if there might be a different approach to ask the writers for a portrait. I chose the Polaroid as probably the most honest and trustful process of photography. One image  no copies a one of a kind. For the Polaroid portraits I photographed the writers infront of tiled walls in the subway stations of Berlin. To me these tiled walls function as a symbolic backdrop  a smooth and easy-to-clean surface which gets an allegory…

Burning Down the House by Norman Behrendt (3/4)

While photographing the writers with my Hasselblad I began to ask myself if there might be a different approach to ask the writers for a portrait. I chose the Polaroid as probably the most honest and trustful process of photography. One image no copies a one of a kind. For the Polaroid portraits I photographed the writers infront of tiled walls in the subway stations of Berlin. To me these tiled walls function as a symbolic backdrop a smooth and easy-to-clean surface which gets an allegory…

Instead of accompanying and photographing the graffiti writers on their nocturnal adventures even forgoing the depiction of the graffiti itself I decided on a quieter alternative to give the writers freedom to choose where and how they were photographed. The resulting photographs reflect on the tense relationship between visibility and anonymity recognition and ownership.  Burning Down the House by Norman Behrendt (2/4)

Burning Down the House by Norman Behrendt (2/4)

Instead of accompanying and photographing the graffiti writers on their nocturnal adventures even forgoing the depiction of the graffiti itself I decided on a quieter alternative to give the writers freedom to choose where and how they were photographed. The resulting photographs reflect on the tense relationship between visibility and anonymity recognition and ownership. Burning Down the House by Norman Behrendt (2/4)

Burning down the house is my first photographic project. It is a long term project on Berlins Graffiti Writers. I want to create the opportunity to engage with the writers their identities and their places of personal significance. The places that on the one hand serve as a stage for the writers in the portraits in which they present and create themselves and on the other hand that represent scenes and spaces of possibility which carry with them the potential of allegory and can be used as a…

Burning Down the House by Norman Behrendt (1/4)

Burning down the house is my first photographic project. It is a long term project on Berlins Graffiti Writers. I want to create the opportunity to engage with the writers their identities and their places of personal significance. The places that on the one hand serve as a stage for the writers in the portraits in which they present and create themselves and on the other hand that represent scenes and spaces of possibility which carry with them the potential of allegory and can be used as a…

Seeing the portraits all together  they show an explosion of personalities. Creating a dialogue with the interior and their members. They are fused with the locations. I felt the need to exclude them from it with the portraits. Deleting the background noise by putting them in a studio surrounding it became more confronting who these people are. A power shift: since they would pose with their arm becoming an attribute and me shooting a portrait of them.  It takes my mind off things by Robin…

It takes my mind off things by Robin Butter (3/4)

Seeing the portraits all together they show an explosion of personalities. Creating a dialogue with the interior and their members. They are fused with the locations. I felt the need to exclude them from it with the portraits. Deleting the background noise by putting them in a studio surrounding it became more confronting who these people are. A power shift: since they would pose with their arm becoming an attribute and me shooting a portrait of them. It takes my mind off things by Robin…

I am very inspired by the timelessness of things and places the feeling of nostalgia the importance of history the depth. A lot of that brings me back to my childhood too. Its a sense of familiarity that I can relate to. Its easier to manage things that I already understand well. There needs to be meaning in the images that I make even if this meaning is not immediately obvious to the viewer. Nostalgia is a very psychological thing.  Andrea 2014 by Sebastian Cvitanic (4/4)

Andrea, 2014 by Sebastian Cvitanic (4/4)

I am very inspired by the timelessness of things and places the feeling of nostalgia the importance of history the depth. A lot of that brings me back to my childhood too. Its a sense of familiarity that I can relate to. Its easier to manage things that I already understand well. There needs to be meaning in the images that I make even if this meaning is not immediately obvious to the viewer. Nostalgia is a very psychological thing. Andrea 2014 by Sebastian Cvitanic (4/4)

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