The recurring exhibition, which sought to make Northeast Ohio an arts destination, is ceasing operations after two iterations
Category Archives: Exhibitions
Christie’s and the Andy Warhol Museum are staging a pop-up show of the artist’s “Screen Tests” during Frieze Los Angeles
The historical association of textiles with gender, sexuality and identity norms make them ripe for subversion and reimagining
Christie’s and the Andy Warhol Museum are staging a pop-up show of the artist’s “Screen Tests” during Frieze Los Angeles
Dustin Ha, a Korean-American native of Los Angeles raised in El Salvador, seamlessly embodies three distinct identities, persistently navigating the landscape of an outsider. Through the lens of his camera, he uncovers a profound sense of purpose, dispelling the persistent Sisyphean anxiety that has long haunted him.
Fearlessly confronting inner demons through meticulous photography, Ha celebrates the inherent misfit in all of us. With a masterful use of juxtaposition and unconventional formats, he weaves a compelling and unique narrative that takes center stage in Part 2 of our Exclusive Interview.
Read PART 1 of our Exclusive Interview with Dustin Ha
Why did you decide to focus on the themes highlighted in “REMEMBER WHY YOU’RE HERE” as the primary subject of your work, and what do you like to photograph the most?
Mental health is a major theme of both my photography practice and life in general. I have struggled throughout my life with a past that haunts me and a debilitating anxiety about what the future holds. But I have worked on myself to accept my demons and angels. Now I actively try to live in the present. Through these efforts, I see myself in other people, which creates a deep empathy that translates into my work. Lack of confidence, awkwardness, and self-loathing are universal and self-fulfilling. These are my people and the ones I prefer to photograph. If I can learn to love myself, so can they, especially when they see how they can transform with my camera work. Everyone has a story worth telling.
It takes less than a second to take a photo, but how much time and effort go into the preparation for the perfect shot? Can you walk us through your creative process, from concept to execution?
Preparation is key to a successful photoshoot, but that varies depending on the location or the model, each informing the other. With the pieces in place, I lock in a concept and plot out three to ten must-take shots. But I find overplanning can box me in, so I like to stay fluid during a photoshoot and pivot when things aren’t working. Sometimes, those must-take shots get trumped by a thunderbolt of inspiration that exceeds whatever original vision I had. My process involves wide shots that give me latitude to crop in. Out of one thousand pictures taken in a shoot, I narrow it down to 400 that I will import into my computer and whittle down from there.
Most photographers hate the editing part of the job, but I love it because that is where the real work is done. Photoshopping is rare beyond the occasional blemish because I savor raw images and feel blemishes are part of the story. But I do color correct first, regardless if my images remain in color or are converted into black & white. Choosing color vs B&W all depends on which evokes my emotions loudest. The final test is downloading three to five versions of my favorite images onto my phone to see what reads best since most people consume media primarily on their handheld device.
What cameras and equipment do you use in your work, and how do these choices contribute to the unique style of your photography?
I shoot digital and film using Leica cameras with 50mm and 35mm lenses with a small flash. Traveling light is important for me since I cut my teeth doing street photography. Leica is my camera brand of choice because of the high resolution that gives me the breathing room to crop images without missing anything. Neither camera has auto-focus so it takes a moment working the rangefinder when I change shots. Depending on the subject and location, I sometimes prefer sharp and crisp images, but occasionally the slightly out-of-focus photographs yield interesting results. The camera is important, but my concepts trump the equipment and make my work stand out.
In your opinion, what is the primary skill set one must possess to be a good photographer? How do you continue to develop and refine your skills over time?
Anyone can buy an expensive camera and start snapping, but there is no substitute for a good eye. It took a lot of mistakes to develop my eye. My evolution from taking forgettable photographs began with taking countless images that I photo-edited to assess what I liked or hated about each one. I would then single out my strongest work and revisit how those pictures were created, so I could replicate the process. I apply this assessment to many professional photographers’ images and try to figure out how they achieved the images that really speak to me. It all comes down to composition, facial expression, and angles.
