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Åsne Eldøy

David Dundas

Gabrielle Paré

Geir Moseid

Håkon Røisland

Jannecke Sanne Normann

Jonas Valthersson

Oktawian Gornik

Ole Marius Joergensen

Triptych (coral, stone, column)

Zoo

Opaque, as my skin is thin.

Everyday someone is born whom one can love

Left behind. Fragments.

Satisfaction brought her back

Project 2 0 0 0 1

Ivory

Vignettes of a salesman

Credit: Gabrielle Paré

Issue 6


Issue 6

Gabrielle Paré Opaque, as my skin is thin The history book, the tattoo, the painting and the bill of rights all perform some kind of narrative about life and how we are expected to live it. These are the myths we tell ourselves, the myths that entitle us, that we identify with, and that divide us from one another. In the Philippines, the mestizo is an individual of mixed ethnicity, usually of native Filipino and Spanish lineage. The mestizo, with its culturallyfluid body and ambiguous skin, doesn’t claim land so easily; the entitlement to a culture isn’t always clear. If I look this white, can I really speak about Filipino diaspora? Édouard Glissant makes the case for opacity, opposing the Western dependence on transparency to convey truth and authenticity. After exploring my own mestiza identity and researching the politics of colour and cultural appropriation, it’s with some irony that I have ended up here: deciding that the most ethical and inclusive choice is to resist identifying as part of any particular culture at all. In my practice, I abstract elements of Filipino culture with no attempt at its representation, nor any pretence of performing an authentic Filipino identity. I am interested in the publication’s ability to propagate myth. As an artist, I am a maker of myths. How shall I wield this power of mythmaking? I think I’ll tell stories about the hybrid, transformative, opaque body. The texts I write, the photographs I take, the gestures I perform become documents that I hope subvert identification. www.gabriellepare.com gapareful@gmail.com

Jonas Valthersson Project 2 0 0 0 1 - Diversity, meetings, possibilities. http://valthersson.com/ www.ucsscandinavia.com

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Issue 6

Issue 6

Ole Marius Joergensen “Willy was a salesman. And for a salesman, there is no rock bottom to the life… He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back, that’s an earthquake. A salsman’s got to dream, boy it comes with the territory.” from “Death of a Salesman”, 1949 BY Arthur Miller

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A lot of traditions are being lost as new technologies have conquered our world. The door-to-door salesman is a relic from the 50s. In Vignettes of a salesman, we follow a lonely, faceless salesman on his never-ending rounds... the last of his kind. www.olemariusphotography.com

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Issue 6

Issue 6

DAVID DUNDAS davidddundas.no (NO)+0047 97090557 daviddbrandt@gmail.com

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Issue 6

Jannecke Sanne Normann As a female photographer my art is self reflecting and I want to emphasize on our inner struggle, fear and loneliness as well as on our ability to rise and create our own happiness. It is important to reveal our vulnerability and to deal with unpleasant emotions in order to move forward in finding our true identity and balance in life. My pictures are mise- en -scène. I like to use my experience with fashion photography and put it into a broader context. I look for beautiful, rare, dreamlike places to shoot and I mostly use female models, because it is easy for me to relate to. I like to balance the seriousness in my pictures with humor and I strive to find humorous titles that directly or indirectly reflects the emotions in the pictures. This process comes prior to taking the pictures. I like my viewers to be able to relate to the scenery or model, and to have some emotional response when looking at my pictures. www.jannecke.com Instagram: @janneckesanne Facebook: @artbyjannecke

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Issue 6

Issue 6

Håkon Røisland «Left behind. Fragments.»: Some stories are hard to tell, hard to understand – even for the storyteller. These stories are often kept secret, just because the pain. They often miss wholeness, and only consist of twisted fragments. Fragments - as pieces in a puzzle you don’t know how will end, if there is an ending at all. Some will maybe advise you to let it all be, let the pieces of the puzzle be absorbed by the ocean of time - and hope this ocean will wash away the memories. Hope that it doesn’t make you feel fragmented and left behind. I work with contradictions and taboos related to ideologies and norms in modern society. I seek to visualize the spaces that are formed as the uncensored inner thoughts meet reality. Exposing these meetings truly, I need to be willing to expose myself, not only as a distant director

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controlling the stage - but also as the exposed. Some thoughts, some experiences, cannot be played by anyone but their owners. I work with Instant films, where I always combine elements beyond my control together with the motifs I have consciously chosen. The surroundings I choose for my photography always have a meaning for what I express, and their contributions are not only on an ideological level, but on a concrete one as well. By pressing the films onto the photographed subject, a chemical process forms by particles from the photographed, blending with and affecting the films’ emulsion. www.roisland.no haakon@roisland.no

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Issue 6

Issue 6

Geir Moseid In the series Everyday someone is born whom one can love Moseid is centering his work around the topic of the everyday. The series seeks a connection with the viewer through the recognition of familiar scenarios, that stem from everyday life. Operating at the centerpoint where documentary and staged photography meet, the work aims to trigger emotional responses that are already embeded within the psychological parameters of the viewer, whether they stem from the everyday, TV, cinema or advertising. By adopting and manipulatingthis familiar visuality, Moseid is blurring the boundary between truth and fiction, private behavior and performance. Hence the viewer is left with a myriad of possibilities when confronted with the scenarios. This individual reflection is complicated further by a focus on the images as vehicles of ambivalent emotions and readings.

