On your website I found the following words: ‘To Bogaers, a photo is not an end, only a means. It is not an endpoint either.’ For what reason do you work with photography?
Paul Bogaers (PB): Ah, Sanne, you like to start right away with a tricky question! Well, I have to admit that although my work nearly always contains photos or relates to photography in any form, I don’t consider myself a photographer in the first place. I’ve always been struggling in order to push the boundaries of the medium, and I suppose the reason for this is that in fact I was raised as an artist. In art school I was educated in a whole range of art disciplines, photography being only one of them. To a very large extent, I think, this is still recognizable in my work.
From the beginning, I have had a love-hate relationship with photography. I’ve always regarded it as a most interesting medium, but very limited compared to my needs. Photography is at its best in showing what the visible word looks like – as a record of appearance. This can be very convenient, which is precisely the reason why today’s world is overflowed with photos. An artist, however, searches for a medium that he can use as a means of expression. Photography in this respect is far more difficult to use than for instance drawing or painting. But of course, this difficulty makes it so very exciting at the same time. It is difficult, but not impossible.
Your studio walls are filled with small skeletons, masks, your old, new and unfinished works, branches, insects and objects that are hard to define. Why is it that you surround yourself with all this?
PB: I’m a collector, in the first place. I like to surround myself with things that inspire me, being the things that I collect. But it is also an essential part of my working process, which requires a large reservoir of materials and imagery that I can draw from while working. When I create, I tend to play instead of thinking. Therefore, I want my studio to be filled to the brim with possibilities. And then there are the many, many things that I am still working on. I need to regard and consider these endlessly, for creating is a slow process to me. But to be frank, I have to admit I love crammed spaces. It’s also a trait of character. People sometimes wonder how I am possibly able to concentrate with all this ‘noise’ around me, but in reverse, I can hardly stand a blank white wall, like the ones I see many people surround themselves with in their homes. For me, a blank space immediately has to be filled.
The collage method to me is the most interesting form of combining, because it is ambiguous by nature. With Photoshop for example, it is not difficult to merge different images to one single one without leaving any mark or clue. But in most cases the result is, in artistic respect, boring. It is far more exiting to actually show the way the combination was made, e.g. having glued a clipped magazine photo next to a found snapshot. This is the principle of the collage. In the collage, the miracle manifests that two different worlds meet in a way that they most evidently don’t fit at all, but then at the same appear to fit astonishingly, marvelously well.
The first name which comes to my mind is that of film director David Lynch. A movie that very much inspired me and has evidently many resemblances with my work isEraserhead. In his other films I recognize many similarities as well, and I can recommend them to the same extent, but in general these are done in a much more smooth and fancy way. His debut movie Eraserhead however, has the same murky, smudgy and black-and-white (!) atmosphere that can be found in my own work.
Another American artist, Edward Kienholz, has had an important influence on my appreciation of art even before I went to art academy. His associative way of working, but also his method of assembling found, junk-like materials into a total environment which has a powerful and criticizing expression, has always fitted with my own intentions, ideas and approach towards art.
When I started my photographic ‘career’ some thirty years ago, there were few artists and photographers with whom I felt familiar. In photography the large format camera was heavily in fashion, with its perfect and down-to-earth registrations of nothing but the visible reality. This never attracted me, and what I did at that time was something completely different from all around me. More recently, to my great satisfaction, photographers and artists have emerged who appear to have a similar interest in the invisible, the subconscious, the incongruous, the irrational. Dutch photographers with whom I feel associated with in this respect are Anouk Kruithof, Jaap Scheeren, Elspeth Diederix, Marnix Goossens. Also, the ‘classical’ collage has undergone a remarkable revival in last couple of years; for instance by Chantal Rens and Ruth van Beek.
Last but not least, what projects are you currently working on and what are your plans for the future?
PB: At this moment I am preparing a major solo exhibition in Foam, the photography museum in Amsterdam, which will take place next autumn (October – December 2015). This will give an overview of my most recent work, which I have been developing for the last five years. For this work I have been stretching the boundaries of photography still more. Photos are not just limited to representations, they often extend to dimensional objects themselves, as I combine them with paper-maché, cardboard, fabric, wood and all kinds of found materials. The boundary between material and the representation of material fades, and the whole expands towards assemblage and installation.
The title of this show will probably be The Mud Years, which refers to the atmosphere of the works, the materials that I have been using and also to a more philosophical notion, which expresses my basic vision of life, on humanity. The essence of this is that we all try to look confident, as if we have every aspect of our life in hand, whereas in fact we are only muddling along through our lives, completely governed by our ignorance, hubris and stupidity. This awareness strikes me every single day, and occasionally makes it difficult to carry on. More frequently, however, it fulfills me with a healthy sense of relativity, and sometimes it even evokes a smile on my face.
All the three of these, the gloom, the relativity and the smile, are manifest in my recent work, I think. It is about conjuring the mud.
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LINKS
Paul Bogaers
The Netherlands