Without giving away your trade secrets, walk us through your process of preparing for your debut solo exhibition “Remember Why You’re Here” at Helen J Gallery on February 10 in Los Angeles.
The first step was to sift through the thousands of photographs to see which specific images simultaneously give me a sense of despair and hope. Next, I printed the winners on various materials and found that matte canvas gave my work the most natural appearance for both color and shades of grey. Matte canvas also has more texture that makes it malleable.
The folding process happened slowly as my emotions tell me how to fold each image: the stronger the feeling, the bigger the fold in the print. The somber pictures’ folds are looser and wavy like calm ocean ripples. The goal is to create the illusion that the image is a reflection beneath the water. If the end result doesn’t evoke both despair and hope, I start from scratch.
Your work is unique in that you fold your images to create something singular that becomes more than just a limited-run edition photo, more akin to a painting where it’s a 1-of-1. What do you hope your exhibition will contribute to the photography canon?
My hope is for art lovers and the not-yet-converted alike to find inspiration in my work and its unique presentation. There should be no rules in art, so I encourage artists to never limit themselves to creating the “right way.” A photograph does not necessarily have to be a flat image on paper in a neat frame. It doesn’t even have to be on paper. There are countless ways to present a photograph that include printing on silk, stainless steel, or copper. Each material absorbs the image differently, creating its own sensations. My choice to go three-dimensional represents my own turbulent mind trying to make sense of this complex world.
From all the amazing photos that you’ve taken, which is your favorite from “Remember Why You’re Here”? Can you share the story or emotion behind that particular image?
My favorite work from “Remember Why You’re Here” is ESC. This piece transports me back to the times in my life when I felt trapped with no escape. To be honest, I still feel that way sometimes. The model in this image appears to be trying to break out of the confines of the photograph. Henry David Thoreau wrote, “Most men lead lives of quiet desperation.” This quote gutted me, and so I promised myself I would never live like that again. And that is why ESC gives me hope because the woman in this image is fighting with her last breath to break free of the fourth wall.
Part 3 is Coming Soon!
Also Read
REMEMBER WHY YOU’RE HERE: Spectacular Photographic Journey by Dustin Ha
Interview organized by Mon Dieu Projects. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News
The post Photographing Paradox: Exclusive Interview with Dustin Ha – Part 2 appeared first on World Art News.
Visitors to the city during Zona Maco can also take in Museo Jumex’s anniversary group show, curated by New Museum director Lisa Philips
Shows in London, Southampton and St Ives are introducing a wider audience to the work of artists from the far north
Stepping Softly on the Earth embodies the themes of sustainability and interconnectedness both in its theme and how it has been put together
This curatorial triumph highlights the measured artificiality of the German Romantic artist who made work that still mesmerises
Dustin Ha, a Korean-American native of Los Angeles raised in El Salvador, seamlessly embodies three distinct identities, persistently navigating the landscape of an outsider. Through the lens of his camera, he uncovers a profound sense of purpose, dispelling the persistent Sisyphean anxiety that has long haunted him.
Fearlessly confronting inner demons through meticulous photography, Ha celebrates the inherent misfit in all of us. With a masterful use of juxtaposition and unconventional formats, he weaves a compelling and unique narrative that takes center stage in Part 1 of our Exclusive Interview.
Can you tell our readers about your childhood, family, and the environment you grew up in? Were you an artistic child? How do you think your early experiences shaped your perspective as a photographer today?
I was born in LA but moved to El Salvador at the age of five, where my dad had been running his business. It was quite the culture shock, living in the developing world, and I never got used to the humidity and heat. My father was a workaholic, and my mother a helicopter mom who wanted to protect me from the considerable dangers in our new home. That meant I was stuck at home a lot and forced to live in an imaginary world.
