Tag: emotion

  • Joshua Aronson | Creating A Riveting Document of the Emerging Artists Community too often forgotten

    Joshua Aronson | Creating A Riveting Document of the Emerging Artists Community too often forgotten

    Individuals captured with an emotionality that becomes known to the viewer – these artists become a kind friendly face that you passed by once and stuck in your memory. Nostalgia. Attention halting. You wonder about them. Who could they be? The photographer invites you not only to see his lensed personalities but to see a glimmer of himself as creator. Deep sentimentality and a small hope that the current times will be remembered for many years to come. You see his striking signature expressed in soft portraits compositionally defined with minimalist aesthetic choices and traditional framing. A trained hand pushes emotion with a sort of staged candid moment. Beautiful, riveting.

    The practice of now, New York based photographer, Joshua Aronson (b. 1994) can be read in some ways, as a documentation of a moment in time, the moment that he reflects with his lens is that of the emerging artist community in various cities of the United States and beyond.

    In 2017, Joshua became one of the youngest photographers to have their work published in The New York Times and The New York Times Style Magazine, then age 23. The act of image making started making its first insertion into Joshua’s life in 2013, when he began documenting his friends, local skate culture and musicians. On living in Miami Joshua shares “…there wasn’t really much to do down there. We kind of created our own scene.”

    “I photographed my friends up until around the end of 2015, which is when I’d say things became more serious for me. I started to think about photography differently.”

    Portrait of Arvida Byström

    After completing his Bachelor of Arts in Philosophy at Northwestern University he moved to Miami. It is here where he observed the lack of significance placed on the emerging artists of the city. Setting forth to create his first iteration in an ongoing series of images that give voice to these under celebrated young artists, his concept highlighting his first region of focus (15 of Miami’s next generation creatives) was featured on i-D Magazine soon after. Relocating to New York six months later, Joshua continued his documentation of the emerging artist community in this vicinity. While working in New York, Joshua studied under Ryan McGinley and received the title of Emerging Photographer — Spring 2018 from PDN.

    The current emphasis of Joshua’s personal practice, the emerging artist communities of various cities in his country and more, is guided by an inclination to make his images feel personal, holding an emotional glimpse of himself as the author of these portraits. “I’ve found photographing young, emerging artists to be the best way of doing that. Of creating a self-portrait without really creating a self-portrait.”

    Portrait of Maria Piracci

    In my interview with Joshua, he explains his belief behind why it is important to document emerging artists, “I’ve always felt that a photographer’s first task is to create a community.”

    On his ever-expanding project, Joshua explains that after his first series on Miami’s emerging creative community the assignment pulled him into an ongoing process that he is still propelling forward to this day. His project has seen him cover emerging artists from Miami to New York, Chicago to Los Angeles and has even jumped to Tokyo.

    Joshua’s opinion on emerging within the arts in New York is that it is “Special. It’s a really special time to be alive and creating at a young age. It’s important to recognize that. It’s important to look at your youth and ask how you can use your age as a way to inform the way you make and engage with the world.”

    Portrait of Dozie Kanu

    For him the validity of his pursuit lies in creating a document of our current times, addressing future enquiries into what it meant to be a young emerging creative within spaces such as New York City in the year 2018. He hopes that his work will address this very question and act as a reference to future thinkers.

    “Truthful, honest, revealing. No artifice. I’m definitely not the first photographer to turn their lens onto their generation.”

    “It’s about photographing my own generation, though, with a determination and fervour and freshness that calls attention to these images and, thereby, their subjects.”

     

    Credits:

    Photography by – Joshua Aronson 

    Portrait of Bryant Giles
    Portrait of Alexander Muret
    Portrait of Akia Dorsainvil
    Brooklyn, New York– November, 29, 2017: Tyler Mitchell stands in the doorway between two rooms in his own studio. Tyler wears a shirt by Havana Club, an ode to his first photo book, “El Paquette”, which captured the emerging skate culture and architecture of Cuba.
    Portrait of Alli and Lexi Kaplan
    Portrait of Denzel Curry
  • Real Madrid – searching for empathy and unpacking emotionality

    Real Madrid – searching for empathy and unpacking emotionality

    When visiting the Real Madrid website, one is introduced to their work through a background video of adolescents hanging out on a beach, and a still image of a white flower layered onto the video. Black text in the top left corner of the page provides another gateway to experiencing their work. Welcome to their world of ambiguity.

