Interviews with worldwide photographers www.moments-collective.com
In my teaching, I strive to impart the crucial connection that can form between photography and the self, as the camera is essentially an extension of one's being.....
Ypatia Kornarou is a well-known professional photographer, recognized for her exceptional skills in coordinating and instructing photography workshops at art institutions and other artistic venues.
We had the chance to make interview him and learn more about her work.
Can you tell us about your first introduction to photography?
This is a story that begins with my childhood memories. I recount how it all started with a plastic camera filled with water. As a child, I found it captivating and enjoyable to shock people with water as they posed for a photo. I believe this memory shaped my relationship with photography
Can you walk us through your creative process when conceptualizing a new photography project?
That's an intriguing question. The process of bringing an idea to life through visualization is certainly multi-faceted. It all starts from the core of our identity and stems from our desire to connect. Art envelops our soul with warmth. This is where the creation of a photographic project begins. Imagination then plays a crucial role in shaping the composition of my shots. However, many projects often evolve into something different from my original intention during the course of their development. I now view this as an integral part of the photographic process and even welcome it happening. The technical aspects of a photo are certainly important, but for me, the focus is more on the concept and content of the image rather than the technicalities of its creation.
How do you incorporate elements of storytelling into your conceptual Photographs?
As we know, photographs lack verbal expression, and it is up to the photographer to fill this void. Often, the viewer attempts to decode the photographer's intended message or intention through their shots. However, in my view, art is about open-endedness and allowing for multiple interpretations. When the conceptual content of the image evokes diverse meanings for the viewer, then that is when “art happens”. The element of storytelling is incorporated into my work, characterized by a fragmented narrative that, in some instances, embodies absurdity and the surreal.
If you weren't a Photographer, what would you be doing?
It's challenging to answer hypothetically as one cannot predict the future. Nonetheless, if I had to speculate, I might be more focused on themes related to nature and the planet.
What is the best advice you've ever been given?
The advice can be subjective, and what works for one person may not work for another. But the most valuable and supportive thing someone can do for you as an artist is to have faith in your work and your artistic endeavors.
How do you balance the technical aspects of photography with the conceptual ideas in your work?
As I previously stated, the technical aspect of creating a project is not my primary concern. I focus on conceptual content, which is the most important aspect of my photography. To put it briefly, the technical elements should only serve the idea. It is important to note that art requires more of our artistic approach and less of our technical knowledge.
Can you talk about any challenges you have faced as a conceptual photographer and how you overcame them?
The greatest challenge I have faced is in the realm of Conceptual Art. It is a type of photography that demands the harmonization of various elements of art within a single frame. While its high level of difficulty makes it inaccessible to many photographers, I admit that this is what draws me to the field of Conceptual Photography.
What is your relationship with your students in artistic photography seminars? Do you consider the talent, the character, the behavior, or a mixture of all of them?
I foster a nurturing relationship with my students, regardless of their age. To me, they are all like newborns in the art world.
In my teaching, I strive to impart the crucial connection that can form between photography and the self, as the camera is essentially an extension of one's being. I don't subscribe to the notion of talent, at least in the conventional sense. While talent may provide a head start, it is not sufficient to make a student into a complete artist. It is the combination of constant effort, availability, dedication, and persistence that contributes to the development of a student-photographer. In terms of an artist's character and personality, I believe that these are primarily shaped by their life experiences and family background.
Can you discuss any notable collaborations or projects that you have been a part of in conceptual photography?
A remarkable artistic collaboration was the co-creation of the photographic project "Metallaxis" with my photographer and student, Eleni Makrydakis. I invited Eleni to join me in creating photographs together and to revel in the experience of collaboration that unfolds in the student-teacher relationship. As the visual field of the shots was shared, we differentiated our perspectives through the use of color and its absence. It was a true artistic challenge where we were able to depict the same subject in both color and black-and-white interpretations.
Tell us about your experience with your last personal exhibition.
Exhibitions involve presenting not only your work but also yourself. My recent solo exhibition of "Freud's Dreams" was a powerful experience. Due to the COVID-19 pandemic, it had originally been organized with a limited audience, but it was a rare and memorable moment to be surrounded by so many people again and to share my passion. I will never forget the embraces we shared and the love I received from those who came to support me. It was a beautiful celebration of art.
The shots were taken in February 2023 in the forest area of the Tatoi region in Greece. The forest after the devastating fire in the summer of 2021 is another place full of contrasts. Soil and ash in the same palm. You see everywhere "dwarf fir trees" and at the same time peeling burnt bark of trees that have fallen to the ground. The forest is changing its skin. It gives birth to green, to hope. The human is there. The human asks for forgiveness.
@Ypatia Kornarou/Models in frames:Nikol Kafetzopoulou,Lila Savvoulidou.
All photos belong to @Ypatia Kornarou
Interview with moments collective director
Saeed Al Sharbati @2023