I would not describe myself as an artistic child since I hated art class with its rules about coloring within the lines. That was my only chance to rebel because my life at home was very strict. The only times I saw the world outside school and the house were on interminable shopping trips with my mother where I sat around observing everything, including stunning, well-dressed women whose lives I wrote wild narratives for in my mind: princesses, actresses, assassins. And now I can’t remember their faces, which frustrates me and is part of why I primarily photograph women, trying to find those MIA women’s faces again.
Do you consider yourself an artist, and what role does creativity play in photography? How do you balance the technical aspects of photography with the need for creative expression in your work?
I am most certainly an artist, but am more than just that. No one is merely an accountant, doctor, lawyer, or chef. We are only limited by our own beliefs. Photography is undoubtedly technical, but now it’s second nature, like muscle memory, so I don’t get lost in the minutiae. The early days of my photography practice produced technically perfect images that felt one-dimensional and soulless. Now my focus is on the creative aspects and finding the story and character arcs in each photograph, making each image five-dimensional. I love that photography grants me the freedom to reach into the depths of my brain where the wildest ideas that used to scare me exist.
How long did it take you to master the camera, and was it a difficult process? Can you share some insights into your journey of honing your skills as a photographer?
I am far from a master of the camera and recognize that I have a LONG way to go. But life should be one long education. You could say that I am among the least technical professional photographers out there and learn best through trial and error. When in doubt, I go to YouTube tutorials. My best photographs are mistakes and would never be classified as “picture perfect.” Perfect is boring to me. My process is taking ten times the photos most photographers would take because of FOMO. That means a lot more work sifting through the images, but often it’s the takes when the subject isn’t doing that perfect pose where lightning strikes.
Was it difficult to become a full-time photographer, and what risks, challenges, or setbacks did you have to face in your career? How did you overcome these obstacles?
I am still not a full-time photographer, but getting there. My biggest challenges relate to my mental health. My clinical anxiety paired with self-doubt are my greatest obstacles. Whenever I’m on a paid photoshoot, I fear that I will blow it and end up with a bad reputation as a hack. I used to obsess over locking in that perfect image for the client. A wise peer reminded me that the client hired me because of the pictures I take. Over the years I have grown more confident and learned to trust my instincts and deliver images that are well-received. You can’t force “greatness,” but the more you let loose and just flow, the better the photoshoot will go.
Were there any significant events in your life that influenced your photography career? How have personal experiences shaped your artistic vision?
For me, those significant events were photographs that I have encountered. One, in particular, was “Tomoko and Mother in bath” by Eugene Smith that taught me what is possible with a single image. Other photographers whose singular works push me to be the best photographer I can be include Peter Lindberg because of the looks on his models’ faces, never smiling. Davide Sorrenti’s images evoke sadness and empathy that help you understand his short life better. Vivien Meyer never developed her pictures, but her passion for photography and her instincts astonish me. I take elements I love about each of these photography greats and combine them with my vision to create the collective works of Dustin Ha.
Regarding personal experiences, the contrast between living in El Salvador, classified as “ugly” due to its crushing poverty, and Los Angeles, correlated with beauty and glamor, has become a paradox for me. I see the beauty in squalor and the hideous nature of affluence, which is reflected in my artistic vision and output.
You grew up in El Salvador as a Korean American. How do those respective cultures: Korean, American, El Salvadorian influence your art practice today?
The perfectionist in my photography practice is my Korean side, primarily my mother who likes pretty things. My innovative side is all American and a testament to the American dream that my grandparents immigrated to achieve. This is the land of innovation, and I don’t think I could pull off my photographic feats anywhere else. My rebellious, some might say grungy, side comes from my formative years spent in El Salvador. The poverty is humbling, but there is freedom in a land without laws or police (a $20 bribe is a literal get out of jail free card), and I think that lawlessness comes through in my photographs.
Part 2 is Coming Soon!
Interview organized by Mon Dieu Projects. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News
The post Photographing Paradox: Exclusive Interview with Dustin Ha – Part 1 appeared first on World Art News.