    Founded in 2015 by Bianca Benenti Oriol and Marco Pezzotta, and currently based in Switzerland, Real Madrid’s focus is on collective conditions, sexual development, and their emotionalities. The name plays on that of the Spanish football team, and this choice speaks directly to ideas around branding, authorship and the insurrection of subjugated knowledges or ways of existing. Perhaps one day someone will be searching online for images of a soccer team and among the results will be queer art.

    Photography by BAK

    In an interview, the duo explained to me that their choice to work together came out of casual collaboration. After taking part in an exhibition together in Italy, and feeling how they were able to sync organically, they took on the collective name.

    “With our identity, we question authorship by claiming our status as an imitation of an overpriced brand, basing our practice where politics crash with intimacy. The spectacle of sport is often connected with nationalism by media systems, extending a symbolic competition between nations. The interest in miscommunication led to a name that makes it problematic to spread and track images of the work on any search engine,” they state in a text introducing their work.

    Photography by James Bantone

    Glass, wood, silver wool, ink, bicycles, and fruit. Their chosen mediums vary, with the selection inserting an additional layer of the work to peel open. There is a sense of ambiguity in some of their work, and this empowers viewers to be active in their engagement with Real Madrid’s art.

    Earlier this year the duo spent a month in Johannesburg, interacting with the Gay and Lesbian Archive (GALA). The process of sifting through the research becomes a form of art in itself, searching for the personal, the emotional and entry points of empathy, tying into the fact that their work is mostly narrative-based. Reflecting on their interaction with the archive, they mention that, “You try to create empathy with the document, which is a very important tool for research.”

    Photography by James Bantone

    They spent most of their time inside the Cooper-Sparks Queer Community Library and Resource Centre, which was started over 25 years ago in a community member’s closet. Back then only those who knew about it were able to access it. In their word, the history behind the library brings to the fore questions around what the political aspects are of shifting between a public and a private context, making GALA an archive that transcends these classifications.

    They also expressed that there is a kind of familiarity when traveling to big cities, even though the languages, experiences and, references are different. It could be a kind of familiarity that comes from a sense of being people who live within an urban space and could act as a contributor to their desire to visit the gallery at GALA. Therein recognizing that certain sensibilities or outlooks may be influenced by where a person is from, but there is some sort of overlap in stories. Familiarity in thinking through and possibly struggling to untangle signifiers for femininity and masculinity, and the forced division between these. There is also finding ways of thinking about the emotionality of sexual development, and what it means to be a sexual being.

    To keep up with Real Madrid’s work follow them on Instagram or check out their website.

    Photography by James Bantone
  • Cross Continental Collaboration – A Spontaneous Fashion Lens

    Cross Continental Collaboration – A Spontaneous Fashion Lens

    Natural beauty accentuated with minimal makeup and loose-fitting silhouettes. Nostalgia evoked through analogue photography. Traditional framing and spontaneous emotion. Free collaboration.

    Four creatives shared a mutual goal – to collaborate on a shoot during their time spent in Cape Town. A per chance meeting with Makeup and Hairstylist Patricia Piatke led the stylist for this shoot, Shukrie Joel to get in touch with her while hunting for a good photographer to put heads together with. And so, a collaboration was formed between photographer, hair and makeup artist, stylist and model. Their amalgamated team includes Detlef Honigstein, Shukrie Joel, Lolita Kupper and Patricia Piatke.

    The project was approached using analogue photography as the medium to speak through given Detlef’s affinity to the format. Colour and black and white film are employed evoking both a classical feeling and becoming more modern as colour is gradually introduced.

    For the team, this shoot was about a spontaneous get together before each of them set out to different countries. An opportunity for collaboration done with more impulse and spontaneity than vigorous planning. Their images come across as raw, beautiful and an impromptu moment captured on the emulsion of a film roll, breathed life into in its positive final form.

    Speaking to stylist Shukrie, he explains that his idea was for the clothing to look comfortable on the model’s frame, effortless and easy. Despite there being minimal planning the team made stylistic choices for which thought was given.

    Patricia and the team aimed to break away from the high-end street styles that Shukrie is known for with their makeup and hair styling decisions. With an artistic haute couture hairstyle giving off a sense of ease and natural makeup, the team did not want these elements to over shadow the colours of the clothing that Lolita wears. A fun selection of images resulted from their creative collaboration.

