© Michal Chelbin
A few weeks ago I went gallery hopping with one of my professors and some friends of mine. We sought out the photography shows and slipped into Michal Chelbin‘s exhibit of photographs from her “Strangely Familiar” series. Thanks to the crowded atmosphere I found myself face to face with large prints of these gorgeous square-format portraits. Despite having just returned from traveling, Chelbin was more than grateful to answer some questions regarding the series.
…And it just so happens she was named as one of PDN’s emerging 30 of 2008!
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- I noticed in the series that you focus on a myriad of different people but the central figures tend to be children. I also noticed that, despite there being groups of older people in the book, none of these were exhibited in the show. What purpose does this selection serve?
When installing a show, many factors have to be taken into consideration, like to the size and shape of the space, how many works can fit in, what photographs work best together, etc. I agree that I photograph a range of ages, not just children, but in the end, that selection felt the right one.
© Michal Chelbin
- You say that you “search for people who have a legendary quality in them; a mix between odd and ordinary.” Your subjects are acrobats, contortionists, and mostly have bodily talents. Do you find this legendary quality manifests itself best in those with refined physical abilities? (as opposed to skills such as musicians, etc.)
Sometimes yes, but not necessarily. Usually the first thing I look for is the face and the eyes, so it is not necessary a matter of body. But definitely people who have bodily skills, can bring an extra layer to the final image. Sometimes it is because the body and the face (or more accurately, the gaze), are in contrast to one another.
- Can you elaborate on your preference for square format?
I like the Hasselblad very much. It is easy to handle and the lenses are superb. I also like it because I often try to address troubling issues and the use of this balanced / symmetrical format causes the form and the content to conflict, which is something I like.
© Michal Chelbin
- Would you mind discussing the technical aspects? The colors in the prints are extremely vivid which adds to the mystical quality. Do you have a favored film choice?
I almost always shoot with available light, which means sometimes shooting in poor light conditions. Therefore I shoot with high speed films, Kodak or Fuji for the color and Ilford for the b&w.
The color I print on Kodak paper, which I believe adds to the richness of the colors.
*The following questions were submitted by my friend Sasha Arutyunova
who also attended the show
- Do you think the struggle of the performers you photograph is often overlooked? What did you initially hope to find when exploring the tensions within that struggle?
In the Narrative, most of the people in this book are some kind of performer. Many of them kids, who, for example, have to put on seductive costumes when they are on stage. They mature very quickly. The glamour which is often associated with performers, is not evident in their every day life.
But I have to say that my interest is not topical or social. For example, In most of the images I think it is hard to tell what are the technical skills of the person in the image. Therefore, although the people in the images are very specific, my aim is to address universal themes such as the desire for fame, puberty, family issues. I find that these people and these settings allow me to do so.
© Michal Chelbin
- Most of the photographs were taken in Russia and in the Ukraine. What drew you to these cultures and what do you think their history lent to the project as a whole?
When I started to work on my personal projects in Israel, the majority of people I photographed were immigrants who came to Israel from the former Soviet Union. It was only natural for me to start going and shooting there. I am drawn to people from that region because they are full of contradictions- tough on the outside but very warm and friendly when you get to know them. And I also like their faces, especially of the girls, which remind me of a dark northern fairy tail. The countries are also intriguing – a strange mix of old and new, odd and ordinary. Again, I have to note that I don’t feel this work is a cultural essay. The location is hinted and supports the subject.
- What was your relationship like with the various young girls in the photographs? How did they react to your desire to photograph them, and in turn how were you personally affected by their stories? Did your project change as time went on?
I spend a lot of time with the people I photograph, usually several weeks, and I got to know them and their struggles. Girls usually like the attention of the camera and most of them enjoyed being photographed. Once we spent time together, they began to trust me.
Some of them had a difficult life, like broken families or even living in an orphanage, and joining a small acrobat group was their hope of a better future. I could sense their determination. Some of them really touched my heart and it was very difficult to say goodbye.
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For more of Michal’s work please see her website or visit the Andrea Meislin gallery in Chelsea. The show closes October 18th.
Michael George :: Oct.02.2008 ::
Interviews, Photographers ::
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