A World That Others Can't See... with Ameena Rojee

Our role as photographers is to capture a world that others can't see, and in this process, we leave a little bit of us in every photo that we take. In a way, every single one of our photographs is also a portrait of ourselves.

In this series, A World That Others Can't See, I ask fellow photographers to talk about an image from their portfolios in order to discover the stories behind their work and to learn about the person behind the lens.

For the tenth post of the series, portraiture and documentary photographer Ameena Rojee talks about an image that she took during a surreal lockdown moment. Ameena's work explores community and culture focusing on people, places, and living, delving into our relationship with the natural world.

Ameena says: "The photograph I’ve chosen to show is a black and white photograph of a magpie flying to freedom and my mum’s hands. This photograph comes from a series of photographs I’ve taken as a lockdown-inspired study of my garden. It has largely become a space associated with relief and calm and was my only consistent source of sun and fresh air these days during the lockdown itself.

Although lockdown has been lifted, not much has changed for me; I live with my mum who is high risk and so I've been staying at home as much as possible. I’ve been forced to truly look at this space which I thought was so well-worn and each corner known to me. Instead, I’ve found unfamiliarity and magic.

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Untitled © 2020 Ameena Rojee

This was one of those surreal moments; back in March, at the beginning of everything, this curious bird somehow ended up in our house one gorgeous blue-sky day and got stuck. My mum rescued the bird from our living room and set it free again.

It was such a timely real-life metaphor - a moment of struggle and panic, but with some help and kindness, the magpie was able to fly away to freedom again. It was a spontaneous moment and I’d had to run to get my camera; a reminder that sometimes our best work comes without planning, foresight or indeed any idea of what’s about to happen.

Four months on and this photograph still has so much immediate meaning. Every day I look at it and can’t help but hope for the day that we’ll all be free again."

Thank you so much, Ameena, for sharing this image and such a unique experience with me! I can almost feel that sense of regained freedom when I look at it.

You can learn more about Ameena's work on https://www.ameenarojee.co.uk/

If you haven’t read the previous posts of this series, you can check the whole series here.

Do you like what you just read? Consider becoming a patron on patreon.com/jccandanedo where you can learn more about my creative process and the stories behind my images. I’d love to have you as part of my Patreon community.

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When Words are not Enough

I'm not going to pretend that I can answer the age-old question of what is art. But, one thing that I can say is that art is a form of communication. As an artist, especially when you are starting out, you are always told that you need to find your voice. The problem is that a voice is not something that you acquire by studying or following certain steps or instructions. Your voice will come after many years of pouring your soul into your work. In the meantime, even if your work is not fully voiceless, you may still need to find the visual vocabulary to express yourself truthfully.

Photographers are visual storytellers. We use our visual language to show the world what we see through our lens. And we can spend our whole careers trying to find our voice, only to realise that if we finally find it we will probably be the last ones to notice.

Ever since I was a child, I was always the relative or the friend who had a camera. Wherever we went, people always expected me to take their photos and tell the stories of our trips or gatherings. However, growing up I never considered it as a possible career. I come from a part of the world where the arts are not valued and where family encourages you to pursue careers in science, technology or law instead.

Despite the lack of support, I had a teacher at school who always encouraged me to read, write and appreciate the arts. I became an avid reader and writer, and for a long time, I thought that if I ever left my day job I would become a writer.

Looking back, I can see now that it wasn't about writing or about a specific medium to express myself. It was about telling stories. That is why I feel that at some point I came to the realisation that I could use photography to tell my own stories.

I don't think that I have a voice yet. I can feel the words stuck in my throat trying to make their way out through my visual vocal cords. But they still need to properly take shape before they can come out. I'm still at that place in my career where I'm examining the world around me and trying to find answers to all the questions that come to my mind.

Our role as artists and photographers is to look around and try to make sense of the world that surrounds us. By studying it and interpreting it, we can present it to society and offer a different perspective on the issues that we care for.

Making art is like trying to have a conversation with another person in a very noisy space. The other can see you opening and closing your mouth, but the words that come out of it are unintelligible until you find that one person who can finally understand what you are trying to say. From there, you spend the rest of your life trying to find those people who can get your message.

If art is a communication channel, then photography is the language that we use to encourage others to question their own realities. When words are not enough, our work gives shape to our thoughts, our concerns and our emotions.

Photo credit: behind the scenes by Andrzej Gruszka.

Do you like what you just read? Consider becoming a patron on patreon.com/jccandanedo where you can learn more about my creative process and the stories behind my images. I’d love to have you as part of my Patreon community.

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I Wish I Had Known... About Painting!