     

    Credits:

    Photography: Detlef Honigstein

    Fashion & styling: Shukrie Joel
    Hair & Makeup: Patricia Piatke

    Model: Lolita Kupper

  • Kristina Nichol’s extraterrestrial visual palate

    Kristina Nichol’s extraterrestrial visual palate

    Symbolism channelling various forms of energy and making cosmological references. An extraterrestrial visual palate. This is what defines the work of makeup artist Kristina Nichol.

    Describing herself as an alien, Kristina uses her own face and body, as well as those of models, as blank canvases for her out of this world looks. In our interview, she unpacks how her work is primarily inspired by emotion. “I use this to fuel my creativity,” Kristina explains, “I see and feel in colour. To me this is necessary as a makeup artist because I’m constantly coming into contact with humans and needing to transform/translate their energy as I paint their face.”

    Fascinated with makeup and reworking the parameters of beauty, her practice actively unhinges the structures that dictate the purpose of makeup and the conventions for its application. This is directly communicated with her hashtags and professional Instagram account displaying the words ‘UNCONVENTIONAL BEAUTY’. Wild brush strokes, bleeding foreheads, and brightly coloured blush that is massaged into clouds on the skin. Gold shimmering eyebrows, and pink eyelashes. Models are injected with an alien glow.

    For Kristina, presenting alternative and varied forms of beauty is a necessity. “I think it’s important because it makes people think. It’s not the norm, and as a makeup artist it’s important to use it as a tool to provoke and challenge the superficial mainstream ideals of beauty that we’re constantly held up against.” Having collaborated with recent Future 76 artist Boipelo Khunou, on a project titled ‘Subtle Care’, we see how this approach applies in an artistic manner. With shapes and colours being at the centre of the looks. Recently Kristina also took on the role of makeup artist for the latest Bubblegum Club cover, ‘Turn Up The Volume and Queer the dancefloor‘. This demonstrates Kristina’s versatility, while still keeping her signature touch recognizable.

    “I feel like we’re constantly transforming, and changing. Life is a difficult experience, but I learn more with time how to find peace in myself, and this peace has allowed me to accept myself and accept how I see and do things.” With this in mind, Kristina is working on a series that deals with the human experience and will be collaborating with a writer (who will also be the model) as well as a young photographer. “I’m so excited for this series. it’s the biggest personal project I’ve worked on so far, big big things.”

    To keep up with Kristina’s work follow her on Instagram.

    “Beauty already exists within us. Don’t chase it, embrace it.”

  • Wolfgang Tillmans: Fragile – A Question to The Art of Photography and its Materiality

    Wolfgang Tillmans: Fragile – A Question to The Art of Photography and its Materiality

    An activation of materiality. A display of careful calculation. Grids and lines are followed in a non-conforming rhythm. Architecture is used as a curatorial device. An installation masterpiece. A photograph as a test. A photograph as a material object. A photograph as a sculptural object. Images untouched by digital manipulation. Welcome to two decades of Wolfgang Tillmans embodied under the title Fragile. Fragility apparent in both subject and material artefact.

    Patient, yet enthusiastic spectators gather to consume the address by JAG’s curator-in-chief, Khwezi Gule, at the press opening of Fragile. As Gule leaves, Tillmans begins to guide his audience, manoeuvring eager bodies through the expanse of his show. Stepping into the first space you are frozen in your tracks by one of his most well-known works, Lutz & Alex sitting in the trees (1992) – a large-scale photograph of two figures, naked torsos exposed, finding minimal cover with their vinyl jackets loosely styled on their frames. But the amazement, appreciation and emotion that his works instil are yet to be explored by us, his immediate audience.

    Tillmans invites his audience to interact with Sendeschluss/End of Broadcast by asking us to step closer to the black and white pixel image. Just close enough to prevent your face from touching the surface. And it is then revealed to the naked eye that this image is constructed of colour. This opening to the show, comprised of over 200 works spanning from 1986 – 2018, invites a word of caution from the artist, warning against first impressions, and encouraging a second look.

    ‘Lutz, Alex, Suzanne & Christopher on beach’

    With work that holds an eminent position in the world of contemporary art, the artist is known for his perpetual redefining of the photographic medium as an artefact of materiality and as an image constructed by light. Led by an unquenchable curiosity, Tillmans navigates the world and reproduces that which he observes with his eye by occasionally placing a camera in front of it. His abstract works and more sculptural pieces include Paper Drop, the Lighter series (one of Tillmans’ very view series of work) and Freischwimmer / Greifbar. Through his experimental approach, Tillmans has developed the photographic medium, both the technical and aesthetic potentialities of the practice further.

