Showing posts with label Hin Chua. Show all posts
Showing posts with label Hin Chua. Show all posts

12.09.2011

The Image: Hin Chua, "Boso Peninsula, January 2011"

© Hin Chua, Boso Peninsula, January 2011

Hin Chua: I made this photograph in Japan in January 2011 by the Pacific coast of the Boso Peninsula. I remember waking up at the crack of dawn and stumbling into the nearest 7-Eleven for supplies before the interminably long two hour train journey from Tokyo began. I still vividly recall my surroundings as I struggled with my framing by the side of the road. Colossal semi-trailers whizzed by with surprising regularity and unsettlingly close proximity, while above me, a squadron of Chinook helicopters on a training exercise filled the air with a series of resounding thuds. After a few minutes, I finally found the perspective I was searching for, made the exposure and hurried on my way: I still had many miles to explore on foot before twilight arrived.

One constant of my work seems to be that I always move on, both literally and figuratively. I find that in most cases, I have little time to dwell on or return to areas that I photographed; I just don’t have the luxury of the repeated visit. And so it was with this particular place, which subsequently passed almost completely from my memory as the negative sat undeveloped.

Undeveloped and forgotten till what is now known as the Tohoku megathrust earthquake and attendant tsunami struck the region two months later. Gradually, I felt compelled to re-examine the photographs I made there; I had the film developed and scanned and retouched much of the pictures. Much of how I view this particular photograph is now infused with the sense of uncertainty of what may or may not  have happened there eight weeks later. I actively avoided thinking about it. Surely I was being the overly sensitive foreigner, desperately seeking to create dramatically tenuous connections with major, literally earth-shaking events? Surely this place was too far from the epicentre to have been affected?

Telling myself to stop being dramatic, I never checked, cocooning myself in the warm embrace of ignorance. Never checked until today when I began to write these words.

As it turns out, the area experienced a "peak tsunami wave height" of 2.5 metres. I have little idea what that means, other than it was sufficient to be classified at an orange level of severity. But I’m sure that nothing really serious happened here, right? I mean, that coastline looks like it could withstand a surge of 2.5 metres, doesn't it? It’s not really that big a deal, compared to the 10-15 metre peaks in Fukushima or Iwate, is it? How big is 2.5 metres, when you think about it? Not enough to really hurt anyone, right?

I still don’t know the answer to these questions, and for the time being at least, I don't want to know.

7.28.2011

f100: Peter Ainsworth, Luke Norman and Nik Adam, Surendra Lawoti, Antonio Valencia

© Peter Ainsworth

fototazo has asked a group of 50 curators, gallery owners, blog writers, photographers, academics and others actively engaged in photography to pick two photographers that deserve (more) recognition - the underknown, the under-respected as well as not-appreciated-enough favorites. A little more information on the project is available in the first post in the series here.

Today we continue the series with responses from Hin Chua and Adriana Rios Monsalve.

We began the series with responses from Nicholas NixonMatt JohnstonBlake AndrewsJohn Edwin MasonAline SmithsonColin PantallMichael WernerLiza FetissovaLaurence Salzmann, Bryan Formhals, Richard Mosse, Shane Lavalette, Amy Stein, Amani Willett, Wayne FordS. Billie MandleLeslie K. BrownGordon Stettinius and Marc Feustel.

Respondent: Hin Chua is a photographer based in London.

SelectionsPeter Ainsworth and Luke Norman and Nik Adam

One considerable regret I have is that I’m unable to properly convey the sheer lusciousness of Peter Ainsworth’s prints to you! His project "Concrete Island" is a painterly, intelligent and above all transformative interpretation of a subject that would have been represented very differently (and probably more ineffectively) in other hands.

To me, Luke Norman and Nik Adam reside in a universe of playful and constant experimentation. Their work may appear initially disjointed, but I think it’s held together intelligently by their inquisitive natures and their very desire to chip away at the traditional boundaries of cohesion itself. Never routine, always fascinating.

© Luke Norman and Nik Adam

Respondent: Adriana Rios Monsalve is an Adjunct Curator at the Museo de Antioquia in Medellín, Colombia and is also a Curator of the Salón Regional de Artistas Zona Centro Occidente in Medellín.

Selections: Both Surendra Lawoti and Antonio Valencia are artists that have moved across geographies quite extensively. Both of their works, although very different in conception, method and result, are tied together by their travels, their idea of territory is not a fixed notion. Their work refers to moving from one place to another as a complex experience.