This is the nineteenth post in my series of posts where I speak with people in the creative industries and ask them questions about the things that "I Wish I Had Known" when I started out as a creative myself.

In today’s post, I have the honour of chatting with London-based Canadian-born figurative painter Andrew Salgado about his work, the state of the art industry these days and how being humble and grateful can go a long way in the art world:

1. How do you become a painter? Is it something that you go to school for or are you born with the talent?

Well, I think that you are inherently born with a talent, but that talent can definitely be honed. I don't think school is necessarily a determining factor. It’s also a mindset, a mentality. It takes a lot of drive, whereas most people think it’s quite a wishy-washy process, it’s actually quite the opposite.

2. Did you always know that you wanted to be a painter or did you try a different industry before becoming an artist?

I was always interested in the arts; originally I thought I was going to perhaps go into architecture or even dabbled in film; but ultimately I realized that my passion was in art - as in studio art, which is very self-directed and allows me full control of my life and creativity.

3. While doing my research for this interview, I came across many interviews of yours that go back to almost a decade ago, and the Andrew in every one of them sounded like a different person, a different artist. Has your growing up as a person influenced your art or the other way around?

Oh wow. Well, I think that the person I was around 2008 and the years after being victimized in a hate-crime, I was a very wounded person. I was angry and rattled; I had also just moved to the UK. I was uncertain. I've grown a lot. I've learned a lot. I think I have learned a lot from art, but also personal experience. I don't think you can have one without the other. I've become more of a business-minded person, but I've also become a bit more disillusioned with the art world. That sounds like a bad thing, I don't know that it is, it’s a reality of the industry. I'm quite well adjusted right now; I feel like a complete person.

4. How would you describe your style as a painter and how would you explain it to those of us who don’t understand about art?

I'm figurative, as in, I 'paint people'; but I embrace a lot of abstract techniques.

5. Do you think artists must have an unmistakable style or must they follow a movement or the trends of the art world?

I think it’s important to create your own inimitable style, but I also feel like style is always in flux. I think it’s also foolish to not at least be cognizant of the art-world movements; art moves in trends (which itself is such an ugly word, but it’s true) and it would be absolutely ignorant to think that anyone is operative above these trends. A trend by its nature is a reaction to the status quo or at least some sort of acknowledgement of it; art does precisely the same. My work has changed with the time in a desire to stay relevant. Nobody wants to be left behind, and the art world moves in large steps.

6. One of the hardest things to accept for artists who live from their work is that they are running a business and that there are invoices to send, bills to pay and taxes to file. Was that ever an issue for you?

Well, thankfully my gallery does it all for me. I hate paperwork. And it takes up a lot of time. Emailing takes up a lot of time. But yes, you are running a small business, and it’s imperative to consider the business-side with wide-open-eyes.

7. Did you ever have a day job to pay for your living while you painted and if so how long did it take you to be able to live from your work?

Yeah, growing up I always had jobs; until my mid-20s I worked as a lifeguard and a waiter. I have been working professionally from my art for about 10 years now.

8. To make a living as an artist nowadays do you need to be represented by a gallery or can you sell directly to collectors yourself?

I think somewhere there exists a happy medium, where the new modes of art-showing and the traditional modes of art-showing find a sort of equilibrium. The art world has stark divides, large egos, and plenty of gate-keeping. As in, in order to be respected, you need to achieve certain goals or reach certain standards that you simply cannot achieve on your own. Like, sure you can sell a bunch on Instagram, but if you ever want to get serious peer and industry recognition, and career credibility, you need to go through the relevant channels. Like, I can unclog your toilet, but that doesn’t mean I'm a plumber, right?

9. How does a starting painter know how to find their audience? How can they reach collectors?

There’s an idea with young artists that they're doing something that 'nobody has ever done before' or this bullshit 'my art is gonna change the world’ rhetoric or 'I invented said technique…’ Firstly, get your head out your ass. You're not special; learn from history and your peers. Educate yourself. Learn about the industry you're entering. Don't expect people to fawn over you, because there are hundreds of people doing what you're doing - and frankly, doing it better.

One thing my gallery (Beers London) asks artists (if and when) they actually get a meeting with the gallery, is 'why do you think you're a fit with the gallery' and 'which of our artists do you most like?' usually to a response of a blank stare. Learn about the industry before you expect it to bend over backwards for you. Be humble. Accept that you have more to learn. Check your ego at the door.

The faster you learn these things, the more approachable you and your art will become. The best artists I know are the most grateful, humble, and approachable. Well, that was a bit of a tangent. But you can also use Instagram or start something grass-roots with your friends. Don't expect too much too soon. It’s a long, long, long road.

10. What do you consider is the key to a successful artist career in today’s art world?

This is a really tricky question. There are a lot of factors for success. Are you happy? Can you pay your bills? That’s a good start.