    Intimacy, compassion and familiarity translate in image form creating a tangible emotion. An observational modus operandi characterised by a humanist approach to the complexities of the world. Tillmans’ oeuvre comprises of his club culture photographs from the 1990s, abstract works that find their footing in extreme formal reductionism, images narrowing in on the beauty of the everyday, and depictions that display a rigorous perception containing a grounded socio-political awareness.

    ‘Freischwimmer / Greifbar’

    In discussion with the German photographer he elaborates on his interest in objects of the everyday and the narrative of his work by explaining that for him these objects are not necessarily banal objects. His train of thought continues to the value of such objects, “I’m very aware of the values potentially attributed to the things that I photograph, but want to leave the absolute values also quite open.” Explaining this statement through various examples of images in the exhibition, he ends off with the following trajectory, “I choose not to influence. I choose things to settle. It’s the narratives that are usually non-linear objects, and people and places in the pictures and installations. The narratives and associations are definitely more driven by challenging value systems.”

    Reflecting on his work, Tillmans expresses that he does not see himself as a deconstructivist but rather leans towards what he refers to as a nostalgic modernist. “My way of installation at first glance is sort of not modernist but maybe actually it is because there is a certain purity and vigor and a trust in a linear development. Not just in atomization. It looks so super multi varied but actually there are, rhythms, there are recurring themes…”.

    Contrary to tradition, Tillmans does not often work within the frame of series. After the act of taking his photograph, the need to recreate a similar image is worn. “Because I like to make work that is coming from an actual engagement with a subject matter in the here and now and not just from the idea that I should make another one like this.” Tillmans here refers to a feeling of intensity – an instinct to create. Over 30 years of photographing he now has “families of pictures”.

    ‘Deer Hirsch’

    Connecting the works on display to fragility, Tillmans explains that Fragile fulfills the purpose of working as a title and is not a defining label in itself. There are however moments of fragility captured in an expression, in an emotion felt or in the medium of photography. Then there is the fragility of appropriating the world as can be seen in the work Truth Study Centre. Attracted to the economic nature of the photographic medium, Tillmans equally enjoys the ability it has to facilitate conversations around physically concrete and sculptural issues.

    Tillmans sees the art as something that allows him to speak about the physical world and simultaneously penetrate something that is more psychological. “It’s so able to record emotions and relations and it can manipulate a lot and pretend a lot but used sensitively it is an incredibly psychological medium.”

    What draws one to a Wolfgang Tillmans show is more than the images displayed, in part you are pulled by his curatorial method that becomes an artwork in itself. Looking back on his journey with curation, Tillmans explains that his current mode of display was not something which he had planned to be a recurring part of his practice. He states, “I didn’t plan to come up with a way of making art that would leave ultimately only myself to install the exhibitions and it ended up this way.” It was with his first exhibition in 1993 that he first employed this method of display resulting in curators asking him to bring forth his particular grammars and syntaxes in shows. “…it really is to try to represent the way how I look at the world. Which is not just ordered in sections and it’s not all in a line. It’s allowing different attitudes.”

    ‘Paper Drop’

    An agreement to the fragility that defines us as individuals and that influences our relations to one another is viewed as strength. Since his adolescence, Tillmans has been acutely aware of this interplay which is marked throughout the expanse of his artistic practice. Fragile has been used by Tillmans before, as an early artist name as well as the title of a music project he was involved in. Teasing out new ways of making with frailty, failure and rifts, these make reference to the imperfection of life and open up diverse perspectives on the materiality of the above.

    Subjectivity with the potential to transform. Providing an extensive overview of his complex work this exhibition is a showcase of the various shapes of artistic expression of Wolfgang Tillmans. The show includes photography from large scale installations taking up an entire room, to small post card images and even smaller polaroids of 90’s party culture, publications, sculptural objects, video content and the installation practice particular to the artist. Activating discourse, an exchange of reaction takes place when presented with new scenarios. Space is given for mystery, deep emotion and speculation.

