▲神秘性是影像的灵魂 瑞士神秘摄影艺术家Sébastien Monzani专访
2014-08-26

 

Jean-Sébastien Monzani是一位瑞士法国混血摄影师,他出生于1975年,是一名自学成才的自由摄影师,平面设计师,插画家和视频艺术家。他曾经在瑞士联邦研究所获得计算机博士学位. 他的艺术作品,被先后收录于ARTE纪念品,以及VIMEO众多国际艺术杂志和网站

(J: Jean-Sébastien Monzani E: Ellen 罗然)

E:请问您是什么时候开始接触摄影?

J:1988年买了一部单反相机的时候,那时候其实还没有真正的摄影主题以及艺术思想。当时的想法很简单,只是不想受限制于借别人的相机拍照。过了两年, 我才拍摄了一幅人物摄影,感觉与人物交流并且用图片的方式记录故事十分有趣。那以后我和朋友们拍摄的人物肖像越来越多,我对摄影也愈发感兴趣。

E:您曾经在瑞士联邦研究所获得计算机博士学位,您觉得博士(计算机)的专业知识对您之后的摄影创作有什么影响吗?

J:当时的选择是继续以前的专业读博或者做一名自由职业者,我选择了前者。我的专业对我摄影技术有很大影响,除了我不喜欢用严苛的态度和方法去分析问题。

 

 

E:您身兼摄影师,平面设计师,插画家和视频艺术等职业身份,您是如何在这些不同的领域角色转换的?您觉得最大的努力是什么?

J:其实身兼这些不同的角色不难,所有艺术都是用不同的方式达到同样的目的,我倒是觉得这些不同的角色丰富了我的艺术方面的知识。另外,我也在从事一些当代舞蹈与音乐方面的创作。了解不同的艺术形式,会让人产生更多的想法或者说更好的表达自己。

 

E:有一个系列作品叫‘intention’命名的原因能够讲述一下吗?

J:神秘主义一直是我作品的主题,我想让观察者自由得定义这些图片所诠释的含义。intention(意图)这个系列的作品其实是以一种讽刺的方式呈现在大家面前。因为每幅图片都有不同的含义,而关于这个含义,即使图片是呈现给观众去理解和猜测,但其当中的含义仍然是被隐含的。

 

 

E:您的作品很多都有模特的参与,对于模特或者演员有什么特别的要求吗? 您是如何与模特进行交流沟通?这个(过程) 在您的作品中也有一些亚洲面孔,有什么特别的含义吗?

J:我并不是很热衷于找模特进行摄影,四年来一直倾向于与专业的演员和舞蹈家进行合作,因为我觉得这些艺术家会给我更多灵感去发现与创造。一般情况下,我是先对创作目的进行定位,并且将想法详细的解释给被拍摄者,让他们做出动作,后续一起细化每一个细节。通常拍摄一张照片最少要一个小时。

J:在2011年以前,我没有刻意的去选择被拍者,只是喜欢拍我遇到的人,大多数演员很美。我拍摄过一些亚洲面孔是因为她们拥有自然美。

 

E:对你影响很大的摄影师或者艺术家 在你作品中有没有体现?

J:人们在看我的作品时候可能很容易想到Gergory Crewdson,爱德华霍珀,马格里特, 大卫.林奇, 村上春树。

 

 

E:完成一个作品是和团队一起合作还是一个人?是否有自己工工作室?

J:是这样的,我基本上都是自己拍摄和制作,包括电影和视频中的音乐。因为我的作品大多是外景拍摄,所以并不需要工作室。

 

E:在处理手法上,您最常用的后期处理手法可以通过举例跟大家分享一下吗?

J:以前我会做很多的后期制作,但是现在很多是相机一次性成型,并且我照片的制作水平提高了很多。 拍摄过程中所有演员出现在一副画面中不太容易,通常这些程序是使用三脚架和Photoshop截取你想要的那部分得以完成。

 

 

E:你希望如何定义你的摄影风格? 从摄影创作初期到现在有没有什么改变? (图片或者影像的侧重点)

J:我认为优雅和简洁都是我的风格特点,当然构图也是很重要的组成部分。就像绘画一样,我的影像中也经常含有故事的元素。从拍摄第一幅作品到现在我的摄影水平取得了很多进步,但是基本来说简洁优雅的色彩和构图以及主题中的神秘主义是我所坚持的。我想这也是为什么人们能够认可我的作品的原因。

 

E:近期有什么新的摄影创作活动吗?

J:近期我在学习舞蹈,我对于人们如何运用自己的身体很感兴趣。近期的作品"Unconfirmed transmission(s),相信新的作品会以全新的视觉来冲击观众的视野,它代表的含义是. ’我们如何与自己的身体交流。我也会参与被拍摄者当中,对我来说同事担当表演者和摄影师是很大的挑战(创作过程中会插入时间间隔帮助我拍摄)

 

E:会不会考虑在您的摄影中加入中国文化元素?