11. When do you know that it’s time to start a new painting? How do you know when the work is done?

I think this is different for everyone. I work in 'bodies' of work and the story reveals itself, like chapters. I know when it’s done like heat, I can feel it warming up, and then eventually it’s too hot to touch.

12. What do you do when you finish a painting? Do you take some time or do you paint more?

I usually take a little holiday to recalibrate...but ironically I just finished a body last week and I'm beginning new works tomorrow. I suppose like life, it’s always different, isn’t it?

13. How do you deal with artist’s block?

Does that exist? I find I don't have the time to get it all out, so I have to edit the ideas down. I suppose you need to look to little things and stop expecting the world to bless you with divine inspiration. What are the small things that inspire you? What gets you out of bed? What song is in your head? What memory do you go back to? A conversation? A trinket? Something you're grateful for or bothered by? Think small, execute big.

14. And lastly, have you ever painted yourself?

Yeah, a few times. I find it a bit masturbatory, to be honest.

15. Thanks so much, Andrew, for being so kind and letting me interview you. Where can we learn more about you and about your work?

You can follow me on Instagram at @andrew.salgado.art or at www.beerslondon.com or my own website www.andrewsalgado.com.

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If you haven't read the previous posts of this series, you can check the whole series here. I hope you liked this new post and stay tuned for a different creative each month!

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Thanks For Stopping By Last Folio Friday!

Thanks to everyone who made it down to The Photographers’ Gallery last Friday for December 2018 Folio Friday! I had a really nice time chatting to so many interesting people who gave me beautiful and constructive feedback about my work. Also, I got to see what fellow photographers and artists are currently working on and learned about the work that the hosts Steve Macleod and Hannah-Katrina Jedrosz do.

Folio Fridays present an opportunity for photographers to present their work to the The Photographers’ Gallery’s audiences. Each photographer gets a table for visitors to sit and view their work.

The resident host for these sessions is photographer and educator Steve Macleod, who is also the Creative Director at Metro Imaging. A guest speaker is also invited for each session. Both Steve and the guest speaker also meet with each photographer as part of the afternoon.

Hannah-Katrina Jedrosz is a documentary, portraiture and travel photographer who hopes to make photographs that are authentic, observant, and emotionally engaged. She is also the founder of PhotoScratch.

To learn more about Folio Fridays and The Photographers’ Gallery visit thephotographersgallery.org.uk.

Photo credit: photo by Hannah-Katrina Jedrosz.

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A Makeup Masterclass Worth An Oscar

A week ago I had the opportunity to take behind the scenes photos during a makeup masterclass given by Oscar and Bafta Nominated Makeup Artist Tina Earnshaw at Delamar Academy in London. During the event, she explained in detail the makeup design that she created for Kate Winslet in Titanic. Tina was nominated for an Oscar for her makeup work on this iconic film.

This masterclass was opened for Delamar graduates only, and among them that night were hair, makeup and special effects artists who had worked in some of the most recognizable films, tv programs and magazines in the world. From Star Wars to Game of Thrones, to Vogue, the room felt like a shortcut to the six degrees of separation from the biggest names in stardom. And the school tutors, who were also present for this unique live tutorial, were a combination of Oscar, Bafta and Emmy winners and nominees. Talk about a tough audience to please!

While Tina was turning the model into Rose (Kate Winslet's character) she told us about her experiences and challenges working in the film sets of Titanic, The Martian and many of the other film crews that she has been a part of. Every single person in the room was bright-eyed while listening attentively to her and I couldn't help but wonder how all these people who had worked with everyone who's anyone in the industry could still be able to be amazed by one of their peers. But, the truth is that Tina Earnshaw is no ordinary makeup artist.

After the demo, there was a Q&A session and a screening of some of the scenes from Titanic where Tina's creation could be seen. I was then given a tour of the school by prosthetics makeup artist Ali Reith (Star Wars, Jurassic Park) who's a proud Delamar graduate and tutor. While showing me around the special effects department he explained that all the tutors of the school are people who are currently working in the industry and often have to come straight from the studio and into the classroom.

I couldn't have asked for a better gig. It was a very inspiring night surrounded by such talented and yet humble and beautiful people.

If you want to know more about Tina Earnshaw you can read my post "I Wish I Had Known... About Makeup Artistry!" where I interview her and ask her about her career and her beginnings in the industry.

The Delamar Academy was founded by Penny Delamar in 1986 and employs hair and makeup artists from all parts of the industry as tutors, which include Oscar, Bafta, Emmy and Lifetime Achievement Award winners. To find out more about the masterclasses and the school, visit their website.

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