ward-winning photographer and filmmaker JamieJames Medina’s projects are archives of intimate moments intertwined with moments of glamour, fame and everyday life. Working across several genres, he collects photographs from music tours (he has recently toured with FKA twigs and The XX in the US), shoots portraits of celebrities and creates in-depth reports on Darfur, North Korea and South Africa – his practice makes him an artist whose works are ultimately inscribed in the codes of modern time. The results of these intermittent voyages are a collection of visual treats that explore the life of those around us. What shines through Medina’s works is his ability to transform himself and adapt to his environment – his approach is direct in style and form, and communicates the importance of being ‘present’, an asset often overlooked in the creative world. Evidently, Medina’s genius shines through; he has worked with the likes of Lady Gaga, Jay-Z, King Krule and music legends Chuck Berry and Etta James. ROOMS caught up with him to discuss his work and his recent projects.
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Jamie, you grew up in Bangladesh, Dhaka, where your father worked as an expert in tropical medicine. Is that something that was important for you in relation to your art practice? Hey ROOMS… Looking back now, Bangladesh was such an exciting and unusual place to grow up, but that was just my life. I don’t know if it affects my work, but I think I grew up with a sense of adventure and reality which pushes me towards finding my own place in everything I do. We didn’t really grow up with TV or magazines or record stores – I only had those things when I visited the UK during my Christmas holidays, so I have very clear memories of how content reaches people and how inspiring that can be. I think about that a lot.
182 ROOMS No Borders No Boundaries
How and why did you know this was what you wanted to do as a career? I primarily work with music and musicians and think I just wanted to be involved – the camera was a passport or reason to be present. I love to travel, but I don’t really take holidays, so the work becomes a great reason to see the world. I love meeting different people, but I can be pretty distant in my everyday life, so the camera just helps to start those conversations. You are not only a photographer but also a director. How does one influence the other? For me, I think it all starts with still images. I’ll begin every project by going through my photography books and just getting my brain excited again. I have a folder on my desktop that is constantly updated with references that will find a home somewhere in my work. I’ll start to see recurring themes, so I’ll build ideas around that and just get it out of my system. With reportage photography, you’re observing, so you just hope that all of your preparation matches the opportunity and you get the right show.