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The motifs yearn for a more consentrated gaze that challenge how images are analyzed and contemplated on a daily basis, in a time where the pace and discardment of visual impressions are evermore increasing. They urge for a slower approach towards how images are examined, utilizing photographys unique stillness to create emotional vacuums. By utilizing photography’s unique stillness and by combing man and nature the exhibition is confronting the viewers relation to time. A room where not only notions of what is transient and present needs to be considered, but also what will perish and what will be left in permanence. www.geirmoseid.com post@geirmoseid.com

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Issue 6

Oktawian Gornik

Åsne Eldøy Triptych (coral, stone, column) Too look at stone, is looking at the world. Used as a storyteller the rock often appears in my artistic works and photographs, undertaking different roles and manifestations. The occurrence of geological history, minerals and stones (in a broad perspective) is often discussed and looked at from different angels – from a tiny grain of sand to solid mountains. The world is build up by stones and the transformation through million of years is still sufficient for the places we call home. How rocks in different shapes and forms are involved in all stages of our surroundings. Through geological timespans, chemical reactions, refining and processing minerals, hillsides and pebble stone is transmitted to human affection to terms as home and society.

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Making the outlines of the landscapes we relate to with natural formations as hills and islets and as building materials and industrial inventions stoneproducts shapes our residences and also our living patterns. With no doubt, rocks made enormous impact in the proses of human development into civilization from the stone age until today. As we shape nature, nature shapes us. A repeated investigation is on how mankind takes nature and creates culture; that humans profits a landscape, make use of it’s materials and transform the earths resources to shape and create new, urban environment. An endless didactic relationship between the natural and the man altered landscape. asne.eldoy@gmail.com

IVORY I take fashion photography as a journey and creative process where planning is a key to desired images. My latest editorial, called Ivory is built around one main picture. For a period of time I had in mind creating an image located in minimalistic space of former art gallery in Oslo - Melk. I wanted to cooperate with stylist whose feeling of aesthetics is similar to mine so we could create slightly conceptual look as this is my direction in fashion photography. Model for this project I luckily found via

I was planning to take one another picture where model was supposed to be captured via old tv but this idea didn’t work out as well as planned. However, In total we took set of nine pictures and after selection I decided to choose seven of them. Editorial was taken in ambient light with Nikon D5, I chose this camera because of it’s nice ISO quality due to slightly demanding light conditions of the ceiling light tubes. Now, looking forward to the next session!

instagram and after a chat with her local agency we managed to set a date. Nile is normally based in States but at that time she was living in Oslo. To make picture more interesting and conceptual and at the same time separating model from the background, I decided to set a wall behind. I covered it with shiny foil which got smooth light detail on the top. Torstein, our stylist chose latex shoes where material nicely corresponded to the foil.

www.oktawiangornik.com Team: photographer: Oktawian Gornik model: Nile / Pholk Oslo stylist: Torstein Lohne mua/hair: Inger Lise Moa photo assist: Patrycja Putko retouch: Kamil Duszynski / Beauty Retouch


Uncertain States Scandinavia is a non-profit lens based artist collective who are passionate in creating, discussing and promoting photography. In this volatile global climate the work reflects some of our current concerns and challenges how perception is formed in our society on issues as diverse as politics, religions and personal identity. For your on-line copy, visit www.ucsscandinavia.com Subscribe to the newspaper at info@ucsscandinavia.com | Follow us on Instagram: ucsscandinavia Uncertain States Scandinavia DA NO 916337027 Edited by Astrid Gjersøe Skåtterød, Tor S Ulstein and Charlie Fjätström. Designed By James Young. Printed by Sharman & Company Ltd, Peterborough.

We welcome submissions from lens-based artists for further publications. For all enquiries please contact info@ucsscandinavia.com

Credit: Jannecke Sanne Normann

The Uncertain States Artist Talks Upcoming events are artist talks in Oslo. It will be a monthly evening event at Peloton pub and café with talks about present projects. October Wednesday, 18th 20:00 Peloton Oslo | Torggata 35, 0183 Oslo Kristine Wathne

November To be announced Terje Abusdal

Uncertain States Scandinavia Issue 06  
Uncertain States Scandinavia Issue 06  
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