    A sculptural practice wrapped around economy. An absolute awareness of the materiality of, not only his medium, but life itself. The deeply psychological nature of his portraits ingrained. To see as never seen before. Attending this show is a perception warp itself and a realization of fragility, a realization of your own inevitable fallibility and life span. If you enjoy walking out of your comfort it is definitely where you should be.

     

    Wolfgang Tillmans: Fragile will run to the 30 September 2018 at the Johannesburg Art Gallery. I promise there is no regretting it.

    ‘Headlight (f)’
    ‘Anders pulling splinter from his foot’
    ‘astro crusto’
  • Dana Scruggs – Photography celebrating the black body and increasing visibility

    Dana Scruggs – Photography celebrating the black body and increasing visibility

    Rawness used as a tool of empowerment. A shutter that constructs a narrative around the individuals captured. A constant return to documenting the movement of the human form and the beauty of the black body. A visual activism. A visual voice.

    Dana Scruggs is a photographer based in Brooklyn, New York. Her string of victories in the photography profession include capturing Tori Bowie (Olympic gold-medalist and the fastest woman in the world) for ESPN’s 10th edition of their Body Issue. With this editorial Dana broke barriers by being the first black female photographer to have contributed to this issue.

    A raw approach becomes a voice for a community and acts to represent and celebrate the black body in all its infinite beauty. The realness in her work showcases individuals in a perspective that is hardly seen but mostly felt. By this I mean that her work translates as an emotion – as an embodiment of the people she photographs.

    In an interview with DAILY RITUAL Dana expresses her view on the industry, “Representation matters not just in front of the camera but behind it as well. Brands, mags, & galleries need to look at how they may be feeding into a culture that’s not inclusive of Black women and not inclusive of women of color. It’s not enough to have Black women in your magazine, ad campaign or grace the walls of your gallery. As artists, our voices have been underrepresented and underemployed for far too long. Make the effort to seek us out… MAKE THE EFFORT TO BE INTERSECTIONAL.”

    To check out more of her work visit her website.

     

  • Kamila Bassioni – The Illustrator and collage artist conveying feelings of suffering with her cardboard characters

    Kamila Bassioni – The Illustrator and collage artist conveying feelings of suffering with her cardboard characters

    Earthy colours. Muted tones. Abstract, stylistic characters cut, collaged and pasted together to form a whole. All to deliver emotion and critical thought.

    Cairo-based visual artist, Kamila Bassioni completed her B.A. in scenography at the Fine Arts College in Egypt. Her work’s focus for the last few years has been freelance illustration, such as the design of book covers and illustrating children’s picture books. Outside of her commissioned work Kamila works on personal projects and has taken part in multiple group shows.

    Kamila’s inspiration for personal work is often found in her commissioned projects, as well as from human emotion, thoughts and actions of suffering. With her art, she attempts to convey and share different ways of thinking, particularly with regards to concept. Her aim is to open up the eyes of her spectators and to facilitate a more critical view within her audience.

    Working predominantly in paper and cardboard, Kamila merges cut-out and collaging techniques to create her characters that vary in size from minute to enormous. Each character evokes its own feeling and mood.

    An example of this can be found in the project, Rags to Riches, an installation of large-scale standing dolls representing the hopelessness and pain of the 1930’s Great Depression and simultaneously paints the current state that Egyptian citizens find themselves in.

    Kamila’s work has a tendency to convey feelings of anguish and pain. Her work ranging on melancholy attempts to instil a critical stance from her viewer and touches on politically loaded subjects, reflecting on out past and present world.

  • Meghan Daniels – The Photographer capturing honest emotion through the people closest to her

    Meghan Daniels – The Photographer capturing honest emotion through the people closest to her

    Candid intimacy. Grit. Snapshots of personal memories. Longing. These are the descriptions that come to mind when looking at the photographic repertoire of Meghan Daniels.

    Meghan Daniels is a Capetonian photographer whose work falls largely under the wing of documentary photography. Regarding her camera as an extension of herself, Meghan does not view what she photographs as subject matter, but instead a compilation of experiences taking the tangible shape of a photograph. “Basically, I guess I don’t care too much for photography but rather a sense of what I interpret, to be honest,” she expresses in an interview with DEAD TOWN zine.

    Meghan’s photographic practice began as a visual diary of sorts as she is drawn to capturing those closest to her – herself, friends, family, as well as memory inducing spaces. She articulates further that her visual diary acts as a way of capturing her feelings which touch on themes related to sexuality, gender issues, relationships, intimacy, love, pain, mental health and recovery. She sees photography as a mirror of herself and the world around her. “When people ask what I do, it’s difficult to say I’m a ‘photographer’ and that I ‘photograph’.”

