English
DeutschHaving worked as a model in the past, Ava Pellor knows exactly how people feel in front of the camera. To remain authentic in such moments is the premise required of her protagonists, but also of the photographer herself. Pellor spoke with us about the great advantage of taking portrait photographs at home, and about the idea she wants to express through this series: it is clear that the captured images represent just a moment on the journey through life of all living things.
Why is photography your form of expression?
Photography has always been a way for me to communicate to the world. A majority of my work is an approach, or observation, of the human form. It’s an ongoing exploration of beauty and the conventional stereotypes society attributes to it.
Are you attracted to other art forms as well?
I’ve always been drawn to more artistic approaches growing up. Drawing, painting, music, basically whatever I could get my hands on. It wasn’t until my early teens that I found my grandfather’s broken film camera sitting on a dusty shelf in my mother’s closet. I would pretend to use it, as if it were a functional camera. When I decided to move to New York City I finally had the means to get it fixed. After that I was completely enamored by film and photography itself. Capturing those fleeting moments that would otherwise be lost.
How come portrait photography became your main field?
I love taking portraits. Building a connection with the subject and creating such a vulnerable, yet safe environment for everyone in the room. There are so many emotions you come across when shooting such intimate portraits: strength, curiosity, pain, beauty. You can see it so naturally through their bodies. The way they move. Giving people a safe place to feel comfortable is a key part of the process.
How did this project come about? Was it your own project or an assignment?
This was a personal project I’ve been exploring for well over a year now. I needed something to keep me inspired, and to work on what I love doing without the pressure of being on an assignment or having a deadline. It keeps my soul intact, rather than just shooting for other people or purely work.
Where was this series shot?
I shot most of these portraits in my “studio” in New York: it’s just my living area with a backdrop tied to a curtain rail. I’ve always loved shooting personal work like this in my home. Again, it’s the sense of intimacy that comes with it.
Please give us a sense about the meaning of the title of the series: From Whence We Came.
It’s a way of understanding where we came from and what we will return to.
So the flowers are metaphors connected to this thought.
Yes. In this series of diptychs, the idea of working with flowers along with portraits, natural elements paired with photographs of the human form, is for the viewer to understand and be forced to confront our own mortality: it lives side by side with the energy of life itself. I want the viewer to be faced with the idea that these images are fighting against the stereotypes of beauty and what the human form is. I’m looking for a reaction from the viewer.
What does light mean to you, what are your preferred ways to use it?
Lighting plays a big role in a lot of my work. I love exploring it. For this specific project, everything is shot in natural light. I want the photos to be as raw as possible. I rarely use artificial light nowadays, unless I’m shooting for a client and it’s required. I always aim to have a lot of contrast in the images. It conveys more Information and depth for the viewer.
How important is the model for your work, and why? What should a good model have?
The model is such an important element in the process. It’s all about the connection with that person and how we perceive one another. Through every day life and during the shoot.
What do you appreciate in particular when working with your subjects?
I appreciate the trust the subjects are giving me. It’s very difficult to walk into a room, often with a stranger, and be photographed. I know this from past experiences when I used to model. I always give time to just sit with the person and talk; to become comfortable in the environment and hear their stories. As soon as you put the viewfinder to your eye, the camera covers your face, and the connection is often lost. All they see is a camera pointed at them, and they can’t see you, but they know you can see them. It’s tough. I appreciate the strength they have in that position.
Ava Pellor was born in Elmira, New York, in 1999. After a brief time at an Art College in upstate New York, the self-taught photographer decided five years ago to begin a freelance career in New York City. She has, for example, produced photo series for the National Gallery of Victoria in Australia, and for Mexican fashion designer Jose Gonzalez. Her editorial series have appeared in magazines such as Paper, Moevir, Goji, Flanelle, Gelatin, Gata and Document Journal. Find out more about her photography on her website and Instagram page.
Comments (0)