© Alnis Stakle from the series 'Neither Horse Nor Tiger'

What about your educational path? Did it have any impact on you? Any lessons learned?

Alnis Stakle (AS): Education certainly changes a person. I began with physiotherapy studies, later on I turned to pedagogy and arts pedagogy. My doctoral thesis was about media literacy. Indirectly, of course, my education has also affected my approaches to photography. I would like to note that previously it was not possible to study photography at a university level in Latvia. If I had had an option of studying photography, I might have made different choices.

From a methodological point of view, what is your approach to the medium? How do you envision or conceptualize the projects?

AS: There are a number of components that are important for me in each project: the idea of the project must be related to my personal experience, the project should feature some collectively important social policy issues, and it also ought to confront the viewer with the ambiguity of the language of photography.

© Alnis Stakle from the series 'Neither Horse Nor Tiger'

Do you privilege any camera or process in particular? Tell us about your equipment ...

AS: Different technologies impact the rhythm and pace of the photo shooting process. I enjoy using different analogue and digital camera formats. This series has been produced by using analogue medium and 35 mm cameras.

Does research play any significant role in your practice?

AS: Always. In the early stages, I always try to find information about ideas, other artists, and technology. Later on, I spend more time working to find my own unique solutions to the narrative and the technical code of the images.

Tell us about the project 'Neither Horse nor Tiger' selected for the Urbanautica Institute Awards? What is the motivation and the theme you addressed?

AS: The truth is that after several trips to China, I have realised that I will never grasp its breadth, diversity and culture. To some extent, the title of the series describes a state of confusion that may be experienced by any traveller or explorer who faces the unknown. Usually, the essence of my works is in searching for myself, whatever it means. Purposeless rambling is a strange, exhausting but mind-triggering ritual and meditation that helps me be aware of myself as part of my surroundings. The works are based on observation of daily rituals of local residents in urban neighbourhoods. In my opinion, the mundane everyday events are the most authentic in describing a place, event or culture. The works have gained an additional dimension in the Covid era with its restrictions on social interactions, because many of my black-and-white, night-time photographs focused on and explored people's contact in the streets. My attention was captivated by dancing and exercising people, which was a frequent phenomenon in China. My intention was then altered because of a technical flaw, namely a broken shutter on my camera, which was disappointing at first, but later I embraced it as a natural part of the story.

© Alnis Stakle from the series 'Neither Horse Nor Tiger'

© Alnis Stakle from the series 'Neither Horse Nor Tiger'

This is not your first body of work related to China? Why? And how does this series intersect with previous observations?

AS: I have been in China several times, and somehow, I found it interesting to set apart the photographs taken in the daytime from those photographed at night. The reasons behind that are different, but underneath there is a sense that day and night are different and contrary states in time and space. The landscape, daily rituals, and the possibilities for interaction during the daytime and at night are radically different. They are like two different worlds, which, of course, are connected, but in the framework of my photographic story live partly separate lives.

© Alnis Stakle from the series 'Neither Horse Nor Tiger'

The booming economy and bulimic transformations of China have been depicted by several western photographers in the past two decades. What do you think is missing in this narrative? Pros and cons...

AS: I think we need to be aware that we are talking about a country that is home to a billion people, has several climate zones, myriad cultures, internal conflicts, various historically unresolved political and social issues. Like everywhere else, but the difference is in the scale. In theory, it is possible to live self-sufficiently in one Chinese metropolitan area without ever leaving it. I think even for local photographers, the scope of China is a huge challenge, let alone a Western photographer who is always just a temporary guest there - a voyeur. I think we have realised today that it is impossible to reveal any objective and universal anthropological truths about a culture through a photographic story. Yet a photographer can offer his or her own personified story, which partly describes the photographer itself as a person and spiritual being. Like a self-portrait that does not necessarily include the photographer’s own image, but lets you sense their presence through the idealistic and technical codes of the photograph. I do not think there is anything missing in the works of Western colleagues, but like in my own works, each of us has taken a slightly different path. When I explore my colleagues’ works, I always try to identify with the ideas and feelings of the photographer. If I manage that, then the photographs for me are a success. It is important that I feel the human personality behind the images, and then it helps me grasp the spirit of the places, events, and personalities portrayed.

© Alnis Stakle from the series 'Neither Horse Nor Tiger'

© Alnis Stakle from the series 'Neither Horse Nor Tiger'

© Alnis Stakle from the series 'Neither Horse Nor Tiger'

Your selection combines landscape views, with close up of people, objects. A quite diverse visual representation. Colored nightlife and rather dark black white insights. Mixel feelings emerge and the viewer is not driven through an alley but rather forced to question what he sees. From an editorial point of view, what choices guided you in the selection of the final portfolio?