    Photography has acted as a medium to facilitate processing the more difficult aspects of life for her. In her personal projects, Meghan captures moments as they unfold with the passing of time. In documentary projects her approach is grounded in research, participatory research methods which including the person/persons the project are centred around, as well as self-reflexivity which plays an integral function. Her commercial practice foregrounds certain visual signifiers that are a trademark of her eye, namely honesty, vulnerability, intimacy and grittiness.

    Meghan works as a photographer and cinematographer in a professional capacity. Her go-to camera arsenals are her Contax point and shoot as well as her medium format Mamiya. She is never devoid of inspiration. She finds it in the work of fellow South African creatives, areas seen while driving and the small details in life such as broken, flickering light bulbs just to name a few. But as is the case with most artists, feelings of melancholy also lend inspiration – trauma, heartbreak and so forth. Meghan often uses her practice to heal her own pain.

    Images of honesty and true emotion. Real people and real events. Meghan Daniels’ practice tugs on the heartstrings as her candid style is one that projects authenticity and the real nature in which she photographs those close to her makes one feel as though you know them or can identify with the feeling they convey.

  • Sivan Miller – The Cape Town born photographer who reached the international frontier

    Sivan Miller – The Cape Town born photographer who reached the international frontier

    Bodies inhabiting strong poses and near confrontational gazes. The sun creeping behind a model’s head, low angles, lengthened bodies. Glare as a stylistic device. Welcome to the sexy future crafted by one of Cape Town’s own fashion image auteurs.

    Sivan Miller is a South African-born photographer from Cape Town who currently lives in and travels for work from New York. Growing up around Sea Point and Camps Bay he was inspired by his surroundings and started his photographic documentation of the area from the age of 16 as a hobbyist. Frequently skating about Cape Town, Sivan was endlessly influenced by new scenery that he would discover and later return to for the purpose of image creation. With no particular interest in doing photography professionally, he initially channelled his energies towards 3D Animation and VFX after school, aspiring to work in technology and art.

    The self-taught photographer has come a long way since his early landscape images of Camps Bay and has been practising as an international fashion photographer for the past 12 years.

    At the age of 16, Sivan was discovered by Oprah Winfrey with a photograph he took of Camps Bay and uploaded onto a free photo website. He explains that he believes this chance occurrence happened since Oprah has a school in South Africa and she was looking for images of the country. Oprah got in contact with Sivan and he received payment for the use of the image.

    “It had no influence on my career in the fact that no one booked me anymore or any less because of this. It was more a serious motivation for myself, that led me to carry on. If it was good enough for Oprah, then I was good enough to continue on this path, I would tell myself.”

    Sivan justifies his move from landscape work to fashion photography as one that arose due to the necessity of having to maintain a sustainable income. Describing his photographic style as futuristic with an editorial feel, Sivan states that emotion in his images and a connection with the people he photographs is key to his practice. Often shooting from low angles facing up towards the model, Sivan believes that shooting models from below bestows a sense that they are majestic.

    The inspiration for a shoot is frequently sought from the clothing that will be photographed. “My ideas come from the garments I see. I love clothing and new style. I strive to create new work the whole time.”

    Sivan started his career photographing new faces that have now levitated to top faces, such as Jaden Smith, Jocete Coote, Gigi Hadid and Maria Borgers. His ever-growing client list includes New York Fashion Week, Puma, The Oscars, The Grammy Awards, Mercedes Benz, ZARA Clothing, Vida E Caffe, Tashkaya, Soul Candy Records, VISI Magazine, MOT / Zone Models London, Karl Lagerfeld and Jockey SA, to name a few.

    Sivan shares that his journey to becoming the accomplished photographer he is today came with incessant hard work, shooting for 12 years. He hopes to act as an inspiration for other photographers in realizing their own dreams and potential.

    Sivan’s work is technically sound with composition and location choice strengthening the power of his images, as well as emphasizing the majestic and strong essence that is evoked by the models he photographs. Acting as an example of a photographer with no formal training Sivan worked hard to earn his merits and occupy the space he does in the industry today. His excellence should be a motivator for all photographers who dream of a similar future – it can be done clearly.