November-December 2014 … The Global Online Magazine of Arts, Information & Entertainment … Volume 10, Number 6
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Rahi Rezvani / Photographer-Interview

 

©2012 Rahi Rezvani

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The Fantasy Work of

Photographer Rahi Rezvani

 

Q) When did you take up photography? Did you train as a visual artist?

A) I started with photography when I was 16 years old but I always felt born as an artist. I come from a creative background my parents always have stimulated and encouraged my talent, that did help me to grow. But to feel inside ‘what is your call in life’ was always very clear to me.

Q) Seeing your work in Brooklyn was an eye-opener, as seeing any work in life is as opposed to a computer or in a book. What pushed you to making the larger-than-life prints?

A) The quality of an image is not depending on the print size. But some of my images need to be presented bigger than the human size. I want the audience to feel and see the details of my artwork and experience in this way what the human size is in comparison with my work.

Q) So, are you challenging the viewer, attempting to intimidate them, or merely to expand upon the presence of the subject in their eyes? If I see your images and then the subject in life, am I likely to be disappointed?

A) I challenge people to think about my art. I would not use the term “intimidation.” If a viewer feels intimidated by my images, it tells more about “who” the person is and where he is in his life.

Q) How do you find your subjects? Or do they find you?

A) I always find my subjects and look for it. I see reality in a different way than others do.

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Rahi Rezvani / Photographer
















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Q) I’m not sure I understand. First, what is your different way of looking at reality, and second, what features do you see or look for that define a subject that would make you want to capture it “on film,” or as a digital image?

A) My vision of the world and mankind is formed through my cultural background and life experiences in so many levels. I don’t look for certain details or aspects, I just find them and know how to translate them. It is an open channel in my mind, in which my eyes register what I want to communicate in images to touch the human soul. But it comes from my heart.

Q) How much of your work is “commercial,” versus portraiture or art?

A) I am not interesting in analyzing in a pragmatic way how the circle is devided. I am in a continuing process to move on.

Q) So in other words, you make images independently of any outside influences, and if someone wants to purchase (commercialize) the image, then that’s their business? Or do you have expressed limits on where and how your images can be used or reused?

A) For  me there is a big difference between art,  conceptual art and commercial art; don’t make the mistake to mix that up or to put them all in a blender. Also the copyrights are an issue of importance as well as editions. Some request a certain limit, others don’t. But there has to be a connection with my work and understanding the art.

Q) Do you take commissions, or is your income derived from sale of work and grants?

A) Some artists work with an agent or gallery, others solely by their own. I have formed a great team and together we manage well.

Q) Are your photographs multiples or ones-of-a-kind?

A) It is always one of a kind. The industry sometimes require editions, that is a different story.

Q) How much work do you do in the darkroom, or is most of your work digital?

A) Seriously? Have a good look at the exhibition or see my print portfolio. It will speak for itself.

Q) As I recall, you use Hasselblads. What is your relationship with that company? How did it develop?

A) The current market supplies a variety of tools to work with, I do have my preferences but I also like to experiment a lot. I use different brands and cameras, Hasselblad is one of them. Brands also ask me to test their product out and I give advice in return.

Q) What kind of other equipment do you use? Lights? Printers? Paper? Why? Do you find much of a difference in cameras, materials, lights or processes?

A) Look, if you ask painter Julian Schnabel what materials he uses you will get a strange list. I use some materials the way I have made them for myself whether that is a digital secret process or a particular light or flash. I invent sometimes items and equipment because they’re not on the market to get.

Q) Do you spend much time traveling, and if so, what are your favored sites or cities to visit? How did you happen to have the show in at United Photo Industries in DUMBO?

A) Traveling is inspiration to me, I am always on the road, it is taking over a big part in our daily life. I look for authenticity in the way I experience that.

Sam Barzilay from UPI was impressed by my exhibition in Athens, that’s how our relationship started.

Q) What would you tell an aspiring photographer who is coming up in the field to keep in mind as they suffer the indignities of the artistic working class?

A) I don’t think like that. Follow your intuition and your heart if you are a true artist.

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Rezvani’s web site: http://www.rahirezvani.com/

This interview was conducted via e-mail. 

 

1 comment

1 گفت و گو با رهی رضوانی / عکاس - وهومن : وهومن { 01.15.13 at 9:20 am }

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