J:不仅仅会加入中国文化的元素,其实更想来中国拍摄。中国飞速的现代化建设带给人们一种平时无法触及的景象,我所指的是画面中“不合时宜”的景色。这些景象在英国摄影师的作品中有所体现,他的作品对我很有启发。

 

 

E: When did you become interested in photography? Do you still remember how it started?

J: When I bought a SLR camera in 1998, I had no real subject or artistic ideas. I just felt too limited by regular compact cameras that I could borrow and thought it would be a nice idea to have my SLR. But it took two years before I did my first portraits and really enjoyed to share ideas and interact with a person while creating an image. Things continued progressively, and the more portraits I shot with my friends, the more passionate I became about it.I think the decisive moment was when I started to prepare my photo-sessions more precisely and elaborate stories with them (roughly in 2002)

 

E: Since you had PHD of Computer Graphics, do you think that your professional knowledge had a great influence on your photography, and what is the impact?

J: My PhD was actually a way to make a transition between my former studies in Computer Science and my freelancer job. Except for a rigorous way to analyze problems, I doubt it had much influence on me, though.

 

 

E: For you are succeed in switching your roles between a photographer, a graphic-designer, an illustrator and video-artist? What is the most important thing to do? What is the most important thing to do to reach your goal?

J: I actually don't feel it difficult to switch roles because all arts are just a different way to reach a goal. But I think it's enriching to also learn different arts. For instance, I'm also doing some contemporary dance and music. Knowing different arts give you more ideas and ways to express yourself.

 

E: You’ve created a series of works named ‘intention’, what is the specific reason for the design of the name?

J: Mystery is what best describes my work: I want to puzzle the viewer and give him/her the freedom to interpret these photos. Intentions are an ironic way to challenge them, because it implies that there is a meaning to each image. While there is one, it will still remain mysterious and open to interpretation.

 

 

 

E: Your photos contain various participations of models, is there any special request for choosing a model, you intend to select professional models or art lover?

J: I've never been much interested in working with models. For about four years now, I'm collaborating with professional actors and dancers, which give us a richer way to discover things together. I first start by defining our goals and ideas, and I then let them propose interpretations that we further refine together. It usually takes about one hour to complete an image.

J: However, before 2011, I was simply shooting people I was meeting, mostly seeking beauty in them. I'm not quite sure while I accidentally met several Asian women back then but their natural beauty was definitely how I chose them.

 

E: Who is the most influential person for you? (a writer or photographer or filmmaker, or artist ) have you ever apply the effects to your works?

J: One can easily draw references between my images and various artists: Gergory Crewdson, Edward Hopper, Magritte, David Lynch, Haruki Murakami to name a few.

 

 

 

E: Do you complete the work alone, generally? Do you have a studio?

J: Yes, I do all retouching myself and similarly compose music for my films. Since I shoot on location, I don't need a studio.

 

E: What is the most common technique or skill in doing the post-production for the photos? Would you like to illustrate the skills with examples?

J: I used to do a lot of photo-retouching but I now do most in-camera, and my post-production now is that much advanced. I can show you how I combine pictures when lighting all actors becomes difficult. This is fairly easy, you just need a tripod and then cut out the needed parts in Photoshop.

 

 

 

E: How to define your photography style? (What style should be defined, or your expectation ), is there any change of your shooting style from the beginning of the photography to now? (From the style or from the emphasis of types on creation)

 

J: I think that simplicity and elegance both define my style. Composition is also quite important, just as in paintings. My images often carry a kind of story too. I've certainly achieved some steps since the beginning: the first stories, the first session with actors... but basically, mystery and careful composition, colors and elegance have all been there since the very beginning. I think that's how people recognize my work.

 

 

 

E: Are there any new photographic activities recently?

J: I'm currently quite interested with how we use our bodies in society (hence the contemporary dance lessons I've started to follow). In my recent series "Unconformed transmission(s)", I directly challenge the viewer: "When do we communicate with our bodies?" The images I've produced capture a performance into which I also participate. It's a great challenge for me to be both posing and shooting at the same time (I use a intervalometer to help me).

 

E: Have you ever considered adding ‘Chinese cultural elements’ in your work?

J: You know, rather than just using Chinese cultural elements, I would be quite interested in shooting in China. The current frenetic modernization seems to create some "disconnected places". What I mean by that are places that don't seem to properly "fit". There is oddness to them that Nadav Kander has captured very well in his photos. They quite inspire me.

 

(更多作品请关注 Find more photos from Jean-Sébastien Monzani on his websites www.simplemoment.com and www.jsmonzani.com )

      

摄影师: Jean-Sébastien Monzani 

采访/翻译/编辑:罗然  Ellen