Tell us about your approach to photography. How it all started? What are your memories of your first shots?
Sasha Tamarin (ST): I bought my first camera, when I was in high school. It was a small point-and-shoot digital canon. In those days, I was kind of a computer geek. I preferred to stay in a dark room lit only by my many computer screens. I still don’t know why I quickly became obsessed with taking photos of everything (flowers, sunsets, cats etc.). My new found hobby dragged me out of my comfort zone and pushed me into completely new territories. I think that photography has changed my general approach to life, helped to develop my sense of curiosity, intuition and appreciation for taking risky and at times, non-conformal decisions.
© Sasha Tamarin from the series 'Israel in Color'
Any professor or teacher that has allowed you to better understand your work?
ST: I never ever, ever missed a chance to consult about my work with different teachers and students (teachers pet?). Without having decided upon a subject for my final project, I ventured off to Russia for two weeks, and returned with a mass of photographs that I took in various national museums. They were mostly photographs of rocks from expositions from the Museum of Space. I didn’t have a real appreciation for the photos and couldn’t connect them to anything until I showed them to Etty Schwartz, one of my teachers. Etty helped me to draw a line within this eclectic collection and to connect them to my previous work, historical facts and even my personality. That was probably the most sensitive and enlightening feedback that I have received to this day.
What do you think about photography in the era of digital and social networking?
ST:The combination of social networking and cellphone cameras has made it very easy to share personal experiences in the form of visual images. As a result, we are exposed (some people will say “flooded”) by mass
amounts of visual information of all kinds. Such an abundance decreases our sensitivity by heightening our emotional and visual bars; we become highly selective of what it is we pay our attention for. I feel this benefits artistic photography and demands that the artists leave the box, blur the edges, and truly explore the role of their medium.
ST: I immigrated to Israel from Russia when I was 8 years old. If I look back at my work, most of it deals with my identity and my belongingness to land and culture. I think that most of my life, I was rejecting Israeli culture, weather, nature and behaviors. I was longing for my me mories of Russia. The forests, the soft light, the smell of the black soil were part of the nostalgia I held for that place. Since last year, I feel that my romantic feelings towards Russia have began to evaporate, and my approach to art has become more cynical
and humorous. I have come to terms with the fact that I am stuck between two homelands, and accept this now as an advantage.
Do you have any preferences in terms of cameras and format?
ST: I like to experiment with different cameras, and formats. Both film and digital. Yesterday, I received a spy camera hidden in a pen, just like in the James Bond movies. For my recent work, I utilize a simple point-and-shoot and a DSLR with an on-camera flash that helps to pop the plastic qualities and the vivid colors out from my subjects. I don’t like to take photos with my smartphone, because its’ camera sucks.
Tell us about your latest project ‘Israel in color’...
ST: In my recent and ongoing project “Israel in color”, I am observing Israel from a naive perspective, with a lightness that is essentially void of our contemporary troubles, and instead, is charged with my fascination for tropical nature and the entire kaleidoscope of human behavior. I stroll the suburban cities of Tel-Aviv, observing landscape architecture, social fashion, attributes of domestic life, and typological elements. My latest photographs are often identified with a celebration of shapes and colors, which ask to glorify the beauty in
“Kitsch” culture and question the definition of “Bad Taste”.
ST: ‘Strange Paradise’ by Charlie Rubin; ‘Vulkan oder Stein’ by Anne Schwalbe; ‘Belleza de barrio’ by Ricardo Cases.
Is there any show you’ve seen recently that you find inspiring?
ST: ‘HOBBY’, Solo Exhibition at Raw-Art Gallery / Ishai Shapira Kalter
Projects that you are working on now and plans for the future?
ST: I am keeping busy with “Israel in color”, maintaining my routine of strolling in the Israeli suburbs during the golden hour. I want to begin combining sculptures and objects into this project and maybe develop some sideprojects in parallel to the main practice. For example, I’ve bought and painted an old post card stand, but I’m still not sure what to do with it. In general I’m planning to start exhibiting my current work somewhere by the end of the next fall, and I’m currently looking for space, curators and other artists who may be interested in cooperating with me in a duet show.
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LINKS
Sasha Tamarin
Israel