AS: The narrative technical code is based on both estranged landscape sightings and black-and-white environmental scopes and portraits made with a point-and-shoot camera. Technical problems with the camera shutter made unexpected adjustments to the image aesthetics that led me to think about unscheduled narrative solutions. I would like to add that before I began shooting for this series, I was already thinking not only about arranging all pictures in one linear narration, but was also planning that the works would be a 3-D installation, so actually when I was taking the photos, I considered how my work would be displayed in the exhibition hall.

© Alnis Stakle from the series 'Neither Horse Nor Tiger' 

How does this work fit in your identity statement as a photographer and if relates any with your previous works?

AS: I think I have two types of works. One part, such as LSD, have been created in a very conventional way: by rambling around in familiar and unfamiliar places with a camera in hand. And then there are works such as Taxonomy of Fear that are born from conceptual searches, experimenting with both ideas and photographic materiality. Both of these approaches have coexisted side by side in my practice since the very beginning of my artist’s career. In my view, the works that were shot in China fit more in the conventional photographic tradition.

© Alnis Stakle from the series 'Neither Horse Nor Tiger' 

What have you learned from this project? And does it add anything to your understanding of the local people and their culture?

AS: It would be too ambitious and inappropriate to say that I have understood anything from China, but the same applies to my ability to understand the rest of the world. With a certain dose of self-irony, I can say that if I understood anything from the world, I would not need to take any photos. But seriously speaking, of course I have some kind of emotional understanding of China that cannot be rationally put into words.

© Alnis Stakle from the series 'Neither Horse Nor Tiger'

© Alnis Stakle from the series 'Neither Horse Nor Tiger'

The scenario in which photography is presented and discussed have changed considerably in recent years with the spread of ICT and the digital world. How do you relate to social networks and this expanded field of photography?

AS: It depends on the specific series of photographs. I have works that have been derived from social media images. The ideas behind this series are not directly related to social media culture.

It's not easy to pursue the authorial path, it requires time, energy and resources. What strategies do you adopt?

AS: For me as a father of two children, at present spare time, energy and resources are a great luxury. I have always thought that time and energy should be devoted to the things you believe in, even if it does not bring immediate return. Photography helps me survive in the broadest sense of the word.

Any interesting books that you recommend and that recently inspired you and why?

AS: I regularly buy different photo books and read various academic texts. One of the latest interesting finds is Nigel Poor's books, “The San Quentin Project” and Jan Hartmann's “Mastering the Elements.” Both books challenge me to think critically about photo book as a medium and the creation of a photographic narrative.

How important it is to showcase your work. What about exhibitions or other forms? Any tips or experience to share?

AS: For an artist, an exhibition is an significant milestone, which helps you comprehend what has been achieved, the mistakes as well as the fortunes. I prefer an exhibition and a book as, in my opinion, the best way to represent my works.

Who or what does influence your work in particular? Is there any contemporary artist, photographer or writer you'd like to quote or mention?

AS: When I started my way in art, I was heavily influenced by music and cinema. I might say that the films of directors such as Andrei Tarkovsky, Bela Tarr, David Lynch, Kim Ki-duk, Hiroshi Teshigahara, Michael Haneke changed my perception of the world. At the moment, the reality in its tragic state has become more vivid than any message that art might convey. Since Russia occupied Crimea in 2014, I have been most interested in the ideas related to post-Soviet territory, collective memory and trauma.

How do you see the future of photography evolving? And Anything else you wish to add that was not covered here...

AS: The future of photography is uncertain, but images that align with reality will continuously be in public demand for decades to come.

© Alnis Stakle from the series 'Neither Horse Nor Tiger'

And do you have any projects in the pipeline? Or topics you would like to address?

AS: I'm very interested in photography as a language. The birth of narrative within a single image or a series. I would discern that I have two meta-directions that reiterate from one series of works to another. First of all, I wonder if it is still possible to create something meaningful by questioning the technical code of a conventional photography, experimenting with clichéd photo scenarios, household kitsch elements, and the aesthetics of amateur photography. Secondly, I work with photos and images from different archives. These images are of interest to me as a source for studying the mutually related issues of collective memory, trauma and contemporary politics.

© Alnis Stakle from the series 'Neither Horse Nor Tiger'

Alnis Stakle (website)