Surendra’s work reflects upon personal experiences, psychological implications, legal procedures, and a sense of powerlessness, bringing together a wide array of photographs such as constructed imagery, landscape, self-portraiture and portraiture. Surendra’s photographs belong to a series called "Many Rivers to Cross," based on his own experiences of migrations and multiple border-crossings. This series introduces the idea of place from a psychological and geographical perspective, shifting between "I am here" and "I was here." He was born in a small village in Nepal. When he was 21 years old he ventured to the United States to pursue his education. After 14 years of American life, he has just moved to Canada.

© Surendra Lawoti, Mt. Monadnock, 2008.

Antonio’s work talks about the actual act of traveling through a territory, in a bubble, on a bus or automobile, as a passenger that wonders about the reality of a country that he sees. During these trips a monologue is developed in his mind while shooting, without setting the frame, with his camera. Both shooting speed and bus speed leave a trace on the photographic image; the result is a blurred image. Here the technical is conceptual, this reflects on the diffusive image people have about the situation in rural Colombia. He documents the traces of sociopolitical conflict while, literally, being displaced himself across the country. Antonio was born in Pereira, Colombia, lived in Bogotá for 5 years, and he has been living in Medellín for over 12 years.

Both Surendra and Antonio have moved out their hometowns due to tense political situations that reflect on precarious economies and a lack of better opportunities. The Nepalese political situation, violence and displacement are at critical levels due to the large number of religious, political and ethnic interests converging in Nepal for its geographical and historical relevance. During the decade of Maoist rebellions more than 12,000 people died. The UN has reported 100,000 people were displaced. From May 2008 Nepal is no longer a monarchy; it is now a Republic. In Colombia displacement is a phenomenon that has had a persevered over time. A historical concentration of property-ownership has leaft small title-holders in a vulnerable situation. Since La Violencia and due to drug trafficking and armed conflict, acquisition of land is of strategic importance, especially in areas where drugs can be grown, processed and transported as well as areas where mega-projects are being developed, such as highways that connect key parts of the country, hydroelectric dams and African palm and other plantations. As a result there are about three million displaced people in Colombia.

© Antonio Valencia

6.21.2011

f100: Steven Ahlgren, Jo Ann Walters, Hin Chua, Daniel Traub

© Steven Ahlgren. Commercial Bank, Dultuh, MN.

fototazo
 has asked a group of 50 curators, gallery owners, blog writers, photographers, academics and others actively engaged in photography to pick two photographers that deserve (more) recognition - the underknown, the under-respected as well as not-appreciated-enough favorites. A little more information on the project is available in the first post in the series here.

We began the series with responses from Nicholas NixonMatt JohnstonBlake AndrewsJohn Edwin MasonAline SmithsonColin PantallMichael WernerLiza FetissovaLaurence Salzmann, Bryan Formhals, Richard Mosse and Shane Lavalette.

Today we continue with responses from Amy Stein and Amani Willett

Respondent: Amy Stein is a photographer, teacher and curator based in New York City. Her work explores our evolving isolation from community, culture and the environment. She has been exhibited nationally and internationally and her work is featured in many private and public collections. In 2006, she was a winner of the Saatchi Gallery/Guardian Prize for her Domesticated series. In 2007, she was named one of the top fifteen emerging photographers in the world by American Photo magazine and she won the Critical Mass Book Award. Her first book, Domesticated, was released in 2008. It won the best book award at the 2008 New York Photo Festival.

Selections: Steven Ahlgren and Jo Ann Walters. Amy Stein interviews Steven Ahlgren on her blog here and Jo Ann Walters here

© Jo Ann Walters

Respondent: Amani Willett was featured in the book Street Photography Now and is a member of the iN-PUBLiC collective of street photographers. His photographs have also been included in the books ReGeneration: Telling Stories From Our Twenties and Dawn of the 21st Century: The Millennium Photo Project. He has exhibited at the Museum of Modern Art in New York and the Museum of Fine Arts, Houston among many other places. He was interviewed in January 2011 on fototazo here.

Selections: Hin Chua and Daniel Traub

Hin Chua
Too often, photographic projects suffer from either a lack of concept or uninteresting images.  Hin Chua's pictures get both parts right in equal measure.  In his project "After the Fall," Hin spent three years exploring environments in transition - a journey which took him through the outskirts of 40 cities - the result of which is a stunning body of photographs which examine the areas where man meets nature.

© Hin Chua. From the series "After the Fall"

Daniel Traub

© Daniel Traub