“It is basically not important where an artistic photo arises. The important thing is the final result and the feeling of the emotions which is created.”
Miloš Nejezchleb is a young Czech artist that focuses on conceptual photography. Here a short interview with him…
Conceptual photography, how would you define it and what fascinates you so much of this sector of photography?
My definition of conceptual photography is that it is the construction of thoughts which make the spectator think about what they see and the scene is usually carefully prepared in advance.
What is the sentiment you feel is common to all your work? What message do you want to convey?
I try to express emotions via human objects who themselves do not express emotions. The message varies from project to project but most often I would like to leave some room for spectator’s imagination with some clues.
You point out that “thanks to photography, I’ve rediscovered the ability that adults appear to have lost, the ability to be repeatedly fascinated by things that your neighbors cannot see”. How and why do you think photography transforms the vision? Can we say that this therapeutic function is necessary for everybody to a certain degree?
When I began looking at the world through the camera viewfinder, I started to fully perceive all the details like colors, shapes and other invisible things which surround me. No, I do not think that it is necessary for everybody because in my opinion photography can have an absolutely different impact on each person.
Aesthetics play a cardinal role in your work. How much does the search for it take away from naturality? How do you keep the right balance between the two elements?
Hopefully, aesthetic does not have to take away from naturality. On the contrary, I often feel that my pursuit of aesthetics helps to enhance naturality.
The artistic movement that fascinates you? How do you feel it has influenced your work?
Of all the artistic movements I am most fascinated by surrealism. I think it influenced me in two fundamental ways: blank expression of models and dreaminess.
Most of your shots have human figures at the core. Which the best and worst aspects of working with models? Any suggestion for people who are intentioned to go down that path?
I find a very important expression ability of the model. That is why I prefer cooperation with experienced models. My only suggestion to other photographers makes the fine art photo the way they feel it. At the beginning of my photographic career I got a lot of advice on how to approach colors or composition etc.. In my opinion, the best way is to follow your own path.
Postproduction for the general public sounds like less more than a trick or a falsification of a photograph, of reality. How would you push back on this argument? What role does it play in your idea of photography?
I usually try to avoid manipulating photos, but sometimes I need them for the final photo as well. In my opinion, however, it is basically not important where an artistic photo arises. The important thing is the final result and the feeling of the emotions which is created. It is simply a kind of art, the ability to express feelings in a tangible result.
Next and upcoming projects?
I’m preparing the second part of one of my most popular series – Milkiller and one project that will be dedicated to the theme of homeless people.